production design architecture thesis

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Ubc graduate research, designing stories : a narrative-driven design process for architecture lum, theresa --> -->.

This thesis proposes that narrative can bring richness and depth to a architectural project, and that there are unexplored ways that narrative can be used in the design process. I suggest that drawing from the discipline of film production design, which is a process that is already centered on storytelling, can offer a new working method for architecture. Using production design as a template for the design process allows narrative to be the foundation of a design, creating a new lens through which to see storytelling in architecture. In production design, the script is the client – the design is completely centered on storytelling, with each design tool being used to help tell a story. Key to designing a film’s story is the process of world building. This process begins with the creation of mood and the development of characters, using tools such as colour, light, scale and pattern. In architecture, narrative is often used to frame a project or to describe how a project operates, but is not at the core of the design process, guiding the design decisions, as is the case with production design. Through an investigation into how the process of production design can be translated into an architectural project, this thesis expands the conversation between narrative and architecture, and the relationship between architecture and film. This project uses the production designer’s narrative tools – namely world building, mood and character – to weave multiple storylines through a site, allowing these stories to shape the design and shift the perception of the resulting built forms. The site chosen for this exploration is Cooper’s Green Park in Halfmoon Bay, British Columbia. In the following design process, I use the design of five architectural interventions to support three different stories, in a way that can be changeable from one narrative to the next. Through the architecture, this project creates moments that highlight the narratives’ story worlds – their mood and their characters. We experience and frame our lives in stories, and architecture will always be part of those stories. I believe it is worth exploring new ways of developing architecture through narrative.

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Explore Thesis projects from the Class of 2021

Review Book:  https://issuu.com/mitarchitecture/docs/20-01-05_marchthesisbookletsqsinglep  

Master of Architecture (M.Arch) Website:  https://www.mitmarchthesis.com/theses

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Review Book:  https://issuu.com/mitarchitecture/docs/21-05-21_allthesisbookletpages

Master of Architecture (M.Arch) Website:  https://mit-march-sp21.com/

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Image Credits:

01. Ferrous Futures. Courtesy of Charlotte D’Acierno, Clarence Lee and Jaehun Woo (MArch).

02. Space of Mind. Courtesy of Ziyu Xu (MArch).

03. Nightrise. Courtesy of Mohamad Nahleh (SMArchS Architecture Design)

04. Untold Narratives. Courtesy of Rania Kaadan (SMArchS Computation).

05. Mediating Chana. Courtesy of Eakapob Huangthanapan (SMArchS Urbanism).

06. To Build Home and To Live In (U)Hygge. Courtesy of Wuyahuang Li (SMArchS Urbanism).

07. Concetividad Alegal. Courtesy of Lucas Igarzabal and Marissa Concetta Waddle (MArch).

08. The Houseful(l)ness of Public Space. Courtesy of Xio Alvarez (MArch + MCP).

09. Mass Balance. Courtesy of Eduardo Gascón Alvarez (SMArchS Building Technology).

10. Early Design Stage Building Lifecycle Analysis (LCA) of Cost & Carbon Impact. Courtesy of Jingyi Liu (SMBT).

Published July 1, 2021

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Architecture Thesis Of The Year | ATY 2022

• Published on July 06, 2022

ARCHITECTURE THESIS OF THE YEAR | ATY 2022

The most amazing Architecture Thesis of 2022!

After the overwhelming response from the first two editions, Charette is elated to announce the third edition of ‘Architecture Thesis of the Year Competition - ATY 2022’.

‘Architecture Thesis of the Year 2022’ is an international architecture thesis competition that aims to extend appreciation to the tireless effort and exceptional creativity of student theses in the field of Architecture. We seek to encourage young talent in bringing their path-breaking ideas to the forefront globally.

PREMISE Academic Design endeavours allow the free flow of unfettered ideas – experimental, bold, promising, and unconventional. An intensive architectural discourse and a collaborative design process are essential to developing ingenious solutions to complex problems of the future.

An Architecture Thesis is considered the avant-garde – pushing the boundaries of what is accepted as the norm in the architectural realm. It is the outcome of months of painstaking research and an excruciating design process yet it hardly gets any recognition beyond the design studio. It is imperative to share such revolutionary ideas with the entire fraternity to open up new possibilities for dialogue.

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ELIGIBILITY ATY 2022 is open to architecture students of all nationalities and institutions. All Undergraduate/Bachelors and Graduate/Masters Thesis conducted in the calendar year 2017 – 2022 are eligible to participate. Group, as well as individual entries, are allowed.. The official language of the competition is English.

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Sheets 1 to 4: Graphic Representation Sheet 5: Text Summary

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Prasath P | Architectural Thesis Report 2020 | Film Studio - Precast Structure

FILM STUDIO

A THESIS REPORT Submitted by

PRASATH P (Reg.No: 724215251711)

In partial fulfilment for the award of the degree Of

BACHELOR OF ARCHITECTURE CAPITAL COLLEGE OF ARCHITECTURE, COIMBATORE .

ANNA UNIVERSITY: CHENNAI 600 025 APRIL 2020

ANNA UNIVERSITY: CHENNAI 600 025

BONAFIDE CERTIFICATE

Certified that this project “FILM STUDIO” is the bonafide work of

who carried out the thesis work under my supervision.

Ar. Arun Prasad

Ar. Manikandan

EXTERNAL EXAMINER – 1

EXTERNAL EXAMINER – 2

DECLARATION I declare this thesis titled “KOLLYWOOD FILM STUDIO” at “Manapet, Puducherry” is the bonafide work by me, under the guidance of Ar.Arun Prasad, Capital College of Architecture, Coimbatore during the session of December, 2019 – April, 2020.

I declare further that the work reported therein does not form a part of any other thesis based on which a Degree or Award was conferred on an earlier occasion.

STUDENT SIGNATURE PLACE : Coimbatore DATE :

ACKNOWLEDGEMENT I would like to express my gratitude to Ar. Manikandan (Director) for his suggestions, encouragements, comments and constructive criticism given which has made this project a success. I am thankful to Prof. Ar.Arun Prasad, for the patience he extended towards me; offering his guidance and immense support during this entire semester and helping me complete this project.

I thank all the faculty members of the Department of Architecture for the encouragement and inspiration to execute the project. I also thank my family and friends for all their support through these years. Lastly, I thank all my fellow batch mates, who stood beside and aided me in making this project a success.

TABLE OF CONTENTS TITLE

Bonafide Certificate………………………...………………………………...….i Declaration…....…………………………………………………………………ii Acknowledgement……………...……….……………………………………...iii

CHAPTER - I : SPECIAL STUDY 1.1 Abstract……….......……………….…………………………………......01 1.2 Introduction…....…………………..…………………………………......01 1.3 Objectives……...………………….…………………………………......01 1.4 Case Study……….......…………….……………...…………………......32 1.4.1 High-Rise Residential: Amrapali Dream Valley………………...….32 1.4.2 Sydney Opera House………………………………………….....….37 1.4.3 Glassell School of Art …………………………………………...….42

CHAPTER - II : INTRODUCTION 2.1 Introduction……........……………………..…………………………......50 2.2 Need for the project…………………….....…………………………......50 2.3 Aim……..........……………….......…….……………………………......50 2.4 Objectives…………………….......…….……………………………......51 2.5 Scope…….....………………….....…..………………………………......51 2.6 Methodology…………...………...…………..………………………......52

CHAPTER - III : CASE STUDIES 3.1 Literature Study…..…………...…………..…………………………......53 3.1.1 Pinewood Studios …………………………………..…………...….53 3.1.2 Goregaon Film City ………….……………………………….....….58 3.1.3 Bangladesh Film Development Corporation…………….……...….65 3.2 Live Case Study ….…………...…………..…………………………......69 3.2.1 EVP Film City, Chennai……………………….………………...….69 3.2.2 Prasad Lab, Chennai.………………………………………….....….76 iv

CHAPTER - IV : REQUIREMENTS 4.1 Area Requirements…..…......……………..…………………………......80

CHAPTER - V : SITE DATA 5.1 Site Justification….………………………..…………………………......84 5.2 Site Map………….....……………………..…………………………......85 5.3 Site Analysis………...…………………….…………………………......86

CHAPTER - VI : DESIGN DEVELOPMENT 6.1 Site Zoning…………..…………….…………………………………......91 6.2 Bubble Diagram…………..…...…..…………………………………......92 6.3 Circulation Diagram…………...….…………………………………......93 6.4 Block Model……….………...……….…………...…………………......93

CHAPTER - VII : DESIGN 7.1 Master Plan………….…....……….…………………………………......94 7.2 Floor Plans………….....…………..…………………………………......97 7.3 Sections………...……...…………….……………………………….....108 7.4 Elevations………...……...………….……………………………….....115 7.5 3D Views………...…...……………..……………………………….....119

CHAPTER - VIII : REFERENCES 8.1 Study Reference………...……...…………….….......……………….....129 8.2 Design Reference……….……...…………….….......……………….....130

SPECIAL STUDY PRECAST STRUCTURE 1.1 ABSTRACT Now a days conventional type of construction is fading up as compared to Precast construction. Precast concrete is a smart way to build any type of building, safely, affordably. It ensures fast construction time, high profitability and excellent quality. Precast concrete is an industrialized way to build. It means transfer of work from sites to factories. This improves productivity and quality and shortens construction time of a building. In short, precast concrete lowers total construction costs considerably. This paper deals with the study of precast technology and its advantages over Conventional construction.

1.2 INTRODUCTION Precast concrete is a construction product produced by casting concrete in a reusable mould or form which is then cured in a controlled environment, transported to the construction site and erected into place. Indian realty majors are adopting precast technology in building their latest projects. The main advantages of precast technology are quality, speed of construction and a value for money product. To avoid labour shortage, time delays and with an aim to deliver quality products, developers and builders are now adopting precast technology. The use of such technology helps in up to 64% of the time taken for similar projects using normal construction methods and technology. In other words if normal brick and mortar method takes one year to complete a project, the precast method takes about four months. Precast technology has proved its worth by saving a lot of construction time in the Europe and the Middle East. The best part of the technology is that it best part of the technology is that it not only speeds up the construction work but also enhances the quality of final output.

1.3 OBJECTIVES Following objectives have been considered in this work:    

Why precast concrete? Reasons to adopt precast concrete To study Precast Construction & Erection methodology Equipment used for precast construction

Why Precast concrete Precast constructions has been a common construction method in United States of America and many European countries. On the other hand Precast for residential construction has been used in India for only less than a decade, but it has been growing very fast in the past 5 years. Recently, there have been any new developers and contractors who have switched from traditional construction to precast to keep up with this new trend in the Indian residential market. Benefits Offered by Precast There are many benefits associated with the use of precast concrete components. Of course these require proper design, use of the correct materials and manufacturing processes with skilled and knowledgeable personnel. Properly designed and specified precast concrete go a long way toward reducing and eliminating many common utility construction problems, while the economics of precast translate into faster, more cost-effective projects. Benefits available include: (Table 1.1)

SPEED TO MARKET

QUALITY & DURABILITY

INTEGRATED PROJECT DELIVERY

Precast structural components are fabricated in a controlled plant environment and can be erected in weather conditions that would delay the full erection of steel components or CIS concrete. In general, the advantage of precast is that faster erection reduces the overall construction schedule and overhead costs. Compressed schedules, fewer on-site trades, and eliminating weather delays add up to reduced project costs. Precast, pre-stressed products provide a long service life that far exceeds field-placed concrete partly because members are manufactured in plants under strictly controlled conditions. The controlled plant environment has offers easy verification of quality and a dedicated workforce. This means high-quality product can be manufactured every day, regardless of weather. The low watercement ratio used in precast concrete creates a denser product that does not allow penetration of chlorides and other harmful elements as easily as field-placed concrete. Structural precast components can be erected in a relatively short period of time because they interlock to support one another. Simpler installation requires fewer crew members, which means which means fewer personnel to manage, fewer trades to pay and fewer trade-related delays. Precast advantage is a cleaner and safer job site with less risk and more assurance of a smooth and successful project flow. The combination of precast with steel or cast-in-place concrete in hybrid construction can have cost and program benefits. Precast concrete brings accuracy, high-quality finishes and speed of erection to any hybrid concrete construction project.

ENHANCES SAFETY

SUSTAINABILITY

OPTIMIZATION & FLEXIBILITY

Precast products eliminate many of the dangers associated with onsite construction by providing a controlled, off-site fabrication environment. Precast reduces the amount of wet trade work on site, making them cleaner, tidier and safer. Precast is perfect for today’s focus on preserving resources and protecting the environment though sustainable building practices. It’s a perfect Green Building product. Precast reduces overall life cycle impact on environment compared to other methods as it has lower wastage and high potential to recycle waste. Advanced automation and technologies used in precast plants optimizes the resource utilization, and produces an improved quality product with reduced tolerances, thinner sections, and engineered solutions. Also, it offers flexibility of space planning by allowing for longer spans which create larger open floor plans and increased flexibility in design. For architects, it can offer variety of different profiles. It is possible to cast the member of very complex design and shapes. Innumerable other advantages like high dimension accuracy, tight tolerances, minimal maintenance, acoustic insulation, thermal inertia, various surface finishes, colours, etc. can also be availed as desired. Table 1.1 : Precast Benefits

PRECAST COMPONENTS & CONNECTIONS Structural precast elements can largely be classified into two categories based on their production methodology, namely tilts and hollow core. For a typical residential unit construction the major elements are columns, beams, canopy, wall panels, cladding, balcony, staircase, slabs etc. Out of these columns, beams, canopy, wall panels, cladding and balcony, stair case, landings are tilts and slabs are hollow core of varying thickness. The common area of a building has many other precast elements such as lift core, boundary walls, curb stones, etc.

Fig 1.1 : Precast components illustration 3

PRECAST COMPONENTS PRECAST SLABS : Main types of slabs used in precast frames are: hollow core slab and solid slab. The details of hollow core slabs are shown in the Figure 4.The hollow core slabs are pre-stressed, precast concrete slabs, with hollow portions in the zones of zero stresses. They reduces the overall concrete dead load, concrete requirement and provides for better insulation. It is possible to achieve larger unsupported spans. Their general thickness used are 150, 200, and 265 mm. These slabs are casted 140m long at a time, with a fixed width of 1.2m. After steam curing the slabs are cut into smaller pieces as per site requirement. They are then delivered to site and installed in position using tower cranes. After installation as per drawings, a thin reinforcement screeding of 50-75mm is laid on the top, to seal the joints.

Fig 1.2 : Precast Concrete Structural Elements for a Typical Residential Unit

Fig 1.3: Precast (a) Hollow Core & (b) Solid Slab Details

Another common type of slab used are solid slab. These slabs are casted on a tilting bad with lateral and longitudinal reinforcement. These slabs are generally used for long span in the common areas and toilets where it is required to facilitate for various MEP services. They are helpful to reduce weight thus easy for site crane handling. It also eliminates the shuttering cost, and helps to attain a superior slab soffits. PRECAST COLUMNS : Columns (Shear walls) in precast construction can either be done in CIS or precast. They are most suited in commercial, industrial bay buildings where thicker sections are needed. Precast columns are provided with corbel for simple beam column connections. Precast also allows for casting of triple height columns, thus faster erection. PRECAST BEAMS : There are two main categories of beams used in a precast structure. Internal beams are used where floor loading is approximately symmetrical, and external beams are used where floor loading is predominantly non-symmetrical. The use of precast beams with proper designed connections ensure higher structural stability.

Fig 1.4: Typical Precast Column and Beam Details PRECAST WALL PANELS : Precast wall panels and claddings are smart substitute for conventional infill block work or brick walls. These walls offers superior finish surface, eliminates the plaster and touch ups, facilitate for desired & accurate openings of doors, windows, ventilators etc. These wall panels also improves the overall lateral stability of the structure.

Fig 1.5: Precast Wall Panels PRECAST STAIRCASE : Precast staircase eliminates the complicated on site shuttering & reinforcement, and provides high quality finish. They can either be a single precast unit containing all flights and landings or separate precast flights & landings.

Fig 1.6: Precast Staircase Some other elements are precast balconies, canopies etc. and in common areas boundary walls, kerb stones, main gate, etc. are shown in Fig 1.7

(a) Boundary wall,

Fig 1.7: Details of (b) Kerb Stone,

(c) Main Gate

DESIGN & CONNECTION DETAILS The design philosophy of precast concrete construction is based on the build ability, economy, and standardization of precast elements. All loading & restraint conditions from casting to end use of structure are considered in design of precast members & connections. Connections are needed not only to transfer load but also to provide continuity and overall monolithic behaviour of the entire structure. A complete system of precast elements is integrated to form a structure that behaves monolithically with sufficient strength, stiffness & durability to resist seismic & other dynamic loadings. The connection can be classified into horizontal & vertical joints. Some typical connections details are shown below

(a) Beam-Column

(b) Slab to Beam

Fig 1.8: Connection illustration 6

Fig 1.9: Typical Connection Details between In-Situ Shear wall & Hollow Core Slabs

Fig 1.10: Typical Vertical Connection Details between Precast Wall Panel to Panel

RESEARCH METHODOLOHY The production of precast elements and related resources are synchronized with the project schedule so that rate of production of precast elements should match with rate of demand from construction site including buffer stock. Planning involves detailed work plan of following parameters: Precast Elements Layout Precast Yard Planning Production Planning Stacking area for precast elements Transportation of precast elements Erection of precast elements 7

Broad classification of different works involved in construction and their sequence are pictorially represented in the flow chart 1.1. The precast construction method involves following activities: Setting up of casting yard Production of precast elements Stacking of precast elements Transportation of precast elements Erection of precast elements

Mobilisation of Resources Surveying and Establishment of site infrastructure facilities Excavation Construction of Substructure Construction of Superstructure Finishing and MEP works Handing Over Flow Chart 1.1: Sequence of Construction

Precast Elements Layout Layout of precast elements forms basic input for planning of precast construction project. Maximum weight of the element is decided based on capacity of the tower crane available at the site for erection. In the present study total 236 precast elements were planned for every typical floor which included walls, beams, Precast Beam Slab (PBS) and slabs. List of elements in 2 BHK and 3 BHK units are given below : Sl. No.

Element Type

No. of Elements in 2BHK/ 2 Units

No. of Elements in 3BHK/2 Units

Table 1.2: Precast Element details in 2BHK and 3BHK Units The structural plan of typical floor was in the form of plus shape; where each side contains two flats and opposite side flats are considered as mirror flats. Hence plan becomes much simpler and understandable. Fig 1.11 represent the dimensional views of typical floor and tower respectively. The detailed scope of the precast elements to be produced are given in Table 3.

Fig 1.11: Precast Elements in a typical floor plan & Dimensional view of typical tower

Phase-I of project has been considered in present study. Production and erection of precast elements were planned in Phase-I of project over duration of 12 months. Type of Element

Elements in a typical floor (No’s)

Typical Floors per Tower (No’s)

Total Elements per Tower (No’s)

Total Elements to be produced (No’s)

Balcony Slab

Table 1.3: Scope of precast elements to be produced for the project

Precast Yard Precast elements required for the erection are produced and supplied from a strategically located production yard. Production schedules are planned to supply required elements at the right time, without hindering the progress of the work. In the present study the precast yard was planned in 4.5 acres area with four casting yards. The concrete required for the production of elements was supplied from the ‘site batching plant’, located within the boundary. The details of various set of moulds in each yard are given in Table 1.4. Yard No.

Elements planned to be produced

Type of moulds

Gantry Cranes (No’s)

Wall Panels

Tilting Tables

Slab Panels

Flatbed moulds

Horizontal and Tilting

Tables PODs, beams, PBS, staircase & landing

Vertical moulds and others

Table 1.4: Details of the Precast Yard

Characteristics of a typical casting yard: 1. Each precast yard has space for casting and stacking elements, equipments and a road for movement of vehicles. 2. Proper working space should be provided by giving adequate distance between moulds. 3. Same type of elements shall be stored together to avoid future arrangements. Also, elements should be placed at adequate distance for ease of handling. 4. Casting and stacking area should be placed opposite in the yard to minimize the transit time for stacking. 5. The yard should be designed to have a proper drainage facility to drain out water.

Production of Precast Elements Precast elements production planning has been made based on the quantity of work for 22 months (Phase -I) to be done. Monthly casting schedule was prepared based on scope of elements to be produced for Phase-I construction. Production of Elements has been carried out from 6th to 17th month of the Phase – I.

Fig 1.12: Monthly Production Schedule of Precast Elements for Phase-I

Mould requirement was decided based on the production schedule and type of elements. Precast Panels Average Qty / Month (No’s) Average Qty / day (No’s) Wall Panels

Beam Panels

Landing Slab

Table 1.5: Details of average casting requirement of various types of precast elements Production of precast elements has been done in casting yard. Moulds of adequate stiffness have been used and installed as per issued GFC drawings. The sequence of activities involved in the production of precast elements is as follows: 1. Mould cleaning and preparation 2. Shuttering / assembling the mould components 3. Fixing of rebar’s / cast-in-fittings 4. Pre-concrete check 5. Concreting 6. Curing 7. De-moulding 8. Final inspection 9. Stacking Stacking of Precast Elements Lifting and handling of precast elements has been done using gantry cranes and other approved lifting devices. Number and location of lifting points have been decided such that the ‘handling stresses’ were always within allowable limits. For members having unsymmetrical geometry or projecting sections required supplementary lifting points. Typical method of lifting or handling of a wall panel is shown Fig 1.14.

Fig 1.14: Lifting of wall panel from tilting mould

Precast elements after de-moulding or curing activity, were stacked at planned stacking area to accommodate minimum 10 days’ production of precast elements as a buffer stock to maintain uninterrupted supply of precast elements. Stacking area was calculated based on element detailing and method of stacking. On an average, total 136 precast elements have been cast per day. Precast elements such as precast slabs, beams, spandrels and staircase landing elements were stacked horizontally and supported with strips of wood or batten across the full width of the bearing points. Precast walls, column-beam-wall panels shall be stacked in vertical position supporting their self-weight using racks.

Transportation of Precast Elements Precast elements were transported to the site on flat bed or low bed trailers. The delivery of precast elements was planned according to the erection sequence to avoid or minimize unnecessary handling or storage at site. The precast elements were loaded using gantry crane of 10 to 15 ton of varying capacity and delivered to the site with proper supports, frames and cushioning to prevent transit damages. The elements were delivered in a manner which they can be lifted directly and erected without much change in the orientation or sequence. Average 136 numbers of elements were to be transported per day to the site with the help of around 10 numbers of trailers.

Erection of Precast Elements Erection of precast elements was done using tower crane of capacity around 5 to 5.5 ton. Month wise (7th to 18th month of 22 months’ schedule) erection schedule in terms of flats and precast elements are shown in Fig 1.15 and Fig 1.16 respectively. These schedules were prepared based on the scope of work and planned duration.

Fig 1.15: Month-wise schedule for Phase-I  

Average number of flats to be erected per month: 120 no’s Average number of flats to be erected per day: 5 no’s

Fig 1.16: Monthly erection schedule for erection of flats For Phase-I construction, the details of tower crane are as follows     

No. of precast elements to be erected per day: 136 Tower crane provided: 5 no’s Maximum weight of the precast element: 5 tons Tower crane (Bogie Type): 5.5 ton at 40m Operating radius of tower crane: 40m

Prior to the erection of precast elements, the following preparatory works shall be carried out in order to achieve efficient and quality installation. 1. Site accessibility shall be checked for the delivery of precast elements. 2. Check whether the right element is dispatched or not.

3. Visual inspection shall be done to check the concrete finishes and damages if any. 4. Crane shall be checked for its working clearance for hoisting the precast element. 5. The elements shall be stored using “First In First Out� principle according to the erection sequence.

Erection of Vertical Precast Element During the erection of vertical members, the reference line and offset line was set out to determine the position of the element to be installed. Then shim plates or level pads were provided for setting the level of the elements. For external wall or column elements, compressible form of backer rod was fixed on the outer perimeter of the wall. The element was placed in the designated location and secured with diagonal props (push pull jacks) and then check for the alignment. After installing the element, grouting work was carried out. Approved grouting material was prepared as per specifications and applied to seal the gaps along the bottom edge of the inner side of the element. This is a technique of post-tensioning; where elements are placed first and then by inserting the grout material, tension is imparted in the element to achieve the highest strength.

Fig 1.17: The process of erecting the walls with the wall shoes

Erection of Horizontal Precast Element Erection of horizontal element is similar to that of vertical element; but the difference is, props were kept ready before bringing the horizontal element to the location, and leveling is done. Screed concrete of 60mm thickness was placed over the slab as specified in the drawings. This is to attain designed structural stability and to conceal the conduits.

Option for Exposed Conduits

Option for Embedded Conduits

Fig 1.18: Typical Horizontal Joint

ADVANTAGES OF PRECAST CONCRETE Saves Construction Time: Precast Concrete construction saves time, the risk of project delay is also less. The precast concrete casting can be carried on simultaneously with other works on site such as earthwork, survey, etc. and thus saves time. Quality Assurance: The key factors which regulate the quality of construction such as curing, temperature, mix design, formwork, etc. can be monitored for Precast Concrete. So, improved quality construction can be performed. Usage of Pre-stressed Concrete: By using pre-stressed precast, structural materials of high strength and load-bearing capacity can be achieved, which can result in greater clear span, reduced size of the cross-section of structural members, etc. Cost-effective: The simplified construction process reduces the time, increases the productivity, quality and safety and thus the cost is reduced.

Durability: Precast Concrete structure has a longer service time period and minimal maintenance. The high-density Precast Concrete is more durable to acid attack, corrosion, impact, reduces surface voids and resists the accumulation of dust. Aesthetics: As the structures are prefabricated in a controlled factory environment, several combinations of colours and textures can be used. A wide range of shapes and sizes are available to choose from with smooth finishing and thus the aesthetical value of products are increased. Safe Construction Platform: No raw materials have to be stocked in site for Precast Concrete construction. It reduces the requirement of traditional formworks and props, wastage, workers, etc. and thus provides a safe working platform.

DISADVANTAGES OF PRECAST CONCRETE High Initial Investment: For installing a Precast Concrete plant, heavy and sophisticated machines are necessary which requires a high initial investment. A large scale of precast construction projects must be available to ensure sufficient profit. Transportation Issue: The construction site can be at a distant location from the Precast Concrete plant. In that case, the precast members must be carried to the site using trailers. In many cases, the reduced costs of Precast Concrete is compensated by the transportation cost. Handling Difficulties: Proper care and precaution have to be taken for handling precast concrete. Usually, precast members are heavy and large which makes it difficult to handle without damage. Generally, portable or tower cranes are used to handle precast members. Modification: Limitation In case of precast structures, it is difficult to modify the structure. For example, if a structural wall is to be dismantled for modification it will impact the overall stability of the structure. Sensitive Connection Works: Assembling of the precast members is one of the key points for ensuring strong structural behaviour. Connections between several structural members must be supervised and done properly to ensure the intended behaviour of the connection such as simple, semi-rigid or rigid connections. Besides this, faulty connections may lead to water leakage and fail sound insulation.

CONNECTION DETAILS       

COLUMN – FOUNDATION WALL – FOUNDATION BEAM – COLUMN COLUMN – COLUMN BEAM – SLAB WALL – WALL STAIR – SLAB

COULUMN - FOUNDATION CONNECTION

Fig.1.19: Mechanical Splices Connection

Fig.1.20: Base Plate Connection

Fig.1.21: Base Plate Connection (SITE IMAGE) WALL PANEL - FOUNDATION CONNECTION

Fig.1.22: Wall Panel to Foundation using screwed anchors

Fig.1.23: Wall Panel to Foundation Using Couplers

Fig.1.24: Wall Panel fixing BEAM – COLUMN CONNECTION

Fig.1.25: Connection Types

Fig.1.26: Connections with dowels

Fig.1.27: with Mechanical Couplers

Seismic Resistant Connections Method: Splice the beam bottom bars using anchorages in the joint core

Fig.1.28: Using hooked bottom bars

Fig.1.29: Using straight bottom bars

Fig.1.30: With Corbel 21

Fig.1.31: Details of Interior Joint With Corbel

Fig.1.32: Column & Beam connection (SITE IMAGES)

Fig.1.33: Hybrid Connections -with Shell Beams

Fig.1.34: Splice Sleeve

COLUMN – COLUMN CONNECTION

Fig.1.35: Assemblings of columns

Fig.1.36: Column connection - site works 23

SLAB – WALL CONNECTION

Fig.1.37: Slab to outer Wall connection detailed drawing

Fig.1.38: Slab to inner Wall connection detailed drawing

SLAB – BEAM CONNECTION

Fig.1.39: Slab to beam connection detailed drawing

Fig.1.40: Slab to beam connection illustration    

Hollow care slabs are set on bearing pads on precast beams. Steel reinforcing bars are in inserted into the slab keyways to span the joint. The joint is grouted solid. The slab may remain un-topped as shown or topped with several inches of cast in place concrete.

Fig.1.41: Slab to beam connection (SITE IMAGE)

WALL – WALL CONNECTION

Fig.1.42: Vertical joint

Fig.1.43: Horizontal joint

Fig.1.44: wall to wall connection illustration

Fig.1.45: wall to wall connection (SITE IMAGE)

STAIRCASE - SLABS CONNECTION

Fig.1.46: Staircase to slab connection (SITE IMAGE)

Fig.1.47: Staircase to slab connection detail

INSERTS Primary Inserts

Fig.1.48: Loop-Type Wire Inserts

Fig.1.49: Open Wire Inserts The Open Wire Inserts use one of the receptacles

Fig.1.50: Receptacles for Wire Inserts

Secondary Inserts

Fig.1.51: Used for Handling Purpose

Fig.1.52: Edge lifting connectors

Fig.1.53: Panel Lifting

Fig.1.54: Lifting loops

Fig.1.55: Lift up Links

Fig.1.56: Lifting precast elements on site

CONNECTING SHOES

Fig.1.57: Column Shoes

Fig.1.58: Beam Shoes

Fig.1.59: Wall Shoes

1.4 CASE STUDY 1.4.1 High-Rise Residential: Amrapali Dream Valley

Fig.1.60: Amrapali Dream Valley view Project data : Architect : Gian P Mathur (GPM, India), and E.Construct, U.A.E are the structural designers Building Type : Residential No. of Units : 1500 ; 12 units per floor Building Height : 2B+G+18 Floors Location : Greater Noida, Uttar Pradesh Site Area : 10 Million Sq.ft Building Coverage using Precast : 3.79 million Sq.ft

Dream Valley project is located in Greater Noida (West), Delhi NCR, India. It’s a residential township with total 47 high-rise residential towers, 379 villas, commercial & institutional building, and other developments. The total built-up area of project is more than 10 million Sq.ft. The high-rise residential towers are divided in to six series from A to F with further classification as A1 to A7, B1 to B6, C1 to C12, D1 to D2, E1 to E8, and F1 to F12. After a lot of brainstorming and feasibility study, Series A, D, E & F were planned to be constructed by using precast construction technology. All towers of series A (2B+G+18 Floors), D, E1 & F (2B+G+24 Floors) rise about 60m above ground with floor to floor height of 3.05m. A total of 3.7 million Sq.ft area was planned to be constructed with precast. To make the case easy to understand, this study will discuss the construction of series A having total seven towers. As of today all the seven towers are nearing completion. There are 12 apartments per floor with carpet area of about 430 Sq.ft. for 1BHK. All apartments at of series A are identical that made precast technology a viable option. Fig 1.20 shows the overall layout of group housing project with high-rise towers along with the tower constructed with precast concrete constriction technology. Table 1.6 shows the overall scope of precast construction for Dream Valley series A buildings with other project details. A typical floor plan for a wing of tower A1 along with precast elements layout is shown in Fig 1.62.

Fig 1.61: Overall Layout Plan

Dream Valley – Series A (Tower A1-A7), High Rise Residential Buildings Overall built-up Area (Precast+CIS)

10 Million Sqft

Built-up area planned in Precast

3.79 million Sqft

Built-up area of A series (A1-A7)

8.82 lacs Sqft

Structural frames

2B+G+18 Floors

Total apartments

1500 apartments; 12 apartments per floor

Structural system (Sub-structure)

Raft foundation (CIS)

Structural system (Super-structure)

Hybrid Precast Construction (Shear walls & Core in CIS)

Basement, Ground & terrace work

Cast In Situ

1st to 18th floor

Precast beams, wall panels, balconies, claddings, staircase, & hollow core slabs

Total precast concrete volume (m3)

Total Nos. of Precast elements (Tilts + HCS)

Table 1.6: Dream Valley-Precast Project Details

Fig.1.62: Typical Precast Elements layout for A1 Tower wing (4 flats)

DESIGN IMPLEMENTATION & CONNECTIONS The foundation system of the project was designed & constructed as raft foundation. As per the project and structural requirement, the project was constructed by using a hybrid design with Precast & CIS together. In this hybrid construction foundation, substructure, terrace work & all the shear walls for all floors were completed using conventional CIS method. Superstructure (i.e. 1st to 18th floor) consisted of precast construction of beams, balcony, staircase, wall panels & hollow core slabs. The vertical members (shear walls) were constructed in CIS considering the economy and design aspects along with erection plan of other members. This hybrid design facilitated the overall faster erection and allowed for timely production & delivery of other precast members. Also, from design point of view it’s preferred to have monolithic vertical members. Although, it was possible to make precast vertical members, but that would have required to consider for special connections. The current connection were simple and special dowel bars, corbels and provisions for connection were planned in advance for the members as per the design. The joints were made monolithic by grouting them with non-shrink grout. Onsite, wet grouted joints for horizontal connections between wall to wall, slabs to wall, termed as stitched joints were selected. This precast design system ensured the structural performance equivalent to that of a conventionally designed CIS, monolithic concrete structure. After placing the hollow core slabs as per the layout, a structural topping of 50-75mm was poured to make the slabs behave like a diaphragm. Solid slabs were used in the toilet and common areas to allow for basic MEP services. M40 grade of concrete was used for all the tilt elements and M60 was used for the production of hollow core slabs. CHALLENGES EXPERIENCED 

As the project was located in seismic zone IV, the suitable design was adopted.

Lack of skilled manpower with the knowledge of precast industry, operation of various machineries & erection, which was overcome by providing detailed training. It was difficult to counter the typical mind-set of people to adapt to change in construction technology, patience & willingness to experiment with a new technology.

Although, European and other standards were available for ready reference but unavailability of IS codes was deemed important. The designers from India had only few Indian Standard to refer. The knowledge and understanding acquired during this case was carried forward to the projects underway. Many improvisations were based on the experiences of this projects.

RESULTS ACHIEVED Some astonishing results along with learning experiences achieved through this landmark project are noted as follows: 

7 buildings of 2B+G+18 floors were completed in 18 months of timeline was made possible through precast technology.

Achieved a slab cycle of 10-12 days for a slab area of 7000 Sqft.

Superior quality & finish of construction.

Cost & time optimisation with the use of hollow-core slabs.

Reduction in concrete & steel factor per Sqft of built-up area.

Elimination of brick work and plaster by the use of precast wall panels & cladding.

Automation & mechanisation of construction project improved overall productivity. Improved site safety & considerable reduction in wastage, dust & noise on site, thus reduced ecological footprint of project.

1.4.2 Sydney Opera House

Fig 1.63: Sydney Opera House Project data Architect : Jorn Utzon Engineer : Ove Arup & Parteners Owner : State government of New South Wales Building Height : 67M ; 20 storeys Location : Sydney, Australia Building Coverage : 15 acre Sydney opera case study analysis the Sydney Opera House is the busiest performing arts centre in the world. Since its opening in 1973, it has brought countless hours of entertainment to millions of people and has continued to attract the best in world class talent.

Design and construction There are nearly 1000 rooms in the Opera House including the five main auditoria. There is also a Reception Hall, five rehearsal studios, four restaurants, six theatre bars, extensive foyer and lounge areas, sixty dressing rooms and suites, library, an artists lounge and canteen known as the "Green Room", administrative offices and extensive plant and machinery areas. The building covers about 4.5 acres of its 5.5 acre site. It has about 11 acres of usable floor space. It is approximately 185 m long and 120m wide at its widest point. The highest roof vault (above the Concert Hall) is 67m above sea level. The roofs are made up of 2,194 pre-cast concrete sections. These sections weigh up to15.5 tones each. They are held together by 350 km of tensioned steel cable. The roofs weigh 27,230 tones and are covered with exactly 1,056,056 Swedish ceramic tiles arranged in 4,253 pre-cast lids. The entire building weighs 161,000 tones. It is supported on 580 concrete piers sunk upto 25 m below sea level. The roofs are supported on 32 concrete columns up to 2.5m square. The exterior and interior walls, stairs and floors are faced with pink aggregate granite which was quarried at Tarana in New South Wales. The two woods used extensively to decorate the interiors are brush box and white birch plywood which were both cut in northern NSW. There are 6,225 sq m of glass, made in France, in the mouths of the roofs and other areas of the building. It is in two layers – one plain and the other demi-topaz tinted. About 2,000 panes in 700 sizes were installed.

Fig 1.64: Design and Construction

THE SAILS During construction of the Opera House, the pre-cast rib sections of the sails were cast with ducts to carry the steel stressing cables. In all, 4100 individual ducts with a total length of around 113 kilometres (70 miles) were created. The rib sections are bonded with an epoxy developed for the purpose during construction. After post-tensioning was completed, the ducts were pumped full of grout to seal the steel cables from the outside elements. The rib structures were clad in 3,382 chevron-shaped prefabricated concrete tile lids, supporting around a million ceramic tiles. The tile lids have a slight spherical curve. The tile lids are bolted to the rib structure and sealed with epoxy polyurethane sealant. A protective epoxy grout is used between the individual tiles.

Fig 1.65: Pre-cast rib element and Sections

Fig 1.66: Rib elements tacked to make the sails

Fig 1.67: Ribs being cast on site

THE PEDESTALS The points from which the sail ribs rise from the podium, and connect to the foundation columns, are known as the Pedestals. The Pedestals are made of reinforced concrete, cast insitu, and can be seen on the building’s exterior below the line of ceramic tiles, and in the interiors of the foyers to the Concert Hall and Joan Sutherland Theatre. The concrete in the Pedestals is completely exposed to weather and the marine environment, and human contact.

Fig 1.68: In-situ concrete pedestal

BROAD WALK STRUCTURES The Opera House is built on a narrow peninsula of land on the south shore of Sydney Harbour. The Western Broad walk and Northern Broad walk rest on steel reinforced concrete piers, which are embedded into the harbour floor. Granite aggregate slabs are used to clad the Broad walks.

Fig 1.69: Aerial view of Western and under Northern Broad walks

Fig 1.70: Northern Broad walk construction, 1962

1.4.3 Glassell School of Art

Fig 1.71: Glassell School of Art Project data Architect : Steven Holl Architects Owner : The Museum of Fine Arts, Houston Building Type : Education , Cultural , Community Location : Houston , Texas , United States Area : 93,000 sq. Feet The three-story Glassell School of Art provides state-of-the-art studios and active social spaces within the 93,000-square-foot structure. The BBVA Compass Roof Garden and adjacent Brown Foundation, Inc. Plaza also serve the expanding needs of the school and the unique mix of students of all ages. Sited on two acres, adjoining the Lillie and Hugh Roy Cullen Sculpture Garden designed by Isamu Noguchi, the building replaces the school’s 1979 facility. The enrolment of about 7,000 students is expected to grow to 8,500 with the expanded course offerings of the enlarged facility.

Design and construction When Steven Holl Architects set out to design the The Glassell School of Art at The Museum of Fine Arts, Houston, there was a clear goal in mind – make the building as much a work of art as what is created inside of it. The result is a one-of-a-kind structure featuring 178 unique precast concrete panels wrapping around its precast concrete core. In addition to the beauty of the exterior, precast played an extensive role in the overall structure and interior design. Due to a short construction schedule, precast was the right building material for the project since off-site casting of the school’s floors, roof and facade permitted each level of the building to be completed in about one week. According to James Stini, vice president of operations at Gate Precast, Pearland, Texas, a combination of 8-inch, 10-inch, 12-inch and 16-inch precast concrete hollow core plank systems are used for the second and third floors, as well as the roof. The longest spans, nearly 45 feet, are located in the exhibition hall and classrooms.

Fig 1.72: Site plan sketch

Fig 1.74: Front view

Fig 1.73: Precast panel sketch

Fig 1.75: Sculpture garden 43

Fig 1.76: Forum

Fig 1.77: Ground floor plan 44

Fig 1.78: First floor plan

Fig 1.79: Second floor plan

Fig 1.80: Roof plan

Fig 1.81: North - South section A

Fig 1.82: North - South section B

Fig 1.83: West Elevation

Fig 1.84: South Elevation

Fig 1.85: Render & Physical model of Glassell School of Art

Fig 1.86: Renders of Sculpture garden

2.1 INTRODUCTION Film studio A Film studio is a major Entertainment Company or Motion Picture Company that has its own privately owned studio facilities that are used to make films, which is handled by the production company. A Film studio consists of all the equipments and facilities required for pre production, production and post productions plus a primer theatre. Some years before film studio use to have only indoor and outdoor shooting facilities. The advancement of technology brought major changed in the field of film making. Animation techniques such as green technology and development of sound system had given the touch of reality. In film studio we can find all the facilities require including office space, residence for actors and other technicians.

2.2 NEED FOR THE PROJECT Indian Film Industry, India produces the largest number of films annually, the number of films made being 1500 per year on an average, which is almost 3 times as much as the number of films made in the United States. Yet, the reach of the film industry is limited to a very small number. And the one more issue which is faced by the aspiring filmmakers in India is the lack of practical or experiential knowledge gained by physically experiencing the process and lack of opportunities to get them involved. Another problem is the lack spaces with the infrastructure to equip advanced production technology so that the entire production could take place under one single roof.

2.3 AIM Aim to design a film studio, creating spaces that facilitate experiential learning. A mixed- use program is introduced with studios and theatres that create a self-sustaining complex. The project aims to bridge the gap between theory and practice of filmmaking and thereby improve the Indian film industry in terms of creative thinking and technical knowledge. It also aims at generating interest in the community about the Indian film Industry. Film studios are set up to facilitate the production of films and are provided with functions that deal with different aspects of film-making like production and shooting studios, audio and video recording theatres and post-production editing studios.

2.4 OBJECTIVES 

Build an advanced and futuristic film studio which has ability to produce and support cinemas and television shows of best quality that represents the pride of our nation.

Develop the existing technologies and facilities that prevail among the present film studios and repair the flaws in the film making system.

To bring forward the technologies to be used for film making and television production that are yet to be brought to the Indian entertainment industry.

Creating more awareness among the public about the importance of films and film making.

Creating better education to film students. Bringing students closer to production practice.

Provide platform for upcoming artist, creating easier and equal opportunities for outside talents.

To mingle leisure and entertainment spaces along with the complex to allow public come into the complex and have good time.

2.5 SCOPE 

Outdoor shooting spaces and landscapes like lakes, Grasslands, Waterfalls etc to act as shooting space.

Indoor shooting units.

Green screen and motion capture units.

Post-production studio and technical production units.

Television production and Broadcasting units.

Musical and sound art studios.

Animation production units.

Auditorium and outdoor stages.

2.6 METHODOLOGY Literature review : Reading of various books, articles, news, videos and thesis on related subject from seniors will be referred so that it will provide information and standard data for designing. Case study : Study of various existing film studio and space will be done so as to know the various functions and spaced in the real life cased and help in the design of my thesis topic Film studio. Analysis of case study : various aspects of case study will be compared with the standard data those were obtained from literature so that best solution would be found out for thesis program formulation. Program formulation ; From the analysis of both case study and literature review required spaces and its area for the design of Film Studio will be found out and project site will be finalized. Site analysis : Project site will be analyzing parameters like geology, soil, topography, climate, manmade structures traffic flow patterns, acoustics, surrounding environment etc so that potential of site can be found out and spaces can replaced accordingly. Design development : After all of the process design concept will be finalized and suitable design will be developed for “Film studio�

3.1 LITERATURE CASE STUDY 3.1.1 Pinewood Studios, London Site area : 58 acre Pinewood was built in 1936 on a country estate. New stages, viewing theatres and cutting rooms were added in the 1960s and other facilities upgraded. Two new sound stages were opened in 1999, and two digital widescreen television studios were added in 2000-01. Pinewood is approximately 20 miles north-west of London. Site and Surrounding:

Fig 3.1: Site Location & Arial view of Pinewood Studios

Existing Master plan:

Fig 3.2: Master plan of the Pinewood Studio Complex

Analysis of the Studio Complex Master plan:

Fig 3.3: Zoning of the Complex and the dispersal of the Functions from the entry point

Fig 3.4: Relationship between workshops, studios and backlots 54

Different Sizes of Sound Stages in Pinewood Studios:

Table 3.1: Area & Dimensions of Stages

Fig 3.5: Indoor shooting Stages

Fig 3.6: Waiting Space

Facilities at Pinewood Studios: PRODUCTION SERVICES : - Workshops - Wardrobe - Storage area - Dressing area - Production Offices - Client areas - Green rooms - Construction equipment hire - Transport offices - Backlot POST-PRODUCTION SERVICES : - Sound editing - Sound Transfer - Optical Transfer; - 6 Sound recording Theatres - 40 Film Cutting Rooms - Film Storage - Preview Theatres

Fig 3.7: Korda theater for movie preview

Fig 3.8: Post production Theater

Findings of the Study:         

Entry into the site should be positioned in such a manner in order to access all other functions easily from that point Only one entry is desired along with a service entry The zone where the cast and crew will reside should be near the entry Studios, workshops and backlots should be placed in close proximity The huge variation in the size of studios require greater demand for energy but the supporting functions can serve many studios at a time The functions are spread out but arranged within the range of the internal access roads Huge areas are dedicated for car parking at different points which tries to meet the demand for both film shooting and tv studios Since the demand in terms of area is much less in TV studios, most of its studios and supporting functions are placed in a single building mass, even though they can use the filming studios The Post Production Offices are near the entry point and next to TV studio complex in order to serve people who can only avail the post production services without affecting the ongoing shooting areas

3.1.2 Goregaon Film City, Mumbai Site Area : 500 acre Built space : 30 acre Established on september 26, 1977, the Film City stretches over around 500 acres of land on the outskirts of mumbai. It is known as the Dadasaheb halke Chitranagari or Film City, Mumbai. It is a small city in itself with lake, forest, bridge, isolated roads assign through jungle and what not. Site and Surrounding:

Fig 3.9: Site Plan Objectives: The master plan was envisioned to support - Film Production - Film Tourism Vision: - Space for creative media art production - Opportunities for enjoyment & learning - Health & safe occupancy - Good on-site connectivity - Environmentally sensitive development 58

Fig 3.10: Existing Functions

The site has an existing 12 m access road that runs from West to East through the centre of the site. The site has many hills, natural water bodies and natural diverse vegetation.

Fig 3.11: Built conditions inside the Mumbai Film City

Apart from planning the services in an order and emphasizing on Film Production and Film Tourism, MFSCDC plans to erect a Bollywood Museum, Jurassic Park Ride, 007 James Bond Gallery, Virtual Rides of Famous movies along with a Biodiversity Park. The studio complex plans to upgrade its number of studios from 15 to 35.

Fig 3.12: Proposed Built to Un-built ratio of the Site - Built forms are dynamic - Buildings built along with the axis of the central spine - Structures are located on a flatter plateau - Clearly defined zones - Outdoor shooting areas can be used according to the script

Entrance Gate:

Fig 3.13: Views of Entrance Gate

Proposed entrance gate provides unique identity to entire complex. Large span ,tall canopy shall be designed with contemporary materials such as glass and steel provides desired Tech look. Dadasaheb Phalake Chitranagri Overall aesthetics shall make deep mark on the visitor’s minds . Ticketing center , security kiosk, information center will be part of the main gate. Monumental Avenue:

Fig 3.14: Views of Monumental Avenue

Village Sets:

Fig 3.14: Village Sets & Outdoor shooting spots

The various village sets proposed here are the one frequently used in most Bollywood movies depicting the rich cultural heritage of Indian Cinema. The quality along with craftsmanship of these studios and sets will be available and useful to entertainment related companies.

Studios & Building Sets:

Fig 3.15: Outdoor Sets

Planning Strategy: Security: The entrance is the main security zone To control the Film Tourism, segregated watch towers and security checks provide additional security to the artists

Fig 3.16: Security points all across the complex perimeter 62

Way findings: Right from the entry till the convention centre, it is more of a central spine with an easy clue of the zones The studio complex is channeled off from the central spine to avoid commotion of the public spaces

Fig 3.17: Movement across the entire site

Electrical: The electrical network system is in direct relationship with the land use Street and security lighting are also part of the electrical power system and is required during outdoor shooting The scheme indicate the proposed areas required for utility services

Fig 3.18: Passage of Electrical Services into the site

Water & Sewage: Maximum amount of water will be required in the studios, hotel and convention area and the TV complex Thus 3 major water reservoirs are installed at these points The design philosophy for water supply distribution system is that all zones of the complex will get sufficient water supply. Each zone may operate as a stand alone system and there will be some arrangement to interconnect in terms of failure of any one of the systems.

Fig 3.19: Passage of Electrical Services into the site

Landscape: The entire development is a sustainable and green by nature. The landscape of convention centre, monumental avenue, Bollywood square, Bollywood museum, hotel complex will have more ornamental streetscape features. Studio complex landscape will be more controlled and engineered to facilitate better camera angles,. The rest of the site area will be undisturbed.

Fig 3.20: Landscape 64

Findings of the Study:       

Security of the entire site is very important and should not have multiple entry exit points All over the complex, several watchtowers and security checkpoints are installed All the functions spread out from a single spine Indoor studios are located at the extreme point of the site next to the outdoor locations For a 500 acre site of which approximately 30 acre has been built, 5 major electrical stations are set up from where these can supply electricity. There is also a stadium that can facilitate in shooting a film The accommodation for the artists in a film is centrally placed in terms of functional arrangement to make studios, outdoor locations and the exit point in an approximately equal distance.

3.1.2 BANGLADESH FILM DEVELOPMENT CORPORATION Site area : 10 acre Established in 1949 at Tejgaon, Dhaka on 10 Acres of land. It is situated in a largely crowded commercial area of Dhaka. Where maximum number of DHALLYWOOD movies are produced. But largely provided commercial settlement is hampering the number of shooting used to place over the years and people are trying to make their own private spaces for shooting and film making. Site:

Fig 3.21: Site Location of BFDC 65

Analysis of Master plan Zoning:

Fig 3.22: Zoning of BFDC

The flowchart of the complex:

Flow Chart 3.1: BFDC Complex 66

The flowchart of the laboratory:

Flow Chart 3.2: BFDC Laboratory

The functions that BFDC has include:

Table 3.2: Functions of BFDC

Current program of laboratory :

Table 3.3: Functions of Laboratory

Findings of the Study:     

FDC cannot provide all the facilities a film maker need now a days Modern equipment is less provided Shooting stages are quite small for film shooting In the middle of the city placement of the film corporation is not really encouraged. Design of the whole master plan is clumsy and clustered

3.1 LIVE CASE STUDY 3.1.1 EVP Film city, Chennai Site area : 130 acre The park is located by the Chennai-Bangalore Trunk Road in Chembarambakkam, Poonamallee. EVP Film city is sprawled over 130 acres of land. EVP film city studio floors in the quietly beauty of the land and its sylvan surrounding has lush green expanses. EVP studios complex have a natural spots to offer to film productions. Site:

Fig 3.23 Site of EVP

Master plan analysis:

Fig 3.24 Zoning analysis

Fig 3.25 Entry

Fig 3.26 Landscape 70

Floor 1 & 2 :

Table 3.4 Plan and Section of Floor 1 & 2 Area : 16000 sq.ft - 160ft X 100ft, Clear height - 40 ft, Production room - 1800 sq.ft, Shutter opening - 20ft X 20ft, Power house - 400 KVA. Floor 3 & 4 :

Fig 3.28 Plan and Section of Floor 3 & 4 Area : 11200 sq.ft - 140ft X 80ft, Clear height - 30 ft, Production room - 3500 sq.ft, Shutter opening - 20ft X 20ft, Power house - 300 KVA. 71

Floor 5 & 6 :

Fig 3.28 Plan and Section of Floor 5 & 6 Area : 9800 sq.ft - 140ft X 70ft, Clear height - 26 ft, Production room - 3500 sq.ft, Shutter opening - 20ft X 20ft, Power house - 300 KVA. Floor 7 :

Fig 3.29 Plan and Section of Floor 7 Area : 6300 sq.ft - 90ft X 70ft, Clear height - 23 ft, Production room - 3500 sq.ft, Shutter opening - 20ft X 20ft, Power house - 300 KVA. 72

Floor size analysis:

Table 3.5 Shooting floor dimensions

Facilities at EVP film city: 

EVP Carnival Cinemas

Marriage hall

3 Star hotel

Administration block

Accommodation

Shooting floors (7)

Vijay TV Studios

Open stadium

Open ground

Fig 3.31 Landscapes & Theme park

Fig 3.32 Shooting floors

Fig 3.33 EVP Carnival cinemas

Fig 3.34 EVP Permanent sets

Outdoor sets

(100 ft, 80 ft, 60 ft, 50 ft, 40 ft, 30 ft) Fig 3.35 Backlots Findings of the Study:      

EVP film city are extended from theme park Lot of land is open spaces & open ground in the backside of EVP 7 well equipped biggest, air-conditioned and soundproof studios in different dimensions for live and sync shootings. The studios also have excellent make-up rooms. There are several other permanent locations such as a Court, Jail, Hospital, Dhaba, and Car Parking. Accommodation for both VIP’s & workers Wide roads are there in different width Film City is now transforming itself into a technological hub and is gearing up with new projects.

3.1.2 Prasad Lab, Chennai Site area : 23 acre Prasad Labs are motion picture post production studios in Hyderabad, India, founded by Prasad Group in 1956. The production house has produced over 150 movies in Telugu, Tamil, Kannada, Malayalam and Hindi. This group is the largest chain of post production facilities in India with a total of 12 delivery units located in all the major film production centers of India such as Mumbai, Hyderabad, Chennai, Bangalore, Thiruvananthapuram, Bhuvaneswar, Kolkata and has an overseas presence in Singapore, Dubai and United States. Site :

Fig 3.36 Site of Prasad Lab Master plan analysis :

Fig 3.37 Prasad lab Master plan 76

Fig 3.38 Entrance

Fig 3.39 Auditorium

Fig 3.40 Admin & Post production block

Fig 3.41 Parking facilities

Fig 3.42 Outdoor shooting area

Fig 3.43 Post production work area Current program of Prasad Lab:

Table 3.6 : Functions of Prasad lab

Findings of the Study: 

Prasad lab is a post production studios for films

Having open spaces for set makings

Auditorium with latest technology systems , 230 seater’s with fully air conditioned

All the post production departments are there to finish a movie in one place

Parking’s are provided for 250 bikes & 50 cars

Service entry is there

Studio is located in the main area so heavy transportations are done in night time.

4.1 AREA REQUIREMENTS

ADMINISTRATION AREA (sq.m)

NO'S

NET AREA (sq.m)

Chairpersons office

Managing director's office

General Office

Meeting Room

Conference Room

Reading Space

Audio Visual Area

Archive Office

Librarian office

Sitting Space

General (M+F)

Office (M+F)

Staff (M+F)

FUNCTION Entry + lobby space + reception + waiting area

(with attach restroom)

Library and Archive

Storage Total area of Administration

Table 4.1 : Area Requirements

Workers Client

Staff Workers

PRE-PRODUCTION AREA (sq.m)

Entry + lobby space + reception + waiting area Producers Office Directors Office Storyboard Office Assistant Production area Conference Room Rehearsal Hall Common sitting area Pantry Staff Area

Total area of Pre - Production

Artists Workers Staff Workers

PRODUCTION AREA (sq.m)

NET AREA (sq.m) 1200

Large Production Control Room Make Up Room

Restroom (M+F)

Material Supply

FUNCTION Small

Indoor Shooting Floor

General Workshop

Total area of Production

Table 4.1 : Area Requirements 81

Workers Client Artists Staff

Workers Staff

POST- PRODUCTION AREA (sq.m)

Projection Room

Console Area

Screening Space

SOUND STUDIO Entry + lobby space + reception + waiting area Chief Sound Engineer's Office Offices

Sound Mixing Studio

Dubbing Studio

Sound Engineer's Office General Office Space Meeting Room General Mixing studio Mixing studio + Recording Theatre General Suite Dolby 5.1 Dubbing suite

Sound Effect Studio Review Theatre

Workers Artists

Workers Workers Client

1720 COLOUR LAB Entry + lobby space + reception + waiting area

Lab ln Charge

Chemist Office General Office Space Meeting Room

Chemical Processing Zone

Negative Processing Plant

Positive Processing Plant

Color Analyzer Room

Printing Room

Storage (general)

EDITING STUDIO Entry + lobby space + reception + waiting area Chief Editor Assistant Editor General Office Meeting Room VFX Studio Panel Graphic Studio Panel Special Effect Panel Film Editing Panel

Editing Suite

Storage (per panel)

Supply Room

Electric Supply Special effect Plug in

4083 COMMON FACILITIES Sitting Area

Staff Area General (M+F) Office (M+F) RestArea (M+F) Staff (M+F)

Total area of Post - Production

Workers Client Staff

5.1 SITE JUSTIFICATION Proposal for film city at Puducherry: 2011 - Proposal for Film City to be submitted to CM : Film maker Rajiv Menon will submit a proposal to Chief Minister N Rangasamy to set up a film city in the Union Territory

Fig 5.1 News Cutting

2016 - Film City to tap Puducherry’s reel potential : Addressing ‘SIMCON’, the 28th State Information Ministers Conference in Delhi, PWD Minister A. Namassivayam, who made a presentation on behalf of Chief Minister V. Narayanasamy, said that it was proposed to develop a Film City

Fig 5.2 News Cutting 84

Proposed Site : 87 acres of lands acquired by the Government in Manapet revenue village that has a beach front of nearly 200 m, from there 25 acres land provided for film city Scope : As of now, Puducherry is becoming a favourite spot for film producers and many films shot at Puducherry have been very successful. Undoubtedly, this (Film City) will encourage producers and film directors to shoot their films in Puducherry and will boost cinema tourism. The Government is also expecting the facility to create substantial job opportunities for the local youth, apart from increasing the tourist footfall to Puducherry.

5.1 SITE MAP Site location : Manapet, Puducherry

Site area : 25 acres

Fig 5.3 Site Map

5.3 SITE ANALYSIS Locality Name : Manapet Tehsil Name : Bahour District : Pondicherry State : Pondicherry Country : India Language : Tamil and Malayalam, French

About Manapet : 

Manapet is a Village in Bahour Tehsil in Pondicherry District of Pondicherry State, India. It is located 18 KM towards South from District head quarters Pondicherry. 4 KM from Bahour. 17 KM from State capital Puducherry

Kirumampakkam ( 2 KM ) , Seliamedu ( 5 KM ) , Bahour ( 5 KM ) , Bahour(east) ( 5 KM ) , Bahour(west) ( 5 KM ) are the nearby Villages to Manapet. Manapet is surrounded by Cuddalore Tehsil towards west , Ariankuppam Tehsil towards North , Villianur Tehsil towards North , Pondicherry Tehsil towards North .

Cuddalore , Vadalur , Nellikuppam , Pondicherry are the near by Cities to Manapet.

This Place is in the border of the Pondicherry District and Cuddalore District.

Cuddalore District Cuddalore is west towards this place . It is near to the Tamil Nadu State Border.

It is near to bay of bengal. There is a chance of humidity in the weather.

Approach to the site : Airport : Pondicherry (21 KM) Railway station : Cuddalore (9 KM) Bus stop : Moorthikuppam (1.1 KM)

Nearby amenities in 3KM radius : 4 Hospitals around 2.1 KM 5 Lodges around 1.4 KM 5 Resorts around 1.9 KM

Fig 5.4 Site location & Surroundings

Fig 5.5 Access to the site

Fig 5.6 Existing neighbourhood

Fig 5.7 Natural environment 87

Climate analysis:

Fig 5.8 Sun path diagram

Fig 5.9 Temperature

Fig 5.10 Rainfall

Fig 5.11 Wind Speed 88

Fig 5.12 Seasonal Wind

Fig 5.13 Daily Wind

Fig 5.14 Contour

Fig 5.15 Drainage

Fig 5.16 Site Photos

Costal Region Norms: Coastal Regulations Zone III : The proposed project is covered under the Coastal Regulations Zone III as per the MOEF&CC guidelines. The design complies with the coastal regulations. No Development Zone :    

200m from the High Tide Line (HTL) is earmarked as no development zone, and only parks and play field is proposed in this area as permissible by the Ministry of Environment, Forest and Climate Change. In the no development zone not even temporary fencing is proposed. No permanent structure for sports facility is proposed.

As per the Ministry’s regulation the land area of the project site is planned. The area should as per the Floor Space Index (FSI)

FSI area calculation (Ref: PONDICHERRY BUILDING BYE-LAWS) : FSI : 2.0 Total area: 107169 Sq.m Builtup area : 71262 Sq.m Plot coverage 40% : 41830 Sq.m Maximum No.of.Floors : 6 Set back : - Front set back : 15m - Rear set back : 15m - Side set back : 6m

6.1 SITE ZONING

Fig 6.1 Site Zoning

6.2 BUBBLE DIAGRAM

Fig 6.2 Bubble Diagram

6.3 CIRCULATION DIAGRAM

Fig 6.3 Circulation Diagram

6.4 BLOCK MODEL

Fig 6.4 Block Model

7.1 MASTER PLAN

Fig 7.1 Site Plan

Fig 7.2 Site Sections 95

Fig 7.3 Site Sections 96

7.2 FLOOR PLANS Ground Floor - 3620 sq.m

Fig 7.4 Ground Floor Plan

First Floor - 4900 sq.m

Fig 7.5 First Floor Plan

Second Floor - 4900 sq.m

Fig 7.6 Second Floor Plan

Third Floor - 4900 sq.m

Fig 7.7 Third Floor Plan

Fourth Floor - 4900 sq.m

Fig 7.8 Fourth Floor Plan

Fifth Floor - 4900 sq.m

Fig 7.9 Fifth Floor Plan

Terrace - 4900 sq.m

Fig 7.10 Terrace Plan

Basement - 2024 sq.m

Fig 7.11 Basement Plan

Small Shooting Floor - 2447 sq.m

Fig 7.12 Small Shooting Floor Plan

Large Shooting Floor - 3277 sq.m

Fig 7.13 Large Shooting Floor Plan

Auditorium 2283 sq.m

Fig 7.14 Auditorium Floor Plan

Workshop 353 sq.m

Fig 7.15 Workshop Floor Plan

7.3 SECTIONS Main Block :

Fig 7.16 Section AA’ 108

Fig 7.17 Section BB’ 109

Fig 7.18 Section CC’ 110

Fig 7.19 Section DD’

Fig 7.20 Section EE’ 112

Auditorium :

Fig 7.21 Auditorium Sections 113

Fig 7.22 Workshop Sections

7.4 ELEVATIONS Main Block :

Fig 7.23 Front Elevation

Fig 7.24 Rear Elevation 116

Fig 7.25 Right Side Elevation 117

Fig 7.26 Left Side Elevation 118

7.4 3D VIEWS

Fig 7.27 Front View

Fig 7.28 Entry / Exit

Fig 7.29 Parking

Fig 7.30 Landscape

Fig 7.31 Main Block view 1

Fig 7.32 Main Block view 2

Fig 7.33 Main Block view

Fig 7.34 View from Main Block

Fig 7.35 Auditorium

Fig 7.36 Workshop

Fig 7.37 Shooting Floor 1

Fig 7.38 Shooting Floor 2

Fig 7.39 Service Road

Fig 7.40 Outdoor Shooting Space (view 1)

Fig 7.41 Outdoor Shooting Space (view 2)

Fig 7.42 Outdoor Shooting Space (view 3)

Fig 7.43 Outdoor Shooting Space (view 4)

Fig 7.44 Outdoor Shoot Office

Fig 7.45 Service Road

Fig 7.46 Service Entry / Exit

8.1 STUDY REFERENCES International Journal of Mechanical And Production Engineering, ISSN: 2320-2092, Volume- 5, Issue-11, Nov.-2017 http://iraj.in Journal of Civil Engineering and Management, ISSN 1392-3730 / e-ISSN 1822-3605, 2018 Volume 24 Issue 2: 106–115 https://doi.org/10.3846/jcem.2018.458 A Case-study on use of Precast Technology for Construction of High-Rise Buildings, Conference Paper : November 2016 https://www.researchgate.net/publication/311303717 ARCHITECTURE IN PRECAST CONCRETE is published by the Build ability Development Section, Technology Development Division of the Building and Construction Authority. https://www.bca.gov.sg/Publications/BuildabilitySeries/others/ARCHITECTURE_IN_PRECA ST_CONCRETE_lowres.pdf International Research Journal of Engineering and Technology (IRJET), e-ISSN: 2395-0056, p-ISSN: 2395-0072 Volume: 05 Issue: 08 | Aug 2018 www.irjet.net Precast High-Rise Residential Projects in India: Design Implementation https://dokumen.tips/documents/precast-high-rise-residential-projects-in-india-design-aprecast-high-rise.html Affordable housing in India with Precast Construction https://wbkengineers.com/wbk-admin/uploads/5d775eca4e11c-19-09-10-Affordable-precastindia.pdf International Journal of Advance Engineering and Research Development, e-ISSN (O): 23484470, p-ISSN (P): 2348-6406 Volume 4, Issue 4, April -2017 http://www.ijaerd.com/papers/finished_papers/Review%20On%20Analysis%20Of%20Precas t%20Concrete%20Structure-IJAERDV04I0492886.pdf Precast construction methodology in construction site, July 2017 https://www.researchgate.net/publication/318108338 A Case-study on use of Precast Technology for Construction of High-Rise Buildings, Nov 2016 https://www.researchgate.net/publication/311303717 Connections In Precast Structure https://cbri.res.in/wp-content/uploads/2016/03/Dr.KP-Jaya.pdf

8.2 DESIGN REFERENCES Pinewood studios, uk http://www.pinewoodstudios.co.uk Goregoan Film city, mumbai www.filmcitymumbai.org/MasterPlan.pdff Bangladesh film development corporation BFDC http://media-24bd.blogspot.com/2012/07/bangladeshi-film-history.html Thesis paper titled: Impress Film city BRAC University https://core.ac.uk/download/pdf/61804829.pdf FILMPORT Studios Toronto, Canada https://architizer.com/projects/filmport-studios/ Cape Town Film Studio www.capetownfilmstudios

Copyright © 2020 Prasath P, Architectural Thesis Report, Film Studio – Precast Structure

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Home > HFA > Department of Architecture > Architecture Masters Theses Collection

Architecture Masters Theses Collection

Theses from 2023 2023.

Music As a Tool For Ecstatic Space Design , Pranav Amin, Architecture

Creating Dormitories with a Sense of Home , Johnathon A. Brousseau, Architecture

The Tectonic Evaluation And Design Implementation of 3D Printing Technology in Architecture , Robert Buttrick, Architecture

Designing for the Unhoused: Finding Innovative and Transformative Solutions to Housing , Hannah C. Campbell, Architecture

Investigating Design-Functional Dimension Of Affordable Housing With Prefabrication On Dense Suburbs Of Chelsea, MA , Siddharth Jagadishbhai Dabhia, Architecture

Architecture of Extraction: Imagining New Modes of Inhabitation and Reclamation in the Mining Lifecyle , Erica DeWitt, Architecture

Utopian Thought and Architectural Design , Anthony L. Faith, Architecture

Building Hygge In-Roads into Incremental Living , Tanisha Kalra, Architecture

NATURE INSPIRED ARCHITECTURE , Salabat Khan, Architecture

Sustainable Architecture in Athletics: Using Mass Timber in an Old-Fashioned Field , Zach C. Lefever, Architecture

Off-grid Living for the Normative Society: Shifting Perception and Perspectives by Design , Patsun Lillie, Architecture

The Evolution of Chinese Supermarkets in North America: An Alternative Approach to Chinese Supermarket Design , Ruoxin Lin, Architecture

Refreshing Refinery: An Analysis of Victorian Architecture and How to Translate its Elements for Contemporary Architecture , Richard J. Marcil, Architecture

After Iconoclasm: Reassessing Monumental Practices and Redesigning Public Memorials in Twenty-First-Century Massachusetts , Lincoln T. Nemetz-Carlson, Architecture

Earthen Materials In Organic Forms: An Ecological Solution to the Urban Biosphere? , Rutuja Patil, Architecture

Adaptive (Re)purpose of Industrial Heritage Buildings in Massachusetts A Modular Strategy for Building a Community , Riya D. Premani, Architecture

Community Design: A Health Center Serving the Greater Boston Population , Brandon E. Rosario, Architecture

The Food Hub as a Social Infrastructure Framework: Restitching Communities in Boston After the Pandemic , Connor J. Tiches, Architecture

Theses from 2022 2022

Equitable Housing Generation Through Cellular Automata , Molly R. Clark, Architecture

Beneficial Invasive: A Rhizomatic Approach to Utilizing Local Bamboo for COVID Responsive Educational Spaces , Megan Futscher, Architecture

Architectural Activism Through Hip-Hop , Micaela Goodrich, Architecture

Addressing Trauma Through Architecture: Cultivating Well-being For Youth Who Have Experienced Trauma , Megan Itzkowitz, Architecture

Buildings Integrated into Landscape & Making People Care for Them: Exploring Integrated Land-Building Ecosystems and the Lifestyles Needed to Support It , Sara Mallio, Architecture

Reimagining Black Architecture , Esosa Osayamen, Architecture

Prefabricated Homes: Delivery At Your Doorsteps , Obed K. Otabil, Architecture

Memory and Resistance , Cami Quinteros, Architecture

Mycelium: The Building Blocks of Nature and the Nature of Architecture , Carly Regalado, Architecture

IN-BETWEEN SPACES: ATMOSPHERES, MOVEMENT AND NEW NARRATIVES FOR THE CITY , Paul Alexander Stoicheff, Architecture

Theses from 2021 2021

Creating New Cultural Hubs in American Cities: The Syrian Diaspora of Worcester, Massachusetts , Aleesa Asfoura, Architecture

Firesafe: Designing for Fire-Resilient Communities in the American West , Brenden Baitch, Architecture

The Beige Conundrum , Alma Crawford-Mendoza, Architecture

Cultivating Food Justice: Exploring Public Interest Design Process through a Food Security & Sustainability Hub , Madison J. DeHaven, Architecture

Physical to Virtual: A Model for Future Virtual Classroom Environments , Stephen J. Fink, Architecture

Detroit: Revitalizing Urban Communities , David N. Fite, Architecture

The Homestead Helper Handbook , Courtney A. Jurzynski, Architecture

An Architecture of a New Story , Nathan Y. Lumen, Architecture

Border Town: Preserving a 'Living' Cultural Landscape in Harlingen, Texas , Shelby Parrish, Architecture

Housing for Adults with Autism Spectrum Disorder (ASD): Creating an Integrated Living Community in Salem, MA , Tara Pearce, Architecture

From Sanctuary to Home in the Post-Interstate City , Morgan B. Sawyer, Architecture

Exploring the Use of Grid-Scale Compressed Air Energy Storage in the Urban Landscape , Connor S. Slover, Architecture

Bridging the Gaps in Public Conversation by Fostering Spaces of Activism , Karitikeya Sonker, Architecture

Re-envisioning the American Dream , Elain Tang, Architecture

Tall Timber in Denver: An Exploration of New Forms in Large Scale Timber Architecture , Andrew P. Weuling, Architecture

Theses from 2020 2020

Urban Inter-Space: Convergence of Human Interaction and Form , Clayton Beaudoin, Architecture

The Hues of Hadley Massachusetts: Pioneering Places for Preservation and Growth , Elisha M. Bettencourt, Architecture

Reinvigorating Englewood, Chicago Through New Public Spaces and Mixed-Income Housing , Givan Carrero, Architecture

Architectural Agency Through Real Estate Development , Hitali Gondaliya, Architecture

Multimodal Transit and a New Civic Architecture , Samuel Bruce Hill, Architecture

Rethinking The Suburban Center , Andrew Jones, Architecture

Resilient Urbanism: Bridging Natural Elements & Sustainable Structures in a Post-Industrial Urban Environment , Nicholas McGee, Architecture

Adaptive Airport Architecture , Yash Mehta, Architecture

Rethinking School Design to Promote Safety and Positivity , Emily Moreau, Architecture

The Built Environment and Well-Being: Designing for Well-Being in Post-Industrial Communities During the Age of Urbanization , Tyler O'Neil, Architecture

Brutalism and the Public University: Integrating Conservation into Comprehensive Campus Planning , Shelby Schrank, Architecture

Spatial Design for Behavioral Education , Madeline Szczypinski, Architecture

Theses from 2019 2019

THERAPEUTIC COMMUNITY: FOR REFUGEES , Raghad Alrashidi, Architecture

From Archaic To contemporary : Energy Efficient Adaptive Reuse of Historic Building , Nisha Borgohain, Architecture

(RE)Developing Place: The Power of Narrative , Kinsey Diomedi, Architecture

Rethinking Ambulatory Care Delivery , Senada Dushaj, Architecture

Photosynthesizing the Workplace: A Study in Healthy and Holistic Production Spaces , Kaeli Howard, Architecture

Museum Design As A Tool For A City , Cunbei Jiang, Architecture

Architecture and Wilderness: An Exchange of Order , Ashley Lepre, Architecture

Cross-Species Architecture: Developing an Architecture for Rehabilitative Learning Through the Human-Canine Relationship , Jake Porter, Architecture

Intermodal Transit Terminal: Integrating the Future of Transit into the Urban Fabric , Guy Vigneau, Architecture

Theses from 2018 2018

Bangladeshi Cultural Center: for the Bangladeshi Population Living in New York City , Sabrina Afrin, Architecture

THE ENHANCEMENT OF LEARNING THROUGH THE DESIGN PROCCESS: RENOVATING THE FORT RIVER ELEMENTARY SCHOOL IN AMHERST, MA , Reyhaneh Bassamtabar, Architecture

LEARNING SPACES: DISCOVERING THE SPACES FOR THE FUTURE OF LEARNING , Michael Choudhary, Architecture

ARCHITECTURAL SYNERGY: A FACILITY FOR LIFELONG LEARNING IN ACADEMIA AND PRACTICE , Ryan Rendano, Architecture

Resilient Architecture: Adaptive Community Living in Coastal Locations , Erica Shannon, Architecture

Theses from 2017 2017

New York City 2050: Climate Change and Future of New York | Design for Resilience , Abhinav Bhargava, Architecture

The Performance of Light: Exploring the Impact of Natural Lighting in the New UMass School of Performance , Dylan Brown, Architecture

Regional Expression In The Renovation Of Remote Historic Villages , Jie chen, Architecture

An Incremental Intervention In Jakarta: An Empowering Infrastructural Approach For Upgrading Informal Settlements , Christopher H. Counihan, Architecture

UMASS Dining Hall. A Path to Resiliency , Lukasz Czarniecki, Architecture

LIVING CORE OF THE FUTURE: PROPOSING NEW APPROACH FOR THE FUTURE OF RESIDENTIAL COMPLEX IN METROPOLITAN AREAS , Mahsa G. Zadeh, Architecture

HUMANITY IN A CHILDREN’S CANCER HOSPITAL , Sara Jandaghi Jafari, Architecture

Designing Symbiosis for the New Church Community , Evan Janes, Architecture

A Visible History: A Synthesis of Past, Present and Future Through the Evocation of Memory Within Historic Contexts , Nicholas Jeffway, Architecture

Creating A Community A New Ecological, Economical, and Social Path to Uniting a Community , Andrew Stadnicki, Architecture

Z-Cube: Mobile Living for Feminist Nomads , Zi Ye, Architecture

Theses from 2016 2016

Music and Architecture: An Interpresence , Rachel J. Beesen, Architecture

Intervening in the Lives of Internally Displaced People in Colombia , Amy L. Carbone, Architecture

Designing Waste Creating Space: A Critical Examination Into Waste Reduction Through Building Techniques, Architectural Design, and Systems , Courtney M. Carrier, Architecture

Umass September 11 Intervention , Mohamad Farzinmoghadam, Architecture

Merging Social Science and Neuroscience in Architecture: Creating a Framework to Functionally Re-integrate Ex-Convicts , Kylie A. Landrey, Architecture

From Shelters to Long Living Communities , Yakun Liang, Architecture

Building Hope: A Community + Water Initiative, La Villa de San Francisco, Honduras , Christopher D. Mansfield, Architecture

THE SPATIALITY IN STORYTELLING , Xiang Yu, Architecture

Innovation of the Residential Buildings and Community in the Emerging City Rongcheng , Xing Yu, Architecture

Art and Life - Make invisible visible in Cao changdi village, Beijing, China , peng zhang, Architecture

Theses from 2015 2015

The Dialogue of Craft and Architecture , Thomas J. Forker, Architecture

MOSQUE IN THE VALLEY: A SPACE FOR SPIRITUAL GATHERING & CULTURAL LEARNING , Nabila Iqbal, Architecture

EXPLORATION OF CONNECTIVITY BETWEEN URBAN PLAZA AND MIXED USE BUILDINGS , Youngduk Kim, Architecture

Design Of A Housing For Urban Artisan-Living Work , Fahim Mahmud, Architecture

Membranes and Matrices: Architecture as an Interface , Nayef Mudawar, Architecture

Building for the Future: Revitalization through Architecture , Rebecca N. Perry, Architecture

Developing Maker Economies in Post-Industrial Cities: Applying Commons Based Peer Production to Mycelium Biomaterials , Grant R. Rocco, Architecture

Design of Children's Event and Cutural Center in Osu, Accra, Ghana , Rudi Somuah, Architecture

Sustainable Design of Student Centers Retrofitting and Adaptive Reuse of UMass Student Union , Tianye Song, Architecture

Design/Build in Architectural Education: studying community-focused curriculum , Matthew K. Sutter, Architecture

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by Alaa Suliman Eltayeb Mohamed Hamid (MDes ’23) — Recipient of the Design Studies Thesis…

Montserrat Bonvehi Rosich, Faculty Advisor

2023 Landscape Architecture Thesis Prize: Kevin Robishaw’s Manatees and Margaritas: Toward a Strange New Paradise

by Kevin Robishaw (MLA I ’23) — Recipient of the Landscape Architecture Thesis Prize.

Craig Douglas , Faculty Advisor

2023 Outstanding Design Engineering Project Award: Rebecca Brand and Caroline Fong’s Jua: Cultivating Digital Knowledge Networks for Smallholder Farmers

by Rebecca Brand (MDE ’23) and…

Jock Herron , Faculty Advisor

2023 James Templeton Kelley Prize: Deok Kyu Chung’s “Boundaries of Everyday: walls to voids, voids to solids, solids to walls”

by Deok Kyu Chung (MArch II ’23) — Recipient of the James Templeton Kelley Prize,…

Lyndon Neri and Rossana Hu, Faculty Advisors

2023 Landscape Architecture AP Thesis Prize: Celina Abba and Enrique Cavelier’s Plantation Futures: Foregrounding Lost Narratives

by Celina Abba (MLA I AP ’23) and Enrique…

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10 Award-Winning Architecture Thesis Projects From Around The World

Neha Sharma

8 mins read

It is always interesting to see the architecture thesis projects students come up with every year. With each passing batch, there is more knowledge passed down and a better base to begin. The result is a rise in innovation and creativity by students, and overall a better mix!

Architecture thesis is an ordeal all students are intimidated by. From choosing an architecture thesis topic all the way to giving a great final thesis review , every step is equally challenging and important. It is that turn in an architecture student’s life that pushes them to churn out their best. Therefore, it is inevitable to come across some life-altering design solutions through architecture theses across the world.

To identify and appreciate these exceptional final projects by architecture students, many organisations across the world like Archistart, Council of Architecture, etcetera, award recognition for excellence in architecture thesis and also grant financial support for further research to the projects worthy of being realised.

Read through the list of 10 such award-winning architecture theses across the world with links to study them in detail!

1. ISTHME // Le CHAOS SENSIBLE - Dafni Filippa and Meriam Sehimi

ISTHME // Le Chaos Sensible - Architecture Thesis of the Year 2020 (Source: www.nonarchitecture.eu)

Starting from the most recent one, the award-winning thesis is a proposal of a mixed-use building in the capital city of Ghana, Africa, that aims to cater to a large spectrum of functions of the Ghanaian community, especially living, commercial, sports and leisure.

This culturally thoughtful architecture thesis project is an honest effort to celebrate the African spirit and empower the local community, which reflects in the ‘sensible chaos’ of the design.

2. INFRA-PAISAJE: New Landscape Architecture - Luis Bendezu

INFRA-PAISAJE: New Landscape Infrastructure for San Juan de Marcona - Special Mention: Architectural Thesis Award ATA 2018 (Source: www.archistart.net)

Landscape architecture manifests the connection between humans and nature. The landscape thesis project proposes a series of technical elements for the creation of a seamless landscape between the urbanised territory of San Juan de Marcona in Peru and the suburban parts, thus forming a cohesive townscape which converses with the coastline and brings active life to the otherwise desolate expanse of the region.

3. Water Exploratorium - Satyam Gyanchandani

Water Exploratorium - Ace of Space Design Awards: Outstanding Student Thesis Award (Source: www.architectandinteriorsindia.com)

Water is a life-giving resource and considered sacred across many cultures. To sustain life on earth, it is important to save and use it with utmost efficiency. The architecture thesis project showcases experiential design through and for water. It also tackles design challenges like infotainment by educating visitors on water conservation and creating a static built form for an element as fluid as water for a wholesome sensory experience.

Want to know how to come up with such fascinating thesis topics? Read: 7 Tips on Choosing the Perfect Architecture Thesis Topic For You

4. Architecture for Blind People - Mariagiorgia Pisano

Between Light and Shadow: Architecture for Blind People - 1st Place: Architectural Thesis Award 2017 (Source: www.archistart.net)

Inclusive design offers a wide-spread net of research opportunities and is gaining much-needed recognition today!

Design for people with disabilities is dealt with empathy in this architecture thesis project, where the focus is exploring innovative design solutions for the visually deprived and getting the design of rehabilitation centres as close as possible to meeting their needs.

5. Mosul Postwar Camp - Edoardo Daniele Stuggiu and Stefano Lombardi

Mosul Postwar Camp - 1st Place: Architectural Thesis Award ATA 2019 (Source: www.archistart.net)

War does permanent damage to a person’s mental health. The survivors experience trauma, loss and even destruction of self-identity. The architecture thesis project proposes a postwar camp at Mosul, Iraq, aiming to create a place where people of various backgrounds can peacefully coexist and build a community based on humanitarian values to prevent war in the future.

6. Consolation through Architecture - A New Journey through the Abandoned Landscapes of Varanasi - Navin Lucas Sebastian

Consolation Through Architecture - COA National Awards for Excellence in Architectural Thesis 2016 (Source: www.coa.gov.in)

The intangible aspects of design are tough to pinpoint but necessary for the essence and feel of it. This urban design thesis project shows light on architecture’s influence on one’s emotions with the holy city of Varanasi in India as the backdrop. With a focus on issues arising due to the city’s cremation grounds, the thesis explores innovative and sustainable solutions for the same.

7. Unfinished Tor Vergata Scenario - Carmelo Gagliano

Unfinished Tor Vergata Scenario - 1st Place: Architectural Thesis Award 2020 (Source: www.archistart.net)

When it comes to building projects, the trend of the ‘unfinished’ is something Italy has been increasingly seeing in the past few years. The most popular unfinished public work is Calatrava’s Olympic Stadium, which is the main object for reuse in the proposal of a science museum at Rome Tor Vergata.

This architecture thesis project explores the existing building trends of the region, aims to reinvent the iconic building and become a scientific attraction for tourists and locals.

8. Chachapoyas Peri-Urban Park - Nájat Jishar Fernández Díaz

Structures for Incidents in Nature: Chachapoyas Peri-Urban Park - Special Mention: Architectural Thesis Award ATA 2019 (Source: www.archistart.net)

Growing urban areas are a concern as they slowly consume the ecology surrounding them. Chachapoyas (forest of clouds) in Peru faces a similar problem from the expanding urban confinements which are slowly taking over the beautiful landscapes for which the place is particularly famous.

The project aims to mend the damage by connecting every speck of open land available in the region and converting it into a network of green corridors, making for an interesting urban planning thesis!

9. Garden of Reconciliation, Kashmir - Jay Shah

Garden of Reconciliation: Miniature Drawing - COA National Award in Excellence for Architectural Thesis 2018 (Source: www.uni.xyz)

Cultural and political unrest in a region has always been the glue for controversies, leading to public tip-toeing around such topics. This bold architecture thesis project looks at the conflicted region of Kashmir, to analyse its cultural, social and artistic practices and then come up with an architecture program best suited for the region. This is traversed in the form of a mixed-use landscape that aims to find a solution and is not the solution itself!

Such theses usually require intensive site studies. Read: Site Analysis Categories You Need to Cover For Your Architecture Thesis Project to know more.

10. Adaptive Reuse of STP Grain Silos - Alila Mhamed

Poudrière Community Hub - 2nd Place: Architectural Thesis Awards ATA 2020 (Source: www.archistart.net)

Adaptive reuse of spaces that have been uninhabited for a long time does true justice to the core values of architecture and design. This thesis project explores the creative redefinition of the old STP Grain silos complex, the first mill constructed as a part of the Poudrière industrial park in the present-day city of Sfax, Tuscany, Italy, by converting it into a mixed-use hub for art, commerce, trade, administration and collaboration.

Numerous amazing architecture thesis projects come to light every year and the list is not limited to this one! At the learning stages, people have the power to unleash their creativity without any limitations and such scenarios might just lead to the right solutions for the time and society we live in.

Giving your architecture thesis project? Check out our A-Z Architecture Thesis Guide!

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Production Design: Everything You Need to Know

 What is Production Design? 

The production design is a form of art. It is the art of bringing people together and curating a space that expresses the essence of the film’s theme. Production designers are primarily responsible for the design of the film set. There is work that can be compared to that of creatively designed spaces. 

The production designer works with the art director , writer, and various artists to bring the set’s design to life. They often wear multiple hats, from generating ideas and research work to assembling the whole set. 

The production designer handles the art department and exercises the role of the director. The designer closely works together with the heads of various departments, along with the DOP (Director of Photography). 

The art department comprises a vast team. Apart from the production designer, art director and coordinator, there are several team members that make up the team. Set designers, props masters,art department assistants play a crucial role in the project’s success. 

One of the major roles of the designer is to coordinate the visuals of the film in parallel to the film script. Both of them need to complement each other. 

The visuals of the film consists of:

• Set and location design
• Costume, makeup and props of various kinds
• Mood, ambience, and color scheme / tone
• Lighting and special effects

The production designer works in collaboration with the visual team to finalize these visuals. The visual department creates sketches, mood boards , visual charts and statistics for the different types of visuals. To avoid mishaps, the team overlooks the film through a monitor. This helps to spot issues during the production and is time effective. 

Timeline | Production Design

The process starts with the conceptual stage, which revolves around generating ideas. The production designer works closely with the director. The director guides the designer and shares several details to execute the overall design. 

The creation and production of several prototypes follow this. The project’s style, theme, mood, and colors are considered before this step. This also revolves around sketching, making miniature and life-sized models, and composing color palettes and mood boards to bring the final project to perfection. On large-scale projects, a concept artist is also brought on board.

Location is one of the significant aspects of the production process. The team discusses the type of materials, various locations, and personalities of all the characters. Accordingly, the crew will arrange and assemble the selected materials, and the construction of the set will begin. Often, some of the already constructed sets are used with some suitable changes. The construction method and style of the film are two of the significant aspects of the project. 

Once the project reaches its final stages, the designers assign the roles to the crew members. The film’s construction begins with the architect and draughtsmen’s blueprint. This is followed by placing furnishing sets and fixtures, artwork, and accessories. The styling of the space is done in this phase. A team of landscape designers is brought in when installing plants and vegetation. Moving on, the project is completed by adding finishing touches and details. This is to enhance the whole look and feel of the project. The backstage team and crew members always have to be prepared for any last-minute change and take immediate action to solve the problem creatively. 

Features of good production design 

The story should have a particular style and tone to it. The characters, the location, the type of props used, and the lighting should complement the style of the story. The materials form a significant part of the set and should be within the budget. A sustainable and budget-friendly option is to reuse and upcycle materials and props with no or minimal changes. Renting can be an alternative. 

Location is one of the key aspects of production design. The set can be a real-world location or a customized set design can be set up. Both the options have advantages and disadvantages. The former is cheaper and takes minimal time to set it up. However, it can be less accessible for the artists and crew members. It also creates environmental issues such as outdoor noise. The latter is quite expensive as sometimes the set is designed and built for scratch. Though, it facilitates greater control and privacy for its users. It can also be reused in the future. The key is to choose the option through a conscious decision. 

The set design and visuals should appear as authentic as possible to build a connection with the viewers. The visuals and graphics should be well-composed and appear realistic to the audience. This will further enhance the project’s success. For instance, in “Lord of the Rings,” the production designer Grant Major used props such as weapons, architectural sets, and prosthetics that were whimsical yet believable. 

The team has to create a roadmap together to avoid miscommunications and facilitate the smooth functioning of the different stages ofdesign. In case of confusions and loss of focus, the roadmap acts as a blueprint and guides the crew to find the solution and move forward according to the character and theme of the project. 

The production designer must be optimistic and bold enough to take risks. The designer and the crew must be prepared for last-minute changes and have a flexible approach . Staying organized is equally essential; labeling all materials and keeping them in good order is a time- effective approach to smoothing the whole process. 

The production design should communicate well with its audience. The production designer has a huge role to play and should translate the script’s theme and character into the set’s design and props. One of the cornerstones of it is mood. What emotion is associated with the project? Happy? Sad? Thrilling? Comedy? The design of the set should reflect the same mood. Character is another crucial feature that is considered in the design phase. The character of the set should complement the characters of the protagonists and other artists . In addition, the story’s theme should be revealed through the project’s design, the set’s design, and the type of props used. 

Images / Visual Mediums

Image Name : Set design of “Dune”

Image Number : 1

URL : https://www.backstage.com/magazine/article/what-is-production-design-75402/

Image Name : Designer Tamara Deverell on the set of “Nightmare Alley”

Image Number : 2

Image Name : Set design of “Black Panther”

Image Number : 3

Image Name : Colour Palette of The Grand Budapest Hotel

Image Number : 4

URL : https://www.freelancevideocollective.com/job-roles/production-designer/

Image Name : Set design of “The Northman”

Image Number : 5

Image Name : Set design of “Once Upon a Time…in Hollywood”

Image Number : 6

Image Name : Customizing of props in set design

Image Number : 7

URL : https://www.scad.edu/academics/programs/production-design

Image Name : Set design of “Inception”

Image Number : 8

Image Name : Set design of The Grand Budapest Hotel

Image Number : 9

What is production design? everything you need to know – backstage (no date). Available at: https://www.backstage.com/magazine/article/what-is-production-design-75402/ (Accessed: November 21, 2022).

Filmmaking techniques: How to improve production design for your story (2020) StudioBinder . Available at: https://www.studiobinder.com/filmmaking-techniques-production-design-tips/ (Accessed: November 21, 2022).

Production design (no date) SCAD.edu . Available at: https://www.scad.edu/academics/programs/production-design (Accessed: December 3, 2022).

Production designer (2022) Video Collective® . Available at: https://www.freelancevideocollective.com/job-roles/production-designer/ (Accessed: December 3, 2022).

Mahima Aswani is an architect and designer, who has worked on ambitious projects such as the Iraq Pavilion for Expo 2020 and high-end residential and commercial projects. Mahima’s thesis project, Goodbye Slumbai won the Community Design Award in the Senior Thesis Showcase at AUD, Dubai and was published in Dezeen magazine in 2021.

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Home > Industrial Design > Industrial Design Masters Theses

Industrial Design Masters Theses

The Master of Industrial Design program explores design as a vehicle for addressing social, cultural, environmental and other concerns, recognizing that design is not simply a professional service, but rather a way of connecting individual interests and values with a social framework. Students with undergraduate degrees in other fields or with limited design experience are invited to enter the program during Wintersession as a means of preparing to begin the two-year master’s program the following fall.

ID covers a broad range of fields, from product and furniture explorations to design for aerospace and medical applications. Graduate students work independently under the guidance of a faculty advisor and thesis committee, and present their final work verbally, visually and in writing. They also participate in the RISD Graduate Thesis Exhibition , a large-scale public show held annually.

“Graduate candidates in ID don’t necessarily need an undergraduate degree in the field, but they do need strong visual communication skills. For those without an ID background, learning CAD, drawing and model making can be beneficial, and taking a general product design course can provide insight into the design process. Materials-based courses in a medium such as metal, glass, textiles, ceramics or wood also provide a good basis for work in ID.” - Andy Law, Graduate Program Director

Graduate Program Director: Andy Law

These works are licensed under a Creative Commons Attribution-NonCommercial-No Derivative Works 4.0 License .

Theses from 2023 2023

Kole , Isaiah Aladejobi

Fungi in Flux | Designing Regenerative Materials and Products with Mycelium , Arvind Bhallamudi

MILITURE , Bingdong Duan

POSTINDUSTRIAL PLAYBOOK++ , Maxwell Fertik

Freedom is a Leaky System: Living Together in the Mess , Calgary Haines-Trautman

Food, Drink, Time, New Year and Cloth , Jian Li

Making That Carries Over , Jae Nam

How to make a hybrid workplace more human? , Ray Sun

Unveiling Pain: Wearables for Objective Pain Measurement , Hanqing Tang

A PRELIMINARY GUIDE TO BUILDING NEW FUTURES IN THE NARRAGANSETT BAY , Maximilian Werner

Knot, Just Craft It , Qingxian Xu

Theses from 2022 2022

Ready made, made ready: everyday objects for everyday emergency , Dara Benno

Memories unboxed: connecting people with stories of our possessions , Megan Tzu-Hsien Chao

To be seen to be heard: embracing social anxiety in the workplace , Jingxuan Chen

Attuning the viewfinder , Ian de Silva

Disoriented: navigating the nuances of communication , Ann Dinh

Sobremesa , Charlie Herbozo-Vidal

Vulva gazing: power and the gendered body , Aaliya Jamal Zaidi

A fleeting landscape: resurrecting the edges of the estuary , Vrinda Mathur

Material Illumination , Lauren Mikaela Glenn

Extended reality interface , Neil Nelson

Breaking | Grounding | Growing: Expanding the Rhode Island gardening reentry programs as a pathway towards stability , Juliana Soltys

We got this... , Julian Wellisz

Sub Sequence : building a participatory infrastructure , Aaron Wright

Theses from 2021 2021

Designing for space; exploring ways of simulating nature and everyday activities in zero-g environment , Sayit Alisan

Psychological well-being through music listening , Majed BouGhanem

Shoes for advanced urban surfaces , Karan Buasakdi

After plastic waste : plastic bottle knitting machine - design for value of recycling plastic , Du Cheng

Katti-Batti : a digital tool for young adolescents to transgress the limitations of gender socialization through empathy & friendship , Chetan Dusane

Beyond conscious: the knowing of self-owned anxiety , WenYu Du

Rebuilt the fading vicinity , Yifan Du

The portal : a tool for uncertain times , Sophie Engel

Inter - : design for fostering action-oriented awareness towards sustainable transition , Elena Danlei Huang

Move in the internet , Jennifer Ziyuan Huang

Living objects , Katie Tzu Hua Huang

The art of microbe maintenance: value and applications in design , Yujin Hwang

Distilling the Narragansett Bay , Parker Ives

Kitsch study and Chinese kitsch market , Jiaqi Ellie Liu

Beacon Public Library: expanding radical civic care for an uncertain future , Katrina Machado

Ars Technica , Bayan Mashrequi

Inside the bubble 2.0 , Sunny Yuqing Ma

Wild things: outdoor toys for nature play , John Mawhorter

Indefinite origin: decentralizing knowledge , Tong-June Moon

No winners: transgender athletes in cycling , Max Pratt

Zoomorphic extended body , Nicholas Tamas

Uncertainty wanted: deconstructing gender gap in parenting mentality , Zimeng Xiang

A family game: tell the stories that shape us , Zhuoyan Xie

Theses from 2020 2020

Sol , John Beck

Repairer's recipe : volume 0 , Joyce Chang

Experience the world: How the ever-present accessibility of hands-on opportunities & play enhance logistical learning , Mary E. Chavez

Ocean state food stories , Charlotte Clement

Beautiful dirt : exploring the American taboo of death through the things we leave behind , Jake Dangstorp

Designed body , Jingwei Deng

Acute , Alex D'Haeseleer

Mimesis : human-centered digital profiling visual identity , Yangyang Ding

Voran Test Lab : An exploration of teaching collaborative problem solving and critical thinking through emergent gameplay , Taber Gifford

inVisible: a guide to understanding & designing for introverts , Ashesh Gohil

Through the labyrinth , Rebeca Gonzalez Morales

+ one : a new companionship , Vivien Mengjiao Han

Lift a life , Vidur Madhav

Night Knights: reminding children that their nighttime fear isn't something they have to face alone , Ji Hyung Moon

Fifty fifty: redefining domesticity , Ziying Qiao

The objects around us. , Rohit Sen

Accessibility to possibilities : discover the unknown unknown worlds , Yutong Shen

Totem: An embodiment of human character and personality in footwear design , Sushant Shivaram

Togather: To gather together , Kyungah Sohn

Surviving in a gregarious world , Shiyang Yao

Ether: a social design , Zihan Zhou

Theses from 2019 2019

Biomatters : future of biology as material source , Tareq Alzawawi

Mindful interactions , Shreyans Bhandari

Unimproved : land observation at the edge of progress , Adam Somers Bowen

Bitter son , Adam Chuong

Pekka : social software to improve in-game dynamics , Yu Mo

Theses from 2018 2018

Autonomous vehicle futures : designing experiences that enable trust and adoption , Jeremy Bass

Foodways for earthlings : recipes and tools for eating in extreme environments , Maggie Coblentz

Curious things , Allison Davis

Idiosyncratic uniform , Erica Efstratoudakis

Really clean no problems at all , Christina Johnston

Letsqube , Biniam Assegid Kebede

For a better normal : fostering the informal sector in post-hurricane Puerto Rico, as a pathway for economic stabilization , Jonathan W. Melendez Davidson

Harmless Studio , David Thomas Pittman

Dispatches from planet nowhere , Aaron Field Simmons

Radically normal : the menstruation issue , Kathryn Smiley

Talking to computers , Jen Spatz

A place for plastics : bioplastics, bacteria and our thoughtless acts , Megan Valanidas

Memory.zip , Yu-Hsing Wu

Theses from 2017 2017

Communicatronics , Adi Azulay

Balance speaker : efficient work and break , Jin Cao

Talistones : a handful of help for homecoming soldiers , Atulya Changanty

Magkasama , Christina Chen

Retooling : experiments in digital apprenticeship , Ryan Ferguson

Body (less) fitness , Dan Gioia

Love view , Wudi Hong

Connections : a new model to customizing everything , Shao-Hsuan Hou

Motivated motivation : a consulting tool to find new platforms for business , Xiaoxio Jin

Embracing traditional Chinese culture through design , Jiaxuan Li

P-Lax : toys for adults, to play & relax , Zhizi Liu

Empowerment of people of all abilities , Kasia Matlak

Jettison all stories : experimenting with our relationship to the physical , Alyssa R. Mayo

Transitions : designing acceptance in a world of change , Hanna McLaughlin

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Best 170 Architecture Thesis Topics For All Students

Architecture thesis topics may be difficult to find because there are so many subjects and possible topics. However, good thesis topics for architecture are the ones that you have a personal interest in. Before picking architecture thesis topics, you also need to ask yourself if the topic is significant or realistically doable.

Choosing Thesis Topics For Architecture

Architecture thesis projects topics, master of architecture thesis topics, industrial architecture thesis topics, institutional architecture thesis topics, sustainable architecture thesis topics.

What is the best way to choose dissertation topics? This guide will highlight how to pick interesting architectural thesis topics. Here are some factors to consider when searching for architecture thesis project ideas :

Pick a Topic That Interests You

While picking creative architecture thesis topics, you need to opt for a topic that you are personally interested in. You can easily get bored with your undergraduate architecture thesis projects, that is why you need something that you are passionate about. It will help you to stay motivated and inspired to create a unique project.

Set a Small Scope

It can be tempting to pick dissertation topics in architecture that are too expansive. This reduces the delivery time. It is safer to start with a simple version of the topic and includes some complexity later if necessary.

Find Architecture Thesis Topics That Reflect Your Skills

Everyone has unique skill sets that they have developed over time. There is no single person who is perfect at everything. When you know your technical and creative capabilities, you will be able to pick thesis topics in architecture that employs your expertise.

Can You Find Enough Research On The Topic?

Unusual architectural thesis topics require lots of research and analysis before starting. Therefore, it is essential to pick an area of study with a substantial amount of work already done. It will help you to easily analyze, compare, and draw conclusions.

Balance It Between Art And Science

While searching for architecture dissertation topics, students often dig themselves a grave. They tend to view the project as a culmination of a long program rooted deep in art and theory. You need to pick a topic that balances art and science. It shouldn’t be too abstract, so your teacher will know that you understand the issues raised.

Don’t Forget To Tie It To Your Plans For The Future

Your architecture thesis topics should be aligned with your plans. It should reflect your experience or interest in a specialized subject. It will play an important role as a part of your portfolio.

Pick Architecture Thesis Topics That Solve A Real Problem

Your thesis topics architecture ideas shouldn’t just be theoretical, they should also solve a real-world problem. The world struggles with several issues, such as population growth, climate change, and a lack of proper distribution of resources. So, find a topic that can solve a socio-environmental problem using design intervention.

• Creation of affordable housing
• Development waterfront property
• Airport functioning
• Heritage museums
• Skyscraper design
• Cinema and theatre architecture
• Suburban homes for multi-families
• Multimedia film city
• Gaming and Animation studio
• Aquarium-Aqua display and design
• Marine park design
• Lightning excellence center
• MTRS study and station
• Modern art museum
• Convention center
• Automobile training center
• Archaeological survey institute
• Luxury beach-facing apartments
• The bus terminal with a commercial complex
• School of art & design
• Cruise terminal design
• Bio-climatic buildings
• Media center
• Cricket stadium display
• Disaster management institute
• Resort design
• Polo retreat
• Television and film institute
• The transit system as well as the possible improvements
• Educational Institute for all rural children
• A local heritage site
• The lighting system in the Egyptian Pyramids
• Film city studios, gaming area as well its structure
• Underwater restaurants in different parts of the globe for light, electricity, and sanitation.
• The transformation node found at the Lancaster
• The heat/cooling systems in beach huts
• Checking pressure and oxygen levels for building tourists spots
• Fashion Fiesta Paris
• The Golden Gate and architecture
• An archaeologist’s point of view of China from a survey of China
• WHO’s headquarters and renovation
• The ideal environment for a Rehab
• Russian fairytale-style homes and huts
• A clear insight into the auto industry
• Installing swimming pools in a mall
• Training centers for adults in Texas
• Buildings for religious purposes
• Comparing contemporary vs. traditional housing
• Deconstructing a typical school to make room for collaboration and creativity
• Apartments for couples
• Multifamily suburban homes
• The power of air: leaving closed windows for good
• Semidetached and row houses
• Staying on the budget while creating an architectural masterpiece
• Single-family suburban homes
• Hotels and residence
• Single-family country homes
• Developing healthy living spots in third-world countries
• Design of Ruled Surfaces.
• A method to design the kinetic planar surface using mathematical tessellation techniques.
• Waterfront development of an exhibition center
• Bio-inspired design for adaptable structures
• Construction of time conception
• A critical view of architecture – is it sustainable?
• Analytical studies of design potentials in architecture
• Determination of the concept of place in the built environment’s reproduction process
• Aqua display/Research Center
• Forest Research/Training Institute
• Archaeological Survey of Canada – Research and Training Institute
• Luxury Sea-front Studios at Ottawa
• Digital Morphogenesis as well as Its Implementation
• Bio-climatic Tower
• Mass rapid transit system study and station
• Designing organic structures to withstand time
• Showing culture in structures
• Maximizing size in miniature apartments
• Architectural trends at most transportation hubs
• Redefining a city with architecture
• Renovating century-old structures without losing the culture
• Outdoor architecture: creating getaways in small backyards.

A master of architecture qualification provides students with the relevant knowledge, skills, and values needed to enter the architecture sector and pursue opportunities and careers in this profession for master thesis help . It focuses on developing the ability to adapt to change in the diverse and critical world we live in. students are allowed to create a speculative and reflective relationship to their work.

• The introduction of biotechnology in architecture design for adaptable structures.
• An analytical assessment of mathematical organization methods in active flat surface plans.
• The consideration of soil and terrain conditions to determine adequate story building locations.
• A conceptual method for the outline and fabrication of cultural centers and foundations
• Finding the importance of a town or county’s various buildings and structures.
• A critical analysis of the architectural techniques used to construct the lighting within the ancient pyramids of Giza.
• An evaluation of the restaurants near the coastline in various areas of the country with important consideration on plumbing, air supply, and lighting.
• An analysis of China’s Great Wall with consideration of the structure’s historical significance.
• Understanding the impact of certain architectural codes and protocols on the environment.
• The possibility to achieve inexpensive house construction plans in first-world countries.
• Why do the majority of third-world countries have substandard housing structures?
• A case study on the significance of all learners of architecture in the profession.
• An analysis of the primary conditions that affect buildings in places that are susceptible to earthquakes.
• Building methods and consideration for constructions with the ability to endure natural disasters.
• A detailed report of the Twin Towers and the popularity of skyscraper construction.
• The significance of applied science in defining modern housing from traditional examples.
• Using records in architecture to understand the history of the profession.
• A critical analysis of architectural photography.
• The evaluation of cost considerations in architectural specifications and estimations.
• What motivates different architectural drawings and concepts.
• Case studies on sustainable modern design structures.
• The importance of digital mapping and concepts in architecture.
• Methods of limiting energy loss.

Industrial architecture is a branch of architecture that is used for the design of industrial buildings. These buildings need to be designed with consideration of their main purpose, which is to process raw materials. Their designs need to prioritize safety and optimal function over aesthetics and exterior appeal.

With the increased evolution taking place in technology today, industrial buildings and their designs need to adapt and keep up. This is why it calls for more research and consideration since industrial buildings are a need for modern society.

• Waterfront development – Beach convention and exhibition centers.
• Design of ruled surfaces.
• Construction of time conception in the architectural realm.
• A critical view of sustainable architecture.
• Determination of Place concept in the reproduction process of the built environment.
• Analytical study of the design potentials in kinetic architecture.
• Is deconstructive architecture useful?
• How did brutalism and contemporary architectures influence the world?
• Current trends in parametric architecture.
• How will traditional industrial structures be made more environmentally friendly and sustainable?
• Industrial architecture’s evolution.
• A critical analysis of the Dockland building, Germany.
• What purpose does industrial architecture play in creating a safe environment?
• Where do the professions of car construction and manufacturing come together?
• Industrial architecture during the industrial revolution.
• Evaluation of daylight in office buildings.
• Analysis of different lifestyle interactions.
• The purpose of reinforced concrete skeleton systems and earthquake’s effect on them.
• The future of architecture with the consideration of space exploration.
• The purpose of environmental science and social anthropology in architecture.
• Making architecture design studios relevant in the technological era.
• Extra skills are necessary for working on complex architectural projects.
• How collaboration is helping architectures achieve complex structural needs.

This is the branch of architecture that deals with environmental, social, and economic factors. This profession is based on various rules and traditions that were passed down for centuries. It grants architects the ability to find new ways to innovate the architectural industry.

Over time, the design for buildings all over the world evolves and is influenced by different cultures and styles. This can give the structure of the building different meanings and provides various opportunities to discuss its design and reason to be built.

• Theme parks and attractions
• Religious buildings
• Auditoriums
• Sport facilities
• Art galleries
• Cultural centers and foundations
• School and universities
• Bars and discotheques
• Shopping malls
• Theaters and cinemas
• Restaurants
• Transportation thesis on airports
• Train stations
• Urban transport
• Promenades and streets
• Urban parks
• Stores and showrooms
• Peripheral parks
• Urban monuments and land art

Sustainable architecture is the use of various plans and techniques to withstand the negative effect on the environment of modern man-made structures. Architects would take all aspects of the project, from landscape to water drainage, and determine the best way for the building to function with the least impact on the environment. These buildings and designs need to ensure that they are functional, appealing to the eye, and have as little carbon footprint as possible.

• Neighborhood development
• Community garden concepts
• Waste recycling facilities
• Heritage building restoration
• Rehabilitation housing
• Riverfront development
• SMART village
• Net-Zero energy building
• Bermed structure
• Regenerative design
• Urban Agriculture center
• Revitalizing abandoned mills and processing buildings
• Eco-tourism facilities
• Revival of an old building
• Repurpose a building
• Redevelopment of a slum
• Vertical farm
• Wetland restoration
• Energy efficiency in buildings
• How the location of the building is necessary for sustainability

Picking one of the topics above may help you get a head start on your paper. However, if you still need dissertation writing help, you can find professionals to help you with fresh ideas to work on.

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‘This is our beautiful castle’: the stunning new buildings expressing Māori pride

From facial tattoos to TV stations, young Māori are enthusiastically embracing tribal cultural identity in Aotearoa New Zealand. Now a new wave of Indigenous architects are making their mark

A bright red ribbon of metal buckles out of the ground in suburban Auckland, ramping up at a sharp angle before cranking over in a lopsided arc. It frames a big glass wall, folded in a diagonal crease, whose striped surface is covered in a riot of patterns, with abstract motifs of waves, fish and stars swirling together in a polychromatic frenzy. This is Taumata o Kupe, a new Māori meeting house and education centre for the Mahurehure community, and one of the brightest beacons of Aotearoa New Zealand’s burgeoning contemporary Māori architecture scene.

“It’s quite hard to miss,” says Wayne Wharepapa Asher, an elder member of the community. He recently moved into an apartment in a new terrace next to the building, where the homes open on to a pedestrian mews and a shared deck faces a lush babbling brook. “It feels like a different world here now. It has given us a fabulous place to share our culture with visitors from all walks of life.”

The project is the work of Māori-led practice TOA Architects, who designed it as a dense microcosm of mātauranga, or traditional Māori knowledge. Just like the decorated meeting houses of the past (known as wharenui), whose wooden surfaces were carved and painted with the iconography of ancestral stories, this building’s form and decoration have been designed to tell the tribe’s founding legends.

“This is our beautiful castle,” says tribe member Shannon Wilson. “It celebrates how our ancestors discovered this land.” He is standing inside the hall, having conducted a traditional pōwhiri ceremony of songs and speeches in te reo Māori (the Māori language), to welcome me on to the marae, the tribe’s sacred meeting grounds. It is a lofty space, where the window patterns cast swirling graphic shadows across the floor and walls, giving the impression of intricate Māori carvings. “The images tell the story of the great Kupe ,” says Wilson, “one of the first Polynesian navigators to arrive in New Zealand. His wife gave our country the Māori name Aotearoa, meaning ‘long white cloud’, after seeing the clouds hovering above the island from their waka.”

The sails of the waka (or canoe) were the starting point for the building’s form, with the diagonal crease across the glass facade echoing the stays, while the faceted frame alludes to the shape of a rudder. Such nautical themes are frequently found in the region’s Indigenous architecture: Polynesian shelters were often made from upturned boats, raised on poles, while sails became floor mats and vice versa. This building brings the approach into the 21st century, sculpted with the aerodynamic styling of a modern racing yacht (fitting, given it received funding from the 2021 America’s Cup), and collaging historic references together in a kind of riotous Māori PoMo.

Inside, the spaces unfold as a cosmic diagram. The ground floor represents the terrestrial world, with space for 300 people to gather, while a raised mezzanine is associated with the celestial realm, the ceiling studded with a constellation of lights. The Māori tradition observes a strict separation of tapu (sacred) and noa (profane), so toilets are housed in a building outside, while the mezzanine provides an elevated meeting area for communicating tapu knowledge. While most of the materials are modern, the entrance is lined with timber milled from 3,500-year-old swamp kauri , prehistoric wood unearthed from peat bogs in the north of the country. This ancient timber holds a spiritual importance for Māori, whose tradition tells that the kauri tree created all life. An intricately carved piece of it hangs above the entrance, a pare (lintel) featuring the openwork spiral patterns of a war canoe prow, another reminder of how the tribe’s ancestors arrived here more than 700 years ago.

This colourful pavilion is one of many such projects that have been cropping up across Aotearoa New Zealand in recent years, authored by a new wave of Māori architects keen to make their mark. The country’s Māori population now numbers 17% and rising, and the new generation’s enthusiastic embrace of tribal cultural identity is making their presence more visible than ever.

Many young urban Māori now sport traditional facial tattoos, or moko kanohi , and greet each other with a hongi, gently pressing the nose and forehead together. Te reo Māori is becoming more widely spoken, with a kind of creole emerging as Māori words are sprinkled into English conversation and official documents. There are two dedicated Māori TV channels – one of which recently aired a series on contemporary Māori architecture – and Māori design principles have even been written into urban planning policy.

“Things have really changed in recent years,” says Deidre Brown, professor of architecture at the University of Auckland. “When I was a student, I wanted to explore Māori architecture in my project. But my tutors told me to ‘leave it on the marae, where it belongs’.” Last month, Brown was awarded the prestigious gold medal by the New Zealand Institute of Architects, the first Indigenous woman to receive the accolade, for her work in championing Māori architecture. Student projects now regularly explore such themes, like MA graduate Victoria Carran’s design thesis for an architectural educational campus in a former quarry, informed by Māori ideas about repairing the landscape and working in harmony with nature.

The Aranga Māori design principles were adopted by Auckland city council in 2016, but they have had mixed results so far. The seven principles cover everything from using historic Māori placenames to enhancing the natural environment and integrating cultural narratives, but vague wording leaves them open to interpretation. Walking around the city, you see many surfaces adorned with geometric patterns – from tiled facades and coloured brickwork to etched glass canopies and paving slabs – variously referring to Māori tukutuku (woven panelling) or kōwhaiwhai (scroll patterns). But it often looks tokenistic, thin surface decoration stuck on to pre-existing designs.

“The principles can be misused,” says Jade Kake, a young Māori architect whose practice, Matakohe Architecture and Urbanism, often collaborates with larger firms to ensure their projects are culturally appropriate and take into account the needs of Indigenous communities. “But it’s more about the process than the product, ensuring that the consultation and co-design process is meaningful to the mana whenua” – a term that refers to Indigenous people with historic and territorial rights over the land.

Kake is working on several housing projects for Māori iwi (tribes), designing forms of collective dwelling known as papakāinga, where communal facilities are shared in a similar way to co-housing. The homes are designed to be flexible to respond to changing family patterns, where cousins might come to stay for months at a time, or floors might be adapted to accommodate older relatives. The separation of tapu and noa must also be taken into account (the laundry can’t be in the same space as the kitchen, for example), and traditionally Māori wouldn’t sleep above other people, sometimes making multistorey apartment configurations tricky to juggle.

But the biggest hurdles come from wider structural issues and the legacies of colonial injustice, including access to funding and land. “The pieces of land available to the tribes are often not the best bits,” says Kake. “We have to make do with the leftovers.” The site of the Taumata o Kupe used to be the city’s tip, while one of the sites Kake is working on can only be accessed through a swamp.

One tribe that is fiercely battling the country’s intense housing inequality, against historic odds, is the Ngāti Whātua Ōrākei. They once lived on a prime piece of land facing Ōkahu Bay, one of the idyllic natural inlets that fringes the coastline in Auckland, or Tāmaki Makaurau, to use the Māori name. “First, the council put a sewage pipe in our bay,” says tribe member Anahera Rawiri. “That killed our food supply and made our people ill. Then, in 1952, ahead of a visit by the young Queen Elizabeth II, they bulldozed our homes and forced us up on to the hill.”

Some residents were relocated into a handful of council houses on Bastion Point, above the bay, and the rest were dispersed around the region. “But we don’t give up easily,” says Rawiri. She is driving me around the streets up on the hill, where rows of houses are rapidly rising out of the ground – part of a masterplan for a potential 5,000 new homes. “We are prepping for our people to return to their land.”

Following the Waitangi Tribunal, established in the 1970s to settle Māori claims, the tribe received 100 acres and NZ$3m (£1.4m) from the government, which it has since invested to become one of the country’s wealthiest tribes – with land holdings worth NZ$1.4bn (£670m). It has used its funds to build award-winning housing, including Kāinga Tuatahi , by Stevens Lawson architects, and a recent street of low-rise housing for elders , or kaumātua, by Jasmax, where Rawiri now works. The former comprises terraced houses, unified under a long folded roof plane and arranged around shared gardens, with playgrounds, barbecue areas and vegetable plots. We pass a big communal kitchen block, a weaving house, a wood- and stone-carving studio and a gym, while the streets are full of children playing out. The properties are collectively owned by the tribe, in a similar model to a community land trust, keeping the homes affordable in perpetuity.

“This is housing by Māori, for Māori,” says Rawiri. “It is self-sovereignty to the max!”

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