Architecture Portfolio by AgamyaGoyal

ARCHITECTURE PORTFOLIO Agamya Goyal University School of Architecture and Planning

“It’s not the projection of your art, its the interpretation by their eyes that matters.”

Hello! I, Agamya Goyal, am an architecture student currently studying at the University School of Planning, New Delhi. In this undulant journey of 4 years, I have come closer to understanding the true essence of architecture. I believe that with functionality, a design must provide an experience that allows the user to feel closer to the building, providing an escape. Architecture is meant to respond, not just to the environment, context and function, but to its varied user base, just as well. The vision of architecture, for me, lies in its versatility, be it with elevations, landscaping, planning or design elements. Taking a keen interest in a design that holds its roots in a well-layered concept, I place my strengths in its manifestation. I play with planning to create interest in to and through spaces. I particularly like working on experiential designs, enhancing the user interface and functionality of a space. With an open mind and a constant want to learn, I would love to explore, understand and hone my skills.

AGAMYA GOYAL +91 8860090823 agamya1998@gmail.com

Sheikh Sarai Phase-1, New Delhi-110017

EDUCATION High School- Amity International School, Pushp Vihar (10 CGPA) Higher Secondary School- Amity International School, Pushp Vihar (95.6%) B.Arch (4th year student)- University School of Architecture and Planning, G.G.S.I.P.U. (8.6 GPA)

EXPERIENCE 2018- Interned at the Multilogue Collective, 4 months 2019- LEH, Building an Urban Database, Workshop (3 weeks) 2020- Rethinking the Future, Architecture Journalism Internship (15 weeks) 2021- Internship with Spaces Architects @KA (9 months)

COMPETITIONS Writing Architecture, 2017- Shortlisted in top 10 Unknown Crafts Person Trophy, 2017- 2nd prize (Living Root Bridges, Cherrapunji) ANDC, NASA, 2018 (Dream, a mere theatrical) Nari Gandhi Trophy, NASA, 2019- 1st prize (The case of twisted Hanuman) ANDC, NASA, 2019- shortlisted in top 10 (Chhitkul, the village on Pause) Laurie Baker Trophy, NASA, 2019 (The case of Gadia Lohars) Writing Architecture, 2019

SKILLS

SoftwaresAdobe Illustrator, Adobe Photoshop, Adobe InDesign Autodesk Autocad Autodesk Revit, Google Sketchup, Rhino Lumion, Enscape, Adobe Premiere Pro MiscellaneousReading and Writing, Hand Drafting, Sketching Rendering in ink, Research work, Composition, Cracking dad jokes REFERENCE: Ar. Avtar Singh E-mail: avtar@ipu.ac.in Contact number: 9811386940

TABLE OF CONTENTS

A JOURNEY OF SELF DISCOVERY

Architecture timeline

RESTORATION OF ANCIENT HAVELI INTO THE LAHORI GATE MUSEUM

Internship project

STONELAM EXPERIENCE CENTRES

Internship project

A LIBRARY COMPLEX AS A 3. PERFORATING HUB FOR INFORMAL KNOWLEDGE

Thesis project, semester 8

4. Urban design project, semester 7

REIMAGINING THE CENTRAL VISTA

HOUSING IN OKHLA 5. LUXURY Housing project, semester 6

6. A.N.D.C. trophy entry

CHHITKUL: THE VILLAGE ON PAUSE

7. U.C.P. trophy entry

LIVING ROOT BRIDGES, CHERRAPUNJI

8. MISCELLANEOUS WORK

A 4 YEAR JOURNEY OF SELF DISCOVERY THROUGH, OF ARCHITECTURE Stepping foot into this abyss With a lot to unsee, and more to discover In just four years, a journey uncovered. Time recorded itself through learning curves, Shaping the clay of my visage, with every move.

UNKNOWN CRAFT PERSON’S TROPHY This trophy helped understand the nuances that bring forward a master creation, like the root bridge. It gave insight into detailing and the versatile use of vernacular materials.

LAURIE BAKER TROPHY Designing for a poor tribe,, against permanent settlements, this project enabled me to work close to reality; using low cost techniques, creating materials out of existing resoureces, planning for a unique user base, all while managing the costing to be at the lowest.

FIRST YEAR Entering with an incomplete idea of architecture, first year helped me realise that it is not just about the colours, textures, gradients or volumes, that make a design. It is the presence of its users and the way it serves different users, that bring it to optimum usage.

THESIS Taking inspiration from all the learnings and the workings of the previous years, the thesis project revolved around the need for infrastructural development of informal education, through a library complex. The design, owing to its unique envisioning, allowed me to understand the rationale behind the initial parts of a design, while creating something that truly manifested the society.

HOUSING Rendering away from typical clusters that make a society seem repeated, this project saw how to break monotony and create identity in repeated verticality, while making every type of person comfortable. All this, while achieving maximum functionality.

DREAMS- A.N.D.C. A new take on ‘reality’ of architecture, I developed the potential to morph absolute and abstract, strengthening the ability to conceptualise, ideate and create.

CULTURAL CENTRE The project helped me realise my strength to conceptualise conceptualise. Materialising the idea of culture, it taught multiplicity, through a wide user base, while maintaining harmony in physical form.

HOSPITAL One of the trickiest projects to work on, this witnessed interest getting induced into an otherwise rigid planning requirement; through strong and detailed landscapes, and facade design, to attain maximum functionality.

REVAMPING CHHITKUL Documenting this tiny village introduced me to problem solving by designing for an extremely cold climate, using Indian techniques, responsive architecture and providing for an interactive, yet introvert culture.

DISSERTATION The past years highlighted the dynamism of our society, be it through its changing needs or a vast and distinct array of experiences. My dissertation helped me throw light on the importance of ‘temporariness’ in architecture and its losing touch today.

RETHINKING THE FUTURE, MULTILOGUE COLLECTIVE Both internships helped me get a wider view on topics ranging from urban planning and concepts like ‘Panopticon architecture’ to the different styles of architecture around the world. It created a deeper understanding of topics that were on the surface level till now.

URBAN DESIGN Dealing with the volatile issue of the Central Vista Redevelopment Redevelopment, this project enabled me to work closest to reality and its challenges. It taught the real meaning of designing an unhindered space for the public and the true architectural manifestation of democracy. It further provided a deeper understanding of excellence and functionality on a bigger scale.

RESTORATION OF HERITAGE HAVELI INTO THE LAHORI GATE MUSEUM

“The soul of a place that provides to all White sheen blotting destruction’s blood along. Abode to ancient hidden gems throughout One feels more than sees, its cultural spout More than just a location, its the destiny of Delhi, Emulating its journey’s exhibit, in its very belly.”

Site- Chandni Chowk, Old Delhi Area- 7500 sq. ft. Preserving the timeless architecture of a trodden haveli in the heart of Chandni Chowk, with its intricate details and alluring spaces. The aim of this project was to give back to the public and the culture of this location, by restoring this haveli in the form of a museum. A museum which will showcase the intricacies, cultural diversity, delicacies, and lure of Chandni Chowk, in its very heart.

PLANNING AND REDISCOVERING THE SPACE

GROUND FLOOR PLAN 1. Semi covered entry lobby 2. Ticket counter window 3. Model of Chandni Chowk 4. Souvernier shop 5. Ofﬁce and workstations 6. Staircase and lift lobby

7. Exhibit 1- Doors of Chandni Chowk 8. Exhibit 2- Chandni Chowk’s transport 9. Exhibit 3- Khari Baoli spice exhibit 10. Exhibit 4- Red Fort and Old Delhi 11. Exhibit 5- Religion, Chandni Chowk. 12. Exhibit 6- Introduction to Havelis

13. Exhibit 7- Havelis of Chandni Chowk 14. Exhibit 8- Kite ﬂying in Chandni Chowk 15. Exhibit 9- Ancient clock tower exhibit 16. Toilet core (male and female) 17. Semi open, traditional gallery space 18. Landscape entry space

17.

5. 15. 16.

2. 6.

14.

18.

12.

13.

10.

7. 4.

11.

GROUND FLOOR SPACES

Introduction to the space through the warm embrace of heritage and the Chandni Chowk’s cream, in one view.

The lay of the story of Chandni Chowk through its background and historic name.

Exhibiting the beauty of Naughara gali, making miniatures of these doors and showcase their beauty together.

Showcasing the historic range of Chandni Chowk’s transport, in the form of tactile models, for an enhanced experience.

Highlighting the largest Asian spice market, by emulating the experience of the vibrancy of stored spices at homes.

Chandni Chowk is blessed with havelis in such a plethora that one can be sure of ﬁnding atleast one in each lane. The central lobby and open space to the far front aim to throw light on this haveli architecture, in various forms. This includes exhibits of havelis as well as life size replications of elements and stone facades of Haveli Dharampura.

Dedicating a space to its vibrant kites, of Emulating the broken, ancient ‘Ghantghar’ multiple styles, hanging from the ceiling, through an 18 ft. tall replica, to bring back immortalizing the oldest sport of Chandni its strong presence and historic sentiments. Chowk inside.

Providing a modern outlook to the staircase, reiterating the idea of preserving heritage, while staying close to one’s current practices.

FIRST FLOOR PLAN 1. Staircase lobby, first floor 2. First floor lobby 3. Exhibit 10- Looking down into the transport zone 4. Exhibit 11- First floor’s view of haveli area

5. Exhibit 12- Cafetaria, exhibit of Food of Chandni Chowk 6. Exhibit 13- Audio/ Visual zone 7. Exhibit 14- Looking down into transport 8. Exhibit 15- Literature of Chandni Chowk 9. Exhibit 16- Room design of ancient haveli

10. Exhibit 17- Heritage handicrafts of Chandni Chowk 11. Exhibit 18- Kabootarbaazi of Chandni Chowk 12. Exhibit 19- Semi open gallery space, ﬁrst ﬂoor

11.

3. 1 5.

12.

10.

6. 9.

FIRST FLOOR SPACES

Creating a volumetric interest with multiple courtyards looking down into the details of Chandni Chowk’s ﬁnest details, interiors and elements.

With a poster bed, old wooden cabinets thick moldings, graphic square tiles, this room is designed to give the effect of an old room of Chandni Chowk’s havelis.

The ﬁrst ﬂoor is designed as a plethora of open galleries, courtyards, open restaurants; allowing the hustle bustle of Chandni Chowk to consume the public.

1" 4'-114

1 2"

1" 12

WALL, PAINTED

1" 12

1" 4'-42 1 2"

2'-1"

BRACKETS IN RED SANDSTONE

PAINT ON WALL

JHAROKHA IN GWALIOR STONE

3'-8" 1" 34

HAVELI, DESIGNED IN GWALIOR STONE 1" 4'-24

G.I. JAALI DESIGN WITH G.I. COLUMNS AS PER REF IMAGE D

3'-0"

G.I. JAALI DESIGN WITH G.I. COLUMNS AS PER REF IMAGE D

2'-0"

G.I. JAALI

1" 44

1" 2'-84

1" 64

1" 4'-72

1 2" 64"

6'-0"

3'-103 4"

3'-3"

1" 2'-84

FALSE DOORS, TEAK FRAMING

MOULDING IN GWALIOR STONE FALSE WINDOW, TEAK FRAMING

2" 2"

1'-6"

2'-0" 1" 44 1" 34

LVL (+) 1'-6"

4'-33 4"

3'-8"

2'-4"

1" 13'-04

9" 1'-73 4"

LVL (+) 0-0"

1" 2'-112

2'-73 4"

2'-2"

1" 32

1 2"

1'-6"

1 1" 2" 12

1 2"

33 4"

6'-5"

1" 42

6'-5"

1" 4'-42

3" 1 2"

1 2"

1" 54

CHHAJA IN RED SANDSTONE

1'-6"

1 2"

1" 12 1 2"

MOULDING IN GWALIOR STONE

1" 4'-42

2'-11"

1" 4'-114

1 2"

3'-3"

1" 4'-114 1" 12

1 1 2" 12"

WORKING ON DETAILS

1" 3'-24

1" 11" 1 12 1 2 12" 2" 1'-0"

1" 24

1" 3'-24

1" 1'-14

1 1" 12" 44

1" 2'-82

1" 1'-14

1" 12 1" 44

2'-23 4"

LVL (+) 0'-6"

LVL (+) 0'-6" CLADDED GWALIOR STONE

1" 6'-54

15'-3"

1" 2'-92

2'-23 4"

1" 32

1 1" 12" 44

1" 1'-42

13 4"

LVL (+) 1'-6"

1'-9"

1'-1"

1" 1'-44

1" 22

LVL (+) 1-6"

LVL (±) 0'-0"

1" 42

7'-0"

COLUMNS, GWALIOR STONE 1" 42

5'-53 4"

1" 42

5'-53 4"

11'-1" 1'-0"

1'-0"

LVL (+) 2'-0"

HAVELI WALL ELEVATION DETAILS 1" 7'-24

1'-0"

3" 4

CONCRETE COLUMN

1'-43 4"

9" SLOPE CREATED

1" 4'-22

4'-113 4"

1 4"

1" 12

1 4"

RED SANDSTONE COLUMN

PLAN 1 4" 1 4"

1" 21" 2" 12 4

20 MM. THICK LAMINATED GLASS

1 4"

9" 3"

1 4" 1" 22

A' ELEVATION AND SECTION A-A'

SECTION A-A'

GATE DESIGN DETAIL

BOUNDARY WALL AND GLASS ROOF DETAILS

1" 4'-112

3" 1" 12 AS PER SITE

1" 4'-112

1'-43 4"

1" 12

4'-113 4"

1" 12

4" 1" 12

3" 4

1" 12

3" 4 1" 102

1" 12

11" 3"2 4 3"

3" 1" 12 3" 4

3" 4

3" 3" 4 4

1" 102

1" 7'-24 3" 4

3" 4

1'-3"

ELEVATION

RED SANDSTONE 1" 72 3" 3" 4 4

1 2"

3" 4

1" 12

1" 4" 12

13 4"

1" 12

53 4"

13 4"

3" 4

1" 102

MOULDING COLUMN, AS PER DETAIL

3" 4

7'-33 4"

1'-43 4"

1" 12

3" 4

1 4"

7'-33 4"

2'-0"

1" 12 1 4"

1" 12

1'-3"

5'-3"

1 4"

1 2" JAALI, AS PER REFERENCE IMAGE

12 MM X 12 MM. M.S. GRILLE

1'-0"

PLAN

4'-113 4" 4"

1" 102

3" 4

4'-53 4"

5'-4"

3" X 6" M.S. MEMBERS

1'-3"

PARAPET WALL HEIGHT TO BE INCREASED 3" 1" 12

1 4"

3'-113 4"

4'-23 4"

1" 4'-44

1" 5'-02

1 4"

3'-113 4"

20 MM. THICK LAMINATED GLASS

1 2"

12 MM X 12 MM. M.S. SQUARE PIPE

1" 1'-42

4'-113 4"

1 4"

12 MM X 12 MM. M.S. LATTICE GRILLE

8'-0"

3'-113 4"

1" 44

3" 4 3 4"

1 4"

1" 72

1" 5'-52

3" 4

3" 4 3" 4

1 4"

1" 1'-42

12 MM X 12 MM. M.S. SQUARE PIPE

WALL HEIGHT TO BE INCREASED BY 9"

1" 1'-42

3" 4

HERITAGE LAMP

3" 1" 12

1" 102

3" 4 3" 4

4'-113 4"

3" 4 3" 4

1" 24

3" 4

1" 102

3" 4

1 4"

1" 44

3" 4

1" 72

3" 2" 4

3" 4

1" 24 3" 3" 4 4

1'-0"

2" 3 4"

33 4"

3" 3" 4 4

1 4"

3" 4

33 4"

1 4"

13 4"

1 4"

1" 34

1" 32

HERITAGE LAMP

1 4"

3" 3" 4 4 21" 4

1'-0"

11"

1'-0"

JAALI, AS PER REFERENCE IMAGE, WELDED TO MEMBER 3" X 6" M.S. MEMBER

A/V ROOM

STONELAM EXPERIENCE CENTRE

Site- Multiple Locations throughout Area-650 sq. ft. The Experience Centre was a module design planned for an area of 650 sq.ft. The aim of this design was to showcase the diversity of the use of Stonelam tiles. Hence, each element was designed in extensive detail, from framing to the cladding over it. This required one to play around with base materials. The project delved into the tiniest details, requiring an accuracy of 3MM. Each location had a different planning, requiring certain tweaking in some details.

LAYOUT PLANNING FOR EFFICIENT MOVEMENT The envisioning of every experience centre starts with its layout planning. Being a modular design with well thought out elements, the following is kept in mind while laying the design out: 1. A pocketed planning allowing for there to be multiple experiences in various areas.

1"] 40.0 [0'-12

CLEAR HEIGHT LVL. 9.0 [0'-01 4"] 1"] 7.0 [0'-04

1"] 112.0 [0'-42

279.0 [0'-11"]

1"] 241 [0'-92

2438.0 [8'-0"]

1"] 2317 [7'-74

230 [0'-9"]

227 [0'-9"]

1"] 241 [0'-92

112.0 [0'-41 2"]

554.0 [1'-93 4"]

379 [1'-3"]

151 [0'-6"]

1"] 13 [0'-02

151 [0'-6"]

7.0 [0'-01 4"]

112.0 [0'-41 2"]

40.0 [0'-11 2"]

3. Providing ample interface areas for meetings, discussions, taking pictures, etc.

4mm CHEMICAL LAYER

3mm STONELAM TILE (PIETRA DI SAVOIA GRIGIA)

1"] 801 [2'-72

151 [0'-6"]

554.0 [1'-93 4"]

2235.0 [7'-4"]

SECTION - AA'

152 [0'-6"]

1"] 112.0 [0'-42

1"] 568.0 [1'-104

1"] 9.0 [0'-04

LVL. (+) 0'-941" 1"] 1000 [3'-34

151 [0'-6"]

2. Distributing the elements and panels around the space such that it allows quirky lines and the depth of the tiles to be experienced from every corner.

18mm CEMENT BOARD

50mm X 82mm WOODEN FRAMEWORK

152 [0'-6"]

LVL. (+) 0'-6"

LVL. (+) 0'-3"

1"] 1179.0 [3'-102

1"] 1179.0 [3'-102 3 4

1"] 112.0 [0'-42

530.0 [1'-83 4"]

1"] 40.0 [0'-12

FLOOR FINISH LVL.

SECTION - BB'

1 2"

NOTES

152 [0'-6"]

200.9 [0'-8"]

FRAMING PLAN

SECTION - AA'

LVL. (+) 0'-3"

1"] 1105 [3'-72

50 [0'-2"]

527 [1'-83 4"]

50 [0'-2"]

527 [1'-83 4"]

18MM CEMENT BOARD

PLAN

50mm X 82mm WOODEN FRAMEWORK

50 [0'-2"]

4MM CHEMICAL LAYER

4 18

456 [1'-6"]

1"] 1230 [4'-02

1"] 62 [0'-22

150 [0'-6"]

18 [0'-03 4"] 3 [0'-0"]

FACADE TREATMENT

1"] 13 [0'-02

151 [0'-6"]

379.4 [1'-3"] A'

BRICKWORK

# All dimensions to be read not to be scaled. 18mm CEMENT BOARD BRICKWORK # This drawing supercedes all other previous drawings. 4mm CHEMICAL LAYER # Dimensions are in inches except otherwise. # This drawing should be read in conjunction A' A with relevant structural drawing and any discrepancy noticed should be got clarified3mm STONELAM TILE WOODEN FRAMEWORK (PIETRA DI SAVOIA GRIGIA) before execution. 3"] 248.8#[0'-9 4 drawing is the property of the The spacesarchitects@ka. LIGHT FIXTURE # Any copying or reproduction 50 [0'-2"]of this drawing 4 18 50 [0'-2"] only be done 50 [0'-2"] should after a written permission LIGHT POINT FOR FIXTURE 50 [0'-2"] 3 of the 248 [0'-93 254architects. [0'-10"] 248 [0'-93 4"] 4"] # Any defaulter is liable to be sued for the 3MM SLIM TILE violation of the copyright act.

1"] 801 [2'-72

460.0 [1'-6"]

# All dimensions to be read not to be scaled. # This drawing supercedes all other previous drawings. # Dimensions are in inches except otherwise. # This drawing should be read in conjunction with relevant structural drawing and any discrepancy noticed should be got clarified before execution. 1"] 100 [0'-4"] "] 75 [0'-3"] 138the [0'-52 [0'-4"] 138 [0'-5 #100 The drawing is 21the property of spacesarchitects@ka. # Any copying or reproduction of this drawing 50 [0'-2"] should only 1be done after a written permission50 [0'-2"] 800.6 [2'-72 "] of the architects. 1 # Any defaulter is liable to be sued for the 13.0 [0'-0 2"] violation of the copyright act.

1"] 4 [0'-04

379 [1'-3"]

1"] 1000.0 [3'-34

1"] 240.8 [0'-92

1"] 1000.0 [3'-34

1"] 80 [0'-34

50.0 [0'-2"]

460.0 [1'-6"] 1"] 240.8 [0'-92 228.0 [0'-9"] A

18mm CEMENT BOARD

NOTES

CLEAR HEIGHT LVL.

228.0 [0'-9"]

50mm X 82mm 3mm STONELAM TILE WOODEN FRAMEWORK (PIETRA DI SAVOIA GRIGIA)

3MM STONELAM TILE (PIETRA DI SAVOIA GRIGIA)

GROOVE

TAPERED PANEL (PIETRA DI SAVOIA GRIGIA)

204 [0'-8"]

PANEL WITH 3MM GROOVES (WOOD PINE) LVL. (+)0'-3"

230 [0'-9"]

CNC JAALI DETAIL (ACC. TO CNC DRAWING) LVL. (+) 0'-941"

1"] 191 [0'-72 1"] 62 [0'-22 129 [0'-5"]

3MM GROOVES BELOW TAPERED LEVEL (PIETRA DI SAVOIA GRIGIA) LVL. (+)0'-6"

TAPERED PANEL (PIETRA DI SAVOIA GRIGIA)

4mm CHEMICAL LAYER

FACADE WALL SELECTED DETAILS

ELEVATION

AREA CALCULATION

1"] 1000 [3'-34

SHEET TITLE

PROJECT

FACADE WALL- DETAILS (4) CLEAR HEIGHT LVL.

1"] 14.0 [0'-02

151 [0'-6"]

151 [0'-6"] 152 [0'-6"]

SECTION - CC'

LVL. (+) 0'-6"

1"] 1000 [3'-34

4MM CHEMICAL LAYER

18MM CEMENT 151 [0'-6"] BOARD

129 [0'-5"]

1"] 801 [2'-72

STONELAM KOLKATA, CENTER

1"] 13 [0'-02 151 [0'-6"]EXPERIENCE

152 [0'-6"] CLIENTS

25X25MM PROFILE LIGHT

SECTION - (+) BB' LVL. 0'-3"

3MM SLIM TILE

PROJECT TITLE

1"] 138 [0'-52

75 [0'-3"]

EXPERIENCE BRICKWORK

100 [0'-4"]

204 [0'-8"]

1"] 62 [0'-22 1"] 80 [0'-34

STONELAM

1"] 191 [0'-72

18 [0'-03 4"] 3 [0'-0"]

3"] 72 [0'-23"] 72 [0'-23"] 72 [0'-23"] 72 [0'-23"] 72 [0'-24"] 72 [0'-24 4 4 4 4 3 [0'-0"] 3 [0'-0"] 3 [0'-0"] 3 [0'-0"]

3 [0'-0"][1'-3"] 3 [0'-0"] 379

1"] 138 [0'-52

230 [0'-9"]

100 [0'-4"]

1"] 62 [0'-22 129 [0'-5"]

NOT TO SCALE

1"] 4 [0'-04

PROJECT TITLE 3

STONELAM KOLKATA CENTER

ELEVATIONS STONELAM KOLKATA

CLIENTS

18-01-22

WOODEN FRAMEWORK

150 [0'-6"]

22 [0'-03 4"]

TILE

3 [0'-0"] 62 [0'-21"]62 [0'-21"] 2 2

1"] 3"] 4.0 [0'-04 20.0 [0'-04 1 1"] 56.0 [0'-2 3.0 [0'-04 4"]

1° 10

1"] 2317 [7'-74

1 -3 4"]

6.7 [1'

DRAWING TITLE

DRAWN BY

WOODEN FRAMEWORK

3MM STONELAM TILE LVL. (+) 0'-941" (PIETRA DI SAVOIA GRIGIA) 3MM SLIM

38 227 [0'-9"] 28.0 [0'-1"] TAPERED PANEL 230 [0'-9"] ES DI 1(PIETRA 1 "] ) 241 [0'-9 241 [0'-9 SAVOIA GRIGIA) 379.4 2 2"][1'-3"]

BOXING TO BE DONE

SCALE

1"] 56.0 [0'-24

GROOVE

DATE

FLOOR FINISH LVL.

1"] 29.0 [0'-14

122.0 [0'-43 4"]

1"] 167.0 [0'-62

1 2"

3"] 93.0 [0'-34

1"] 56.0 [0'-24

28.0 [0'-1"]

BRICKWORK

150 [0'-6"]

e read not to be scaled. cedes all other previous drawings. nches except otherwise. d be read in conjunction with relevant structural drawing and oticed should be got clarified before execution. property of the spacesarchitects@ka. 1"] should only be done roduction of this drawing after 111.0 [0'-42 294.4 [0-1112a "] written rchitects. ble to be sued for the violation of the copyright act.

50 [0'-2"]

LIGHT POINT FOR FIXTURE 3MM SLIM TILE

456 [1'-6"]

4MM CHEMICAL LAYER

STONELAM KOLKATA, EXPERIENCE CENTER

18MM CEMENT BOARD 3MM GROOVES

CLIENTS

SECTION - AA'

STONELAM

DRAWN BY

NORTH AGAMYA GOYAL

WOODEN FRAMEWORK

50 [0'-2"]

STONELAM DRAWN BY

NORTH

18MM CEMENT BOARD

WHITE SEATING SELECTED DETAILS The aim of the seating panel element was to showcase the bonding possibilities of these tiles with leather and other upholstery materials. The tile panel is pasted with vinyl lettering while a curved framing seating is created coming out of the tile panel. It is one of the most intricately detailed elements of all. 100MM X 100MM BASE PLATE

478 [1'-63 4"]

478 [1'-63 4"] 3 [0'-0"]

1"] 38 [0'-12

478 [1'-63 4"] 1"] 38 [0'-12

FALSE CE LVL.

1"] 4 [0'-04

1628 [5'-4"]

1"] 4 [0'-04

38MM X 38 MM MS SECTION

124 [0'-5"]

125 [0'-5"]

841 [2'-9"]

CLEAR HE

4MM MDF/ WOOD MARGIN STONELAM TILE

3000 [9'-10"]

3125 [10'-3"]

(ON BOTH SIDES)

(BIANCO ASSOLUTO - TOWARDS SCREEN) (OXIDE MORRO - TOWARDS ENTRANCE)

608 [2'-0"]

LEATHER UPHOLSTERY B'

12MM THICK PLYWOOD

764 [2'-6"]

STONELAM TILE

(BIANCO ASSOLUTO)

FLOOR FI LVL.

A' 8MM THICK BASE PLATE

(BELOW FLOOR FINISH LVL.)

ELEVATION - PANEL D NOTES

26 [0'-1"]

1"] 12 [0'-02

(BIANCO ASSOLUTO)

FLOOR FINISH LVL. A' 8MM THICK BASE PLATE 8MM THICK BASE PLATE

SECTION - CC' (BELOW FLOOR FINISH LVL.)

47 [0'-13 47 [0'-13 4"] 4"]

LVL.

FLOOR FINISH LVL.

50MM FOAM TITLE CUSHIONING PROJECT

12MM THICK PLYBOARD

STONELAM BANGALORE CENTER

1"] 870 [2'-104 CLIENTS

SECTION - CC'

AREA CALCULATION

150 [0'-6"]

1"] 870 [2'-104

SECTION - AA'

AREA CALCULATION

DATE

433 [1'-5"]

SCALE

DATE DRAWN BY SCALE

150 [0'-6"]

3MM STONELAM TILE

(BELOW FLOOR FINISH LVL.) AGAMYA GOYAL

SECTIONSCALE - AA'

SHEET TITLE

STONELAM

CLIENTS

SHEET TITLE 17-09-21 DRAWING TITLE DRAWING TITLE

NOT TO SCALE

AGAMYA17-09-21 GOYAL 433 [1'-5"]

CLIENTS

NORTH

AGAMYA GOYAL

CHECKED BY

SCALE

PROJECT

SCALE PANELNOT - D TO DETAIL_1 DATE DRAWING TITLE 47 [0'-13 SHEET TITLE 4"] 1"] 666 [2'-24

# Dimensions are in inches except otherwise. 12 MM THICK PLYBOARD 12 MM THICK PLYBOARD # This drawing should be read in conjunction with relevant structural drawing and CROSS BRACING CROSS BRACING anydimensions discrepancy clarified before execution. # All tonoticed be readshould not to be got scaled. REQUIRED) (IF REQUIRED) The drawing the property of the spacesarchitects@ka. # This drawing is supercedes all(IF other previous drawings. Any copying are or reproduction of this drawing should only be done after a writtenCOLUMN # Dimensions in inches except otherwise. COLUMN permission ofshould the architects. # This drawing be read in conjunction with relevant structural drawing and 1 1 12 [0'-02"] 12 [0'-02"] # Any defaulter is liable to be suedbe forgot theclarified violationbefore of theexecution. copyright act. any discrepancy noticed should 3 95 [0'-34"] # The drawing is the property of the spacesarchitects@ka.

47 [0'-13 4"]

CLIENTS

DRAWN BY DRAWN BY 38MM X 38MM 12MM 3MM 8MM THICK BASE PLATENORTH MS TUBULAR SECTION CEMENT BOARD STONELAM TILE 2300X 380MM

150 [0'-6"]

38MM X 38MM MS TUBULAR SECTION

2000 [6'-63 1"] 2300 [7'-64 2"]

38MM X 38MM 38MM X 38MM 12MM 8MM THICK BASE PLATE 1"] CEMENT BOARD MS TUBULARMS SECTION 2300X 380MM TUBULAR SECTION 2300 [7'-62 (BELOW FLOOR FINISH LVL.) STONELAM

4MM MDF /WOOD MARGIN

(GREY PAINTED)

STONELAM 150 [0'-6"] BANGALORE EXPERIENCE CENTER 380 [1'-3"]

1"] 38 [0'-12

532 [1'-9"]

178 [0'-7"]

PROJECT TITLE

2000 [6'-63 4"]

EXPERIENCE 12MM CEMENT BOARD

CHECKED BY

FRAMING AND FIXING DETAILS

LEATHER UPHOLSTERY

SECTION - BB'

380 [1'-3"]

3 2

1 532 [1'-9"]

1"] [0'-41"] 109 [0'-44 109 4

38 38 2 2 2 3 3 3 4 12 12 4412 12 4

965 [3'-2"]

532 [1'-9"] 178 [0'-7"]

38MM X 38MM 454 [1'-6"] FLOOR FINISH MS TUBULAR SECTION

12mm THICK PLYBOARD

50mm FOAM CUSHIONING 12mm THICK PLYBOARD LEATHER UPHOLSTERY 50mm FOAM CUSHIONING

(BIANCO ASSOLUTO)

1"] 80 [0'-31"] 80 [0'-34 4 1 1 612 [2'-0"] 263150 [0'-10 150 [0'-6"] 150 [0'-6"] [0'-6"] 150[0'-10 [0'-6"]4"] 4"] 263 1"] 38 [0'-12 1"] 38 [0'-12

532 [1'-9"]

178 [0'-7"]

38mm X 50mm MS FRAME

WOODEN FRAMEWORK 12mm THICK PLYBOARD

3MM STONELAM TILE

150 [0'-6"]

12MM CEMENT BOARD

4mm MDF/ WOODEN MARGIN

WOODEN FRAMEWORK 12mm THICK PLYBOARD

4MM CHEMICAL LAYER

1"] 137 [0'-52

38MM X 38MM

to be read not to be scaled.

12MM CEMENT BOARD

AREA CALCULATION

38mm X 50mm MS FRAME

1"] 38 [0'-12

178 [0'-7"]

[1'-6"] STONELAM 454 TILE

1"] 38 [0'-12

1"] 263 [0'-104 1"] 263 [0'-104

(BIANCO ASSOLUTO)

612 [2'-0"]

(IF REQUIRED)

STONELAM TILE

1"] 38 [0'-12

12MM THICK PLYWOOD

(ACC. TO SUPPORT)

50MM FOAM CUSHIONING

12MM THICK PLYBOARD

1"] 666 [2'-24

NOTES # All dimensions

(GREY PAINTED)

38MM X 38MM MS TUBULAR SECTION

SECTION - BB' LEATHER UPHOLSTERY

150 [0'-6"]

4MM MDF /WOOD MARGIN D ELEVATION - PANEL 397 [1'-33"]

1"] 38 [0'-12

124 [0'-5"] 1"] 1709 [5'-74

1"] 38 [0'-12

532 [1'-9"]

1"] 38 [0'-12

124 124 [0'-5"] [0'-5"]

12MM THICK PLYWOOD

MS L - CLEAT

CROSS - BRACING

(BIANCO ASSOLUTO)

1"] 137 [0'-52

432 [1'-5"]

397 [1'-33 4"]

4MM CHEMICAL LAYER

(BELOW FLOOR FINISH LVL.)

1 1MS TUBULAR SECTION 38 [0'-1 38 [0'-1 # This drawing supercedes all 2"] 2"]other previous drawings.

1"] 38 [0'-12

608 [2'-0"]

LEATHER UPHOLSTERY 529 [1'-83 4"]

WOODEN FRAMEWORK

172 [0'-63 172 [0'-63 4"] 4"]

397 [1'-33 4"]

12MM CEMENT BOARD

3MM STONELAM TILE

(BIANCO ASSOLUTO - TOWARDS SCREEN) (OXIDE MORRO - TOWARDS ENTRANCE)

608 [2'-0"]

397 [1'-33 4"]

95 [0'-33 4"]

FLOOR FINISH LVL.

ELEVATION - PANEL D PANEL A FRAMING - PANEL A

38 [0'-12"]

38MM X 38MM MS TUBULAR SECTION

1"] 38 [0'-12

1"] 38 [0'-12 1"] 38 [0'-12

(IF REQUIRED)

LEATHER UPHOLSTERY STONELAM TILE

12 MM THICK PLYBOARD

764 [2'-6"]

WOODEN FRAMEWORK

CROSS - BRACING

NOTES

4MM MDF/ WOOD MARGIN

1 AREA CALCULATION

(ON BOTH SIDES)

4MM MDF/ WOOD MARGIN

762 [2'-6"]

3000 [9'-10"] 3000 [9'-10"]

1"] 263 [0'-104 1"] 38 [0'-12 1"] 38 [0'-12 252 [0'-10"] 1"] 263 [0'-104

12 MM THICK PLYBOARD

AREA CAL

NOTES

(GREY PAINTED)

(BIANCO - TOWARDS SCREEN) (ON BOTHASSOLUTO SIDES) (OXIDE MORRO - TOWARDS ENTRANCE)

(ACC. TO SUPPORT)

1"] 38 [0'-12

38MM X 38MM MS TUBULAR SECTION

STONELAM TILE MARGIN 4MM MDF/ WOOD

MS L - CLEAT

1"] 4 [0'-04

764 [2'-6"]

3125 [10'-3"] 3125 [10'-3"]

4MM MDF/ WOOD MARGIN

(GREY PAINTED)

1"] 38 [0'-12

529 [1'-83 4"]

1"] 38 [0'-12

478 [1'-63 4"]

FALSE CEILING LVL.

762 [2'-6"]

38MM X 38MM MS TUBULAR SECTION

1"] 38 [0'-12 397 [1'-33 4"]

1"] 4 [0'-04

532 [1'-9"]

1"] 38 [0'-12

478 [1'-63 4"] 3 [0'-0"]

478 [1'-63 4"] 1"] 38 [0'-12

1"] 38 [0'-12

478 [1'-63 4"]

478 [1'-63 4"] 3 [0'-0"]

124 [0'-5"]

478 [1'-63 4"] 1"] 4 [0'-04

1"] 38 [0'-12

612 [2'-0"]

478 [1'-63 4"] 1"] 38 [0'-12

1"] 1709 [5'-74

1"] 4 [0'-04

1628 [5'-4"] 1628 [5'-4"]

478 [1'-63 4"]

125 [0'-5"]

1"] 38 [0'-12

532 [1'-9"]

1"] 38 [0'-12

125 [0'-5"]

MS SECTION

1"] 38 [0'-12

397 [1'-33 4"]

841 [2'-9"]

125 [0'-5"]

FALSE CEILING LVL.

532 [1'-9"] 1"] 38 [0'-12

532 [1'-9"]

1"] 38 [0'-12 397 [1'-33 4"]

841 [2'-9"]

CLEAR HEIGHT

1"] 38 [0'-12

100MM X 100MM BASE PLATE

965 [3'-2"]

100MM X 100MM BASE PLATE

NOTES

# All dimensions to be read not to be scaled. # All dimensions to be read not to be scaled. # This drawing supercedes all other previous # This drawing supercedes all other previous drawings. drawings. # All dimensions to be read not to be scaled. # Dimensions are in inches except otherwise. # Dimensions are in inches except otherwise. 3mm STONELAM TILE # This drawing supercedes all other previous drawings. 100MM X 100MM # This drawing should be read in conjunction # This drawing should be read in conjunction # Dimensions are in inches except otherwise. with relevant structural drawing and any with relevant structural drawing and any BASE PLATE # This drawing should be read in conjunction with relevant structural drawing and LAYER discrepancy noticed should be got 4mm clarifiedCHEMICAL discrepancy noticed should be got clarified any discrepancy noticed should beCLEAR got clarified before execution. CLEAR HEIGHT HEIGHT before execution. before execution. 3mm STONELAM TILE # The drawing is the property of the spacesarchitects@ka. 100MM X 100MM # The drawing is the property of the # Any copying or reproduction of this drawing should only be done after a written # The drawing is the property of the BASE PLATE 12mm CEMENT BOARD spacesarchitects@ka. spacesarchitects@ka. permission of the architects. 38MM X 38 MM LAYER # Any copying or reproduction of this4mm drawingCHEMICAL # Any copying or reproduction of this drawing # Any defaulter is liable to be sued for the violation of the copyright act. CLEAR HEIGHT should only be done after a written permission should only be done after a written permission MSFALSE SECTION FALSE CEILING CEILING 1"] of38 the[0'-1 architects. of the architects. 2 LVL. 12mm CEMENT BOARD LVL. # Any defaulter is liable to be sued for the # Any defaulter is liable to be sued for the 38MM X 38 MM violation of the copyright act. violation of the copyright act. 4mm MDF/ WOODEN MARGIN

DATE

PANEL DETAIL PROJECT STONELAM BANGALORE 17-09-21 PANEL - D DETAIL_1

NOT TO SCALE

STONELAM BANGALORE EXPERIENCE CENTER 17-09-21

SHEET TITLE

PANEL - D DETAIL_2 PANEL - D DETAIL_2 STONELAM BANGALORE PANEL DETAIL STONELAM BANGALORE DRAWING TITLE EXPERIENCE CENTER PANEL DETAIL STONELAM STONELAM BANGALORE

PANEL DETAIL STONELAM BANGALORE

DATE SCALE

DRAWN B

PANELLING DETAILS

125 [0'-5"]

The panelling is an element made up of aluminium framing with a cement board or plywood partition pasted on it. The aim of this element was to showcase the different interesting shades of the Stonelam tiles, along with their expanse. The 3M. high boards encompass atleast half of the entire design, bringing colours and textures into the space.

BRICKWORK

FALSE CEILING

3MMSTONELAM TILE

50 [0'-2"]

62 [0'-22"] 1"] 60 [0'-24

3 [0'-0"] 3 [0'-0"]

3 [0'-0"]

3 [0'-0"] 1"] 4 [0'-04

1"] 4 [0'-04

2 [0'-0"]

LAYER

3MM STONELAM TILE

4MM MDF/ WOODEN MARGIN4MM DARKMDF/ GREY WOODEN PAINTEDMARGIN DARK GREY

PAINTED

SECTION - AA'

1"] 540 [1'-94 50 [0'-2"]

4MM MDF/ WOODEN MARGIN DARK GREY 4MMPAINTED MDF/ WOODEN

1"] 540 [1'-94

MARGIN DARK GREY PAINTED

FLOOR FINISH

FLOOR FINISH ELEVATION- PANEL - E, F

3MM CHEMICAL LAYER 3MM CHEMICAL

1"] 540 [1'-94 50 [0'-2"]

3MMSTONELAM TILE

1"] 5 [0'-01"] 2"X2" SOLID WOOD 4 [0'-04 4 1"] 2"X2" SOLID WOOD 5 [0'-04 4MM PLYWOOD 50 [0'-2"] 4MM PLYWOOD

50 [0'-2"]

SECTION - AA'

1"] 540 [1'-94 50 [0'-2"]

1"] 62 [0'-22 1 60 [0'-24 1 "]

1"] 540 [1'-94 50 [0'-2"]

3000 [9'-10"]

MS CLEAT

4 4 [0'-01"] 4 50 [0'-2"] 1"] 4 [0'-04

50 [0'-2"]50MMX 50MMX 5MM 50MMX 50MMX 5MM MS CLEAT MS CLEAT

1"] 4 [0'-04

1"] 540 [1'-94

3000 [9'-10"]

SOLID WOOD

50MM X50MM X5MM MS X50MM CLEAT X5MM 50MM

50 [0'-2"]

4 50 [0'-2"] 50 [0'-2"]

1"] 540 [1'-94 50 [0'-2"]

1"] 4 [0'-04

50MM X50MM SOLID 50MMWOOD X50MM

50 [0'-2"]

425 [1'-43 4"] 50 [0'-2"] 425 [1'-43"]

1"] 540 [1'-94 50 [0'-2"]

1"] 4 [0'-04

425 [1'-43 4"] 3 50 [0'-2"]425 50 [1'-4 [0'-2"]"]

50 [0'-2"]

1"] 540 [1'-94 50 [0'-2"] 1"] 540 [1'-9 50 4 [0'-2"]

FALSE CEILING

FRAMING- PANEL - E, F

WALL ATTACHED PANEL DETAILS FRAMING- PANEL - E, F

ELEVATION- PANEL - E, F

NOTES

AREA CALCULATION

SHEET TITLE

PROJECT

PANEL - E, F NOTES # All dimensions to be read not to be scaled.

DRAWING TITLE

AREA CALCULATION

# This drawing supercedes all other previous drawings. # Dimensions are in inches except otherwise. # This drawing should be read in conjunction with relevant structural drawing and discrepancy noticed should bescaled. got clarified before execution. # All any dimensions to be read not to be # The drawing is the property of theprevious spacesarchitects@ka. # This drawing supercedes all other drawings. # Any copying of this drawing should only be done after a written # Dimensions areorinreproduction inches except otherwise. permission of the architects. # This drawing should be read in conjunction with relevant structural drawing and # Any defaulter is liable to be sued for the violation of the copyright act.

SHEET TITLE

DATE

17-09-21

SCALE

CLEAR HEIGHT

AGAMYA GOYAL 17-09-21

SCALE

STONELAM BANGALORE PROJECT

DETAILS STONELAM BANGALORE

DRAWING TITLE

NOT TO SCALE

DRAWN DATE BY

any discrepancy noticed should be got clarified before execution. # The drawing is the property of the spacesarchitects@ka. # Any copying or reproduction of this drawing should only be done after a written permission of the architects. # Any defaulter is liable to be sued for the violation of the copyright act.

CLIENTS

PANEL - E, F EXPERIENCE CENTER

STONELAM

3mm STONELAM TILE

NOT TO SCALE

DRAWN BY

STONELAM BANGALORE EXPERIENCE CENTER

DETAILS STONELAM BANGALORE

STONELAM4mm CHEMICAL LAYER

AGAMYA GOYAL

2 4 12 12 4

1"] 4 [0'-04

3000 [9'-10"]

702 [2'-33 4"]

1"] 38 [0'-12

1"] 439 [1'-54

STONELAM TILE FLOOR FINISH

150 [0'-6"]

1"] 38 [0'-12 1"] 38 [0'-12 702 [2'-33 4"]

38mm X 38mm MS FRAME

SECTION - AA'

1"] 165 [0'-62

380 [1'-3"]

3MM STONELAM TILE

1"] 1000 [3'-32

4mm MDF/ WOOD MARGIN (GREY PAINTED)

150 [0'-6"]

12MM SHERA BOARD

1"] 38 [0'-12 1"] 38 [0'-12

1"] 80 [0'-34

3MMSTONELAM TILE

1"] 1000 [3'-34

1"] 38 [0'-12

3000 [9'-10"]

4MM MDF/ WOODEN MARGIN DARK GREY PAINTED

1"] 38 [0'-12 1"] 439 [1'-54

992 [3'-3"]

702 [2'-33 4"]

38MM X 38 MM MS SECTION

1"] 4 [0'-04

FALSE CEILING

1"] 38 [0'-12 703 [2'-33 4"]

12mm CEMENT BOARD

150 [0'-6"]

12MM CEMENT BOARD

1315 [4'-33 4"]

38MM X 38MM 8MM THICK BASE PLATE MS TUBULAR SECTION 1315X 380MM (BELOW FLOOR FINISH LVL.)

SECTION - BB' ELEVATION- PANELS- B,C NOTES

# All dimensions to be read not to be scaled. # This drawing supercedes all other previous drawings. # Dimensions are in inches except otherwise. # This drawing should be read in conjunction with relevant structural drawing and any discrepancy noticed should be got clarified before execution. # The drawing is the property of the spacesarchitects@ka. # Any copying or reproduction of this drawing should only be done after a written permission of the architects. # Any defaulter is liable to be sued for the violation of the copyright act.

FRAMING- PANELS - B,C

FREE STANDING PANEL DETAILS AREA CALCULATION

SHEET TITLE

DRAWING TITLE

DATE SCALE DRAWN BY

17-09-21

PROJECT

PANELS- B,C DETAILS STONELAM BANGALORE

CLIENTS

NOT TO SCALE AGAMYA GOYAL

STONELAM

STONELAM BANGALORE EXPERIENCE CENTER

ABSTRACT PARTITION SELECTED DETAILS The abstract partition is an element made up of aluminium box sections, strategically placed on top of one another, at different angles, to showcase the tiles from different angles. The sections are then cladded with a uniform Stonelam Slim tile. The element is attached to the ﬂoor using an MS base plate. BOX - A

1675 [5'-6"] STONELAM TILE

760 [2'-6"]

(OSSIDO VERDERAME)

1"] 344 [1'-12

344 [1'-11"] 150 [0'-6"] 2

688 [2'-3"]

150 [0'-6"]

1 4"

THICK BASE PLATE (150MMX 255MM)

1 4"

THICK BASE PLATE (150MMX 255MM)

125 [0'-5"]

FRONT ELEVATION

1675 [5'-6"]

BOX - A

1"] 748 [2'-52

BOX - B

SIDE ELEVATION

8MM CEMENT BOA 1 4"

THICK BASE PLA (150MMX 255MM)

'-4

45°

344 [1'-121"]

152 [0'-6"]

] [0

'-6 "

125 [0'-5"]

3 15

]

3 15

23 [0'-1"]

60 [0'-2 1"] 4 358 [1'-2"]

151 [0'-6"]

1000 [3'-31"] 72 [0'-23"] 4 4 1000 [3'-31"]60 [0'-2 1"] 72 [0'-23"] 4 4 358 [1'-2"] 4 60 [0'-2 1"] 359 [1'-2"] 4 358 [1'-2"] 176°

359 [1'-2"]

151 [0'-6"]

176°

100 [0'-4"]

23 [0'-1"]

77 [0'-3"]

1000 [3'-31"] 4

205 [0'-8"]

359 [1'-2"]

100 [0'-4"]

18 [0'-03 4"]

101 [0'-4"]

77 [0'-3"]

18 [0'-03 4"]

95 °

° 95

1"] 493 [1'-72

11 [0'-02"]

1"] 11 [0'-02 1

2285 [7'-6"]

'-6 "

1"] 11 [0'-02

18 [0'-03 4"]

475 [1'-63 4"]

95 °

101 [0'-4"]

2285 [7'-6"]

765 [2'-6"]

765 [2'-6"] 760 [2'-6"]

1525 [5'-0"]

760 [2'-6"] 1525 [5'-0"]

760 [2'-6"]

2285 [7'-6"]

101 [0'-4"]

1525 [5'-0"]

1"] 1513 [4'-112

1525 [5'-0"]

760 [2'-6"]

765 [2'-6"]

760 [2'-6"]

1525 [5'-0"]

2285 [7'-6"]

205 [0'-8"]

THICK BASE PLATE (230MMX 230MM)

305 [1'-0"]

1 4"

'-6

45°

2249 [7'-421"]

1675 [5'-6"] 1675 [5'-6"] 2249 [7'-421"] 2249 [7'-421"]

]

1675 [5'-6"]

151 [0'-6"]

SECTIONAL PLAN CC'

THICK BASE PLATE (230MMX 230MM)

FRAMING PLAN - BOXCC' B SECTIONAL PLAN SECTIONAL PLAN CC'

A' A' BOX - A BOX - A

'-6

" '-3

BOX - A

3 221 [0'-84"]

BOX - B

3 221 [0'-84"]

1363 [4'-534"]

'-6

BOX - B

840 [2'-9"] 1"] [2'-9"] 157 [0'-64840 "] 1329 [1'-1 157 [0'-64"] 329 [1'-1"]

3 221 [0'-84"] 1 4"

FRAMING ELEVATION 1 134 [0'-54"] 1 134 [0'-54"]

1363 [4'-534"]

45°

BOX - C BOX - C

4 [0'-01 "] 14"] 8 [0'-04

]

1281 [4'-221"] 1281 [4'-221"]

3 148 [0'-543"][0'-0"]

SECTIONAL PLAN BB' 1 134 [0'-54"] SECTIONAL PLAN BB'

MARGIN TO BE LEFT FOR TILE AND CEMENT BOARD MARGIN TO BE LEFT FOR TILE AND CEMENT BOARD

1 991 [3'-3"] 1147 [3'-94"] 1 1147 [3'-94"]

1"] 239 [0'-92

3 18 [0'-03 4"]18 [0'-04"]

18MM] X18MM MS FRAMEWORK

] [3'-3" [4'-3" 1295 991

3 1"] 3 148 [0'-54"] 157 [0'-64148 [0'-54"]

840 [2'-9"] 1 157 [0'-64"] 329 [1'-1"]

B' B'

1295 [4'-3"]

76 [0'-3"] 76 [0'-3"]

305 [1'-0"]

PLAN - BOX B

BOX - D BOX - D

1"] 4 [0'-04 1"] 8 [0'-04

MARGIN TO BE LEFT FOR TILE AND CEMENT BOARD

SIDE ELEVATION

THICK BASE PLATE (230MMX 230MM)

'[1 ] 5 " 30 1'-0 [ 5 3 [0'-0"] 30

8MM CEMENT BOARD

3 148 [0'-54"]

" '-3

1 4"

C' C'

1 157 [0'-64"]

1363 [4'-534"]

FRONT ELEVATION

BOX - B

BOX - C

1281 [4'-221"]

4MM CHEMICAL LAYER

991 [3'-3"] 344 [1'-11"] 150 1 [0'-6"] 344 [1'-121"] [3'-94"] 150 [0'-6"]

101 [0'-4"]

230 [0'-9"] B

BOX - D

148

150 [0'-6"] 3MM STONELAM TILE 688 [2'-3"] (OSSIDO VERDERAME) 3 1147 [0'-54"]150 [0'-6"]

101 [0'-4"]

152 [0'-6"]

344 [1'-121"]

760 [2'-6"]

]

998 [3'-341"] 998 [3'-341"]

] 0"

]

152 [0'-6"]

BOX - E BOX - E

837 [2'-9"] 837 [2'-9"]

[4'-3"]

SECTIONAL PLAN BB'

76 [0'-3"]

BOX - F

" "] '-4 '-4 [0 [0 1 1 10

998 [3'-341"]

(OSSIDO VERDERAME)

" '-0 412 [1'-41"] 4

1295 THICK BASE PLATE

(230MMX 3 230MM) 148 [0'-54"] 688 [2'-3"]

305 [1'-0"] SECTIONAL PLAN AA' SECTIONAL PLAN AA' PLAN - BOX B

2228 [7'-334"] 2228 [7'-334"]

STONELAM TILE

255 [0'-10"]

18 [0'-03 4"]

1 4"

475 [1'-63 4"]

8 [0'-01 4"]

'-0 " [1 5

'-0

" '-4 [045°

1 1405°

BOX - E

1675 [5'-6"]

101 [0'-4"]

]

1675 [5'-6"]

1 [1'-1421"] "] [0'-6 157344

1 412 ] [1'-44"]

125 [0'-5"]

SIDE ELEVATION

FRONT ELEVATION

'-6 "

4 [0'-01 4"]

SLAB BOTTOM

3 [0'-0"]

230 [0'-9"] "] '-4 '-4 [0 [0 1 1 10

101 [0'-4"]

305 [1'-0"]

152 [0'-6"]

SLAB BOTTOM

344 [1'-121"] 150 [0'-6"]

688 [2'-3"] 150 [0'-6"]

SECTIONAL PLAN AA'

2228 [7'-334"]

837 [2'-9"]

1"] 1"] 8 [0'-04 4 [0'-04 18 [0'-03 4"] 3 [0'-0"]

1675 [5'-6"]

412 [1'-441"]

BOX - B

524 [1'-83 4"]

(OSSIDO VERDERAME)

]

125 [0'-5"]

5 1525 [5'-0"] [1 '-

18 [0'-03 4"]

STONELAM TILE 524 [1'-83 4"]

1525 [5'-0"]

1675 [5'-6"]

18 [0'-03 4"]

524 [1'-83 4"]

FRAMING PLAN - BOX A

1"] 4 [0'-04

1"] 8 [0'-04

1"] 18 [0'-03"] 4 [0'-04 4 3 [0'-0"] 8 [0'-01"] 4

PLAN - BOX A

BOX - F

18MM X 18MM MS FRAMEWORK

3 [0'-0"]

18 [0'-04"] 101 [0'-4"]

18 [0'-03 4"]

FRAMING ELEVATION

SLAB BOTTOM

THICK BASE PLATE (150MMX 255MM)

524 [1'-83 4"]

18 [0'-03 4"]

125 [0'-5"]

524 [1'-83 4"]

305 [1'-0"]

8 [0'-01 4"]

THICK BASE PLATE (150MMX 255MM)

FRONT ELEVATION 1 4"

524 [1'-83 4"]

18 [0'-03 4"]

255 [0'-10"]

688 [2'-3"]

1 4"

3 [0'-0"] 1"] 4 [0'-04

4MM CHEMICAL LA

150 [0'-6"]

344 [1'-11"] 150 [0'-6"] 2

760 [2'-6"]

(OSSIDO VERDERAME)

3MM STONELAM TI (OSSIDO VERDERAME)

18 [0'-03 4"]340 [1'-11"] 4

STONELAM TILE

1"] 344 [1'-12

8 [0'-01 4"]

1675 [5'-6"]

18 [0'-03 18 [0'-03 4"] 4"]340 [1'-11"] 4

4 [0'-01 4"]

125 [0'-5"]

3 [0'-0"]

PLAN - BOX A

FLOOR FINISH LVL. FLOOR FINISH LVL. FLOOR FINISH LVL.

ELEVATION - ABSTRACT PANEL ELEVATION - ABSTRACT PANEL ELEVATION - ABSTRACT PANEL NOTES

NOTES

# #

NOTES

# All dimensions to be read not to be scaled. # This drawing supercedes all other previous drawings. # All dimensions to be read not to be scaled. Dimensions are in inches exceptdrawings. otherwise. # This drawing# supercedes all other previous All dimensions to be read not to be scaled. This should be read in conjunction with relevant structural drawing and # Dimensions #are in drawing inches except otherwise. This drawing supercedes all other previous drawings.any discrepancy noticed should be got clarified before execution.

AREA CALCULATION

SHEET TITLE

AREA CALCULATION AREA CALCULATION

PROJECT

SHEET TITLE

SHEET TITLEPLANS ELEVATION AND MARKING

ELEVATION AND MARKING PLANS DRAWING TITLE

DETAIL- ABSTRACT ELEVATION PANEL(A) DRAWING TITLE STONELAM BANGALORE DETAILABSTRACT PANEL(A)

DATE DATE

17-09-21

CLIENTS CLIENTS

DRAWING TITLE

PROJECT

AND MARKING PLANS STONELAM BANGALORE

STONELAMCENTER BANGALORE EXPERIENCE

EXPERIENCE DETAIL- ABSTRACT PANEL(A) CENTERSTONELA

STONELAM BANGALORE

PERFORATING A LIBRARY COMPLEX AS A HUB OF ACCESSIBLE INFORMAL KNOWLEDGE

The pursuit of knowledge, rightful wings for all The grant of privilege and lack of opportunities make it stall. Part of a society where acceptance and dynamism is key, Imperative institutions falling in a classic negligence spree. Architecture must adapt as technology and people walk forward, Bringing to thee, a perforated notion of community learning offered.

Site- Dwarka, New Delhi The aim of this thesis was to address this sheer negligence of the importance of informal knowledge. It aims to instigate a movement in the endless pursuit of knowledge, accessible to all, not restricted by the barriers of physical, mental and economic privilege; while bringing back the essence of temporal culture and its importance in this pursuit. This is intended to be manifested in the form of a joint public and private library complex.

Manifesting the nuances and happenings of our society

The layered existence of society

Accepting inclusivity and diversity

Designing for its dynamic nature

Perforating library complex

INTRODUCTION TO THE DESIGN KNOWLEDGE LIBRARY (Can beKNOWLEDGE (Home of informal knowledge) divided into 2 subsets) Formal knowledge Knowledge presenting itself in a planned and scheduled curriculum, defining itself to books.

Informal knowledge K n o w l e d g e surpassing limitations, presenting itself in ways such as cultural, graphical, digital, etc..

WHAT IS INFORMAL KNOWLEDGE

KNOWLEDGE

LIBRARY (Home of informal knowledge) LIBRARIES (home of informal knowledge)

(Can be divided into 2 subsets) Formal knowledge Knowledge presenting itself in a planned and scheduled curriculum, Holdingto defining itself discussions books.

in groups, informally.

Informal knowledge K n o w l e d g e surpassing limitations, presenting itself in ways Watching such as cultural,Flagbearer movies and etc.. graphical, digital,

videos together.

WHAT IS INFORMAL KNOWLEDGE

Group studies and self studies.

Group workshops & activities.

V.R. and other digital modes.

Cultural works & activities.

WHY INFORMAL KNOWLEDGE Holding Watching movies and discussions in groups, videos informally. together. Group Group studies and workshops Inclusive and accepting self studies.Better knowledge&retention activities. V.R. and other digital modes.

Cultural works & activities.

WHY INFORMAL KNOWLEDGE

Triggers a motivation to learn

Inclusive and accepting

Flagbearer of cultural interpolation

of cultural interpolation

Less threatening

Better knowledge retention

Meeting point for discussions

Core of creative work

Accessible centre of knowledge

Perforating a library complex, making it a hub of accessible and undhindered informal knowledge.

Perforating Library complex

SITE TRAFFIC AND ZONING LEGEND Staff movement Service movement

Lodging entry

Exhibit movement Pedestrian movement Vehicular movement Metro users movement Entry into ground ﬂoor

Lodging movement

TRAFFIC PLANNING

Entry into ground ﬂoor

Vehicular entry and exit

Vehicular exit Pedestrian entry

Flexible entries

Staff entry Pedestrian entry

Owing to the site being accessible only from 2 sides, the trafﬁc had to be managed carefully. Different types of trafﬁcs were separated, such that their functioning will not hinder that of the others. In addition to this, the front side was pedestrianised completely, to manage congestion and elevate expereince.

OPEN GREENS

9 M. WIDE SECONDARY ROAD

SPORTS COMPLEX

LEGEND Lodging, residential Temporal culture Amphitheatre Library building Cafe building and ramp Staff Inaccessible greens Highlighted zones

BANK 26 M. WIDE SECONDARY ROAD 40 M. WIDE PRIMARY ROAD

Perforating library complex 9 M. WIDE SECONDARY ROAD

SITE PLANNING

EMPTY GREEN FIELD

22.

10. 12.

11.

19. 13.

20.

SPORTS COMPLEX BUILDING

18. 17. 14. 16. 4.

15.

26 M. WIDE SECONDARY ROAD

BANK

2. 2.

1. Flexible Boundary Walls 2. Ramps leading to 1 M. platform 3. Sculpture garden on both sides 4. Ramp to basement 5. Semi-covered porch at drop-off 6. Ramp to the first floor. 7. Space for cafetaria servicing 8. Service drop-off 9. Transformer 10. Rainwater Harvesting Plant 11. Ramp for goods 12. Landscape of children’s library 13. Lodging drop-off 14. Surface parking 15. Ramp, out of basement 16. Bamboo plantation seating 17. Unhindered entry to ground floor 18. Landscape of unfinished doors 19. Landscape of steps 20. Central courtyard

45 M. WIDE PRIMARY ROAD

CULTURAL PLATFORM

Wheeled channels have been put in different curves and grids, to allow for ﬂexibility of circulation in case of exhibits and panels.

Different types of entries given to this platform, through multiple ramps and steps, to allow for dynamism and ﬂexibility of culture.

A temporary, extendable platform, which can be pulled up from the ground, when needed, and put back when not; using the jack system.

A retractable roof system where the top part of the roof, tensile, in nature, can be pulled in need of shade and pushed back, if not.

Flexible boundary walls that have the capacity to change their structure and convert to seating, types of entries, waiting areas, etc.

Perforating Library complex

FIRST AND SECOND FLOOR PLANS K

Y Z

23'

22'

Kinetic heat slanted skylight

21 UP

FHC 900 X 1200

19 18

17.

12.

19'

13.

Cutout below

11.

17 16

20'

PRESSURISATION SHAFT 750 X 900

19. 20.

21'

16.

FHC 900 X 1200

PRESSURISATION SHAFT 750 X 900

18.

10.

23.

17'

16'

FHC 900 X 1200

15'

PRESSURISATION SHAFT 750 X 900

14 13

18'

15.

22.

21.

14.

8. 9.

14' 13'

PRESSURISATION SHAFT 750 X 900

FHC 900 X 1200

24.

25.

PRESSURISATION SHAFT 750 X 900

11'

6. UP

10'

FHC 900 X 1200

12'

FHC 900 X 1200

21.

23.

17.

18 17 16

20' 19'

15.

19.

18'

16.

17'

12.

Z1.

25.

Y' Z'

PRESSURISATION SHAFT 750 X 900

18.

20.

14.

22. 24.

PRESSURISATION SHAFT 750 X 900

FHC 900 X 1200

13.

14'

11.

16' 15'

PRESSURISATION SHAFT 750 X 900

26.

13'

PRESSURISATION SHAFT 750 X 900

FHC 900 X 1200

5. 2.

12 11

10.

11'

10'

12'

Z2.

1. Big ramp, from ground floor 2. Entry into the floor, through greens 3. Baggage/lockers, security/checking 4. Multipurpose hall with check out 5. Office reception 6. Conference rooms 7. Book cafe 8. Open green for cafe 9. Entry to open green 10. Reception for lecture halls 11. Lecture halls 12. A.H.U. 13. Stairs, to the study zone 14. Group study zone 15. Open area with water element 16. Workstations 17. Flexible workshop area 18. Ast. Librarian’s office 19. Store room 20. Sitting and stacking for periodicals 21. Stepped reading lounge 22. Starting of book ramp 23. Cutout below 24. Entry through ramp, lower floor 25. Ramp, for the upper floor.

1.Informal reading space under arches 2.Reading space, into courtyard 3. Sensory garden 4. Formal reading hall 5. Cantilever corridor 6. Stacks of literature 7. Braille stacks, for literature 8. Personalised co-working zone, 9. Steps, from lower co-working zone 10. 1.2 M. high reading zone 11. Stacks with physical lifters 12. Stacks-philoshopy and psychology 13. Informal seating lounge, near stacks 14. A.H.U. 15. Starting of book ramp 16. Double height reading zone 17. Language stacks and seating lounge 18. Reading pods, 19. Green spaces, between reading pods 20. Isolated reading pods 21. Book collection and segregation 22. Store room 23. Open reading zone 24. Personalised area of writing lounge 25. Stacks on books for language

Perforating library complex

FURTHER EXPLANATION OF DESIGN

Double height lounges created by the presence of book ramp.

Co working zone, with a play in levels, heights and volumes.

Kinetic sloped skylight to allow more sunlight.

First featured book ramp, informally.

Visual connection to double height book reading zone

Unhindered, open entry created into the ground ﬂoor.

3. BOOK RAMP AND LOUNGES

ISOMETRIC VIEW OF UPPER FLOORS

UNDULATING RAMP AND SKYLIGHT

UNHINDERED ENTRY OF GROUND ISOMETRIC VIEW OF LOWER FLOORS

Perforating library complex

SECTIONAL WORKINGS OF DESIGN

PARAMETRIC ROOF, FIRST FLOOR

INFORMAL READING ZONE

HOLLOW GLASS WALLS ON CURVES

VIEW, FROM THE COURTYARD

Parametric roof, on ﬁrst ﬂoor arrival

Different types of reading lounges

Courtyard size increasing as one moves up

DESIGN SECTION

Design of children’s library

RE-IMAGINING THE CENTRAL VISTA

Site- Central Vista, Delhi Central Vista, the historic site symbolising the takeover of democracy, from dictatorship, has always had its arms wide open for its public. With Rajpath and the gardens around, India Gate and its open hexagon, and the Raisina hill, it has constantly offered itself to both the people and its government. The upcoming development scheme seemed to shatter these notions, building a space showcasing the power of the government over its people. Its overall effect vandalising the significance of this vista. This project aimed to understand the need of this project, while designing a space that celebrated its public and manifested the true meaning of democracy. With a flexible brief, it gave us the ability to showcase what we believe the space should encompass. It allowed us to see things with angles both minute and wide, understanding the true diversity of the userbase and taught us how to design, on a wider scale, a program sufficing needs as well as beliefs.

Central Vista? An alore with arms wide; Some fixed concrete, holden green and imaginalry lines. Standing king, tall and proud, rising above those on the ground; Gateway beaming, usunsed, disdained yet unbound. Celebrating the public, watering flowers on the graves of the parted; But the public sees riddance, hushed into crevices, borders charted. The centre of the capital, a concrete jungle; Lungs drenched with tar, health in a shut bundle. Democracy is but about the people after all; What’s a better gift than wellness, acceptance and purpose, for all, of all? It’s a game of experience, and one well deserved, Heritage holds a fixed stand, but now the bounty strife it serves.

A true manifestation of democracy, a space that treats everyone equally, allowing celebration of expression and inclusivity.

Conserving the ecological balance and providing a green space.

Giving people their space back, taking into account their multiplicity, ﬂexibility and temporality.

Re-imagining the Central Vista

EXISTING V/S PROPOSED PLANNING, OF THE SITE

Shifting the existing government hub, to efﬁciently use the space that is currently being wasted. Introducing the Delhi cycle track, an adventure in itself. A journey of the entire area, in the healthiest way.

Retaining existing heritage, while introducing a larger parliament.

Converting the central secretariat into a large park, known as the ‘Delhi Park’. A 1200 M. x 700 M. park, entirely for the public.

Converting the existing C-Hexagon into a cultural hub, proposed through radial planning around the ﬂag.

Creating a religious hub, while retaining the existing structures, for religious harmony.

The park is designed to create a variety of experiences, making all types of people feel comfortable; while maintaining the ecological balance.

M.V. access is kept only on the outskirts of the circle, dedicating the whole inner part for the public, in the form of plazas and cultural buildings.

Re-imagining the Central Vista

DIVISION OF SITE INTO PUBLIC AND NON-PUBLIC ZONES

Delhi cycle and car track (public zones)

Non public zones Public zones The planning shows a clear and dedicated intent of giving this space to the public. No secluded space is being created. Even the non public zone, the government hub, is being ﬁltered by the cycle tracks

CIRCULATION, IN AND AROUND THE SITE Vehicular network Existing metro network Cycle track Car track

A more efﬁcient road network created, freeing the inner part of motorisation, providing a peculiar experience to the public. The existing metro link complements the design.

SITE PLAN AND PROPOSED ZONING OF FUNCTIONS Government hub Religious hub Medical hub Delhi park Cultural hub The treatment of the site enables a strong sense of profuse ecology. This area acts as Delhi’s lungs and lets it breath, much needed, naturally fresh air; in a breezy context.

Re-imagining the Central Vista

CULTURAL HUB DESIGN- PLAN

FACADE TREATMENT

AREA FOR VENDORS

ELEVATED CYCLE TRACK

The architectural language aims to create a harmony between modern and traditional styles of architecture. The south-west and south-east sides feature a dynamic facade, over sandstone, responding to the sunlight, without glare.

The buildings lined with stepped plazas, designed to offer both hardscape and softscaped spaces. The tensile roof provides a ﬂexible space for the vendors to gather around and sell their services to the public around, showing acceptance.

The elevated cycle track allows for a varied experience to be created for the cyclists, promoting a ﬁtter living. A part reaches the ﬁrst block of the built, allowing multiplicity of scales and providing the space to the public, truly.

Open platform for crafts

Proposed, wide, radial road

Cycle track Cultural Diversity Building

Indian ﬂag

National Library

National Centre for Exhibits

National War Memorial

Flexible space for vendors

Public Plazas

India Gate

National Museum

Street

Water Channel

Elevated cycle track Transport access for vehicles

Re-imagining the Central Vista

STREET (CENTRAL TO BUILT FORMS) DESIGN

Ability of the street to house different temporary roofs; especially with lighting. Ramp to the street, giving an introduction to the design.

People using the greens for group interactions and resting

Temporary exhibitions can be held in the street, with different panels and circulations.

STREET FUNCTIONING

Street being used as thoroughfare and to create interest

The street is designed to reinstate and revitalise the existing street culture of India. It is designed to highlight ﬂexibility and dynamism, holding multiple functions. These functions can range from exhibits to formal discussions, catering to the much quested temporality and ﬂuidity of the public.

TRANSPORT ACCESS

ELEVATED CAR TRACK

1. Main road 2. Service lane stoppers 3. Entry 4. 3 wheeler waiting zone 5. Parking 6. Taxi zone 7. Cycle park 8. Drop-off 9. Bus zone

Book readings and other organised discussions.

ARCHED SPACE IN STREET

Ability of the street to house different temporary roofs

Possibility of temporary installations in various regions

7. 4.

Temporary markets being organised in the street, like book fairs

Designed with a comfortable slope of 1:20, it takes the public through an elevated view of the vista; with the top-most part allowing the public to feel the true effect of their power, being on a level higher than the govt.

LUXURY HOUSING IN OKHLA

Mid parks and pleasures though we may roam, Solace lies in the heart of your destination, a path towards home. Where light fills our skies and certainty clouds our mind, One can only achieve when the windows reflect a fussilade of pride.

Site- Okhla, New Delhi Site area- 20,880 sq. M. F.A.R.- 3, Achieved built up- 62,632 sq. M. No. of units= 500 (all 500 units were achieved) This project required designing a luxury housing in Okhla, a predominantly industrial area, with a few residential sectors, too. The site was connected to a 40 M. main road on the front side and a 13 M wide road on its right. The connecting plots included a low rise factory and some small scale industries. The context, further had small scale shops and low income housing, as well.

Architecture doesn’t consume you, you consume architecture.

The eye has to catch, while the sight ﬂows.

Society, close to you, is community.

Grass shouldn’t follow brick, they go hand in hand.

Luxury housing in Okhla

SITE PLANNING Pet area

Transformer Staff entry and exit

Mound garden

Towers

Wellness area

Elderly zone Tot-lot area

Playing courts

MOVEMENT PATTERN ON SITE

Open ﬁelds

The planning for the movement and extent of access has been designed to give utmost importance to effective segregation of commercial, privacy and security of the residents. 1.The basement is only accessible to the residents, with a separate path and entry for the commercial. 2.The vehicle movement on the site has been reduced through effective placement of ramps and eradication of stilt parking.

Towers

Elderly zone

Open, sloped, seating

Basement in ramp

Basement out ramp Commercial area

Commercial drop-off Main entry

N Exit

Luxury housing in Okhla

CLUSTER PLANNING UNIT PLANS IN CLUSTER 1

1- 2 BHK + S 2. 3 BHK 3. 1 BHK + S 4. 2 BHK E.W.S.- Housing for the economically weaker section

3 4 2 E.W.S

SOCIAL INCLUSION Straying away from the typical ideology of having separate towers for seperate types of units, these clusters encourage social inclusion by having each type of unit on every ﬂoor with utmost privacy being maintained as well.

2 1

3 4

EFFECTIVE SPREAD OF LIGHT AND VENTILATION

The clusters have been designed to ensure the effective ventilation of all its houses by giving them the necessary number of prime sides with respect to their sizes and designs.

2 2 4

4 3

Luxury housing in Okhla

0737

UNIT PLANS AND THEIR DISTRIBUTION 1940 900

0052

4500

4000

900

3440

3000

0063

3250

0491

2080 3100

3400

0061

0051

Designing a luxury housing, in Okhla, seemed misplaced, owing to the users around. Different aspects of this user base were analysed, to divide the units in a way that provide for the users in need, while also help manage the cost of the housing.

2080

E.W.S. UNIT

2 BHK+ S 3000

4750

9000

0737

0054

2000

0071

0062

1990

0004

0652

2705 0054

0064

0054

2000

2330

3160

1 BHK + S 5100

4000

0534

3 BHK TYPE 1

3600

0044

0162

0054

0071

0062

0072

0004

0652

2000

0054

0064

0054

2800 8000

1800

4 BHK, LOWER FLOOR

0534

3400 5400

3280 2400

3200 2000

4 BHK, UPPER FLOOR

3 BHK TYPE 1 0162

0044

0072

The design of units is such that each has a small buffer space in front of the entry to ensure against loss of privacy, when the door opens. The units also ensure minimum space wasted in circulation design, with ample interesting space being created with its curved play of balconies.

FLOWING FACADE, CREATED BY BALCONIES PLAY WITH BALCONIES Different curved balconies have been placed in conjunction, to achieve a ‘changing’ facade, giving the buildings an interesting facade playing with the line of sight for the visitor cars and the cyclists on the outside, whilst doing the same for the residents on the inside.

Luxury housing in Okhla

DESIGN SECTION AND VIEWS

VIEW ACHIEVED FROM BALCONY

CLUSTER DESIGN

Luxury housing in Okhla

FRONT ELEVATION AND DESIGN VIEWS

MOSS WALL

CORE WALL

COMMERCIAL

A moss wall has been constructed on various walls of each cluster. The Moss plant plays a huge role in air puriﬁcation. The proportions are such that they provide a unique element to the elevation and have a huge impact on the surrounding air as well.

The outer walls of all lifts and staircases have been cladded with a separate tile with a pattern visible from afar. The aim of this is to make the design easily navigable and user friendly.

The commercial, designed in steps along with the parametric roof, offers a symmetry to the elevations, making the introduction to the design extremely soothing and balanced..

Luxury housing in Okhla

DESIGN FOR COMMERCIAL AND PARAMETRIC ROOF 22 21 1 2 3 4

PLAY ROOM

20 19 18 17

10 11

FIRST FLOOR PLAN

11 10 9

20 21 22

11 10 12

8 7

14 15

3 2 1

19 20 21 22

22 21 1 2

20 19

10 11

SECOND FLOOR PLAN

11 10 9

20 21 22

11 10 12

8 7

14 15

3 2 1

19 20 21 22

22 21 1

10 11

THIRD FLOOR PLAN

11 10 9

20 21 22

DESIGN FOR COMMERCIAL AND PARAMETRIC ROOF PARAMETRIC ROOF One is introduced to the design by this majestic roof, spreading over commercial. Visible from very far, it creates an identity for the housing. Futhermore, it provides shade to the open steps of the design, while creating interest, through a play of shadows, on the steps and the ground. It is made of GluLam timber.

11 10 12

8 7

14 15

3 2 1

19 20 21 22

‘CHHITKUL’- THE VILLAGE ON PAUSE (A.N.D.C. Trophy)

With the Himalyas rocking its cradle and the Baspa river singing it a lullaby, the village of Chhitkul rests in its wooden houses and lush fields. Where culture and community surpasses all, the village is far to be defined by rural or urban. It is defined by its people. The land of perrenial charm, the abode of Mathi Devi. The village on pause, commences its eternal journey.

Location- Chhitkul, Himachal Pradesh This entry was a discovery of the last village on the Indo-Tibetan border. An abode of 200 families, Chhitkul is structured around its temple Mathi Devi and boasts of strong work ethics, culture and ‘Kathkuni’ architecture. Heavily dependant on agriculture for its income as well as living, it also relies on its strong tourism. While the ﬁrst half of the year witnesses ﬂocking people, animals and vegetation, the second half makes the village come to a reluctant pause. The entry focuses on problem solving, creating a design that allows the village to unpause and function, throughout the year.

Chhitkul- The village on pause

VILLAGE DOCUMENTATION

Serving as their primary source of income, the village relies heavily on its farms. Along with this, they grow in surplus, for the stagnant snowy months.

With every family owning around 6-8 cows/ bulls, cattle rearing is a prominent occurence. They care about their cattle like their children.

Strictly practiced by the lower Tourism has given a secondary caste, it is a booming industry source of income to this village here. Primarily responsible for through homestays, shops, the village textiles, it’s becoming restuarants, dhabas etc; a source of income. well accepted.

SECTION FROM FARM AND SCHOOL There is a strong inﬂuence of agricuture on school timings, both timings functioning parallely.

KATHKUNI CONSTRUCTION DETAILS Floor detail, Roof detail and Balcony detail

SECTION FROM TEMPLE COMPLEX In near proximity of mandir and fort is a shed, the most celebrated community space

TEMPLE DETAILS Buddhist carvings of sacred dragon and windchimes, with Hindu carvings of lion and mythologies

Chhitkul- The village on pause

UN-PAUSING THE VILLAGE

Hub used for schooling and classes

TOURISM & SKILL HUB The shed on the ground ﬂoor, provides for the cattle (insulated 20 C),works as a where farming can be done in the extreme winters of Chhitkul, with a technique called Hydroponic farming.

Hub used for temple processions

Cattle placed on the lower ﬂoor for the transfer of heat. Hub used for wedding processions

An interactive space for weavers to hone and display skills.

COMMERCIAL HUB The hub is divided into shops, in the form of local counters on platforms. This hub sells produce from the farming and textile sector. Together, these hubs will allow the village to function all year and UN-PAUSE.

Hub used for community activities

FLEXIBLE COMMUNITY HUB

BEFORE AND AFTER, DESIGN SECTIONS

Working of the style of farming, using power from turbines.

‘LIVING ROOT BRIDGES’, CHERRAPUNJI (Unkown Crafts’ Person Trophy)

Location- Nongriat, Cherrapunji A journey, into the deepest jungles of Cherrapunji, the point of this project was to unravel the art of the root bridges, as well as the skilled hand behind it. Along with understanding and the nature’s constructed art, the project helped discover the use of nature in architecture. The entry further came up with ideas and possibilities of this technique or the psyche behind it being used in today’s world. This trophy was my introduction to documentation and taught me the skill of taking inspiration from a technique or art form and manifesting it into other ideas. It further helped hone my hand rendering skills.

Where villages prime, where roots thrive Forging bonds between places, people and time. When the art of nature and the will of humans combine, Are the bridges, truly alive. The artist’s treasure, the tourists’ cave, The latter’s pleasure, the former’s nave.

Living Root Bridges, Cherrapunji

THE STORY OF ROOT BRIDGES

DOCUMENTATION OF ROOT BRIDGE, NONGRIAT Located in the East Khasi Hills, Cherrapunji, the root bridges are a gift of nature. The hidden perplex, capable of holding 500 people, has a handrail thicker than a standard balustrade. Despite the prodigious size of the bridge, one rubber tree sufﬁces. This nature’s miracle has proven to be stronger than steel itself.

SITE PLAN

ELEVATION

CONSTRUCTION PROCESS The process starts with bamboo, to stuff the roots together. The bamboo is removed as the roots entwine together, to form a strong and self sustaining structure; over a waterfall. A path is then formed, using stones, wooden planks, etc.

Living Root Bridges, Cherrapunji