CEPT Excellence Awards Monsoon 2021

EXCELLENCE AWARDS

MONSOON 2021

About TLC CEPT University set up the Teaching and Learning Center (TLC) to support and strengthen new directions in pedagogy and learning. The role of TLC is that of a facilitator and a collaborator. It supports the functioning of the ‘Course Approval Committee’ as its secretariat and functions under the guidance of the Deputy Provost (Academics).

TLC facilitates the following: 1) Preparation for studio units and courses through structured workshops.

2) Innovation in teaching methods by partnering with faculty members.

3) Faculty development through Online learning resources and peer learning.

For more information please visit the website of the Teaching and Learning Center at https://cept.ac.in/tlc

CEPT EXCELLENCE AWARDS MONSOON 21

Contents

About CEPT University

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Excellence Awards

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A note from the Chair of the selection panel

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L2/ L3 Studio Units

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Student Projects Adorning Identities - Motifs, Colours And Experiences Sanjana Mahadevan

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Dangling Shadows Heer Sanghvi

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Society of Trimtabs Almitra R

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Diffusing Edges : Social And Economic Restructuring Krishna Patel

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Mining District - Land Of The Mechanical Miners Meghana Toutireddy, Rutvij Saini

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Centre For Commerce & Vocational Training, Spiti Valley Ritwik Behuria

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Aquaponics Centre | Catalyzing A Farmer’s Capital L Gyan Praharsh

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The Urban Kund Gummadavelly Hamsika

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Cumulative Palimpsest Ishita Sojitra

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Trad Product Family for Home Office Kinshuk Adeshra

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Productive Commons : DIY Urbansim Sakshi Naphade

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Str-EATS: Urban Food Reservoir Sharanya Pisharody

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Studio Projects Tectonic Operations-V Smit Vyas

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Realizing Nolli’s Dream: Embedding Architecture in the City 96 Sachin Soni Social Learning: Low-cost Private Schools in Ahmedabad Catherine Desai, Sebastian Trujillo Torres

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Hybrid Work(place)-From Objects Through Mediums Subin Jameel, Drishti Korat

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Vulnerability In a Pandemic City Vrushti Mawani, Mariana Paisana

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Jury Profile

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About CEPT University Established in 1962, CEPT University, a 50 year old institution in Ahmedabad, India, focuses on understanding, designing, planning, constructing, and managing human habitats. Its teaching programs aim to build thoughtful professionals and its research programs attend to the deepening of the understanding of human settlements. CEPT University also undertakes advisory projects to further the goal of making habitats more livable. Since the very beginning the University has functioned as a collaborative between academics and professionals, with support from philanthropic civil leaders and the government.

CEPT started with the establishment of ‘School of Architecture’, in 1962 at a time when the country was going through a transformative phase to establish institutions of modern India. Balkrishna Doshi, Rasu Vakil and Bernard Kohn initiated this institute with the support from Kasturbhai Lalbhai and Ahmedabad Education Society. In 1972, the Faculty of Planning was established as the ‘School of Planning’ with key inputs from Christopher Benninger who set up the first curriculum in collaboration with Y K Alagh and Doshi. Rasu Vakil, the then dean of CEPT in collaboration with G N Tambe and S N Banker helped set up the Faculty of Technology in 1982. Then known as the ‘School of Building Science and Technology’, it was focused on engineering and construction. In 1991, Krishna Shastri helped set up what was then known as ‘School of Interior Design which deals with habitat related interiors, crafts, systems and products. Recently, CEPT has also established the Faculty of Management which focuses on Urban Management.

Started with one school and 30 students in the early sixties, the Centre for Environmental Planning and Technology or CEPT became CEPT University in 2005.

Our ethos reflects most clearly in our liberal pedagogic regime that integrates the departments of the University and expands learning options for our students by making it possible for them to easily move across faculties and programs and to explore different intellectual worlds while allowing each to go deep into respective areas of focus and expertise. Programs at CEPT allow potent cross pollination of ideas among disciplines through choice based curriculums and a vast array of electives.

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Excellence Awards Since Monsoon 2018, CEPT University has established awards for excellence to honor students’ studio work done in Under Graduate programs. These awards have been introduced as an effort to ratchet up excellence in teaching and learning and in recognizing and celebrating the best of students’ projects. The awards intend to complement the respective regular grade that students receive from their tutors.

In Jan 2019, the University conducted first exhibition titled ‘Honor’s exhibition’ and published a catalog. Based on the feedback received after the first event, the title of the awards was revised to ‘CEPT Excellence Awards’ for further semesters. This Catalog brings together the work of all student project and studio selected winners for the excellence awards for Monsoon 2021 semester.

A special review panel appointed by the University independently reviewed the work of all the students as displayed during the online and abridged semester-end exhibition. The review panel selected individual student projects that showed the best work in terms of concept, resolution of the concept, detailing of material and structure, and ability to evoke quality and experience of the designed space and its context. There were also studio units that collectively produced excellent work.

The review panel recognized such studio units as well for the excellence awards. To begin, the review panel first shortlisted the projects with potential for winning the excellence award.

For the Monsoon’ 21 semester, twenty individual student works and nine studio units were shortlisted for the excellence award presentation. The shortlisted students and studio units made presentations to the reviewers, based on the which, the excellence award winners were selected.

A total of twelve individual student projects and five studio units have been recognized for their excellent work. Each student awardee and studio unit tutor received a certificate. Additionally, the jury awarded the CEPT Gujral Foundation Excellence Awards to three selected student projects. This award, carrying a cash prize of Rs. 1 Lakh each, is supported by the Gujral Foundation.

With this, we congratulate all the students and studio units selected for this exhibition and in addition to this all other students as well, who contributed to the larger academic environment through their works in the studio and in multiple other ways in being on a part of the community.

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A note from the Chair of the selection panel To be invited by CEPT University to be a member of the Board of Reviewers is an honor and a privilege.

The 6-member panel listed below enjoyed reviewing all Level 2 and 3 studios across the faculties of Architecture, Design, Urban Design and Construction Technology as part of their overall review responsibilities.

We also welcomed the additional responsibility of selecting student work that we considered to be of an excellent standard from the Monsoon 2021 semester.

The Excellence Awards selection panel consisted of: Bobby Desai Walter D’Souza Suranjana Satwalekar Archana Shah Dinesh Sharma Steve Smith

– Architect and Chair of the selection panel – Fine Artist – Exhibit and Museum Designer – Textile Designer and Entrepreneur – Product Designer – Architect and Urbanist

The Excellence Awards selection process is an independent assessment. It is not intended to assess a student’s compliance with the university’s other academic and technical requirements.

Each semester the jury panel, together with the Teaching and Learning Centre, seeks to refine the assessment process in order that the best work can be rewarded. For the Monsoon 2021 semester, each Studio was asked to nominate three students for possible inclusion in the awards exhibition.

The Jury panel reviewed not only all the nominations, but all student work across all studios, including work by students that had not been nominated.

The objective of the Excellence Awards selection process is to select the best work on show; therefore, the principal focus of the selection panel is on assessing the clarity and quality of the presentations and project communications.

The purpose of any presentation, particularly in the context of an end of semester exhibition, is to communicate with clarity, the following: • The concept, it’s relevance and ‘raison d’etre’ • The resolution of concept • Key aspects of detail, • Key aspects of materiality/structure and…

• An evocation of the quality, character and experience of the space/object proposed and its context.

The panel looked for high production values and inventiveness in the approach to the presentations, inventiveness not for it’s own sake, but in order to better communicate the project objectives.It is how well the above objectives are met that determines if a student’s work is considered to be of an excellent standard.

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Through the review and selection process, the following 3 categories of excellence emerged: 1. There are individual works of excellence across all faculties.

Sometimes a project was excellent and occasionally a single drawing was remarkable enough to warrant a citation.

In some cases, more than one project/student was selected from a studio, which is a positive reflection on the studio and the quality of the teaching.

2. With some studios the panel felt that, although there were no single works of excellence, due to a focus on collective working or other factors, yet the teaching was progressive and relevant and that this should be recognized and supported by the university.

3. In some studios, the overall quality/research initiative of the work in the studio was consistently higher than their peer studios, which is a direct result of the learning culture of the studio and ultimately the quality of teaching and personality of the tutors. The panel agreed that this was important and should be recognized even if individual projects within the studio have been recognized as excellent.

Each member of the selection panel, naturally, brought different values and predilections to the selection process, which is a great strength of the process. The final list was submitted to the Teaching and Learning Centre after considerable lively discussion and final agreement. Bobby Desai has prepared the citations, from notes taken at the time of the selection process and subsequent discussions with the full jury panel.

Since the inception of the Excellence Awards, the standard of work has improved across all faculties. This upward trajectory has not only continued, this semester, but it is fair to say that there has been an exponential increase in the quality, diversity, inventiveness, relevance, and maturity of work. This is a clear indication that the strategies and teaching infrastructure that the University has been implementing are paying great dividends.

The outcomes this semester are all the more remarkable, considering the acute difficulties of teaching, learning and living under the dark cloud of the pandemic.

The panel would like to thank CEPT University for the opportunity to review this semesters work. We congratulate the university, and it’s leadership, on all the steps it, tirelessly, continues to take to ensure that CEPT University not only retains its status as a world-class educational facility, but continues to strive to be the very best.

And finally, we congratulate all students and faculty on a semester of outstanding design thinking and drawing.

Bobby Desai Chair of the Excellence Awards selection panel.

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L2/ L3 Studio Units In Spring 2018, CEPT University revised its learning pedagogy, laying emphasis on the new Studio Unit system. Within this system, learning and teaching is centered on the studio or unit, each of which comprises of about 12 to 15 students. Each five-year undergraduate program is organized into three levels: a common one year foundation is followed by Level 2 (L2) and Level 3 (L3) integrated studios. L2 studio comprises students from 2nd and 3rd year and L3 studio comprises of students from 4th and 5th year. The studio units have small groups of students led by one or two tutors; design studios have a greater curricular weightage in terms of credits and time— the semester calendar allows 4 weeks of uninterrupted studio work towards the end of the semester. The studios have a focused approach with specified learning outcomes.

L2 and L3 are designed as integrated studios to enhance peer learning and to function as a learning community. These integrated studios emphasize the belief that learning happens when a small group of students tackle problems on their own, under the review and close mentoring of tutors.

L2 studios clearly focus on developing one of the skills: Visualizing and Communicating, Analyzing and Designing, Constructing and Specifying, Planning and Organizing. In addition, all Level 2 units develops the skill for: Building Arguments and Rationales.

In L3 studios, the students use multiple design abilities to solve complex design problems. They evolve their aptitude to exercise architectural and/or design judgments. Design problems are defined based on a specific theme, approach (along with its rationale) or a theoretical position. The site and the area of program may be defined by the tutor or by the student.

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Level 2 Adorning Identities— Motifs, Colours And Experiences Sanjana Mahadevan

Dangling Shadows Sanghvi Heer Mahesh

Adorning Identities— Motifs, Colours And Experiences Sanjana Mahadevan

Reimagining the Vernacular - TOI 1 Jay Thakkar Visualizing and Communicating Faculty of Design IR2022 Monsoon 2021

Jury Citation

A well-conceived and produced board game. It is the result of detailed studies and craft workshop visits with hands-on instruction on vernacular craft based skills and production techniques. The final design is faithfully based on the motifs and techniques used in Ajrakh block printing.

Design Description

The tree of life - an intricate Kalamkari motif can be used to represent various concepts and is a recurring theme of representation in my work this semester. ‘The Roots of Culture’ - An illustrated storybook for children rooted to the cultural context of Chennai, ‘The Branches of Time’ - A timeline and storyboard depicting life in lockdown, ‘The Leaves of Craft’ - An experiential map and postcards that represent the clothing of craft communities and ‘The Fruits of Workshops’, all led to the final game design ‘Ajrakhpur’. The game was designed for 7-10 year olds to educate them about the craft of Ajrakh - the printing process, the motifs used and its history. Primarily a picture association, trading and card based game, Ajrakhpur revolves around four characters- Block Maker, Stamper, Boiler and Merchant. The players compete to achieve their target patterns by trading and collecting resources, coins and wooden stamps. Individual player mats were illustrated and printed on canvas, with stitched corners and pockets functioning as card holders. Wooden blocks/stamps of the 6 motifs were designed such that apart from functioning as part of the game, children could also try their hand at ajrakh block printing by stamping.

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Fig.1 Adorning Identities— An experiential story map

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Fig.2 Illustrated storybook for children

Fig.3 Lockdown narrative and timeline 16

Fig.4 ‘Ajrakhpur’— Components of the game

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Fig.5 Wooden blocks/stamps

Fig.7 ‘Ajrakhpur’— packaging 18

Fig.6 Stamper player mat

Fig.8 ‘Ajrakhpur’— thematic booklet and elements 19

Dangling Shadows Heer Sanghvi Hybrid work(place) Subin Jameel, Drishti Korat Visualizing and Communicating Faculty of Design IR2038 Monsoon 2021

Jury Citation

The project blurs the boundaries between structured workspaces and their support facilities through a process of collision and superimposition. The resultant complimentary and contrasting hybrid spaces create an expressive building and interior spaces that cater to the needs of performance artists.

Design Description

The project contemplates on blurring the boundaries between breakout and workspaces by embedding multiple workstations within the preexisting site structures with an exterior circulation layer. The space caters to performance artists from three genres— music, dance, and film. Diverse scaled performance areas, rehearsal spaces, workspaces are given to serve multiple scaled groups. Using the intangible qualities of shadows, the site is blanketed by a layer of members derived from the shadows of the retaining structure, flowing down to the spaces. They question the fundamentals and functionality of the Art Nouveau Ornamentation.

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Fig.1 Exploded Isometric View— Ramp embedded between collaborative Workstations 21

Fig.2 Set Design— Staging and Fictionalizing my Workspace

Fig.3 Unfolded Spaces— Seams extracted using shadows at different hours of the day 22

Fig.4 Speculative Drawings unravelling the Site/Audience/Envelope 23

Fig.5 Section and Plans 24

Fig.6 Glimpses of the Project

Fig.7 Spill out Platforms for the Performance Spaces 25

Level 3 Society Of Trimtab Almitra R

Diffusing Edges: Social And Economic Restructuring Krishna Patel

Mining District— Land Of The Mechanical Miners Toutireddy Meghana, Rutvij Saini

Centre For Commerce & Vocational Training, Spiti Valley Ritwik Behuria

Aquaponics Centre | Catalyzing A Farmer’s Capital L Gyan Praharsh

The Urban Kund Gummadavelly Hamsika

Cumulative Palimpsest Ishita Sojitra

Trad Product Family For Home Office Kinshuk Adeshra

Productive Commons— DIY Urbanism Sakshi Chandan Naphade

Str-Eats: Urban Food Reservoir Sharanya Pisharody

Society of Trimtabs Almitra R Verticity: The Future is Here Vishwanath Kashikar

Faculty of Architecture AR3034 Monsoon 2021

Jury Citation

An excellent exploration, through commendable drawings, modelling and narrative making. An inventive architectural outcome is the result of wellcrafted design thinking and planning for a specialised community.

Design Description

The society of trimtabs is made of individuals of heightened awareness as the primary social, economic, and administrative unit with a rationale assisted by artificial intelligence (a mirrored consciousness achieved by heights of surveillance and monitoring) More decision-making power is given to an individual within limits of common consensus. The individual is not limited by societal conditions but rather enabled by the same.

In this society, the individuals are given more decision-making power.

People are given more control over their lifestyles, growth and permanence. On those accounts, two of the primary ideas explored in the project are ‘self-build and incrementality’ and ‘flexibility’.

The building is seen as a framework for people to overtake and make their own. The building is a services and energy system. The inhabited space of an individual becomes the space of their expression of ephemeralities. The exchange and interaction between the individuals, thus, forms an enriched collective and society.

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W I N N E R CEP T GUJRAL FOUNDAT ION

EXCELLENCE AWARD

Additional plug-ins added by the individuals

TOWER B

TOWER A

Fig.1 Projected plan view of the project 29

Fig.2 Sectional perspective through the two towers and the base

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Fig.3 Sectional isometry through the base 30

Stepped terrace gathering

Outdoor terrace dining

Fig.4 Images showing the character of the place 31

Basement

Basement

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Fig.5 Sectional isometry through the base

Fig.6 View of the terrace garden 32

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Second

Third

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Fig.7 Plans of the basement levels

Fig.8 View from the gardens

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Diffusing Edges : Social And Economic Restructuring Krishna Patel

Narratives in Architecture Meghal Arya

Faculty of Architecture AR3011 Monsoon 2021

Jury Citation

A vividly portrayed proposal that demands that society has better understanding of the needs of urban workers who operate in the informal sectors of Indian cities. It proposes an economical, quiet architecture that skilfully creates spaces and provides facilities that will support the community it seeks to serve.

Design Description

In an emerging and developing economy like India, the majority of urban workers come from informal sectors. This broad and heterogeneous workforce which includes construction site workers, venders on streets, women workers who work from home, etc. makes up for 80% of our economy yet they’re not considered while designing our cities and are often pushed to the peripheries that make it even more difficult for them to survive and serve the need.

Hence a narrative-based decentralized and distributed infrastructural approach has been employed which makes the cities more inclusive in terms of their accessibility for the informal sector workers and its viability for them to survive without having to constantly move.

This project is one such example of how an urban village like Makarba gaam can be included in city planning without entirely changing and redeveloping the site from scratch but instead recontextualizing it with smaller interventions.

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W I N N E R CEP T GUJRAL FOUNDAT ION

EXCELLENCE AWARD

Fig.1 35

Fig.2

Fig.3 36

Fig.4 Insightful discussions were held with the community every other day. Program as well as sites of

interventions were decided by the people with the help of professionals hired by Rehman chacha. Three main programs that were identified were the Nai Bharti naaka, under which one was Rozgaar Kendra and other was prashikshan shala; Jan sanyojan kendra, which is the collaboration centre; and a human library called Zariya.

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Fig.5

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Mining District— Land Of The Mechanical Miners Meghana Toutireddy, Rutvij Saini

Living Museum: Salvaging Le Corbusier’s Floating refuge Arijit Chatterjee, Asha Sumra

Faculty of Architecture AR3036 Monsoon 2021

Jury Citation

A dystopian narrative of a future Ahmedabad. Evocative drawings demonstrating great rigour, precision, and commitment. The juxtaposition of past, present and speculative technologies gives the proposal a sense of reality, despite its fantastical premise. A fiction made manifest in cinematic breadth and scope.

Design Description

The story inquires a possible future where robots are increasingly aiding difficult human activities to imagine the destruction of a landscape indifferent to that one that has been shaped over hundreds of years of collective human effort Reflecting on how any natural resource is rationed with additions like dams that are constructed over rivers that move villages and communities for the greater profit of the larger society, this fiction tries to encapsulate the aspects of prosperity and adversity to imagine an exaggerated vision.

Such narratives follow a branch of pataphysics as an idea that “the virtual or imaginary nature of things as glimpsed by the heightened vision of poetry or science or love can be seized and lived as real. Pataphysics in a number of statements and examples, including that it is “the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments In the search for the last sources of energy humans have uncovered rich Neutranium deposits under Sabarmati- a radioactive material that when mined could provide energy for to the human civilisations for the next 200 years. However, realizing the potential harmful effects of staying and working near radioactive mines and contamination of the soil and water, humans have evacuated Ahmedabad using air balloons – a mass exodus.

These activities of exporting and mining happen on the background of the landscape of Ahmedabad with the destruction of entire city blocks and to dig up open pits while changing the terrain from a flat interconnected landscape of roads into an irregular topography of dumping sites next to the mines indifferent to the intricate city fabric that was previously A robotic mining district was created by human that processes and exports energy to the human cities, where the Riverfront is a bustling airship hub with the incoming and outgoing crafts. The barge is retrofitted into a navigation vessel that inspects and coordinates the activities at various open pit mines across the city.

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Airship hub

(Main exporting hub to the human cities of the fuel cells)

Airship barge

(Navigation ship with radioactive sensors and laboratory for radioactivity detection)

Extraction site

Paddle barge

Hot air balloon

(Communication network and checkpoints for temporary data storage)

(Mobile workshop along the Sabarmati as a transport vehicle for robot repair and kit of parts)

(Extraction towers next to the mines to refine the ore)

Fig.1 Huge mines dug where the radioactive material nutranium is found in concentration in complete disregard to the city fabric developed over centuries with the sole purpose of mining and extraction

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Fig.2 Designing and detailing the robot miners: The robots process the neutranium as detailed to be exported to the human cities

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5. Large fuel cell storage towers connected to the mooring mast for loading and unloading of the fuel cells to be exported

6. Robotic maintenance and repair workshop 7. Communications laboratory

9. Robotic programming pods

4. Mooring masts for the airships to export fuel cells to the human cities

1.Helium extraction towers to refill the balloons and a repair and maintenance workshop

3. Outdoor servicing and repair workshop

2. Ramp leading down to the equipment repair and maintenance workshop

Barge landing at the airship hub

Fig.3 The airship hub including balloon and vehicular repair workshops, robotic communication center with the human cities and fuel cell storage towers

Fig.4 Extraction and processing laboratories with landing sites for the baloons and airships to be taken to the airship hub for exports showing mining activities in the district

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SCANNING MACHINE

Fig.5 The barge retrofitted into an airship as a navigation vehicle with laboratory and sensors for radioactive material detection

Fig.6 The barge retrofitted into an airship as a navigation vehicle with laboratory and sensors for radioactive material detection

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1. Roof The roof is openable if any machinery needs to be fitted inside the volume and needs exposure to the sky.

7. Scanner The scanner scans and detects the smallest of radioactive emitted through the material in and around it and monitors the signals.

2. Louvers The louvers help maintain air circulation so that the machines dont overheat and acts as a natural exhaust system.

8. The Manufacturing plant The manufacturing unit takes the fuel cells collected and harvests its energy to further make the robotic equipments and tools required

3. The upper Deck The Upper deck consists of three volumes of enclosures with access in between through stairs to the mid landing.

4. Robot kit storage The upper level is used to store and maintain the parts which are used to make the robots 5. Receivers The receiver collects all the signals from the paddle barge and the network of smaller balloons

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6. Fenestration The slab is lifted in order to get the light inside the workshop space which is covered by the hull.

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9. Innovation lab The lab keeps track of newly discovered substances and the researches on the new devices and tools to better the quality of work.

10. Service boxes These boxes and removable usable pieces of furniture which can be used to adapt to the space and attach machinery. Can be used as a scaffolding. in workflow.

11. Paddles The paddles are driven by two separate motors inside which in sync allows it to be on the surface and is powered simultaneously with the manufacturing plant.

12. The Launch and service platform The paddle barge acts as storing and servicing parts of the jet propulsion system which is carried to the Airship if needed.

13. Screen The screen is a full volume screen accessed by the hydraulic flooring unit.

Fig.7 Paddle barge: Mobile workshop along the Sabarmati as a transport vehicle for robot repair and kit of parts

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Centre For Commerce & Vocational Training, Spiti Valley Ritwik Behuria

New Vernacular Architecture Martin Anzellini, Harshil Parekh

Faculty of Architecture AR3036 Monsoon 2021

Jury Citation

A complex and contextual response to the site and programmatic dynamics in Kibber Village, Spiti Valley. With elegance, yet great economy, the proposal negotiates seasonal weather extremes whilst offering spatial flexibility and adaptability. This inventive approach allows for a changing roster of community uses throughout the year and the possibility to deploy the solution to different sites with varying community needs and topography.

Design Description

The villages in Spiti Valley are dependent on tourism, agriculture and their neighboring villages for their sustenance. During winters, the access to these villages gets blocked, and all activities end up happening inside homes, with sources of income becoming stagnant. The society also has craftspeople involved in fine embroidery work that is slowly dying due to lack of skill transfer and commercialization. The overall problems of the region can be narrowed down to two categories: a) Over-dependence on agriculture requires for alternate sources of income, b) Over-dependence on tourism/hospitality requires for lesser dependence on third parties.

As a result, the project is a Centre for Commerce and Vocational training in the Kibber village of Spiti Valley, Himachal Pradesh. The design aims to facilitate the seasonal change in Spiti valley by becoming a versatile entity for different uses throughout the year. The summers see the design become a series of staggering terraces and canopies, while in winters, the project morphs into a singular covered entity for allowing internal circulation throughout. Moreover, the overall aim is to encourage the development of such infrastructures across other villages in Spiti, for which the construction stems from modules of rammed earth and timber, so as to allow for easier replication across the region in order to tackle future winter concerns.

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Fig.1 Program Formulation, based on the persisting issues of the society

Fig.2 Concept, the design as a living bridge to faciliate movement in winters

Fig.3 Rammed Earth Construction Module, for ease of execution in neighboring villages

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Fig.4 The Living Bridge, as illustrated through site plan and sections 48

Fig.5 A new horizon, the project is set below eye level to not disrupt any existing visual connections

Fig.6 Ground Level Plan, an enclosed spine of thick walls and closed courts, active during winters

Fig.7 First Level Plan , a series of stepped terraces and semi-open spaces, active during summers

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50 Built form and spatial views Fig.8 Overall

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Aquaponics Centre | Catalyzing A Farmer’s Capital L Gyan Praharsh

New Vernacular Architecture Martin Anzellini , Harshil Parekh

Faculty of Architecture AR3035 Monsoon 2021

Jury Citation

A well-researched and thoughtfully conceived proposal, which shows great skill and sensitivity to site and local construction context. Great maturity and skill are evident in the planning and detailing of the proposed facilities. The design drawings are elegant, precise, and skilfully communicate the contextual nature of building and its materiality.

Design Description

The proposed master plan for Amaravati, as the capital for the new state of Andhra Pradesh, led to hopes of large-scale developments in the region.

For the same,35,000 acres of fertile Land were from the farmers. With the promised development of the capital coming to a sudden halt, people find themselves in a position where they can’t go back to their earlier practice of farming due to infertile lands, while their current investments in real estate are giving them zero returns throwing them into a cycle of debt. In this context of uncertainty, the proposal aims to quickly generate an alternate economy at the scale of the city. In recognition of the existing know-how of farming practices with the unavailability of fertile lands, the project looks at training in soil-less farming practices as an immediate solution to the problem through an aquaponics training center.

The architecture of the campus aims to be one that is flexible enough to accomodate the changing needs of people and time rather than becoming an imposition on them, and hence in the process, to gain the trust of the famers of Amaravati.

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Fig.1 Site Plan—Thullur Village 53

Fig.2 Analysis of Yandong Pit Dwellings

Fig.3 Program formulation 54

Phase 1 : Transition

Phase 2 :Expansion

Phase 3 : Reprograming

Creating Bunds

Connection to

Diffenet natures of

for farming

school and water

courtyards

Fig.4 Conceptual diagrams— Phase wise development of campus

Fig.5 Ground Floor— Bays of program 55

Fig.6 Roofing structure allowing for reprograming of spaces

Fig.7 View of centre from water

Fig.8 Sectional Perspective— Details of bamboo construction 56

Fig.9 Isometric Drawing— Connections of terrace gardens to courtyards

Fig.10.iew of entrance— Connections to existing school 57

The Urban Kund Gummadavelly Hamsika Realising Nolli’s Dream: Embedding Architecture in the City Sachin Soni

Faculty of Architecture AR3017 Monsoon 2021

Jury Citation

The project explores how an infrastructural project like a metro station can be deeply integrated in the city fabric. It asks if such an infrastructure can become something more than just a functional amenity. The proposal takes the form of a kund, an attractor, and a powerful signifier, a form simultaneously both modern and ancient, resonating with memories…. In this kund people and trains flow at its base. The spatial qualities of the sectional strategy are evocative and of particular note.

Design Description

The project aims to extend access from the private to public realm by creating a conducive environment both in terms of physically, physiologically and by removing barriers like safety and lesser opportunities. Thus encouraging all age groups to be a part of the the public realm.

Inspired from Nolli’s Map of Rome, the design intervention looked at how infrastructure like a metro station be deeply embedded in the city fabric.

Can infrastructure become something more than just a functional amenity?

Can it break the gender barriers existing in the city? The upcoming metro station in the city is seen as an opportunity and a way to un-gender Gheekanta’s prescient and create a diverse neighborhood. The project aims to extend access from the private to public realm by creating a conducive environment both in terms of physically, physiologically and by removing barriers like safety and lesser opportunities.Metro becoming a gateway for one to fulfill their dreams, gain confidence and be a part in the society.

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Fig.1 Initial Translations— Site concerns, Vision Collage and Spatial Strategies.

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Fig.2 Sectional Isometric— Showing leisure happening at various scales in the project

Fig.3 Sections— Cascading effect brings more visual connectivity and enhances the idea of eyes on the street through volumetric connections

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Fig.4 Ground floor plan 61

Fig.5 Wall Section— Details developed enhancing the idea of active edge and safety for everyone.

Fig.6 Views— Community spaces happening at various scales 62

Fig.7 Bird’s eye view— life at urban kund 63

Cumulative Palimpsest Ishita Sojitra Realising Nolli’s Dream: Embedding Architecture in the City Sachin Soni

Faculty of Architecture AR3017 Monsoon 2021

Jury Citation

An evocative ‘hardware solution’, with a site and station design strategy that is a powerful conceptual extrusion or re-interpretation of the graphical character of Nolli’s map of Rome. This is coupled with a detailed ‘software solution’ that responds to the context and accommodates the multitude of economic and social programs that such large infrastructure projects demand.

Design Description

In the context of a developing nation, infrastructure is predominantly interpreted as a functional amenity. Can the infrastructure be interpreted through the lens of ‘politics of aesthetics’ ?

The underground Metro Station at Gheekanta, Ahmedabad is positioned within the historically rich context of an old-walled city. The old city of Ahmedabad is essentially a composition of various traces through time and space. The underground is a fragmented museum archiving these traces of surface as well as subterranean architecture from various timelines.

The lack of congruence between infrastructural development, institutional practice of heritage conservation and societal values has resulted in urban landscapes where the isolated historic monuments do not play a meaningful role in developing a vivid sense of the city’s past. Hence, reimagining Gheekanta as an urban palimpsest; its form continually altered while bearing traces of earlier incarnations.

It is in celebrating the complex and layered process of metamorphosis that the project draws its design ethos. The project focuses on connecting these traces with the present through intertwining movements. ‘Can the station become a mediator for associating the heritage to the developing infrastructure?’

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Fig.1 Spatial Strategies 65

Fig.2 Site plan

Fig.3 Plans

Fig.4 Section 66

Fig.5 Curation of edges

Fig.6 Section 67

Fig.7 Design resolution and Nolli plans, Gheekanta 68

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Trad Product Family for Home Office Kinshuk Adeshra Furniture: Branding and Retail a complete experience Anand Belhe | Naandi Parikh

Faculty of Design BD3001 Monsoon 2021

Jury Citation

A production ready family of home-office products which are well resolved and constructed. An elegant wire frame forms the supporting structure and gives the products a distinctive and consistent appearance. The design is inventive, economical, and attractive. The proposed product range offers great flexibility and can be extended with multiple options and accessories in the future.

Design Description

The Trad Family of products are designed with the idea of making a range of structurally sound wire frame products for home office. The product family is designed to cater to the general user needs. The Trad Family includes, a desk— leg goes with the ‘design your own desk section’ of IKEA, desk riser­— an affordable solution for a standing desk setup with different height options for various users, a desk trestle with options for mounting and shelving, a CPU trolley and a wall mounting storage system with shelving and cabinets.

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Fig.1 Trad Product Family 71

Fig.2 Trad Desk Leg Process Models.

Fig.3 Trad Desk Leg Render and Prototype

Fig.4 Trad Desk Riser Render and Prototype 72

Fig.5 Trad Wall Mounted Storage System

Fig.6 Trad Trestle with different mounting and shelving options 73

Trad Trestle with options of anti-skid mounting / fixed mounting top and sheet metal / MDF shelf.

Fig.7 Trad Trestle Assembly— Mountable Version with MDF Shelf 74

x2

x1

x1 x2

Parts arranged for packing.

Trad Trestle Packaging - Kit of Parts .

Fig.8 Trad Trestle Packaging— Mountable Version with MDF Shelf 75

Productive Commons: DIY Urbansim Sakshi Naphade Eco Warriors [Edible to Productive landscapes] Mansi Shah

Faculty of Planning UR3005 Monsoon 2021

Jury Citation

An imaginative, well-illustrated alternative vision for a more sustainable urban future. The proposal tackles the challenges of underutilised public spaces.

It speculates on how such liminal and, often, abundant spaces can be more productive by supporting community needs, nature and wildlife.

Design Description

A typical Gandhinagar sector under residential zone has about 35% land under public domain designated for small and large infrastructural developments for the residents of the sector. However, the majority of these public lands till date remain unused, unproductive and barren.

So, the proposal gives a design framework to public spaces to create productive uses linked by a pedestrian network. Developing these lands would create a continuous framework of productive landscapes for communities in the center of the sector, while also shaping active and accessible zones. The public lands will be available to an individual or collective via CRP (common resource pool) model. A model such as this one allows residents to lease and gives them a design framework to develop, to grow, to make forests, and to enjoy the benefits of the produce.

The system will also create small circular loops, where waste can feed local farms, and produce can go to nearby residents and so on. The design will result in a healthier, more resilient sector that provides a range of ecosystem services.

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W I N N E R CEP T GUJRAL FOUNDAT ION

EXCELLENCE AWARD

Fig.1 S scale: Concentrates upon the built and the open spaces in congruence

Fig.2 Visualization: A playful landscape of innovative uses 77

Fig.3 Conceptual View: Zone allocation and working

Fig.4 Concept plan: Flow of nutrients, flow of services 78

Fig.5 Common Resource Pool: Design and management of the model

Fig.6 Building typologies: Possible built typologies for public infrastructure development 79

Fig.7 L scale plan: Working and zoning of public land within the sector

Fig.8 Catalog: Catalog of spaces within the sector providing ecosystem services 80

Fig.9 XL Plan strategy: A layer of continuous productive landscape across Gandhinagar 81

Str-EATS: Urban Food Reservoir Sharanya Pisharody Eco Warriors [Edible to Productive landscapes] Mansi Shah

Faculty of Planning UR3005 Monsoon 2021

Jury Citation

An imaginative, well-illustrated alternative vision for a more sustainable urban future. A proposal that tackles the challenge of supporting nature and wildlife in the city. Common assumptions about the hegemony of the vehicle and its needs are inverted. Innovative and challenging manipulations of vehicular ‘Rights of Way’ are undertaken, creating an activated landscape, with a continuous network of allotments and forest gardens.

Design Description

Gandhinagar is a grid city where streets take up a large percentage of land.

The primary streets in the city have been delineated with large ROW’s but are partly constructed, are under-utilized with inactive edges, and in several areas missing a connected pedestrian network. Hence, the project ‘str-eats’ reimagines ROWs in a productive way by integrating edible gardens, water swales, and green corridors with native species into the overall street design.

This is demonstrated on a 100-meter wide ROW, where swales, allotment gardens, and medians are all designed to accommodate a range of social and ecological functions. The footpath is equipped with allotment gardens (4x8 meters), which can be leased by citizens and can be used and designed as per guidelines. These allotments cover a range of possibilities from hydroponics, to seed banks to small pocket social spaces. The big idea is to activate streets, create new programs, and enjoyable spaces for city residents. Over time, the streets will become a continuous network of food and forest gardens interspersed with various activities.

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upper story

bring biodiversity

mid story

shrub layer & ground cover (food) water percolation Layering of plants

- upper story / canopy layer -under story / mid-story -shrub and ground layer

Facilitating Natural processes

-interconnected root system -mulching,decomposition -biodiversity

Fig.1 Concept— Strategy for plantation 83

Fig.2 Conceptual plan at city level

Fig.3 Proposed sections 84

Fig.4 L-scale Plan

Fig.5 Sectional Perspective view— integrating all parts of the ROW 85

Fig.6 S-scale Plan

Fig.7 Architecture Catalogue for social spaces 86

Fig.8 Axonometric view showcasing various scales of intervention integrating an overall productive system

Fig.9 Street View

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Studio Units Tectonic Operations-V Smit Vyas

Realizing Nolli’s Dream: Embedding Architecture In The City Sachin Soni

Social Learning: Low-cost Private Schools in Ahmedabad Catherine Desai | Sebastian Trujillo

Hybrid work(place) Subin Jameel | Drishti Korat

Vulnerability in a Pandemic City Vrushti Mawani | Mariana Paisana

Tectonic Operations -V Smit Vyas

Focus: Constructing and Specifying Unit Assistant: Vihar Sangan

Faculty of Architecture AR2016 Monsoon 2021

Jury Citation

A well-structured course engaging students in architectural construction documentation. Whilst the focus is construction craft; each project journey is underpinned by a strong conceptual idea, which is comprehensively explored through sketching, modelling, and component drawing. The proposals are made manifest through a rigorous understanding of construction, skilfully executed final drawings and meticulous detailing. Individual student proposals were brought together resulting in a campus master plan of eclectic, inter-connected proposals enmeshed into the existing site. The tutors are to be commended on the consistently high quality of their students’ work.

Unit Brief

The studio explored ways through which outdated buildings can become sites for creative thinking about construction processes.

It introduced new programmatic requirements in an old precinct, necessitating actions of repair, replacement or introduction of alternative parts. Through this, new formal, structural and material conditions were tested against the old ones in an attempt to find a wholesome architectural expression. As a result, the play of building elements, systems and technologies was anchored into the work by clearly responding to the given spatial and functional conditions, while at the same time, freeing the author to exercise personal imagination and desire. Undertaking a small renovation project allowed students to gain knowledge of different agencies involved and explore a much wider range of design development processes.

Each student, along with formulating a new schema, also learnt staircase details, door & window details, flooring drawings and toilet design. Above all, students learnt to see existing buildings from the point of view of structural possibilities and scope for intervention and also developed skills for identifying building language and developing its grammar through the detailing of architectural elements.

Students 2nd Year Adhrita Roy Nataraja Avaneesh Dhyani Savsaviya Hetvi Prajapati Mathew M Jayash Naureen Feroz

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Navya Pandey Niba Aman K Nishtha Contractor Parth Panchal Prachi Aggarwal Prakruti Parsiya

3rd Year Jayannti Singh Karan Gandhi

Fig1 91

Fig.1 Adhrita Roy Axo. Design Development & Sections

Fig.4 Navya Pandey Auditorium Plan & Sections

Fig.2 Process Models

Fig.5 Avaneesh Nataraja Design Development Axonometric

Fig.3 Group Work Site Model

Fig.6 Parth Panchal Design Development Axonometric

Fig.2

Fig.3 92

Fig.4 93

Fig.5 94

Fig.6 95

Realizing Nolli’s Dream: Embedding Architecture in the City Sachin Soni

Unit Assistant: Nilosha Dave

Faculty of Architecture AR3017 Monsoon 2021

Jury Citation

The course encourages students to explore the architecture of urban space and infrastructure. The core interest of the studio is an investigation into the transformative potential of architecture at an urban scale and its engagement with city making processes. In particular, the exploration of large scaled sub-terranean spacemaking and its relationship to the city is bold and imaginative. The inventiveness of the thinking, quality of drawings produced, together with the energy and work rate of the students is very impressive.

Unit Brief

Nolli’s map of Rome holds unique significance for architects and urbanists these days. It presents dialectical relationships between buildings and their milieu. It counters a tendency to see buildings as isolated objects outside the very context that gives them life and meaning. Inspired by Nolli’s map, this studio focused on developing a conceptual and critical approach to architectural design where buildings are not seen as ‘isolated events’ but are deeply and intrinsically embedded in the fabric of the city.

The studio aimed to reimagine typologies of civic/infrastructure projects which constitute a major part of urban development in Indian cities. Most of these projects do not respond to their immediate context due to conventional architectural approaches and end up becoming inaccessible parts of the city.

The objective of this studio was to architecturally reinterpret existing types of civic buildings/infrastructure in cities, so that they are well integrated with immediate and broad urban context. Based on strong contextual awareness, the studio investigated and explored various programmatic strategies and architectural alternatives which make projects more accessible and public in character.

Students 5 th Year Anoushka Mittal Arya Dhanda Gajjar Marut Hamsika Gummadavelly Harshil Shah

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Ishita Sojitra Parikshit Kalavadia Pulak Goyal Sandra Palathingal Sawani Jain

Fig.1 97

Fig.1 Sawani Jain Illustration representing vision of the project.

Fig.6 Hamsika Gummadavelly Transverse section of proposal at Gheekanta site

Fig.2 Arya Dhandha Diagrams representing spatial strategy.

Fig.7 Sandra Palathingal Transverse section of proposal at Gheekanta site

Fig.3 Arya Dhandha Cut-away Axonometric view of final proposal.

Fig.8 Hamsika Gummadavelly Cut-away Axonometric view of final proposal

Fig.4 Pulak Goyal Transverse section of proposal at Vastral Gam site

Fig.9 Harshil Shah Cut-away Axonometric view of final proposal

Fig.5 Harshil Shah Transverse section of proposal at Vastral Gam site

Fig.2

Fig.3 98

Fig.4

Fig.5

Fig.6

Fig.7 99

Fig.8 100

Fig.9 101

Social Learning: Low-cost Private Schools in Ahmedabad Catherine Desai, Sebastian Trujillo Torres Unit Assistant: Tanvi Dubberwar

Faculty of Architecture AR3037 Monsoon 2021

Jury Citation

The studio explores the relationship between structure, space, and pedagogy.

Existing, functionally stressed, low-cost schools are selected for study. Many of the subject schools are on highly constrained sites in inner-city locations.

Spatial analytics software was used to understand the spatial structure of the selected schools, this enabled the students to un-pick spatial, organisational and circulatory problems, this study was coupled with research into widely celebrated learning environments. The design objective is to deliver the greatest positive pedagogical impact with the slightest of interventions and resources. The resultant interventions are strategic, surgical, nuanced, and frugal. By improving the functional performance and extending the operational life of the existing buildings, the studio recognises the vital role such schools play for a largely disadvantaged sector of society.

Unit Brief

Our studio investigated schools, learning how architecture supports pedagogical innovation and improves the experiences of students.

We departed from a social perspective, noting the vast spatial and programmatic differences between government, low cost and high cost, private schools. We used an iterative process of design and analysis, to make proposals for low cost schools.

Students transformed existing Ahmedabad schools which require urgent improvements. They responded not only to the current situation but were asked to address further programmatic requirements in different phases and assessed based on how they responded to these shifting contingencies in the brief. Analysis was conducted using software developed by the Space Syntax Lab at the Bartlett UCL. This is not a parametric tool. It is used to understand how spatial planning enables types of social interaction in buildings. By the end of this exercise, students made a proposal for the selected building which comprised a new comprehensive pedagogical model in relation to spatial structures. They also produced a stimulating architectural inquiry into the possibilities of working on existing structures with remarkable budget constraints and complex social necessities.

Students 4 th Year Deepak Varma Riya Pai Varshil Changani

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5 th Year Arsh Kania Drashti Kanabar Jhanvi Kamlesh Oza

Kriti Kothar Ripalbala Pargi Shreya Shridhar Tarjanee Soni

Fig.1 Fig.1 103

Fig.1 Tarjanee Soni Sectional isometric

view of the intervention in the Shahpur lal school Fig.2 Kriti Kothari Sectional Perspective showing the interventions and a normal day of school Fig.3 Deepak Verma Elevation of the permeable facade Fig.4 Deepak Verma Views showing a students journey in school Fig.5 Jhanvi Oza Perspective view showing the exterior view of the school

Fig.2 104

Fig.6 Varshil Changani Sectional perspective showing clasrooms and courtyards Fig.7 Shreya Shridhar Axonometric drawing highlighting the learning street Fig.8 Shreya Shridhar Internal View showing the transformation of spaces through seasons Fig.9 Shreya Shridhar Internal View showing the transformation of spaces through seasons

Fig.3

Fig.4 105

Fig.5

Fig.6 106

Fig.7

Fig.8

Fig.9 107

Hybrid Work(place)— From Objects Through Mediums Subin Jameel, Drishti Korat Focus: Visualizing and Communicating Unit Assistant: Shail Sheth

Faculty of Design IR2038 Monsoon 2021

Jury Citation

The course introduces students to speculative design processes. The studio promotes a design process that is not driven by a conventional design brief but is a consequence of unseeming juxtapositions between spaces of varying scales, collage techniques, literary references and architectural theory. This provides a foundation for spatial exploration which catalyses new ways of representing and thinking about workspaces. Students produced highly engaging and vividly illustrated design propositions as part of an intense and worthwhile learning experience.

Unit Brief

A boundary does not define the interior; it is the order, array and number of objects which reside within a space that truly define the character of the interior. The studio aimed to develop an inside-out approach towards spatial design by questioning the ‘part to whole’ relationships between objects, structure, envelope, and site.

The studio aimed to disrupt our conventional relationship with architectural compositions and rethink the correlations between familiar objects, materials and it’s assemblies. How can this renewed understanding of objects give rise to unconventional kinships and hybridities in the form and performance of our spaces? The studio explored speculative design procedures by understanding the potential embedded in digital and analog mediums. Cycles of making and thinking with these mediums played an important role in the development of individual projects. The students also researched the history of the workspace and its evolution towards the contemporary place of work. This manifested into the proposal for a place of work and the audience it engenders, through the adaptive reuse of a warehouse in Ahmedabad.

The studio helped students develop a critical attitude towards questions surrounding interiority and effectively communicate their design ideas. It equipped them to develop cohesive translations from conceptual ideas into a working proposal through speculative drawings, representations, and models.

Students 2nd Year Janvi Bhatia Rudvi Kumar Shria Thakkar

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3rd Year Akshat Shah Anushka Shah Aryan Keswani Bhowmi Patel Dhruvi Thanawala

Heer Sanghvi Khushi Panchal Kshanika Patel Mitta Kasturi Rudram Patel

Fig.1 Fig.1 109

Fig.1 Heer Sanghavi Exploded axonometric view showing the exisitng structure, built stucture and ramp Fig.2 Snippets from class work Hybrid Objects Fig.3 Rudram Patel Hybrid space: Furniture as space Fig.4 Rudvi Kumar Dynamic fluid walls juxtaposed with rocky terrain like surface.

Fig.5 Kasturi Mitta Continuous elements define multiple forms, from facade to furniture.

Fig.2

Fig.3 110

Fig.6 Akshat Shah Quilted spaces Fig.7 Akshat Shah Traditional embroidery as a surface articulation technique.

Fig.8 Aryan Keswani Digital art exhibition space Fig.9 Aryan Keswani VR space blurring the boundaries between a surface and a screen; physical and virtual.

Fig.10 Janvi Bhatia Creative workspace borrowing qualities from dollhouse typologies.

Fig.4

Fig.5 111

Fig.6

Fig.7 112

Fig.8

Fig.9

Fig.10 113

Vulnerability In a Pandemic City Vrushti Mawani, Mariana Paisana Focus: Visualizing and Comunicating Unit Assistant: Aryan Iyer

Faculty of Planning UR2021 Monsoon 2021

Jury Citation

The studio explores how hard mandates on physical distancing and hygiene influence the design and use of public space. It explores and defines the necessary criteria that would enable an imagination of what inclusive public spaces in post-covid Indian cities might be like.

Design proposals ranged from physical interventions at various scales to landownership issues and civic regulations and responsibility. Proposals were framed, in varying degrees, by an understanding of law and public policy making practices and their implications on our communities and built environment. A worthwhile course with the potential to expand to explore many aspects of spatial injustice in urban design.

Unit Brief

Through this studio we mapped and analysed urban vulnerability particularly considering impacts of the COVID outbreak. COVID-19 has suddenly, unforeseeably, and disproportionately impacted populations already vulnerable as a result of occupation, class, migration status, religion, gender, and other factors, who rely on urban public spaces for their basic needs. Social and economic changes along with mandates on social distancing have meant exclusion of vulnerable groups from using public space for their basic needs. These instances raise new challenges for urban designers and planners. How might we imagine inclusive public spaces in postCOVID Indian cities? This studio is premised in the belief that inclusive public spaces in a post-covid context might be possible if : (a) Urban design takes into account the many ways in which vulnerable groups depend on public spaces for their basic needs, and (b) Design processes have a sufficiently grounded understanding of the myriad ways in which public space is used, governed, and experienced.

Students 2 nd Year Anoushka Dutta Jenil Shah Radhika Maitra Romit Sinha Zarna Prajapati

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3 rd Year Anoushka Mukherjee Charvi Sawai Geetanjali Reddy Namoshi Basu Naved Ahmed

Prachi Thakkar Riva Shah

Fig.1 115

Fig.1 Namoshi Basu Design strategies— Contesting hostile architecture Fig.2 Anoushka Mukherjee,Jenil Shah & Riva Shah Mapping— Movement and infrastructure on site Fig.3 Naved Ahmed Analysis— Migration cycles

Fig Fig.2 2 116

Fig.4 Naved Ahmed Analysis— Significance of site Fig.5 Anoushka Mukherjee Design strategies— A space for women and children Fig.6 Riva Shah Design strategies— Sanitation infrastructure

Fig.3

Fig.4 117

Fig.5 118

Fig.6 119

Jury Profile

Jury Profile

Bobby Desai

Archana Shah

Dinesh Sharma

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Bobby Desai is an architect with over 25 years of international design experience. He has taught at various institutes including the Master’s program at the Royal College of Art in London, the A.A., the Bartlett and University of Westminster in London, RMIT in Australia and JJ School of Art, KRVI, and CEPT in India. He has been nominated for both Bronze and Silver Royal Institute of British Architects (RIBA) President’s Medals for excellence in design. He holds a B.A. Honors in Architecture from Kingston University and a postgraduate Diploma with Honors from the Architectural Association (A.A.) in London.

Archana has been collaborating with artisans around the country for the last 40 years to create textiles for urban markets. In 1980’s she founded the clothing company “BANDHEJ” a label influenced by the traditional textiles and artisanal skills while offering a range of eco-friendly, handcrafted clothing with an eastern sensibility. In 2013, she published her first book - SHIFTING SANDS, Kutch: A Land in Transition, and has recently published - Crafting a Future: Stories of Indian Textiles and Sustainable Practices, on the value of handcrafted textiles in present times. She is a graduate from the National Institute of Design (NID).

Dinesh is an industrial designer based in Ahmedabad. His design practise ‘isiliyedesign’ works extensively in Rainwater Conservation. He has keen interest in sustainability, frugal innovation and has been involved with design education since 2004. He has taught design at school and postgraduation level. He believes in quality, judicial use of resources and well-crafted design solutions. His patents include Rainwater Harvesting Systems, Multilayer Sun Shading System and Reverse Osmosis Yield Device to reduce water wastage. He is an alumnus of National Institute of Design, Ahmedabad and Central Tool Room, Ludhiana.

Steven Smith is an architect with over 30 years’ professional experience as an practicing architect and urbanist, working on a diverse, international portfolio of projects. His career has developed through his work on projects across Europe, Asia and Australia, and includes some of the most challenging, large-scale development projects. Steven founded urban narrative in 2010, which works with clients to create the language for new urban places through research, interactive design, events and enriched conversation.

Steven Smith

Walter D’Souza

Suranjana Satwalekar

Walter D’Souza is a renowned artist and print-maker.

Besides printmaking, his work also includes glass paintings, water colors and sculpture. He has worked closely with architects to explore new definitions in design and has famously executed several mural-like installations within architectural art. His works, especially prints, have been a part of numerous shows nationally and internationally, including at the International Print Triennale in Finland.

He has also taught at CEPT, National Institute of Fashion Technology, Gandhinagar and NID, Ahmedabad and conducts print making workshops across country. He studied painting and printmaking at the Faculty of Fine Arts, M. S. University.

Suranjana Satwalekar is an exhibit designer based in Mumbai, primarily engaged with the design of museums, themed environments, and interpretative multimedia experiences. She is a graduate of St. Stephen’s College, Delhi University and National Institute of Design, Ahmedabad. As a member of NID’s faculty for almost two decades, she was instrumental in re-starting its Exhibition Design Programme besides heading creative teams for large scale professional NID projects for exhibitions, museums, photography and branding for television networks.

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Copyrights Page © Excellence Exhibition Catalog— Monsoon 2021 Teaching and Learning Center, CEPT University First Published in 2022, in conjunction with the CEPT Excellence Awards Editors: Tridip Shuhrud Chirayu Bhatt Anjali Kadam Copy Editor: Neha Krishana Kumar Editorial Coordination & Layout: Bhuvana S Devna Vyas Ishaq Faheem Gaurav Mewara Cover Design by: Gaurav Mewara Cover Page Image Credit: Almitra R AR3034, Verticity: The Future is Here Published by: CEPT University Press Kasturbhai Lalbhai Campus University Road, Navrangpura Ahmedabad-380009 Gujarat, India ISBN: 978-93-83184-50-7 Copyright © 2020 CEPT University Press Individual contributions are copyright of respective authors.

Images are copyright of respective creators, unless otherwise noted.

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner, whatsoever without the prior written permission of the publisher.

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