abhiram sharma- portfolio 2016

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Record of work between 2007-2016.

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  • ABHIRAM SHARMA

    +1 (734) 846 - 0724 abhirams@umich.edu

    DESIGN PORTFOLIO

  • Contents

    ACADEMIC

    Trump Presidential LibraryFall 2015: Graduate studio

    National Museum of ArchitectureWinter 2012: Undergraduate thesis project

    Quad Core HousingHigh-density high-rise housing

    Youth HostelFirst architecture studio exercise

    PROFESSIONAL

    Gas Station CanopiesCompetition entry

    Solar Powered Site OfficeIndian Institute of Technology, Jodhpur

    PUBLISHING

    Counting on ArchitecturePaper presentation

    Curatorial Assistance for ExhibitionNational Gallery of Modern Art, New Delhi

    Delhi DossierDelhis Nomination to UNESCO World Heritage List

    Politics of the PritzkerUndergraduate dissertation

    02 2518

    05 2621

    10

    14

    27

    28

  • 1ACADEMIC WORK

  • 2Trump Presidential Library

    53 West 53rd StreetNew York, USAGraduate studio- Fall 2015Instructor: Ms. Ana Morcillo Pallars (anmorcil@umich.edu )

    The project situates itself in a world in which Donald Trump is running for his second term of presidency, in 2020. In this charged state of affairs, the business magnate and President incumbent envisions the creation of a Presidential Library to mark his term, and to serve as a monument to himself. The proposal is an exploration towards an architecture that befits the personality of the immensely popular public figure and the nature of a memorial set within a modern day metropolis- in the heart of urban Manhattan.

    Based on studies of Mr. Trumps assets, preferences, and choices, the design is the outcome of an imagined future resulting from the corruption of democratic machinery. Although seemingly absurd, it might just be an inevitable consequence, and one that later would appear logical in hindsight.

    Avenue of the

    Americas

    W 53rd St.

  • 3Schematic Section and Level Diagrams

    The monument is akin to an obelisk. It is conceived to be monolithic in its construction, deriving its strength from its solidity and weight. The form respects the urban grid at the street scale, and at the city scale it does not face any of the cardinal directions, but represents only the verticalthe axis-mundi. The building is designed to withstand large resistance and attack. It is a temple designed to serve as a vertical pilgrimage site. While its form tapers gradually, it slowly reveals its procession path towards the tip, till the stairway brings its visitors out into the light, before they can reach the pinnacle. The phallic monument is a symbol of ambition, and rise, and emphasizes ascent through its exterior and interior.

    Pinnacle- sanctum

    sanctorum

    Point of departure-

    stepping into the light

    Pilgrimage- starting

    the journey upwards

    Podium to Pantheon

  • 4To me, the drive for monumentality is as inbred as

    the desire for food and sex, regardless of how we

    denigrate it. Monuments differ in different periods.

    Each age has its own

    -Philip JohnsonAs quoted in Makers of 20th-Century Modern Architecture: A Bio-Critical Sourcebook. pp 157.

    Design Evolution

    The project was considered as a composition of the elements of the base, the shaft, and the capital, straight from the initial design stages. Its form then evolved in attempts to understand the geometry of possible tessellation, and the relationship of a temporary building skin to the permanent structural skeleton. In conclusion, the design depended strongly on its narrative, and the objective was not to arrive at a precise physical solution to the design requirements, but to produce a convincing image of future development as a result of the forces at play. In conclusion, this tower represents human ambition and the desire for power, and in effect is only a huge pedestal for a fragile fleeting pinnacle. And will remain for future generations a wonderful spectacular ruin. Much like the statue of Ozymandias in the desert.

  • 5National Museum of Architecture

    Undergraduate thesis projectNew Delhi, India2012 (10th semester)Guide: Prof. Sambuddha Sen (ssenandassociates@gmail.com)

    The quest in this exercise lay in resolving an apparent paradox: of designing an architecture for exhibiting itself. The focus here was also on the design of a National Museuma source of pride, and reflective of a national identity. An under-utilized plot (Princes Park) bounding India Gate was chosen as the site. The design solution arrived at was to create a non-building. A democratic public park with open air exhibits, that sheltered beneath its mounds the museums gallery spaces.

    The figure ground below shows the site with relation to New Delhis grand central vista. The buildings in immediate proximity to the central hexagon are institutional in nature.

  • 61

    3

    2

    4

    Design Logic

    In order to emphasize in built form the belief that architectureas a reflection of philosophyintangibly underlies all human activity, it was judged appropriate to design the museum building as the foundation and form-giver to the park above it.

    The first diagram shows the geometry of the 9 acre site and its immediate surroundings. The south facing site borders the public greens of the Central Hexagon. Developmental regulations set limits of F.S.I at 1.0; the setbacks are as shown in the diagrams, and a height restriction of 24 meters is in place. In addition to meeting these quantifiable constraints, the design intent was sensitive to the inherent character of the site in terms of its colonial history and urban context.

    To create an earth berm, the largest possible circle the site could afford was charted- as shown in Figure 2. Keeping within this form allows for a larger area to be built underground with lesser perimeter of retaining structure.

    Figure 3 shows the bearings that were taken from the center of the circle along the three major axis- (1) of approach, (2) direction of India Gate, and, (3) the North-South axis. The desire to create a place that was truly inclusive and democratic dictated the decision to create a boundary-less open public park. It is seen as a continuation of the greens surrounding India Gate.

    Figure 4 shows the schematic site plan, with the skylights on the mound reflecting the forces that influenced the design.

  • 7Introduction to Indian

    Architecture

    Encyclopedia of Architecture

    in the Indian Subcontinent by E.B Havel

    Resultant chart of averages drawn using the above texts

    A Global History of Architecture

    by Francis D.K. Ching

    Masterpieces of Traditional Indian Architecture bySatish Grover

    Introduction

    Post Independence

    Colonial

    Islamic Period

    Hindu, Buddhist, Jain

    Early Indian Architecture

    Legend-

    2b

    2a

    3a

    3b

    4a

    4b

    5a5b

    6a

    6b

    7

    9

    1

    17

    18

    1c

    15

    14

    1312

    1a

    16

    16

    8

    11

    11

    11

    11

    1

    15

    10

    2c

    1b

    1b10

    10

    10

    10

    1: Courts

    1a: Entrance court

    1b: Internal court

    1c: Kund- O.A.T

    2: Foyer

    2a: Introduction

    2b: Main foyer

    2c: Auditorium foyer

    3: Post-Independence

    3a: Upper level

    3b: Lower level

    4: Colonial Period

    5: Islamic Period

    6: Hindu, Buddhist and

    Jain architecture

    7: Early Indian

    Architecture

    8: Temporary Exhibition

    Area

    9: Storage Area &

    Service Lift Lobby

    10. Fire Escape

    11. Toilets

    12. Souvenir Shop

    13. Auditorium

    14. Administration

    15. Library

    16. Workshop

    17. Cafeteria

    18. Unloading Bay

    Internal Space Division

    Schematic Layout Diagram

    The exhibition spaces are laid out in chronological order, and at the same time the configuration also allows visitors the flexibility of choosing their routes. In the attempt to derive an efficient layout that would appropriately allow for the display of the sub-continents architectural history in an accurate manner, the proportionate arrangement of different galleries was conceived as if it were the arrangement and structure of the chapters of a book on the subject. The proportion of areas proposed for each era of Indian architectural history is based on the average of pages devoted to these areas in scholarly works covering the subject from both Indian and Western points of view.

    The pie-charts alongside display the proportion of content attributed to each era and the average drawn from this data is presented in the bottom-most pie. The charts spread the contents of their respective books across 160-degrees so that the resultant graphic most closely mirrors the plan of the museum. This method only provides an approximate indication of how the historic architecture could be displayed. The temporary exhibition spaces and galleries of post-independence architecture as well as futuristic architecture are on the upper floors of the portion of the building where an orthogonal grid is followed. This marks their departure from the logic followed in the underground galleries, as that method could not be applied to regulate these spaces.

  • 8Floor Plans: Second Basement and Lower Ground Floors

    Legend1. Entrance foyer2. Visitor Counter3. Museum Shop4. Auditorium5. Administrative section6. Library and documentation7. Workshops / laboratories8. Cafeteria

    9. Gallery space10. Temporary gallery11. Fire escape12. Toilets13. Storage / services14. Parking15. Courtyard16. Loading/unloading bay17. Open air theatre

    11

    17

    1 2

    9

    9

    9

    9

    4