L2/L3 Studio Units Catalog - Spring 2022 by CEPT University

L2 & L3 STUDIO

UNITS CATALOG Spring

2022

L 2 & L 3

S T U D I O

UNITS CATALOG SPRING

2022 III

III

Contents L2&L3 STUDIO UNITS Introduction XII

FACULTY OF ARCHITECTURE AR2037 Design Development Construction Estimation Akul Modi, Shivani Kapadia

AR2026 Dissolving Boundaries: Children’s Library at Loving Community Anand Sonecha

AR2021 Space Kinematics Anuj Anjaria, Muntaha Rushnaiwala

AR2024 Climate Responsive Architecture Hiten Chavda, Ravi Kashyap

AR2038 Abstraction | Tectonics | Form Mohammed Ayazkhan

AR2013 Making Living Places: Craft Song and Imagination Puneet Mehrotra, Juzar Lanewala

AR2014 Masters Stroke: Matters of Architectural Language Sachin Soni

AR2034 Detailing and Communicating Architecture Sankalpa

AR2016 Tectonic Operations -VI Smit Vyas

AR2033 Span and Space: Exploring Tectonics in Architecture Vinod Shah, Mangesh Belsare

AR2039 Sustainable and Smart Built Environment Mona khakhar, Avlokita A

AR2040 Architecture And Sensory Priyanshi Jain

AR2041 Vernacular Resurgence Hamid Raj

AR3038 Architectural Salvage: Reviving a Floating Shelter Shilpa Mevada, Arijit Chatterjee

AR3021 Vertical Living Dhaval Gajjar Jagrut Patel

100

AR3033 Workplace Neighborhoods Prateek Banerjee, Nimit Killawala

106

AR3030, Between The Fracture And The Fold Percy Pithawala

112

AR3029 Towards A Critical Project And A Project Of Critique Shubhra Raje, Kevin Low

118

AR3039 A Place for Prayer Snehal Shah

124

AR3041 ‘Monument, Memory and Ruins Their Place in The Imagination and Architecture of Today’ Sonal Sancheti, Ami Gokani

130

AR3040 Designing A Heist : Using Disruptive Imagination As A Tool To Decode The Vulnerabilities Of The Built Environment Amit Joseph Kurien

136

FACULTY OF DESIGN BD2004 Elements of Form and Space Gaurang Shah

144

BD2010 Explorations in Wood Kaulav Bhagat, Chandra Vijai Singh

150

BD2009 Visual Storytelling Hazel Karkaria, Somesh Kumar

156

BD2002 Expiditions in Non-Metal Sadasivan Iyer, Vrushank Vyas

162

IR2028 Fictional Spaces Jay Thakkar

168

IR2044 Expeditions in Digital Technologies Jinal Shah

174

IR2008 Beyond Detail

180

IR203

Naandi Parikh Inside Out Priya Narayanan, Ananya Parikh

186

IR2029 Traveler’s Home Shikha Parmar

192

IR2038 Hybrid Work(place) Subin Jameel

198

IR2024

Exploration of Design - Material in Focus Ramesh Patel, Vishal Joshi

204

IR2043

Detailing Hospitality Spaces Dexter Pereira

210

IR2042

Ecosystems for Work Amal Shah

216

IR3019

Cross-programming Aparajati Basu

222

IR3021

Luxurism: New age vocabulary interior design practices Kireet Patel

228

IR3014

Contextualising Interior Space Making Prashant Pradhan, Bharath P

234

IR3017

Deviant Orders of the New Workspace Ratna Shah, Errol Reubens Jr

240

IR3002

Brand Building through Spatial Design Ruchi Mehta

246

IR3022

Approach to Workspace Design Shailesh Manke, Ankur Yagnik

252

IR3018

Theater Stage Design Sunita Dalvi

258

FACULTY OF PLANNING UR2005 From Utopias to Heterotopias Migrant Housing: Values of Time, Density & Culture Imran Mansuri

266

VII

UR2019 Single Person Dwelling ‘well-being through productive loneliness’ Katsushi Goto, Aditi Anand Kumar

272

UR2016 Un-Gendering the Everyday City Sahiba Gulati, Shreya Gambhir

278

UR2021 Vulnarability in a Pandamic City Vrushti Mawani

284

UR202

290

In Transit: Making a Place Between Arrival and Departure Dilip Panchal, Maulik Chauhan

UR2014 Light Infrastructures Kruti Shah

296

UR3008 Emergence: Cities of the Future Radhika Amin, Arpi Maheshwari

302

UR3003, Urban Planning and Regulations: Intent, Manifestation & Design 308 Tulika Nabar Bhasin, Nishi Shah

FACULTY OF TECHNOLOGY CT2025

Form and Structure: Steel Dhara Shah, Vasav Bhatt

316

CT2019

Planning and Design of Road Infrastructure Komal Parikh, Birva Joshi

322

CT2024

Geotechnical Parameters: Influencing Foundation Systems Pavni Pandya, Chandresh Solanki

328

CT2012

Deployable Structures: Concepts and Explorations Japan Shah, Anand Viswanathan

334

CT2023 Exploring the Indigenous Construction Techniques and Reinterpreting them in the Modern Context Sidhharth Srivastava, Anand Panchal

340

CT2014

Plumbing Design Studio Dipsha Shah, Dipen Mehta

346

CT3011

Engineering Sustainability: Impact of Design, Material and Technologies Varun Yadav, Dhawal Mistry

352

VIII

CT3009 MEPF: Services, Design and Coordination Shamik desai, Arpit Malviya CT3010

Cantilevered Structures - Form, Material, Design and Construction Soham Shah, Nipul Patel

358

364

Tutor Profiles

370

Editorial Team

380

Introduction We are happy to place before you, the 2022 edition of Studio Units Catalog, Spring Semester. This is the eighth in our catalog series. The objective is to compile, showcases and share the range of students’ projects from the studios of Bachelor of Architecture (B.Arch.), Bachelor of Design (B.Des.), Bachelor of Interior Design (B.I.D), Bachelor of Urban Design (B.U.D.) and Bachelor of Construction Technology (B.C.T.) CEPT’s revised pedagogy lays emphasis on the new Studio Unit system. Learning and teaching is centered on the studio units which comprises about 12 to 15 students. Each five-year undergraduate program is organized in 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 4th and 5th year students. The studio units have small groups of students led by one or two tutors, a greater curricular weightage in terms of credits and time, and a semester calendar which allows 4 weeks of uninterrupted studio work towards the end of the semester. The studios have a focused approach with specific learning outcomes. L1 studios (not part of this catalog) are focused on building foundational skills and abilities required for an architect, designer, urban designer, or an engineer. 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 develop the skill for building arguments and rationales. In L3 studios, the students use multiple design abilities to solve complex design problems. Students develop the ability to exercise architectural/ design judgments. Design problems are defined based on a specific theme, approach (along with its rationale) or a theoretical position. The site, program and the area requirements may be defined by either the tutor or by the student. This catalog enables us to present consolidated outputs of our continued efforts. We hope to share them with the larger community that includes people interested in the built environment, and education, prospective students, alumni and professionals from the Industry. This semester, the evolving COVID situation allowed us to conduct all the studios on-campus for most of the time. Classes were conducted online for the initial weeks of the semester. Besides the online exhibition we are happy to have a full on-campus exhibition this time. This publication represents the work produced by around 620 of our students from 58 L2, L3 studio units taught by 90 faculty members and supported by 64 teaching associates and teaching assistants.

We wish to express our profound thanks to all the unit tutors, teaching associates and assistants, students and staff involved in this effort. We also extend our sincere thanks to all our reviewers, jurors and guest speakers who have positively influenced the education of our young promising practitioners. Tridip Suhrud Chirayu Bhatt Anjali Kadam

Parth Panchal AR2014, Masters Stroke: Matters of Architectural Language Sachin Soni

FACULTY OF ARCHITECTURE

AR2037

Design Development and Construction Estimation Focus Constructing and Specifying Unit Assistant Priya Bhadja

Faculty of Architecture AR2037 Spring 2022

2 nd Year Ayushi Patwari Nafela Naveed Chirangi Shukla Chotaliya Dhruvi Ria Patel Dipesh Prajapati Varun Mistry

3 rd Year Harshal Gajjar Khushi Babariya Aanchal Bansal Esha Detroja Malay Pandya Muskan Sood Sanjana Chaturvedi Shaimin Maredia

Akul Modi

Shivani Kapadia

A typical architectural project comprises five steps: drawings, development, application, execution, and supervision. We generally describe them as conceptualization, design development, preparation of working drawings, estimation, and implementation. These key steps comprise the pre-construction stage of any architectural design project. The prime focus ofthis studiowas to provide Real-life exposure to architectural practice and construction processes.Itconcentratedonthesystematicapproach towards the development and execution of an idea, the in-between procedures, and tools (ensuring smooth execution of the project). The complete studio has been divided into three sections of design development, working drawings, and construction project estimation. This course was specifically designed for architects whowilleventuallyworkwith contractors and clients for their design and budgeting purposes. Through this course, students were exposed to the complete architectural/construction procedure, starting from the project to the execution stage. To make the most relevant concepts, real-life exposure, guest lectures, and case studies were specified.

be a single mages sent

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Fig 1 15

Architecture UG Level-2 Architecture UG Level 2 Architecture UG Level 2

Fig 1 All Students’ Firm Logo Fig 2 Aanchal – Office Structure Fig 11 All Students’ Firm Fig Students’ FirmLogo Logoplan Fig 3All Nafela – Ground Floor Fig 2 Aanchal Bansal Office Structure Fig Structure Fig24Aanchal Aanchal––Office Conceptual Sketches Fig 3 Nafela Naveed Ground Floor Fig 3 Nafela – Ground Floor plan plan Fig 5 Nafela – First Floor plan Fig 4 4Aanchal Conceptual Fig Conceptual Sketches Fig 6Aanchal AyushiBansal –– Schematic Section Sketches Fig – First Floor plan Ground Fig57Nafela Ria – Working Drawing Fig 5 6Nafela First Floor plan Fig Ayushi – Schematic Section floor plan Naveed Fig 6 Ayushi Patwari Schematic Section Fig 7 Ria – Working Drawing Ground Fig 8 Aanchal – Staircase Detail Fig 7 Ria Patel Working Drawing Ground floor plan floor Fig plan 8 Aanchal – Staircase Detail

Fig 9 Malay – Wall section Fig 10 Shaimin – Toilet details Fig Aanchal Staircase Detail Fig Malay – Wall section Fig9811 Malay –Bansal BlueBeam Drawing for Fig 9 Malay Pandya Wall section Fig 10 Shaimin – Toilet details Foundation Fig 10 Malay Pandya BlueBeam Drawing Fig – BlueBeam Drawing for Fig11 12Malay Chirangi – Estimation (Labour for Foundation Foundation rates) Fig 11 Toilet(Labour details Fig Chirangi – Estimation Fig12 13Shaimin MuskanMaredia Fig 12 Chirangi Shukla Estimation rates) (Summary sheet) (Labour rates) – Estimation Fig 13 Muskan Fig 13 Muskan Sood Estimation (Summary sheet) (Summary sheet)

Faculty of Architecture AR2037 Spring 2022

Fig 3 Fig 2

Fig 5 Fig 4 Fig 6

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Fig 7

Fig 8 17

Faculty of Architecture AR2037 Spring 2022

Architecture UG Level-2

Fig 10 Fig 9

Fig. 13 Fig 11

Fig 12

Fig 13 19

AR2026

Dissolving Boundaries: Children’s Library at Loving Community Focus Planning and Organizing Unit Assistant Kairav Trivedi

Faculty of Architecture AR2026 Spring 2022

2 nd Year Dhriti Menon Madhav Ram Stuthi Mehta Trisha Karthik Ishitaa Dharachar

3 rd Year Anushka Poddar Ayushi Goyal Deekshiit S Dhyani i Savsaviya Disha Kothari Prachi Aggarwal Sanjana Mehta

Anand Sonecha The studio focuses on the Loving community in Vastral, formed in 1968 by people affected with leprosy, who have migrated from different parts of India. The neighborhood has 450 residents, from which a few still have reminiscences of the disease, even if cured. Most of the people living in this community work for factories nearby, drive rickshaws, and many beg on the streets. Today, around a hundred children are living in the community, their homes having a single room with families comprising ofup to six members.The houses don’t have enough space for the residents and no properspace forchildren to study.The studio centers on the design of a small children’s library. A place where theycan meet, study, orbe bythemselves and also act as a meeting point for children from different neighborhoods. The social stigma revolving around such communities pushes them towards isolation and they end up like islands in the social fabric of the city. The studio will trigger discussions on how these boundaries between the Loving communityand the neighborhood can be dissolved.The studio explores how equitable and inclusive spaces can be created, and discusses ways in which architecture can be a means to improve lives.

Fig 1 21

Architecture UG Level-2

Fig 1 Anushka Poddar Fig 2 Anushka Poddar Fig 3 Trisha Karthik

Fig 4 Disha Kothari Fig 5 Deekshiit S

Faculty of Architecture AR2026 Spring 2022

Existing wall

Adding another wall

Creating visual and physical connections

Inhabiting niches and the spaces between the walls

Verandah as meeting place

Providing access to upper level

Section

2 1

1. Reading space 2. Working space 3. Tuition space

0 1

Ground floor plan

Fig 2

Farms on the ground

Raising the farms

Establishing grid

Establishing circulation

Creating courtyards

Adding farms and physical connections

Section

0 1

Roof plan

Fig 3 23

Architecture UG Level-2

Section of ground

Summer

Adding module horizontally

Cut and fill to stop flow of water

Monsoon

Creating plinth and inserting pavillion

Spring

Adding module vertically

Triple module vertical

Faculty of Architecture AR2026 Spring 2022

Section

2 1. Reading space 2. Mound 3. Pond

3 0

Plan at +5.5m

Fig 4

Identifying location in the main chowk

Siting amongst trees

Massing with respect to the main chowk and trees

Creating enclosure for courtyard

Creating a journey from main chowk to the courtard

Jaali walls for visual connections

Section

3 2

1. Courtyard 2. Reading space 3. Working space

0 1

Ground floor plan

Fig 5 25

AR2021

Space Kinematics

Focus Constructing and Specifying Unit Assistant Darshil Trivedi

Faculty of Architecture AR2021 Spring 2022

2 nd Year Adreja Dey Aishwarya Rishitha Nagireddy Yashraj Nayak Aastha Parmar Manasvini Suthar Mayank Thacker Netri Jivani

3 rd Year Aashka Vala Bhavana Vishwanathan Jahnvi Jogi Malvika S Nainsi Chaudhari Shravya M Sivatmika J Sreelekshmi L A

Anuj Anjaria

Muntaha Rushnaiwala

In the discipline of architecture, there are two kinds of spaces: one, which is static whose spatial quality shifts with the changes in the activities that take place in it, with the changing nature of light, with a change in its furniture layout, with the presence of various movement patterns and so on. Here the user, along with other natural external forces is in motion and the built form is stationary; two, which is dynamic in nature and transforms its spatial quality by moving/shifting/transforming itself through its envelope and/or the elements that make that very space. Here, the user is stationary while the built form is in motion. This studio primarily focused on the designing of the latter kind of spaces. Space Kinematics is at the intersection of space composition, spacemaking elements, spatial experience, mechanical understanding, and movements in nature as well as objects. The primary intention of this design studio was to design and develop space-making elements that move, slide, rotate, pivot, or display a combination of all to serve a specific purpose. The studio focused on developing logic of assembly processes forthe designed elements and sequential understanding of construction techniques for the students

gle ent

Fig 1 Page 227

Architecture Level-2 Architecture UG UG Level 2

Fig 1 Bhavana V. Plan and sections of a 1place to stay Fig Bhavana V. Plan and sections of a Fig 2toBhavana V. Details of the kinetic place stay element Fig 2 Bhavana V. Details of the kinetic Fig 3 Bhavana V. Isometric and element exploded isometric views ofand kinetic Fig 3 Bhavana V. Isometric exploded element isometric views of kinetic element Fig 4 Manasvini Suthar Cross section Fig 4 Manasvini Suthar Cross section of of a place to contemplate a place to contemplate Fig 5 Manasvini Suthar Plan a place Fig 5 Manasvini Suthar Plan of of a place to to contemplate contemplate Fig 6 Manasvini Suthar 1:50 scale model of the project

Fig 7 Shravya M. Plan and sections of a place to contemplate Fig 6 Manasvini Suthar 1:50 scale model Fig 8 Sivatmika J Sections of a place to of the project contemplate Fig 7 Shravya M. Plan and sections of a Fig 9 Sivatmika J Plan of a place to place to contemplate contemplate Fig 8 Sivatmika J Sections of a place to contemplate Fig 9 Sivatmika J Plan of a place to contemplate

Faculty of Architecture AR2021 Spring 2022

Fig 2

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Fig 4

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Fig 5

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Fig 7 Faculty of xxxxxx AR2xxx Spring-2020

Faculty of Architecture AR2021 Spring 2022

Architecture UG Level 2

Architecture UG Level-2

6.1

6.2

6.3

Fig 7

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Fig 8

Fig 9 Page 631

AR2024

Climate Responsive Architecture

Focus Planning and Organizing Unit Assistant Ninaz Sonawala

Faculty of Architecture AR2024 Spring 2022

2nd Year Abhishek Mahida Amaan Sahdev Ananya Sahdev Disha Jain Ishwa Patel Kamya Sahu Mahek Mudgal Rutika Gandhi Yash Sompura

3rd Year Abhishek K Ansh Amin Kanishka Wadehra Karthika A V Nishtha Contractor Prakruti Parsiya

Hiten Chavda

Ravi Kashyap

The Climate Responsive Architecture studio is aimed at sensitizing students towards climate by understanding comfort zones within a building in its given climatic context and investigating ways to create architecture that emerges out of Passive Solar principles. The Studio demands a resolution of the building keeping in view a strong climate response. So essentially, the design problem was to design a building that exhibits an Environment responsive architecture. The studio works through an understanding of local climate, passive architectural features and material studies. A study initiated with Vernacular architecture of the surrounding and international passive solar buildings to gain insight into Passive solar technologies, their integration into built language and the use of local material. The design problem was that of an architect’s studio residence that exhibits both day and night usage. To explore a wider gamut of climate responsive architectural strategies, sites were taken in three different climatic zones; Cold & Dry (Leh), Hot & Humid (Mangalore) and Composite Extreme (Udaipur). Material selection and Form level ideas were validated through climate analysis and thermal simulation software to resolve efficient thermal and light conditions in buildings within their envelopes.

Fig Fig1 1 33

Architecture UG Level-2

Architecture UG Level 2

Fig 1 Ananya Fig 1 AnanyaSahdev Sahdev Plan, Plan,Section Section and and details for cold coldand anddry dryclimate climate detailsadopted adopted for Leh) (Leh) Fig 2 Yash Sompura Process Models and digital model explorations for conceptual Fig 2 Yash Sompura Process Models and development of forms and strategies in Leh. digital model explorations for conceptual Fig 3 Ishwa Patel Detail drawings and in form development of forms and strategies explorations conducted for hot and humid Leh. climate Mangalore ) Fig 3 Ishwa Patel Detail drawings and Fig explorations 4 Nishtha Contractor Digital Model form conducted for hot and emphasises the usage of thicker walls to humid climate (Mangalore) increase thermal lag with optimum orientation Fig 4 Nishtha Contractor Digital Model in Udaipur. emphasises the usage of thicker walls to increase thermal lag with optimum orientation in Udaipur. Fig 5 Abhishek Mahida Sections explaining Stack vents and wind catchers

as forMahida hot andSections humid climate Figa5strategy Abhishek explaining Mangalore Stack vents and wind catchers as a strategy Fig 6 Kanishka Wall Section for hot and humidWadhera climate Mangalore Fig 6detailed Kanishka Wadhera Wall Section and and sections indicating climatic detailed sections climatic response response to hot indicating and humid climate to hot and humid climate Mangalore Mangalore Fig Fig 7 7 Disha Disha Jain Jain Plan Jain and Plan Section and Section indicating sloped roof to to actact as a indicating sloped roof aswind a wind catcher catcher Fig 8 of Process diagrams and Fig 8 Collage Group Work Collage of Process models, explored for different climatic zones. diagrams and models, explored for Fig 9 Ansh Amin Plans, Section and different climatic zones. models emphasizing scattered planning of Fig 9 Ansh Amin Plans, Section and spaces as a strategy for hot and humid models climate emphasizing scattered planning of spaces as a strategy for hot and humid climate

Faculty of Architecture AR2024 Spring 2022

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Faculty of Architecture AR2024 Spring 2022 Faculty of xxxxxx AR2xxx Spring-2020

Architecture Level-2 ArchitectureUG UG Level 2

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AR2038

Abstraction | Tectonics | Form

Focus Constructing and Specifying Unit Assistant Rajkumar Dindor

Faculty of Architecture AR2038 Spring 2022

2 nd Year Arya Panchal Maitri Lad Prachi Shah Preet Bhalodia Shaurya Jain Swar Solanki

3 rd Year Kaushil Madireddy Mahek Makani Prayush Shah Rutvi Raychura Saloni Soni Yatin Brahmbhatt

Mohammed

Ayazkhan

This project intends to investigate ‘processes’ in architectural design activity. One of the important components was to get the process of transformation through different levels of interpretation. The process of transformation involved metamorphosis of the experiential data into architectural form and space with the help of abstraction. Students were given an image/ natural object as a starting point of the process, and through various stages of the design process students arrived at final architectural form that reflects the famous statement made by D’Arcy Thompson in his seminal work ‘On Growth & Form’: Form is a Diagram of Forces. In order to achieve this, the project was divided in two parts: 1. ‘Abstraction’, involved developing abstract ideas from the topic. The ‘topic’ could be an object, a process or an activity occurring in nature that has a fascinating play of forces.. The ‘abstraction’ stage came to conclusion with the introduction of site and program, wherein students suggested the architectural form for the program with the help of derived models from ‘abstraction’ stage. 2. “Tectonics’, focused on developing the structural system, construction materials, and technology appropriate for the architectural form derived at the end of last stage. Physical/digital models and detailed drawings were used in order to arrive at the final built form,

FIN STRUCTURE

BASILISK LIZARD

A B S T R A C T I O N

SELEC

FIN STRUCTURE

THE COMMON BASILISK CAN BE DISTINGUISHED FROM SIMILAR SPECIES WITHIN ITS RANGE BY ITS LARGE SIZE AND THE HIGH FIN-LIKE CREST ALONG ITS BACK. MOST COMMON BASILISKS ARE BROWN AND CREAM IN COLOR. MALES ALSO HAVE HIGH CRESTS ON THE HEAD AND TAIL. BOTH SEXES ARE BROWN TO OLIVE, AND HAVE A WHITE, CREAM, OR YELLOW STRIPE ON THE UPPER LIP AND A SECOND STRIPE ALONG EITHER SIDE OF THE BODY; THESE STRIPES HAVE HIGHER CONTRAST IN JUVENILES AND FADE AS THE LIZARDS AGE.

HATCHLINGS WEIGH A MERE 2 GRAMS (0.071 OZ) AND ARE 38 TO 43 MM (1.5 TO 1.7 IN) LONG. ADULTS CAN GROW TO A TOTAL LENGTH (INCLUDING TAIL) OF 76 CM (2.5 FEET). FEMALES ARE GENERALLY 135 TO 194 G (4.8 TO 6.8 OZ), AND WEIGH HALF AS MUCH AS MALES. THE TAIL COMPRISES 70 TO 75% OF THE TOTAL LENGTH: FOR EXAMPLE, A 70-CM-LONG (27.5-INCH-LONG) COMMON BASILISK WOULD HAVE A 50-CM-LONG (19.5-INCH-LONG) TAIL.

THE BACK FIN ONFIN THEON BACK

DESIGN ITERATIONS

SELECTED FORM

FIN STRUCTURE

EVOL

3D ABSTRACTION AND TRANSFORMATION

LIMB AND SPINE

Fig 1AND SPINE LIMB

DORSAL MOVEMENT 2D ABSTRACTION

: RATTLESNAKE RATTLE

Fig 1

the attributes of the diagram and place it in a 3D perspective with different techn diagrams and 3D Abstraction: The idea of this module is to take forward various 2D EVOLUTION OFunderstand FORM like using lines and surfaces.

SPINE STRUCTURE

Diagram 2 (Lines)

FORM Chain link between each and every segment going upto 8 Cross-Section of a Rattlesnake’s Rattle EFFECT ON WATER AYAZ KHAN PATHAN | RAJKUMAR DINDOR Diagram 5 (Surfaces) Diagram 6 (Surfaces)

ITERA

Diagram 7 (Surfaces)

ms Type I: Understanding Chain of Segments and the connection between them 2D ABSTRACTION

3D ABSTRACTION

Diagram 8 (Surfaces)

Fig 2

4. TAPERING OF THE STRUCTURE

FIN STRUCTURE

OBSERVATIONS

3D TRANSFORMATION

PROCESS

3D ABSTRACTION

Fig 2

3. RESIZING THE FORM

Diagram 9 (Surfaces)

ITERATIONS

UAR20219

KUMAR DINDOR

Diagram 4 (Lines)

PROCESS

AR2038 | ABSTRACTION TECTONICS FORM

20219 PATHAN | RAJKUMAR DINDOR R SOLANKI AYAZ KHAN AR2038 | ABSTRACTION TECTONICS FORM SPINE STRUCTURE

TECTONICS snake’s Rattle

2. ROTATING AND MIRRORING THE FORM ALONG AN AXIS Diagram 3 (Lines)

1. INITIAL FORM

3D ABSTRACTION

LANKI

Attributes like the curved feature and the overlapping segments Diagram 1 (Surfaces)

2D ABSTRACTION

Exterior View of a Rattlesnake’s Rattle

Diagram 11 (Surfaces)

Diagram 10 (Surfaces) 5. FLIPPING THE STRUCTURE VERTICALLY

DESIGN ITERATIONS

Diagram 12 (Surfaces)

6. ADDITION OF STAIRS

REND

ITERATIONS OF STAIRCASE

ms Type II: Bringing out abstractions of minor details in cross-section like the curves inside the joints and the overlapping feature WATER DISPLACEMENT

FIN ON THE BACK

Fig 3

FIN STRUCTURE

Fig 3 Diagram 13 (Surfaces)

Diagram 14 (Surfaces)

LIMB AND SPINE

Diagram 16 (Surfaces)

Diagram 15 (Surfaces)

DOUBLE STAIRCASE

TRIPLE STAIRCASE

QUADRUPLE STAIRCASE

RENDERED VIEWS

TAKE-OFF MOVEMENT

Diagram 17 (Lines)

SWAR SOLANKI UAR20219

Diagram 18 (Surfaces)

Fig 4

Diagram 20 (Surfaces)

Diagram 19 (Surfaces)

AR2038 | ABSTRACTION TECTONICS FORM

Fig 4

INTERMEDIATE STAGE

Tranformation: The idea of this module deals with changing of techniques and material usage of specific 3D abstractions. For Example, A 3D abstr model made of surfaces is converted into a model made with lines (Wires) to understand the structural properties and explore the possibiltes to the max

AYAZ KHAN PATHAN | RAJKUMAR DINDOR

Lines to Surfaces

Surfaces to lines

ms Type III: Understanding the wave like feature and reflecting a specific motion in the diagrams

ISOMETRIC VIEW

VIEW FROM THE WALL

BODY DISPLACEMENT

AR2038 ABSTRAC TION | TEC TONICS | FORM

Transformation1 (Lines to Surfaces)

Transformation 2 (Surfaces to Lines)

VIEW FROM THE STAIRCASE

ms Type IV: Simplifying abstraction diagrams with lines and other techniques to show the continuation of wave like feature

Fig 5

Transformation 3 (Surfaces to Lin

VIEW FROM THE BASE OF DECK

Fig 5

GIRAFFE: DRINKING WATER ABSTRACTION GIRAFFE: DRINKING WATER ABSTRACTION

TURNING BACK MOVEMENT

AR2038 ABSTRAC TION | TEC TONICS | FORM

ms Type V: Trying out a combination of different attributes like the chain of segmentsTransformation and also the pointy to curve theapproach start offor every segment 4 (Surfaces Lines):inThe this process was to detail out one single module to the maximum and then figure the connection between modules by repeatin

KAUSHIL MADIRED

Fig 6

HAND MOVEMENT (FRONT ELEVATION)

ABSTRACTION|TECTONICS|FORM AR2038

FACULTY: AYAZKHAN PATHAN T.A : RAJKUMAR DINDOR

SITE: LAKPHAT, KUTCH, GUJARAT KAUSHIL MADIREDDY I UG190694

39 3

ABSTRACTION : TECTONICS : FORM AYAZ PATHAN SPRING SEMESTER 22

3D ABSTRACTION : GIRAFFE SALONI SONI UG191212

39 3

3 39

ABSTRACTION : TECTONICS : FORM AYAZ PATHAN SPRING SEMESTER 22

PRACHI SHAH UAR20210

Architecture UG Level-2 Faculty of Architecture AR2038 Spring 2022

Fig 1 Swar Solanki Basilisk’s Spine Movement Fig 2 Kaushil Madireddy Rattlesnake’s Rattle Fig 3 Prachi Shah Butterfly Stroke Swimming Fig 4 Yashasvi Brahmbhatt Rattle Snake Movement Fig 5 Rutvi Raychura Dolphin’s Skeletone Fig 6 Saloni Soni Giraffe’s Drinking Posture Fig 7 Collective Site Data-Image showing Fortified wall of Lakhpat Village. Fig 8 Collective Site Drawings-Cross Sections, Elevations and Plan of Lakhpat Fortified Wall. Fig 9 Swar Solanki Design Tranformation through vaarious structural iterations. Fig 10 Kaushil Madireddy Design Transformation through various structural iterations.

Fig 11 Rutvi Raychura Design Transformation through various structural iterations. Fig 12 Preet Bhalodia Exploded Axonometric. Fig 13 Preet Bhalodia Junction Details Fig 14 Preet Bhalodia Final Design Model. Fig 15 Swar Solanki 3D Axonometric of Tower. Fig 16 Swar Solanki 3D Exploded Axonometry of structural elements of the tower. Fig 17 Swar Solanki Junction Details of the structural elements. Fig 18 Swar Solanki Final Physical Model of the tower. Fig 19 Rutvi Raychura Final Physical Model of the Pavilion. Fig 20 Arya Panchal Final Physical Model of the Bridg

Site-LakhpatHome of Millionaires to Home of Ghost. The Fortified village with its unique topography of sea on one side of the wall and dessert on the other side have serene landscape view from the top of the fortified Bund Wall. ‘Points in Landscape’ are the design intervention on and along the fort wall to enhance the experience of the visitors and it make them arrive at a pause points in order to interact with the historical landscape of Lakhpat.

Fig 7

Fig 8

T E C T O N I C S

EVOLUTiON Of fORM

EVOLUTiON Of fORM EVOLUTiON Of fORM

initial ForM

rotating and Mirroring the ForM along an axiS

DESIGN AND STRUCTURE

Design and Structure: One abstraction model was taken forward as a viewing deck cantilevered from the wall end. The process deals with understanding the scope of the abstraction model and resolve rotating the structural aspects of the cantilvered viewing deck and understand where surfaces play an important role. initial ForM and Mirroring the ForM along an axiS initial ForM

rotating and Mirroring the ForM along an axiS

taPering oF the StrUctUre

reSizing the ForM

reSizing the ForM reSizing the ForM

Transformation model taken forward and explored in terms of structure as a cantilvered viewing deck taPering oF the StrUctUre taPering oF the StrUctUre

FliPPing the StrUctUre vertically

addition oF StairS

ITERATIONS Of STAIRcASE

FliPPing the StrUctUre vertically FliPPing the StrUctUre vertically

addition oF StairS addition oF StairS

Fig 9

Final 1:50 Scale Physical Model Cantilevered Viewing deck

ITERATIONS ITERATIONSOf OfSTAIRcASE STAIRcASE

Process sketches while understanding the fundamentals of a cantilevered member and how cables act in tension with respect to the structure axonoMetrIc vIew

doUble StaIrcaSe

trIPle StaIrcaSe

qUadrUPle StaIrcaSe

axonoMetrIc vIewvIew axonoMetrIc

RENDERED ViEwS

doUble StaIrcaSe doUble StaIrcaSe

trIPle StaIrcaSe trIPle StaIrcaSe

Partial tensigrity understanding of modules with a structural member

RENDERED RENDEREDViEwS ViEwS

qUadrUPle StaIrcaSe qUadrUPle StaIrcaSe

Single tripod module connected point to point with another module for more points on the top where cables start to support

Tripod modules developed further by adding rigid joint angular members to achieve the curve

Tensile Cables

ISonoMetric view

view FroM the wall

ISonoMetric view ISonoMetric view

view FroM the StaircaSe

l2 StUdio, Fa, cePt UniverSity. ProF. MohaMMed ayazkhan Pathan, rajkUMar

baSIlISk lIzard

view FroM the wall view FroM the wall

Top view

Swar Solanki Uar20219 Swar Solanki Uar20219

Fig 10

Upper surface of the tripod module

Angular rigidviewiNg DeCk member to keep viewiNg baSIlISk lIzardDeCk the angle and the overall curve intact baSIlISk lIzard

Exploded Isometric view of the cantilvered deck

view FroM the baSe oF deck

ar2038, M2021, abStraction : tectonicS : ForM

viewiNg DeCk

Swar Solanki Uar20219 Surfaces which are add-ons of similar attributes from the original abstraction model

view FroM the StaircaSe view FroM the StaircaSe

view FroM the baSe oF deck view FroM the baSe oF deck ar2038, M2021, abStraction : tectonicS : ForM ar2038, abStraction : tectonicS : ForM l2 StUdio, Fa,M2021, cePt UniverSity.

Perspective View 1

Fig 10

StUdio, Fa, ayazkhan cePt UniverSity. ProF.l2MohaMMed Pathan, rajkUMar ProF. MohaMMed ayazkhan Pathan, rajkUMar

Isometic View of the Cantilevered Deck KAUSHIL MADIREDDY I UG190694

Side View

Front View

Fig 11 Fig 11

41 5

41 5 Detail 1

Detail 2

Planning PG Level-4 Architecture UG Level-2

F O R M

EXPLODEDEXPLODED AXONOMETRIC VIEW AXONOMETRIC VIEW AT 1:100 SCALE AT 1:100 SCALE

2D ABSTRACTION

STRUCTURAL SYSTEM OF THE VIEWING

2D ABSTRACTION

JUNCTION JUNCTION DETAILS DETAILS AT 1:20 SCALE AT 1:20 SCALE

SET OF DRAW SE AT 1:100 SC A

Wooden members ofWooden members of cross-section cross-section 200mm x 200mm 200mm x 200mm

Bolts Ø10mm

Ø120mm

70mm thk. Flooring Layer 70mm thk. Flooring Layer

Ø120mm

(200x200x6)mm (200x200x6)mm MS Plate J-bolted MS Plate J-bolted on concrete column on concrete column

(200x200x1000)mm (200x200x1000)mm ELEVATION-A Concrete Column Concrete Column

5mm thk. MS Roof Fascia 5mm thk. MS Roof Fascia

DETAIL-1 120mm thk. RCC Slab 120mm thk. RCC Slab

3D ABSTRACTION

3mm thk. Ribbed Metal3mm Roofthk. Decking Ribbed Metal Roof Decking layer which will be installed screwing layer by which will be installed by screwing it on the grid of I sections Boxgrid sections it on&the of I sections & Box sections

ELEVATION-A

DETAIL-1

6mm thk. MS Connectors 6mm thk. MS Connectors welded with MSwelded Plate with MS Plate

6mm thk. MS Plate 6mm thk. MS Plate Bolts Ø10mm Bolts Ø10mm

Wooden member of Wooden member of cross-section cross-section 200mm x 200mm 200mm x 200mm 3D ABSTRACTION

ELEVATION-B ELEVATION-B DETAIL-2

Bolts Ø10mm

6mm thk. MS Connector 6mm thk. MS Connector MS Solid Round Bar MS Solid Round Bar

3mm thk. MS Roof Gutter 3mm thk. MS Roof Gutter

DETAIL-2

6mm thk. MS Plate 6mm thk. MS Plate

6mm thk. MS Connector 6mm thk. MS Connector welded with MSwelded plate with MS plate

Wooden member of Wooden member of cross-section cross-section 150mm x 150mm 150mm x 150mm Bolts Ø10mm Bolts Ø10mm

Studio Code Monsoon Faculty of Architecture AR2038 Spring2021 2022

Layer of 50mm x 50mm MS Box Sections Layer of 50mm x 50mm MS Box Sections which will be welded with thewill I sections which be welded with the I sections

Layer of I sections of depth Layer150mm of I sections of depth 150mm which will be installed above the be wooden which will installed above the wooden waffle structure waffle structure

DETAIL-3

EVOLUTION OF FORM

DETAIL-4

Wooden Waffle Structure Wooden Waffle Structure

1. INITIAL FORM

DETAIL-5

3. RESIZING THE FORM

DETAIL-3

6mm thk. MS Plate 6mm thk. MS Plate Bolts Ø10mm Bolts Ø10mm 6mm thk. MS Connector 6mm thk. MS Connector welded with MS plate, binding welded with MS plate, binding the 4 wooden members the 4 wooden members Wooden member of Wooden member of OF EVOLUTION STAIRCASEOF FORM cross-section ITERATIONS cross-section 100mm x 100mm100mm x 100mm

DESIGN ITERATIONS ITERATIONS OF STAIRCASE

DETAIL-4

Wooden memberWooden of member of ROOF PLAN ROOF PLAN cross-section cross-section (170x75x300)mm(170x75x300)mm for for 1. INITIAL FORM 2. ROTATING AND MIRRORING THE FORM ALONG roofing roofing DOUBLE STAIRCASE TRIPLE STAIRCASE QUADRUPLE STAIRCASEAN AXIS Bolts Ø10mm Bolts Ø10mm 6mm thk. MS Connector 6mm thk. MS Connector welded with MS plate, binding welded with MS plate, binding the 4 wooden members the 4 wooden members 6mm thk. MS Plate 6mm thk. MS Plate Wooden memberWooden of member of cross-section cross-section 4. TAPERING OF THE STRUCTURE 4. TAPERING OF THE STRUCTURE DETAIL-5 75mm x 75mm 75mm x 75mm 3. RESIZING THE FORM

2. ROTATING AND MIRRORING THE FORM ALONG AN AXIS

120mm thk. RCC Slab 120mm thk. RCC Slab

RENDERED VIEWS

AR2038 FigFig 1212 ABSTRACTIONAR2038 |ABSTRACTION TECTONICS | FORM | TECTONICS | FORM

AYAZ KHAN PATHAN | RAJKUMAR DINDOR

10mm thk. waterproofing 10mm thk. waterproofing

5. FLIPPING THE STRUCTURE VERTICALLY

DETAIL-6

3mm thk. Ribbed 3mm Metal thk. Ribbed Metal Roof Decking Roof Decking

6. ADDITION OF STAIRS

5. FLIPPING THE STRUCTURE VERTICALLY

MS Box Section MS Box Section 50mm x 50mm 50mm x 50mm

6. ADDITION OF STAIRS

RENDERED VIEWS

I Beam of depth I Beam of depth 150mm 150mm Tension Cables Tension Cables Ø6mm Ø6mm Wooden membersWooden of members of cross-section cross-section 75mm x 75mm 75mm x 75mm

PLAN

DETAIL-6

Fig 13 13

FACULTY :- AYAZKHAN PATHAN SITE FACULTY :- AYAZKHAN PATHAN SITE N TA :- RAJKUMAR GUJARAT TADINDOR :- RAJKUMAR DINDOR LAKHPAT, KUTCH, LAKHPAT, KUTCH, GUJARAT

TRIPLE S

AR2038 | ABSTRACTION TECTONICS F

8mm thk. China Mosaic Flooring 8mm thk. China Mosaic Flooring Overall 4 Fractal Modules Overall 4 Fractal Modules

DOUBLE STAIRCASE

PLAN

FINAL STAGE FINAL STAGE SET OF DRAWINGS SET OF DRAWINGS

AR2038 | ABSTRACTION TECTONICS FORM

AYAZ KHAN PATHAN | RAJKUMAR DINDOR

FigFig 1414

42 6

STRUCTURAL SYSTEM OF VIEWING DECK

SYSTEM OF THE VIEWING

JOINERY STRUCTURAL SYSTEM SUPPORT OF TOP DECKOF VIEWING DECK

SET OF DRAWINGS SET OF DRAWINGS AT 1:100 SCALE AT 1:100 SCALE

JOINERY CONSTRUCTION PROCESS OF DIAGRID

RENDERED VIEWS

RENDERED VIEWS RENDERED VIEWS RIVETS

RIVETS

I-BEAM ISMB 200

CIRCULAR I-BEAM

10 MM CIRCULAR SS PLATE

SS PLATE 10MM

TOP DECK

STRUCTURAL DIAGRID

TOP DECK

20 MM TENSION STEEL CABLE

DIAGONAL SUPPORTS

20 MM TENSION STEEL CABLE

DIAGONAL SUPPORTS CRIMPING

ADJUSTIBLE FITTING

REGULAR NUT EYE BOLT 20 MM

TRIANGULAR TRUSS

SUPPORT FOR SPIRAL TRUSS

REGULAR NUT EYE BOLT 20 MM

TAPERING I-BEAMS

TRIANGULAR TRUSS

20 MM METAL PLATE

SUPPORTS

SS RING

CRIMPING

20 MM METAL PLATE

15 MM BOLT

T-SECTIONS

120MM SS PIPE

TAPERING TRIANGULAR TRUSS

TAPERING

TAPERING I-BEAM BOLTED

15MM BOLT CENTRAL DIAGRID

WELDING

DIAGRID OF 120MM SS PIPE

WELDING

CIRCULAR 120MM PIPE WELDED TO I-BEAM

CENTRAL DIAGRID

TENSION CABLES

I-BEAM ISMB 200

10 MM PIN JOINT

RIVET

CRIMPING

20 MM STEEL TENSION CABLE

slope

20 MM STEEL TENSION CABLE

CONSTRUCTION PROCESS OF THE DIAGRID COMPONENT

slope

1. THE DIAGRIS IS ATTACHED TO THE T-SECTION. 2. THE SPIRAL SUPPORT IS WELDED TO T-SECTION 3. SS RING IS WELDED ON WEB OF T-SECTION

Fig 15 Fig 16

Fig 15

CONSTRUCTION PROCESS OF DIAGRID

JOINERY DETAILS

ITERATIONS ITERATIONS OF STAIRCASE

Fig 16 Fig 17

SUPPORT OF TOP CONSTRUCTION DECK PROCESS OF DIAGRID

DESIGN ITERATIONS

Fig 17 Fig 18

SUPPORT OF TOP DECK

Fig 18

TENSION CABLES

20 MM TENSION STEEL CABLE

RIVETS

CRIMPING

I-BEAM ISMB 200

3 DOUBLE STAIRCASE

TRIPLE STAIRCASE

10 MM CIRCULAR SS PLATE

ADJUSTIBLE FITTING REGULAR NUT EYE BOLT 20 MM

QUADRUPLE STAIRCASE 1

1 SS PLATE 10MM

20 MM METAL PLATE

15 MM BOLT

TRACTION TECTONICS FORM

THAN | RAJKUMAR DINDOR

Fig 19

PREET BHALODIA PREET BHALODIA 1. CIRCULAR RING (FLANGE) 3. WEB OF I-BEAM UAR20212 UAR20212 2. SPIRAL TRUSS SUPPORT 4. COMPLETE COMPONENT

Fig 20

1. CIRCULAR3.RING (FLANGE) 1. CIRCULAR I-BEAM TAPERING I-BEAM 3. WEB OF I-BEAM

1. CIRCULAR I-BEAM

3. TAPERING I-BEAM

2. SPIRAL TRUSS SUPPORT 2. STRUCTURAL DIAGRID 4. 120MM SS PIPE

2. STRUCTURAL DIAGRID

4. 120MM SS PIPE

4. COMPLETE COMPONENT

SWAR SOLANKI

UAR20219

Fig 20 437

7 43

437

AR2013

Making Living Places: Craft Song and Imagination Focus Constructing and Specifying Unit Assistant Vaidehi Kanada

Faculty of Architecture AR2013 Spring 2022

2 nd Year Dhwani Padh Jhanvi Goswami Karm Patel Neerja Joshi Satvika Jain Serakumari Patel Vaibhavkumar Jadav

3 rd Year Aditi Shah Anmol Patel Helly patel Hetvi Prajapati Jugal Patel Mauli Borkhetariya Navya Pandey

Puneet Mehrotra

Juzar Lanewala

The making of our everyday life is not an isolated activity but involves living with other lives and things. Stones and tables are as much alive as are the trees and the birds. Our everyday life is an entanglement of things. And it is this entanglement that constitutes a place. So how do we make things well? Or how do we make places of well-being? Where things share an inner likeness with other things, a relation of sympathy. Like the one shared between a day-lily and a hummingbird or the hand and a door handle. This ‘shaping each other’ leads us to the necessity of craft and imagination in the making of things and places. While craft is concerned with the structure of things, imagination is a spirited flight into the world of dreams. But when both these apparently opposing actions do intertwine, there emerges a song, a creative entanglement emerging out of a graceful correspondence between the material of engagement, the action of tools and the activity of dreaming. To be able to grasp this correspondence the learner is placed with the requisite tools, in a practical situation, and asked to pay attention to how ‘this’ feels, or how ‘that’ looks or sounds’ to notice those subtleties of texture that are all-important to good judgment and the successful practice of a craft.

Fig 1 45

Architecture UG Level-2

Fig 1 Jugal Living Character of a Place Fig 2 Jugal Glow of Life: Radiance and Grace of things in life, Flowers Fig 3 Navya, Satvika Glow of Life: Radiance and Grace of things in life, Built Forms Fig 4 Mauli, Dhwani Making Things: Making ropes and baskets with plant fibres Fig 5 Neerja, Dhwani, Mauli Making Things: Making bowls with clay Fig 6 Aditi, Jugal, Neerja, Dhwani, Mauli Living Structure & Living Processes: Living Character of places

Fig 7 Jugal, Mauli Making a Living Place: Trails and patterns of water flow and shaping of the ground Fig 8 Hetvi, Jugal, Anmol Making a Living Place: Developing the built form of a tank Fig 9 Vaibhav Making a Living Place: Developing the built form of a Pavilion Fig 10 Anmol, Mauli, Aditi Making a Living Place: A tank, a Garden, a Pavilion and Pathway

Faculty of Architecture AR2013 Spring 2022

Fig 2

Fig 3

Fig 3 Fig 4

Fig 5

Fig 6 47

Faculty of Architecture AR2013 Spring 2022

Architecture UG Level-2

Fig 7

Fig 8

Fig 9

Fig 8

Fig 9

Fig 10 49

AR2014

Masters Stroke: Matters of Architectural Language Focus Planning and Organizing Unit Assistant Rajshri Jain

Faculty of Architecture AR2014 Monsoon 2021

2nd Year Aarya Chandrasekhar Shreya K Tejas Thariyan Anushka Barot

3rd Year Adhrita Roy Avaneesh Nataraja Kruti Makwana Mathew Jayesh Naga Sai Santhan K. Naureen Feroz Parth Panchal Yogan Shah

Sachin Soni Experiencing a great work of architecture is like reading an excellent piece of literature. It engages the senses through ways in which spatial volumes and form, building scale and light, geometric alignment and organization, materials and textures, structure and details cohere into a meaningful, emotionally charged encounter. It is not surprising that language and architecture have been used as analogies for each other in many ways. Often phrases like ‘language of architecture’ are used for describing expressive and tectonic qualities in the oeuvre of great architects. This studio exploredworks ofselected architects and triedtodeciphertheiruniquearchitecturalvocabulary and grammar that each of them have developed. Students learned to derive distinct attitudes of selected architects towards various aspects of architecture through analysis of their work. These attitudeswereverified intermediatelythrough small design problems and latertested and modifiedwhen employed to design a Marine EcologyField station in Diu, India. In order to develop skills and sensibilities to approach design through the lens of ‘language of architecture’, this studio encouraged students to engage with the great works of architects.

ARCHITECTURAL ATTITUDES OF EDUARDO SOUTO DE MOURA MASS

GEOMETRY

AND DENSITY - monolithic

MASS

AND DENSITY - monolithic

Simple geometry as the overall form which acts as an aggregator of the interior spaces or to scoop out overall mass

Casa en Oliveira do Douro

GRID Awareness of mass - high density due to lack of visual tranparency

27 dwellings

Awareness of mass - high density due to lack of visual tranparency Uitzicht Crematorium

Uitzicht Crematorium Grid is the predominant factor which determines establishment of order, datum and the overall geometry of the project

ORDER

DATUM

School of Hospitality and Tourism

Establishing heirarchies by volumes and movement and repeating modules to organise interior space

Awareness of mass - less density due to visual tranparency

Datum is established by redefining the horizon level or by employing devices to continue existing topography line

Awareness of mass - less density due to visual tranparency

Braga Music School

USING HEIRARCHY IN VOLUME TO ESTABLISH FUNCTION

STRUCTURE

To depict the play with mass two major elements explored with are walls and the roof.

MASS

Exaggerated volume to give space heirarchy in relation to its functional use

Paula Rego Museum - Heirarchy given to communal spaces by exaggerated volumes

Multipurpose Pavilion - Volume pushed into the ground to allow further exaggeration of central space

Having void between masses for functional use and creating heirarchy by expansion of volume

House in Maia III - Movement directed towards void of courtyard - expanding volume establishes heirarchy

Braga Stadium - Roof inclines towards the central open stadium where the void expands

Mass depicted as monolithic. Strong geometric shapes. Mass seen as heavy and monolithic or lighter and with diminished presence

MATERIAL

SURFACE

Material used as - main structural material exposed and monolithic. Else hidden and covered to make structure monolithic

Surface expressed as opaque solid mass or grid expressed as facade for degree of transparency

USING DETAIL TO ESTABLISH ORDER BY HIGHLIGHTING MARKED GROOVE

DETAIL AS AN ORDER

USING DETAIL TO ESTABLISH ORDER BY HIGHLIGHTING MARKED GROOVE USING DETAIL TO ESTABLISH ORDER BY HIGHLIGHTING MARKED GROOVE

DETAIL AS AN ORDER

Separating the exterior and interior to give a fake sense of order signifying order of construction on the outside facade

Elements assembled in a manner which gives sense of sequence of construction Elements assembled in a manner which gives sense of sequence of construction

DETAIL AS AN AUTONOMOUS DESIGN

House in Maia III - The edges of the building is articulated in grooves to establish an external relationship of slab, wall and base Elements assembled in a manner which gives sense of sequence of construction

House in Maia III - The edges of the building is articulated in grooves to establish an external relationship of slab, wall and base

DETAIL AS AN ABSTRACTION

DETAIL AS AN AUTONOMOUS DESIGN

DETAIL AS AN ABSTRACTION

Detailing individual elements like staircases or seatings in a way that they give a feeling of visual lightness in the overall space

Abstracting details of flooring, openings or services to bring about a sense of order to the building

School of Hospitality and Tourism - The exterior is articulated with grooves to hint at

School of Hospitality and Tourism - The exterior is articulated with grooves to hint at sequence of slab, wall and base the constructional the constructional sequence of slab, wall and base

School of Hospitality and Tourism - The exterior is articulated with grooves to hint at the constructional sequence of slab, wall and base

Detailing individual elements like staircases or seatings in a way that they give a feeling of visual lightness in the overall space

DIMENSIONAL

GEOMETRIC FORM ASaA Abstracting details of flooring, openings or services to bring about sense of order to the building

RESULT OF DIMENSIONAL REQUIREMENTS GEOMETRIC FORM AS A RESULT OF DIMENSIONAL REQUIREMENTS

The outer form that encloses space within derived from the dimensions requirements of the inner space

The required dimensions of the inner enclosed space determines the size of the form which contains the space

RELATIONAL AND FUNCTIONAL

Capela Vaticano - To enhance the sacred feeling of entering a chapel, the entrance was made narrow so only one person can enter at a time - processional Capela Vaticano - To enhance the sacred feeling of entering a chapel, the entrance The required dimensions of the inner was made narrow so only one person can enter at a time - processional enclosed space determines the size of the form which contains the space

The arrangement of spaces within are done based on the segregation of the requirements of the program

ORIENTATION

Built mass oriented according to functional, privacy and light requirements of the spaces within

EMPATHY

The dimensioning of spaces keeping in mind the occupants within brings forth the empathy of the architect

Multipurpose Pavilion - The dimensions of a basketball court were employed as itPavilion - The dimensions of a basketball court were employed as it Multipurpose suits dimensions required for holding several communal activities while taking required for holding several communal activities while not taking suitsnot dimensions up too much space. up too much space.

Fig 1 51

Architecture UG Level-2

Fig 1 Adhrita Roy Diary of Attitudes | Architectural attitudes of Eduardo Souto de Moura Fig 2 Kruti Makwana Cube | Testing attitudes towards physical and ephemeral substances of Didi Contractor Fig 3 Adhrita Roy Maze | Testing attitudes towards organisational devices of Eduardo Souto de Moura STROKE: MATTERS OF ARCHITECTURAL LANGUAGE Fig 4 Parth PanchalMASTERS Trophy | Testing attitudes towards making and detailing of Lacaton and Vassal CUBE: DIDI CONTRACTOR

Fig 5 Mathew Jayash Final Project | Plans and sections integrating architectural attitudes of Daniel Libeskind Fig 6 Parth Panchal Final Project | Wall section integrating architectural attitudes of Lacaton and Vassal Fig 7 Avaneesh Nataraja Final Project | Wall section integrating architectural attitudes of Kengo Kuma Fig 8 Naga Sai Santhan K. Final Project | Wall section integrating architectural attitudes of Antoni Gaudi

KRUTI MAKWANA | UG190733

Faculty of Architecture AR2014 Spring 2022

The cube emphasises on Didi’s attitude towards the physical and ephimeral substances. The key idea explored through the cube is that of a staircase essentially being steps and staircase being a space rather than being a mere transition element. Materials are highlighted through textures. These textures are enhanced through the remarkable play of light in Didi’s projects. The idea of timelessness is experienced due to the quality of mud. This is further enhanced by the use of plant which also highlights that Didi’s projects sit on site in accordance to the landscape, views and trees. The cube shows the continuous, attentuated and narrative but also episodic movement allowing one to experience it by moving their hands along the surfaces and feeling the texture of mud.

MASTERS STROKE: MATTERS OF ARCHITECTURAL LANGUAGE

MAZE: EDUARDO SOUTO DE MOURA FigADHRITA 2 ROY | UG190032

Textured mud wall

Play of

In Eduardo Souto de Moura’s buildings – he treats his individual spaces as enclosures which border a central corridor and are aggregated by the overall rectilinear form of the built mass. In the circulation that he establishes by this arrangement, no movement is allowed between enclosures – each time the user has to go out into the corridor to enter a space. This attitude is articulated in the maze where the maze is split into two parts – one on either side of a central white plane – a datum. One side of this plane holds solid blocks – enclosures which do not allow any movement between the spaces. To play the game, once the ball is dropped through one of the holes in the plate, the maze will have to be flipped to the other side where one can find pathways to navigate the ball inside. The MASTERS STROKE: MATTERS OF ARCHITECTURAL LANGUAGE clues regarding the correct path in the maze is given by articulating the varying degrees of enclosure that the architect uses in his works.

TROPHY: LACATON & VASSSAL Fig 3

PARTH PANCHAL | UG191013

Niches

View fro

Contrasting opaque and transparent planes arranged according to a grid creates varying degrees of enclosures within

TROPHY The trophy reflects the architect’s attitude towards making and detailing. He trophy expresses the tectonic expression of efficiency. As the architect’s core principle is to ‘Never remove, always add ’.Also the economical efficiency is expressed through the articulation of the trophy by reusing the waste and left over material by minimizing the intervention and abstracting the principles of detailing to detail out the trophy. The trophy is for the two architects lacaton and Vassal which is interpreted as concrete cubes and light glass respectively and combining the two forms the entire structure. The trophy is the module repeated and interlocked n order to save material and to counter lateral load. Also the trophy is the functional table tray for the cubes as paper weights for the architects.

Fig 4 52

SIDE

DETAILS FRONT

BOTTOM VIEW

AXONOMETRIC VIEWS

Fig 5 53

Faculty of Architecture AR2014 Spring 2022

Architecture UG Level-2

Fig 6

Fig 7

Fig 18

Fig 8

AR2034

Detailing and Communicating Architecture

Focus Constructing and Specifying Unit Assistant Hemanshu Dodiya

Faculty of Architecture AR2034 Spring 2022

3rd Year Aanchal Tejwani Anshu Patel Deep Ladumor Dev Desai Isha Mahajani Mathangi M Mehlam Makda Prathamesh Vernekar Riona Shah Simran Mashruwala Sri Nidhi Chilakamarri

Sankalpa This studio investigates the relationship between structure and material as a primary basis in the making of architecture. It shall prepare students to develop design ability in which the search for systems of space becomes intrinsic to the search for systems of structure. The studio assumes that structure is abstract and diagrammatic and in this sense, it constitutes immense possibility for diverse and numerous forms. In this light, material is merely temporal and one material can be replaced by another in the same structural system. The realization of form that is perceptible is eventually realized through the organization ofmaterialin space.This organization of materialinspacecreatestwosetsofspaces;onethatis around the organized material and the other that the material itself occupies. This semester predominantly dealt with and detailed out the latter as an outcome of principles of form deriving. The students were able to produce models and prototypes highlighting structural and constructional aspects of their design as well as produce a set of technical drawings for execution.

Fig 1 57

Architecture UG Level-2

Fig 1 Collective Model of the City YOUTH Center Fig 2 Isha Mahajani Kit of Parts and Assembled Model of Opening Fig 3 Prathmesh Vernekar Kit of Parts and Assembled Model of Opening Fig 4 Mehlam Makda Kit of Parts and Assembled Model of Opening Fig 5 Sri Nidhi Details of Spanning System

Fig 6 Anshu Patel Details of Spanning System Fig 7 Mathangi M Detail Model of Spanning System Fig 8 Aanchal Tejwani Detail Model of Spanning System Fig 9 Aanchal Tejwani Staircase Details Fig 10 Isha Mahajani Wall Section Fig 11 Deep Ladumor Details of Shading Device

Faculty of Architecture AR2034 Spring 2022

Fig 2

Fig 3

Fig 4

NOTES:

ARCHITECTURAL

1. 2. 3.

4. 5. 6. 7.

All dimensions are in mm & are to be read not measured. Discrepancy found in drawings should be brought to architects notice immediately. Architecture drawings should have precedence over structural drawings for levels and dimensions. Large scaled drawings should have precedence over small scaled drawings. All dimensions are finished dimensions. All levels are finished levels. Finishes thickness to be deducted or added if required.

ABBREVIATIONS: CLT - Cross Laminated Timber

SADDLE JOINT

100MM X 50 MM CLT PURLIN

100MM X 150 MM CLT MEMBER

SPANNING SYSTEM

DETAIL A

PRE - FABRICATED METAL JOINERY

60 MM SOLID BAMBOO

6MM DIA STUD AND BOLT

45 MM SOLID BAMBOO

Scale : 1:20 and 1:10 DONE BY:

NAME CODE

DETAIL B 30.125

750.00

FACULTY - SANKALPA T.A - HEMANSHU DODIYA 61

750.00 EQ

FACULTY OF ARCHITECTURE

FRONT VIEW (ONE MODULE)

1:10

Fig 5

CEPT

UNIVERSITY

PLAN VIEW 1:10

600.00

DETAIL C

DETAIL D

32.62°

DETAILING and COMMUNICATING ARCHITECTURE

750.00

38.66

600.00

8.9

750

- SRI NIDHI . C - UG191369

FRONT ELEVATION

1:10

120.00

4.0

80 X 120 MM (9 M LONG) GLUGLAM TIMBER WOOD 4 MM THK MS PLATE (WELDED) 8 X 50 HEX HEAD ANCHOR

0 4 MM THK MS PLATE (WELDED) 8 X 50 HEX HEAD ANCHOR 4 X 15 BOLT & NUT 4 MM THK TENSION CABLE

SIDE ELEVATION

1:10

80 X 120 MM (9 M LONG) GLUGLAM TIMBER WOOD 4 MM THK MS PLATE (WELDED) 8 X 40 HEX HEAD BOLT & NUT 40 X 60 MM GLUGLAM TIMBER WOOD

0.0

.00

0.0

60.0

80.00

8 X 90 HEX HEAD BOLT & NUT 80 X 120 MM (9 M LONG) GLUGLAM TIMBER WOOD 4 MM THK MS PLATE (WELDED)

2 MM THK, 30 MM DIA MS CIRCULAR PIPE

DETAIL A 1:5

1. ALL DIMENSIONS ARE IN MM & ARE TO BE READ NOT TO MEASURED. 2. DISCREPANCY FOUND IN DRG SHOULD BE BROUGHT TO ARCHITECT'S NOTICE IMMEDIATELY BEFORE COMMENCEMENT OF WORK. 3. ARCH. DRGS. TO HAVE PRECEDENCE OVER STRL. DWGS. FOR LEVELS & DIMENSIONS. 4. ALL STRUCTURAL DETAILS AS PER THE STRUCTURAL ENGINEER'S DRAWINGS ONLY.

DETAIL B

1:5

LEGEND:

ABBREVIATIONS

NOTES

8 X 100 HEX HEAD BOLT & NUT

DETAIL C

1:5

DR BY- ANSHU

TITLE:

SPANNING DETAILS

FACULTY:

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ANSHU | UG190144 LVL 2: DETAILING AND COMMUNICATING ARCHITECTURE- SPRING' 22

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Fig 9

16 MM METAL SECTION 30MM HOLLOW SECTION 18MM SS ROD

C CLAMP 250*1680MMMARINE PLYWOOD

4MM EPOXY FLOORING 125MM CONCRETE SLAB

40*40MM METAL SQUARE SECTION 6MM MS METAL PLATE 80*267MM METAL SQUARE SECTION MS C SECTION BISON BOARD MARINE PLYWOOD

68*40MM MS SQUARE SECTION

GLASS WINDOW 16MM MS PLATE

75*170MM TEAK WOOD

40MM GRANITE

Fig 10 125MM CONCRETE SLAB

16MM MS ROD HANDLE

MS SQUARE SECTION FOR ATTACHING DECKING SHEET

16MM ROD ATTACHE WITH BEARING AND MS PLATE 16MM INNER DIAMETER BOLT 16MM MS PLATE 8MM SS ROD 75*170MM TEAK WOOD FOR MOVING THE LOWER

6MM MS PLATE

4MM EPOXY FLOORING

16MM INNER DIAMETER BEARING

60*40MM SQUARE SECTION

2MM SS CLAMP

12MM C SECTION 16MM MS ROD

PCC

Fig 11 NOTES

61 1. ALL DIMENSIONS ARE IN MM & ARE TO BE READ NOT TO MEASURED. 2. DISCREPANCY FOUND IN DRG SHOULD BE BROUGHT TO ARCHITECT'S NOTICE IMMEDIATELY BEFORE COMMENCEMENT OF WORK. 3. ARCH. DRGS. TO HAVE PRECEDENCE OVER STRL. DWGS. FOR LEVELS & DIMENSIONS. 4. ALL STRUCTURAL DETAILS AS PER THE STRUCTURAL ENGINEER'S DRAWINGS ONLY.

S:22 DETAILING AND COMMUNICATING ARCHITECTURE

FACULTY: SANKALPA TA: HEMANSHU DODIYA

TIMBER WORKSHOP 0

LD DEALT CHECKED SCALE 1:100

DRG NO A-2.1 29-04-2022

DEEP LADUMOR B. UG190304

AR2016

Tectonic Operations -VI

Focus Constructing and Specifying Unit Assistant Vihar Sangani

Faculty of Architecture AR2016 Spring 2022

3rd Year Aaditya Gadani Arin Mayani Charmi Soni Dhriti Mistri Kayvan Gogri Ninad Shroff Parth Kerai Shreya Joseph Tanvi Prasad Utsav Patel Yash Rabadiya Yashodhan Mangukia

Smit Vyas The studio explores ways through which outdated buildings can become sites for creative thinking about construction processes. It introduces new programmatic requirements in an old precinct, necessitating actions of repair, replacement or introduction of alternative parts. Through this, new formal, structural & 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 & 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 learned staircase details,doors&windowdetails,flooringdrawingsand toilet design. Above all, students learned to see existing buildings from the point of view of structural possibilities & scope for intervention and also developed skills for identifying building language and developing its grammar through the detailing of architectural elements.

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Planning PG Level-4 Architecture UG Level-2

Fig 11Yashodhan Fig YashodhanMangukia MangukiaAxo. Axo. Design Design Development & Sections Development & Sections Fig 22Process Fig ProcessModels Models Fig 33Group Model Fig GroupWork WorkSite Site Model Fig 44Aaditya HouseFig AadityaGadani GadaniBath Bath House-Plan, Plan, Section & Elevation Section & Elevation

Fig 55 Kayvan Fig KayvanGogri Gogri&&Ninad NinadShroff Design Development Axonometric Shroff Design Development Axonometric Fig 66Aditya Gadani Design Fig Aaditya Gadani Design Development Axonometric Development Axonometric

AR2016 of Monsoon 2021 AR2016 Spring 2022 Faculty Architecture

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Faculty AR2016 of Monsoon Architecture 2021 AR2016 Spring 2022

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Architecture Planning PG Level-4 UG Level-2

Fig 55 Fig

6 66

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The existing block is made of one and a half brick thick wall and RCC frame structure with rough plaster outside and smooth plaster inside

The plinth matches with the existing plinth makes a smooth transition between new and old structures and creates an equal relationship.

The concrete wall starts in such a way that it takes the plinth within and creates the visual idea of emerging from the ground.

The ﬁnal truncated pyramidal roof continues from the wall and becomes one monolith structure which creates nice light quality inside where light ﬂushes the wall

Fig 66 Fig 67 7

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AR2033

Span and Space: Exploring Tectonics in Architecture Focus Vizualizing and Communicating Unit Assistant Kathan Gandevikar

Faculty of Architecture AR2033 Spring 2022

2nd Year Ananya Vaidyanathan Andrea Samuel Anirudh Ramesh Arjun Batra Bhoomi Lakhataria Kashish Sadaria Sanskriti Raju Suvidhi Jain Udit Shah Varsha Kumar Vasudha Gupta

3rd Year Adiraju Vinuthna Niba Aman K Sohamraj Ghelada Vrinda K V

Vinod Shah

Mangesh Belsare

The studio aims at imparting the basic knowledge of local and global forms with respect to structural actions. Studio dealt with association of space and tectonics by developing the understanding of material, form and structure in such a way that students could use this understanding in their design to integrate the structure and construction along with spatial qualities to achieve tectonic expression. New materials like fibers, new technologies like 3-D printing and advanced methods for computing for parametric are becoming common. At the same time natural materials like bamboo and conventional materials like mud and compressed blocks are also finding their way in application with modern methods. Architects need to equip themselves to exploit the potential of these materials and methods, for which conceptual understanding of structural systems and form is very essential. This studio equipped students to design and detail meaningful forms using fundamentals of structural actions and material properties along with construction technology which is essential as a process for going part to whole.

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Architecture UG Level-2 Faculty of Architecture AR2033 Spring 2022

Fig 1 Vrinda 1:100 Section Fig 2 Vrinda 1:100 Plan Fig 3 Vrinda 1:100 Plans Fig 4 Vrinda 1:20 Sectional Perspective Fig 5 Suvidhi 1:20 Opening Detail Fig 6 Niba 1:20 Junction Detail Fig 7 Arjun 1:100 Model Fig 8 Varsha 1:100 Model Fig 9 Sohamraj 1:100 Model Fig 10 Group Work Analytical sketches showing studies of various natural objects Fig 11 Group Work Analytical sketches showing studies of various buildings Fig 12 Ananya Model of a supported space Fig 13 Sohamraj Model of a supported space Fig 14 Ananya Chain model of the supported space Fig 15 Vrinda Model of a supported space Fig 16 Sanskriti Model of a supported space

Fig 17 Suvidhi Chain model of the supported space Fig 18 Vasudha Chain model of the supported space Fig 19 Kashish Model of the supported space Fig 20 Anirudh Models of supporting spaces using subtractive process Fig 21 Anirudh 1:100 Plan Fig 22 Ananya 1:100 Plan Fig 23 Vasudha 1:100 Section Fig 24 Arjun 1:100 Model with site Fig 25 Arjun 1:100 Model with site Fig 26 Suvidhi 1:100 Model with site Fig 27 Udit Axonometric view Fig 28 Suvidhi 1:100 Plan Fig 29 Niba 1:100 G.A. Plan Fig 30 Suvidhi 1:100 Section Fig 31 Niba 1:20 Opening Detail Fig 32 Vasudha 1:100 Model with site Fig 33 Vrinda 1:100 Model with site

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Fig 22 Faculty of Architecture AR2033 Spring 2022

Architecture UG Level-2

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AR2039

Sustainable and Smart Built Environment

Focus Planning and Organizing Unit Assistant Macha Bhargav

Faculty of Architecture AR2039 Spring 2022

2nd Year Bhoomi Bachani Bhumika Balamatti Deeya Thakkar Pruthak Thakkar Pushpendra Dudhat Zarna Prajapati

3rd Year Bhaumik Suthar Damini Agarwal Devanshi Dhingra Dhwani Prajapati Falguni Mevada Reeva Suketu Dhabalia Rikta Parikh Sejal Kundalia Shreyanshi Daftary

The image has to be full page portrait format. (This could be a single Mona khakhar Avlokita A 3 landscape/portrait images sent The studio is devised around the application of concepts of sustainability in buildings. It looks at case studies of sustainable buildings in India to study various measures that contribute to the functioning of the building with respect to the climate of the place. The studio focuses on employing site design principles to the project site with respect to the resources and climate of a place. The site to responds to wind, solar radiation/light, water, vegetation and existing built form while the building design emphasizes application of various strategies for – light, ventilation, water, electricity/energy and building material. The students apply various passive strategies leading to comfortable living. The passive measures adopted in the design development of a building are informed/ supported by appropriate tools/software. The project as a whole involved assessment of the use of all the resources – rainwater, wastewater, solid waste, light, electricity/ energy and building material. Overall, the studio contributed to enhance the understanding of the sustainability principles and greatly instilled confidence to build sustainable buildings.

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Architecture UG Level-2 Architecture UG Level 2

Fig Rendered Fig77Pushpendara PushpendaraDudhat Dudhat Rendered view of the design view of the design Fig fins Fig88Rikta RiktaParikh Parikh Use Use of of vertical vertical fins (east) for sun sun (east)and andjali jaliwall wall (south (south to to west) west) for shading shading Fig viewof of Fig99Falguni FalguniMevada Mevada Rendered Rendered view the courtyard the central central courtyard Fig of the Fig10 10Sejal SejalKundalia Kundalia Drawings Drawings of the Ground Floor and Roof Plan of Ground Floor and Roof Plan of the the Proposed Proposed Design Design Fig Fig11 11Devanshi DevanshiDhingra DhingraExploded Exploded view of energy model and daylight analysis of view of energy model and daylight final iteration analysis of final iteration

Fig 2

Fig 3

Faculty of Architecture AR2039 Spring 2022

FigFig 1 Reeva Dhabalia and Zarna 1 Reeva Dhabalia and Zarna Prajapati Climate Analysis, Prajapati Climate Analysis,Shadow Shadow Analysis and Site Analysis Analysis and Site Analysis FigFig 2 Pruthak Thakkar Exploration 2 Pruthak Thakkar Explorationofof shading devices shading devices FigFig 3 Dhwani Prajapati Understanding 3 Dhwani Prajapati Understandingof shadow and and mutual shading through sun of shadow mutual shading through path sundiagram path diagram FigFig 4 Damini Agarwal design 4 Damini AgarwalPassive Passive design strategies conceptualization strategies conceptualization FigFig 5 Bhaumik Suthar Site vegetation 5 Bhaumik Suthar Site vegetation documentation documentation FigFig 6 Shreyanshi Daftary Bubble 6 Shreyanshi Daftary Bubble diagrams forfordesign diagrams designdevelopment development

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AR2040

Architecture And Sensory

Focus Visualizing and Communicating Unit Assistant Shashikant Bhambhani Faculty of Architecture AR2040 Spring 2022

2nd Year Anirudh Chamarti Mihika Jain Rajat Kapoor Rudra Shukla Tirth Valu

3rd Year Aswin Joshy Bhavyakumar Satwara Disha Patel Nidhi Chauhan Samridhi Chauhan

Priyanshi Jain We experience architecture right from our birth. Our encounters are enormous, but the encounters which get etched in our memories are usually the ones that have moved our senses, that is sight, smell, touch, sound and on rare occasions even taste. Be it the dynamic composition, the unconventional use of materials, the color palette received because of juxtaposition of light and shadow, all contribute towards the evolution of sensory experiences. The studio also enabled one to identify a program not only to suit the purpose but rather to make a change and evoke emotion. The studio aimed to address and investigate the constantheightenedexperiencesderivedfromvarious architectural languages, explore its parameters, to form a libraryofdesign tools.These tools became the basisofdesigningcontemplativespaces/installations that acted as insertswithinvarious mundane settings in our cities. The idea was to enrich the process of Observing, Recording and Visualizing, within the proposed architecture whilst learning from the precedents that used senses as means of arousing passive audiences.

Fig 1 Fig 1 Fig 1

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Architecture UGUG Level-2 Architecture UG Level 2 Architecture Level 2

Fig 1 Bhavya 1 Bhavya Shah,Samridhi Chauhan,Chauhan, Chauhan, Fig 56Samridhi Aswin Joshy 6 Aswin Longing Joshy pause,at Longing pause,at FigFig 1Shah,Samridhi Bhavya Shah,Samridhi FigFig 6 Aswin Joshy Longing pause,at Fig 1 Bhavya Shah, Samridhi Chauhan, Fig Chahuhan Imaginative Fig 1 Bhavya Shah,Samridhi Chauhan, Fig 6 Aswin Joshy Longing pause,at Disha Patel Disha Observations Patel Observations andrecordings and spaces riverfront. riverfront. Disha Patel Observations and riverfront. Disha Patel Observations and that evoke touch. Disha Patel Observations and riverfront. Fig 1 Bhavya Shah,Samridhi Chauhan, Fig676Aswin Aswin Joshy Longing pause,at recordings of neighbourhood neighbourhood spaces. spaces. spaces. Fig Bhavya Shah 7 Bhavya Morphine Shah into Morphine into recordings of of neighbourhood FigFig 7 Bhavya Shah Morphine into of recordings neighbourhood spaces. Fig Joshy Longing pause,at recordings of neighbourhood spaces. Fig 7 Bhavya Shah Morphine into Disha Patel Observations and riverfront. Fig 2 Bhavya Shah 2 Bhavya Imaginative Shah Imaginative spaces spaces spaces serene ambience, serene at ambience, commerce at commerce six FigFig 2 Bhavya Shah Imaginative serene ambience, at commerce sixsix Fig 2 Bhavya Shah Imaginative spaces riverfront. Fig 2 Bhavya Shah Imaginative spaces serene ambience, at commerce recordings ofevoke neighbourhood Fig77Bhavya Bhavya Shah Morphine Morphine into into serene six that evoke touch. that evoke touch. spaces. road. road. that touch. road. that evoke touch. Fig Shah that evoke touch. spaces road. at commerce six Fig Bhavya Shah Imaginative serene ambience, Fig 32Bhavya 3 Bhavya Immaginative Shah Immaginative Fig 8 Disha Fig Patel 8 Disha Stepping Patel on Stepping peace,on aton peace, FigFig 3Shah Bhavya Shah Immaginative Fig 8commerce Disha Patel peace, at at Fig 3 Bhavya Shah Immaginative spaces ambience, at sixStepping road. Fig 3 Bhavya Shah Immaginative Fig 8 Disha Patel Stepping on peace, at that evoke touch. road. spaces that spaces evoke sight. that evoke sight. commerce commerce six road. six road. spaces that evoke sight. commerce six road. that evoke sight. Fig 8 Disha Patel Stepping on peace, at spaces that evoke sight. commerce six road. Fig 3 Bhavya Shah Immaginative Fig 8 Disha Patel Stepping on peace, at Fig 4 Disha Fig Patel 4 Immaginative Disha Immaginative Patel Immaginative spaces spaces spaces Fig 9 Samridhi Fig 9Chauhan Samridhi Dancing Chauhan Dancing Fig 4 Disha Patel Immaginative Fig 9 road. Samridhi Chauhan Dancing Fig 4 Disha Patel spaces commerce six Fig 4 Disha Patel Immaginative spaces Fig 9 Samridhi Chauhan Dancing spaces that evoke sight. commerce six road. that evoke touch. that evoke touch. shadows, atshadows, commerce at commerce six road. sixsix road. that evoke touch. shadows, at commerce road. that evoke touch. Fig 9 Samridhi Chauhan Dancing that evoke touch. shadows, at commerce six road. Fig54Samridhi Disha Patel Immaginative spaces Fig 9 Samridhi Chauhan Dancing Fig 5Chahuhan Samridhi Imaginative Chahuhan Imaginative FigFig 5 Samridhi Chahuhan Imaginative shadows, at commerce six road. Fig 5 Samridhi Chahuhan Imaginative that evoke touch. shadows, at commerce six road. spaces that spaces evoke touch. that evoke touch. spaces that evoke touch. spaces that evoke touch. Fig 5 Samridhi Chahuhan Imaginative spaces that evoke touch.

Faculty of Architecture AR2040 Spring 2022

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AR2041

Vernacular Resurgence

Focus Constructing and Specifying Unit Assistant Fateh Sighi

Faculty of Architecture AR2041 Spring 2022

2nd Year Shreeya Luharuka Jhenee Mehta Mihir Ramani Pratham Chothani Ruzeb vadgama Divija Patel Hiteshree Panchal Krishna Kodati

3rd Year Ayushi Gupta Bhoomika Patel Devika A Diya Benny

Hamid Raj Ahmedabad is 610 years old, famed for its architecture and has been recently declared as a ‘World Heritage City’ by UNESCO. Over the past century, and especially the last five decades the city has witnessed a major decline and massive loss to its priceless heritage. The studio proposes to design in this context which is laden with a rich history. The focus and challenges were to be able to personalize and customize spaces for individual needs and aspirations of a family, by designing a residence at an actual site in the walled city. Before working on the design, understanding and sensitizing ourselves to this contextwithinwhich we propose to build is extremely crucial. In order to acclimatize with this context, a thorough study of the planning and organization of the pols and the pol houses was conducted. To be able to truly appreciate the vernacular designs, one has to also study the use of materials, constructiontechniquesandstructuralsystems.These designs were made for a people of a bygone era and one needs to understand the impact of the dramatic shift in lifestyle of the current day user living in these homes in orderto caterto theirneeds and aspirations

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Fig Anil | Ayushi Gupta | | Fig1 1Devika Devika Anil | Ayushi Gupta Bhoomika Patel Mapping Old City Bhoomika Patel : Mapping –Old City Ahmedabad Ahmedabad Fig Luharuka Fig2 2: Shreeya : Shreeya Luharuka: Proposed : Proposed design model design model Fig Gupta residence Fig3 3Ayushi Ayushi GuptaProposed : Proposed section residence section

Fig 54 Group Ayushi Work Gupta: Site Proposed Fig Model residence with ground level plan design proposals Fig 65 Diya Diya Benny residence Fig Benny :Proposed Propsed residece section section Fig 66 Diya Diya Benny Benny :Proposed residence Fig Propsed residece ground level plan ground level plan Fig 7 Group Work Site Model with design proposals

Fig52 Fig

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Fig 4 Ayushi Gupta : Proposed residence ground level plan

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AR3038

Architectural Salvage: Reviving a Floating Shelter

Unit Assistant Keerthan B V

Faculty of Architecture AR3038 Spring 2022

4 th Year Akshat Pagaria Ananya Varambally Khyati Goswami Nisarg Patel

5 th Year Darshan Patel Devyani Chandak Dhruv Patel Ripalbala Pargi

Shilpa Mevada

Arijit Chatterjee

The studio houses the reconstruction of the Louise-Catherine barge and supporting festival facilities on the sea. The fluvial interventions will be imagined as a series of props that sit within or atop a floating dry dock on the Arabian sea, both a temporary boatyard and living museum. This will create a space to safely house the reconstruction of the barge, whilst enabling the remaking of the vessel to be a spectacle for participants, curious observers and the city of Bombay. Between the barge and the Royal Bombay Yacht club building, a series of connecting facilities will be designed that include temporary exhibition spaces, cafe, toilets, offices. After the reconstruction of the barge, these two vessels, the floating dry dock and the Louise Catherine barge, will be used to house the festive arrangements or events within them. The studio is grounded within knowledge of nautical architecture. Connecting to the powerful legacy of Modernist Architecture, in particular the work of Le Corbusier, the studio will stimulate students to form positions concerning how contemporary interventions can preserve, respond to and build on this heritage. In tandem, students will develop knowledge and judgment in water-based architecture, enabling them to synthesize a theoretical approach to the colonial heritage of Bombay with an approach to designing for fluvial conditions.

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Architecture UG Level-3

Fig 1 Darshan Patel Axonometric drawing of the imagined intervention and arrangements Fig 2 Dhruv Patel Deck level plan of the floating forest within the dry dock and supporting arrangements Fig 3 Dhruv Patel Section through the floating forest and arrangements Fig 4 Dhruv Patel Axonometric drawing of the imagined intervention and arrangements

Faculty of Architecture AR3038 Spring 2022

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Fig 5 Akshat Pagariya Deck level plan of the barge under constructions and supporting arrangements Fig 6 Khyati Goswami Section through suspended volumes atop the drydock and imagined event within Fig 7 Akshat Pagariya Section through the drydock and intervention atop it. Fig 8 Dhruv Patel Section showing details of the floating forest within the drydock

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Faculty of Architecture AR3038 Spring 2022

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AR3021

Vertical Living

Unit Assistant Bhakti S haparia

Faculty of Architecture AR3021 Spring 2022

4th Year Adarsh Reddy Arushi Goyal Lea S Malayil

5 th Year Aesha Shah Arsh Kania Priyanka Kolhe Pulak Goyal Rutvij Saini Tushar Kanoi Vatsal Sanghvi Viraj Bhatt

Dhaval Gajjar

Jagrut Patel

The studio explores the typology of high-rise buildings as a premise of mainstream housing development for the future. The design approach shall intervene to generate livability in vertical blocks. With growing development coupled with shortage of land, developer driven housing purely delivers isolated apartment towers having stacked floors in every part of the city, excessively consuming our urban experience and spaces. By analyzing the existing, students observe manners in which conventional high-rise blocks have very little to do with different profiles of people living together, apart from their existence in their isolated apartments. The focus is to work towards design solutions that can be part of mainstream high-rise developments to create living spaces that boost physical and mental well-being, and allow integration without sacrificing privacy. It is also to address the need of a vertical community living environment that caters to changing social, economic, technological and environmental dynamics and shifts. Throughout the studio unit, the dimensions of professional practice is implied as a methodology to conduct the individual work while applying the aspects of real world design practice in terms of decision making, collaboration, deliverable & communications.

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Architecture UG Level-3 Architecture Architecture Architecture UG UG Level UG Level Level 33 3

Fig 1 Priyanka Kolhe Collage od 1 Priyanka Kolhe Collage od FigFig 1 Priyanka Kolhe of desired desired habitat of theCollage student with desired habitat of the student with habitat of the student with regards to Fig 1 Priyanka Kolhe Collage od regards to everyday activities. regards to everyday activities. everyday activities. desired habitat of the student with Fig 2 Pulak Goyal Massing exploration 2 Pulak Goyal Massing exploration FigFig Pulak Goyal Massing exploration regards tocasestudy.re-design. everyday activities. for2 gobal for gobal casestudy.re-design. forFig gobal casestudy re-design. Fig 2 Pulak Goyal Massing exploration 3 Vatsal Sanghvi ,Viraj Bhatt 3 Vatsal Sanghvi ,Viraj Bhatt FigFig 3 Vatsal Sanghvi, Viraj Bhatt for gobal casestudy.re-design. Conceptualization of massing for global Conceptualization massing forglobal global Conceptualization ofofmassing for Fig 3 Vatsal Sanghvi ,Viraj Bhatt casestudy re-design. casestudy re-design. casestudy re-design. Conceptualization of massing for Fig 4 Arsh Kania Core formationglobal and Fig 4 Arsh Kania Core formation and Figcasestudy 4 Arsh Core formation and re-design. vertical &Kania horizontal movement study vertical horizontal movement study vertical && horizontal study Fig 4 Arsh Kania movement Core formation and vertical & horizontal movement study

Faculty of Architecture AR3021 Spring 2022

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Fig 5 Adarsh Reddy, Aesha Shah Fig55Adarsh AdarshReddy, Reddy, Aesha Shah Fig Aesha Morphological exploration for the local Morphological exploration for the local Shah Morphological exploration for the Fig 5 Adarsh Reddy, Aesha Shah casestudy re-design. casestudy re-design. local case study re-design. Morphological exploration for the local Fig 6 Tushar Kanoi, Pulak Goyal, Viraj Fig Tushar Kanoi, PulakGoyal, Goyal, Viraj Fig 66Tushar Kanoi, Pulak casestudy re-design. Bhatt Massing Exploration for the Viraj local Bhatt Massing Exploration for the local Bhatt Massing Exploration for the local Fig 6 Tushar Kanoi, Pulak Goyal, Viraj casestudy re-design. casestudy re-design. casestudy re-design. Bhatt Massing Exploration for the local Fig 7 Lea Malayil Collage representing Fig LeaMalayil Malayil Collage Fig 77Lea Collage representing casestudy re-design. evolution ofnotion of home representing evolution ofnotion of home evolution ofnotion of home Fig 7 Lea Malayil Collage representing Fig 8 Pulak Goyal Final Design Fig Pulak Goyal Fig Goyal Design evolution ofnotion ofFinal home Fig88 9Pulak Adarsh Reddy Final Design Fig 9 Adarsh Reddy Final Design Fig 9 Adarsh Reddy Final Design 8 Pulak Goyal Final Fig 10 Lea Malayil FinalDesign Design Fig10 10 LeaMalayil Malayil Final Design Fig Lea Final Design 9 Adarsh Reddy Final Design Fig 10 Lea Malayil Final Design

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Faculty of Architecture AR3021 Spring Spring-2022 2022 Faculty of Architecture AR3021

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Overlooking the play area

Green terrace area

Overlooking the pavilion

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Housing Unit

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AR3033

Workplace Neighborhoods

Unit Assistant Bageshri Thakar

Faculty of Architecture AR3033 Spring 2022

4th Year: Divya Shah Manali Kapadia Priyang Patel Samyak Jain Satwika Reddy Ved Patel Yajurva jagad

5 th Year Anupam Aserkar Hari Patel Parikshit Kalavadia Takshil Jagani

Prateek Banerjee

Nimit Killawala

“The idea that work is bound to be anchored in a corporate office succumbed during the ongoing COVID crises, making us think about integrating the workplace at a neighborhood scale. Unlike mono functional and generic office buildings located in CBD’s, the unit aimed at testing workplace typologies within civic environments, supported by community/civic institutions offering an ecosystem, wherein individuals can tap into networks of collaborations offered within their surroundings. Freelancers are no more isolated, small businesses have the flexibility to expand and shrink as required. The focus was to attract a young workforce within a rich urban environment, with enough to offer even after the traditional working hours. The current knowledgeeconomyonlyfosterssuchcollaborations bridging services, interdisciplinary research and the creative clusters. The unit speculated on the cross overs among such entities as potential drivers for change within cities. For the Spring-22 semester, the site had been identified in the western Suburb of Juhu, located in Mumbai.

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Fig 1 Group Work The Triple helix model as a basis for the program. Fig 2 Hari Patel Analysing mixed – use typologies Fig 3 Takshil Jagani Program Distribution Diagram. Fig 4 Ved Patel Response to edge conditions of a perimeter block. Fig 5 Takshil Jagani Establishing partnerships amongst stakeholders. Fig 6 Ved Patel Program mix linked vertically through primary circulation.

Fig 7 Priyang Patel Resolution of floor plates Fig 8 Priyang Patel Section revealing the quality of interior space. Fig 9 Takshil Jagani Section revealing how hydroponics could be integrated into a contemporary workplace Fig 10 Takshil Jagani Site Response, Secondary circulation – establishing synergies amongst stakeholders.

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AR3030

Between The Fracture And The Fold

Unit Assistant Sneha Lakhani

Faculty of Architecture AR3030 Spring 2022

4th Year: Omya Sharma Prachi Patel Urja Chaudhary Vivek Chhatrola Heena Diwan

5 th Year Anoushka Mittal Chanda Patel Khyati Rajpara

Percy Pithawala The latter half of the 20th century has been extremely critical to the theoretical discourse and practice in architecture. There have been a selection of architects during the phase from the 1960’s to the 2000’s who were rigorously exploring interconnections and translations from varied parallel discourses such as art, philosophy and culture, into architecture and space making. At the turn of the 1960’s there was great critical rigor observed in the theoretical works of architects like Robert Venturi, Michael Graves and Charles Jencks bringing forth the post-modern movement and subsequently, minimalism, deconstruction and the new modern. In 1988, Philip Johnson curated an exhibition on deconstructivist architecture at the Museum of ModernArt in NewYork,wherein he included several architects who were exploring and experimenting with a diverse range of thought processes inspired from varied influences from other related fields of design. This studio explores radical departures in design thinking through lateralinter-relationships between variousdesignfieldsandtheirinfluences.Emphasisof the studiowas to provide studentswith the necessary freedom to be able to engage in shared learning and furtherevolvenovelstrategiestoconstruct,rationalize and implement their individual thought within a process based approach.

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Fig 1 Khyati Rajpara Excavating & tracing layers of memory and site histories. Fig 2 Introductory exercise exploring individual experience by students during the pandemic represented through sketches, diagrams, collages and renders. Fig 3 Poveglia Island, Italy. Site orientation and existing structures. Fig 4 Vivek Chhatrola Imagining cemetery as a non-building within the site landscape. Fig 5 Prachi Patel Weaving together landscapes of heavenly delights.

Faculty of Architecture AR3030 Spring 2022

Fig 2 112

Fig 6 Chanda Patel Superimposing a new structure over the existing buildings below. Fig 7 Anoushka Mittal Negotiating journeys through the inner realms of the earth. Fig 8 Urja Chaudhary Extending a linear typology of columbariums into the ocean. Fig 9 Omya Sharma Breaking down the rigidity of the columbarium into transformative and flexible spaces.

Fig 3

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Architecture UG Level-3

Faculty of Architecture AR3030 Spring 2022

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AR3029

Towards A Critical Project And A Project Of Critique, Situation: The Favourites

Unit Assistant Nikhil Makhijani

Faculty of Architecture AR3029 Spring 2022

4 th Year Karan Gandhi Naomi Mehta Prasit Gandhi Priyanka Salunkhe Swarnavalli N Vishnu V

5 th Year Aashumi Shah Hamsika Gummadavelly Pooja Mistry Rupal Singh Twisha Vaghasia

Shubhra Raje

Kevin Low

The prevalent discourse on architecture positions the architectural project as a singular act, made separate from the continuity and collective condition of the environment which we are (still) in obligation to share. The studio challenges this tendency to iconize the architectural project within our disciplinary discourse by a persistent curiosity to understand it as a part of the built environment, assessing its viability and limitations through a systematic inquiry into the conditions and consequences of its design. This semester, through the discovery of relevant questions, the studio investigated a favored modern architecturalicon, familiarto us through its reputation and the established narratives of its successes. Students will identify problems inherent in the existing design by way of vital relationships it fails to consider. Subtle, yet profound intervention/s that resolve the problems identified followed, shifting the emphasisfromdesignsolutionsderivedprimarilyfrom the expression of form to that of solving problems of relevance, we rekindled the potential of program, the meaning of use and continuity of the built environmentasanunderstandingofwhatconstitutes critical architecture in service of responsibility over mere reputation.

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Architecture UGPG Level-3 Planning Level-4

Fig 1 Priyanka Sankhule Reclaiming the ground as communion at the Golconde Fig Sankhule Reclaiming the ground Fig Name Caption Fig112Priyanka VishnuName Vasudevan Inhabiting the as communion at the Golconde picturesquare at No.11 33rd Lane Fig 2 NameVasudevan Name Caption Fig Inhabiting the Fig23Vishnu N Swarnavalli Re-membering the picturesque at No.11 33rd Lane Fig 3 Name Name Caption sense of community ar La Tourette Fig Swarnavalli Re-membering Fig34NPooja Mistry The portal the to the Park: sense of community at Tourette the re-purposing ofLa CEE Fig 4 Pooja Mistry The portal to the Park: the re-purposing of CEE

FacultyAR-3029 of Architecture AR3029 Monsoon 2021 Spring 2022

Fig 2

Fig 2 118 4

Fig 5 Aashumi Shah Introducing a Front Porch to the city at the Llyod’s Building Fig 5 Aashumi Shah Introducing Front Fig 6 4 Name Name Caption Fig Rupal Singh Eroding the aCitadel: Porch to the city at the Llyod’s Building re-considering enclosures at the India Fig 5FigName Name Caption Caption 6Centre Rupal Singh Eroding the Citadel: reHabitat Caption Caption considering enclosures at the India Habitat Fig 7Centre Naomi Mehta Examining luxury through contextualizing typology at Fig 7 Naomi Mehta Examining luxury through Kanchenjunga contextualizing typology at Kanchenjunga

Fig 3

level 3

level 2

level 1

monks

cell interaction with courtyard

Fig 3 5 119

Faculty ofMonsoon Architecture AR3029 Spring 2022 AR-3029 2021

Architecture UG Level-3 Planning PG Level-4

Fig44 Fig

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AR3039

A Place for Prayer

Unit Assistant Anokhi Brahmbhatt

Faculty of Architecture AR3039 Spring 2022

4 th Year Aashvi Vipulkumar Trivedi Jay Bharatkumar Patel Mannat Singh Nikhila Gudipatti Palak Hurkat Snehil Tripathi R A Yukta l

5 th Year Abishek P

Snehal Shah After completing the studio, the student will be able to achieve the following; The studio is going to concentrate most essentially and primarily to create an architectural language and work on a strong premise to make subtle and yet a bold statement for the project brief. In order to achieve this basic goal, the studio will take help of several exercises, to first try and understand what are the requirements of this space and how to achieve the same. To make supportive group readings on the subject, be it of any reference. This is crucial as the references of these readings will give clues to go further in the project. The third will be to have site visits of case studies and the chosen site to explore its context, consider climate (mainly sun movement for natural light) and then the study and exploitation of appropriate material. Several iterations and design development of the concept would give challenges to the imagination and reality with which the student would be working on. To create a synergy and synthesis with the aspects of architecture, be it spatial or physical, be it tangible or intangible aspects and be it positive or negative. The final design would be able to display the inherent aspects of architecture and try to achieve its goal.

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Planning Architecture PG Level-4 UG Level-3

Fig 1 Abishek P. - Abstract sheet

Fig 11 Abishek P - Sectional Prerspective

Fig 21 Jay Patel -P.Abstract sheet Fig Abishek Abstract sheet Fig 2 Jay Patel Abstract sheet Fig 3 Mannat Singh - Abstract sheet Fig 3 Mannat Singh Abstract sheet Fig 44 RRAAYukta - Abstract Fig Yukta Abstractsheet sheet Fig 5 Mannat Singh Plan Main Prayer Fig 5 Mannat Singh - Plan ofof Main Prayer hall hall Fig - Plan ofof Main Prayer hallhall Fig66 Abishek AbishekP P Plan Main Prayer Fig 7 Snehil Tripathi Plan of Prayer Fig 7 Snehil Tripathi - Plan of Prayer hallhall Fig 8 R A Yukta Site Plan Fig A Yukta P. - Site Fig89 RAbishek SitePlan Plan Fig 10 Nikhila G. Site Plan Fig 9 Abishek P. - Site Plan Fig 11 Abishek P Sectional Perspective Fig 10 Nikhila G. - Site Plan

Fig 12 - Section andand elevation of Fig 12 Snehil SnehilTripathi Tripathi Section prayer hall of prayer hall elevation Fig 13 Mannat MannatSingh Singh- Section Sectionand and Fig 13 elevation of elevation prayer hall of prayer hall Fig 14 R A Yukta Section and elevation of Fig 14 R A Yukta - Section and elevation of prayer prayer hall hall Fig 15 Nikhila G. Section and elevation of Fig 15 Nikhila prayer hall G. - Section and elevation of prayer hall 16 Jay Patel Section of prayer hall Fig Fig 17Jay Aashvi prayer Fig 16 PatelTrivedi - SectionSection of prayerofhall hall Fig 17 Aashvi Trivedi - Section of prayer hall

AR3039 Faculty Monsoon of Architecture 2021 AR3039 Spring 2022

Fig 5 Fig 5

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125 5

Architecture Planning PG Level-4 UG Level-3

Fig 11 Fig 11

Faculty AR3039 of Monsoon Architecture 2021 AR3039 Spring 2022

Fig Fig12 12

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AR3041

‘Monument, Memory and Ruins Their place in the imagination and architecture of today’

Unit Assistant Richa Surati

Faculty of Architecture AR3041 Spring 2022

4 th Year Ahmed Shabeer Ishaan Mahajan Jill Patel Malavika Chedambath Manav Rathod Ramsha Midhat Suyashi Paliwal

5 th Year Khushi Shah Marut Gajjar Preet Patel Vipasha Chauhan

Sonal Sancheti

Ami Gokani

What do monuments do? Do they capture the very essence of architecture, or do they fail to qualify as architecture? How do we look at the memory and history associated with these structures? What is the value of each? What is architecture’s relationship to the past: must it “redeem” the past by fulfilling the past’s thwarted vision or should architecture help society forget? Could these be seen as those crucial points where there is a collapse of time and a possibility of renewal? Ahmedabad is a city with several monuments and ruins - some standing out as objects in the fabric of the citywhile others are hiddenwithin the fabric to be discovered. The studio attempted to address the above questions in the context of two sites in Ahmedabad: a) Six students studying the Bai Hari Vav and the mosque complex at Asarwa b) Five students studying the Baba Lavlavi mosque at Behrampura. Each student developed their own intervention of an urban institution by coming up with a program and narrative rooted in context, experiences and analysis of the given sites. Thus, as a larger perspective, the studio tried to bring these monuments and ruins into the imagination of the student by understanding aspects of place, program and people from an architectural perspective.

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Architecture UG Level-3

Fig 1 Khushi, Suyashi, Jill, Ahmed, Vipasha, Marut Site Analysis Fig 2 Khushi, Manav, Suyashi, Jill Snippets of studio process: Recording site observations through collages Fig 3 Khushi, Preet, Malavika, Suyashi, Jill, Vipasha Snippets of studio process:

Siting explorations through models, sketches Fig 4 Khushi, Manav, Ahmed Snippets from final presentation Fig 5 Vipasha, Ramsha, Ishaan, Jill Snippets from final presentation

Faculty of Architecture AR3041 Spring 2022

Fig 2

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Architecture UG Level-3

Faculty of Architecture AR3041 Spring 2022

Fig 4

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AR3040

Designing A Heist : Using Disruptive Imagination As A Tool To Decode The Vulnerabilities Of The Built Environment Unit Assistant Parshva Palkhiwala

Faculty of Architecture AR3040 Spring 2022

4 th Year Pavneet Kalra Shashank Shankar

5 th Year Aryan Karena Harsh Prajapati Harshil Shah Maulik Prajapati Riya Pai Mistry Shiv Atul Krishan

Amit Joseph Kurien Students Vs the Building! In “A burglar’s guide to the city”, Geoff Manaugh addresses burglars as ‘idiot masters of the built environment,drunkJediofarchitecturalspaceandan urban trickster of sorts.’ By employing the distinct ‘urban trickster’s’ tool of disruptive imagination within the architectural academic framework, students will attempt to Decode, Counter-Design and De-stabilize the ‘Theater of Trade’.Such an academic methodology explores focused ‘site –vulnerability’ studies, alternative narratives and creative diagramming of the Heists. The Heist is an ‘Act’ of real-time Action–Time–Space Counter design to the existing ‘Normalcy’ of the Theatre. Though the basic genres of our study range from topics like ‘Stability’ and ‘Chaos’, ‘Security’ and ‘Vulnerability’, ‘Protocol’ and ‘Practice’, students were expected to derive the loot narrative based on the vulnerabilities identified. Students engage progressivelyin ascending scale of casing targets (the Neighborhood target, the Library and the Theater of Trade) to understand varying challenges and in situ sharpen the relevant skills. The final outcome of the studio – the Heist room , would be a vulnerability map, a Heist map , a Heist modeland sequentialdepiction ofActs and Sub-Acts crucial to challenge/highlight the key focus of the study.

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135

Planning Architecture PG Level-4 UG Level-3

Fig Shiv, Maulik Heist MapMap Fig11Shashank, Shashank, Shiv, Maulik Heist Fig Library Heist Heist Map Fig22Atul,Ria,Pavneet Atul, Ria, Pavneet Library Map Fig 3 All students Vulnerability and Heist Model Fig 3 All Students Vulnerability and Heist Model Fig 4 Harshil Shah Theatre of Trade Fig 4 Harshildecoding Shah Theatre of Tradevulnerability of temporal events vulnerability decoding of temporal events Fig 5 Harshil Shah Heist scenarios

Fig 56Harshil HeistExplosion scenarios impact Fig AryanShah Karena Fig 6 Aryan Karena Explosion impact Analysis Analysis Fig Shashank Shankar Sectional Fire Fig 77Shashank Shankar Sectional Fire drawing drawing Fig 8 Pavneet Karla Basement Heist Map Fig 8 Pavneet Karla Basement Heist Map

Faculty of Architecture AR3040 Spring 2022 3040 Monsoon 2021

Fig.11 Fig The vertical transition space on the south side is not under surveillance making it vulnerable.

heist map AGAINST PROTOCOL

7:10 pm

FOLLOWING PROTOCOL

DAY II

2. RMA climb down the staircase till basement three.

The spaces in the basement three are unused and secluded making their spots for potential target spaces.

8:30 am

7. Climb up the stairs towards ground floor.

LOOT The threshold spaces are the glass doors, each one is accesible but not the one on basement three.

The outer edge of the library is open to usage by the public but also makes it porous enough to invade the core.

8:00 pm 3. Hide until the library shuts down.

8:45 am 8. Enter the washroom ( R and M ) slip the thesis out of the vent in the

DAY I 7:00 pm 1. R M A walk in through south entrance

start.

9:30 pm 4. Dismantle the door.

9:40 pm 5. Take the keys, go through the thesis guide and steal the thesis from the respective cupboard.

10:00 pm to 8: 00 am Keep watch in shifts 6. Hide in the same hiding spot until Day 2 working hours begin.

9:00 am 9. Climb up from the side stair to get the frisbee and the thesis book

end.

Fig 2 Fig.2

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we5 137

Faculty 3040 Monsoon of Architecture 2021 AR3040 Spring 2022

Architecture Planning PG Level-4 UG Level-3

Fig.4 Fig 4

Fig 5

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140

Kaushik Myatra IR3017, Deviant Orders Of The New Workplace Ratna Shah, Errol Reubens

140

FACULTY OF DESIGN

141

BD2004

Elements of Form and Space

Focus Constructing and Specifying Unit Assistant Ayushi Agrawal

Faculty of Design BD2004 Spring 2022

2 nd Year Ela Kulkarni Nuzha Shafi

3 rd Year Isha Hapani Anvi Vijh Karnavi Jadeja Nanditha Francis Vishwa Savalia Vidhi Satodia Thirunagari Sarvagnya Shria Thakkar

Gaurang Shah This course was designed to refine and sharpen the students’ perceptual and aesthetic sensibility. It also enables the students to understand and apply some basic principles of form generation and help them to visually and verbally articulate their form ideas. Some of the most important topics that were touched upon in this course (studio) are - form integrations, form transitions, geometric relations and manipulations. As an approach, drawing and model making were used extensively. This was also meant to enhance the creativity of the students in using the visualization media In terms of visual perception; every form has a surface or surfaces, i.e., the outermost part ofthe form directlyin contactwith the space surrounding it. Everyform is perceived byits surface(excludingtransparentandtranslucentforms where the inner content of the form is also seen). In other words, this is the stage when one begins to understandtheform.Otheraspectsthenfollowindue course of one’s experience with the form.

142

PRODUCED BY AN AUTODESK STUDENT VERSION

Name: Anvi Vijh|UG190155

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Design UG Level-2

Fig 1 Fig Anvi1 Vijh Anvi Design Vijh Design Intervention Intervention for for Fig 6 Fig Vidhi Satodia Proposed design 6 Vidhi Satodia Proposed design kamlakamla nehrunehru zoological zoological Park (Food Park (Food zone)zone)solutionFluidity | water Inspired solutionFluidity | water Inspired Fig 2 Ela Kulkarni Proposed seating Fig 7 Thirunagari Sarvagnya Proposed Fig 2 Ela Kulkarni Proposed seating Fig 7 Thirunagari Sarvagnya Proposed inspired by context- zoological park design solution. inspired from context inspired by context- zoological park design solution. inspired from context Fig 3 Isha Hapani Proposed design Fig 8 Shria Thakkar Proposed design solution solution. inspired from context Fig 3 Isha Hapani Proposed design Fig 8 Shria Thakkar Proposed design Fig 4 solution Karnavi Jadeja Design Intervention Fig 9 solution. Nandithainspired Francisfrom Design Solution context Fig 5 Nuzha Shafi Depicting Design Fig 10 Vishwa Savalia Process Fig for 4 Karnavi Fig 9 Nanditha Francis Design Solution process SeatingJadeja artifact.Design Intervention highlighting design intervention. Fig 5 Nuzha Shafi Depicting Design Fig 10 Vishwa Savalia Process process for Seating artifact. highlighting design intervention.

Studio Code Spring 2019

Faculty of Design BD2004 Spring 2022

People taking pause PeoplePeople takingwalking pause

People Existing walking seating in broken Existingstate seating inProposed broken state seating Proposed seating

Fig

Fig 2

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EXPOSE

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Zoo in Ahmedabad. The intervention, in the form of a g aims to provide a moment of relief for the tired visiti- Exploring the various ways one can alter the

perception of a form through radii manipulation.

STUDY AND ANALYSIS

OF SEATING

INITIAL CONCEPT DEVELOPMENT

for Kankaria Zoo

Attributes

The initial inspiration came from a Crocodile and various concepts were futher explored, from its scales to the arrangement of the teeth.

TENT INITIAL CONCEPT DEVELOPMENT FORM EXPLORATIONS MENT FORM EXPLORATIONS to design a monolithic artefact for the Kamala People Movement

Seatings in the Area

n Ahmedabad. The in from theaform of a Theintervention, initial inspiration came Crocodile and various were futher explored, to provide a moment of concepts relief for the tired visiti-

Attributes Sharp Curvy Dynamic

from its scales to the arrangement of the teeth. Site plan | Ergonomics Contextual Study Experiential Map of the |site

Attributes

the Kamala Y AND ANALYSIS

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FORM EXPLORATIONS

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TEC

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OBSERVING PEOPLE AT THE SIGHT/ Arrangement of a crocodile’s teeth POSTURE STUDY Exploring the various ways one can alter the perception of a form through radii manipulation. Nuzha Shafi | UBD20107

Exploring IN 3D- Form Extrusion, Joineries, Modularity

Colour-Material-Fi

| Elements of Form and Space | Spring- 22 | Level 2| Faculty Of Design

EXP

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20107 | Elements of Form and Space | Spring- 22 | Level 2| Faculty Of Design

Sharp Curvy Dynamic

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PROCESS MODELS

Fig 5 145

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Orthographic Projection

Exploring Various Arrangements

Exploring IN 3D- Form Extrusion, Joineries, Modularity

TECHNICAL DRAWING

PROCESS MODELS

Design UG Level-2 Site plan Ideation | Conceptual Sketches

Faculty of Design BD2004 Spring 2022

Fig 6 Design inspired from the contextual presence of hippo animal. The intervention reflects the attributes as bulky, lazy and robust.

Fig 7 The seating element highlights the characteristics of the jackal. The form has been derived from the animal present in the context.

Concept | Ideation | iteration | Form Ddevelopment | Final Design Solution

Fig 8

146

Concept Concept || Ideation Ideation || iteration iteration || Form Form Ddevelopment Ddevelopment

Ergonomics Ergonomics study study to to define define the the scale scale and and propotions propotions of of the the form form

Iteration Iteration developed developed to to develop develop design design solution solution

Final Design Design Solution Solution Final

Fig 9

Site Site plan plan || Ideation Ideation || Iteration Iteration of of the the design design solution solution Attempt Attempt to to ideate ideate the the playful playful nature nature of of monkey monkey in in the the design design intervention. intervention. The The colour colour and and the the basic basic nature nature of of the the form form designed designed highlights highlights the the user user group group and and adds adds to to the the contextual contextual value value of of the the surrounding. surrounding. The The forms forms dwells dwells on on levels, levels, shapes shapes and and engagement engagement with with the the user. user.

Orthographic Orthographic drawings drawings of of the the designed designed solution solution

Fig10 10 Fig

147 7 77 147

147 7

BD2010

Explorations in Wood

Focus Constructing and Specifying Unit Assistant Manasa Mahalakshmi Faculty of Design BD2010Spring 2022

2 nd year Kashvi Chopra

3 rd year Abishai Choragudi Archi Shah Avani Gupta Dev Prajapati Hamsa Gajjala Hardee Agrawal Hitesh Rao Kushagra Mittal Kushani Mehta Pratika Chhajed Tejomay Kalai

Kaulav Bhagat

Chandra Vijai Singh

The studio revolves around a learning design process using wood as a material of context. Wood evolved as a material through craft into the world industrial design (especially in mass manufacturing of furniture). Through the design movements across the world, it was the arts and craft that majorly tested the materiality of wood and its attributes. These attributes were later used according to how advantageous it proved for the furniture being produced. Design without context is just another artform. Therefore the studio brings context on two levels adhering not only to the site but also through the type of furniture to be designed. GARVI GURJARI is a handicraftandhandloominitiativeofthegovernment of Gujarat to support its art & craft along with their craftsmen & artisans. The requirement of the studio was to develop a shelving unit or set of furniture for Garvi Gurjari. The shelving unit as a general rule should be able to store and display its products. The explorations in techniques used to produce the furniture hence traversing through the materiality of wood is the heart of this studio. Therefore craft & industrial techniques have been taken into consideration. Shelving unit is in itself a small scale structure. With the help of designing this structure, one can scout howwood responds tovarious forces it experiencessuchascompression,tension,sheerforce, load bearing capacity and so on.

148

Fig 1 Fig 1

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Design Planning UGPG Level-2 Level-4

Fig All Students Final models designed Fig 111Name Name :Caption All Students Final models designed by by students students Fig 2 Name Name Caption Fig ArchiShah, Shah, Kushani Chopra, Fig Kushani Chopra, Kushagra Fig 322Archi Name Name Caption Kushagra Mittal 1:1 hand drafted Mittal : 1:1 hand drafted furniture measure furniture measure drawings. drawings. Fig Mehta : Design process exploring Fig33Kushani Kushnani Mehta Design process wood bending as a concept.as a concept. exploring wood bending Fig Archi Shah Shah & & Kushnani Kushani Mehta : Wood Fig 44 Archi bending exploration in the workshop. Mehta Wood bending exploration in the Fig 5 Avani Gupta : Detailed measure drawings workshop. Fig 5 Avnani Gupta Detailed measure drawings

Faculty of Design BD2010 BD2010Spring Monsoon 2022 2021

Fig 22 Fig

SQUARE CHAIR in 1:2

SPRING SEMESTER 2021

ARCHI SHAH

GOTHIC BENCH

Fig Kashvi Chopra Design process Fig 466 Name Name Caption Kashvi Chopra : Design process through model making real material material as a through model ininCaption real as Fig 5 Name Namemaking Caption Caption a methodology. methodology. Caption Fig 77Kushagra Kushagra Mittal, Kushani Mehta, Fig Mittal, Kushani Mehta, Tejomay Tejomay Umadetail Junction detail Kalai UmaKalai : Junction possibilities. Fig 8 Dev Prajapati, Tejomay Kalai Uma, Abishai possibilities. Choragudi : 1:1 WoodTejomay workingKalai explorations Fig 8 Dev Prajapati, Uma, through prototypes. AbishaipartChoragudi 1:1 Wood working Fig 9 All Students : Final models designed by explorations through part-prototypes students Fig 9 All Students Final models designed by students

SPRING SEMESTER 2021

KASHVI CHOPRA

HANS WEGNER LOUNGE CHAIR in 1:3

SPRING SEMESTER 2021

KUSHAGRA MITTAL

Fig 33 Fig

Fig 42 Fig

4 150

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150 4

BD2010: EXPLORATIONS IN WOOD

AVANI GUPTA|UG190246 TEACHING ASSOCIATE: MANASA MAHALAKSHMI

TUTORS: CHANDRA VIJAI SINGH, KAULAV BHAGAT

STUDIO BRIEF: The focus of the studio is to develop the furniture using wood as material. Students will be guided to select commercial functions to design furniture based on the need of the furniture. The aim of the studio is to make them aware about the process of wood working with reference to design methods. Students will use wood working tools and machines to make prototypes using CEPT workshop facility.

BD2010: EXPLORATIONS EXPLORATIONS IN IN WOOD WOOD BD2010:

AVANI GUPTA|UG190246 GUPTA|UG190246 AVANI

WOODEN OBJECTS CHANDRAVIJAI VIJAISINGH, SINGH, KAULAV BHAGAT TUTORS:CHANDRA TUTORS: KAULAV BHAGAT

TEACHINGASSOCIATE: ASSOCIATE:MANASA MANASAMAHALAKSHMI MAHALAKSHMI TEACHING

STUDIOBRIEF: BRIEF: STUDIO Thefocus focusof ofthe thestudio studioisisto todevelop developthe thefurniture furniture The usingwood woodas asmaterial. material.Students Studentswill willbe beguided guided using toselect selectcommercial commercialfunctions functionsto todesign designfurniture furniture to basedon onthe theneed needof ofthe thefurniture. furniture.The Theaim aimof ofthe the based studioisisto tomake makethem themaware awareabout aboutthe theprocess processof of studio woodworking workingwith withreference referenceto todesign designmethods. methods. wood Studentswill willuse usewood woodworking workingtools toolsand andmachines machines Students to make prototypes using CEPT workshop facility. to make prototypes using CEPT workshop facility.

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BD2009

Visual Storytelling

Focus Visualizing and Communicating Unit Assistant Shrenee Dudhaiya

Faculty of Design BD2009Spring 2022

2 nd Year Adithyan S Kumar Anjali Girish Dhruv Saxena Kavya Khattar Tashu Dantani Anaya Ambalal Aryaa Bhagwat Aryan Keswani

3 rd Year Benett Thomas Dhruvanshi Modhwadia Shraddha Mojidra Anushka Maheshwari

Hazel Karkaria

Somesh Kumar

Through this studio we have explored the various ways in which stories are told visually, through a range of media, their place in modern, visual communication and of course, address how we can weave narratives into our work across disciplines. We wanted to be able to offer multiple perspectives on this old, but very alive tradition, so through the length of this studio we’ve looked at the relationship between type and image and narrative-building/storytelling. We have looked at storytelling through the lens of art, the performing arts, illustration and graphic novels, film, crafts and textiles and imbibed what they offer in how they tell stories. We also started looking at the idea of ‘self’ and by the end of this course, moved slowly to the idea of ‘community’, as we took into consideration ideas of habitat and space wherever relevant. The final outcome had a number of exciting possibilities - a wellresearched, well-crafted story centered around a community (looking at communities in the non-traditional sense; those bound by a shared experience). The story was of course told visually, unrestricted by media and covered the whole gamut - from illustrated posters and children’s books to installations and games.

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Fig 1 Anjali Girish A pop-up book Fig 2 Dhruvanshi Modhwadia Character Design by Fig 3 Aryan Keswani An illustrated children’s book Fig 4 Adithyan S Kumar Illustrated posters

Fig 5 Anaya Ambalal Stereoscopic illustrations Fig 6 Aryaa Bhagwat Typography and Character explorations Fig 7 Shraddha Mojidra An installation Fig 8 Tashu Dantani A board game Fig 9 Kavya Khattar and Benett Thomas An installation

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BD2002

Expiditions in Non-Metal

Focus Constructing and Specifying Unit Assistant Shagun Malavia

Faculty of Design BD2002Spring 2022

2 nd year Anirban Gupta Darshi Shah Jay Murthy Mayank Patole Rhia Ahuja Vallari Pathak

3 rd year Akshat Shah Dhruvi Thanawala Ishva Kalolia Margi Sutariya Utsav Zala Yanshie Shah

Sadasivan Iyer

Vrushank Vyas

The designs of products to meet the demands of built spaces are challenging. The products will have to meet the demands of lifestyle and technology changes. The studio introduced the design process to find solutions in different domains of work, home and other spaces. The modules in the studio enhanced the learning of materials (Non - metals), manufacturing processes and human factors. The design process was introduced and practiced as students applied learned fundamental principles to multiple three dimensional forms, structures, and products. Students used extensive physical / digital model making and presentation software in the initial stages (2D and 3D). Students addressed the historical context of their designs as they practice critical thinking, research, problem solving, and aesthetic refinement. Projects required sketches, models, written reports and verbal presentations of design concepts. Students were required to present their individual creative process through the exploration and manipulation of materials and methods to express a visual response to a theme or content. Digital media examples and detailed study of products from the environment exposed the students to a variety of materials and methods as means to stimulate curiosity, exploration, invention and solution finding and developing an aesthetic eye and personal vision.

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Fig 1 Mayank Patole Fig 1 Mayank PatoleBookshelf, Bookshelf,Table Table top stationary organiser, products using top stationary organiser, products using 3D3D printing printing Fig 2 Rhea Ahuja shelf Fig 2 Rhea AhujaWooden Wooden shelf Fig 3 Dhruvi Thanawala Character Fig 3 Dhruvi Thanawala Character inspired Headset stand using Plastics inspired Headset stand using Plastics Fig 4 Vallari Pathak wood Fig 4 Vallari PathakEngineered Engineered wood accessory organiser accessory organiser Fig 5 Darshi Shah rack and Table Fig 5 Darshi ShahSpice Spice rack and lamp Table lamp Fig 6 Akshat shah Fig 6 Akshat shahIndoor Indoorplanter planterand and Book reading stand Book reading stand

Fig 7 Yanshie Shah Jewellary display Fig Jewellary display Fig 78Yanshie YanshieShah Shah Guitar Stand Fig Shah Guitar Stand Fig 89 Yanshie Jay Murthy Bird feeder, Bose Fig 9 Jaydock Murthy feeder, Bose speaker andBird Yoga accessoriser speaker dock and Yoga accessoriser Fig 10 Margi Suthariya Newspaper Fig 10 Margi Suthariya Newspaper keeper, Drawer handle and Lamp keeper, Drawer handle and Lamp Fig 11 Ishva Kalolia Mocktail bottle Fig Ishva Kalolia Mocktail bottle rack rack11and Paper organiser and Paper organiser

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IR2028

Fictional Spaces

Focus Visualizing and Communicating Unit Assistant Kamna Vyas

Faculty of Design IR2028 Spring 2022

2 nd year

The image has to be full page portrait format. (This could be a single 3 landscape/portrait images sent Jay Thakkar

Kashvi Shah Khushali Baldaniya Zeel Patel Vedanti Juvekar Chinmayi Raghavendra Rishitha Tayyuru Hepi Shah Ved Vyas

3 rd year Arya Tomar Borkar Vaishnavi Vivek

Through exposure to varied creative fields like theatre, films, production design, animation, graphic design and set design through discussion and interactive sessions (hybrid) with experts from across the globe, and decoding of various genres of films, the students were exposed to the world of scenic design. The core idea of this studio is to create a fictional world of imaginary spaces through the amalgamation of Marvel Cinematic Universe (MCU) with the Indian Classical Narratives. The representation was done through the lens of the selected fictional film to create an imaginary world through narrative style drawings and scenes. The output resulted in elaborate storyboards, illustrations and conceptual art. In the emerging “new Normal” collaboration is the key and people from various fields can come together and work and hence the emergence of multifaceted work culture is bound to arise. This studio addresses this emergence and hence takes an interdisciplinary approach and explores the amalgamation of various creative fields like production design, interior design, films, graphics and animation. The MCU will become a shell for the content to be hosted. And the content would be the Indian Epic Narrative – Mahabharata.

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Fig 1 Chinmayi Raghavendra Cinematic space - Yuddh Fig 1 Chinmayi Raghavendra Fig 1 Chinmayi Raghavendra Fig 2 Chinmayi Raghavendra Cinematic space - Yuddh Cinematic space Yuddh Cinematic space Shaq Fig 2 Chinmayi Raghavendra Fig 2 Chinmayi Raghavendra Cinematic Fig 3 Chinmayi Raghavendra Cinematic space Shaq space Cinematic Space Kshamta Fig 3Shaq Chinmayi Raghavendra Fig 3 Chinmayi Raghavendra Cinematic Fig 4 Rishitha Tayyuru Pagha Battu Cinematic Space Kshamta Space Kshamta Fig 5 Vaishnavi Borkar Swabhimana Fig 4 Rishitha Tayyuru Pagha Battu Fig 4 Rishitha Tayyuru Battu Fig 6 Vaishnavi Borkar Chanaksha Fig 5 Vaishnavi BorkarPagha Swabhimana Fig 5 Vaishnavi Borkar Fig 6 Vaishnavi BorkarSwabhimana Chanaksha Fig 6 Vaishnavi Borkar Chanaksha

Faculty of Design IR2028 Spring 2022

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IR2044

Expeditions in Digital Technologies

Focus Constructing and Specifying Unit Assistant Pooja Panchal

Faculty of Design IR2044 Spring 2022

3 rd year Dhrumil Suthar Dhwani Sanklecha Diya Chhaniyara Harshavi Patel Miti Shah Ruchi Bhardwaj Yashvee Sheth

Jinal Shah The exploration and application of digital fabrication processes have opened new realms of possibilities for architectural expression. In recent times, these techniques have gained momentum to develop complex forms using different materials. The course intended to explore the potential of Additive Manufacturing technology (3D printing) and computational tools to evolve a design process and innovative construction methods, and develop products/ interior architecture elements within a defined context. The course equipped the students with the skill of coding and ofdigitalfabrication processes to design, develop, analyze, resolve and construct scaled prototypes of their element. The course was divided into three modules: Exploration, Application, and Making with each module focusing on developing different digital, analytical, and hands-on learning skills. Module 1:Analyzing complex geometry, developing different interlocking systems using computational tools, and understanding the principles of additive manufacturing to construct. Module 2: Understanding the site context, anthropometry, function, and developing different formsandinterlockingsystemsforadefinedproduct/ interior architecture element. Module 3: Resolving the details and making a prototype.

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Fig 1 Dhwani Sanklecha - Labyrinth Prototype 1:10 scale Fig 2 Ruchi Bhardwaj - A Frond Prototype 1:20 scale Fig 3 Harshavi Patel - Geminine Curve Prototype 1:10 scale Fig 5 Yashvee Sheth - Module and Form Development

Fig 6 Dhrumil Suthar - Nodes Development and Structure Detailing Fig 7 Harshavi Patel - Geminine Curve Elevation and Detail Fig 8 Ruchi Bhardwaj - A Frond Front Elevation Fig 9 Yashvee Sheth - Nexus View Fig 10 Ruchi Bhardwaj A Frond View

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IR2008

Beyond Detail

Focus Constructing and Specifying Unit Assistant Ashini Shah

Faculty of Design IR2008 Spring 2022

3rd Year Aeshna Khandwala Diya Mehta Gayatri Arkal Helly Patel Kshanika Patel Maitreyi Popat Sakshi Maheshwari Sakshi Shah Samridhi Jha Vaidehi Chikhalia

Naandi Parikh Shopping is changing radically in response to impacts of ambient Internet access technologies. If shoppers’ take the trouble to visit shops rather than clicking on-line, they expect stimulating experiences beyond wall-to-wall product displays. They demand new engagements between suppliers and customers. Cutting edge retail design is about providing these new experiences. The Beyond Detail Studio explores the issue of creating emotionally immersive retail space at every stage in the process and at every scale from the overall design to the smallest detail. Particular focus was given to crafting the immaculate details essential to delivering the quality of retail experience now required. The studio work conducted in three stages • Research: Following the selection and study of an existing luxury brand students will develop their own unique brand. • Design: The values and characteristics of this new brand was then translated into a concept design of a 50 m2 retail space. • Detail: Finally, the design will be developed in detail. Plans, sections and elevations of all parts of the design were prepared in the form of technical construction drawings taking into consideration the use of technologies, materials, junctions and finishes. Students experienced design beyond detail.

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Fig 1 Gayatri Arkal LED Screen Detail Fig 2 Kshanika patel Brand Building Fig 3 Kshanika patel Logo Design Fig 4 Sakshi Maheshwari User Profile Study Fig 5 Sakshi Maheshwari Adjacency Diagram Fig 6 Gayatri Arkal Concept Development Fig 7 Sakshi Shah Civil Demolition Plan Fig 8 Sakshi Shah Civil Addition Plan Fig 9 Diya Mehta Section 1

Faculty of Design IR2008 Spring 2022

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Fig 10 Diya Mehta Section 2 Fig 11 Sakshi Shah Flooring Details Fig 12 Sakshi Shah Section Fig 13 Sakshi Shah Wall Display Fig 14 Kshanika Patel Process Sketch 1 Fig 15 Kshanika Patel Process Sketch 2 Fig 16 Kshanika Patel Process Sketch 3 Fig 17 Kshanika Patel RCP Fig 18 Gayatri Arkal Display Detail Fig 19 Kshanika Patel Storage Unit Detail Fig 20 Helly Patel Wall Display Fig 21 Helly Patel Wall Display Details

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IR2036

Inside Out

Focus Planning and Organizing Unit Assistant Richa Patel

Faculty of Design IR2036Spring 2022

2 nd year Aakansha Desai Devansh Singla Hridi Shah Jainam Shah Kavisha Gajjar Riddhi Vijay Rudvi Senthil Kumar Vishwa Hindocha

3 rd year Anushka Shah Khushi Panchal Rudram Patel Saumya Trivedi Zeeyan Modasiya

Priya Narayanan

Ananya Parikh

In this studio, students re-imagined libraries where powerful sensory tools such as painting, storytelling, dance, music, drama, movies etc. replaced books as the primary mode of information access. The resulting format was of a Community Library that catalogues & houses works of visual or performing arts while also hosting workshops and offering a venue for public gathering. To develop spaces for the same, the studio investigated the possibility of designing from the inside out. Students first studied libraries as they exist today, focusing on systems for sorting, cataloguing & organizing. They then chose the city to locate their library in and the art form to be engaged with an understanding of the latter leading to the concept and choice of material to be explored. Abstract models were used to explore ways in which a conceptual idea could manifest in terms of volumes, light and spatial interconnections. To establish a design language, a single space was first developed focusing on how functional & spatial requirements impact the resultant shell around an activity. While all spaces were individually developed based on this language, organizing principles were applied to establish connections between them and ‘grow’ the library into a larger built form.

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Fig 1 Kavisha Plan and Section Fig 2 Kavisha, Hridi, Aakansha Impression of the city Kolkata Fig 3 Rudvi Artform study Fig 4 Rudvi Abstract model Fig 5 Saumya Abstract model Fig 6 Saumya Visualization of interior spaces

Fig 7 Saumya Final First floor plan and space evolution diagrams Fig 8Saumya Entrance experience Fig 9 Khushi Thanka exhibition space Fig 10 Devansh Performance space Fig 11 Rudvi Thandav performing arts center- Isometric view

Faculty of Design IR2036 Spring 2022

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IR2029

Traveler’s Home

Focus Planning and Organizing Unit Assistant Vrushti Parikh

Faculty of Design IR2029 Spring 2022

2 nd Year Divija Sharma Divyanshi Tulsian Janvi Bhatia Sanjana Mahadevan Shreyansh Nakrani Viditi Jain

3 rd Year Esha Gupta Mudit Mantri Nirja Gajjar Silvi Shah

Shikha Parmar The focus of this unit was to design a shelter for a group of travel enthusiasts, embedded into the chosen urban treasure house of memory and sensation. One had to rethink the idea of ‘shelter’ by analyzing the existing local home and later reinterpreting and diversifying interior experiences of activities performed by a traveler during their stay. The design must provide both pragmatic and importantly a sensorial experience distilling the characteristics of the context for an appropriate spatial narrative and user group. Contextual elements and need of user, informed the use of spatial elements and configuration of spaces explored through models. As part of the pedagogic method, a tool box was derived consisting of spatial principles, materials and systems. The studio attempted to conceptualize and evolve grammar of interior space manifested through the nature of materials while integrating order of activities. Major milestones of this process were conceptualization, planning - organization and spatial integrity. The students were encouraged to vividly communicate the central idea of the proposal through relevant presentation techniques that add profound inspiration to traveler’s explorations during their stay.

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Fig 1 Sanjana Mahadevan Illustration depicting the integration of organic spine as a movement and visual guide to core space. Fig 2 Groupwork Toolkit consisting of physical and spatial principles extracted from contextual case study. Fig 3 Groupwork Abstract models expressing intangible qualities and selected elements. Fig 4 Viditi Jain Spatial configuration allowing passive interaction. CLIMATE RESPONSE

SPATIAL ORDER

Fig 5 Nirja Gajjar Plan-section perspective highlighting a place for performance. Fig 6 Silvi ShahIllustration representing multiplicity of a courtyard. Fig 7 Mudit MantrUnfolding the journey to the core of the house. Fig 8 Janvi Bhatia Volumetric Explorations showing interior elements and light quality. Fig 9 Divija Sharma Expression of pathspace relationship.

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Faculty of Design IR2029 Spring 2022

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IR2038

Hybrid Work(place)

Focus Visualizing and Communicating Unit Assistant Harsh Vyas

Faculty of Design IR2038 Spring 2022

2nd Year Isha Patel Mallika Sharma Shikha Pokharna Aarunima Singh Raashi Deshmukh

3rd Year Arpita Sharma Arya Dave Ojasva Raturi Rutvi Patel Yug Shah

Subin Jameel 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 its assemblies. How can this renewed understanding ofobjects give rise to unconventional kinships and hybridities in the form and performance ofourspaces?Thestudioexploredspeculativedesign proceduresbyunderstandingthepotentialembedded in digitaland analog mediums. Cycles of making and thinking with these mediums played an important role in the development of individual projects. The studentsalsoresearchedthehistoryoftheworkspace 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 equippedthemtodevelopcohesivetranslationsfrom conceptual ideas into a working proposal through speculative drawings, representations, and models.

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Fig 1 Arpita Sharma Co-working plan Fig 1 Arpita Sharma Co-working plan indicating discrete idiosyncratic islands. indicating discrete idiosyncratic islands. Fig 2 Collective Fig 2 CollectiveHybrid Hybridobjects objects : : Construction Constructionofofinterdependencies interdependencies through throughcut cutand andpaste pastetechniques. techniques. Fig 3 Arya Dave Set Design: Transitions & Fig 3 Arya Dave Set Design: thresholds in & a workplace. Transitions thresholds in a workplace. Fig 4 Isha Patel of of work asas aa Fig 4 Isha PatelPalce Palce work combination of organic and synthetic combination of organic and synthetic forms. forms. Fig 5 Raashi Deshmukh Place of of work as Fig 5 Raashi Deshmukh Place work anas expression of dollhouse like qualities. an expression of dollhouse like Fig 6 Rutvi Patel Articulation of qualities. ornament as superficial effect asofwell as Fig 6 Rutvi Patel Articulation performative elements. ornament as superficial effect as well as performative elements.

Fig Fig77Isha IshaPatel Patel Drawing Drawing indicating indicating organic qualities as planningdevice. device. organic qualities as aa planning Fig Fig88Aarunima AarunimaSingh Singh Section Sectionhinting hinting the betweentechnological technological the interface interface between and and atiquated elements, as space atiquated elements, as space and and material material expression. expression. Fig Fig99Arpita ArpitaSharma Sharma Section Section taken taken along place work social hub. hub. along of place of and workthe and the social Fig Fig10 10Yug YugShah Shah View Viewindicating indicating the the preservation of existing existing elements elementson onsite. site. preservation of Fig Fig11 11Ojasva OjasvaRaturi RaturiExternal Externalview view of of workplace. workplace. Fig Fig12 12Rutvi RutviPatel Patel The The workplace workplace establishing new ground groundwith withthe thestreet street establishing aa new edge. edge.

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IR2024

Exploration of Design - Material in Focus

Focus Constructing and Specifying Unit Assistant Harsheen Mengar Faculty of Design IR2024Spring 2022

3rd year Ananya Manojkumar Archana Marwaha Arthav Vagadiya Harini Shah Harsh Zala Heer Desai Kavina Shah Madhav Agrawal Nishi Jagad Pranjal Patel Riddhi Pandya Zalak Shah Mital Siyani

Ramesh Patel

Vishal Joshi

The studio will require students to produce drawings for design problems considering their learning from relevant exercises conducted during the semester tenure. The process will require students to: 1. Study various determining properties of a construction material and in response to the design problem. Subsequently leading to evolving of their own material palette 2. Conceptualize & develop interiorlayout alongwith various elements of interior space (seating element, working (table) element, storage, partitions, false ceiling layout, flooring layout etc.) 3. Add information to the drawing with essential dimensions, specifications, surface finishes and updated legend. 4. Participate and undertake studio discussion. Thus develop an understanding of the sequence and method of construction as undertaken on site and align their drawing production, in accordance. 5. Generate 3D models (physical and/or digital) and walkthroughs to demonstrate the design decisions in formofbuiltspacesFinaloutcomeisdetailedworking drawings (plans, sections, elevations) fortheirdesign and detailed drawings for identified elements of interior space.

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Fig 11 Heer, Ananya, Mital, Zalak, Fig 1 Heer, Ananya, Mital, Zalak, Madhav, Fig Heer, Ananya, Mital, Zalak, Madhav, Pranjal, Arthav, Harsh Pranjal, Arthav, Harsh Interior space and Madhav, Pranjal, Arthav, Harsh Interior space Furniture Interior renders space and and Furniture Furniture renders renders Fig 2 Agraval Table design Fig 2 Madhav Agraval design forfor Fig 2 Madhav Madhav AgravalTable Table design for Youtuber’s office Youtuber’s office Youtuber’s office Fig 3 Shiyani Storage design Fig 3 Mital Shiyani design forfor Fig 3 Mital Mital ShiyaniStorage Storage design for architect’s office architect’s office architect’s office Fig 4 Patel Storage Design Fig 4 Pranjal Patel Design forfor Fig 4 Pranjal Pranjal PatelStorage Storage Design for Clay Studio Clay Studio Clay Studio Fig 5 Vagadiya Partition Design Fig 5 Arthav Vagadiya Partition Design Fig 5 Arthav Arthav Vagadiya Partition Design Lego Brand’s Office forfor Lego Brand’s Office for Lego Brand’s Office

Fig Archana Marwaha Storage Fig Fig 66 6Archana ArchanaMarwaha Marwaha Storage Storage Design Design for upcycle product for upcycle product studio Design for upcycle product studio studio Fig Ananya Manojkumar Table Fig Fig 77 7Ananya Ananya Manojkumar Manojkumar Table Table Design Design for design for Toy design Design for Toy Toystudio design studio studio Fig 8 Kavina Shah Seating Design for Fig 8 Kavina Shah Fig 8 Kavina Shah Seating Seating Design Design for for costume designer’s studio costume designer’s studio costume designer’s studio Fig Harini Shah Partition Design for Fig Fig 99 9 Harini Harini Shah Shah Partition Partition Design Design for for sneaker design studio sneaker design studio sneaker design studio Fig 10 Madhav Agrawal Internal Fig Fig 10 10 Madhav MadhavAgrawal Agrawal Internal Internal Elevations of Recording Studio Elevations Elevationsof ofRecording RecordingStudio Studio

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Detailing Hospitality Spaces

Focus Visualizing and Communicating Unit Assistant Krishna Ramanuj

Faculty of Design IR2043 Spring 2022

3 rd year Ashesha Shah Fiza Elat Heer Sanghvi Isha Patel Mitta Kasturi Konkona Das Lakshita Grade Nandani Motiyani Srushti Mehta Tejaswini Nettem

Instructions: Full page portrait image (single or collage ), Besides putting the images in the template, please share the same high resolution image/s with us, in the shared folder on google drive.

2. 3.

The image has to be full page portrait format. (This could be a singleDexter portrait image or a composition of 2-3 landscape/portrait Pereira images sent as one image). The studio theimage notionshould of socioIf the image has encompasses text, size of the be such that it’s cultural circumstances and cultivates an readable. admiration for the built fabric as relevant to the The image has to either, fit to the existing margins (1.6 cm/ 0.625 hospitality industry with attitudes in conservation inchesand all reuse. four sides) , or it should fit to the edge of the page The studio focuses on the planning, organizing and design detail of a hospitality program within an existing site of heritage value. It identifies the intricacies of programming & crafting a hospitality design, while exploring spatial opportunities, and scrutinizing the values of adaptive reuse & understanding the meaning of place. The design also considers the shaping of interior space while considering interior style, material and furniture selection and design detail. The studio focus is on space planning, material selection, construction methodology, design detailing while considering the importance of creating a sense of place and showing a respect for the existing structure. The initial weeks focus on identifying the various functions within the hospitality industry and the principles of planning of the food & beverages component of hospitality spaces. There are also eercises to understand interior style and the creation of a concept relevant to the identity of the place and develop a program. The midsemester weeks focus on developing a program based on site and context study, while the later weeks on exploration of a material palette to articulate space-making elements and reinforce the concept initiated to the final design.

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Fig 1 Isha Patel Exterior Views + Mood Boards Fig 2 Srushti Mehta Furniture Layout Plans + Key Plan Fig 3 Ashesha Shah Site Section + Interior views: Fine-dine & Cafe Fig 4 Srushti Mehta Concept Creation & Development, Implementation in interior Spaces and Interior views. Fig 5 Lakshita Grade Interior View: Finedine restaurant

Fig 6 Kasturi Mitta Outdoor Seating: view from the North. Fig 7 Konkona Das Fine-Dine Restaurant. Fig 8 Heer Sanghvi Interior view + Mood Board: Fine-dine Fig 9 Fiza Elat Restaurant Entry from the Road Fig 10 Nandani Motiyani Exterior View Fig 11 Tejaswini Nettem Fine Dine Restaurant: Mezzanine Plan & Interior View.

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Fine Dine Restaurant

Brewery Outdoor Seating

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IR2042

Ecosystems for Work

Focus Planning and Organizing Unit Assistant Shivangi Panchal

Faculty of Design IR2042Spring 2022

2 nd Year Anshika Bhatt Devni Haria Shruja Patel Shrutuja Shah Vrushali Kamdar Yashasvi Patel Mridushi Singhal Bhamidipati V S Bhavana Sinndhura Vidhi Bhimani

3 rd Year Ansh Ajmera

Amal Shah The studio looks at negotiating a real site and its constraints for a workplace design. The studio addresses the interior design process related to how much space and what kind of space is needed for a work environment. In addition, it will address points related to the choice and planning of furniture systems, material application, details of enclosures and other interior design elements, FF&E selection, etc. Finally, the studio will look at office amenities such as entrances and reception areas, meeting rooms, break rooms, vending areas, lavatories, and particular areas such as storage and communication systems. The move to openplan working is a common feature of most contemporary offices, although plenty of spaces are provided for meetings and conversations to be held in private. This move-in terms of spatial planning accompany a change in the perceived hierarchy of employers. The notions related to offices characterized by a certain formality are being challenged, based on the idea that a person’s knowledge, capability, and attitude is essential rather than where or how they sit. In planning terms, there seems to be a small number of office typologies emerging. The next generation of workers is also more digitally savvy than ever before. Interior Designers need to meet up with such challenges related to planning of new types of collaborative community based work environments.

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Fig 1 Ansh Ajmera Part to whole relationship and a strong spatial order. Fig 2 Several students Sectional diagrams Fig 3 Several students Exploring tectonic expressions Fig 4 Several students Tectonic models Fig 5 Vidhi Bhimani Exploring planning and use of space making elements.

Fig 6 Several students Elemental systems designed based on degree of enclosures. Fig 7 Vrushali Kamdar Interior design layout showing all elements of space Fig 8 Devni Haria and Vidhi Bhimani Integration of spatial elements. Fig 9 Ansh Ajmera and Vidhi Bhimani Material application in interior environment.

Faculty of Design IR2042 Spring 2022

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Pantry

Breakroom

Experience Corner

Reception

Workspace

CTO Space

Gallery Space

CEO Space

CFO Space

Back Office

Conference

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IR3019

Cross-programming

Unit Assistant Surabhi Motwani

Faculty of Design IR3019 Spring 2022

4 th Year Riddhi Tiwari Saylee Jain

5 th Year Ananda Krishnan Moksha Shah Siddharth Sharma Odedra Vaishali Bhima

Aparajati Basu The Cross Programming is an unplanned and organic condition found in cities, often as a result of hyper-density and layering of the built environment over time. The studio attempted to identify and initiate the design process through the lens of cross programming, so that it becomes a critique to existing typologies and heightens the experiential and ephemeral qualities of space. Can the idea of cross-programming expand to include design decisions beyond its function? Can we look at interior space-making as a combination of disparate entities or systems in the making of interior elements? Exploration of duality or plurality in its typologies through material, structure, form and colors, textures and finishes learn to respond to the situation to make a proposition. Program - The Museum + ? The program of the museum was developed by students along with another additional program in relation to physical site context. Buildings which were once defined by eras, have become obsolete as they are no longer in use, due to social, cultural and temporal changes. This studio was an attempt to re imagine, re-purpose, reappropriate these spaces to give it a new lease of life. Students selected their sites in the historical, industrial or modern categories.

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Fig 1 Vaishali Odedra Isometric- Design intervention independent of the exterior skin Fig 2 Vaishali Odedra Photomontagechildren’s play and learn program Fig 3 Vaishali Odedra Sectional perspective-Old Ahmedabad Stock Exchange building and design intervention Fig 4 Moksha Shah Joinery Detail Fig 5 Moksha Shah CInterior Views of Sanskar kendra - Modular Structure Fig 6 Moksha Shah Plans showing the varying density of the modular structure

Faculty of Design IR3019Spring 2022

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Fig 7 Saylee Jain Photomontage-Women Workspace and museum in Teliya Mill Fig 8 Ananda Krishnan Design Intervention diagramming Fig 9 Ananda Krishnan Photomontagewarehouse-adaptive reuse- museum & canoe workshop Fig 10 Ananda Krishnan Sectional perspective Fig 11 Riddhi Tiwari Sectional perspective-Gujarat University LibraryExhibition Spacel Fig 12 Siddharth Sharma Sectional perspective-Industrial building-exhibition space and community cooking

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IR3021

Luxurism: New age vocabulary interior design practices

Unit Assistant Nidhi Ratani

Faculty of Design IR3021 Spring 2022

5 th Year Devika Sharma Dhruvi Shah Khevana Mitesh Shah Manav Patel Nidhi Radadia Shristy Baid

Kireet Patel The studio investigated the definitions, notions, and theories of luxury and its influence on the design process. This will enable the skill of designing an interior space as a venue of Luxury with focus on the role of luxury to bind the visual, spatial, and structural aspects of the design. The studio will develop techniques, methods, and mediums of luxuries that interior design needs. These tools were generative and transferable with the new-age demands of ‘Luxure’. The studio will focus on luxuriating the interior situation and interior design content. New age vocabulary can be proposed as the concept for the strategic articulatory utilization of luxury and its differentiation that emerges from the expressional, tectonic, and spatial articulations. Module 1 focused on the development of a process to evolve luxury as an approach for the new-age design process for interior spaces through research, inference, and representation. Module 2 was immediate application and evaluation of developed approaches for Luxury. It simultaneously modulates and scales spatial relationships between selected programs and typology of built systems. This will be done through a design exercise. Module 3 derived a complex spatial system that will transformed the selected site into ‘A VENUE FOR LUXURY’.

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Fig 1 Shristy Baid Exploded view Fig 1 Shristy BaidExploded view showing composition of elements and showing composition of elements and planes to create a space planes to create a space Fig 2 Nidhi Radadia Shop + Lounge Fig 2 Nidhi RadadiaShop + Lounge perspectoscope with interior elements in perspectoscope with interior elements use and young music museum space for in use and young music museum concert practiseand area space and for concert practise area Fig 3 Devika Sharma Space created Fig 3 Devika SharmaSpace created through multidirectional staircase through multidirectional staircase Fig 4 Dhruvi Shah Multi-perspectives Fig 4 Dhruvi ShahMulti-perspectives created through planes and ceiling created through planes and ceiling Fig 5 Shristy Baid Framed within frame Fig 5 Shristy Baid- Framed within toframe createtoextended perspectives create extended perspectives

Fig Fig 6 6 Manav Manav Patel Patel-Volumetric Volumetricfunctional levels and interior elements represent functional levels and interiortoelements to themeclutter the cluster represent themeclutter the cluster Fig Fig 77 Dhruvi Dhruvi Shah Shah- Elongation Elongationof ofinterior interior elements to represent themeupscale elements to represent themeupscale the the elevated elevated Fig Fig 8 8 Khevana Khevana Shah Shah- Modules Modulesof ofinterior interior elements elements to to represent represent themetheme- dimension dimension the the order order Fig Fig 99 Devika Devika Sharma Sharma- Light Lightwells wellstoto exaggerate exaggerate the the scarcity scarcity of of light light Fig Fig 10 10 Shristy Shristy Baid Baid- Illuminated Illuminatedconoids conoids and floating elements and floating elements for for meta meta luxury luxury

Faculty of Design 2022 Faculty of IR3021Spring Design IR321 Spring-2022

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Module 01: Understanding Luxury in spaces through the technique of PERSPECTOSCOPE

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Design Level-3 DesignUG UG Level 3

Module 02: Spatial Scaling of Luxury through a small design project of shop + Lounge Bar

Faculty of Design IR3021Spring Faculty of Design IR3212022 Spring-2022

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Module 03: Complexity of Luxury through Final Interior Project

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IR3014

Contextualising Interior Space Making

Unit Assistant Maitri Thorat

Faculty of Design IR3014Spring 2022

4th Year Abhishek Mistry Pari Mistry Sonuben Vekaria Tulsi Detroja

5 th year Abhinav Iyengar Bhakti Shah Dhvani Khamar Hardi Patel Kratika Gupta

Prashant Pradhan

Bharath P

Hospitality Design informed by the local context of Architecture, exterior or interior, can be considered to be a result of an appropriate response to a physical context which can be summarized as “Form Follows Context”. A deeper understanding would include “culture”. The studio explored the interface between interior architecture and its “context” in hospitality design. If the design of a hotel could showcase the context, it would be an enriching experience for the visitor, while boosting the local economy and preserving the local culture. The understanding of “critical regionalism” is necessary since it will define the manner in which localarchitecture, interiorand culturewillbe studied and reinterpreted. Hospitalitydesign that references the local context has always existed but a new genre was created when architects like Geoffrey Bawa and KerryHilldesigned hotels in Sri Lanka and South East Asia. The endeavour of this studio was to ask how architecture can help make a visit memorable? Forthe finaloutcome, studentswere asked to design the interior of a tourism tea bungalow and to present their design in the form of 2D drawings and 3D renders.

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Fig 1 Kratika Gupta Exploded Fig 1 Kratika Gupta ExplodedIsometric Isometric view view Fig 2 Kratika Gupta Fig 2 Kratika GuptaSite SiteElevation Elevation Fig 3 Sonu Vekaria Cottage Fig 3 Sonu Vekaria CottageAxonometric View Axonometric View Fig 4 Bhakti Shah Designed TeaView Room Fig 4 Bhakti Shah Tea Room View Fig 5 Abhinav Iyengar Site view Fig 5 Abhinav Iyengar Site view

Faculty of Design IR3014Spring 2022

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Fig area – – Fig66Dhvani DhvaniKhamar Khamar Dining Dining area Isometric view Isometric view Fig Wall Fig77Abhishek AbhishekMistry Mistry Cottage Cottage -- Wall Section Section Fig Fig88Tulsi TulsiDetroja Detroja Sectional Sectional perspective view perspective view Fig Elevation Fig99Pari PariMistry Mistry Homestay Homestay Elevation Fig Fig10 10Hardi HardiPatel Patel Cottage Cottage Bathroom Bathroom view view

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IR3017

Deviant Orders of The New Workspace

Unit Assistant Rhea Chirayath

Faculty of Design IR3017Spring 2022

4 th Year Aayush Doshi

Ratna Shah

5 th Year

As cities become denser, resources deplete, economies recalibrate and unprecedented events disrupt the normal, traditional structures of working and collaborating are undergoing alteration. The global pandemic has made us realize and re-question the modes of working and collaborating. In the immediate present, the workspace dynamics are altering globally to become decentralized and grow inward, in turn, reconfiguring the interiors for the diverse, the shared and for active exchange.

Bansari Patel Himisha Vyas Ishika Mehta Kaushik Myatra Shivani Pandya Sakshi Sharma Ayushi Panchal

Errol Reubens Jr

In this studio, we looked at the deviants to the normal that will cause certain connections as possible solutions to the new ways of working or “coworking”. Key concepts of ‘community’, ‘well-ness’ and ‘collaboration’ would become the launching points to understand and define the new workspace interiority. Creating interiors that have a design language derived out of qualitative and metaphorical allusion to aspects of “work space” were used as a primary design tool. The studio would lead the students to take a position regarding future methods of “co-working” that can affect productivity and enhance the experience in such environments. The final outcome demonstrated design strategies and qualitative aspects to embody the narrative of new workspace interiority.

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Fig 1 Himisha, Kaushik, Sakshi && Fig 1 Himisha, Kaushik, Sakshi Shivani Study through Process models Shivani Study through Process models Fig 2 Sakshi Sharma the Fig 2 Sakshi SharmaVisualizing Visualizing the Narrated: PhotoMontage Narrated: PhotoMontage Fig 3 Sakshi Sharma during Fig 3 Sakshi SharmaIdeagrams Ideagrams during concept development concept development Fig 4 Sakshi Sharma Fig 4 Sakshi SharmaSectional Sectional Perspective Perspective Fig 5 Himisha Vyas Sectional Perspective Fig 5 Himisha Vyas Sectional Fig 6 Shivani Pandya Sectional Perspective Perspective Fig 6 Shivani Pandya Sectional Perspective

Faculty of Design IR3017Spring 2022

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Fig Top-view Fig 77 Shivani Shivani Pandya Pandya Top-view axonometric illustration axonometric illustration Fig Fig 88 Sakshi Sakshi Sharma Sharma Plan Plan showing showing the the unfolding unfoldingwall wallas asaathematic thematicelement element Fig Rendered view view of of the Fig 99 Himisha Himisha Vyas Vyas Rendered arrival space the arrival space Fig Fig 10 10 Sakshi Sakshi Sharma Sharma Rendered Rendered view view of the central community space of the central community space Fig Fig 11 11 Kaushik Kaushik Myatra Myatra Rendered Rendered view view showing showingthe the play playof oflevels levelsand andlayered layered interconnecting interconnectingworkspaces workspaces

Design UG Level 3

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IR3002

Brand Building through Spatial Design

Unit Assistant Urvashi Gurubaxani

Faculty of Design IR3002 Spring 2022

4 th Year Nikita Nath Pavni Porwal Rajkumar Mehta

5 th Year Anusha Bishnoi Vishnu Dhanikonda Vanshika Tyagi

Ruchi Mehta With the rise of e-commerce and omnichannel retailing and ubiquity of “brands” in the last few decades, the relevance as well as design approaches for “retailing” and “brand building” have evolved significantly. These novel challenges are demanding new approaches to retail store design. These are the challenges that tomorrow’s interior designers will be facing in their professional careers. To address this evolving nature of retail store design, this studio focused on design of a variety of retail formats through the lens of brand building. The students selected their own design problems/ brand that is either expanding its product/service portfolio; is a new and growing brand; is a brand that needs a flagship store oran experience centerto deal with its omni-channelpresence; oris an old brand that requires revamping of its image. The students’ projects commenced with an interpretationofthebrand’soverallstrategy,selection of the site and development of the program for an appropriate retail format. They then produced spatial design solutions for creating brand-centric customerexperiencesandpresentedthedesignwith a complete set of schematic drawings, models and views and graphics to communicate the strategies.

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Design decisions Design decisions

Design decisions

A’

A’ 2

Design decisions Design decisions

Zoning of product display (ground floor)

6 4

Circulation around central element

Zoning of product display (ground floor)

Circulation around central element

Small zones: Scaling down space with different product categories

Design decisions

A’5

7 7

3 Zoning of product display (ground floor) Zoning of product display (ground floor)

7 Circulation around central elementSmallzones:ScalingdownspacewithCentral display bindingSmall zones: Scaling down space Use of glass facade for visual Circulation around central Small zones: Scaling downcategories space with Use of glass Small zones: Scaling down space with facade for visual different product categories different zones with different product connectivity Central display binding different C B element Circulation around central

6different product categories

element

Shopping Experience 4

Small zones: Scaling down space with different product categories

different product categories

zones

connectivity

Central display binding different zones

Design deci

LEGEND

Engage

personally with brand

1 1- Shirts & Tshirts (male)

2- Latest collection (male + female)

Installation with

materiality

3- Knitwear (male)

apparel

and stories of real people LEGEND 1- Fabric installation involved in production

4- Tshirts & tops (women) 3

2- Central display 1- Fabric installation 3- Latest collection (women) 2- Central display First floor plan 4- Dresses (women) 4 3- Latest collection (women) Small zones: Scaling down space with Central display binding different 5- Tshirts & Tops (women) Use of glass facade for visual different product zones Small categories zones: Scaling down space with 4- Dresses (women) Central display binding different connectivity different product categories Excite Latest collection zones 6- Shirts & Knitwear (women) C B 5- Tshirts & Tops (women) about newest, unique collection display of latest themed 7- Waste exhibit, drop off for 2nd hand clothes 6- Shirts & Knitwearcollection, (women) how it was LEGEND conceptualised 8- Self checkout of No Nasties apparel 7- Waste exhibit, drop off for 2nd hand clothes

5- Cafe 6- Baked goods counter 7- Exhibits

Small zones: Sca different product

2- Latest collection (male + female) C B

First FloorB Plan 3- Knitwear (male)

Seamless journey 1- Fabric installation 1- Fabric installation through different product 2- Central display categories 2- Central display 3- Latest collection (women) 3- Latest collection (women) 4-First Dresses (women) floor plan 4- Dresses (women) 5- Tshirts & Tops (women) 5- Tshirts & Tops (women) 6- Shirts & Knitwear (women) 6- Shirts & Knitwear (women) Community Building 7- Waste exhibit, drop off for 2nd hand clothes 7- Waste exhibit, drop off for 2nd hand clothes in between pause 8- Self checkout of No Nastiesthrough apparel in zones, cafe 8- Self checkout of Nopoints Nasties apparel

1- Shirts & Tshirts (male)

8- Self checkout of No Nasties apparel

LEGEND LEGEND

A’

Product Display A

display of different apparel in different zones

5- Cafe

Use of glass fa connectivity

4- Tshirts & tops (women) 4

Design decisi

LEGEND

A’

1- Shirts & Tshir

6- Baked goods counter

2- Latest colle

7- Exhibits

3- Knitwear (m

4- Tshirts & top 5- Cafe

6- Baked good 7- Exhibits

First floor plan

Cafe

Zoning of product disp (ground floor)

allowing brand to grow beyond the clothes

Giving Back

Second hand initiative

making the customer feel part of the brand

and waste installation used to create emotional connect

Small zones: Scaling d different product categ

Ground Floor Plan B

Fig 1 245

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2- Central disp

3- Latest colle

4- Dresses (wo

5- Tshirts & Top

6- Shirts & Knit

7- Waste exhib

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8- Self checko

Ground floor plan

Design UG Level-3

Fig 1 Nikita Nath Brand Strategy for No Nasties’s Flagship Store Fig 2 Vanshika Tyagi Research Poster for Guapa Fig 3 Vishnu Dhanikonda Research Poster for Jawa Fig 4 Pavni Porwal Success Matrix Diagram For Brown Living Fig 5 Anusha Bishnoi Success Matrix Diagram for Davidoff Cafe Fig 6 Vanshika Tyagi Brand Strategy for Guapa’s Flagship Store

Fig 7 Anusha Bishnoi Material Board for Davidoff Cafe Fig 8 Rajkumar Mehta Mood Board for Urban Monkey Fig 9 Vanshika Tyagi 3D Visualization for Davidoff Cafe’s Experiential Store Fig 10 Anusha Bishnoi 3D Visualization for Davidoff Cafe’s Flagship Store Fig 11 Vishnu Dhanikonda Spatial Renders of Jawa’s Experience Store

Faculty of Design IR3002Spring 2022

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Material Palette

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IR3022

Approach to Workspace Design

Unit Assistant Mahak Jain

Faculty of Design IR3022Spring 2022

4 th Year Raj Panchal

5 th Year Dhruvi Gandhi Dhruvi Sheth Isha Garg Krishna Patel Niyati Gupta Pritha Patel Rudra Vyas Sukruti Marshetti

Shailesh Manke

Ankur Yagnik

Workspaces have existed for millennia but it is only post the industrial revolution that they truly came into their own. As more and more of the workspaces move from the manufacturing sector to the services sector, offices have become larger and now walk the fine line between public and private spaces. Today, the office environments are not organized by hierarchy, but focus on building the community. With this shift in mindset, office spaces try to achieve a balance of both open and closed environments that can accommodate various focused and collaborative needs. Thus, the design and functionality of these spaces respond very similar to semi-public spaces. The studio aims to develop a betterunderstanding of how large spaces (4,000 sq. meter approx.) are approached in terms of design and planning. It addresses the challenges of commercial buildings and the importance of NBC norms while designing such large workspaces. In this process, the students also get a chance to understand how the counts and ratios of different areas (like workstations, meeting rooms, breakout, collaboration spaces, washrooms) are calculated to make the best use of every inch. Second segment of the course focuses on the detailed understanding of services (like fire sprinklers, HVAC and electrical) in large workspaces. The final segment aims to expose the students to experience their spaces in detail through Virtual Reality (VR) sets, to finetune and present their designs.

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Bubble Diagram Initial thought to structure the movement, services and functional herarchy in large spaces.

Zoning

Volumetric development of zoning

Final Plan

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Fig 1 Dhruvi Sheth Process from Zoning to Plan Development in large office spaces Fig 2 Isha Garg Understanding the challenges, building restrictions and NBC guidelines while designing large office spaces Fig 3 Isha Garg Consolidated layout of Fire Sprinkler, HVAC and electrical Fig 4 Pritha Patel Process and exploration of different furniture typologies in Activity Based Working (ABW) spaces Fig 5 Rudra Vyas Exploration of an ABW space

Fig 6 Krishna Patel Exploration of an ABW space Fig 7 Dhruvi Gandhi Exploration of an ABW space Fig 8 Raj Panchal Exploration of an ABW space Fig 9 Dhruvi Gandhi View of a Workstation Fig 10 Dhruvi Gandhi View of a Meeting Room Fig 11 Krishna Patel View of Breakout Room Fig 12 Isha Garg View of Reception Area Fig 13 Dhruvi Sheth View of passage Fig 14 Rudra Vyas View of the Game Room

Faculty of Design IR3022Spring 2022

Understanding the challanges and guidelines while planning large spaces.

Calculation numbers and ratios of different spaces according to NBC Guidelines.

While planning large office spaces there are multiple factors one has to count in parallel to the thoughts of design. For example, the passages for fire escapes, ratios of different areas (like washrooms, breakouts) or positioning of services (like UPS and Battery room, IT room) that are dominated by NBC norms or building structure and have to be considered according to the guidelines.

UPS Room

Battery Room

IT Room

1 person requires 0.5 KVA Therefore, 500 people = 250 KVA

1 UPs requires 34 + 4(backup batteries)

1 person requires 1 node

1 UPS unit = 60 kva

1 Battery specification : 12 AH 12V ; 20kg weight Total batteries required for 5 UPS = 190 battery

Total Units required = 5 (n + 1 Factor required in UPS room) 1 UPS weighs 570 kg Total weight of 5 UPS unit 2850 kg

Rack size = 800 x 450 x1800 mm 1 rack accomodates 38 batteries Total racks required = 5

Therefore, minimum area required for UPS is 2850/450 =6.3 m.sq.

Therefore, minimum area required for battery is 3800/450 = 8.5 m. sq

Total node required 500 (including meeting area) Taking 42U racks for server: 42U Server Rack size : 600 x 800 x 2000mm 42U server Rack accomodates 42 switches To accomodate 500 nodes we require 2 server racks

Spreadsheet for Headcount, Ratios and Areas of different spaces Clear passage for fire exits

Common spaces aligned in the center for easy access from any corner S. No.

Description

1 2

Workstations Meeting Room 10 seater 8 seater 4 seater Directors Cabin Convertible Cabin

5 6

Nos

Seats 484 1 2 4 2 6

Collaboration/ABW based elements

9 11

Breakout Area Game Room

1 1

12 13 14 15 16 17

IT Room IT Store UPS and Battery Room Security Room General Store Repro Area

1 1 1 1 1 2

Ratio (Workstation:Other Areas)

Size (Sq m) 484 72 10 16 16 6 24

1680

1:6

22 40 50 34 72

1:7

106 50

1:9

14 14 24 9.5 17

Final Plan

AHU

3125

3900

1.8 M Wide Corridor

3900

1.8 M Wide Corridor 4100

4600

3945

3950

40 M Wide Corridor

3085

AHU

3035

3085 8200

8200

4325 8200

5525

2985

8000 6080

FHS 0.90m x 1.20m

BATTERY ROOM

UPS ROOM

3125

LIFT 2.50m X 2.20m

TOILET 1.5mX1.25m TOILET 1.5mX1.25m

2.8 M Wide Corridor

FHS 0.90m x 1.20m Com.Shaft 1.10 x 1.20m

TOILET 1.5mX1.25m

TOILET 1.5mX1.245m TOILET 1.5mX1.25m

WASH

HIS

TOILET-1

TOILET 1.5mX1.25m

Communication Shaft 0.90 X 1.20m

WASH

HER

Dhruvi Sheth - UI1617

URINALS

TOILET FOR HANDICAP 1.90m X2.35m

Tutor : Shailesh Manke | Ankur Yagnik TA : Mahak Jain

S’22 IR3022 Approach to Workspace Design

TOILET 1.5mX1.25m

104

LAYOUT

ELECTRICAL ROOM

Fig 2

1.8 M Wide Corridor

TOILET 1.5mX1.25m

TOILET 1.5mX1.245m

1.8 M Wide Corridor TOILET 1.5mX1.25m

4250

3650

3500

8 4305

FHS 0.90m x 1.20m

TERRACE

Suspended Light Pendant Light

Fig 3 252

1.8 M Wide Corridor

FHS 0.90m x 1.20m

TOILET 1.5mX1.25m

LIFT 2.01m X 2.55m

TOILET 1.5mX1.25m

LIFT 2.01m X 2.55m

TOILET 1.5mX1.25m

1.8 M Wide Corridor

LIFT 2.01m X 2.55m

WASH

Recessed Light Sprinkler Smoke Detector Supply Return

3600

3500

3400

3500

HER

3945

Electrical Shaft

URINALS

Communication Shaft

TOILET 1.5mX1.25m

HIS

TOILET 1.5mX1.25m

TOILET FOR HANDICAP 1.90m X2.35m

SECURITY ROOM

6925

1.8 M Wide Corridor

WASH

TOILET 1.5mX1.25m

TOILET-3

3945

Janitor room

Unisex Washroom

breakout

Process and Exploration of Activity Based Working (ABW) space

Primary ABW space

Exploration of different furniture arrangements in Activity Based Working (ABW) space

collab

FOR MOVEMENT BASED COLLABORATION OR BIGGER GROUPS

FOR FOCUSED, SMALL GROUP DISCUSSIONS

Division of large ABW spaces into smaller segments accomodating multiple collaborative environments

repro

collab FOR FOCUSED, INDIVIDUAL WORK

IT store

General

Furniturestore Exploration for the segment accomodating bigger groups Battery room Security room

Key Plan

FINAL LAYOUT

Hurdle spaces between workstations

IT room

Furniture Exploration for the segment accomodating focused individual work Electrical room

Ups room

Exploring multiple collaborative environments

Fig 4

Fig 5

Fig 6

Fig 7

Fig 8 253

Janitor room

Design UG Level-3

Faculty of Design IR3022Spring 2022

Fig 9

Fig 10

254

Fig 11

Fig 12

Fig 13

Fig 14 255

IR3018

Theater Stage Design

Unit Assistant Gaurav Mewara

Faculty of Design IR3018 Spring 2022

5 th Year Aayushi Bhatt Karnav Mistry Naman Jain PrajapatiJanamShaileshbhai Shraddha Udhwani Vedica Kedia

Sunita Dalvi With the concept of materiality, the sense of interiority or exteriority can give meaningful experiences to the interior spaces, especially when set in the process based design thinking. To explore how appropriate are materials to the construction of interior space, here, the proposed design is taken as temporary constructions in space, i.e. design of a performance space for actors and audience - ‘Theatre Stage Design’fora historicalplay‘Tughlaq’ by Girish Karnad, assumed to be stationed in the setting of Sarkhej Roza at Ahmedabad and constructed as an event. The play is a historical play based on two central ideas of existentialism and symbolism. The site context offers a challenge for excitingthematicexpressionstoconnectinteriorityof the enclosure to its exteriority, ofthe site and the play. The expected studio outcome demands characterization ofperformance space foractors and audience using design elements of Interior Space Design- such as materials, sound, lighting, acoustics, colour,costumes,drapery,typographywhileexploring programmatically the historical imagination of the event. Because it’s a performance space and constructed temporarily, the process and system of constructioninassemblyanddis-assemblyisrequired to be considered.

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Fig 1 257 257

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Design UG Level-3

Fig 1 Naman Jain Decoding of the play Fig 2 Karnav Mistry Conceptual Sketches. Fig 3 Karnav Mistry Design Explorations. Fig 4 Karnav Mistry Conceptual Model Fig 5 Aayushi Bhatt assembly of props on stage.

Faculty of Design IR3018Spring 2022

Fig 2

Fig 3

Fig 4 258

Fig 6 Vedica Kedia assembly of props on stage. Fig 7 Aayushi Bhatt visual. Fig 8 Naman Jain Story Board for scenes. Fig 9 Aayushi Bhatt Exploded Isometric of design with details.

Fig 5

Fig 6 259

Design UG Level-3 I. Wall along and perpendicular to the steps.

II. Column and frame structure on the steps.

Faculty of Design IR3018Spring 2022

III. Wall on the platform.

IV. Plaform on the steps

IV. Enclouse on the steps

V. Vault on the walls

Fig 7 260

Fig

Regular intervals are provided

within the path equipped with services such as refreshments and

mobile

Additional

toilet

staircases

units. are

provided as exits in case of emergency from these intervals. Audio and orchestra.

washrooms for backstage

The fixed and mobile sets are positioned perpendicular to the mosque wall.

The height and form of the steps are arranged in such a way that appearance of Sarkhej starts

reducing as the sets unfold giving enough time for the audience to be prepared as well as

getting accustomed to the idea that the spaces

are occuring within the complex of Sarkhej Roza thus giving - the disguise of gigantic

monumental facade opening out to the

series of enclosures and movement paths as

if extension to the Sarkhej and to the tank area.

Backstage assembly of continuous wall.

The front and back of the stage is

planned in such a way that they form one cohesive unit.

In the assembly every individual

set is connected to the bakcstage assembly

contiuous

wall

aligned parralled to the mosque facade.

Scafolding with the surfaces

Section through the audience seating and the stage. Stage

From the parking, they pass through an entrance of an archway entering into a small

exhibition space for Sarkhej Roza, followed by a few small arches and niches, they reach the jeti

from where the boat takes them to the seating arrangment near the stage.

Entrance is planned such that the audience can

experience the gigantic facade and the water tank through boats.

The audience is situated facing the mosuqe

Set showing the entrance gate and the mosque setting.

wall where the stage is planned between the audience and the wall.

The openings in the facade and the steps outside The selected facade is projected as a stage background to the audience.

the facade create a disguise of what is inside and what is outside.

The appearance of continuation from interior

space to exterior space is achieved by planting

sets of props which gives the sense of changing exteriority to the interior space of Sarkhej.

The series of openings from mosque side gives

continuity of interior space with the exterior space which remians - unique feature of the deisgn.

The location of background as facade walls of mosque and tomb in right angle with each

The mosque facade has articulation of series of

monumental scale.

and cascading stairs unifying the vertical and the

other is selected as it creates enclosure of a

Jharokhas at two storyes giving central focus horizontal plains.

The tomb facade gives gigantic scale to the

background and helps to keep the focus on the central wall as mosque wall.

Continuation of column grid from Sarkhej Roza. Key plan and the intervention. The plan indicates the entrance and emergency exit points.

Fig 9 261

262

Juhi Desai UR2021 Vulnarability in a Pandemic city Vrsuhti Mavani

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FACULTY OF PLANNING

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UR2005

From Utopias to Heterotopias Migrant Housing: Values of Time, Density & Culture Focus Planning and Organizing Unit Assistant Zeel Patel

Faculty of Planning UR2005 Spring 2022

2 nd year Dipasha Rathod

Imran Mansuri

3 rd year

“The course introduced concepts of `housing for- mass’ across space and time. The evolution of housing settlements through linking and stacking; their processes, determinants/ generations, and resulting patterns were explored in their respective contexts exploring the balance between order and complexity.

Anoushka Mukherjee Charvi Sawai Namoshi Basu Priya Thottappally Riva Shah Samriddhi Dugar Shruti Jog Simran Khatter Vidhi Shah

The idea was to create an adaptive habitat for migrant communities associated with the very dynamic and socially interactive live-work environment. Here, “adaptability” has been visualized and represented as a real space, accommodative of people from diverse cultures and traditions over time. The spaces, thus created have their own characteristics; with occupants having opportunities to alter these spaces in certain extended patterns. Eventually, this fluctuating habitat, over time, must be able to maintain a balance between generated orders and identified contextual complexities. The students learned to analyze and identify issues with the linking and stacking of modular housing units. This helped them in planning and organizing various ensembles in response to the open spaces and adjacent urban context. The students were also able to explore housing clusters & ensembles by balancing the underlying orders and complexities.”

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Fig 1 265 265

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Planning UG Level-2

Name Caption Fig 1 Name Namoshi Basu, Simran Khatter Fig 2 Name Caption Based on theName site visit, documentation Fig 3site Name NametheCaption and analysis, students identified Inferences Fig 2 Namoshi Basu, Anoushka Mukherjee, Riva Shah Plan showing the character of Gota Housing Fig 3 Charvi Sawai, Simran Khatter, Priya Thottappally, Dipasha Rathod Plan and Section showing the character of Nava Wadaj Informal Settlement

Name Caption Fig 4 Name Samriddhi Dugar, Vidhi Shah, Fig 5 Name Name Caption Shruti Jog Plan showing theCaption character of Caption housing Caption typology at Gulbai Tekra existing Fig 5 Anoushka Mukherjee, Namoshi Basu, Samriddhi Dugar Plan, Section and Model Exploration Fig 6 Shruti Jog, Samrddhi Dugar Diagrams showing the proposed design plan in progress

Faculty of Planning UR2005 Spring 2022

Fig Fig62

Fig 4

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Fig 3

Fig 3 267 267

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Planning UG Level-2

Fig 1 Name Name Caption Fig 2 Name Name Caption Fig 3 Name Name Caption

Fig 4 Name Name Caption Fig 5 Name Name Caption Caption Caption Caption

Faculty of Planning UR2005 Spring 2022

Fig 5

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Fig 6

Fig 6 269 269

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UR2019

Single Person Dwelling ‘well-being through productive loneliness’ Focus Planning and Organizing Unit Assistant Neha Maturi

Faculty of Planning UR2019 Spring 2022

2 nd year Jesal Padaliya Batul Sethwala Diya Shah Khushi Patel Khushi Jain Dainty Doe J

3 rd year Geetanjali Reddy Heena Agrawal Heer Thakkar Naved Ahmed Prachi Thakkar Roham Patel Shaurya Singh

Katsushi Goto

Aditi Anand Kumar

Demographic Research Journal’s issue, Living Alone: One-person household in Asia (2015), addresses one-person households as the fastest growing living situation in the world, especially in Asia. The current social welfare system and institutions not only fall short of supporting one-person household, but the distribution and utilization of resources are known to be limited to and facilitated for ideal family household. Within the course of this studio, we are rethinking housing and dwelling outside of ideal family household and questioning spatiality and materiality association with state of well-being, especially single person dwelling as primary situation. During COVID -19 global pandemic and subsequent lock-down, we have experienced being alone at our own home/room while connected with friends and families virtually through Zoom or any other. This recent experience as a starting point, participants documented her/his own space and objects to analyze and articulate relationships with her/himself. Further within the studio, we addressed how does single person dwelling confirm its normality and well-being? Sitting at the threshold of communal and private, or simultaneously confining and liberating, the single person dwelling is proposed as both: for isolation and for production, shift between these two states of being.

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Fig 1

Fig 2

Fig 3

Fig 4 271 271

271

Planning UG Level-2 Faculty of Planning UR2019 Spring 2022

sis

Fig 1 Heer Thakkar Photogrammetric documentation of living spaces Fig 2 Geetanjali Reddy Documentation of room and furniture through sketches Fig 3 Jesal Padaliya Documenting movement within a space Fig 4 Naved Ahmed Documenting occupation in shared room Fig 5 Khushi Patel Documenting and analysing movements throughout the day Fig 6 Shaurya Singh Mapping movements : Bed and table Fig 7 Dainty Doe Documentation to drawings : perspective plans Fig 8 Shaurya Singh Unit development Fig 9 Batul Sethwala Student housing Unit axonometric drawings

Analysis

Living Room

The apartment has two vertical separations creating a total of 10 spaces. Out of which only 5 spaces are being used by the individual. The bedroom is the most used and occupied space in the entire house by the Main the one corner in the room. The creates are a sense of spatial s creating a total of user. 10 spaces. zoning even in an open room which is shared. This makes the one by the individual. The particular corner of the room dynamic as a lot of functions take place pace in the entire house by the there. Other roommates do not enter the individual's space nor does the individual enter other spaces.

creates are a sense of spatial ed. This makes the one lot of functions take place ndividual's space nor does the

Fig 10 Prachi Thakkar Home@hostel | Organisation of units : Concept to Plan Fig 11 Khushi Jain Young workers’ hostel : Organisation of the grouped units Fig 12 Naved Ahmed Beyond territorial boundaries : Nolli plan study Fig 13 Jesal Padaliya The Second Space [Housing for the elderly] : Schematic massing and organisation exploration Fig 14 Heena Agrawal Kickstarter’s space: Unit organisation on site Fig 15 Dainty Doe Dynamic Dwelling [Young migrant housing] : Floor plans Fig 16 Roham Patel Isolated Privacy [Young workers’ housing] : Site plan | Conceptual street view Fig 17 Diya Shah Aavaas : Floor plans | Elevation | View & organisation

Fig 5 Bedroom

Basement

Kitchen

Living Room

Bas

Kitchen

Bedroom

Fig 7

Kitchen

272

wo vertical separations creating a total of 10 spaces. paces are being used by the individual. The used and occupied space in the entire house by the orner in the room. The creates are a sense of spatial en room which is shared. This makes the one he room dynamic as a lot of functions take place ates do not enter the individual's space nor does theFig 6 r spaces. 272

Bedroom

Basement

272

Fig 8

Fig 5

Fig 9

Fig 6

Fig 7 Fig 10 273 273

273

Fig 8

Fig 12 Faculty of Planning UR2019 Spring 2022

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Planning UG Level-2

Fig 11

Fig 9 Fig 13

Fig 14

274

Floor Plans

Ground Floor

First Floor

Second Floor

Third Floor

6WUHHW 9LHZ

Fourth Floor

Fifth Floor

Fig 15

6LWH 3ODQ

Fig 16

Fig 17 275 275

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UR2016

Un-Gendering the Everyday City

Focus Visualization and Communication Unit Assistant Mandeera Baghar Faculty of Planning UR2016 Spring 2022

2 nd year Aditya Sinha Anand Nilesh Vora Eyaleigai Vivekanandan Khushi Parekh Krishna Vaghasia Rushit Hemang Shah Shailly Thakkar Simran Ankit Parekh UveshKhan Pathan

3 rd year Riddhi Gondaliya

Sahiba Gulati

Shreya Gambhir

A growing body of academic literature illuminates the exclusion of women from the public realm which further translates into their absence from public debate, policy and action. In Indian cities where vehicular ownership usually lies with men, streets are imagined around automobiles thus invariably assuming the ‘universal citizen’ client to be male, car driving, leisurely, able bodied and wealthy. It thus becomes apparent that the street as a public space belongs more to a man than a woman. This studio focuses on mapping and analysing the socio-spatial practices of gendered bodies in order to establish the unique challenges they face- of access, leisure and safety in the city. The students systematically translated the outcome of this analysis into a clearly articulated design strategy and detailed out design drawings in order to propose a solution that enables equal access to the city.

276

Housing mapping / 19th January

Amount of time spent in various spaces w.r.t total time spent in the house

House mapping/ 20th January

Amount of time spent in leisure and work.

277 277

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Planning UG Level-2

Fig 1 Rushit Shah Mapping through Memory, Manjalpur, Vadodara Fig 2 Eyaleigai Vivekanandan and Khushi Parekh House mapping and Analysis. Fig 3 Rushit Shah Analysis for Movement maps, Stadium Road, Ahmedabad. Fig 4 Rushit Shah Anchor Maps, Staidum Road, Ahmedabad. Fig 5 Rushit Shah Section through Street, Stadium Road, Ahmedabad.

Fig 6 Simran Parekh Analysing Gendered Patterns on Street, Mahim West Fig 7 Khushi Parekh Design Proposal for SV Desai Marg Fig 8 Khushi Parekh Re-imagined section, SV Desai Marg. Fig 9 Khushi Parekh Re-imagined Movement Mapping Analysis, SV Desai Marg. Fig 10 Rushit Shah Design Proposal for Staidum Road, Ahmedabad

Faculty of Planning UR2016 Spring 2022

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279 279

279

Faculty of Planning UR2016 Spring 2022

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Planning UG Level-2

280

281 281

281

UR2021

Vulnarability in a Pandamic City

Focus Visualizing and Communicating Unit Assistant Aryan Iyer

Faculty of Planning UR2021 Spring 2022

2 nd year Tanishka Singh Adarsh Joy Joseph

3 rd year Aryan Choudhury Elangkumaran S Juhi Desai Mani Chauhan Mehul Saily Mitali Vadher Niharika O T Srushti Kottai

Vrushti Mawani 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 post-COVID 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.

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Fig 1 283 283

283

Planning UG Level-3

Fig 1 Juhi Desai Design strategies Second hand bazaar Fig 2 Adarsh Joy Joseph Mapping Elevation of a street vending edge Fig 3 Srushti Kottai Neighbourhood mapping Fig 4 Mani Chauhan Analysis - public toilets in Ahmedabad

Faculty of Planning UR2021 Spring 2021

Fig 2

Fig 3

Fig 5 Juhi Desai Design strategies Second hand bazaar Fig 6 Mitali Vadher Design strategies Rethinking Public spaces for vending Fig 7 Elangkumaran S Design strategies - Public spaces inclusive of street vending and pavement dwelling needs

ANALYSIS

Three Case study:

“Each gram of human excreta contains 10 million viruses, one million bacteria, 1,000 parasite cysts and 100 parasite eggs. As many recent reports suggest, this unacceptable lack of sanitation has been responsible for high malnutrition in India” - UNICEF report -2011 “Half of India’s population defecates in the open and over 30 percent urban slums across India have no toilets or drainage facility.” - NSSO (National Sample Surey Organisation) “In urban Gujrat 8.74% of 5,416,315 households defecte in open the absence of any usable or fanctional toilets. This suggests that roughly 22.48 lakh of the state’s urban population do not have access to either private or public toilets.” - Indiaspend on swachh bharat urban toilet plan

Significance of public toilet on site: Toilet use is crucial to unlocking social progress of the region Only place where many homeless can use the restroom Public toilet becomes an activity generator and hence this part of the whole site is most active People around the toilet are directly or indirectly dependent on the facilities provided by the toilet

Uses of Public Toilet: 3

1. Sal Hospital Junction 2. Pakwan Junction 3. Thaltej Junction

Urination

Deification

Bathing

Washing

Drinking water

1. Sal Hospital Junction :

Police booth

Menstrual needs

Pavement Dwellers 1 family

Entrance to toilet Disabled toilet

Car Parked

Signage Ramp for wheelchair

Chai Vendor 2

Care taker belongings Multi purpose space for Temple activities

Pavement Dwellers 2 families

Temple

Paratha Vendor 2 Barber Scale- 1:100

Storage room

Poha Vendor

The broken belongings of the toilet inside

Women’s WC

Children Toilet

Men’s Urinals

Men’s WC

Bath Area

Seating for Customers

Sanitary pad machine does not work

Bath Area

Women’s WC

Paratha Vendor

Pavement dwellers use the space for washing The family lives inside the disabled toilet and the roof

Disabled Toilet

Scale- 1:50

Shrine under tree

The family stores things on the Public seat

Chai Vendor People feed birds

CARETAKER: Duration of working: Work before this: Romit 8

Got employment through: Income: Living place: Food and Drinking water:

Pooja Devi 25

Sanjeev Basmat 32

Manesh 6

Aspirations:

Past 5 months Care taker at other Public toilet, before- a construction in Aajupur Pramood, Sweaper from Aajupur, lives nearby Rs. 8000 + Additional pay users) Handicap toilet and the roof of the Public toilet Dependent on temples near by and cooks themselves sometimes “Make my kids a successful person”

Key Isometric of the Site

Motor

Bathing Space

Plinth becomes an act

Disabled Toilet

A’

Chai Vendor Balloon Vendor

Women’s WC

Unisex WC

Children Toilet

Men’s WC

Belongings of the Pavement dwellers Boundary wall - 1m high Belongings of pavement dwellers

Scale- 1:100

Public Toilet Plan

We don’t have any desegnated space for living

The stack ventilation does not make the surroundings smelly

We get drinking water from the temple and my son brings water from the Gurudwara sometimes.

All WC of men and women does not have access to water

Disabled Toilet is always locked Caretaker chamber so that he can collect money from the people

Based on the observations on site on 2nd April, 2022. Number and time of gathering:

Gender differentiation of gathering:

Duration of gathering:

Day time MorningAfternoonEveningNight-

Men : Women 6:2 2:1 5:1 0:1

The people comes here don’t pay majorly.

I don’t play with the pavement dweller kids because my mother scoald

My kid is very young, he haven’t used Public toilet ever, so I take her to the corner for open- defecation.

Scale- 1:50

Average people per hour 8 people per hour 3 people per hour 6 people per hour 1 person per hour

One fan came from the AMC, but the supervisior took to his place

From where will we get the money to pay in public toilet ?

Pavement dwellers bath in the corridor instead of bathing area

Men’s Urinals

I buy soap from my salary to keep on the washbasin

Water doesn't come inside this WC, so we go to Taltej crossing public toilet?

Water is collected from the motor & then distributed to all cubicals

2. Pakwan Junction :

My parents teach me.

We don’t wash our clothes frequently, where should we wash, and soap ? bucket?

Average time per person 5 mins per person 1 mins per person 2 mins per person 5 mins per person

Pavement Dwellers

Caretaker Family

Chai Vendor wash utensils from the public toilet water Disabled Toilet

The door lock of the WC is broken

Men’s WC

Men’s Urinals

The area near WC is dirty

Caretaker Chamber

DEPENDENCY on PUBLIC TOILET Interrelationship between public toilet, Vendors and Pavement Dwellers is prevalent on the site

The caretaker does not occupy the chamber, there is no ventilation

Women’s WC

Broken wash basin and water leaking

Women’s WC

CARETAKER:

Duration of working: Work before this: Got employment through: Income: Living place: Food and Drinking water: Aspirations:

Dharmesh Bhai 35

The parapet wall of the public toilet is used by customers of the chai vendor

Back corridors smells because of the toilet openings

Scale- 1:50

Past 2 months Care taker at other Public toilet, Pradeek , Sweaper from from same society, lives nearby Rs. 6000 + Additional pay from users home, not around toilet dependent on temples near by and some vendors “I want to make my own house”

Majority of the vendors and Pavement dwellers are dependent on the public toilet for water and sanitation. Also the vendors are also dependent on each other for daily functioning.

3. Thaltej Junction :

The plinth of the public tolet is provided with the shade therefore many pavement dwellers rest there

The pavement dwellers uses the wall of the public toilet to keep their belongings and they also occupy the plinth

The plinth of the public toilet is use by Paratha vendor to keep tables and chairs for the customers

CARETAKER FAMILY

There is no connection between the SG highway and the public toilet but on the opposite the public toilet becomes a generator for many activities like kids playing, resting, vending and many more.

Family Expenses

ISSUES with EXISTING PUBLIC TOILET Major Entrance Sita ben lives under the tree with her husband Bad maintained women toilets and bathing space

Household Expenses Medicines

Too small toilet for the disabled

Praveen Pathak 52

Segregated space for caretaker Separate Urinals Scale- 1:100

Radha Devi 45

Aryan 8

Other expenses Savings

It has secondary access from the main road

Migrated in January 2022 because of less opportunity at the village Women’s WC Women’s WC

Disabled Toilet

Men’s WC

Children Toilet

Women’s WC Women’s WC

Men’s WC

WC are very small and not maintained Placement of children toilet is very abrupt

Men’s Bath

Men’s WC

Women also wash clothes inside the bathing area

Women’s Bath

Men’s Urinals

As urinals smells the most its good that they are separated from the rest of the toilet

Caretaker Chamber

Poor Ventilation Lack of Daylight

Used to do farming at his home town, Samastipur, Bihar

Rakesh Suri, from same village, is a senior in same department gave this job to them

Family migration for better opportunity

No Senior Citizen cubical Small cubical No Menstrual Facility

No Caretaker space Low Maintenance

Family Income

Irregular Water Supply The family stores the drinks motor water

Rs. 5000

Scale- 1:50

The washing basin is used for cleaning the utensils Radha devi sits here majority of the time

Duration of working: Income: Living place: Food and Drinking water: Abhishek Singh 26

Aryan, study inside the toilet in the night.

from Rakesh Suri / AMC

CARETAKER:

Bharat Bhai 65

Sita ben 57

4 years, 3 years , 1 month Rs. 10000, Rs. 8000, Rs. 5000 Caretaker room in toilet, Outside the public toilet dependent on restraurant nearby, vendors, and people who give them for free,.

Rs. 600

Rs. 5600

UR2021 Vulnerability in a Pandemic City

Both Praveen and Radha cleans the toilet

from the users of PT.

No Washing Space Not Universal Accessible No community Engagement No Signage

Praveen spends most o his time, on this bench

Living condition of the family

UG190799 Mani Chauhan

Fig 4

Planning UG Level-3

Faculty of Planning UR2021 Spring 2021

Fig 5

Fig 6

Fig 7 287 287

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UR2020

In Transit: Making a Place Between Arrival and Departure Focus Constructing and Specifying Unit Assistant Kruti V Shah

Faculty of Planning UR2020 Spring 2022

2 nd year Anshika Agrawal Jenil Shah Ketki Bochare Nandini Dangwal Navonil Maji Anandita Onkar Paryul Jain Romit Sinha Swayamsiddh Dash

3 rd year Dhyan Patel Moksha Shah Pooja Shah Sahana Desai

Dilip Panchal

Maulik Chauhan

“As transit has become an integral part of our daily life, Transit places have become integral parts of our cities as they are Public spaces that facilitate the use of Public Transport. Transit Places connect people in a region and a community to the outside world. They allow people to Transit across different modes of Transport. They allow for a greater footfall and gathering of People which acts as a catalyst for the growth of the local economy. Transit places where multiple modes of transport are connected allow for efficient use of land and other resources in turn providing better connectivity and improved quality of service for the Passengers. Having understood the importance of Transit Places, the studio aimed to design an Intermodal transit Center for Himmatnagar . The Intermodal Transit Center shall connect the entire regional transit system of the western railway and State bus service to the surrounding community of the city. The studio aimed to design and develop userfriendly elements for the Transit system. The studio also focused on making the Transit Place a public place which is well integrated and accessible with the adjacent land uses and developments.

288

Paranoia at the

Um, Is he following us?

Beta..... ye tran Ghatkopar jaati hai kya?

Airport

Looks like a daily day in mumbai central, so much crowd and the continuous nagging of the vendors..........

Aaj to mera boss mujhe maar hi dega GARAM GARAM CHAI, THANDI KE LIYE EKDUM GARMA GARAM CHAIIIIIII !!!!!

NAYE BOOKS LE LO, NAYE PUBLICATIONS, 100 KS EK, 150 KE DO. RASTEY ME PADHNE KE LIYE ACCHE BOOKS!!!!!

Go! Talk to them!

I noticed it too, and could you not look directly at him?!!

Who’s weird?! Where?!

Guys! Shh!

Wait! Let me think

After ﬁnally getting a seat

*APPLAUSE!* What is that commotion????

Getting into the Train Bhaiyya ji, aapko pata hai ye app kaise chalta hai?

Huh......packed as usual, time to ﬁght for a seat....

Are you guys travelling alone??

Checking the Phone

Where are you staying?!

We can drop you on our way

Lemme check whats happening....... no bars as usual......

Fig 1 289 289

289

Planning UG Level-2

Fig 1 Transit Experiences of the Students Fig 2 Romit S, Anshika A, Anandita O Program making exercise Fig 3 Anandita Onkar Conceptual development Fig 4 Sahana Desai Conceptual development Fig 5 Anshika Agrawal Conceptual Development

Fig 6 Romit Sinha Transit Module development Fig 7 Romit Sinha Transit Module development Fig 8 Anandita Onkar Transit Module development Fig 9 Anshika Agrawal Transit Module development Fig 10 Dhyan Patel Transit Module development

Faculty of Planning UR2020 Spring 2022

Fig 2

Fig 3

Fig 4

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Fig 5

Fig 6 291 291

291

Faculty of Planning UR2020 Spring 2022

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Planning UG Level-2

Fig 7

292

Fig 8

Fig 9

Fig 10 293 293

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UR2014

Light Infrastructures

Focus Constructing and Specifying Unit Assistant Tanvi Dubbewar

Faculty of Planning UR2014 Spring 2022

2nd Year Ankit Bhatt Anoushka Dutta Manas Binoy Radhika Maitra Tanay Chopra Virajsinh Parmar Kanishk

3rd Year Ira Shukla Shreya Sonar

Kruti Shah Departing from the increasing necessity to address issues of urban marginality, structural violence, community disfranchisement, and now the global pandemic, we invited students to explore the possibilities that urban designers -and researchers- possess to generate positive changes in contexts of scarcity. The studio departed from the COVID 19 pandemic as a stage for experimentation, surfacing the idea of infrastructure not necessarily as a more-than-human (one-time) solution, but a transitional set of strategies that would allow for the re-imagination of Indian urbanity. Frugal tactics of space, manifested through small-scaled urban devices that can plug into existing infrastructural systems: transportable and dismountable objects, capable of accommodating diverse productive activities. We are termed ‘Light Infrastructures’. The structure of the studio fluctuated between lectures and discussions on the theories of infrastructure and design activism, to practical developments of infrastructures. A designresearch inquest, materialized in the form of implementation manuals (containing working drawings, operational models, on-ground strategies, market research, step-by-step construction processes, and its impact on the urban context).

294

Fig 1 295 295

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Planning UG Level-2

Fig 1 Anoushka Dutta, Radhika Maitra- “Chalo banate hai apna Social space” Gameboard Rule Pamphlet Fig 2 Anoushka Dutta - Implementation strategies for Project ‘Ekam’ Fig 3 Tanay Chopra- Design Development and operational drawings of Transit Housing - Ashray

Fig 4 Tanay Chopra- Model (Scale 1:10) of housing unit for 6 people Fig 5 Ankit Bhatt - Construction Manual Fig 6 Virajsingh Parmar - Construction Manual Fig 7 Manas Binoy- Construction Manual

Faculty of Planning UR2014 Spring 2022

Fig 2

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Fig Fig 53 297 297

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Planning UG Level-2

Fig 5

Fig 6

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Fig 9 299 299

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UR3008

Emergence: Cities of the Future

Unit Assistant Parth Mehta

Faculty of Planning UR3008 Spring 2022

4 th Year Dhanvi Shah Ketki Nandanwar A Krisha Kritika Vidyashankar Naveen Prasad Shloka Sanghavi Soha Gandhi Vasanth K S

5 th Year Saloni Nathan

Radhika Amin

Arpi Maheshwari

The studio investigates extreme climatic, topographical, social and economic challenges in the year 2071. These cities of the future demand advanced design solutions for the distribution and variation in flows of energy, material and population that can address the challenges of abundance or scarcity of various kinds. Increasing water level, frequent heat waves, flash floods, lack of agricultural land and potable water are some of the many issues that demand design strategies inclusive of the programmatic challenges as well as of the living population and their activities. We will follow the process of form generation in nature (morphogenesis) - using Darwin’s theory of evolution and natural selection. This helps simplify the complexity of urban systems. The microclimatic, typological and social organizations of urban tissues are studied, and analysed for interactions across the hierarchical levels analogous to cell, tissue, and organ to develop a generative set of rules. An evolutionary algorithm is computationally scripted to generate multiple iterations to optimize design using concrete data analysis and desired performances. Design complexity emerges through a simple parameter - performance relationship; as a response to the multiple opposing fitness criteria of the environment. The design methodology emphasizes bottom-up, logic-driven and parametrically defined design solutions.

300

Poster

WAR CITY 3 S A LVA G I N G T H E R E M A I N S

Fig 1

Fig 2

Fig 3

Fig 4 301 301

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Planning UG Level-3

Fig 1 Vasant.K.S Poster, Skyscraper: From Icons to Experience Fig 2 Ketki Nandanwar Poster,Remade: Salvaging What Remains Fig 3 Shloka Sanghavi Poster, Skyscraper: From Icons to Experience Fig 4 Kritika Vidyashankar Poster, Underground: Security and Revolution Fig 5 Ketki Nandanwar Space frame structure and connection of types of open spaces Fig 6 Dhanvi Shah and Soha Gandhi Theme Flooding, distribution and proposed landuse program for Versova Fishing village, Mumbai

Faculty of Planning UR3008 Spring 2021

Design Ambition

Fig 7 Soha Gandhi Break water strategy :Aggregation Fig 8 Shloka Sanghavi Sunlight hours test on terraces using ladybug plugin. Fig 9 Naveen Prasad Design Psuedocode [Simplified design decisions in steps], suspended city. Fig 9 Ketki Nandanwar Phenotypes, Multilayered ecology. Fig 10 Ketki Nandanwar Evaluation criteria. Fig 11 Kritika Isometric view of the residential typology, Pixels. Fig 12 Kritika Expanded built view Fig 13Density Kritika -Distribution Contracted built view for floating settlements in r

Density distribution

Open Spaces Attractors Coastal shore edge

Residential Attractors High levels, Midpoints

Considerring these spaces as fragmented patches, eco corridores will help maintain or recover a certain degree of c ohesion and convert them into one ecosystem

en spaces

Considerring these spaces as fragmented patches, eco corridores will help maintain or recover a certain degree of c ohesion and convert them into one ecosystem

Open spaces

Attractors - Coastal shore edge

Residential

Attractors - High points, midpo Repellors - Edge

Large 1500 -2500 m2

Large 1500 - 2500

Amenities + Mix Use Attractors Low points (Catchments)

Higher chances of disconnect

Medium 450 - 750 m2

Medium 450 - 750 Sq.m

Higher chances of disconnect

The m edium and L arge s ize open s paces that a re c onnected with l onger c orridores will h ave smaller green s paces acting as steppping stones for the eco system survival rate to be stronger

Small 100 -200 m2

Small 100 - 200 Sq.m The m edium and L arge s ize open s paces that a re c onnected with l onger c orridores will h ave smaller green s paces acting as steppping stones for the eco system survival rate to be stronger

Types of open spaces and connection

Commercial Attractors Low points (catchments) Metro stop

In Between Waves: Making of an Adaptive Ecotone

Fig Fig 5 5

Fig 6

Amenities + Mix use

Attractors - Low points (catcm

Commercial

Attractors - Low points (catcm - Metro stop

Experiments 13

0 m/s

Fig 7

0 Hrs

Residential esidential Residential

Fig 8

Psuedocode Residential Residential Residential 150-250m

20m

12m- 20m

- 20m

150-250m

12m- 20m

150-250m

150-250m 150-250m

14-24m

12m- 12m20m 20m

14-24m

01. Define block volume 01. Define block volume 01. Define block volume

14-24m

14-24m 14-24m

02. Define units 02. Define housing units housing 02. Define housing units

03. Vertical open is extracted 03. Vertical open isopen extracted 03. Vertical is extracted

-01. Extrude block (150-250m) length to surface - Divide surface in ranges (14 - 24m) - Randomly - Randomly select 4 -6surpoints on the surDefine block volume 02. Define housing units 03. -Vertical open isextracted extracted - Extrude block (150-250m) length to in02. ranges (14 -housing 24m) select 4select -6Vertical the - Extrude block (150-250m) length to - Divide - Divide surface in housing ranges (14 - 24m) Randomly 4open -6on points on the sur01. Define block 01. 01. Define volume Define block block volume volume 02. Define housing 02. Define Define units units units 03. Vertical 03. open 03. Vertical ispoints open is extracted is extracted (12m-20m) face (12m-20m) faceRandomly Extrude block (150-250m) Divide surface in ranges select 4 -6 points (12m-20m) face -vertically Select blocks vertically to exclude Select blocks to exclude - Select blocks vertically to exclude - Extrude block - Extrude (150-250m) - Extrude block block length (150-250m) (150-250m) to length length - to Divide to surface - Divide -in ranges surface surface (14in- ranges 24m) in ranges (14 -(14 24m) - 24m)- Randomly select - Randomly - Randomly 4 -6 points select select on 4 -6 the 4points -6 surpoints on the on the sur- surlength to (12m-20m) (14 - Divide 24m) on the surface from the block mass from thefrom block mass the block (12m-20m) (12m-20m) (12m-20m) face face face mass - Select blocks - Select vertically - Select blocks blocks to vertically exclude vertically to exclude to exclude 20m 20m 20m from the block from mass from the the block block mass mass 20m

4m - 16m

8m - 12m

4m - 4m 16m- 16m

20m 20m

8m - 12m

8m - 12m 4m

8m4m - 12m - 16m

4m - 16m

4m- -12m 16m 8m - 8m 12m

4m - 16m

4m - 4m 16m- 16m

06. Reduce open volume 04. Define bounding box volume volume 05.built Extract built built volume 06.Reduce Reduce open volume box 05.volume Extract volume 06. open volume 04. Define bounding boxbounding volume 05. Extract 06. Reduce open volume 04. Define bounding box 05. Extract built volume 4m volume 4m Select4mblocks vertically to Extrude block (150-250m) Randomly select 40% points - Randomly select 40% points -(150-250m) Extrude block (150-250m) length to - Randomly select 40% points - 04. Define - Extrude block05. length to - Randomly select 40% points 06. Reduce 06. open 06. Reduce Reduce volume open open volume volume - Extrude block (150-250m) length to remove from the built volume. length to (12m-20m) bounding 04. 04. Define Define box bounding bounding volume box box volume volume 05. Extract built 05. Extract volume Extract built built volume volume (12m-20m) 20

(12m-20m) (12m-20m) Randomly select - Randomly - Randomly 40% points select select 40%40% points points - Extrude block - Extrude (150-250m) - Extrude block block length (150-250m) (150-250m) to length length to -to (12m-20m) (12m-20m) (12m-20m)

20 20

Extreme Extreme Cold : Suspended CityCold : Suspended City Extreme Cold : Suspended City

Extreme Cold : Suspended Extreme Extreme Cold City :Cold Suspended : Suspended City City

R 40 - 60m

R 40 - 60m R 40 - 60m

07. Define Attractor point 08. Offset Network 09.Scale Scale09. Blocks 07. Define07. Attractor Define 07. Define Attractor pointAttractor pointpoint 08. Offset 08. Network Offset 08. Offset Network Network 09. Blocks Scale 09. Scale Blocks Blocks Randomly select 4 points Select points inside the range Scale Blocks in range (0.9 - 1.2) - Randomly - Randomly select -Select Randomly 4 points select select 4 points 4 points Select points Select inside Select points the points inside range inside the range the range Scale Blocks Scale in range Scale Blocks Blocks (0.9 in range - 1.2) in range fac(0.9 - (0.9 1.2) -fac1.2) facpoints in Range (40 -60m) Offset (6m - 8m) road width factors - Select points - Select in- Select Range pointspoints (40 in Range -60m) in Range (40 -60m) (40 -60m) - Offset (6m - Offset - 8m) - Offset (6m road- (6m width 8m) -road 8m) road widthwidth tors tors tors diameter diameter diameter diameter

Fig 9

G1.07 G2.08 G4.03

G1.03 G2.06 G3.05

G1.02 G2.04 G3.04

G3.03

G3.01

G2.03

Faculty of Planning UR3008 Spring 2021

G2.02

G0.08

GX.0Y- generation x, individual y

G0.04

Planning UG Level-3

Phenotypes Generated

Fig 9

Evaluation Criteria

Maximize built units 996 units

Fig 10

Maximize ecology area 21875 m2

Maximize sky view factor for community spaces 11

Maximize sunlight hours at ecology area 10 hrs

Maximize built units near parks 126 Units

Fig 11

Fig 12

Fig 13 305 305

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UR3003

Urban Planning and Regulations: Intent, Manifestation & Design

Unit Assistant Vaishnavi Akilla

Faculty of Planning UR3003 Spring 2022

4 th Year Bhavya Trivedi Dhriti Jagasheth Ishita Singh Khushi Patel Rajeev Bhagat Richa Mishra Rishabh Jain Srushti Rahigude Vikramaditya Karnawat Yash Shah

5 th Year Riya Singh

Tulika Nabar Bhasin

Nishi Shah

”Indian cities are the most social, environmental & economic complex systems in the world, which have also realized issues like lack of good quality public realm & inclusive pedestrian infrastructure, insufficient green cover, unaffordable land market and an over regulatory development framework. These issues are a result of an archaic idea of city planning & design with multiple city stakeholders and their interactions. The competing views of various stakeholders - from private to public, from govt to citizens - towards city design, which materialize in the form of national/State level policies, city-level development plans & building regulations, all of which culminate in tangible changes to shape cities. This course aims to understand the competing process of push & pull of city-making from macro to micro scale. The students explored this through various analytical techniques & design processes across 3 modules at the city & area level.

306

Fig 1 307 307

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Planning UG Level-3

Fig 1 Vikramaditya Urban Condition View Fig 2 Group Work (Class) Chronomatrix Fig 3 Bhavya, Ishita, Srushti Manifesto Fig 4 Bhavya, Ishita, Srushti Design Strategies for Masterplan Fig 5 Rishabh, Vikramaditya, Yash Design Strategies for Masterplan

Faculty of Planning UR3003 Spring 2021

Fig 2

Fig 6 Bhavya, Ishita, Srushti Free Design Masterplan Fig 7&8 Kamala Mills Group - Site Analysis Fig 9 Khushi Patel- UC Plan and Plot Growth (Free and Constraint Design) Fig 10 Ishita Singh Comparative Analysis

Fig 3

Planning UG Level-3

Challenge

Connect

ENHANCING THE CONDITION OF PUBLIC OPEN SPACES UNDISTURBED WALKWAYS

ACTIVE FRONTAGES for multiple interactions

Fig 5

COMFORTABLE PAUSE POINTS

Faculty of Planning UR3003 Spring 2021

Fig 4

IMPROVED STREET EDGES

PROVISION OF GREEN BELTS ALONG THE WALKWAY

SHARED GREEN AND OPEN INTERACTIVE SPACE WITHIN THE SITE

Private Open Space Public Open Space

Fig 7

Pedestrian Corridor Public Open Space Commercial Mixed Use Residential Institutional Inclusive Housing

Fig 6

Public Housing

Fig 8

Height = 34m

Building Footprint

20% Los Centre

Plot boundary offset 9m

Permissible FSI: 6

Fig 9

Fig 10 311 311

311

312

Smit Borad CT2012 Deployable Structures: Concepts and Explorations Japan Shah, Anand Viswanathan

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FACULTY OF TECHNOLOGY

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CT2025

Form and Structure: Steel

Focus Constructing and Specifying Unit Assistants Anubhav Lakra

Faculty of Technology CT2025 Spring 2022

3 rd year Aman Patel Dhruvi Bhatt Harsh Agarwal Kinchit Khandelwal Preyas Shah Priyam Bhatt Renny Somani Rohit Hundlani Sagar Shah Shaunak Harsora Siddharth Kabra Uddant Patel

Dhara Shah

Vasav Bhatt

Form inspires architects and engineers to accomplish elegance in structures. Creating an astonishing structure demands an impressive expression with structural efficiency. In context of design, structure is the underlying framework and form is the visible outcome of the creative process. This studio provides a unique blend of form and structure in design to explore the spatial potential of steel space frames. Students cultivate a critical understanding of unifying spatial ambitions with structural solutions to achieve architectural potentials entrenched in a well-performing structure. The meandering walk travels through a variation of spatial forms and configurations, showcasing the architectural opportunities of the structural morphology. The basis of structural design – structural system and load transfer mechanism with load estimation, analysis and optimization are accomplished through an iterative process of refining the structure in several steps to integrate architectural intentions with the structural solutions. The design skills were translated into drawings including prototypes of form and joinery with documentation report.

314

315

Fig 1 315

315

Technology UG Level-2

Fig 1 Group Work Understanding Mechanical Properties of Steel and Aluminium through tensile test on Universal Tesing Machine (UTM) Fig 2 Harsh Agarwal Case study, plan, elevation, deflection behaviour and joinery drawings Fig 3 Preyas Shah Case study, plan, elevation, load Application and joinery drawings Fig 4 Uddant Patel Site Photos

Fig 5 Aman Patel and Dhruvi Bhatt Sun Path and Wind diagrams Fig 6 Rohit Hundlani, Amand Patel, Uddant Patel Conceptual Diagrams Fig 7 Preyas Shah, Renny Somani, Rohit Hundlani, Main Project Rendered plan, elevation Fig 8 Priyam Bhatt, Sagar Shah, Siddhartha Kabra, Renny Somani Rendered Images, Joineries, 1:50 scale model Fig 9 Individual work 1:50 Scale Model

Faculty of Technology CT2025 Spring 2022

Fig 2

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Faculty of Technology CT2025 Spring 2022

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Technology UG Level-2

Fig 7

318

Fig 8 319 319

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CT2019

Planning and Design of Road Infrastructure

Focus Analyzing and Designing Unit Assistant Ishita Bhatt Bhaumik Upadhyay Faculty of Technology CT2019 Spring 2022

2 nd year Anushree Solanki Aswad Kagdi Jay Patel Maharshi Patel Raj Salecha Rohan Rajput

3 rd year Aditi Bhatt Ayush Patel Hitarth Goswami Joy Patel Manav Ramani Tanya Shah Ushi Patel

Komal Parikh

Birva Joshi

With the growing demands in the context of road infrastructure development in India and countries around the world, it is identified that a civil engineer equipped with the skills and strategies of highway engineering principles and having a certain exposure to actual real-life road-related problems can be a useful professional. This studio dwells around the problem of planning and designing a suitable road alignment in different terrains where natural and built environment effects can be influential. Civil and infrastructure engineering principles and techniques that aid in analyzing and design of the road route and its pavements will be applied for generating a suitable solution. It is identified that a civil engineer equipped with the thorough skill of field survey and understanding for soil properties, highway and traffic engineering principles and having a certain exposure to actual real-life road-related problems can be very useful professionally. The studio explores and discusses principles and theories of survey, highway materials and highway design aspects for different terrains at multiple sites with help of existing roadway examples and interactive sessions.

320

Fig 1 321 321

321

Technology UG Level-2

Fig 1 Anushree Solanki, Raj Salecha, Tanya Shah Route maps for Individual sites Fig 2 Manav Ramani Land use and Land cover maps Fig 3 Aswad Kagdi Data Validation for Total Station and DGPS Fig 4 Ayush Patel Obligatory Points for Thol Fig 5 Hitharth Goswami General alignment drawing

Fig 6 Jay Patel Road Safety Plan Fig 7 Aditi Bhatt Road cross section Fig 8 Maharshi Patel Contours, Stahler, and Drainage Plan Fig 9 Ushi Patel 3D model for Taranga Hill Fig 10 Rohan Rajput 3D model for Idar Hill Fig 11 Joy Patel Drive-through for alignment

Faculty of Technology CT2019 Spring 2022

Fig 2 Fig 4

Fig 3

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Fig 5

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323

Faculty of Technology CT2019 Spring 2022

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Technology UG Level-2

Fig 7

Fig 8

324

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Fig 11 325 325

325

CT2024

Geotechnical Parameters: Influencing Foundation Systems Focus Analyzing and Designing Unit Assistants Khushi Shah Anjan Parekh Faculty of Technology CT2024 Spring 2022

3 rd year Aditya Agrawal Divyesh Mehta Harshit Kavadia Heril Jain Het Shah Hrithik Lutharia Jehan Tripathi Nihal Patel Rushikesh Patel Vatsalkumar Patel Ved Patwa Vedant Patel

Pavni Pandya

Chandresh Solanki

Foundation is a critical part of any civil structure and plays a vital role in the overall safety of a structure. Foundation rests on soil, hence soil plays a crucial role in the foundation design of a structure. Soil is a natural material; a varied type of soil that is present below the earth’s surface. A good foundation design aims for a safe and economical foundation. To achieve this aim, information regarding underground soil strata is essential. The behavior of soil is analyzed based on properties. These properties can be obtained with the help of site investigation along with field tests and laboratory tests. Students were exposed to on-site soil exploration activities during the studio. They went on-site to collect the soil samples from the soil borehole. Several laboratory soil tests were conducted to characterize different soil parameters and predict soil behavior. Students undertook required calculations to design different types of foundations (Shallow and deep) as per the structure’s requirement. They also sought to improve the qualities of problematic soil by using admixtures and conducting various tests on it. They also made working models demonstrating the solutions for different problems associated with the soil. The studio allowed students to make informed decisions about the structure’s foundation.

326

Fig 1

326

Fig 1 327 327

Fig 1

327

Technology UG Level-2

Fig 1 Ved Patwa Mind Map on Geo Physical test Fig 2 Ved Patwa Mind Map on Index Properties Fig 3 Divyesh Mehta Mind Map on Site Investigation Fig 4 Vedant Patel Mind Map on Geotechnical Investigation Fig 5 Aaditya Agrawal, Hrithik Lutharia, Vatsal Patel Working model on liquefaction and remedial measure Fig 6 Nihal, Het and Ved Working model on soil nailing for unstable slope

Fig 7 Heril Jain, Rushikesh Patel, Harshit Kavadia Working model on consolidation failure remedial measure Fig 8 Divyesh Mehta, Jehan Tripathi and Vedant Patel Working model of sinkhole and remedial measure Fig 9 Nihal Patel Foundation design and analysis Fig 10 Site visits Largest Geotech lab of Asia at Surat and bore drilling at Vatva for Bullet Train Project.

Faculty of Technology CT2024 Spring 2022

Fig 2

Fig 3

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Fig 5 329 329

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Faculty of Technology CT2024 Spring 2022

330

Technology UG Level-2

Fig 6

330

Fig 7 331 331

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CT2012

Deployable Structures: Concepts and Explorations Focus Constructing and Specifying Unit Assistants Umang Lapsiwala Priyanka Baghel Faculty of Technology CT2012 Spring 2022

2nd year Kush Patel Gopalan Awasthi Shalv Kapadia

3rd year Akshata Patel Chintan Shah Dhruvi Shah Jaimin Tank Madhuvanthi S Poojan Kamdar Rajvi Shah Smit Borad Vrihit Jethva

Japan Shah

Anand Viswanathan Deployment is a basic attribute of living organisms. Inert mechanisms and objects become live and moving. The bird, and the beetle, protects its wings by folding them away and; while the dragonfly, which can’t fold its wings, has to fly and roost in open spaces. The moth deploys its camouflaging forewings and flashes bright warnings. And it feeds through a tube that it keeps coiled away beneath its head. Cunning systems of levers and joints open and close roofs and mouths of fish. The elastic-powered pipe-fish can suck in its prey in milliseconds. The unfolding poppy petal conceals so much. Where do the creases go? What tricks is nature showing us that we have yet to see? What can we pick up from these fascinating nature-geometries to solve human problems? This studio is the start of a fascinating and mysterious trail from folding paper to unfolding structures, an enticing quest to decipher a classification system and to present a wide variety of deployable principles with potential application in architectural structure and design. And to develop and illustrate clearly the two typologies – the Origami and Scissor mechanism. Technically speaking deployable structures can expand and contract due to their geometrical arrangement and mechanical joineries. Unlike static structures, they can fold, reduce in size and fit into a limited space when not in use; when required, these structures can be deployed to serve its intended purpose.

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Fig 1 333 333

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Technology UG Level-2

Fig 1 Vrihit Jethva Some images of the working model of the very fascinating and kinetic ’Wave Pavilion’ inspired by the human spine. Fig 2 Akshata Patel Scaled model of ’The Creche’, the high-spirited play-house for kids. Fig 3 Kush Patel ’Aashray’, the very stable shelter that folds like a book. Fig 4 Gopalan Awasthi Two stages of the implausible shelter ’Sharan’. Fig 5 Chintan Shah ’Gruham’, an impressive collapsible and practical hexagon shaped shelter.

Fig 6 Smit Borad An incredible acrylic model of the ’Walking Walkway’ Fig 7 Dhruvi Shah ’Sahyog’, the remarkable deployable container. Fig 8 Poojan Kamdar Deployment Stages of the ’Diverging Canopy’ Fig 9 S Madhuvanthi A cat already made its home under the ’Congrutent’. Fig 10 Jaimin Tank ’Hexaspin’, a pivoted sun shading system. Fig 11 Shalv Kapadia ’Tridi Condo’, a foldable and compactible shade. Fig 12 Rajvi Shah ’Cardgami’, The shelter made out of cardboard.

Faculty of Technology CT2012 Spring 2022

Fig 2

Fig 3

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Fig 6

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Faculty of Technology CT2012 Spring 2022

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Technology UG Level-2

Fig 7

Fig 8

Fig 9

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Fig 11

Fig 12 337 337

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CT2023

Exploring the Indigenous Construction Techniques and Reinterpreting them in the Modern Context Focus Analyzing and Designing Unit Assistant Sukhdevsinh Parmar Vihangraj Vyas Faculty of Technology CT2023 Spring 2022

2 nd year Raghav Ramani Sunay Shah Sahil Tanti

3 rd year Shlok Patel Ansh Gupta Dhruv Patel Pruthvirajsinh Vaghela Rushi Patel

Sidhharth Srivastava

Anand Panchal

The studio focused on imparting an understanding of vernacular construction systems of three different regions in India using locally available materials. Students designed a small workspace for craftspersons making critical improvisations in the existing vernacular construction systems to make it suitable for modern requirements. Vernacular construction systems are inherently cross-disciplinary, as its practitioners are trained to think about the process of making as an overall derivative of material properties, spatial utility, idiosyncrasies as well as climate, all at the same time. This stands in contrast with a compartmentalized approach, often evident in contemporary approaches in practice and pedagogy. Thus, looking towards the vernacular methods of construction can create a fecund ground to achieve the above-mentioned understanding. Students looked at the works of some master builders who have successfully blurred the boundaries between architecture and engineering such as Geoffery Bawa in Sri Lanka, Hassan Fathy in Egypt, Didi Contractor, and Chitra Vishwanath in India.

338

Fig 1 339 339

339

Technology UG Level-2

Fig 1 Ansh Gupta Subtracting and carving spaces in Mud. Fig 2 Sunay Shah Hand Drafted section of a house in Khojalvasa. Fig 3 Pruthviraj Vaghela Redesigned/ Improvised section of an existing house in Sinor. Fig 4 Rushi Patel Exploded drawing of a wall section of an existing house in Sinor. Fig 5 Rushi Patel Exploded drawing of a door detail of an existing house in Sinor.

Fig 6, 7, 8 Sunay Shah Process imgaes of casting CSEB brick. Fig 9 Rushi Patel Rammed Earth wall Exploration. Fig 10 Ansh Gupta Mud roll exploration for insulation. Fig 11 Pruthviraj Vaghela 1:2 Scale joinery model with actual materials. Fig 12 Rushi Patel 1:2 Scale joinery model Fig 13 Ansh Gupta Studio design.

Faculty of Technology CT2023 Spring 2022

Fig 2

Wooden Beam Bracket Capital

Wooden Shaft Brick Wall Lintel Window Frame Window Sill

Wooden Frame Stone Base

Wooden Beam

Wooden Beam Bracket Capital

Door Frame

Wooden Lintel Wooden Shaft Door

Wooden Door

80*100mm Wooden Member Railing Terracotta tiles

Door Sill

Stone Base

Brick wall

Lime mortar Brick and lime jelly/slurry Bricks Diagonally placed brick 150*120*30

Wooden joists 120*50

Wooden Beams Stone

Wooden Beam Bracket Capital

Brick Column 1780*200 Wooden Shaft

Plinth

Fig 3

R.C.C/B.B.L.C

WOOD

IPS Brick Ballast/Gravel

Earth

BRICK

PROJECT: SHINOR SITE VISIT DRAWINGS FACULTY : SIDDHARTH SRIVASTAVA ANAND PANCHAL TITLE : SECTION AA' T.A : SUKHDEVSINH PARMAR STUDIO : CT2023 VIHANGRAJ VYAS

STUDENT: PRUTHVIRAJSINH VAGHELA 0

500

1500

NOTES :

UG191079 3000 mm

1) 2)

SHEET NO:

ALL THE DIMENSIONS ARE IN MM. DRAWINGS ARE TO BE READ, NOT F.T - C.E.P.T - 2021-22 TO BE MEASURED.

340

LEGEND:

250*100mm Stone Base

340

Wall

Lintel Door Frame

Hinge Door Wooden Frame

Pivot

Hinge

IPS Brick Ballast Wall

Lintel

Plank

Wall

Door

Wooden Batton

Facia Lintel

Lintel

Hinge

Wooden Frame

Window Window Frame Window Frame Window Frame Hinge

Wooden Frame

Door Frame Door Hinge

Door Frame Door Frame

IPS Brick Ballast Plank Brick Wall IPS

Wooden Battons

Beam

Wooden Members

Pivot Lintel

Wooden Base

Wooden Door

Door Sill(Threshold/Umro)

Wooden Lintel

Door Frame

Wooden Frame

WOOD BRICK Earth

PROJECT: SHINOR SITE VISIT DRAWINGS FACULTY : SIDDHARTH SRIVASTAVA ANAND PANCHAL TITLE : WALL SECTION T.A : SUKHDEVSINH PARMAR STUDIO : CT2023 VIHANGRAJ VYAS

STUDENT: RUSHI PATEL UG191142 0

100

300

600

SHEET NO

NOTES : ALL THE DIMENSIONS ARE IN MM.

F.T - C.E.P.T - 2

Wooden Member

Wooden Base IPS Brick Ballast Door Sill(Threshold/Umro)

Fig 4

Wall

HINOR SITE VISIT DRAWINGS FACULTY : SIDDHARTH SRIVASTAVA ANAND PANCHAL XPLODED WALL SECTION T.A : SUKHDEVSINH PARMAR T2023 VIHANGRAJ VYAS

STUDENT: RUSHI PATEL UG191142 0 100 300

600

1000

1500

2100

NOTES : 1)

ALL THE DIMENSIONS ARE IN MM.

Fig 5

SHEET NO:

341

F.T - C.E.P.T - 2021-22

341

Fig 8

Fig 6 Faculty of Technology CT2023 Spring 2022

342

Technology UG Level-2

Fig 7

Fig 10 Fig 9

Fig 11

Fig 12

342

R.L. +8900 G. F.

3000

Gutter

Rammer Earth Wall

Wooden Flooring

F.F.L. +1540 G. F.

1540

Timber Joists Timber Battens Lintel Beam

1200

±0 BASENMENT

Sand+ Clay+ Straws 3' Moistured Soil

F.F.L. -1200 BASENMENT

615

2"- 5" Rocks 3"-10" Rocks P.C.C.

F.L. -1815 BASENMENT

Section - 11' LEGEND: Mortar Earth

STEEL

WOOD

Stone

5150

3400

1950

2000

TITLE : SECTION 11' and 22' 3400 2100 2000 1950 D

FACULTY : SIDDHARTH SRIVASTAVA ANAND PANCHAL F T.A

STUDIO : CT2023

Rammed Earth

5250

: SUKHDEVSINH PARMAR VIHANGRAJ VYAS

STUDEN 0 100

A Down

Stone

PROJECT: SHINOR SITE

3800

300

1500

2000

Down

2075

2375

3500

900

3500

Mortar

WOOD

Earth

Stone

Rammed Earth

STEEL

PROJECT: SHINOR SITE TITLE : GROUND FLOOR PLAN STUDIO : CT2023

3500

: SUKHDEVSINH PARMAR VIHANGRAJ VYAS

5200

FACULTY : SIDDHARTH SRIVASTAVA ANAND PANCHAL T.A

900

C 1'

LEGEND:

900

STUDENT: ANSH GUPTA_UG190141 0 100

300

600

1000

1500

2100 mm

NOTES : 1) 2)

ALL THE DIMENSIONS ARE IN MM. DRAWINGS ARE TO BE READ, NOT TO BE MEASURED.

NORTH

SHEET NO:

F.T - C.E.P.T - 2021-22

Fig 13

343 343

343

300

CT2014

Plumbing Design Studio

Focus Analyzing and Designing Unit Assistants Khyati Chandpa Rushil Shah Faculty of Technology CT2014 Spring 2022

2 nd year Abijith M Hansraj Rathi Jenish Kathiriya Mohit Mungre Neel Shah Nihar Shah Ruchit Patel Saumitra Nachane Shubham Raval

3rd year Moksha Trivedi Shaivi Padsala Yashraj Patel

Dipsha Shah

Dipen Mehta

Water is the most precious natural resource. Ensure availability and sustainable water management is mandatory for healthy environments and one of the sustainable development goals. The main aim of the plumbing design studio is to plan and design economical and sustainable plumbing services. A variety of projects such as commercial, residential, mall, hotel, hospital, school, resort, hostel, studio apartments will be assigned to the students for the designing of the plumbing services. The students will plan and design sustainable and economical plumbing services of an assigned project and estimate the cost with many design constraints such as freshwater consumption reduction, installation of the water meter, centralized hot water and RO system, rainwater harvesting, recycling, and reuse of wastewater. In plumbing services design, students estimated the daily water consumption, will do water supply pipe sizing, determine pump capacity, and design stack sizing and drainage system. Students also selected water-efficient fixtures. Students prepared plumbing design drawings and the digital non – working models representing plumbing services of assigned projects

344

Fig 1

Fig 2

Fig 3 345 345

345

Technology UG Level-2

Fig 1 Abijith M. Resort at Sasan Gir Fig 2 Shubham Raval Hospital at Gandhidham Fig 3 Moksha Trivedi Vadi at Mehsana Fig 4 Saumitra Nachane Low-Rise Apartment Scheme Gandhinagar Fig 5 Nihar Shah Image of Swimming pool at Kadi

Faculty of Technology CT2014 Spring 2022

Fig 4

Fig 6 Saumitra Nachane water supply Schematic Diagram of Low-Rise Apartment Scheme Gandhinagar Fig 7 Shaivi Padsala Hotel at Bechraji Fig 8 Hansraj Rathi EWS Scheme Vadodara Fig 9 Mohit Mungre Hotel at Morbi Fig 10 GIFT City and Swagat Agacia studio site visit Fig 11 Working model of all the students

Fig 5

Fig 6

346

Fig 7

Fig 8

Fig 9 347 347

347

Faculty of Technology CT2014 Spring 2022

348

Technology UG Level-2

Fig 10

348

Fig 11 349 349

349

CT3011

Engineering Sustainability: Impact of Design, Material and Technologies Unit Assistant Pravin Mistry Jay Darji

Faculty of Technology CT3011 Spring 2022

4 th year Aaradhya Parakh Anushka Chaudhary Mahir Patel Neer Patel Nilay Bhuva Rudra Dhaduk Varun Doulatani Vishesh Joshi

5 th year Shivam Soni

Varun Yadav

Dhawal Mistry

India is the second fastest growing economy in the world and within India, the construction industry is the second largest after agriculture. Real estate development is one of the most energy and resource intensive sectors in India. Real estate sector represents a large percentage of overall energy consumption, and contributes 40% of the carbon emissions driving climate change. Yet buildings also offer opportunities for substantial, economical energy efficiency gains. From retrofit projects to new construction, buildings require a context-specific design process that integrates efficiency strategies and technologies. In this course, students were introduced to basic technologies and analytical techniques for designing data driven resource-efficient buildings. The primary focus of this course was upon studying the thermal and luminous behavior of buildings and enhanced performance. The studio aimed to examine the basic scientific principles underlying these phenomena, and use computer-aided design software and climate data to explore the role light, ventilation and energy can play in shaping architecture. The students were exposed to concepts of passive architecture, embodied energy and carbon, minimizing energy and water consumption by optimal design.

350

Loaction: Naranpura, Ahmedabad Type of residence: 3BHK(G+4) Residential Apartment

Loaction: Kalawad Road, Rajkot Type of residence: 3 BHK(G+5), Residential Apartment

Loaction: Anurag Nagar, Indore (Madhya Pradesh) Type of residence: G+2 Bungalow

25.4 °C 25 °C 24.8 °C 24.5 °C

24.9 °C

24.6 °C 24.6 °C 24.5 °C 24.4 °C

24.8 °C

26.2°C

24.7°C

27.2°C

23.7°C

27.6°C

23.2°C

26.7°C

22.7°C

26.6 °C

22.4°C

LEGEND

At first the students were given the exercise to document their own dwellings from macro to micro level. At macro level students worked on locating all 9 cases within 3 cities. Further, they did a detailed analysis of their neighbourhood by documenting the context.

Hospital

20.9°C 20.9°C 20.9°C 21.0°C 21.1°C

LEGEND 0.5 km Radius

Petrol pump

1 km Radius

Temple

Restaurant

Higher Education

Medical store

Gym

Local School

Grocery Store

21.2°C 21.3°C 21.4°C 21.9°C 21.4°C

Recreational Area

Public Transport

Employment

Vegetable market

Cycling Track

Trees

Water Body

Green Patches

Temporary Settlement

Barren Land

Road

Build-up Area

Pavement

Dwelling

Fig 1 351 351

351

Technology UG Level-3

+2650 MM SLAB LVL +2650BOTTOM MM SLAB BOTTOM LVL +2050 MM LINTEL LVL +2050 MM LINTEL LVL +1450 MM +1450 MM

Fig 6 Neer Patel Opening Optimization SECTION AA' Analysis SECTION AA' Fig 7 Neer Patel Thermal Comfort Fig 8 Neer Patel IES Daylight Results N Fig 9 Neer Patel Material Insulation Analysis

Fig 1 Neer Patel, Rudra Dhaduk, Aaradhya Parakh Contextual Analysis Fig 2 Neer Patel Base case Analysis Fig 3 Neer Patel Orientation Fig 4 Neer Patel Solar Radiation Fig 5 Neer Patel Proposed Case Analysis

+800 MM SILL +800 LVL MM SILL LVL +00 MM EXISTING +00 MM GROUND LVL EXISTING GROUND LVL

BED ROOM 2 BED ROOM 2

TOILET 2 TOILET 2

BALCONY BALCONY

+2650 MM SLAB LVL +2650BOTTOM MM SLAB BOTTOM LVL +2050 MM LINTEL LVL +2050 MM LINTEL LVL +1450 MM +1450 MM

+800 MM SILL +800 LVL MM SILL LVL +00 MM EXISTING +00 MM GROUND LVL EXISTING GROUND LVL

BED ROOM 3 BED ROOM 3

TOILET 1 TOILET 1

STORE STORE

SECTION BB' SECTION BB'

+2650 MM SLAB LVL +2650BOTTOM MM SLAB BOTTOM LVL +2050 MM MM +2650 LINTEL LVL +2050BOTTOM MM SLAB LVL LINTEL LVL +1450 MM MM +2050 +1450 MM LINTEL LVL

+1450 MM

OM 3

OM BED RO

BED RO

+00 +800MM MM EXISTING +00 SILLMM LVL GROUND LVL EXISTING GROUND LVL +00 MM EXISTING GROUND LVL

BED ROOM BED 3 ROOM 3

DRAWING ROOM DRAWING ROOM BED ROOM 2

Section AA’

OM ING RO

ILET 1

DRAW

+2650 MM SLAB LVL +2650BOTTOM MM SLAB BOTTOM LVL +2050 MM +2650 LINTEL LVL SLAB LVL +2050BOTTOM MM LINTEL LVL +1450 MM +2050 LINTEL LVL +1450 MM

TOILE

+1450 MM +800 MM SILL LVL +800 MM SILL LVL +00 +800MM MM EXISTING SILLMM LVL GROUND LVL +00 EXISTING GROUND LVL +00 MM EXISTING GROUND LVL

BALCON

OM 1

BED RO EN

KITCH

BALCONY BALCONY

DRAWING ROOM DRAWING ROOM

TOILET 2 SECTION CC' SECTION CC' SECTION AA'

BALCONY

BED ROOM 1 BED ROOM 1

BED ROOM 3

Section DD’

Faculty of Technology CT3011 Spring 2022

KITCHEN KITCHEN

STORE STORE

DRAWING ROOM DRAWING ROOM

TOILET 1 STORE SECTION DD' SECTION DD' SECTION BB'

STOR

+2650 MM SLAB LVL +2650BOTTOM MM SLAB BOTTOM LVL +2050 MM +2650 MM LINTEL LVL +2050BOTTOM MM SLAB LVL LINTEL LVL

D2 V1 W1

DRAWING ROOM DRAWING ROOM

BED ROOM 2 BED ROOM 2

BED ROOM 3 BED ROOM 3

+1450 MM +2050 MM +1450 MM LINTEL LVL

+1450 MM +00 MM EXISTING +00 MM GROUND LVL EXISTING GROUND LVL

Plan

+00 MM EXISTING GROUND LVL

BED

ROOM 3 DRAWING ROOM Section EE’

SECTION EE' SECTION EE'

DRAWING ROOM

SECTION CC'

Building Envelope Data +2650 MM SLAB BOTTOM LVL

CARPET AREA SPACE

LIVING AREA KITCHEN STORE BED 1 BED 2 BED 3

SIZE LXB 6.48 X 4.82 3.65 X 2.32 1.79 X 1.32 3.65 X 3.65 4.15 X 2.99 3.65 X 3.35

WINDOW DETAILS TYPE OF WINDOW

SIZE LXB

AREA SQ.MT.

GLASS AREA

% w.r.t. CARPET

OPENABLE AREA

% w.r.t. CARPET

TYPE OF GLASS

31.23

Casement

2.1 X 1.25

2.63

2.1

3.28

2.36

2.95

Flat Clear Glass

Casement

0.9 X 0.6

0.54

0.432

1.11

0.49

1.00

Flat Clear Glass

2.36

Casement

0.00

Flat Clear Glass

13.32

Casement

1.8 X 1.25

2.25

1.8

5.93

2.03

5.33

Flat Clear Glass

12.41

Casement

1.8 X 1.25

2.25

1.8

9.13

2.03

8.22

Flat Clear Glass

Casement 0.815 X 1.25

1.02

0.815

8.33

0.92

7.50

RETV Value

Climate DRAWING ROOM

+2050 MM LINTEL LVL +1450 MM

Flat Clear Glass

SIZE

TYPE

SHAPE

SIZE

BED 1

South

1.8 X 1.25

CHAJJA (FRP)

Rectangle

2.4 X 0.7

BED 2

East

1.8 X 1.25

CHAJJA (FRP)

Rectangle

2.1 X 0.7

North, 0

BED 3

East

0.815 X 1.25

CHAJJA (FRP)

Rectangle

2.4 X 0.9

LIVING AREA

South

2.1 X 1.25

CHAJJA (FRP)

Rectangle

KITCHEN

South

0.9 X 0.6

CHAJJA (FRP)

Rectangle

GWA

6.48 X 0.11

AREA (SQ.MT.) WWR

35.51

GWA

35.51

0.00

EAST WA

GWA

5.42

22.00

0.15

12.5

BED ROOM 2

VLT

GWA

3.27

21.81

0.15

0.27

0.70 SECTION EE' 0.70

0.27 0.27

0.27

Roof U-Value

WEST WA

Min. VLT (ECBC)

West, 0

WINDOW TO WALL RATIO SOUTH

WFR (ECBC)

9.11

Orientation, WWR VLT (Original)

East, 0.15 NORTH

WFR

BED ROOM 3

South, 0.15

ORI.

RETV (ECBC)

14.89

WFR (Original)

Hot & Dry

+2650 MM SLAB BOTTOM LVL

+00 MM EXISTING GROUND LVL

REF.

DRAWING ROOM

RETV (Original)

North SECTION DD'

SHADING TYPE

WINDOW OPENING

KITCHEN

STORE

Orientation

+00 MM EXISTING GROUND LVL

SHADING ELEMENTS SPACE

BED ROOM 1

+1450 MM

+800 MM SILL LVL

8.47

12.23

BALCONY

+2050 MM LINTEL LVL

SQ.MT.

WA 0

U-value (Original)

U-value (ECBC)

3.383

1.2

0.00

Aimed Daylight For Building Temperature vs. Orientation (North) (15th May, 4:00PM)

Daylight (10:30 AM, 15th May)

350

300

Temperature (º C)

250

Lux

200 150

Fig 5

39 38 37 36

100

50 0

Living Room

Kitchen

Bedroom-1

Bedroom-2

Bedroom-3

Daylight Levels

110

250

280

221

North (Original) Orientation

Aimed Daylight Levels

150

300

250

200

Outdoor Temperature

Kitchen

Drawing Room

Bedroom-1

Bedroom-2

Bedroom-3

36.94

37.41

38.22

38.79

37.56

Aimed Temperature For Building

35.00 33.00 31.00 29.00

Temperature (º C)

41.00

Temperature (º C)

39.00

43.00

37.00

27.00

Temperatures (10:00 PM, 15th May)

Temperatures (4:00 PM, 15th May)

Temperatures (8:00 AM, 15th May) 39.00

39.00 37.00 35.00 33.00 31.00 29.00 27.00

Living Room

Kitchen

Bedroom-1

Bedroom-2

Bedroom-3

Outdoor Temperature

30.00

Indoor Temperatures

36.38

36.29

37.02

37.65

36.95

Aimed Temperatures

31.00

37.00 35.00 33.00 31.00 29.00 27.00

Living Room

Kitchen

Bedroom-1

Bedroom-2

Bedroom-3

Living Room

Kitchen

Bedroom-1

Bedroom-2

Bedroom-3

Outdoor Temperature

41.00

Outdoor Temperature

35.00

Indoor Temperatures

37.12

36.94

38.26

38.41

37.39

Indoor Temperatures

37.77

37.15

38.11

38.42

37.85

Aimed Temperatures

31.00

Aimed Temperatures

31.00

Fig 3

352

RETV Value

W3 D3

T ILE

0 365 X 0 365

179

EN 0 CH 232 KIT 0 X 365

335

BED ROOM 2 4150 X 2990

D BE

132

OM RO 0 ING X 482 AW 0 DR 648

299

BED ROOM 3 3650 X 3350

365

132

180 TO ILE 0 X T 129 2 0

OM RO

D BE

0 118

1 OM 0 RO 365 D 0X BE 365

2 0 T ILE 129 TO 0 X 180 V1 D1

Y 0 ON 138 X

LC BA 0 179

0 178

415

179

E OR ST

BE 365 D RO 0 X OM 365 1 0

TOILET 2 1800 X 1290

BALCONY 1790 X 1380 D3

TOILET 1 1780 X 1180

179BA LC 0 ON X 138 Y 0

BED ROOM 1 3650 X 3650

KITCHEN 3650 X 2320 DRAWING ROOM 6480 X 4820

BE 365 D RO 0 X OM 335 3 0

299

ST OR E

STORE 1790 X 1320 X

TO ILE T

415

129

365 KIT 0 CH X EN 232

180

DR AW 648 ING 0 X RO 482 OM 0

BE 415 D RO 0 X OM 299 2 0

BE 1

118

132

179

BEDROOM 3: NORTH-WEST FACE

ILE

ILE TO 0 X 178

EN 0 CH 232 KIT 0 X 365

118

3 OM 0 RO 335 D 0X BE 365

178

STO

OM RO 0 ING X 482 AW 0 DR 648

D3 D2

LCOX BA 0 179

NY 0 138

BEDROOM 3: NORTH-EAST FACE

BEDROOM 3: SOUTH FACE

BEDROOM 3: SOUTH-WEST FACE

Solar Radiation

Fig 3 BASE CASE (NORTH)

PROPOSED CASE (SOUTH)

Face

Kwh

Face

Kwh

North

South

East

West

Roof

680

Roof

680

Total

922

Total

893

WEST FACE +2650 MM SLAB BOTTOM LVL +2050 MM +2650 MM LINTEL LVL SLAB BOTTOM LVL +1450 MM +2050 MM LINTEL LVL +800 MM +1450 MM SILL LVL +00 MM +800 MM GROUND LVL EXISTING SILL LVL

BED ROOM 2

+00 MM EXISTING GROUND LVL

BED ROOM 2

TOILET 2

SECTION AA'

EAST FACE

Face

Kwh

Face

North

South

Kwh 61 149 134

East

126

East

West BALCONY

169

West

Roof

680

Roof

680

Total

1067

Total

1071

BALCONY

TOILET 2AA' SECTION

+2650 MM SLAB BOTTOM LVL +2050 MM +2650 MM LINTEL LVL SLAB BOTTOM LVL +1450 MM +2050 MM LINTEL LVL +800 MM +1450 MM SILL LVL

N A

STORE 1790 X 1320

KITCHEN 3650 X 2320

TOILET 2 1800 X 1290

+2050 MM +2650 MM LINTEL LVL SLAB BOTTOM LVL +1450 MM +2050 MM +2650 MM LINTEL LVL SLAB BOTTOM LVL +800 MM +1450 MM SILL LVL +2050 MM LINTEL LVL +00 MM +800 MM EXISTING +1450 MM GROUND LVL SILL LVL

DRAWING ROOM 6480 X 4820

D2 W3

+00 MM EXISTING +800 MM GROUND LVL SILL LVL

+2650 MM SLAB BOTTOM LVL

TOILET 1 1780 X 1180 D2

STORE

SECTION BB'

Fig 4 BED ROOM 3

DRAWING ROOM

BED ROOM 3

DRAWING ROOM

BED ROOM 2 4150 X 2990

BALCONY

BED ROOM 1

STORE

KITCHEN

DRAWING ROOM

BALCONY

BED ROOM 1

STORE

KITCHEN

DRAWING ROOM

SECTION DD' SECTION BB'

+2050 MM +2650 MM LINTEL LVL SLAB BOTTOM LVL +1450 MM +2050 MM LINTEL LVL +2650 MM SLAB BOTTOM LVL +1450 MM +2050 MM LINTEL +00 MMLVL

Plan

A Temperature Levels B

DRAWING ROOM

BED ROOM 3

BED ROOM 2

DRAWING ROOM

BED ROOM 3

BED ROOM 2

EXISTING GROUND LVL +1450 MM +00 MM EXISTING GROUND LVL +00 MM EXISTING GROUND LVL

TOILET 1 SECTION DD'STORE

ROOM 3 SectionBEDDD’

+2650 MM SLAB BOTTOM LVL

BED ROOM 3 3650 X 3350

TOILET 2 BALCONY SECTION CC'

SECTION AA'

Section AA’

+00 MM +800 MM GROUND LVL EXISTING SILL LVL +00 MM EXISTING GROUND LVL

SECTION EE'

Section EE’ BED ROOM 3

+2650 MM SLAB BOTTOM LVL

+800 MM SILL LVL

37 36

+2650 MM SLAB BOTTOM LVL

+2050 MM LINTEL LVL

+1450 MM

Kitchen

Drawing Room

Bedroom-1

Bedroom-2

Bedroom-3

36.94

37.41

38.22

38.79

37.56

South Orientation

36.94

37.12

38.26

38.41

37.39

KITCHEN

DRAWING ROOM

150 100

DRAWING ROOM

BED ROOM 2

BED ROOM 3

50 0

+00 MM EXISTING GROUND LVL

STORE

SECTION DD'

200

North (Original) Orientation Outdoor Temperature

BED ROOM 1

250

+00 MM EXISTING GROUND LVL

350 300

Lux

Temperature (º C)

+1450 MM

DRAWING ROOM

Average Daylight Levels BALCONY

+2050 MM LINTEL LVL

SECTION EE'

DRAWING ROOM

Average Daylight Levels SECTION CC'

S Temperature vs. Orientation (South) (15th May, 4:00PM)

DRAWING ROOM

SECTION CC'DRAWING ROOM

BED ROOM 2

+00 MM EXISTING GROUND LVL

BED ROOM 1 3650 X 3650

STORE

TOILET 1 SECTION BB'

+2050 MM +2650 MM LINTEL LVL SLAB BOTTOM LVL +1450 MM +2050 MM LINTEL LVL +2650 MM SLAB BOTTOM LVL +1450 MM +2050 MM LINTEL LVL +00 MM EXISTING GROUND LVL +1450 MM

TOILET 1

BED ROOM 3

+2650 MM SLAB BOTTOM LVL

BALCONY 1790 X 1380

BED ROOM 3

+00 MM EXISTING GROUND LVL

Proposed Case

+00 MM +800 MM GROUND LVL EXISTING SILL LVL

Base Case

110

250

Aimed

150

300

Proposed Case

160

305

280

221

300

250

200

280

220

SECTION 300 EE'

Conclusion Students were able to analyse the thermal performance of their indivisual dwelling, both, manually and technically (IES VE) and later proposed the design solutions for improving the thermal performance for the same.

Fig 5 353 353

353

Technology UG Level-3

Sun Shading Diagrams December to June for Ahmedabad

Base Case

Proposed Case

SUN SHADING CALCULATION PROCESS • Setting Overhang, Left & RIght shading angles from the data extracted and calculated above. • Setting of bearing to specify orientation of the window. Base Case: South Facing Window Shaded Hours: 1329 Exposed Hours: 551

Proposed Case: North Facing Window Shaded Hours: 1112 Exposed Hours: 85

South Facing Window Shaded Hours: 1411 Exposed Hours: 469

Daylight and Shading Interventions Proposed Case

Base Case Input Data: Window Size- 1.8 x 1.25 m2 Window Orientation: South

Base Case Result: Avg. Lux: 280 Temperature: 38.26 °C

Proposed Case Input Data: Window Size- 1.8 x 1.25 m2 Window Orientation: North

Proposed Case Result: Avg. Lux: 300 Temperature: 38.22 °C

BED ROOM

STORE

BED ROOM

BALCONY

BED ROOM 1 KITCHEN

TOILET

TOILET 2

ROOM

TOILET 1

TOILET DRAWING

BED ROOM

DRAWING ROOM

Faculty of Technology CT3011 Spring 2022

Base Case

BALCONY

KITCHEN

BED ROOM 2 STORE

BED ROOM 3

Base Case: South Facing Window Shaded Hours: 1341 Exposed Hours: 539

Proposed Case: North Facing Window Shaded Hours: 1020 Exposed Hours: 177

Base Case

Proposed Case

E S

Base Case Input Data: Window Size- 0.9 x 0.6 m2 Window Orientation: South

Base Case Result: Avg. Lux: 252 Temperature: 36.94 °C

Proposed Case Input Data: Window Size- 0.9 x 0.6 m2 Window Orientation: North

Proposed Case Result: Avg. Lux: 305 Temperature: 36.94 °C

BED ROOM

STORE

BED ROOM

BALCONY

BED ROOM 1 KITCHEN

TOILET 2

TOILET

BED ROOM

DRAWING ROOM

ROOM

TOILET 1

TOILET DRAWING

BALCONY

KITCHEN

BED ROOM 2 STORE

BED ROOM 3

Base Case: South Facing Window Shaded Hours: 1327 Exposed Hours: 553

Proposed Case: North Facing Window Shaded Hours: 1020 Exposed Hours: 177

Fig Fig 66

354

Thermal Comfort and Material Interventions Intervention Analysis Chart without Insulation

Bedroom 1

Bedroom 2

39.00

41.00

38.00

39.00

37.00

Temperature

36.00 35.00 34.00 33.00 32.00

35.00 33.00

31.00

30.00 29.00

29.00

Base Case

Best Orientation

Opening Optimization

Natural Ventilation

AC without Insulation

AC with Insulation

Base Case

Best Orientation

Opening Optimization

Natural Ventilation

AC without Insulation

AC with Insulation

8:00 AM

37.20

37.02

36.12

34.77

33.21

31.34

8:00 AM

37.15

37.65

36.05

34.68

31.48

30.48

4:00 PM

38.22

38.26

37.53

36.34

35.09

30.73

4:00 PM

38.79

38.41

37.44

36.17

35.53

31.00

10:00 PM

38.30

38.11

37.96

37.47

37.11

32.48

10:00 PM

38.76

38.42

38.01

37.74

37.18

32.56

Drawing Room

Bedroom 3 39.00

39.00

38.00

37.00

37.00 36.00

Temperature

36.00 35.00 34.00 33.00 32.00

35.00 34.00 33.00 32.00

31.00

30.00 29.00

30.00

Base Case

Best Orientation

Opening Optimization

Natural Ventilation

AC without Insulation

AC with Insulation

Base Case

Best Orientation

Opening Optimization

Natural Ventilation

AC without Insulation

AC with Insulation

8:00 AM

36.62

36.98

35.90

33.94

31.68

30.16

8:00 AM

36.33

36.38

35.80

34.50

32.64

31.13

4:00 PM

37.56

37.39

36.93

36.02

34.77

32.27

4:00 PM

37.41

37.12

36.87

36.50

36.07

32.43

10:00 PM

37.88

37.85

37.60

37.44

37.12

32.27

10:00 PM

37.69

37.77

37.23

36.81

35.93

33.10

• Base case, best orientation, opening optimization and natural ventilation are temperatures achived from passive techniques. AC without Insulation and with Insulation are temperatures achived from active techniques. • For all the interventions, in all the spaces the temperatures recorded at 3 times move parallel to each other. The biggest decrease in the temperature is noticed when the insulation is added to the wall section. Apart from insulation, the orientation has a bit negative impact on some of the spaces. The 4pm line and 8pm line almost run together, due to the effect of thermal lag due to the envelope. While the 8am line moves seperate due to effect of natural ventilation and lower outdoor temperature during the morning hours.

Input Data Table

Sr.No. 1 2

U-Value

Case

AC Set point

Ext. Wall

Roof

Glass

Bedroom 1

Bedroom 2

Bedroom 3

2.04 0.49

3.61 0.79

5.17 2.74

Base Case Proposed Case

COMFORT ZONE GRAPH AS PER CARBSE

Fig 9

MATERIALS

Mineral Wool for External Wall Insulation

Cork Slab for Roof Insulation

DGU for Windows

Temperature Chart with Insulation

Comfort

08:30

12:30

Bedroom 1

16:30

22:30

45 40 35 30 25 20 15 10 5 0

Comfort

Drawing Room

Kitchen 45 40 35 30 25 20 15 10 5 0

08:30

12:30

16:30

22:30

45 40 35 30 25 20 15 10 5 0

Comfort

08:30

12:30

16:30

22:30

Without Insulation

34.89

37.00

40.40

40.28

Without Insulation

32.64

36.79

40.18

38.27

Without Insulation

33.21

34.99

35.09

38.10

With Insulation

33.83

35.17

36.02

35.64

With Insulation

31.13

32.83

32.43

33.10

With Insulation

31.34

31.85

30.73

32.48

5 0

OBSERVATIONS

Bedroom 3 40

Bedroom 2 40

5 0

08:30

12:30

16:30

22:30

08:30

12:30

16:30

22:30

Without Insulation

31.48

34.42

35.53

37.18

Without Insulation

31.68

34.35

34.77

37.12

With Insulation

30.48

31.51

31.00

32.56

With Insulation

30.16

31.08

30.12

32.27

Comfort

Most of the spaces are able to achieve the thermal comfort temperatures when insulation is applied on the walls and air conditioners are used. This is not the case when there is no insulation on the walls. As we progress through daytime there is an increase in temperature and this trend is more pronounced in unconditioned spaces. It is however important to note that in some graphs we can see an upward trend in the temperature despite the absence of the source of heat, which can be due to the insulation not allowing the heat to move outdoors, and hence the walls emit heat indoors which is highly undesirable. It is therefore important to note that overuse of insulation is not advisable and using convection to push out heat in the evening is key to passively moving towards thermal comfort.

Through multiple intervention ideas, iterations to test and optimise interventions, an attempt was made to move towards thermal comfort and energy efficiency. As per the simulations in IES despite the optimizing of opening sizes, shading elements and wall sections, thermal comfort could not be achieved. For daylight, all the studied spaces achieved comfort daylight levels. After all the interventions, the building was able to save 508 kWh of electricity i.e. about 12.45% reduction in annual electricity consumption. I believe that the building can become more efficient through applyment of softscape to reduce radiation on walls, improved shading on the roof and use of water in evaporative cooling applications.

Fig 8&9

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CT3009

MEPF: Services, Design and Coordination

Unit Assistant Moxa Sheth Maulik Poriya

Faculty of Technology CT3009 Spring 2022

4 th year Ahan Pujari Khush Tiwari Tanishq Jain Tavishi Raval Yash Khorasiya

5 th year Harshil Sejpal Nishit Patel Parth Shah

Shamik desai

Arpit Malviya

The course aims to provide a foundational understanding of essential services like electrical, plumbing, fire protection, and HVAC. It has taught students to incorporate these services in any built space seamlessly to enhance comfort, efficiency, and safety. The course teaches design principles, load calculations, capacity determination, standard engineering practices, the concept of sizes, space requirements, layouts, etc. which help visualize the building/facility as a whole. The course has covered actual project illustrations from residential, institutional, hospitality, healthcare & industrial sectors. Students also had the unique opportunity to learn state-of-the-art software viz. Building Information Modelling (BIM). Preparing their project on BIM has added greater clarity and accuracy. At the end of the course, students should be able to foresee how services can be incorporated into a given project and their implications in terms of form, function, aesthetics, and space.

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Fig 1 Tanishq Jain Plumbing Enlarged BIM Model Fig 2 Tavishi Raval Plumbing BIM Model Fig 3 Nishit Patel Plumbing BIM Model of one Toilet Fig 4 Khush Tiwari Architecture and Strcture BIM Model Fig 5 Ahan Pujari Architecture and Strcuture BIM Model

Fig 6 Yash Khorasia Structural BIM Model Fig 7 Harshil Sejpal Strcutural BIM Model Fig 8 Tanishq Jain HVAC Looping and Ducting Model Fig 9 Yash Khorasiya Iverical staking fire System Fig 10 Parth Shah Strcutural BIM Model Fig 11 Tanishq Jain Plumbing BIM Model

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Fig 7 Faculty of Technology CT3009 Spring 2022

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CT3010

Cantilevered Structures - Form, Material, Design and Construction Unit Assistant Khyati Andrapiya

Faculty of Technology CT3010 Spring 2022

4 th year Nikshat Gevariya Stuti Patel

5 year th

Ankur Ahir Devarsh Kangad Rachita Awasthi Siddharth Parmar Urvash Ribadia

Soham Shah

Nipul Patel

Cantilevers are a fascination for designers, whether architectural or structural. Ever since the invention of steel and concrete, engineers and architects have designed masterpieces with cantilevers. To achieve a proper balance between design and function, it is important that architects and structural engineers collaborate with each other. Cantilevers also work at the mass level where they symbolize an expression of freedom and boldness. Some of the most notable architects and engineers to use the cantilevers as an expression were Frank Lloyd Wright, Peter Rice, Norman Foster, Mahendra Raj, among many more Frank Lloyd Wright’s Falling Waters and Robie house changed the perception of housing and created a new style. The mushroom columns at the Johnson Wax museum are a testimony to the fact that Frank Lloyd Wright believed in expressing every material to its fullest. The objective of the course was to inquire and explore the cantilevered structures by introducing, studying, examining and analyzing different materials and their respective properties. Through examples, study materials and exercises, students responded, engaged with and developed the understanding of the cantilever structural form as consisting of stability, serviceability and strength.

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Fig 1

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Fig 1 All students Models Fig 2 Siddharth Parmar Bamboo Structure Fig 2 Siddharth Parmar Entry Gate Fig 4 Siddharth Parmar Palazzo Del Lavoro

Fig 5 Stuti Patel Wall Section, Joinery Details and Structural Process. Fig 7 Urvash Ribadia Parking Structure Fig 8 Urvash Ribadia World Trade Station Fig 9 Ankur Ahir Munich Stadium

Faculty of Technology CT3010 Spring 2022

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Tutor Profiles Aditi Anand Kumar is a practicing architect collaborating in the fields of architecture and monumental steel sculptures, and has worked with Coconne (Belgium), Studio Decode (Bangalore), IWA (Colombo), and Balan Nambiar (Bangalore). She completed her undergraduate from BMSCE, Bangalore, and graduated from KU Leuven, Belgium, specializing in the designing of architecture within the urban context. Akul Modi has received a master’s degree in Construction Management from Thomas Jefferson University, Philadelphia. He constantly compliments his Construction management course work with internships with well practicing construction firms, going above and beyond what was the mandatory curriculum. He has completed his Bachelor’s in Architecture from Institute of Environmental Design. Amal Shah is a graduate of School of Interior Design, CEPT University. He has worked on residential, hospitality, retail, work environments, and healthcare projects. He has been teaching at Faculty of Design, CEPT University as an assistant professor since 2012. He has taught several subjects related to technology, history, research, and studio. He has also guided several research theses. Ami Gokani graduated from School of Architecture, CEPT University in 2014. After graduation, she worked with Opolis Architects,Mumbai. Currently, she works with Prof. Neelkanth Chhaya and is an associate at the collaborative practice ‘Mycelium’.She has a deep interest in the relationship between landscapes,built forms and cultural forms. Amit Joseph Kurien has led and gained experience in multiple large hospitality, healthcare and commercial mixed use scale projects across the globe in the past seven years. Tuning this knowledge from heavily service oriented programs with his competition wins and varied software base, he wishes to explore new architectural narratives that expand beyond the regular academic methodology. Anand Panchal is a practicing professional with in-depth knowledge on areas of civil engineering. An expert in building services, construction and structures, Anand has worked on the latest engineering and cost evaluation techniques for carrying out challenging projects from design to implementation. He has been teaching structural engineering at various universities in Ahmedabad since 2016. Anand Sonecha is an architect and founder of SEALAB. He has designed and built projects such as Jai Jagat Theatre at Sabarmati Ashram, Housing for Loving community and School for Visually impaired students. Prior to establishing his own practice, he worked in India with Prof. Balkrishna Doshi and Rajeev Kathpalia and in Portugal with Alvaro Siza and Carlos Castanheira. He studied architecture at IPSA, Rajkot. Anand Vishwanath is an architect from New Delhi with interests in signage design & visual communication and graphics. Through his firm ‘Beyond Space’ he has worked for many projects pan-India including those for the Ministry of External Affairs, Ministry of Culture, NBCC Ltd., RITES Ltd., National Council for Science Museums, ASI, IHCNF-UNESCO etc. He is visiting faculty at CEPT and NID, Ahmedabad & NIFT. Ananya Parikh is an alumna of Faculty of Design; she graduated with an international master’s in Interior Architecture after completing a thesis titled ‘Thinking about Systems Thinking in Interior Architecture’. She has been working as a freelance designer since 2013. Currently she is working on her independent research project focusing on systems thinking for a holistic approach in design.

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Ankur Yagnik is an Interior Designer (CEPT Alum). He runs his own practice since 2010 that focuses on workspace & corporate clientele, with the occasional retail/healthcare/residential project. Prior to starting his practice, Ankur has worked with large Indian and International firms in leadership roles. He is a rider and a curious soul. Anuj Anjaria earned his bachelor’s in Interior Design from CEPT. He runs his own firm named 7662 Design Workshop, which specializes in installations and sculptures involving kinetic movements. He has been a visiting faculty at FD CEPT, teaching courses such as Furniture Design, Material Workshop, Construction and Technology. He is also a professional Hindustani classical musician and plays the Santoor. Aparajita Basu is the Principal Architect and Founder of ‘[trans] architecture’ since 2002. The firm aims to work with a collaborative and multi-disciplinary approach to architectural design. Currently, she is an adjunct faculty member at the Faculty of Design, CEPT. Arijit Chatterjee is an Architect whose work focuses on Critical Infrastructure. He has worked in architecture, naval architecture and research. Projects include an office for the Commonwealth Tile Factory, Mangalore, India and a boatshed and refuge for the Villanueva boatbuilders, Chile. Arijit is a visiting faculty at the Bengal Institute for Landscape, Architecture and Settlements, Dhaka. Arpi Maheshwari is an architect and Founder at AlignDL. She holds a master’s of Architecture in Emergent Technologies and Design from AA School of Architecture, London. Her passion for computational methods, generative processes, parametric design and digital fabrication has led her to push boundaries with experiments and explorations with a focus on computational design. Arpit Malaviya is a civil engineer with post-graduation in Advanced Construction Management from NICMAR, Indore. He has 4 years of experience in project planning, coordination with services consultants, procurement, construction management and statutory compliances. Avlokita Agarwal is an academician with industry experience, I have been working in the domain of Energy Efficient Buildings, Green Buildings and Passive Design Measures for the last several years. My vision is to facilitate architects and building professionals in order to make every building as sustainable and energy efficient. My research endeavors are a step towards that. Ayazkhan Pathan is an architect from Faculty of Architecture, CEPT University, Ahmedabad. After graduating in the year 2002, he has been actively involved in the fields of architectural practice, as well as academics. Since January, 2018 he has been teaching as Assistant Professor at CEPT University with interests in areas such as architectural detailing, tectonics, housing and urban design. Bharat P has worked closely with Ar. Prashant Pradhan for the past 5 years, understanding all aspects of a design from the minute details to the large masterplan. A strong grasp of design development from a conceptual level to an execution level was evolved during this period, along with a sound approach to interior design under the guidance of an experienced architect. Birva Joshi holds a Master of Science degree in Civil Engineering. She has 15 years of work experience in the transportation engineering field dividing equally between engineering firms & academic institutes. Major areas of interest for her in teaching as well as in research are highway design & safety, public transportation, accessibility, traffic engineering, and different aspects of transportation engineering. ChandraVijai Singh graduated from NID specializing in furniture design. He worked as furniture designer with Stein, Doshi and Bhalla, New Delhi 1984. Worked on Golden Eye exhibition and assisted designers like Ettore Sottsasss and Mario Bellini to develop products and furniture, 1985. He also worked as furniture design coordinator at NID, 1990-1999. He was founding dean of IIDC, Jaipur, 1999-2008 and faculty till 2016.

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Chandresh Solanki is a Professor in the Civil Engineering Department (Geotechnical Engineering) SVNIT, Surat. He has 30 years of teaching experience in undergraduate and postgraduate programs. He has published 180 research papers, contributed to 9 books and received many best paper awards in conferences. He also has been involved in a number of Geotechnical Consultancy projects.402 Dexter Pereira is a graduate of APIED Vallabh Vidhyanagar, he is an architect & interior designer with over 30 years of experience in residential, commercial, retail and hospitality projects & 28 years of teaching experience with design institutes like NID, APIED, Anant National University & CEPT University. Besides design studios, he has taught subjects in technology, history, design at UG & PG level. Dhara Shah is Assistant Professor at FT, since 2006. She graduated in Civil Engineering from Nirma University and did her M.Tech in Structural Design from CEPT University. She received her Doctorate in Civil Engineering from GTU in 2016. At CEPT, she takes studios and subjects related to design of steel structures, marine structures, earthquake engineering. Dhaval Gajjar is an alumnus of the faculty of architecture, CEPT University, Ahmedabad. He has been working in the field of architecture and landscape design for more than 15 years. As part of his practice, he has worked and collaborated with many design practices and consultants from India and overseas. He has been involved in projects of various scales and typologies along with academics. Dhaval Mistry has earned his bachelor’s degree in Architecture from CEPT University. He is interested in exploring the space making element in industrial facilities while maintaining the economic, social and environment sustainability of the overall projects. Dilip Panchal studied Architecture from CEPT University. He currently practices as a studio artist and is a visiting faculty at CEPT University. He has been teaching at foundation level programs to develop visualisation and making skills. His interest lies in understanding the design approach and detailed process to bring about a beautiful and environmentally responsible design. Dipen Mehta established Aqua Utility Designs and Management Pvt. Ltd. formerly known as Aqua Designs, in 2002. Dipen’s wealth of experience encompasses AUDMPL’s complete range and the different size of projects including residential, commercial, retail fit-out, institutional, industrial, etc. As leader, Dipen advises the board of directors, motivates associates, and drives changes within an organization. Dipsha Shah is by qualification, an environmental engineer and manager. Her areas of interest are plumbing design, water and wastewater treatment, air pollution management, infrastructure design related to public health engineering. She delivers expert lectures in various colleges’ on plumbing, water, and wastewater treatment, urban waters, smart cities with a focus on water and sanitation. Errol Reubens Jr. is an architect, interior designer who founded ERA, a firm that benefits from collaborating with different disciplines. His other interests include history & theory, place and identity, sustainability, form,, adaptive reuse, etc. He is a graduate from the School of Architecture, CEPT, and has an M.Arch. from the University of Lincoln, UK. He has been teaching at CEPT for the last 3 years. Gaurang Shah graduated from the National Institute of Design in 1983, with a specialization in product design. He has over a decade of work experience in the research and development department of some leading industries. He has worked with NID as a member of the faculty of Industrial Design, where he was heading the Product Design department.

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Hamid Raj is an alumnus of SID, CEPT, 1992 batch and has attended the co-op program in Architecture at Washington University in St. Louis (99-00). He has worked with Snehal Nagarsheth , OWH architects (St. Louis), Bijoy Jain & Associates (Alibaug-Mumbai) and Modfurn (Chennai). Hamid has worked on architectural, interior design and furniture design projects. He has been teaching at CEPT since 2012. Hazel Karkaria studied at Srishti School of Art, Design and Technology and specialised in Visual Communication. She has co-founded and runs a design studio called By Two Design with With Somesh Kumar that specializes in both illustration and lettering. The art of storytelling has long fascinated her and apart from practicing graphic design and teaching, she works on passion projects centered around food and storytelling. Hiten Chavda is an architect and sustainability professional who is passionate about creating passive design solutions for buildings & products that promote sustainable lifestyle. His areas of interest are biomimicry in design, phase-change materials in construction, flexible spaces, and innovations in housing & problem-based learning methods. 403 403 Imran Mansuri has over 14 years of multidisciplinary academic and professional work experience in India and the USA in fields of architecture, landscape architecture and historic preservation. He has graduated from the Faculty of Architecture CEPT University and holds a Master’s degree in Landscape Architecture, with specialization in historic preservation from the University of New Mexico, USA. Jagrut Patel, believes in designing spaces that engage experiences. A strategic thinker with a passion for innovation, he is always ready with a solution, be it any resource crunch, or an onsite glitch, or the ‘e-Architecting’ design processes. He heads Jagrut & Partners, a team thriving on collaboration, cross-pollination of ideas, solutions and expertise; they are creators of 200+ products that go beyond style. Japan Shah is a structural designer from Ahmedabad with interests in designing high rise structures and industries. Through his firm ‘Japan Shah Consulting Engineers’ he has worked on many projects pan-India with clients like Godrej, Mahindra, Havmor etc. He is visiting faculty at CEPT, Indus and SAL, Ahmedabad. He has also guided some theses in structural design, in the Master of Technology program at CEPT. Jay Thakkar is an Associate Professor and Executive Director at the Design Innovation and Craft Resource Centre (DICRC) and Head of Exhibitions at CEPT University. He has worked on various design, craft & research projects in India, Europe and Australia. Notable books co-authored by him are Sahaj, Prathaa, Matra and Naqsh. He is a recipient of the Charles Wallace India Trust (CWIT) research fellowship. Jinal Shah has an international master’s in Interior Architecture with a specialization in Computational Design. She completed her undergraduate studies from KRVIA and postgraduate from CEPT University. Currently, she is a visiting faculty at CEPT University. Being a parametric enthusiast, she is exploring the potential of digital techniques and their integration within the realm of design. Juzer Lanewala studied architecture at CEPT, and has been practicing for over a decade. Juzar has occasionally conducted experimental studios and theater electives at CEPT and IPSA, Rajkot. He has also been studying philosophy, history and literature. As an architect, he believes in experimentation and innovation, and design problems inspire him to seek appropriate solutions. Katsushi Goto is a practicing architect/urbanist based in Mumbai and Tokyo; he is the director of design and research firm, Sqaureworks, Mumbai. He studied at Housing and Urbanism, AA London. His current research focuses on the domesticity associated with the materiality of the ideal-family home and the intersection of politics of public domain and interior urbanism. He is also a founding member of SqW:Lab.

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Kaulav Bhagat is an interior and furniture designer, an alumnus of CEPT and NID. He is currently a program chair of master’s in Furniture Design. He has 15 years of work experience in the field of retail Interiors and Furniture Design. He loves to experiment with materials and making techniques. He believes in design process for developing creative ideas, interested in history of and form related courses Kireet Patel is the founding faculty member and Professor at Faculty of Design, CEPT University. He has been a fellow at the Institute for Light-Weight Structures, IL Frie Otto at Stuttgart, Germany and has initiated the knowledge of tensile architecture into number of academic activities at CEPT. He received a scholarship from Asian Cultural Council- New York to visit different architectural departments, universities and design-craft studios of different artists and museums across the United States. He has worked as Chief Designer for National Cultural Festival New Delhi, 1986 and has worked on several architecture and interior projects by establishing his own practice. Komal Parikh is a faculty at FT, CEPT University with more than 12 years of experience in surveying and mapping. She has completed her graduation and post-graduation in Civil Engineering. She is an expert in 3-D mapping for building and infrastructure projects using advanced instrumentation techniques. Her research interests are exploring GIS in civil engineering applications. Kruti Shah is a graduate of the Academy of Architecture, Kruti pursued the Master of Architecture program at CEPT University, within the Architectural Design specialization. Currently, she is a Studio tutor at CEPT University. Along with teaching, she is the co-founder of Chaal.Chaal.Agency, a design-research collaborative that works on transformative infrastructure. Mangesh Belsare holds an M. Arch. in sustainable architecture from CEPT University. He is a practicing architect and teaches as visiting faculty at CEPT University and other schools of architecture. He offers workshops and training programs related to structures, construction, climate, day lighting design, and designing with bamboo, at various schools of architecture across India. Maulik Chauhan is an architect who graduated from CEPT university and an alumni of Master of Art program from National university of Singapore with specialization in Urban design field. Presently a visiting faculty at CEPT university. His interest lies in understanding the overlap between the field of architecture and urban design. Mona Khakhar is a civil engineer and has been associated with the Faculty of Architecture for the last 15 years. She has taught building services, resource efficient built environment, Technology and several other courses/studios. She has also consulted a few projects for water utilities and services. She has also guided thesis on energy efficient buildings. Muntaha Rushnaiwala holds a bachelor’s in Architecture from CEPT University. He spent six months under the guidance of Renzo Piano at RPBW, Italy. He worked as a Design Associate at the NID for 4 years majorly dealing with space planning, extensions, and renovations. Currently, he is a Visiting Faculty at NID and also parallelly runs a design practice named Rushnaiwala Architects. Naandi Parikh has experience of working in retail store design for over 14 years. She has been heading the store design team for various brands overseas. She completed her bachelor’s degree in Interior Design from APIED, followed by a graduate diploma from University of Technology, Sydney and Master of Interior Design from the University of Hertfordshire UK. Nimit Killawala holds a bachelor’s degree in Architecture from KRVIA and an M.A. in Housing + Urbanism from Architecture Association, London. He has worked at HCP design, planning and project management, Ahmedabad. He currently serves as the Director at Group Seven Architects and Planners Pvt Ltd. He has also taught at KRVIA Mumbai.

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Nipun Patel is a Structural Engineer and founding member of NIL Consulting Engineer since 2010. His professional work experience spans more than 15 years. NIL Consulting Engineer has completed more than 600 projects in Industrial, Commercial, Residential and Institutional sectors. He holds a master’s degree in Structural Engineering from Nirma Institute of Technology. He is also involved in teaching. Nishi Shah is an architect & urban designer. With a people centric approach & her interest in urban design, and heritage precincts, she worked for the revitalization of Heritage Precincts project which included design of streets, public plazas & restoration of heritage assets. She believes urban design is a tool to improve public spaces as a way to enliven & enrich the experience of urban life. Pavni Pandya is an Assistant Professor in the Faculty of Technology. She holds a master’s degree in Civil Engineering from IIT Gandhinagar. Currently she is engaged with teaching a Geotechnical Engineering course and a studio related to it in an undergraduate program. She has taught Engineering Materials, Highway Engineering and Structural Failures, Repairs and Rehabilitation courses. Percy Pithawala is an architect, academic and artist with over 25 years of experience. He graduated from M.S.U, Baroda and pursued master’s in Urban Design from Pratt Institute, New York. He has a keen interest in art and has held several exhibitions at galleries in India and abroad. He has founded The Red Studio at Baroda to further the discourse between Art, Architecture and Design. Prashant Pradhan is a graduate of CEPT University and pursued his post-graduation at the Berlage Institute, Netherlands. He has gained experience by working in offices in Amsterdam and New York and has also taught at the City Tech College in Brooklyn NYC. After returning to India, he established his office in Gangtok in 2007, and has been working in Sikkim, Darjeeling and Ahmedabad. Prateek Banerjee holds a Bachelor’s degree in Architecture from KRVIA, Mumbai. He has worked with Ranjit Sinh and Associates, Mumbai and Raj Rewal & Associates, New Delhi. He is a partner at Architects’ Combine, Mumbai, and has been a visiting Faculty at Rachana Sansad as well as IES College of Architecture. Priya Narayanan runs her interior design practice under the banner Tatva Design Studio where she handles projects of varying scales and typologies. She is also a Partner at Soma Systems Furniture & UMU Fun Furniture. While she has been teaching at CEPT since 2016, she is also a published poet and an award-winning children’s author. Her research interests converge at the intersection of design, psychology and user engagement with spaces. Priyanshi Jain is a 2015 graduate from D.C. Patel School of Architecture, Vallabh Vidhyanagar, Gujarat. Her interest towards visualization and design led to start her own studio: 12lines design studio, Ahmedabad in 2019. She enjoys the plethora of drawing architecture and its meaning. Her practice is an investigation and abstraction of these meanings, manifesting it to design projects. Puneet Mehrotra studied at CEPT, and has been practicing since 2006. He is the founding partner of XPDS architects, with a focus on innovative designs rooted in the climate and context of a place. Along with practice, he also has more than 10 years of academic experience. He is deeply interested in the architectural and artistic traditions, and the cultural history of the Indian subcontinent. Radhika Amin is an architect with undergraduate studies from CEPT University and master’s from Architectural Association (Emergent Technologies and Design). She has hands-on construction experience through workshops related to physical and digital fabrication. She is currently involved with using generative techniques as a tool for performance-based design, at the scale of both material systems as well as city systems.

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Ramesh Patel is an architect and urban planner who is keen to explore material and detailing. He has worked with Matharoo Associates for 5 years and has been running his own practice, RPA, since 2009. He has worked on various residential, institutional, industrial and interior projects and has 10 years of academic experience. He is a graduate of APIED and holds an M.Tech. in URP from the CEPT University. Ramya Ramesh is an architect and urban designer passionate about collaborative design methods. Her interests lie in the domains of design research and community engagement. She has professional experience in architectural design, urban research and curatorial projects. Ramya has an M.Sc. in Building and Urban Design in Development from the Bartlett Development Planning Unit, University College, London. Ratna Shah is an architect, interior designer, urban designer and academician working in Ahmedabad. Her interests are combining and constructing for a nuanced spatial experience, thematically developing using various collaborative mediums as well as giving attention to behaviour of the detail, themes & narratives, art & space. Ratna is a graduate from the School of Architecture, CEPT. Ravi Kashyap’s intuitive response towards climate and thermal efficiency in buildings has always been a primary concern, both, in practicing architecture and teaching. For over 28 years now, he has been closely working on sites with craftspeople, trying to integrate material, technology and skills to experiment and inculcate a scientific and rational understanding of construction details. Rebecca Reubens trained as a furniture designer at NID Ahmedabad and completed her PhD at Delft University at the intersection of design, sustainability, and craft. Rebecca’s material of choice is bamboo, which she works with through her studio, Rhizome. She is a World Bamboo Ambassador for the World Bamboo Organization. She remains linked to academia through her teaching and writing. Reshma Shah is Associate Professor and Head of UG Program, Faculty of Technology. She is also the Placement Coordinator. She has a Diploma in Building Construction, Diploma in Construction Technology (equivalent of B. Tech. Construction) and a PG Diploma in Construction & Project Management, all from the Faculty of Technology at CEPT University. She has more than 20 years of experience in teaching. Ruchi Mehta is a practicing interior designer with cumulative professional experience of 20+ years, both in India and USA. She has an undergraduate degree from CEPT University and master’s degree from University of Cincinnati, USA. She has a diverse design practice which includes brand research and strategy making, design and building of a variety of interior design projects and heritage conservation works. Sachin Soni is an associate professor at CEPT and has been teaching Architecture and Urban Design studios, History and Theory of Architecture and Visual studies. He is interested in architectural/design language and alternative paradigms for inclusive urban spaces. He is a graduate from Faculty of Architecture, CEPT and holds a master’s degree in City Design and Social Science, from LSE, United Kingdom. Sadasivan Iyer specializes in mentoring design education with a focus on product design and related domains such as technical education, vocational training and management, and design education and management. He has over 40 years of Industrial experience in R&D, tool rooms, design and manufacturing of electronics products and packaging, and teaching experiences at NID, IGTR, NIFT and NTTF, while also managing and counseling the training of trainers in technical and vocational education. Sahiba Gulati is an architect and academician. She has been teaching studios and courses at CEPT that address methods of participatory design and issues of gender in public space, which is also the focus of her research. Her most recent research project analyses women’s access to public transport systems. She is a Master of Architecture from CEPT University.

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Sankalpa has been teaching construction, structure and design studio for the last five years in the Faculty of Architecture, CEPT University undergraduate program. His method of teaching involves modelling techniques that can be experienced and verified. He is one of the founding members of a practise ‘Thumbimpressions Collaborative’ that focuses on addressing careful use of building materials. Shailesh Manke is an Interior Designer trained from CEPT University. He has his own design practice and has been working on various multidisciplinary projects from interior design to experiential design, exhibitions to space graphics. He was associated with NID, Ahmedabad as a faculty and coordinator: Furniture & Interior Design, for more than 7 years. He is also a visiting faculty at CEPT and NID. Shamik Desai has been an engineering & project management consultant for 42 years. He is CMD of Prishma Consultants. He holds a PG Diploma in Business Management from Xavier’s & bachelor’s in Engineering from LDCE. He is a Visiting Faculty at CEPT University and Adani Institute for Construction Management. Shikha Parmar is an architect who graduated from CEPT. Her studio Achyutam’s designs encompass various architectural and interior projects. Being inclined towards research, she is co-authoring a travel book based on Uttarakhand and has been instrumental as an academician since 2014. She believes that the collaboration of poetic and pragmatic is essential to celebrate the process of designing healthy built environments. Shilpa Mevada is a practicing architect and CEPT alumnus. Temporal lifestyles, work patterns and climate are constantly inspiring her approach in shaping architecture and the built environment. Her work demonstrates innovative and flexible contemporary architectural solutions. Previously, Shilpa worked with Ar. Tatiana Bilbao in Mexico, USA and Europe, and with Prof. Neelkanth Chhaya in India. Shivani Kapadia pursued Bachelor of Architecture from A.P.I.E.D., Vallabh Vidyanagar and Master of Architecture (Urban Design majors) from CEPT University. She has worked with the government as well as private architectural firms. Based in Vadodara for the past 2 years, she has her own practice with 2 partners and is also actively affiliated with Parul University. Shoham Shah is the co-founder at Studio Arpana, dealing in architecture, interior design and product design. He is an alumnus of Taliesin, Frank Lloyd Wright School of Architecture, U.S.A. with an experience of over 10 years in practice and more than 50 completed projects. He has been teaching design studios, working drawings, tectonics, basic design and electives for over 3 years. Shreya Gambhir is an architect and urban designer with a master’s Degree in Architecture from CEPT University. Her domain of study broadly lies in Urban Design, History and Theory. She is keenly interested in the socio- spatial theory of urbanism and its manifestation into designing human centric built environments. Besides teaching she is interested in architectural photography and documentation of cities. Siddharth Srivastava is the Principal Architect and Co-Founder at Studio Inkling, a design and research initiative based in Ahmedabad. In the past ten years, he has accrued varied experiences working with architectural firms on projects dealing with different scales and realms. He has taught at various colleges of architecture in Ahmedabad and is currently an Adjunct Assistant Professor at CEPT University Smit Vyas graduated from School of Architecture and set up STUDIO 4000 in Ahmedabad. In 2011, it won the 1st prize at the Spiretec International competition. Studio 4000 has been collaborating with the Kandla Port Trust to execute a range of buildings since 2015. The firm was awarded the 2018 Young Designer’s Prize in Architecture by the Indian Architect & Builder.

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Snehal Shah has been practicing architecture since 1987 and teaching at CEPT since then, both in Under and Postgraduate programs. After his education at CEPT he did his masters at the AA for History and Theory Course and before returning he was awarded RIBA professional qualification. He also worked with Mario Botta in his studio in Switzerland. He has keen interest in research apart from architecture. Somesh Kumar studied at Srishti School of Art, Design and Technology and specialised in Visual Communication. He has co-founded and runs a design studio called By Two Design with With Hazel Karkaria that specialises in both illustration and lettering. The art of storytelling has long fascinated him and apart from practising graphic design and teaching, he works on passion projects centered around illustration. Sonal Sancheti has studied architecture at CEPT, Ahmedabad and has a Master’s degree from the SciArc,Los Angeles.In January 2001,she started_OPOLIS a multidisciplinary design practice with Rahul Gore. Bringing their individual aesthetic strengths, technical expertise, creative inclinations and artistic vision to the table,the duo has made OPOLIS one of the leading architectural firms in the country. Subin Jameel is an architect and a graphic designer with interests in practice, digital pedagogies, speculative research, and theory. He worked as an Architect at Architecture Paradigm, Bangalore for 3 years and as an assistant teacher at SCI-Arc, Los Angeles. Degrees: B.Arch., RVSA, Bangalore; M.A., Architecture, Staedelschule, Germany; M.Sc., Design Theory and Pedagogy, SCI-Arc, Los Angeles. Sunita Dalvi is an architect from Academy of Architecture, Mumbai and masters in urban design from CEPT; has diversified professionally in the areas of urban conservation, architecture, mass housing and teaching. Over two decades, her persuasion in ‘recording as tool of understanding’ made her excel her interest in academics through creative methods such as sketching, measure drawings, Tulika Nabar Bhasin is an architect & urban designer. Through her work experience in Mumbai, she explored different scales of projects. She has worked closely on The Light Box project which sparked her interest in urban design. Being an avid traveler, she believes that the cities today are becoming more generic, and urban design is the tool to redefine a city’s character, and that place-making defines the way people react & function. Varun Yadav is a civil engineer practicing sustainability, not only in the building projects but also in life. He has been involved in the project development for over 12 years now, and his focus has been one of eco-friendly designs and sustainable buildings. He is also a green building consultant. Vasav Bhatt is an architect with 20 years of work experience in architecture as well as interior design. He believes in perfection with timely delivery of work and has worked with architects A. D. Raje and B. V. Doshi. His interior projects include residences, offices, hospitals, radio stations and cricket stadiums. He has been teaching for 5 years at various architecture colleges. Vinod Shah is an academician and a practicing structural designer. He is Founder and Principal Structural Designer at Vinod Shah Consulting Engineers Pvt. Ltd, firm engaged in design of structures. He has taught at CEPT University for almost 30 years. He is engaged in teaching structures to architects, engineers, and designers. He also headed the P.G. course in structural design. Vishal Joshi is an architect & project manager with 19+ years of professional & academic experience pan India & GCC region. His expertise lies in design & master planning of large-scale projects. He brings in knowledge of extensive onsite experience gained during his association with multiple design practices in Bangalore & Pune. He is a graduate of APIED & holds a PGPIDM degree from NICMAR, Pune.

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Vrushank Vyas is an industrial designer and a mechanical engineer with 8 years of experience helping companies in medical, consumer electronics, machine enclosures, and consumer goods sectors. He holds multiple patents in industrial IoT technology. After finishing M.Des. in Product Design from MIT Institute of Design in 2013, he started a product design studio: Cosire. In 2017, he started a product company, Oizom, which focuses on solving climate change issues. Vrushti Mawani has a PhD in Planning from the University of British Columbia. Her work examines recursive relationships between infrastructure politics and governance and the spatialization of difference. She is interested in inquiring into and making visible everyday experiences of uneven access to resources. She has taught at undergraduate and postgraduate levels in India, Canada, and Australia

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Editorial Team Tridip Suhrud He is the Provost of CEPT University. He has been the Director of CEPT Archives for the past 2 years. Prior to this, he served as the Director of Sabarmati Ashram for 5 years. As an academic he has worked with DAIICT (Gandhinagar), NID, CSDS (New Delhi), and, St. Xavier’s College, Ahmedabad. He is a scholar of Life and Thought of Mahatma Gandhi and has published many books. He is a member of the Gandhi Heritage Sites Mission of the Government of India. He is also a member of the governing board of MICA since 2015. He holds a doctorate in political science along with master’s degrees in economics and political science.

Chirayu Bhatt He is the Deputy Provost–Academics, CEPT University. He has been leading the academic initiatives across all programs of the university and played a pivotal role in steering academic activities during the COVID-19. As an architect-urban planner, he has been working at the confluence of urban planning, urban design, public policy and more recently, education, for over 15 years. He holds a master’s in urban planning from Georgia Tech and a bachelor’s in architecture from CEPT.

Anjali Kadam Anjali Kadam is an architect and urban conservationist and Head, Teaching and Learning Center (TLC) at CEPT University. TLC was set up to inspire, support and strengthen new directions in pedagogy and learning at CEPT. Her work in historic cities, feeds into her research and academic experience of over 20 years. She holds bachelor’s in architecture from M.I.T.S Gwalior and master’s in architectural conservation from SPA, Delhi and has completed her PhD in Architecture from CEPT University.

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Copyrights Page © L2-L3 Studio Units Catalog – Spring 2022 Teaching and Learning Center, CEPT University Editors: Tridip Suhrud Chirayu Bhatt Anjali Kadam Editorial Coordination & Layout: Bhuvaneshwari S. Devna Vyas Jui dudhiya Ishaq Faheem Rishabh Jain Cover Design by: Ratik Verma Cover page Image credit: Jay Patel AR3039 Published by: CEPT University Press Kasturbhai Lalbhai Campus University Road, Navrangpura Ahmedabad-380009 Gujarat India ISBN: 978-93-83184-52-1 Copyright © 2022 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 part thereof may not be reproduced or used in any manner, whatsoever without the prior written permission of the publisher.

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