NIKHIL RENUSÈ
B.ARCH., M. TECH.(PLANNING) | CO-FOUNDER, PRINCIPAL DESIGN
GAUTAMI RENUSÈ
B.ARCH., M.ARCH.(GEN) | CO-FOUNDER | EX-PROFESSOR AT A.C.O.A, PUNE
“YOU THINK ABOUT SOMETHING. IT SPARKS AN IDEA. LET THE IDEA EXPATIATE AND IT MANIFESTS INTO A CONCEPT. IT’S HARD TO SAY WHETHER ITS ONLY YOUR CONSCIOUS BRAIN INVOLVED OR IT STRETCHES INTO THE SUB-CONSCIOUS REALMS OF THE MIND. BY THIS TIME HOWEVER, YOU ARE READY TO SCRIBBLE ON PAPER. THE MORE YOU SCRIBBLE, THE MORE YOUR RATIONAL BRAIN INTERVENES. UNTIL YOU COME AT A SKETCH WHICH HAS ENOUGH REASON, LOGIC AND PRUDENCE TO ENTER THE REAL WORLD. THIS PROCESS IS THE BIGGEST GIFT OF ARCHITECTURE AND FOR ME, A REASON, MORE THAN ENOUGH TO BE AN ARCHITECT. THIS HOWEVER, IS JUST AN INITIATION OF A PROCEDURE THAT WILL ULTIMATELY GIVE YOU A PRODUCT WHICH WILL INTERACT WITH PEOPLE EITHER AS A WHOLE OR AS AN INDIVIDUAL, THROUGH VARIOUS PERSPECTIVES OF JUDGEMENT SUCH AS SOCIAL, ECONOMIC, PHYSICAL, EMOTIONAL ETC.”
BANER, PUNE 411045 INDIA | INSTAGRAM: @thethinarchitect | FOR FURTHER DETAILS PLEASE WRITE TO US AT studio@thethinarchitect.com
THE THIN ARCHITECT
KINAESTHETICS OF THE RUINS
THE RUIN OF A STRUCTURE WITH ELEMENTS OF IMPECCABLE PROPORTIONS ARE EQUALLY EXEMPLARY. EVEN AFTER FALLING OUT OF PLACE THEY HAVE A SENSE OF DYNAMICS BETWEEN THEM. THE TENSION THAT THEY CREATE AMONG EACH OTHER FORM SPACES WHICH CANNOT BE RECREATED.
THE TWIST OF TIME THAT THIS DESIGN AIMS TO TARGET IS NOT A TWIST IN TIME PER SE BUT A TWIST IN THE DESIGN APPROACH IN DEALING WITH THE SAME STRUCTURE OR WHATS LEFT OF IT THAT HAS OCCURRED OVER TIME.
THE WHITE TAJ IS ABOUT SIGHT; THE BLACK TAJ IS ABOUT SIGHT AND TOUCH. ITS ABOUT THE TACTILE EXPERIENCE TOO. CAN YOU TOUCH THE DOME OVER THE WHITE TAJ? YOU CAN DO IT WITH THE BLACK TAJ.
ALONG WITH OTHER ARTS, ARCHITECTURE TOO PERFORMS HERE!
THE INTENT IS TO DESIGN SPACES TO ACKNOWLEDGE THE NUANCES OF THE TEXTURE OF TIME – OVER A DAY, A YEAR AND THAT OVER MULTIPLE DECADES AND ITS EFFECT OVER THE AMBIENCE OF THE DESIRED SPACES
IT ALSO PROPOSES TO HIGHLIGHT THE ‘NATURE’ OF NATURE OVER A SEASONAL YEAR AND HENCE THAT OF THE MIND
THE PRIMARY INTENT OF THE DESIGN IS TO PORTRAY THE EVOLUTION OF THE PREMISES OVER ITS LIFE SPAN SO THAT THE NEW DESIGN BUILDS UP AS A NATURAL PROGRESSION ALONG WITH THE EXISTING ONE (THAT’S RETAINED AND RESTORED) OVER THE DUE COURSE OF TIME.
A FOREST RESORT SYMBOLIZING THE DRAMA OF THE FOREST THAT LOOKS STILL FROM AFAR BUT EXTREMELY BUSY WHEN YOU ENTER IT.
SPACES WHICH LET A FOREST BE A FOREST
A SITE IN THE DENSE FORESTS OF JAWLI APPEARS CALM N PEACEFUL FROM A DISTANCE BUT HAS A MESMERIZING SENSE OF DRAMA WHICH IS UNMISSABLE ESPECIALLY AT NIGHT. THE DESIGN EMULATES THIS ASPECT IN A VERY NATURE FRIENDLY WAY AND HENCE GELS RIGHT IN.
A BUILDING THAT IS TO REPRESENT THE LOCAL SELF GOVERNMENT OF THE CITY OF SATARA NEEDS TO BE PROUDLY MONUMENTAL IN APPEARANCE AS WELL AS HUMBLE ENOUGH TO SERVE ITS PEOPLE.
PURITY OF FORM. THE GEOMETRY NEEDS TO BE READABLE AT THE FIRST GLANCE.
THE FORM RISES TOWARDS THE SKY AS IF REACHING UP TO HIGHER GROUNDS OF THE PRINCIPLES THAT IT IS ASKED TO STAND FOR.
THE ARCHITECTURE OF THE PREMISE NEEDS TO MAKE ONE MAINTAIN A CERTAIN DECORUM WHILE ON THE CAMPUS RESPECTING THE STATURE OF THE BUILDING AND AT THE SAME TIME BE APPROACHABLE ENOUGH TO MAINTAIN AN AMICABLE RELATIONSHIP WITH ITS PEOPLE.
THE GROUND FLOOR IS DESIGNED INSPIRED FROM THE VERNACULAR ARCHITECTURE OF THE REGION WHERE THE LOCAL BASALT STONE WAS USED IN ABUNDANCE. WITH AN ULTRA MODERN SUPER STRUCTURE THE BUILDING ITSELF BECOMES A SYMBOL OF THE FUSION OF THE OLD ON THE NEW – THE NEW ALWAYS BORN FROM THE OLD.
ONE THING THAT LADAKH OFFERS LIKE NOWHERE ELSE IS ITS VAST EXPANSES OF ABSOLUTE ‘NOTHING’. THERE IS JUST THE SKY AND THE EARTH AND THE EMPTINESS IN BETWEEN. IT IS OMNIPRESENT. YOU UNDENIABLY EXPERIENCE IT EVERYWHERE. THE SHEER MAGNITUDE OF THIS VASTNESS DISSOLVES THE ‘I’ IN YOU.
THIS ‘NOTHINGNESS’ IS RECOGNIZED IN THE SPIRITUAL REALMS TOO. IN BUDDHISM ITS A STATE OF MEDITATIVE-NESS CALLED ‘SUNYATA’ WITH ITS FINAL DESTINATION BEING ‘NIRVANA’. IN THE TIBETAN LANGUAGE ITS CALLED ‘STONG PA NYID’. IN HINDUISM IT’S ‘SHIVA’ – THAT WHICH IS NOT.
THE CONCEPT OF THIS MASTER PLAN INTENDS TO HOLD THIS VIRTUE OF NOTHINGNESS AT ITS CORE DESIGN PHILOSOPHY. A MORE TANGIBLE EXPRESSION WOULD BE TO IMBIBE THE SCALE AND PROPORTIONS OF THIS SURROUNDING LANDSCAPE IN THE ARCHITECTURE OF THE PROPOSED SPACES. THE VAST OPENNESS OF THE REGION CAN ONLY BE EMBODIED BY MAKING THE STRUCTURES MERGE IN THEIR SETTING AS MUCH AS POSSIBLE. ANOTHER WAY IS TO KEEP THE STRUCTURES AS FAR AS FUNCTIONALLY POSSIBLE TO NULLIFY THEIR PRESENCE.
THE ARCHITECTURAL CHARACTER OF THESE SPACES NEEDS TO BE RUSTIC AND PREDOMINANTLY WITH THE REGIONAL FAVOUR WITHOUT DIRECTLY MIMICKING THE ANYTHING.
A HOLISTIC MASTER PLANNING, PLANTATION AND ARCHITECTURAL PROJECT FOR NATURE AND MAN TO CO-EXISTS.
THE PROJECT RETAINS THE ETHER OF LAND AND PAYS HOMAGE TO ‘ITS’ ABUNDANCE OF LAND AND SKY, WITHOUT TRYING TO STAMP ITS PRESENCE.
IMBIBING THE CONCEPT OF CO-EXISTANCE AND GROWING TOGETHER…LIVING IN HARMONY WITH EARTH, WATER, AIR, FIRE (FOOD) TO ENHANCE THE ETHER WITHIN SELF
PASSIVE CONDITIONED; EARTH SHELTERED; WITH A HOLISTIC EXPERIENCE OF LIVING WITH AND WITHIN NATURE. SNUGGLED IN THE COLD DESSERT CREATING AN EXOTIC EXPERIENCE WITH NATIVE BUILDING WISDOM
RENDEZVOUS WITH NATURE
NOTHING IN NATURE EXISTS IN ISOLATION WITHOUT INTERACTING WITH OTHER ENTITIES OF ITS ECOSYSTEM. THE CONCEPT OF THIS LANDSCAPE DESIGN INTENDS TO HIGHLIGHT THIS PHENOMENON IN NATURE AND MAKE IT THE UNDERLINING PRINCIPLE OF THIS DESIGN BY APPLYING IT AT ALL LEVELS.
THE SAME IS ACHIEVED THROUGH CONVERSATION BETWEEN THE BUILT MORPHOLOGY OF THE TOWNSHIP AND THE EXISTING GREEN, BETWEEN THE BUILT SPACES AND THE PROPOSED GREEN, BETWEEN THE EXISTING GREEN AND THE PROPOSED GREEN. AND HENCE BETWEEN THE PEOPLE AND THEIR SURROUNDINGS.
THE BASE STRATEGY HENCE IS, BLURRING THE BOUNDARIES BETWEEN THE BUILT MASSES AND THE EXISTING AS WELL AS PROPOSED GREEN. SEAMLESS COHESION OF THE GREEN AND THE GREY.
(FOR ECOFIRST)
A VERY INTERESTING ASPECT ABOUT ART AND CULTURE IS ITS VIBRANCY, ITS LIVELINESS WHICH COMES FROM THE FACT THAT IT IS CONSTANTLY EVOLVING. IT WILL ALWAYS KEEP REINVENTING ITSELF AND HENCE BE ENGAGING. THIS VERY ASPECT OF ART AND CULTURE HAS FORMED THE BASIS OF CONCEIVING THE STRUCTURE OF THIS BUILDING. IT IS DESIGNED TO APPEAR AS A ‘NON-STRUCTURE’ WHICH IS IN ITS PROCESS OF BECOMING A STRUCTURE. ‘WHAT IS’ BECOMES LESS IMPORTANT THAN ‘WHAT WILL BE’ AND ‘WHAT WILL BE’ IS LEFT TO THE IMAGINATION OF EVERYBODY WHO WISHES TO DO SO! THUS A HIGHLY PUBLIC BUILDING REPRESENTING THE SOCIETY AT LARGE IS PERSONALIZED TO A VERY INDIVIDUALISTIC LEVEL. IT AVOIDS BEING OVER-POWERING BUT EVOKES THE RIGHT AMOUNT OF CURIOSITY.
THE DESIGN ALSO DERIVES A DIRECT LINK BETWEEN A SIMILAR PHENOMENON IN NATURE CALLED AS GERMINATION. THE PROCESS OF GERMINATION IS INHERENTLY EVOLVING AND REGENERATING. WHEN A SEED IS SOWN IN FERTILE SOIL IT PRODUCES A SHOOT WHICH BREAKS GROUND AND RISES UP TO GROW INTO A NEW PLANT. THE DESIGN DIRECTLY DEPICTS THIS PROCESS WITH ITS WOODEN PEELS REPRESENTING BROKEN GROUND AND THE STRUCTURE WITHIN, A YET-UNFORMED MODULE, THE NASCENT PLANT.
THE EMOTIONAL SENSITIVITY THAT A PERSON EXHIBITS AND IT’S EVER-CHANGING, YET TO AN EXTENT CONSTANT, EXPRESSIVITY IS BOTH SIMPLE AND COMPLEX. THE STRUCTURE DEALS WITH ALL ITS LAYERS WITH EQUAL SIMPLICITY AND COMPLEXITY. AT START, IT APPEARS SIMPLE, IMMEDIATELY CONCEIVABLE BUT, AS YOU ENTER THE INNER REALMS, YOU UNDERSTAND THAT THERE IS MORE TO IT THAN A MERE FIRST IMPRESSION. THE INSIDE IS COMPLETELY DIFFERENT, YET APPEARS TO BE ‘APT’. THE PURITY OF EXPRESSION IS SAME AT ALL LEVELS, BUT ITS NATURE CHANGES.
REFERRING TO ‘THE WALK IN LIGHT’ THE CONCEPT OF THIS CHURCH DESIGN HIGHLIGHTS THE JOURNEY THAT A CHRISTIAN INEVITABLY TAKES TO BE IN ‘HIS’ GRACE AND BE LEAD TO WARDS SALVATION.
IT SIGNIFIES THE FACT THAT THE CHURCH BUILDING IS NOT THE DESTINATION BUT A MEDIUM TO REACH THE ULTIMATE. IT ACTS AS A FILTER THAT CLEANSES THE SOUL. AND HENCE IT IS PROPOSED TO BE DESIGNED AS A PASSAGE RATHER THAN A DESTINATION.
RESTORATION OF A 70 YEARS OLD STRUCTURE INTO A BONDING SPACE FOR A FATHER–SON DUO AND TO INVITE FRIENDS OVER.
AN OPEN HOUSE WITH NO BOUNDARIES BETWEEN SPACES BUT AT THE SAME TIME CREATING ENOUGH POSSIBILITIES OF BECOMING MANY SPACES.
WITH A SETTING ON A RIDGE IN THE MEDHA GHAT NEAR MAHABALEAHWAR EACH SPACE IN THIS HOUSE JUST LOOKS OUT AT THE GORGEOUS VALLEY.
THE ENSEMBLE JUST HANGS ITSELF BETWEEN TWO RUBBLE WALLS AND MINIMIZES ITS PRESENCE TO MAXIMIZE THE EXPERIENCE OF BEING WHERE IT IS.
THE SAHYADRIS ARE MOUNTAINS OF THE TOUGH AND THE RUGGED. A BUNCH OF BOXES OVER A STONE AND GLASS ENSEMBLE LETS ONE EXPERIENCE THIS FULLY.
A PERFORMING ARTIST WITH AN INTENSION OF LIVING IN A HOUSE ON A FARM IN THE DENSE GREENS AROUND LONAVLA. THE HOUSE MANIFESTS THE SUPERLATIVE TONES OF HIS MUSIC IN A WAY THAT HE ENJOYS THE NATURE AND ALSO MAINTAINS A CHIC PERSONA.
RESIDENTIAL BUILDINGS IN PUNE ARE PREDOMINANTLY DESIGNED WITH TERRACES ON ALTERNATE FLOORS. THIS LEAVES LITTLE ROOM FOR INNOVATION AS IT DOMINATES THE FAÇADE OF THE BUILDING CREATING A VERY STEREO-TYPICAL WHITE-BREAD ELEVATION. THIS IS AN ATTEMPT TO BREAK THIS JINX PRIMARILY AND TO CREATE A SELF SHADING ENVELOPE WITHOUT APPEARING OSTENTATIOUS.
MOST OF THE TIME BUILDINGS ARE VIEWED IN ISOLATION WITH THEIR SURROUNDINGS, BE IT THEIR IMMEDIATE PHYSICAL CONTEXT OR THEIR CONCEIVABLE VISUAL SETTING. INSTEAD OF FRAGMENTING THEM STRUCTURALLY VIZ. THE GROUND, THE PODIUM THE SUPER STRUCTURE THE SKYLINE ETC. AND DESIGNING EACH OF THESE ELEMENTS SEPARATELY , THIS IS AN ATTEMPT TO UNIFY IT ALL RIGHT FROM THE POINT WHERE YOU STAND TO THE HIGHEST AND THE FARTHEST POINT THAT YOUR EYE CAN CATCH. THUS FORMING ITS OWN ‘MICRO-URBAN’ LANGUAGE.
FOR SINGER HARIHARAN
THE RIGID GEOMETRY OF A PERFECT SQUARE AMPHITHEATRE IS CRACKED OPEN FOR THE INGRESS OF PEOPLE AS WELL AS VEGETATION.
THE PRE-FUNCTION AREA CELEBRATES THE FIVE SENSES THAT HELP US EXPERIENCE ALL FORMS OF ART.
FOR SINGER HARIHARAN
ENHANCING THE SCALE AND THE EXTENT OF SURFACES WAS THE KEY CONCEPT ON THIS SIDE OF THE HOUSE AS IT FORMS THE FRONTAGE FOR THE FLOWING RIVER AND THE GRAND HILLS THAT ENVELOPE THE VIEW.
THE DESIGN MAKES THE LAND LAY, ROLL AND ELEVATE WITH DIFFERENT SKINS LIKE GRASS, WATER, PEBBLES, LATERITE FURTHER ENHANCING ITS EXPANSE AND OPENNESS RENDERING A NEW VISUAL AND TACTILE PALETTE
PROMENADE- A SET FOR INTROSPECTION AND INTERACTION… CHARMING, INTRIGUING, PARTICIPATORY, CONVERSANT LANDSCAPE
SUPARI GROVES…EXAGGERATED GRASS MOUNDS..STONE PAVING…WOODEN RAILINGS…SHAHABAD STEPPED EXTENSIONS OVERLOOKING THE VIBRANT WALKS…STREETSCAPE OF UBER CLASS WITH BACKDROP OF NATIVE GREEN CHARM…A TACTILE EXPERIENCE THAT CREATES WARM MOMENTS.
JOURNEY TO AND THROUGH THIS GATED COMMUNITY BEGINS MUCH BEFORE YOU ACTUALLY ENTER THE PREMISES. A ‘TODDY’ PALM-BUNCH AVENUE WITH ACRES OF EXISTING PADDY FIELDS CREATE A PERFECT TRANSITIONAL DRIVEWAY TO THE ‘VILLE’ ALONG WITH THE TAILOR-MADE LIGHT POSTS.
THE REGIONAL CHARM IS MAINTAINED BY THE STRETCHES OF PROPOSED BANANA PLANTATION ALONG THE ROAD-SIDES TO FORM A HUMBLE, AROMATIC AND WARM ENTRY TO THE CAMPUS.
THE CAMPUS ONCE ENTERED SURPRISES, EVOKES, SOOTHES,.. ONE’S MIND WHILE STROLLING THROUGH WITH AN INTERACTIVE PLAY OF HARD AND SOFT LANDSCAPE. SEASONAL LILY FLUSHES FORMING A SIGHT TO RECKON.
EDUCATIONAL CAMPUSES ARE THOSE ACCESS CONTROLLED PUBLIC SPACES WHOSE BUILT AS WELL AS NON-BUILT FORMS CAN BE EQUALLY USED FOR THE DISPOSAL OF ITS PRIMARY NEED VIS. INTERACTION. HENCE THE IMPORTANCE OF DESIGNING THE NON-BUILT SPACES IS ALMOST AT PAR WITH THE DESIGN OF ITS BUILT COUNTERPARTS.
THE SIZE PROPORTIONS AND CHARACTER OF THESE NON-BUILT SPACES DIRECTLY CORRESPOND TO THEIR FUNCTIONALITY. MORE IMPORTANTLY ITS DESIGNED FOR THE EFFECT THAT IS DESIRED FOR IT TO MAKE OVER ITS OCCUPANT/S.
THE EFFECT THAT THESE OUTDOOR SPACES WERE CONCEPTUALIZED TO MAKE CAN BE CALLED AS MONUMENTAL, YET APPROACHABLE. AND EDUCATIONAL INSTITUTE CAN BE PERCEIVED AS PA PLACE WHICH REPRESENTS THE PROCESS OF TRANSFORMATION AT VARIOUS LEVELS-
-INTELLECTUAL GROWTH AT A PERSONAL LEVEL.
-SYNTHESIS AND ASSIMILATION OF KNOWLEDGE ON A SOCIETAL LEVEL AND
-EVOLUTION OF THE SPECIES ON THE SOCIAL LEVEL IN THE BROADEST SENSE.
WITH AN INTENSION TO CREATE AN ATMOSPHERE THAT AROUSES CURIOSITY AND TRIGGERS CREATIVITY, THE DESIGN’S BASIC PREMISE WAS TO BREAK THE RIGIDITY OF SPACES AND HAVE AN ‘WHY-NOT’ OUTLOOK.
THIS IS AN ACTUAL FARM HOUSE SET IN THE GRAPE GARDENS- GOVIND BAUG. IT IS SMALL HOUSE THAT IS BUILT ON THE LINGERING MEMMORIES OF THE OLD HOUSE…LINEAR PATTERN; STRAIGHT FLIGHT STAIRCASE; HIGHER PLINGTH OF WADA; LOW SITTING WINDOWS;… THE GULMOHOR BECOMES AN INTEGRAL PART OF THE HOUSE… SEEN ALL THE TIME FROM THE TOP GLASS…THE MAIN HALL OPENS COMPLETELY ONTO THE SHAHABAD VERANDAH AND ALL INSIDE –OUTSIDE BECOMES ONE AT ONCE!
LINEARITY OF THE LANDSCAPE STRETCH AVAILABLE AS A FRONTAGE TO AN EQUALLY LINEAR SITE OFFICE….THIS VERY PARAMETER IS CONVERTED INTO AN ASSET.
LINEAR LAWN PATCH, LINEAR STILL WATER POOL, LINEAR STRAIGHT SLOPED MOUND AS A BACK-DROP FOR THE ROAD…ALL THIS EXAGGERATION OF LINEAR FORCE IS COMPLEMENTED WITH RAW STONE CUBES AND DRAMATIC FLOWER VASE SHAPED PLANTERS.
THE TACTILE PURITY OF THESE FINISHES ADD INTIMACY TO THE ‘LENGTH’ OF THE SPACE.
THIS IS A SPACE DESIGNED FOR ALL SENSES TO BRING IN A SUBTLE HARMONY IN YOUR BEING WHEN YOU VISIT. THE JUXTAPOSITIONING OF RUGGED AND RAW TEXTURES OF WALLS AND FLOOR AGAINST THE FRAGILE DELICATE NATURE OF SHEARS AND GLASS; THE LOTUS PATTERN THAT FOLLOWS ONE THROUGH OUT THE INDOORS; THE JHUMKA INSPIRED HANGING LAMPS THAT ONE CAN’T MISS; THE WINDOW GARDEN; A SMALL AANGAN THAT THE SPACE OPENS INTO ALL BUT TAKES ONE IN A SOOTHING KINESTHETIC WORLD!
A BASIC NEED TO CONNECT A DUPLEX MADE BY CONNECTING 2 APARTMENTS ONE ABOVE THE OTHER WITH COMPACT ROOM DIMENSIONS GAVE AN OPPORTUNITY TO DESIGN A STAIRCASE THAT OCCUPIES THE LEAST FLOOR SPACE, EATS UP LEAST AMOUNT OF VOLUME- PHYSICALLY AS WELL AS VISUALLY AND FORMS A PART OF THE LIVING ROOM SEATING. THE REST FOLLOWED.
IF YOU CAN DESIGN A RESORT THAT MAKES YOU FEEL AT HOME, WHY CAN’T YOU DESIGN A HOME THAT MAKES YOU FEEL AT A RESORT?
THE MAJOR BACKDROP PLANE IN CEMENT FINISH EXTENDS ONTO THE FLOOR AS A RAISED PLATFORM WHICH FORMS A SPACE WITHIN SPACE WITH WOODEN PLANKS PLANE AS A BACKDROP AND HANDSOME STONE SLAB AS A PLATE FOR THE HOLY SYMBOL ’AAYAT’..
THE COBBLE STONE PAVING FORMS A WARM CONTRAST WITH THE NEUTRAL CEMENT FINISHED VERTICAL PLANES AND ADDS A BACKYARD CHARACTER TO THE SPACE.
LAMP FITTINGS SPECIALLY DESIGNED FOR THE SPACE ADD A DIFFERENT DRAMATIC DIMENSION DURING EVENINGS WHILE CAMOUFLAGING IN THE LANDSCAPE ELEMENTS IN THE DAYLIGHT.
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