Aditya Singh - Portfolio

ABOUTME

IamanundergraduateBachelorofArchitecturestudentattheJindal SchoolofArtandArchitecture,O.P.JindalGlobalUniversity,Delhi-NCR, India.

Overthepastfewyears,throughpursuinganeducationinthebuilt environment,Ihavediscoveredmyinterestsinquestionsconcerning urbanismandmaterialculture,andperformingexplorationsandinquiries oftheirprocessesandpracticestoexplorethesituatedbuiltenvironments Iinhabitonapersonallevel,atinterior,architectural,andurbanscales.

Asapartofmycoursework,Ihaveworkedonvariousre/designandre/ developmentprojects.Additionally,Ihaveworkedinadiversesetof organisationsandfields,expandingmyresearchandpresentationskills,as wellasmycomprehensionof,andengagementwiththeinfiniteworldof design.

Iamlookingforopportunitiestoworkat(andbeyond)theintersectionof theseareasofinterestandexplorealternativenarrativeanddesign exercisesconcerningbuiltandurbanenvironments.

PROCESSESOFAPORTFOLIO

UNDERSTANDTHECOMPLEX

COSMOLOGIESAND PROCESSESOFTHEWORLD

INSTITUTION

CURIOSITY

OPPORTUNITY

DIAGNOSTICIANPERSONA

AWARENESS

BODYOFTHESELF

SPACE OF EXPLORATION

INTENTIONALITY

INTERVENEWITHINSPECIFIC CONTEXTSTOFACILITATE DYNAMICENVIRONMENTS

EXPLOITATIONS

SENSIBILITIES

SENSITIVITIES

RESPONSIBILITIES

DESIGNERPERSONA

Curiosity,opportunity,andinstitutionalsupporthaveprivilegedmetoexplorevariousfacetsoftheworld.I concentrate,throughfocusedawarenessandintentionality,onthethreadsofexploitationwithinit (diagnostician),andmyresponsibilitiestowardsthem(designer),astheypassthroughme.Thisportfolio capturessomeoftheseprocessesandismodestevidenceofmyexplorations.

FILM1//MORII

Noun.Adesiretocapturefleetingexperiences,likeenvisioninglife andwantingtopress“pause”.

MANWITHAMOVIECAMERA

Inhisdocumentary/cinematicartfilm‘ManwithaMovieCamera’, DzigaVertovrepresentsanordinarydayinRussiainthe1920’s. Moriitakesscenesfromthisfilmandre-arrangesthemwithina videocollagefilmtoproduceanalternatenarrativeabout photography,andthedesiretocapturethemomentsinone’slife throughacamera.

COLLAGINGFILMNARRATIVES

Moriihighlightshowfilmnarrativescanbere-producedthroughcollagingexistingmaterialintonewer narratives,exploringthearbitraryrelationbetweenvisualsandtheirmeaning,andhowtheyarealtered throughsequentialre-arrangementoffilmscenesfromtheconstructedcontextofafilm. Thesefilms(asgroupprojects)exploredfilm-makingasamethodofstorytellingby(1)collaging scenesfromanexistingfilmtocreatealternatenarratives,and(2)showcasingthejourneyof exploringdifferentmethodsofrepresentation.

1.

2.

3. THECYCLEOFLIFE//AREARRANGEDNARRATIVE

4.

5.

6.

7.

8.

FILM2//SONDER

Noun.Therealisationthateachrandompasserbyislivingalifeas vividandcomplexasyourown.

INTRODUCTIONTOSITE

Sonderillustratesthemultiplemethodsthroughwhichaphysicalsite (asmallgarden)isrepresentedinanattempttorejectsingular narratives.Inthedepictionofthisprocess,thefilmcritiquesvarious formsofrepresentationandtheinadequaciesthatpersistwithinthe ‘accurate’depictionofspaces.Italsohighlightstheobsessionwith representationwithinthedisciplineofarchitecture.

ARCHITECTURALDRAWINGS

THEREALISATION

Asthestudentsrealisethatnoneofthechosenmethodsofrepresentationareableto‘accurately’depict thephysicalspacewithallitsintricacies,layers,andmeanings,theyareforcedtounlearntheir preconceivednotionsonvariousformsofrepresentation.

LAY

OFAFFECTSINTHEORDINARY

Tracesofthesunfallonhisface,throughgapsinthecurtainsastheymoveforwardand backwardinthebreeze.Entangledinablanket,hislegsweretiedtooneanother,tootightto move.Inrollingovertotheotherside,thetensionsoftheblanketfallapart.Ashetwistsand turns,hisbodyisatonce,tenseandrelaxed.Hisdisturbedearstempthimoutofbed,withthe needtoclosetheloudwindow.Buthestaysput,nothingapillowoverhisheadcan’tsolve.

Theydevelopintohabits,thenforcedintobehaviour.Intensitiesoffeelings,andsensations, arenowinstinct,almostreflex.Heistight,andsoft,entangledinwebsofcomfort, discomfort,andofwhatliesoutsideit.

Anhourpassesby.Theblanketnowcoverseachandeveryinchofhisbody,thebottomofhis feettuggingatitsedges,tryingtoholditover.Thewindonhistoeswouldbetoocold,sending shiversuphislegs.Hisarmswraparoundapillow,pressedtightlyagainsthischest,forits freshness,butalsoitseventualwarmth.Thecomfortableclothesheworelastnightwerenow awkwardlyfolded,creased,lodged,andwrapped.

Complexitiesbuildupanddissolveatthesametime.Flashesofmemory,someclear,some forgotten;ofdreams,somelucid,somenightmares.

Thisisn’tnew,it’soldinfact-laying,forhours,onwhatisnowadeflatedmattress.Withhishead confidentlyplacedonafreshpillow,hestaresatthefan,roundandround,roundandround.The powerofitsmovement,it’shypnotisingswing,captivateshim.Hehaslostallagencytothink,to speak,tomove,surrenderingtoamovingcircle.Hetriestocount.Butisitbladesperrevolution perminute?Orrevolutionsperminuteperblade?

Thereisnomotive,notonewhichcanbeunderstoodatleast.Emotionisalmostlostbut cannot.Alas,whatcanhe,ifnotfeel?

Hiseyelidsshutonceagain.Hecannot,anddoesnotwishto,openthemagain.Theworld ceasestoexist,justforamoment,justforsomequiet.Allmemoryisgone,allthoughthas stopped,justforthatmoment,justforsomesilence.Theycreepbackin,bringingwiththem anxiety,anger,andbitterness.Thenight’ssleephasprovidedwithit,comfort,energy,life.And sounds,evenininsignificantvolumes,nowirritatehim.Itishardtofallbackasleep.

Constituentsoftheday,sounds,smells,tastes,pullhimawayfromhimself,disorienting, succumbing.Hisbodyisnettledwiththepushandpulloftheeveryday,broughtbacktolife onlywithdarkness,justforamoment,justforsomesilence.

Hisfaceissmotheredintheuncomfortablecontoursofthe(once)mattress,hischestflat,and toeshangingovertheedge,swinging.Anyformofmovementrevertsbacktoacocoon, simultaneouslycomfortableandnot.Theneedtoescape,togetout,andtoleave,emerges amongpuzzlingintensitiesofthought,feelingandsensation.Perhapsonthefourthdeliberation inhismind,hisfeettouchthebittermarblefloor.

Thiscreativenon-fictionpiecewasinspiredbyKathleenStewart’sbook-‘OrdinaryAffects’,whichrenders theaffectiveenvironmentsthataregeneratedinordinarylifebyanimatingmundanecircumstancesthrough thepoeticsoflanguageandlandscapes.

FIELDDISTRIBUTION

VISUALGRADIENT

EVENTA

FIELDOFTHESUBJECT

EVENTP

EVENTW

MOVEMENTOFGAZE

RE/PRODUCINGBODIES

RE/PRODUCEDBODIES

DIRECTEDGAZE

OPENGAZE POSITIONOFBODY POSITIONOFJUDGEMENT

GAZESCULPTSTHELABOURINGBODY

Thelabouringbodydesires re/productionwithinMarx’s labour-valuesystem, fuelledbytheFreudian

MULTI-LOCATIONALANDMULTI-REPRESENTATIONAL

ASSEMBLAGEOFFIELDCONDITIONS

Thisprojectanalysesapage(104)fromthegraphicnovel-‘Aranyaka:BookoftheForest’(2019), authoredbyAmrutaPatilandDevduttPattanaik.Itexploresthegraphicillustrationsasfieldsof knowledgeproduction,creativeexploration,andtransformativeworld-building.

WEAVER CLOTH COLUMNS THREAD KATYAYANI FLOWERS/BUDS GROUNDNUT PLANT SNAILSHELLS SNAILBODIES

SUBJECTIVEENCYCLOPAEDIAS

1.IDENTIFICATIONOFFIELDELEMENTS

2.SUBJECTIVECATEGORISATIONOFELEMENTS//BASEDON

A.TEXTUREANDTACTILITY

HARDELEMENTS

SOFTELEMENTS

OFHARDNESS OFSOFTNESS

MULTIPLICITIES// Thecategorisationintohardandsoftisinsufficientin describingidentifiedelements,wheredescriptivewordschangebasedon thevariedarticulationoftheirtactileexperienceinHindi.

B.TENSIONANDTIGHTNESS

TIGHTELEMENTS LOOSEELEMENTS IN-BETWEEN

EXCEPTIONS// Specificelements(snailbody-tensebutfluid,andthreadtautthroughuse)highlighthowcategories disintegratewhenelements(in theirinter-relationships)don’texistinisolationbutinchangingcontexts.

3.ANALYSISOFTAXONOMICALCATEGORIES

THE(DIS)ORDEROF THINGS-OFABSURDITY ANDTAXONOMY//

Thelimitationsoftaxonomy(ofmultiplicitiesbeyondcategorisationandlackof spacesforexceptions)highlighthoworderingsystemsareinformedbythebiases, motivations,opportunities,andabilitiesoftheindividualscreatingthem.

JSAA//SEMESTER6(SPRING2022)//ARCHITECTURALOBSESSIONS//VISUALIZINGARGUMENTS

ThisacademicposterisavisualisationoftheargumentsforwardedbyJeanNicolasLouisDurand(1760-1834),anotablefigureinNeo-Classicismanditsarchitecturalmanifestations,whichusedsimplified,repetitive,andmodularelements.Hepropagatedthetrueaimofarchitectureinitsutilitarianismpractice,deemingittobeasocialnecessity.Hedeclaredthebeautyofarchitecturetobeinitsfitnessand economyratherthanitsornament.

Identificationof elementsand creationoftypes

Situatedness andcontext areimportant.

Emergenceofcertain GENERALPRINCIPALS asaresultofobservation.

PLANS SECTIONS ELEVATIONS

PANTHÉON FRANÇAIS

PLANS

SCHEMATICDRAWINGS

OBSERVATION

VisualAct.

Occurswithinspecificcontexts.

JEAN NICOLAS LOUIS DURAND

(1760-1834)

SYSTEMATIZATION

ALLIANCESOF COMBINATIONS

Meansemployedto achievetheaimsof architecture

OBJECTSAND ELEMENTSOF

ARCHITECTURE

COMBINATION OFELEMENTS (COMPOSITION)

COMPOSITION CONCEPTION

Visual/MentalAct.

DISPOSITIONS(ARCHITECTSCONCERNS)

TRUEAIMOFARCHITECTURE

Beauty(ofgrandeur, magnificence,variety, effect,character)as aninherentqualityto buildingsthatare simple,fitting,and economical.

FITNESS

Solidity,Salubrity, Commodity

ECONOMY

Lesscostly,more harmonious

Happinessand protectionof individualsand society.

SOCIALUTILITY

PublicUtility: Buildingattheleast possibleexpense.

PrivateUtility: Buildingasfitas possibleforagiven sum.

EXECUTION

PhysicalAct. OccurswithintheSquareGrid. DevoidofContext-SpaceoftheArchitect. Occurswithinspecificcontexts.

THEUTILITYOFARCHITECTURE

THEPROJECT

TraditionalIndianboardgameshavebeeninherentlyspeculativein natureandrelyonsubjectiveparticipationandimagination,curatinga strategicplaywithinmultiplayermodalities,sporingdialogue,debate, anddiscourseasformsofengagementinordertomoveacrossthe board.Thesehighlystructuralengagementsaremirroredinthe material,mental,andsocialecologiesthathaveproducedthese games.

Gameboardsperformassitesofpleasure,risk,leisure,intellectual interaction,andsocialisation.Experiencesaregroundedindesigned playthroughengagementwithaseriesofrules,constraints,and possibilitiestonavigatethesesitesandreachadesiredend.

Thisprojectcloselyexaminesthecraft-cultures,politicalacumen, aestheticagendas,andcommunitymakingambitionsofsociety enmeshedonthesitesoftheseboardgames.Itprojectsthe speculationsbornfromthegameworldstotheirsitesofproduction, transference,andparticipationtounderstandthegameasthecentral artefact,producingworldsbornfromthelogicsandrulesofthegame.

THEQUEST

ThisprojectdiversifiestheimaginationofIndianhistoriesfromits religious,nationalist,andlabourspecificconnotations.Itdocumentsa fascinatingpath,movingfromIndo-toIndie-Futurisms,of decolonisationthatisnotsubtractivebutsynthesising,toimagine futuresfromeverydayimaginariums.

Withinthesegamesarepresentbubblingunder-historiesandlatent Indie-futurisms,producingaconflatedsynchronicityoflinearand cyclicaltimewithinthegame-worlds.Participationintheseworlds requireabecomingsubjectivitythatisliberatedfromtheteleological notionoftime.Canthissubjectivityberecreatedoutsidegameworlds? Howcannon-teleologicalworldsbegeneratedoutsidetheirownsites ofproduction?Aretheseprocessestransferableandtransformable?

THEWORLDING

In‘TheArtofPlay’,AndrewTopsfieldprovideshistoricalreferencesto renderfunctionalrelationshipsbetweentheculturalsignificanceof boardgames,andtheirrules,players,andmaterialities.Asetofactions andproceduresconstitutealayeratopthesefunctionalelements, identifiedthroughanexerciseinworlding-ofemployingtaxonomical classificationtoproduceacriss-crossingofthematerial,affective, cognitive,emotive,andformal.

Workingwithgameboardsassitesofproduction,taxonomiesallowan examinationofthevisualandmaterial,specificelementswithinthem, makingprocesses,meaninghistories,associativerelationships,andthe emergingnarrativeswithinthesiteoftheboard,formingmeta-sitesto locateunder-historiesandIndie-Futurisms.

TRADITIONALINDIANBOARDGAMES

GAMEBOARDSTOWORLDS//GYAN-CHAUPAR(SNAKES&LADDERS)

GAME BOARD TYPE

CATEGORY

BODIES

VISUALELEMENTS

INDIVIDUAL IDENTITY

COLLECTIVEOR SUB-DIVIDABLE PHYSICAL/SYMBOLIC MOVEMENT

MOBILITIES

PLAYACTIONS

GESTURESAND ACTIVITIES

SPATIALITIES

SPACES,FORMS, ANDMATERIALS

LOOKANDTEXTURE ARRANGEMENTS ANDORGANISATION

GAMEWORLD

ASSITEOFINDIEFUTURISMS

OFAFFECTIVE WORLD-BUILDING ANDMULTIPLE IMAGINATIONS

Thisproject(SOIF),fundedbytheGrahamFoundation(2021),examinestraditionalIndianboard gamesassitesofpotential/production,inthesearchforlatentIndie-Futurismswithinthem.Ihave workedonhowtaxonomiesaidindeconstructingthehistoricalarchivesofthegameboards.

ONTHESELLACURULIS

MATERIALS,HISTORIES,ANDMOVEMENTOFDESIGNPRACTICES

ThisFoldingX(Curule)Chairisestimatedtohavebeenfabricatedbyanunknownfurniture-makerin thenorthernregionsofNetherlandsinthe17thcentury.

HEIGHT100cm//WIDTH74.5cm//DEPTH44.3cm

Armrestsrisefronttoendina slidingarchabovethepillars, toppedwithsmalllionsculptures bearingshields,placedatopionic capitalsdecoratedrosettes.

MATERIALSANDMAKING

FoldingX(Curule)Chair,WalnutTeak Leather,Copper,NorthNetherlands, c.1620-1650,Rijksmuseum,Amsterdam

TOTALWEIGHTOF11KILOGRAMS

Leatherfabricsattachedtomainframe usingmoderatelylargecoppernails. Creasesvisibleinthecentreoftheleather fabricsindicatesthefoldablenature, makingtransportationeasier.

Frontlegsdecoratedwithdeep reliefcarvingssculptedtodisplay tendrils,underwater(dolphin-like) creatures,crownedTriton/merman ontheleft,andanaiadorwater nymphontheright.

WALNUT COPPER LEATHER

PRIMARY HARDWOOD NAILS

SEATING/ BACKREST

Frontandrearpillarsare hingedtogetherasinverted semicircles(X-shaped).Hinge fittedwithlionheadinfront.

Bothpillarsplacedfacingoutwardsto provideload-bearingcapacityConnected onrightsidewithawoodenpiecewith cutouts.Rearpillarsgluedusingaveneer.

HISTORIESOFPOWER

TheoriginsoftheCurulechairseataretracedbacktoancientRomanandEgyptianempires,whenitwas popularlyknowsasthesellacurulis(currusmeaningchariot).AccordingtoTitusLivius(Livy),thesella curulisoriginatedinEtruria,constitutingregionswithincentralItaly(c.750–500BC),anditsformcan bederivedfurtherbackfromtheNewKingdomofEgypt(c.1570–1544BC).

ThecurulisisprominentlyconsideredfortheirsignificanceinbeingplacedwithintheRomancourtsand palaces.Recognisedasaformofthronesignifyingpoliticalandmilitarypower,itwasreservedfor distinguishedindividualsthatheldimperium,governmental/militaryauthority,thethreeflamines maiores(highpriestsoftheArchaicTriadofmajorgods),androyaltythatwererecognisedasalliesby theRomanEmpire(Weinstock,1957).

Theyweretraditionallyconstructedandveneeredwithivory,withcurvedlegsforminganX,lowarmrests andnobackrests,anddecoratedelaboratelywithcarvingandornament.Supposedly,thedesignand materialityofthechairwassupposedtoproduceanuncomfortablesittingexperienceoveralongperiod oftime,afeaturethatwoulddiscourageprolongeddiscussionanddeliberation(Rybezynski,2017).

TheItalianRenaissance(c.1400-1600)sawtherevivalofancientandhistoricalobjects/forms,introduced withnewmaterialconstructions,techniquesandprocesses(Dyer,1919).Onecouldtracethere-emergence oftheCuruleinseveraldifferentregionsofEuropeinthatperiod.

Theformofthechairanduseofivorywithinitindicatesarevivaloftraditionalmaterialpractices,whereas morecontemporarydesignpracticesandelementsshowcaseanevolutionofdesign-withadvancementsin technology,developmentsincraftspersonship,andrequirementsofthetime,allwithinspecificcontextsof usage,class,hierarchies,andgeography.ThedesigniterationsacrossEurope,evolveintheirowncultural contexts,andhighlightthemovementofforms/materialsacrossbordersthroughcross-culturalexchanges ofdesignpracticesandideasbyroyalty,designers,craftspersonsandotherstakeholders.

TheCurulechairformsaninterestingexampletounderstandthehistoriesandevolutionoftheobjectwithin themesofpowerandhierarchies;movementofdesignpracticesandtheculturalexchangesofdesignideas, skillandmaterials;andtheexaminingofspecificmaterialculturesandmaterialities,tostudyobjectsasstorytellersorindicatorsofsocial,culturalandeconomicphenomena. RenaissanceTradeMapofEurope

Hip-JointCuruleArmchair,Walnut, Ivory,CamelBone,SilkVelvet,Spain, c.1480–1500,TheMetropolitan MuseumofArt,NewYork,USA

NeoRenaissanceCuruleChair, Wood,SolidWalnut,AcanthusLeaves, UnknownLocation,c.1880,Selency, London,UK

Franco-IndianCuruleChair, Rosewood,LotusFlowers, Pondicherry,Indiac.19thCentury, PrivateFrenchCollection

ThisprojectpresentstheevolutionoftheCuruleChair(SellaCurulis)throughastudyofitshistorical importance,investigationintomaterial/designforms,andtracingitsiterationsacrossgeographies,positing thechairasacrucialindicatorofsocialandculturalphenomena.

“…foritisinbecomingmemorialandmonumentalthatatrueperfectionisattained...” -JohnRuskin,TheLampofMemory,1849

CONSTRUCTION,OFOPULENTIMAGINATIONS

AcalmserenityenvelopestheatmospherearoundtheJagNiwasLakePalaceinUdaipur,constructedby MaharanaJagatSinghII,the62ndsuccessoroftheroyalSisodiadynastyofMewar,in1746.Thedynasty’s power,wealth,andtasteforfinerluxuriesisreflectedintheconstructionoftheJagNiwasPalacewhich seemstofloatatopLakePichola,anartificiallake(originallycreatedforcarryinggrain)namedafterthe nearbyPicholvillage.

TajLakePalaceHotel,Udaipur.

Source:TajHotels

CourtyardLinedwithaLilyPond.

Source:DailyMail

MaharanaJagatSinghIIwasconsideredtobeadescendentofSurya,theHinduGodoftheSun,andthe Eastfacingpalacealloweditsinhabitantstopraytothesunatdawn(Sehgal,2009).AlsovisiblefromtheEast endofthepalaceistheCityPalacealongthelakeshoreline.Thelake,andtheviewsfromthepalace,are boundintheSouth-WestdirectionsbytheAravallimountainrange,formingamajesticbackdropforit. TogetherwiththeolderJagMandirLakeGardenPalacewhichstandsfurtherSouthfromthepalace,astrong ecologyofrichcultural,religious,andarchitecturalheritageisfacilitatedwithinUdaipur.

KhushMahalwithGlassFramedWindowsandaJhoola.

Source:DailyMail

InteriorCourtyardattheJagatNiwasPalaceHotel.

Source:MapsOfIndia

JAGNIWASLAKEPALACE,UDAIPUR

MATERIALITIES,OFARCHITECTURE,INTERIORS,ANDLANDSCAPES

ThebuiltformofthepalaceandwithinUdaipurdisplaysgreat“appreciationforthehistoriccoreasacultural artefactwithadeepconnectiontothewater”(Samant,2010).Thelakesdefinetherichmaterialityofthe landscape,reflectingtheardentrelationshipthatthepeoplesharewithwater,andhighlightingthecrucialrole ofwaterinthedryandaridclimateoftheregion,wherepracticesofwaterharvestingandconservationhave evolvedovertimeintorichculturalpractices(Samant,2007).

Thepalacebuildingismultitiered,withopenpillared terraces,colonnades,andlarge anddecadentcourtyardslined withfountains,gardens, swimmingpools,andlilyponds. Theupperroomiscircular,and toppedwithamagnificent domestructure,builtwith twelveenormousslabsof marble.Thefloorsandwallsof thepalacehavebeeninlaid withblackandwhitemarble, thenadornedwithstucco moulding,colouredsemipreciousstones,mosaicpattern work,andornamentedniches.

MaharanaAriSinghwithCourtiersBeingEntertained attheJagniwasWaterPalace;Ink,opaque watercolour,goldonpaper;Bhima,KesuRam,Bhopa, Nathu(Artists);Udaipur;ca.1767;PrivateCollection.

MaharanaJagatSinghII boatingnearJagniwas, Udaipur;ca.1746-50; MuseumRietberg,Zurich.

HistoricalphotographsoftheJagNiwasPalacefrom1882takenbyO.S.BaudessonfortheArchaeological SurveyofIndiaCollectionsshowcasethepavilionslocatedwithinthepalace,withtheircourtyards,gardens,and fountains.Thesephotographshighlightthewondrousbeautyofthepalace,anditsmarblepiazzasenclosing luxuriantorangegardens,sombrecypresses,toweringpalms,andgildedminarets.

Gardenandpavilionsfilledwithtrees andvegetationintheJagNiwas(Lake Palace)courtyards.

ViewacrosscourtyardsinCityPalace lookingtowardsPicholaLake,withJag Niwas(LakePalace)inforeground.

GeneralviewofJagNiwas(Lake Palace)andLakePichola,fromthe CityPalace.

ThisprojectpresentsabiographicalaccountoftheJagNiwasLakePalace,Udaipur,anditscontextof construction,buildingmaterialities,historiesofpleasure,andrestorationprocesses,throughanexploration ofarchivaldocuments,historicalphotographs,miniaturepaintings,etc.

OFMATERIALITIES ANDTHEMAKINGOF APROTESTINDELHI

“Theearthistheveryquintessenceofthehumancondition.”

-HannahArendt

Protestcampshavebeenwrittenaboutas‘thirdspaces’which gatherpeopletogetheraroundaparticularcauseorissue.Camps areseenintheirimpermanenceandcontinuities,suggestingnew formsoflifeandliving,survivalbasedonpatience,temperance andstruggle.Alotofliteratureonrefugeecampsexplainsthemin relationtolegitimatespaces,orthemannersinwhichpeople inhabitingcampsnavigatepermanentandstructural discriminationsanddelegitimization.Thisessaypresentsaprotest camp,nowrunninginitseighthmonthatthebordersofDelhi, throughataxonomyofitsmaterialformsandmaterialitiesthat generateitsbuiltenvironment.Here,thematerialityoftheprotest campproducestimelines,events,surfaces,mediums,labors, intensitiesandcontinuitiesofthecampsite.Thematerialityofthe protestisbothitsevidenceanditsexistence.

Inherwork‘TheHumanCondition’,HannahArendtspeaksofthe ideathatbeingabletoliveinapoliswastobedeterminedby wordsandnotbyviolence.IfoneweretoimagineArendt’sideas attheprotestsiteemergingattheDelhiborders,onewould extendthissiteasaformofapolis,primarilydeterminedbyits materiality,anditsform.TheArendtiannotionofmaking, fabricating,andbuildingmergewiththematerialitiesofthis protestsite,whichhascontinuedwithpeoplelivingonahighway forthepasteightmonths.

September2020witnessedtheintroductionofthreenewfarm billsbythecentraladministration.Thesefarmingreformswould relaxregulationsonprivateentitiesintheagriculturalmarket,a movethatangeredfarmersacrossthenation.Theirdemands constitutedarepealoftheunjustifiedreformsthatfragmentand deregulatethemarketalongwithalegalguaranteeonthe minimumsupportpricesfortheirproduce.Afterprotestingfora fewmonthsatstateandprovincelevels,farmersfromPunjaband Haryana(northernprovinceslocatednearthenationalcapital) startedtheirjourneytoDelhiinNovember.Thefarmersutilized methodsofgherao(surrounding),roadblocking,anddharna (demonstrations)acrossthebordersofDelhi.Havingtraveledtill thenationalcapital’sborders(Singhu,Tikri,Ghazipur),they eventuallysetupcampsitesastheirvehicleswerehaltedfrom enteringthecity.Theprotestsitebeganwiththemstoppingtheir vehiclesonthehighway.Themodeoftransporttoreachthecity becametheelementarymaterialonwhichtheprotestcontinuesto standtoday.

TheprotestattheSinghuborderextends forabouttenkilometresonthehighway connectingtotheDelhiborder.Astark differenceofmaterialformsencounters usaswewalkacrossthebarricadingby theDelhiPoliceintotheprotestsite. Harshconcrete,metal,andbarbedwire oftheStatebarricadingmovesintoa differentialmaterialityasweenterthe site.Albeitbuiltupontractorsand farmers’trolleys,thecampsitesoftens intoprovidingusadistinctaffective milieuofobjects,machines,andmaterials generatinganimatelifeworldsofthe protesters.Livingandcookingspaces formthecentralityoftheprotest,which functionsasapublickitchenforthe protestersatthesite.Thiscontinuumand presenceoflife,withthereminderof food,kitchens,anduninterrupted cooking,fuelthecentralinfrastructureof dissenthere.

Unlikemanyotherprotestsacrossthe world,wherepeoplewalkinralliesor emergeataparticularsiteonlyto disperseattheendoftheday,theprotest siteatSinghuborderisalive-in,a constantlocationofmaking,andalabor oflove.Thehighwaytransformsintoa newsurfaceofmaterialitiesandactsof work,laborandactionthroughthe developmentofthisprotest.Newforms ofdwelling,settling,circulatingthen emergetoenduretheprotestagainstan unrelentinggovernment.Thecriticalityof thisprotestsiteisitscontinuityoverharsh winter,intensesummers,andmonsoons, yetaffordsasenseofthefamilial,grafts survivalthroughordinarymaterialities, andfeelslikehome.Aseriesofparked farmers’trolleys,tractors,andtrucksform thelengthoftheprotest,inhabiting rooms,beds,placesofrest,kitchens,and courtyards.Weattempttounpackboth thematerialandthebuiltformsthat theseprovidetothesite.

Refertofullessayforadetailedinquiry ofmaterialformsandenvironments.

Thisethnographicworkpresentsthematerialitiesoffarmers’protestcampsonthebordersof NewDelhi(2020-21)throughataxonomyofitsmaterialformsandbuiltenvironments.Thisessay hasbeenco-authoredwithProf.SaroverZaidi(JSAA)andwaspublishedin‘TheFunambulist’ CorrespondentsEditorialin2021.AllimagesbySaroverZaidi.

Thisprojectmapslifebetweenbuildingsthroughexperiencesandobservationsofwalkinginthecitythroughadescriptionofspatialconfigurations,architecturalelements,objects,urbanfurniture,memories,sensorial(smell,taste,sound,touch,sight)andmaterialforms,andeverydayactivitiesonthestreetsandneighbourhoodsofBengaluru.

WALKINGINTHECITY//

BEGINS,AJOURNEY

Iwouldwalkoutthefrontgateofmyhouseonsunnyafternoons andheadleft,towardsDiamondDistrict,amundaneapartment complex.Uponturning,Iwouldencounteronthestreet,apack ofstraydogsrestingontheunevenbumpswheregravelhad convenientlybeeninjectedintopotholes.

SEWERANDTHECITY

Afterafewturns,I’dencountera ‘nala’ (sewer)runningundera narrowbridge.Astherottensmellwouldreachme,Iwould attempttoacceleratemypace.However,itwasdifficultto overtakepeopleduetotheriskofgettinghitbyacaronthe narrowstreet,wherethespeedofmovingtrafficwasquitefast, asitconnectedtwolargemainroads.Havingcrossedthebridge, Iwouldpassbyfruitstalls,milkbooths,andhawkersonboth sidesoftheroadonmywaytothemainroad.

CROSSING,ANDAFOOT-OVER(BRIDGE)

ThereweretwowaystocrossOldAirportRoad(abusymajor road),eitherthroughafoot-overbridge(whichrequiredgoingup fourflightsofstairs,walkingacross,andcomingdownthesame numberofsteps),orwaitingfortheredlight,walkingacrosshalf theroad,andwaitingagainatthemedianforthevehiclesto cometoahaltbeforewalkingacross.Iusuallypreferredthe secondoption;giventhatitwasusuallymuchfasterandgoingup anddownstairsseemedtooenergyintensive.

INTERSECTIONINTERJECTION

Aftercrossingthemainroad,Iwouldthenwalkacrossthecarsandscooterslinedupatthe mouthoftheintersection,oftencrossingthedesignatedline,andpositionedinazig-zag manner.Iwouldmoveinfrontofonecar,thenbehindascooter,infrontofanotherscooter, andsoon.

THESTREETSOFBENGALURU

THELIFEANDLIVESOFASERVICELANE

Thejourneycontinuedonaservicelanerunningparalleltothemainroad.First,Iwouldencountera locksmithwithhundredsoflocksandkeysframinghispositioninashed-likestructure.Ineverpaid attentiontohim,andalwaysassumedhewasusingsoaptoduplicatekeysforpeoplewholivedfaraway.

Ontheoppositeside,atandarounda ‘panwaari’ (paanshop),busdriverswouldbescatteredaround cementandstoneslabsthatwereplacedtoreplicatebenches,smoking,drinkingtea,andeating samosas.Withbusesalwaysparkedonthisstreet,theassemblyofdriverswasjustified.Apublictoilet, indicatedstronglybytheurinesmellengulfingthatarea,andtheKannadaequivalentof ‘sulabh shauchalaya’ (publictoilet)writtenonasignboardbelowtheEnglishversion,wasmyfinalencounter beforedisappearingintoacanopyforestforaboutthreeminutes.

Afootpathsoonappearedontheleft,adjoiningagarden(separatingtheservicelanefromthemain road),runningalongthestreet,carefullycuratedandmaintaineddaily.I’doftenseeanoldwomananda gardener,hiredbythelocalmunicipality,wateringthegrassandtrimmingthehedges.Ontheotherside ofthestreet,ashortboundarywallenclosedaverylarge,irksome,anddesolatebuilding,withitsfacade madeentirelyofadarkandshinyglass,reflectingsunlightdirectlyintomyeyes.

ANECOSYSTEMUNDERTHEFLYOVER

Thelongandstraightlaneterminatedquitestrangelyunderaflyover,intoanecosystemofpeopleand theirinformallydesignatedflows–anauto-standonthesideofthemainroadandanUberpick-uponthe other.Theconcretefootpathinbetweenexpandedinsize,waslinedwithstreetfoodstalls,atechnician repairingbicycles,andpedestriansscatteredaround.Allkindsofpeoplecametogetherhere–those waitingfortaxistoreachthenearesthairsalon,groupsofteenagerscomingoutofauto-rickshawsafter alongdayofschool,andsuitedmenandwomenenjoyingpeanutsinnewspapercones.Itbecameaplace ofcongregation,fortheshadeitprovidedfromthesun,andverycommonlyduringmonsoons,asshelter fromtherain.

DESTINATION,ARRIVED

Havingcrossedthisarea,Iwouldreachabrokenfootpathalongthemainroad,eventuallyleadingmeto DiamondDistrict(whoseboundaryranalongthemainroad)inanawkwardandfrustratingjourney.The sewerfromearlierwouldemergeonceagainontherightside,withathinmetalfenceplacedas barricading.Andasthefootpathwouldendabruptly,I’dreachmyfinaldestination.

Asweleavethecampusatnight,wenoticethatlightsfromtheuniversityilluminatetheintersection moderatelywell.Makingourwaythroughaturbulentcrowd,weencountercars,trucks,motorbikes, scooters,andotherformsoftransportonthehighway.Fastmovingtrafficusuallyslowsdownatthebusy intersection,butvehiclesoftenmaketheirwaythroughitwithoutreducingtheirspeedandhonkingthe entirewayiftheintersectionseemsevenslightlydevoidofcommotion.Withsomeeffort,wemanage tocrossthehighwayatthisintersection,oftenholdingoutourhandssignallingtothetrucks approachingratherquicklywiththeirblindingheadlights.Aswecross,wehearthewhizzofheavy vehiclespassbehindus,makingusjumpaheadtoprotectourselvesfromaperceiveddanger.

Thesuncastsshadowsoftreesontheroads,withtheirshapesandsizesdependentonthetimeofday andthepositionofthesun.Whenwalkingalongthehighwayduringtheday,wejumpintothese shadowsandremainwithinthem,protectedfromtheheatofthesun(evenifitisinpartsandforafew moments),andfromthevehiclesthatzoompastus.Withnopedestrianinfrastructuralprovisions,the highwaypushesustoitssides,makingwayforthefast-movingvehiclestoclaimthespace–facilitated bytheirspeedsandsounds.Wesuccumbtothiseffort,andmoveintotheshadows,whereour unbelongingisproposedbyanamplifyinginsectnoiseinsteadofspeedingautomobiles.Wegauge basedonsoundsofvehiclesandtheirritationcausedbytheirheadlights–theirposition,speed,and whenwewillneedtomovefurtherasidetoaccommodatethem.

4//NIGHT

Thenightschallengeusfurther,owingtothelackofstreetlighting.Weavoidshadowspacesunderthetrees, onesweleaptintoduringtheday,preferringtostayvisible.Thetorchesonourphoneslightuptheroad, preventingusfromsteppingintoexcreta,orfallingintoaditch.Thechallengeremains,wemuststayaway fromthevehicles,butalsotheshadows.Wefindthatathinlinetracestherouteofourjourney,withsufficient spaceoneithersidetonotcompromiseonsafety.Thespeedofthelightsandsoundsimpactsthecomfort ofourexperience,andourperceptionsofsafety.Thesoundofthefast-movingtrafficindicatesan unpredictability,whichisaddedtoitsunfamiliarity.

Whetherdayornight,thereisacertain‘quietness’tothehighway,whereambientsounds(ofthewind, insects,andevenbirds)aresupplementedwiththefrequentunsettlingsoundsofthepassingoftrucks,their Haryanvibeats,andtheirvibrationsthatenterthroughourfeetandmaketheirwayup.Asweapproachour destination,thereissomecomfortinthefamiliarityofthestimuliwebegintoperceive.Oureyesbeginto situateboards,lights,chairs,andourearsdiscernfromaherdofcrowdedexchangesandclickingoflighters conversationsaboutchickensteamedmomos,needingabreakfromwork,andplacesonecouldproceedto afterwardsforabeverage.

Thisfilm,madeincollaborationwithmyclassmateAnamikaSarker,exploredtheparallelnarration oflightsandsoundsinthebuiltenvironmentbyexaminingtheirimpactonthesensorialexperience ofwalkingonahighwayinSonepat,Haryana.

EXPLORINGTHEGOVERNMENTHOUSINGTYPOLOGYACROSS

SOMEGPRACOLONIESINNEW-DELHI

ALLOTMENTANDENTITLEMENT

GPRAhousingcoloniesareresidential accommodationsprovidedbytheCentral Governmentundertheadministrative controloftheDirectorateofEstatesin Delhi(and39othercities),whereall CentralGovernmentemployeesand employeesworkingunderthe GovernmentofNCTofDelhi(workingin officesandspecificallydeclaredeligible forGeneralPool)areentitledfor allotmentofhousing.

TheallotmentofhousingwithintheGPRA frameworkisgovernedasperthe provisionsofthe–CentralGovernment GeneralPoolResidentialAccommodation (CGGPRA)Rules,2017,andadditional executiveinstructionsissuedovertime. GPRAhousinghasbeenclassifiedinto11 categories(excludingHostels)asperRule 8oftheCGGPRARules,2017.

Thishasbeendoneinreferencetothelevelinthepaymatrixdrawnbytheapplicantin theposttheyholdintheGovernmentofIndia,withTypesItoIVaslowertypesof accommodation,andTypesIV(Special)toVIIIashighertypesofaccommodation.

THEURBANSCALE

Asof2020,thereare207GPRAcolonieswithin severaldifferentneighbourhoodsinNewDelhi, withthenumberofdwellingunitswithinthem rangingfrom1(atvariouslocations)to11,992(inRK Puram)withthetotalnumberofdwellingunits addingupto70,578acrosstheentirecity.

ACCOMMODATION(GPRA)

URBAN,NEIGHBOURHOOD,ANDARCHITECTURALSCALES

THENEIGHBOURHOODSCALE STAKEHOLDERSINVOLVED

LAYOUTPLANOFGPRACOLONY,CHANAKYAPURI

THEARCHITECTURALSCALE

LAYOUTPLANOFGPRACOLONY,CHANAKYAPURI

AlthoughGPRAcoloniesacrossthecityhave beenorganisedwithvaryingarrangements, thereareafewtypicalconfigurationsthat emergewithinseveralofthesecolonies, dependinguponthevariousTypesof accommodationpresentwithinthem.TheGPRA colonyinChanakyapuriconsistsofC2(VI-A),D1 (V-B),andD2(V-A)dwellingunitsarrangedalong SatyaMarg,MadhuLimayeMargandVinay Marg.Althoughnotformallyenclosedwith boundarywalls,theentryandexitpointsinto thesecolonieshavesecurity/policebarricades controllingtheflowoftrafficwithinthem. Thetypeofaccommodationprovidedwithinthe GPRAframeworkisbasedonthelivingareaof thedwellingunit(DU),whichrangesfrom(<)30 to522squaremeters.Theservicesandamenities providedwiththehousingisalsodeterminedby thetypeofaccommodation.IntheGPRAcolony inChanakyapuri,therearemultipledwelling unitswithinasingularconstructedunit,withtwo largerunitsonthegroundfloorwithseparate entrances,andsmallerapartmentsonthefirst floorwithacommonstaircaseforaccessing.

LEGEND C2Flats S.O.Flats

D1/D2Flats

GPRAHOUSE,CHANAKYAPURI

Thetwolargerunitshavefrontandbackyardswith greenareas,pavedsideyards,withspacesforparking andotherrecreationalactivitiesforitsresidents.

Thisprojectexploredtheinterplayofinhabitationand institutionthroughastudyofGPRAhousingsystemin relationtotheworkingoftheDelhiUrbanArt Commission(DUAC).

AMILLIONWELLSFORBENGALURU

GRASSROOTSCOMMUNITYACTIONAGAINSTTHECLIMATECRISIS

AMillionWellsforBengaluru waslaunchedby BiomeEnvironmentalTrust,anot-for-profit organisationledbywaterconservationexpert VishwanathSrikantaiah.Thismovementaimsfor 1millionfunctioningopenrechargewellsinthe cityallowingfortherechargeofshallowaquifers throughrainwaterharvesting,andraisingthe watertable.Amajorityofwatersuppliedtothe cityispumpedup300mfromtheCauveryRiver (flowing100kmsouthofthecity),inanenergy intensiveprocess,andbore-wells(ornarrow boreholes)thatexploitanddrainloweraquifers. Themovementaimstoresolvetheseissuesof watersupply.

WATERSUPPLYTOTHECITY ENGAGINGCOMMUNITIES RESPONDINGTOCLIMATE

Lessthan10%ofrain-water percolatesintoaquifersbased onhydrology,broughtdown to1%withland‘crusting’due tourbanisation,whererain chokessewersassurfacerunoff,inundatinglow-lying areas.Theaimistoincrease percolationto60%,tomeet thewaterrequirements.

Themovementsaimstoraise awarenessabouttheroleof localcommunitiesinreviving openrechargewellsthrough collectivecitizenaction,and toprovide/securelivelihoods forthenativewelldigging MannuVaddarcommunity whopossestheknowledgeof theregion’shydro-geology.

Openrechargewellsmitigate erraticrainfallpatternsand urbanflooding,aswellas reducecarbonemissionsand energyconsumption(by20 times)throughmimicking naturalpercolationpatterns androutingrain-waterback intotheshallowaquifers insteadofallowingittoflood.

Refertothefullessayforadetailedinquiryintoactivestakeholders,criticalpoints,process replicability,broaderchange,andsustainableformsofdevelopmentwithinthemovement.

ThisprojectwassubmittedfortheOccupyClimateChange!Movementwhichexploreshow urbancommunitiesrespondtotheclimatecrisisbyinvestigatinginsurgentcitizenship practices.Informationfrominterviewwith,andimagesby,S.Vishwanath.

BREAKINGDOWN,SHIP-BREAKINGDOWN

EXPLORINGSHIPDEMOLITIONPRACTICESININDIA

ENERGY

GasandElectrical

90,000 3,000

Vesselsinworld widefleetofships

Shipsdismantled everyyear

PRODUCTS

Recycled

•Stiffenedpanels

•Remaining rerollablesteels

•Irrepairable engines,pumps andpipes

Repaired

•Mainand auxiliaryengines

•Pumps

•Equipment

Reused

•Steelplatesand sections

•Stiffenedpanels

•Pipes,etc.

WASTE EMISSIONS

HULL StructuralFailure

OILSPILLAGE Accidents

ENGINES Fuel/HumanError

MARITIMEPOLLUTION

AIRPOLLUTION

SOILCONTAMINATION

Shipdesigndecisionsmust bereconsideredbasedon theparametersofsafety, economyandenvironment. Theshiprecyclingprocesses mustbealteredtoextract themaximumfromthe existingmaterialsandoffer adaptivereusesolutionsto equipmentprocuredfrom dismantledships.

SUSTAINABILITY

Byvirtueofconducivetidalconditionsthatenablethe costeffectivebeachingtechniqueofdismantlingin additiontolowermanpowercostandlackofstringent regulations,SouthAsiancountriesoffersolaceto EuropeandAmerica’sexpensivedismantlingwoes.

Avg.lifeofships

50MNWorkers

140Countries 20-25Years

MeltingSteel

ReRollableSteel

29MN+Tonnageof garbageproducedby shipbreakinginAsian countriesasof2013

90%LDTSTEEL

(LightDisplacementTonnage)

CHITTAGONG,

GADANI,

85%OfShipBreakingYardsAreLocatedInSouthAsia

SINGAPORE

ALANGSOSIYA,INDIA

47%

350+

Vesselsdismantledannually

66,000

Shipsrecycledglobally Workersinvolveddirectly

1MN+

Involvedinrelatedfields

Thisresearchandawarenessprojectaimstounderstandnetworkedecologiesofun/sustainable development,environmentalimpactsonecosystems,andhuman/communityhealthfactorsof andwithintheshipdemolitionindustryinIndia.

BANGLADESH

PAKISTAN

Securityisaparadigmofgoverning thatissofterandmoreliberalthana faciallycoerciveformofjuridicalor disciplinarypower.

Section144oftheIndianCriminal ProcedureCode,1973,isacolonial eralawwhichdisallowsthegathering offourormorepeopleinapublic settingwheninvoked,alawframed throughamechanismofsecurityas explainedbyMichelFoucaultinits modalitiesofpowerandprocedurelegalcode,disciplinarymechanisms, andsecuritydispositifs.

LEGALCODE//Involveslayingdown lawsandfixingofpunishmentsfor thosewhobreakthem

Abinarydivisioniscreatedbetween permittedandprohibited(declared illegalandpunishable)actions,based onsocialandculturalacceptability.

DISCIPLINARYMECHANISMSAND

ACTIONS//Involvessurveillanceand correctivedisciplinaryactionto preventcriminalactivity

Therearedisciplinaryactionsaligned withprinciplesofclassicalcriminology thatpreventillegalactionsthrougha publicdisplayofharshpunishment, highlightingdangersofbeingcaught.

SECURITYDISPOSITIFS//Involves dealingwithprobableeventsand optimisationofbehaviours

Thepopulationistreatedasa collectionofbodieswithphysiological needs,wheretheStateformulatesand predictspatternsofmovementwithin thegiventerritoryby-

ENUMERATINGCITIZENS DIRECTINGACTIONS

TheinvocationsofSection144reflectacolonial heritagewithintheIndiancriminaljustice systemandhighlightthecommandofpolitical directivesingoverningthe‘independent’ judicialstructuresoftheStatethroughthe carceralformsofcontrolexercisedonbodies.

SECTION144 POPULATION

Dispositifsofsecurityacton populations,manifestingitself acrossphysicalspaces, technologies,andtemporalities.

INEACTSONINDIVIDUALPERSONS

GOVERNANCEANDMECHANISMOFSECURITY

Securityreliesonbio-powerbyutilisingstatisticalanalysisto preventsociallyunacceptableactsandachieveeconomic equilibriumthroughpopulationregulationbyoptimisationof birth/mortalityrates,health/welfarestatistics,etc.Itconsists ofregulatorymechanismswithpowerrelationsintrinsictothe formation,implementation,andinteractionoflawswith populations.

Section144regulationscompriseofpowersconferredupon magistratestoissueordersthatpreventandaddressany adverseimpactsonhumanhealth,safetyandpublic tranquillitywithinurgent‘apprehendeddangers’thatmay ariseintheirterritorialjurisdiction.

OFSPACES//PopulationsandCrowds

ForaState,itspopulationrepresentsafieldofgovernmental interventiondependantonvariablescreatedandmodifiedby thegovernment.Crowdsescapethislogictoperformas threateningandsubversivesocialentitiesmakingitessential fortheStatetoregulatetheircirculation.Section144is reflectiveofpolicythatcontrolsandpreventssubversive actionsofcrowds.

OFTECHNOLOGIES//SurveillanceandDanger

Throughbio-politicalsurveillingtechnology,anenumerative identityofthepopulationiscreatedandrecorded.These technologiesareutilizedtomaximiseandduplicategood circulationanddecreasebadmobilitybycontinuously identifyingandexcludingthreatsorpotentialdangerthrough disciplinarylogicsoftemporality.

OFTEMPORALITIES//ProbabilityandPractice

Securitydispositifsaimatwhathasnotyethappened, throughsystemsofprobabilityestimations.Owingtothe technologiesofsecurity,itsinvocationisjustified,andthe contingencyofathreatisrationalisedthroughthelogicsof pre-emption,precaution,andpreparednessthatcounteract identifiedthreatsbeforetheymaterialiseintodamageor disturbance.Section144isonesuchsanctionedintervention thataddressessafetyconcernscausedbysuch‘apprehended danger’.

ThisprojectanalysesSection144oftheIndianCriminal ProcedureCode,1973,throughMichelFoucault’sexplication ofsecurityandpower.ImagebyRaviSharmaonUnsplash.

Arisingoutof'BuiltEnvironmentsanditsHistories'(Spring2020),thiszineexamineswaysinwhichinhabitantsofcitiestransact spaceswhileengagingwithinterior-exterior/private-publicbinaries.Myspreadtitled'Cities,incomes,legitimacy',attemptstovisuallyrepresentthe'unorganised’and'informal'formsofemploymentwhichcontributetothefabricofthecity,andthusquestionsthevalidityofofficialdocumentsinlegitimisingformsoflivelihoodincities.

INTERIORSKIN,TEXTURE,ANDSERVICESDESIGNWITH

DESIGNBRIEF

Thisprojectfocusedonluxuryinteriorandservicesdesignforapenthouseapartment, developedbySupertech,inGreaterNoida.Thedesigndealtwithbuilt-ininteriors,materials andfurniturelayouts,andservices(includingHVAC,plumbing,electrical,andautomation) foralargeterracebalcony,gym,living,dining,andpowderrooms.

DESIGNINTENTANDMATERIALPALETTES

RESIN WICKER PATIO FURNITURE BURMA TEAK WOOD DECK POWDER COATED ALUMINIUM PERGOLA

STONE CLADD //DININGROOM

SECTOR94,GREATERNOIDA

COSTINGFORALUXURYPENTHOUSEAPARTMENT

FLOORLAYOUT

TERRACE(W/PLUNGEPOOL)//1

LIVINGROOM(W/BARAREA)//3 GYM//2

POWDERROOM//4

DININGROOM//5

1.

TERRACE//2

TERRACE//1

GYM//1

GYM//2

LIVINGAREA//1

LIVINGAREA//2

POWDERROOM//1

POWDERROOM//2

Thisprojectfocusedonthearchitecturalform andspacelayoutdesignofabanquethalland quickservicerestaurant(QSR)combinationin Bisrakh-Jalalpur,GreaterNoida.Thedesign dealtwithstructuraldesignandform,in relationstointeriorandfurniturelayoutsfor banquethalls,receptionandcorridorspaces, offices,guestlodging,ancillarystaffspaces, restaurant,commercialkitchens,exteriorlawns, andparking.

SITE+GROUNDFLOORLAYOUT

Thefloorlayoutswerebasedontheactivityprogrammingofthebusinessmodelpreparedin thepre-designphase,tryingtoexperimentwiththepotentialoftypesofbanquethalls(indoor, outdoor,andcombination),andinrelationtootherspaceswithapre-functionlobbyas mediatingspaces.

RECEPTIONLOBBY//2

RECEPTIONLOBBY//1

RECREATIONROOM//1

GUESTLODGING//1

CEO/MANAGEROFFICE//1

STAFFOFFICES//1

EXTERIORS//1

EXTERIORS//2

DR.KN.KATJUMARG//

URBANMOBILITYREDEVELOPMENTFORA

SITECONTEXT

PROBLEMIDENTIFICATION

EXISTINGSITEPLAN

DR.K.N.KatjuMargisasub-arterialroadinRohini, NewDelhi(North),divergingintoresidentialand commercialpockets,interspersedwithpublicand privateschools,markets,andgardens.

TOTALLENGTHOFENTIRESTRETCH:

LENGTHOFOBSERVEDSEGMENT(S1):

KEYLANDMARKSALONGSEGMENT: 2KM 800M

SachdevaPublicSchool,ESICGovernmentHospital andResidentialColony,TATAPowerGrid,Event Gardens,GuruNanakDevUniversity(DSEU)

ROHINI,NEW-DELHI

SUB-ARTERIALROADWITHSCHOOLZONES

ANALYSIS

//SPEED

//Highspeedingduetolongandcontinuous stretchesonthecarriage-waywithoutany enforcementorregulatory(trafficcalming)measures

//Safetyconcernswithpedestrianmovementand crossingsduetoclashingspeeds,scales,andsizes

//FLOW

//Breaksinflowofpedestrian,cyclist,andvehicular movementduetocrowding,brokenfootpaths, hawker‘encroachment’,andcongestiononroads

//LackofNMVinfrastructureforcingcyclistsonto footpathsandwrong-sideroads

//FOOTFALL

//Highfootfall(pedestrians,auto-rickshaws, E-rickshaws)andmovementathospitalentry/exit, busstops,hawkerspaces

//Homelesssquattersonthefootpathsandlackof basiccivicamenities(restareas,washrooms)