Selected Works | 2021-23

ansh3011.as@gmail.com

a20ansh@sea.edu.in

9820280245 | 30/11/2002

Thinker, Negotiater, Storyteller

Hi, I am Ansh Shetty. I am an avid observer and critical thinker with a keen eye for aesthetics. I look at architecture through a multidisciplinary lens of literature, poetry, art and space making. I am interested in exploring the etymology of socio-political, cultural and spatial relationships that emerge through architectural interventions.

As a learner, this helps me craft spaces that perceive form as a negotiation these conditions. I revel in watching and analyzing cinema, storytelling, writing, poetry, zine making, inking, engaging in pedagogy and travelling.

Educatuion

Grade 1 to 10 | 2008-2018

Don Bosco High School, Borivali

Junior College | 2018-2020

Shree T.P. Bhatia Jr. College of Science, Mumbai

https://anshettyy.wixsite.com/neitherherenorthere

@anshetty

201, Mhatre Palace, I.C. Colony, Borivali (W), Mumbai 400103 English | Hindi | Marathi

Skills

Hand

Drafting | Sketching | Watercolouring and Inking | Model making | Basic carpentry and masonry | Photography | Working with Rammed Earth ans CSEB Blocks

Software

Autodesk AutoCAD | Sketchup | Rhinoceros |

Adobe Photoshop | Adobe Illustrator | Adobe InDesign | Adobe Audition | MS Office | Wix | Wordpress | P5.js

Soft skills

Critical thinking | Leadership | Problem solving | Collaboration | Time management | Emotional Intelligence | Adaptability

B.Arch | 2021 onwards

School of Environment and Architecture, Mumbai

Workshops

2021

In a city, parts do not make a whole

Prasad Shetty

Generative drawing

Karthik Dondeti

2022

Curation and Exhibition: Living in a metaphor

Anuj Daga

Meaning and Form: Objects, movements and sounds

Kausik Mukhopadhyay

Identity & storytelling through illustrations

Sadhna Prasad

Film workshop: Ways of seeing

Vishnu Mathur

2023

Street Vending Zones

Aditya Singh and team at Hunnarshala

Bodies , cities, ecologies: Postcards from Mumbai and Nairobi

Rohit Mujumdar

Storytelling

Krupa Shah

1 2 3 4 5 6 7

The Ingress

Semester 5

Can a promenade be negotiated whilst maintaining the existing ecology?

Museum of digital stories

Semester 4

What is a museum? How can it change in the digital age?

Building Details: Localization

Semester 6

Architecture of pressure and relief.

Building Making: Understanding detail

Semester 6

Working drawings

Street vending zone

Semester 7

Collaboration with Hunnarshala

Other works

Semester 4,5,6 & 7

Allied design & settlement studies

Personal Practice

Beyond architecture

The Ingress

Can a promenade be negotiated whilst maintaining the existing ecology? | Semester 5

Site | Jampore beach, Moti Daman Collaborator | Swara Chavan

There exists a sense of porosity on the edge of Jampore beach where the promenade is yet to be built. This edge provides a space where the local bioldiversity thrives in the form of the Saru trees whilst also being a space for the locals and hawkers to set up their livelihood. The way the hawkers have negotiated this promenade with the saru trees has led to varied conditions of shade. It is soft under the saru trees, well shaded within the hawkers sheds and there exisists harsh sunlight on the beach. Daman has varied biodiversity due to its different soil conditions in different parts. The construction of the coastal road and the built promenade alienates the people and the ecology that once flourished on daman’s beaches.

Sand, shade and shore conditions.

Pockets of private and semi private spaces along the built form serve as a break from the movement of the building

Clear sight lines and gradual aclimatization to the enviorment through the gallery and information center invoke movement through the gateway, inturn bringing the porousity back to Jampore

gallery and information center

av theater

admin block cafe

space given back to the enviorment

toilet

The form of the gallery is slowly morphed into the idea of a building as a gateway in order to better merge with the existing conditions of the soil, porousity and enviorment.

ingress- noun /ˈɪnɡrɛs/

The act of entering a place; the right to enter a place.

The edge of the built promenade at Jampore threatens to dislodge the ecological conditions of the beach as well as restrict access.

The porosity of the unbuilt edge, the biodiversity of the area, the quality of shade, the practices of the local people on the edges of the beaches, and the ease of access are all lost when a promenade is constructed on Daman’s beaches.

Can the promenade be negotiated or reimagined so that the porosity, wetness, soil condition and quality of shade of the existing ecology are maintained whilst also giving a space for the locals to continue their practices?

ingress- noun /ˈɪnɡrɛs/

The act of entering a place; the right to enter a place.

Programme

To create a porous edge to the jampore beach by mobilizing the idea of the building as a gateway that leads to a gallery and biodiversity park and in turn slowly acclamatizing one to the beach as they trickle through the building. The biodiversity is curated to highlight the different soil types that are found in daman. The movement of the people through the gateway as a building leads to the creation of a softer promenade. A cafeteria that looks out on the biodiversity compliments the space that the hawkers occupy on the edge of the beach.

Brief

Art gallery and information center 315 sq.m

AV theater and video gallery 38 sq.m

Reception and admin block 52 sq.m

Cafeteria and kitchen 55 sq.m

Toilet 20 sq.m

Total 480 sq.m

Iterations and process

Questioning the typology of a gateway through fragmentation in space, programme and practice. Mobilizing the form of a pavilion to create a porous edge to the built form.

Museum of digital stories

What is a museum? | Semester 4

Site | Chhatrapati Shivaji Maharaj Vastu Sanghralaya, Mumbai

Understanding the geneology of how museums evolved led me to the question, How would the form of a museum change with the advent of the digital space? When does this change in experience happen? Can the built form be used to actively relay the experience and emotions a museum wishes to present along with the exhibits? Can museums be accessed remotely through digital means and how does the built space react to it? How will museums in the digital age open up spaces for multiple publics who vary greatly in age, skills, and social and economic backgrounds?

The new museum is reimagined as a public interface to the colonial museum at CSMV. The pavilion as a type is mobilized to deinstitutionalize the museum. New digital methods of display are integrated to bridge the digital gap.

The spaces around CSMVS are not easily accessed by all the social and economic groups of the city of Mumbai. This coupled with the need for a digital archive of Modern art at the museum gave rise to the formation of an annex and archive in the form of a pavilion. The history of colonization of the country coupled with a perceived status associated with the area makes it especially inaccessible. This light structure consisting mainly of thin steel columns stands in front of the old colossus that is the colonial CSMVS building and creates a space for people to pause, have conversations and simultaneously experience an immersive interpretation of the projected paintings. Along with being a digital archive, the pavilion aims to be a multisensory experience for its patrons.

Ground floor plan

Section through amphitheater

The archives of the artworks are projected on the ceilings and walls of the pavillion leading to an immersive, multisensory experience for the viewer.

Section through seating area

Building Detail: Localization

Architecture of Pressure and relief | Semester 6

Site | Trombay Public School, Trombay

The children align themselves in invisible thresholds on the basis of familiarity, comfort and gender, leading to most of the boys occupying the ground for their more physical games and the girls using the classrooms to spend their recreational time. How can architecture respond to the idea of an informally segregated playground and examine the heterogeneous nature of an assumed homogeneous public?

The gullies that line the edge of the school have encroached over the space by creating doors in the classrooms and covering the gully with tarps, essentially making it a private space leading to their activities of the home spilling outwards, hence applying pressure onto the school. How can architecture interrogate the form and spatiality of exchange, leading to a transformation from encroaching to enriching?

tracing the invisible edges

breaking the form of the plinth using verticality

The design intervention here is imagined as the new edge between the community and the school releasing the edges as softer articulations of play and leisure spaces for the school and the community whereas the school is imagined as one thick edge overseeing these new play courts.

forming a softer edge

Right Elevation

As the negotiations on the playground and in the gully settles, there exists a pressure between the various groups that leads to a sense of controlled entropy, the project aims to investigate and redirect this pressure on the site.

Exploration of the possibilities of providing relief and releasing the pressure of the ground by providing controlled segregated, semi private spaces and also having a controlled exchange with the gully, transforming the narrative to an enriching one than an encroaching one.

In an attempt to release and redirect this pressure, the segregation of the ground Ais methodically done by mapping the invisible boundaries. The children often prefer playing on the stages and staircases that they find vacant. Vertical relief is provided by raising the plinths to various heights. The form is further modulated and slopes are formed to generate the experiences of the staircase and bring a sense of continuum to the site.

The classrooms, with free standing walls lets students peer into other classrooms, helping them ease the seperation between the classes. The large, sloping mangalore tiled roof helps tie the school together and form an entarance for the ground.

Stacking of the classroom on a grid with an offset that helps create an overhang playground and cascades the school into the leveled playground and community edge.

First floor plan

Building Making: Understanding detail

Working drawings | Semester 6

Site | Trombay Public School, Trombay

This module aims to bridge the gap between conceptulization and actualization, resulting in a comprehensive construction documentation set.This includes, specifications, quantities, estimations and the integration of various material assemblies in ways that align with the building’s initial concept.

ALL DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO BE FOLLOWED.

DRAWINGS TO BE SEEN WITH RESPECT TO ALL OTHER DRAWINGS.

P.C.C. IS IN THE RATIO OF 1:3:6 (CEMENT : SAND COARSE AGGREGATE).

ALL LEVELS SPECIFIED IN METERS.

ALL DECISIONS REINFORCEMENT CALCULATIONS NEED TO BE TAKEN BY STRUCTURAL ENGINEER.

DO NOT SCALE THE DRAWING.

ALL DISCREPANCIES SHALL BE BROUGHT TO NOTICE TO THE ARCHITECT BEFORE THE COMMENCEMENT OF ANY WORK.

RICHER CONCRETE MIX TO BE USED FOR THE FOUNDATION AND M:30 MIX TO BE USED FOR THE SUPER STRUCTURE, ALL MIXES SHALL BE SUGGESTED, EXAMINED AND APPROVED BY THE STRUCTURAL ENGINEER.

VERIFY FIELD CONDITIONS AND COORDINATION WITH THE PROJECT DOCUMENTS PRIOR TO PROCEEDING WITH THE WORK.

WORK WITHIN THE FIELD BOUNDARIES AS SPECIFIED IN THE PROJECT DOCUMENT AND COMPLY WITH ALL THE APPLICABLE BUILDING CODES, REGULATIONS AND ORDINANCE REQUIREMENTS. - OCCUPANTS ON THE ADJACENCIES TO THE PROJECT AREA SHALL CONTINUE UNINTERRUPTED/UNDISTURBED OCCUPANCY DURING THE CONSTRUCTION OF THE PROJECT.

SR. NO. DATE REVISION DESCRIPTION

ISSUED BY CHECKED BY KEY PLAN

PUBLIC SCHOOL AT TROMBAY, MUMBAI

ANSH SHETTY

THIRD YEAR B.ARCH ROLL NO | A20 - 37 AND ARCHITECTURE

SCHOOL OF ENVIRONMENT

29 selected works

Street vending zone

Collaboration with Hunnarshala | Semester 7

Site | Ekta Chowkdi, Bhuj

Collaborators | Rishab Debnath & Parth Kocharekar

5

Result of a month long coloaboration with Hunnarshala, a vending zone was designed by working closely with various stake holders like MLAs, Counsellors, the street vending assiciation and the vendors themselves. Currently, funds are being alotted for this approved Vending zone.

Seating spaces made by following the logics of the existing ecology and topology.

Rammed earth toilet attached to the vending zone.

Vending zone framework that lets vendors customize the size, number of carts and their roofing material, hence giving them agency over their own spaces.

The month long collaboration with Hunnarshala openned me up to multidisciplenary extensions of architecture. It included workshops working with rammed earth, CSEB blocks and other traditional material technologies as well as understanding how public space design can find form through participatrory design as well as through interviewing Government officials on various levels.

We were able to build friendships with the community and establish the concepts of public vending zones in the minds of the people of Bhuj

Participatory design exercise with the vendors and Interview for local news channels covering the design mela where I was able to be the face for the project.

Other works | Bodies,

Postcards to Nairobi

A set of postcards were made to be excanged with students from The Technical Univeristy of Kenya and Bernard College, New york. This exchange and field trip would be hosted by GoDown Arts center in Nairobi. The postcards aimed to capture the relationships between ecological, political, sociological and spatial conditions at Ganpat Patil Nagar in Mumbai.

Interfaith Spiritual Practices

Aman Sheikh, a 20-year-old Muslim who lives deep within Ganpat Patil Nagar, worships a Hindu transgender deity. He practices alternative and esoteric rituals, commonly unseen in traditional religious practices to harness his connection to the spirits.

”Woh na bachpan se hi aisa tha (He’s always been like this),” recalls his mother, “Kabhi padhai mein mann nahi laga! Humko toh laga shaitan hai usmein (He couldn’t settle in his studies. We always thought a devil was possessing him)”. The rituals he performed during these possessions conflicted with his mother. “Woh baar baar mujhe naam lene bolta tha,! Ab shaitan ka naam kaise lu main? (He kept on begging me to speak his name. Now how could I speak the devil’s name?)” After fifteen years of searching for an answer, going from priest to priest, one maulana(priest) finally said “ Main aapke bete ko dua kya du? Woh ek din logon ko dua dega! (Who am I to bless your son? He is going to bless people one day.)” Once a Muslim confidant with a similar connection to the Hindu deity came over and entered a trance the moment she laid eyes on him. This led to him being taken under Sonal Naik, one of the city’s prominent transgender healers, who practised rituals of hidden knowledge. “Guru ke neeche maine pehli baar Maa ka naam liya! (It was under my teacher that I spoke the Goddess’s name for the first time)”. She then trained Aman in the esoteric ways of the spirit and helped him channel his connection to the Goddess.

Of Faith and Influence

“Jab bhi Aai khelne aati thi na woh mujhe sab batata tha, ki aage kya hone wala hai! (Whenever the Goddess possessed him he would often recite the future to me.)” “Fir dheere dheere woh baki log ka bhavishya batane laga aur totke laga ke takleef bhagane laga.” (He eventually started predicting other people’s future and started practising ritualistic healing).

”Usne Mama ka bhi madat kiya; naya mandir ka zameen lene ko! Isiliye Mama ne humse ek rupiya liye begair humko ye ghar aur zameen diya.” (He even helped Mama in acquiring land for the new temple which is why Mama gave us this land to build our home for free). He began to settle disputes over land by summoning the spirits and practising other esoteric rituals and soon the head of the local land mafia, locally known as Mama, used Aman’s connections and practices to capture land in the CRZ. He subsequently built a temple on these grounds. The land disputes he settled within Ganpat Patil Nagar have led to the formation of a dense network of believers within the settlement. As the seer’s connection to the deity grew stranger, he set up his practice within the quiet and secluded gullies of Ganpat Patil Nagar. Helping people for sums of money that they could afford and making it their primary source of income.

To evaluate the meaning of forms and their relation to their objectives,we focused on using sound as a medium to navigate through this topic. I collected sounds from my city and then formed them together to create a soundscape in which my machine could thrive I then made representations of my sound using illustrations. To do this I chose code to be my helping hand as it helped me in accurately representing the sound in terms of its waveform, aptitude, pitch, loudness and sharpness. Once I moved onto making the actual machine, I began to look at how human interaction could cause the Sound. I imagined a field of wheat that I was walking through and if that field felt similar and yet different. The result of this though experiment and a few variations here and there is Shor Machine v3. It consists of four units that all work as shor machines themselves. Thin strips of old, rusted steel are welded to strips of iron which are in turn welded onto thin slightly curved sheets that help it rock back and forth. they vary from 2.5 ft to 5ft. as you brush past them when you enter the blue studio on the third floor of sea you would be greeted by the hymns of the Shor Machine

water seeps into the house through the mud flooring

gravel uses as a pathway to negotiated the muck formed due to the high tide parapet wall erected to prevent the water from flooding the house

Other

residues of the tide and salt texture on the walls, indication the water level during the tides

stoned paving to negotiate the muck light and easy to move furniture

jute mats used to prevent soil erosion during the monsoons

that it can be moved around easily in cases of emergencies related to extreme high tides. On its roof, the house has a framed structure that is used for drying fish during the summer season. Due to its proximity to the water edge, traces and residues also manifest in the form of salt encrustations on the walls.

verandah as a raised platform to prevent the water entering the house

frame structure on roof used to dry fish

Settlement studies | Semester 4/6

Sites | Pangna, Himachal Pradesh/ Kochi, Kerala

Through our settlement studies we aimed to look at the house typology of two villages in Himachal Pradesh and Kerela and how they evolved and adapted to suit their existing evironmental , social and political climates. Through both these studies we were able to get a grasp on how people at large shape the architecture of their lives through subtle ordinary interventions. The result of these settlement studies where two interactive websites through methods of archiving and compilation, both of which I was responsible for setting up, designing and executing.

https://a20archives.wixsite.com/pangna

sanskriti agrawal, swara chaudhari, dhruvi kachalia, sanjeeta patil, ansh shetty

Personal Practice

Beyond architecture

Zine making

7

Beyond architeture, I enjoy zine making, the practice of making small scale, self published books. Zine making as a practice for me is a way to poke into the art community in my city. Given their nature, my zines usually are about topics that occupy my head the most at that giver moment. My zines have been displayed and sold at various zine festivals around the city as well as the Fluxus Chapel art gallery

Inking

Inking as a practice where I experiment with live models, mat erials and methodologies

zines,

truths’

of

My

‘half

and ‘train

thought’ displayed at Fluxus Chapel art gallery in Mumbai

Snippets from my zine ‘bird song’

I often engage in discussions of cinema with like minded people. Along with being a huge film geek I conduct a lecture series on the Architect as a director at Architecture Masterclass in Mumbai where in we discuss various directors, their filmographies, cinema techniques and movements and relate them to similar happenings in architecture.

Conducting the Cinema and Architecture lecture series at AMC