Hiral Satra | Architectural Portfolio | Selected Work

HIRALsatra

Phone : +91 9987993985 Email : hiralvsatra@gmail.com

PROFESSIONAL EXPERIENCE

S+PS Architects, Mumbai Architect | April 2018 - Present Intern | May 2013

Designing and managing varied scales furniture design, interiors, architectural to the principal architects, Shilpa Gore Shah mentoring interns and other architects to of the projects and firm led to a growth architect, within a span of four and half - Project Architect for | four residential a commercial office | an urban affordable - Team member for the project entry of Corporation, that was one of the 12 short - Team member for the design proposal

SRDA (Samira Rathod Design Atelier), Mumbai Architect | Feb 2017 - Feb 2018

Spearheaded design, construction drawings architectural and an interior project, with architect, Samira Rathod. - Project lead on a G+2 house for a client execution of the entire super structure www.archdaily.com/992088/cool-house-samira-rathod-design-atelier

EDUCATION

Kamla Raheja Vidyanidhi Institute for Architecture and Environment Studies (KRVIA), Mumbai B.Arch | 2011 - 2016

Sathaye College, (Science Stream), Mumbai H.S.C | 2009 - 2011

Smt. Surajba Vidya Mandir, Mumbai S.S.C | 1999 - 2009

SKILL SET

Digital ArchiCAD BIM Autodesk AutoCad Google Sketchup Rhinoceros Grasshopper Adobe Suite (Photoshop | Indesign | Illustrator) Twinmotion Render Vray Render Plex Earth Microsoft Office Suite

Hand Sketching | Hand Drafting | Inking and Rendering | Model Making | Pottery

Event Managing and Organizing Languages English | Hindi | Gujarati | Marathi

- Led design and co-ordination with client, on a residential interior for the royal family a spartan look with high ceilings and surkhi charm of the old Rajasthani palaces with

Vanwari Architects, Mumbai Architect | Dec 2016

Worked with the principal architect, Manas competition entry of the National War Museum, entry was one of the 7 short listed entries

Malik Architecture, Mumbai Intern | May 2016 - August 2016

Worked as an intern with the principal architect, publication project in the first half of the built houses of the firm were documented sketches and designed the format and In the second half period of internship worked architect, Arjun Malik and his team on 3 different stages of design and execution.

OTHER WORK EXPERIENCE

The Gift Karkhana | Collaborative Startup, A small startup with a team of 5 practicing and production of personalized products

IIID NATCON | 2018, Goa

Assisted Ar. Shilpa Gore Shah (IID NEC member) the biannual convention; finalizing, approaching speakers and panelists for the event.

Teaching Assistant | 2015, KRVIA for first

361 Degree Conference Architecture and Identity | Feb 2014 Architecture of Purpose | March 2013 Student volunteer at the conference for Centre, Mumbai; organized by Jasubhai

of projects (from product and to urban planning) directly with both Shah and Pinkish Shah, along with to match the needs and requirements from an architect to a senior half years.

apartments | a residential duplex | affordable housing project. the Iconic Satara Municipal short listed entries in the final stage. proposal for a Co-living Hostel project.

Mumbai

drawings and on-site execution of an with the direct guidance of the princial

client in Bharuch and managed on site. Published on ArchDaily www.archdaily.com/992088/cool-house-samira-rathod-design-atelier client, all consultants and contractors family of Kathiwada designed to have surkhi plastered walls bringing back the with a contemporary touch.

Manas Vanwari and his team on the Museum, Delhi. And the competition entries in the final stage

architect, Kamal Malik on an in house the internship period, wherein 8 of the documented via drawings, photographs and graphics of the book. worked closely with the principal 3 private bungalows in Delhi all at execution.

ORGANISING EXPERIENCE

PAAU (Platform for Asian Architecture and Urbanism) exhibition at KRVIA along with Thunghai University from Taiwan and Silpakorn University from Bangkok participating | Winter 2014

Mid Term Library Internship Program for archieving and documentation at KRVIA | Nov 2014

Thesis Gold Medal Jury at KRVIA with Ar. Ainsley Lewis | July 2014

‘Play Time’ Monsoon workshop at KRVIA | June 2014

North East Documentation Exhibition at KRVIA | Jan 2014

Study trip organizing team to Ahmedabad and an international trip to Bangkok | 2013 -2014

Co-headed the documentation and exhibition of ‘Bayul Demazong’, Sikkim 2nd Year study trip | Feb 2013

Annual Exhibition organized at KRVIA 2011 | 2012 | 2013 | 2014

PUBLISHED WORKS

Co-authored ‘MumbaAai to Bombay to Mumbai - City of all, City for all’ a research paper about the salience of caste-based sociology in the context of urbanizing metro cities for the Human Sociology Department of IIT Bombay | Dec 2020

Part of urban design and research team for the book ‘Tapovan - The Interim City’ | Feb 2015

Contributed to the book ‘Codes/ Systems/Elements’ - Bhopal Institution Study | Jan 2015

Wrote an article ‘House of Death’ for annual publication KRVIA Reflections - Simultaneous Modernities | 2014

Contributed inked and measure drawn drawings for the book ‘Bayul Demazong’ (compilation of 2nd year study trip documentation) | 2014

WORKSHOPS

Space of Doubt by Suprio Bhattacharjee | Winter 2014

The Crescent - Exploring Thane by Fleur D’Souza | Winter 2013

Reading the City Spaces - Bandra by Anagram Architects | Winter 2012

Anamorphic Art by Kartik Gala and Amol | Winter 2011

Startup, Mumbai

practicing architects involved in the design products and gift items. thegiftkarkhana

member) in planning the format of approaching and coordinating with the first year’s introductory workshop ‘Pets’ for 2 consecutive years held at Nehru Jasubhai Media Group and IA & B Magazine.

ACHIEVEMENTS

Short listed in top 50 entries by jury, of an international competition, Gumming Village Competition, China | Dec 2015

Elected as the Archiving Secretary of Student Council, KRVIA | 2014 -2015

Presented design work of preceding year at I.E.S College of Architecture, Bandra | Aug 2012

Control by Kaushik Mukhopadhya and Sonal Sunderajan | Monsoon 2011

ELECTIVES

Architecture Theory by Ar. Manoj Parmar | 2014 - 2015

Parametrics by Eshita Sutariya | Monsoon 2014

Art Theory and Critizism by Ar. Ruturaj Parikh, Matter | 2012 - 2013

KATHAghar

House of Stories Professional | S+PS Architects

LANTERNhouse

Bungalow in the Sky Professional | S+PS Architects

PODoffice

Office Revamp Professional | S+PS Architects

PEOPLES’place

Satara Muncipal Corporation Competition | S+PS Architects

UPPERgrounds

Affordable Housing Professional | S+PS Architects

COOLhouse

Bungalow Professional | SRDA

thePEOPLE’Splatform

National War Museum Competition | Vanwari Architects

FORMfollowsREGION

Understanding Region through the changing Fabric of the City Academic | Design Dissertation

WALLEDthreshold

Aqua Marine Research and Learning Institute Academic | Design Studio - Decoding Elements

DILUTINGthedivide

Temporary Housing Academic | Design Studio - Housing

REVEALINGrealms

Annexed Interventions Academic | Design Studio

OTHERwork

COLLABORATIONwork

KATHAghar or House of Stories is an apartment that personifies its owners’ personalities of that of traditional art and crafts collector and enthusiasts in objects and elements of everyday use.

Scope of Work :

- Concept, design discussions and development, design drawings and presentations for client.

- Preparing GFC drawing set and co-ordinating with consultants, contractors and vendors.

- Working closely with craftsmen and artists for developing and execution of commissioned work.

- Furniture designing and detailing.

- Preparing fabrication drawings and co-ordinating with fabricator.

- Sourcing out vendors and materials.

- Regular site inspection and management of work flow on site.

- Selection, sourcing and order placements of furniture, soft furnishings and art.

- Contractor’s bill checking and sanctions.

- Preparing snag list and ensuring its execution.

Drawings / sketches courtesy : S+PS Architects

Professionally shot image courtesy : Photographix

KATHAghar or House of Stories is an apartment that showcases how traditional Indian arts and crafts - both commissioned and boughthave been used throughout for a couple deeply interested in keeping these traditions alive.

Presented with a high rise developer layout with two identically mirrored apartments forming a linear space with the services and utility running along one length of the space and the opposite length has perpendicular long shear walls creating smaller rooms ventilating from that side, and sandwiched between is the linear passage. Its like a traditional verandah typology where private spaces are flanged along a linear passage connecting them.

The challenge here is to respect the privacy of the spaces based on their functions, yet establish a sense of connection across the space while weaving in the personalities of the home owners.

This is achieved by layering the spaces with materials that allow for visual connectivity and elements of traditional art and craft that are incorporated so seamlessly in objects of everyday use.

As one enters the house, on the right is the living area and on the left is the dining area, and right in the center is a raised platform which is the heart of the house. Its a multi-functional per formative space where the lady of the house and her friends gather around to buy bangles or which when needed doubles up as a diwan or becomes a mandap for the Ganpati celebrations.

The sliding door at the end of the living area that has the “Saanjhi” paper cutwork panel sandwiched acts as a screen. In closed position (As seen in the image beside) one can see the passage leading to the tuition area, son’s bedroom and daughter’s bedroom through the opening in the wall. Whereas in the open position the sliding door slides behind the square opening which frames it like a Saanjhi artwork on dark wood veneer clad wall and also allowing for certain level of see throughness via the cutouts.

The idea of the story telling Kaavad box is applied to a full-size cupboard –the owner’s “Sari Library”which opens in multiple ways inspired by the kaavad itself. Instead of a mythical folk tale it tells the story of the owner - “Priya ki Kahaani”- and her quest across India discovering various textile traditions across of the length and breadth of the land and is painted by original Kaavad Artist Dwarikaji Prasad Jehangir from Chiitorgarh District in Rajasthan.

Mata-ni-Pachedi is a tra ditional narrative art form of painting image of god desses on a piece of cloth, most often multicolored animated images of deities, devotees, flora and fauna.

Mata-ni-Pachedi painted on textile is used as a large artwork on the wall panel.

The multi colored lacquer rolling lacquer artisans are adapted side table that snakes and ladder be used to actually an occasional

Mandana paintings are wall and floor paintings traditionally done in Rajasthan and Madhya Pradesh, India.

The Mandana painting is made by original Mandana artist Lakhichand Jain on the wall behind the bed. Background is painted and textured to emu late cow dung plaster.

A plywood panel has been used as a base for thikri work, covered in hammered brass inlayed with cut pieces of mirror forming the pattern. This panel is used to cover a full wall in the powder bathroom (Reflection of which is seen in the mirror). This is a hybrid creation combining beaten metal foil along with thikri work.

Snippets of the wall cabinet unit running along the entire length of the living and dining area of the home, housing various functionalities like television and audio systems, record play storage, main door, shoe cabinet, a bar counter and storage, crockery storage etc along with enormous collection of books and various other artifacts and travel souvenirs collected by the owner.

A Pattachitra artist was specially commissioned for a set of six drawings depicting contemporary life instead of the normal traditional tales. Considering its use in a bar counter it depicts the city bhadralok enjoying drinks in various configurations in each of those paintings. This bar counter is a part of a wall cabinet unit running along the entire length of the living and dining area of the home.

colored and multi patterned rolling pins from the traditional artisans - the Vadha’s of Gujarat to be used as legs of a small that incorporates a traditional ladder board as its top. It can actually play the game or as occasional table.

Traditional intricately carved wooden chakki is used as a coffee table

The bench in the Tuition room is made with 3” x 6” blue colored hand glazed tiles

The bed in the son’s bedroom is on the loft with the space below nestling study desk, nestled movable stair to access the loft and wardrobe leaving the rest of the bedroom space open and clutter-free for the son to engage with.

‘Saanjhi’ is a traditional art form of stenciled paper cutting from Mathura, Krishna’s hometown. The Saanjhi paper cutwork panel is sandwiched in a sliding glass door acting as a screen. a

A glazed ceramic plate by award winning Master Craftsman B.R. Panditji is used as a top for a side table in daughter’s bedroom. Its base is fabricated in MS and powder coated in matt white.

A challenge that designers face with increasingly homogeneous developer created spaces is their sameness and lack of character. It becomes imperative on space designers to develop strategies to address this homogeneity through the development of unique solutions based on the needs and understanding of the residents and users of these homes.

Scope of Work :

- Concept, design discussions and development, design drawings and presentations for client.

- Co-ordination with builder, structural, MEP, automation and Vastu consultants

- Preparing GFC drawing set and co-ordinating with contractors and vendors.

- Preparing fabrication drawings and co-ordinating with fabricator.

- Sourcing out vendors and materials.

- Regular site inspection and management of work flow on site.

- Selection, sourcing and order placements of furniture, soft furnishings and art.

- Contractor’s bill checking and sanctions.

- Preparing snag list and ensuring its execution.

Drawings / sketches courtesy : S+PS Architects

Professionally shot image courtesy : Photographix

A 3300 square foot Duplex residence that occupies the upper two floors of a ten - storey residential building, along with part of the roof terrace, with a typical developer created homogeneous layout. The main challenge here is to make it feel like one home - like a bungalow in the sky.

This lack of vertical connection is addressed space right in the heart of the apartment, The small cut out in the upper floor slab provided staircase in now enlarged and extended in also punctured to form the skylight. This allows connected.

addressed by carving out a large double height part of which has a skylight above. provided by developer to house the in length. And the terrace level slab is allows for all three levels to be seamlessly

As one enters on the ninth floor level, one encounters a large column free space that is decided to be kept entirely public. It flows from the raised dining area at one end, a casual seating area on a rough stone floor filled with plants evoking an outdoor area in the middle, to two bays of the formal living room. This sense of publicness is further heightened and continued in the third dimension to the upper level by the cut out in the slab over the living room and casual seating area to create a voluminous double height space. This allows for an interaction between the upper and lower levels enhancing its quality as a “bungalow in the sky”. Constantly changing light filtering from the large windows on the sides and the skylight above adds the fourth dimension of time to the space ensuring it is constantly breathing and alive!

To anchor and create a focus in this large volume, three lanterns carefully crafted in brass of varying proportions are juxtaposed here. The largest one, seven feet in diameter, is partly cantilevered off the upper floor to become a puja space.

Another mid-scale one, narrow and tall, becomes a shell for a spiral stair that connects the upper level to the terrace above. This holds a cast aluminum and wood stair that is lit from above with the skylight. The smallest one works as a lamp over the informal living space. All three lanterns are crafted using round brass pipes bent to a soft shape recalling ancient vessels of light.

The length of this linear space is anchored by a wall in soft hued mint limestone clad in panels that exponentially increase in scale as they move up the two storey space and inserts of vertical light strips reiterate this sense of a double volume. A straight flight metal and wood staircase takes one from the lower level to the upper level along the stone clad wall heightening one’s experience of moving along it. Fenestrations in the wall are occupied by finely detailed and crafted wooden shutter screens with ribbed glass that functions as doors with the space below the stair doubling up as a bar.

Double height space seen from the dining area

Double height space seen from the spiral staircase

Double height space seen through the long slit window of master bedroom

(L - R)

Bedroom 3 on 10th floor with an island bed incorporated with study desk and storage;

Grandparent’s room with a printed graphic ceiling; Main entrance lobby on 9th floor

(L - R)

Three bay Master bedroom with a sleeping area looking towards walk-in wardrobe and ending in an en suite bathroom;

En suite master bathroom

(L - R)

Bedroom 1 on 9th floor with bed on the loft under a vaulted ceiling; Media room on 10th floor; Bedroom 2 on 10th floor

KR Choksey is a wealth and investment management firm, whose office in Andheri, Mumbai was done 20 years back by the studio. And the client approached the studio back to redo their office post pandemic. It is an interesting exercise to revisit the work and see how some basic design principles still worked just as well today but what needed to be changed for a post Covid world.

Scope of Work :

- Worked closely with client to help reform the existing operations and plan the execution of the project phase wise.

- Design discussions and development, design drawings and presentations for client.

- Co-ordination and resolution with MEPF consultants.

- Worked closely with landscape architect for the biophilic aspect of the design

- Preparing GFC drawing set and co-ordinating with contractors and vendors.

- Sourcing out vendors and materials, collaborating with specialized vendors for specific items.

- Regular site inspection and management of work flow on site.

- Selection, sourcing and order placements of furniture and soft furnishings.

- Contractor’s bill checking and sanctions.

- Designed graphics for the signages and way finding across office.

- Preparing snag list and ensuring its execution.

The office of the company KR Choksey which is a wealth and investment management firm was designed 20 years back by the studio based on the compliance requirements at that time. With the fast technological changes and major operations moving on cloud the company was in the process of restructuring its hierarchy and departments, as some of them had either merged or no more needed to function as per the current compliance, and due to pandemic the upgrades in IT infrastructure further enabled certain departments to function remotely. This along with the newer restrictions implied in the everyday affairs due to Covid became the guiding principles to design and implement a model that is also easily adaptable to the changing situation.

The nature of the firm’s day to day operation didn’t allow for the entire office spaces to be shut down for the revamping. Hence the entire project execution is phased out, even the essential infrastructure, starting from the rear end of the office and then moving backwards out of the office. Raised floor system and electricals are planned to allow for future flexibility

SOUTHBAY

CUBICLES

NORTHBAY

WORKSTATIONS

CONFERENCE POD

DIRECTOR’S CABINS

The operational nature of the office is set to be hybrid and hence picked up on the trend of what is being called resimercial (residential + commercial) look and feel to allow for smooth switching between working from home and from office.

A visually open and transparent office with a more collaborative work culture.

Integration of greenery and biophilic design at every scale possible.

The idea is to use softer rounded and curved forms - the pods across the office with each one having its own different materiality.

The use of vertical ribbed lines on surfaces to suggest a subconscious message of upward growth which is what KRC provides through the creation of wealth.

SERVER AND IT POD PANTRY AND LUNCH AREA

LADIES WASHROOM

LAWN

The existing old office had 6 Director’s cabins, 3 each on either side of the skylight with a central lounge in the center below the skylight. As per the new requirements, the layout has 5 cabins anf the central lounge.

The existing glass partition and glass door are retained as is with just the door location flipped on the other side as the desk positions are also flipped. To maintain the transparency, openness and approachability of the office the existing partitions housing the desk and storage are reworked based on the requirements.

The corners of the storage partition are rounded off for softer flow/feel. And its clad in finely ribbed white laminate giving it certain textural quality. The niche in the older storage partition housing the desk is now designed to be used as storage with large single shutter clad in colored back painted magnetic glass which doubles up as a marker board as well as magnetic tag board. This large shutter opens with a solid wood handle in copper finish that is also a marker and duster holder. The rest of the existing handles of the storage partition are also clad in copper plate.

The other side of the storage partition that becomes a part of the adjoining cabin has an 8’ long desk in white corain with small light grey cantilevered from the partition. A portion of the partition above the desk is clad in cork sheet that not only acts as a pinup spaces but also helps acoustically. Besides this the major factor that curbs sound transfer through the glass cab ins is the ceiling thats done in exposed and staggered panels of wood-wool. The light wooden flooring add warmth to the space and complements the wood-wool ceiling.

The 6 bright colored back painted glass grading from yellow to maroon add the shades of these colors are further sprinkled upholstered visitor’s chair in each cabin Traces of copper reappear in the use pendant light over the desk. And in the finished truncated cone frames the skylight.

glass (5 in cabins and 1 in central lounge) the pop of color to the space. Duller sprinkled over as the fabric of the cabin and the sofa in the central lounge. of copper finished light fittings and the central lounge, the rust corten steel skylight.

On the south end is DRC’s (client) cabin that is made larger by combining two existing cabins. The cork panel in his cabin is inset to accommodate TV and he his desk is an existing free standing desk with the top redone in the same profile and material as the rest of the desks.

EXISTING TEXTURED CEILING OF THE CHHAJA CONTINUED INSIDE CABIN

WOOD WOOL PLANKS WITH 1/2" THK FRENCH POLISHED PLY BACKING, BOTTOM OF WOOD WOOL PLANKS TO BE FLUSHED WITH THE EXISTING CEILING BOTTOM OF THE PASSAGE AREA OUTSIDE THE CABINS

FULL HEIGHT PARTITION FINISHED IN PLASTER PAINT AS APPROVED

RECESSED LED PROFILE LIGHT

CANINET UNIT FINISHED WITH WHITE GLOSSY FLUTED CORE LAMINATE AS APPROVED

LIGHT GREY BACK PAINTED SHUTTER WITH PLY BACKING USED AS MARKER BOARD SHUTTER RECESSED BY 1/2"

PARTITION UNIT FINISHED WITH WHITE GLOSSY FLUTED CORE LAMINATE AS APPROVED

CLEAR 1 0" SPACE FOR STORAGE

3" WIDE AND 1" THK WOODEN TRAY FOR MARKER PENS/ HANDLE FOR BACK PAINTED GLASS SHUTTER, CLAD IN COPPER (REFER DETAILS)

8' 0" x 2 4" x 2" THK WORK DESK IN CORIAN AS APPROVED WITH MS PLATES SUPPORTING THE CANTILEVERED DESK FROM THE STORAGE UNIT (REFER DETAILS)

DRAWERS FINISHED IN WHITE GLOSSY CORE LAMINATE WITH COPPER CLAD INBUILT HANDLES

EXISTING FIXED GLASS PARTITION AND GLASS DOOR LOCATION TO BE SWITCHED AND REUSED

EXISTING GLASS DOOR LOCATION TO BE SWITCHED, MIRRORED AND REUSED

EXISTING VISITOR S CHAIR TO BE REPOLISHED AND COUSHIONED WITH FABRIC AS APPROVED 8' 0" x 2 4" x 2" THK WORK DESK IN CORIAN AS APPROVED WITH MS PLATES SUPPORTING THE CANTILEVERED DESK FROM THE STORAGE UNIT (REFER DETAILS)

EXISTING CADDY UNIT FROM WORK ZONE TO BE MODIFIED AND REUSED WITH DRAWERS AND FINISHED IN LIGHT GREY PU AS APPROVED 6" THK AND 6' 8" HIGH PARTITION UNIT (REFER ELEV AND DETAILS) 1' 5" THK AND 6' 8" HIGH STORAGE UNIT SHARED BETWEEN TWO CABINS

MS PLATES SUPPORTING THE CANTILEVERED WORK DESK

3" WIDE AND 1" THK WOODEN TRAY FOR MARKER PENS/ HANDLE FOR BACK PAINTED GLASS SHUTTER CLAD IN COPPER (REFER DETAILS)

3" WIDE AND 1" THK WOODEN HANDLE FOR CABINET SHUTTER, CLAD IN COPPER (REFER DETAILS)

CORK SHEET CLAD OVER PLY USED AS TAG BOARD LIGHT GREY BACK PAINTED SHUTTER WITH PLY BACKING USED AS MARKER BOARD

3" RADII ROUNDED EDGE FROM TOP TO BOTTOM ON BOTH OF THE PARTITION UNIT (REFER ELEV AND DETAILS)

EXISTING SS RODS AT TOP AND BOTTOM OF THE STORAGE UNIT

3" RADII ROUNDED EDGE FROM TOP TO BOTTOM (REFER ELEV AND DETAILS)

1" DIA METAL STUDS TO SUPPORT CORIAN WORK DESK OVER THE EXISTING GLASS RUNNER

COLUMN FINISHED IN BARE CONCRETE FINISH

3 NOS OF 13" x 13" x 13" WOODEN STORAGE BOXES PAINTED IN SHADES OF COLOURS APPROVED, SUSPENDED FROM THE EXISTING GLASS RUNNER WITH MS CLIPS (REFER DETAILS)

PARTITION UNIT FINISHED WITH WHITE GLOSSY FLUTED CORE LAMINATE AS APPROVED

GLASS PARTITION SUPPORT MEMBERS ABOVE CEILING

WOOD WOOL PLANKS WITH 1/2" THK FRENCH POLISHED PLY BACKING, BOTTOM OF WOOD WOOL PLANKS TO BE FLUSHED WITH THE EXISTING CEILING BOTTOM OF THE PASSAGE AREA OUTSIDE THE CABINS

DETAIL AS EXISTING EXISTING GLASS PARTITION

RECESSED LED PROFILE LIGHT

CANINET UNIT FINISHED WITH WHITE GLOSSY FLUTED CORE LAMINATE AS APPROVED

CLEAR 1 0" SPACE FOR STORAGE

LIGHT GREY BACK PAINTED SHUTTER WITH PLY BACKING USED AS MARKER BOARD SHUTTER RECESSED BY 1/2"

PARTITION UNIT FINISHED WITH WHITE GLOSSY FLUTED - CORE LAMINATE AS APPROVED

SWITCH PLATE MOUNTED VERTICALLY

8 0" x 2 4" x 2" THK WORK DESK IN CORIAN AS APPROVED WITH MS PLATES SUPPORTING THE CANTILEVERED DESK FROM THE STORAGE UNIT

1 1/2" WIDE MS TOP PLATE SUPPORTING THE CANTILEVERED WORK DESK, PRIMER COATED

WORK DESK FASCIA IN CORIAN AS APPROVED

1 6" LONG MS PLATE (TAPERING ALONG THE LENGTH FROM 2" VISIBLE TO 00")PRIMER COATED AND FINISHED IN SILVER GREY PAINT AS APPROVED

1" THICK WOODEN HANDLE FOR THE CABINET SHUTTER COMPLETELY CLAD IN COPPER (REFER DETAIL A4 3 AND DETAIL PLN 6)

CANINET UNIT FINISHED WITH WHITE GLOSSY FLUTED CORE LAMINATE AS APPROVED

DRAWERS FINISHED IN WHITE GLOSSY FLUTED - CORE LAMINATE WITH COPPER CLAD INBUILT HANDLES

1" HIGH SKIRTING OF THE PARTITION UNIT FINISHED IN GREY LAMINATE AS APPROVED

1" HIGH SKIRTING OF THE PARTITION UNIT FINISHED IN GREY LAMINATE AS APPROVED

LIGHT WOODEN FLOORING AS APPROVED

3"

LIGHT WOODEN FLOORING AS APPROVED

The general layout of the executive cubicles is 3 cubicles on each side of the passage with a low height storage which is made by reusing the storage units of older office along the length and accessible from the director’s side passage.

This shows general configuration of the cluster of 3 cubicles with soft rounded corners - both inside the cubicle and on the outside combining them into a single pod.

The outer wrapper is in concave fluted light colored wood (similar to what’s used on the Director’s room floor - for continuity)

The inner lining is in a vertically stitched fabric paneling (picking up on the different colors of Director’s cabins for each cubicle) which also works acoustically to dampen noise as well as a pin up space above the desk all around.

Intentionally used home like lampshades here to suggest a blurring between the home and the office environment.

Like the rest of the office the worktop is in white, here it is in white post-formed laminate with a rounded bull nose edge in front. The storage below is in grey sliding shutter and a grey pedestal tweaked and reused from the older office. The end portion of the backside storage is carved out to accommodate a dustbin and a plant that is built into the tabletop to ensure that the ideas of biophilic design continue at the smallest scale as far as possible.

The design seamlessly merges into the office environment by the continuation of materials, colors and forms but still defining a slightly separate identity.

Each workstation accommodates six person each with a large 6’ long desk which is also adequate for social distancing. At one end of it is a standing desk with adjustable height.

The workstations are designed to center all demands - both structural/functional and electrical - into a center island that caters to and accommodates everything and from which the worktops cantilever resulting in a lighter appearance with a floating island effect.

All tops are in white laminate and the bases are in light grey laminate with a planter box in wood grain laminate to add some warmth, all of these have soft rounded corners as followed across the office. A colored cross partition is in magnetic back painted glass. Hence all surfaces are easy to clean, maintain and sanitize.

They are designed with no central partition above the desk, this allows staff to see each other and collaborate more actively if required across the gaps between the large screens (which themselves act like part partitions anyways). It also prevents individual clutter from appearing on the partitions. And retains a visually open and transparent office.

The entire office layout shows the desks are diagonally mirrored that leads to the planters being staggered across the layout infusing every part with greenery and color.

Image shows the central island idea with a smaller portion reappearing above top onto which the multi monitor stands are mounted and still acts as a subtle separation across desks without being an obstruction. The colored screen allows one senior employee or anyone whose work needs privacy to be stationed there. Its a magnetic back painted glass for easy cleaning but also being able to put up some notes etc if required along with being able to use it as a mini writing board. All edges are rounded for softer flow/feel.

This shows the other end of the linear desk which has a standing desk positioned there. There is a cover over the legs of the standing table to integrate it with the main island. A large oversized planter with rounded ends and finished in wood grained laminate adds a soft touch and warmth whilst acting as a screen between the 2 staff at the end of the table.

This is the at the end of the table, the yellow partition here showing the second level of screening that it provides – from very private to the very open –this being the middle –being

screened. The

partition is finished on the edge

Personal space to keep belongings is shown below the table.

partly

glass

with a brushed steel band going all around.

Continuing with the soft rounded shapes in the office but each being materially different , the conference pod is in glass. To define the space and sense of enclosure it is in color -and it is emphasized by using the KRC corporate orange here.

An overview of the conference pod also shows the floor color and pattern are continuous, as are the edges of the enclosure.

As soon as one enters from the entrance passage, one will see only a soft orange volume in glass that is shaded from opaque to clear. The lower levels where people work are relatively more opaque and the gradation slowly changes to become clearer towards the top so as to retain the transparency across the office at eye level. As this is the largest chunk of volume within the open office area it is planned to retain that feeling of openness.

On just stepping into the main larger conference room, there is a softly shaped and rounded screen element (which is the back of the TV) but is seen with a scooped out open counter for refreshments etc. This keeps the clutter off the tables. It is lifted off the floor and is only at 6 ft height so both above and below, space flows through and it is not an obstruction. This is in light wood finish matching the rest of the office.

Along the length of the table of the main conference room, the TV flush is mounted on the floating wooden console. Perpendicular to it is a partition that is a screen from the other rooms but is in white back painted glass that works as a white-board to write on during meetings. A wooden shelf offers space for markers and duster etc. Since the periphery is in glass it needs acoustic materials to dampen the sound here. So besides the ribbed gypsum ceiling above there is a specially designed and woven carpet of the floor that highlights the corporate orange. Adding to this are large oversized lamps over the table in two layers of felt that work as sound absorbers. The outer one is in grey and the inner one is in orange with a cross stitch detail that joins the two layers together. So they become a presence and add character to the room but also work functionally for acoustic purposes.

the said where all materials, forms, details are clearly

SERVER AND IT POD

The IT POD with its rounded corners brings together 4 different components within - the Server room, 4 IT staff next to server room, 3 general staff outside as part of open office and a lunch/coffee counter with high stools.

As one enters the office, the IT Pod is on the right side with the outward corner cantilevered at the raised floor level. Continuing the vertical ribbed theme with a curved corrugated sheet cladding over the entire box in a pale grey color.

The side towards the 3 work desks one can see the corners are all rounded off and inserted within is a box in wood grain laminate which slightly projects out into the passage.

One end of the wooden corner, picking up on the Inserted at that end is a glass that brings some light area inside and allows for connection from within

wooden box has a rounded the softer shapes. yellow tinted ribbed light into the IT work for some visual into the main office.

From the passage at the window side is the open entry to the IT staff area. The rounded edges of the opening try and give it a slightly futuristic feel and the inside is entirely finished in yellow laminate creating a slightly special area and adding a pop of strong color in this Pod. On the LHS is visible the end of the high lunch/ coffee counter.

The hi-lunch/coffee counter with hi-stools where the same kind of wooden box is inserted into the corrugated pod. The insert within is in yellow back painted + magnetic glass where one can put up any common notices for staff or write on the same directly as well.

Amongst all the "pods" (softer rounded objects) in the office, the reception is a "point" that stands out slightly by contrast of both shape and material. It is shaped as a perfect circle, orienting itself equally in all directions, but it's static quality is made more dynamic by the form which is tapered two ways with a diagonal "smiley" seam running across it. It is finished all around in polished stainless steel sheet -reflecting everything around it and becoming part of its surroundings and lighter in the process. It offers a surprise from when one sees it first from the lift lobby, to as one comes near it with a bright matte red inside. The inside desktop is curved with tapered partition. There is an openable door from the passage side from where the receptionist enters.

(L) As seen from the approach where one sees only its polished steel exterior (R) Whilst you come closer the interior red reveals itself

The dealing room is to accommodate 6 persons each in retail and institutional dealing with a total of 12. As per compliance the two dealings must be operating in two separate spaces, and hence the two are separated in between by a clear laminated acoustic glass partition with a pivot glass door with access control entry for institutional dealing.

Continuing a few elements that are already set in the rest of the office. Rounded corners, Vertical lines on surfaces to suggest “growth” –but this time in the same light wood finish used everywhere, white work desktops, single color high-light within the space, etc.

A

B

From the waiting space outside the conference rooms and behind the reception, one can see the vertically ribbed screen rounded at the corner through which one can get glimpses of the dealing room behind and also a round cutout which has a sloped cut which is edged in the color. It also works as a simple dignified backdrop to the waiting area

On the inside of this circular cutout is a space in pale wood on all surfaces – all vertical surfaces in ribbed wood that are sometimes partitions, sometimes hide shutters and storage and incorporate seating within their depth. The floor is a laminate wood floor with ceiling in laminate finish also but with a curved edge cove in wood. One will also notice the use of one color in different ways – inside of ceiling cove, highlights on desks and as color blocked seating at the back.

Due to the duct area there is the presence of an offset in the plan and it is incorporated as a built in seating into the window alcoves and is called out in a single color. Space could be used by visitors, by staff or during meetings for clients, guests, etc.

The institutional dealing is accessed through the pivot clear glass door in the front passage. The paneling at the front was proposed with a large Video wall, but later on designed for Multiple smart TV screens. They are inset into the wooden ribbed paneling with a chamfered cut at bottom. The detail of the soft shaped handle carved out of the matching wood is visible in the view beside.

FLOORING

The existing lift lobby of the older office was a KRC corporate orange colored envelope with soft rounded edges that wrapped the lift lobby and the passage. The lift lobby square structurally allowed for lesser clear height and hence the orange envelope followed the same height even in the passage, thus creating an experience of walking into a low volume.

For the new office, the lift lobby and the passage is designed completely in contrast to the existing older one. Here the idea is that of an orthogonal cube whose one surface is pulled out and away like an opened up box. One enters into a low height light wooden box with one of its side pulled out on the opposite wall in the heighten opened up passage.

The walls and the ceiling of the box are paneled in light wood grain laminate and the floor in matching wood grain tiles. The wooden box is further detailed with slits cut on its surfaces and splayed at angles for functional and aesthetic purposes. The splayed panel at the corner window of Dispatch room becomes a desk for quick signing incoming and outgoing posts and orders, on the backside ceiling and the back wall they become light slits to brighten the darker back and on the pulled apart surface in the passage the splayed panel becomes the signage displaying the office name.

The passage is on the axis of the skylight, and as subtle hints its ceiling is punctured with three large truncated cones in rust corten steel finish just like the one at the extreme end of the office over the central lounge in Director’s cabin area. These truncated cones are back lit and provide diffused light in the passage through a stretch fabric ceiling panel within. Each of these are strategically angled to focus the light on the signage towards the office, the lift lobby at the center and the waiting towards the rear window.

Using vertical lines on surfaces just like the rest of the office, the walls of the passage are clad in fluted travertine finish concrete panels. The flutings are of two sizes the lower portion till window sill height are 3” in width and the above ones are 6” in width.

(Bottom Left to Right)

The lift lobby passage, waiting space behind reception with the ribbed wooden panel of the dealing as a backdrop, open to sky lawn beyond the director’s cabins, looking upwards at the skylight along the main office.

(Top Left to Right)

Plantation on the cross beams along the skylight, central lounge at director’s cabin area for informal meetings, look ing up at the skylight through truncated cone in rust corten steel finish over the central lounge.

The opening and last sentences of the preamble of the Indian Constitution, “We, the people... adopt, enact and give to ourselves this Constitution signifies that power is ultimately vested in the hands of the people. It interalia lays down the basic tenet of governance, and the relationship between the government and the people. However this relationship of the people, for the people and by the people with the government is rarely if ever enacted out in the spatial dimension of government buildings. The design of a new Satara Municipal Council building attempts to make this relationship between government and people more democratic, transparent, interactive and eventually participative.

PEOPLES’

The design tries to achieve this via two primary means. The simplest of places is created when a group of people come together and gather under the shade of a fabric cover, like a shamiana. The building’s primary gesture of the roof alludes to that. The site offers views to Ajinkyatara –a unique identifier for Satara- which we capitalized on to draw people up the building, much like the journey one takes from the base of the hill to the top at Ajinkyatara (gadh chadla). As one ascends, one notices governance “made transparent” and “in action” with government officials and representatives at work in the two wings on the sides. This journey through a series of stepped platforms where people can meet, gather and interact with each other and government officials, under the shade of the roof (and not in an introverted closed atrium), and in the benign climate of Satara, creates an OPEN PUBLIC PEOPLE’s PLACE for the citizenry of Satara.

As one reaches the observation platform at the top, the building responds by diagonal views opening out to Ajinkyatara fort, anchoring the building to its location. This diagonal orientation is embedded into the entire DNA of the building-with the structural system of the central bay, flooring patterns, furniture, etc. as also the angled external fins and glazing of the exterior. The entire ensemble is capped by the thin sagging (catenary) roof under which is the main council chamber, again completely glazed to expose its workings to the entire city when in session.

The offering of this approachable public place for the people of Satara, not just when they have official work, but to use and occupy as a truly public place rooted in its context, will go a long way into making this project ‘of the people, for the people and by the people’

GROUND FLOOR

ENTRANCE CHOWK

The north facing entrance plaza sits on a plinth just above the road level and is spacious enough to hold functions for the community like Ganesh Chaturthi, flag hoisting on Republic Day and Independence Day, etc. It could also have cultural performances like lavani, shastriya sangeet, baithaks and the like creating an interface with the city and its people. This amphitheater space below the canopy makes it conducive for the above activities and more.

CHILDREN’S CIVIC E-LIBRARY

To start an early engagement of children and youth with places of governance and remove the fear that ordinary citizens have, it is proposed to have a children’s civic e-library besides making them aware of civic issues in interesting and child friendly ways. Besides that the E-Library allows children and youth access to computers and wi-fi. This makes technology accessible for all especially to those who may not have the facility at their home or school. Its aim is to change the notion that children and youth have about government buildings.

HYBRID PUBLIC PROGRAMMING

Larger halls at the ground floor such as the two Opposition Party halls can also double up as Multipurpose Halls for public use like state functions, health camps, children’s cultural camps and events, public meetings about city projects and issues, etc. They are located in a way that they can spill out into the covered forecourt. Similarly the two Subject Committee halls are located next to the viewing terrace and can be opened up for activities that spill out from the council hall just as the Standing Committee hall can extend into an attached Terrace.

NEIGHBOURHOODS

The core of the building houses the lifts, staircase, toilets, pantry, services and is located in such a way that it allows for different sizes of functional office areas such as 80 sqm, 160 sqm, 240 sqm and 320 sqm allowing for office “neighbourhoods” of different scales and sizes.

The size and shape of the working area allows for maximum utility, flexibility and adaptability with furniture and partitions being able to be reconfigured over time.

CIRCULATION

The ingress and egress points of internal circulation are logical and legible with minimum distances from the core. The two wings are connected internally at every level by the central bay, allowing easy access and mobility between departments. This also allows for more visibility and transparency between the public and the public officials.

NATURAL LIGHT & VENTILATION

ENTRANCE LOBBY

This space is directly accessible at the ground floor entry and has a double height volume with skylights above. It houses the information kiosks and counters, waiting areas and the Shahar Vistar exhibition area. One can overlook this from the first level too. It is a spatially complex and interesting space oscillating between the rectilinear geometry of the side arms and the diagonal grid of the ceiling but helps primarily to connect the entrance to the two main cores on either side.

The width of each bay is only 10.5 m thereby allowing natural light and cross ventilation to the entire space and reducing usage of artificial lighting and ventilation to the minimum, considering the benign climate of Satara. The rear-connecting bay that faces south is deeper but has mainly storage areas, shielding the workspaces.

TRAPPA – THE CAFETERIA

The floor below the viewing gallery houses the cafeteria for the staff of the administration building. It spills out to the stepped terrace at the third floor level and one can see all the other terraces below back towards the city. Located next to cafeteria is the fitness center. By evening the cafe could work as a restaurant for the public at large thereby activating this building post working hours and truly creating a public plaza and peoples place for Satara.

124.35m

HUDDLE BOX

Extending from the two arms of the building towards the central terraces are discussion boxes clad in warm teak wood that not only inter-act with the public terraces but also across the stepped plaza with each other. They work as breakout spaces, reading nooks or spaces for informal discussions and meetings.

THE OUTLOOK

The stepped plinth leads to the central stepped terraces covered in local black basalt stone and through turns and twists one ascends this monolith to reach the viewing gallery which commands fantastic views of the distant Sahyadri mountains, in particular the pride of Satara - Ajinkyatara fort. Under the breezy shade of the canopy and with a tea stall to serve all, it seems like the perfect destination place for the city to connect with its roots.

GREEN-DECKS

The balconies that emerge from the side elevations recall the central stepped terraces with their use of black basalt and foliage on the outer facades. It also allows for interaction between the various levels and gives a relief from indoor working spaces.

120.75m

116.75m

FOURTH

113.15m

THIRD

109.55m

SECOND

105.95m

FIRST

SIXTH FIFTH 101.95m

GROUND

98.95m BASEMENT

STEPPED SECTION

STEPPED SECTION

The section of the building connects the city and its people to stepped terraces clad in local black basalt stone (much like creating an immediate connect between city, nature and public stepped terraces whilst making transparent the workings

The section of the building connects the city and its people to the views of the Sahyadri mountains especially Ajinkyatara via a series of stepped terraces clad in local black basalt stone (much like the trappa it is situated on) and sprinkled with local flora thereby creating an immediate connect between city, nature and history of Satara. The council hall hovers above, providing shade to the public stepped terraces whilst making transparent the workings of the council through the large glazing of its

mountains deccan between stepped façade.

to the views of the Sahyadri mountains especially Ajinkyatara via a series of the deccan trappa it is situated on) and sprinkled with local flora thereby history of Satara. The council hall hovers above, providing shade to the workings of the council through the large glazing of its façade.

PROGRAM DISTRIBUTION

The two wings and the central stepped area house various programs to make best use of the layout and section. Departments are grouped together in six broad categories – Public, Infrastructure, Welfare, Utility, Support and VIP zone - based on the nature of their activities. They are placed based on their adjacencies either next to each other on the same floor or one above the other based on availability of space. Public functions are distributed based on the desire to activate certain areas at appropriate levels.

BREAKOUT TERRACES

The Presidents office extends out to the terrace and visually expands the space outwards. Most important spaces in the VIP zone have extensions onto terraces that are semi enclosed and covered, giving a feel of outdoor rooms where work can also happen in the pleasant climate of Satara and offering a break from the inside.

THE COUNCIL HALL

The main council hall straddles between the two arms of governance and has views to the mountains and the city from its ancillary spaces. It also makes transparent its workings to the city that helps connect the people of the city to the people in governance.

BUILDING LANGUAGE

BUILDING LANGUAGE

The building expresses principally the idea of the columns holding up the shamiana roof as the primary gesture, the roof peaking up at the corner facing Ajinkyatara. The east and west facades are ordered with these columns, with additional fins angled towards Ajinkyatara, that reduce their spacing as they go higher and help screening the facades from solar gain. This also creates a sense of order

The building expresses principally the idea of the columns holding up the shamiana roof as the primary gesture, the roof peaking up at the corner facing Ajinkyatara. The east and west facades are ordered with these columns, with additional fins angled towards Ajinkyatara, that reduce their spacing as they go higher and help screening the facades from solar gain. This also creates a sense of order.

124.35m

120.75m

116.75m

FOURTH

113.15m

THIRD

109.55m

SECOND

105.95m

FIRST

SIXTH FIFTH 101.95m

GROUND

B B 98.95m BASEMENT

Affordable housing is affordable not only to build But live in and maintain!

Easy connectivity and access, mixed use and hybrid functional spaces to allow for multitude of daily need and occasional programs to be housed, building low and creating connected walkups, creating pedestrian communities, connection to nature, building community and fostering community life.

Scope of Work :

- Overall planning and site development.

- Design discussions and development, design drawings.

- Units, buildings and cluster design development and detailing.

- Facade design development and detailing.

- Co-ordination with landscape, structural and MEP consultants for design development and finalization.

- Preparing area summary and amenity distribution summary.

- Preparing tender drawing set.

Existing site topography

SITE AS PLACE MAKING

Peripheral vehicular road Taller buildings around road

The site is part of a hill that sits besides a semi - perennial stream draining into it and the stream beds produces two different types of landscapes, based on the nature and size of the stream and the slope of the land.

One at the beds of larger stream and flatter grounds is reinterpreted as a maidan; and the areas around smaller streams and steeper grounds are planned with dense and semi - dense mixed tree plantation with buildings around that create levels of shaded spaces, and looks more like an overgrown Indian orchard.

The idea of these two landscape characters are used to structure the open spaces and building occupancy. The natural history of the site helps in connecting the society to the history and processes of the land. Thus, helps to create a deeper sense of place.

BUILT FORM & OPEN SPACES

The peripheral buildings along the road are G+6 tall and the “fingers” that attach to these higher blocks are G+3 walkup apartments. All buildings step along the slopes making each courtyard space in-between the building’s unique. These also open out to the views and for better integration with the landscape of the valley. Amenities are distributed as per available opportunities along the valley reinforcing the role of the valley as a spine connecting the entire project together.

UNITS

Units are designed to be one simple flexible open space that can be divided as per the wishes of the individual owner’s and to accommodate the changing nature of the family. A slightly oversized balcony is provided that is slightly shifted off the alignment of the adjoining room so that if required it can be converted into a half room for a child or grandparent without block light and ventilation to the inner room. Toilets and kitchens open in the center into a shared duct space eliminating any unsightly pipes and services visible on the front.

Typical Unit Area Diagram

Typical Unit

UNIT TRANSFORMATION BACHELOR

Typical Bachelor

Start with a simple straight flight stairway

Use the connection across as passage as it is free of FSI

This allows us to situate all entries to units from this passage

Shift both units, cut one unit into half, resultant opening brings light and ventilation into lobby

By calibrating the unit size intelligently, the length of one unit when rotated becomes the width of the block. This allows the lobby to be open to light and ventilation

Simplest configuration is 4 units around a core - But lobby has no light and ventilation

By rotating one unit the lobby opens out to light and ventilation

Remove 2 unit at lower levels and cut one unit to open up stilt area

Another variation with one unit rotated and another cut into half

B C

INTENT FOR CLUSTER FORMATION

The planning and design is premised on the simple fact that as one goes higher, the loss of the connection to the ground should be compensated somehow by common community spaces at upper levels. This is achieved by an astute arrangement of standard units in various combinations that result in community spaces like an arcade at ground floor, single and double height covered or open common spaces and terraces at upper levels. These allow for the units on those floors and above or below them to extend into that space for individual or group activities. The rooftops also are all connected with each other creating a seamless community space above.

Each single unit can be transformed as a house for a bachelor - more like a studio flat, a house for a couple - 1BHK flat and a house for a family - 2BHK or 2.5BHK flat as per the requirements. And multiple single units can be combined to form 3BHK flats. Layouts below shows these combinations with different unit clusters that are formed on different levels of the building.

Typical upper floor layout with 4 single units of 1BHK flats each

Upper floor layout with two numbers combined to form two numbers of 3BHK

space - Ground Community space - Upper Levels

Community space - Terraces

road on left and the valley on right)

road on right and the valley on left)

A series of permutation and combinations are explored to derive at the facade, such that its not merely a thoughtless treatment to the building and internal layout but an expression of the way people live and use spaces with utmost care taken to respond to climate of the region.

Square protruding frames around openings forming a gridded pattern with the window and wall recessed

A variation of gridded frames with only the window recessed and wall in the face of frame but materially different

A variation of gridded frames with the window and wall recessed and a step out balcony

Recessed with wall used the

Recessed window with per forated brick panel niche that can house AC outdoor machine

Recessed window with part brick clad double wall and part perforated brick panel niche

Window recessed in brick clad double wall with perforated concrete panel niche that can house AC outdoor machine

A variation of the perforated concrete panel niche clothesline at sill level

Recessed window opening with part brick clad double wall on one side that can be used as storage from inside the house

Recessed window with brick panel niche that can house AC outdoor machine

perforated with Brick jali panel with step out balcony. An added variation with a protruding arched panel from external face

Recessed window with brick clad niche that can be used as storage from inside the house

Recessed window opening with part brick clad double wall on one side that can be used as storage from inside the house

Recessed window with pro truding soffit for clothesline and brick clad niche at sill level that can be used as storage from inside the house.

Recessed window opening with part brick clad double wall on both sides that can be used as storage from inside the house.

Step out balcony with part brick jali panel on both sides

Step out balcony with part brick jali panel on one side

Semi boxed balcony with brick jali panel railing

Metal framed balcony structure with concrete panel parapet

Metal framed balcony structure with metal railing

Metal framed balcony structure with brick jali panel parapet

Balcony with metal railing and brick clad double wall Boxed balcony with metal railing

Grid structure balcony with metal railing

Balcony with metal railing and pig mented plastered wall Step out balcony with metal railing Semi boxed balcony with metal railing

View from the roof top of the finger buildings in the valley looking towards the peripheral taller buildings, with the terraces connected creaing a seamless community space above.

View of the peripheral tall buildings from the existing peripheral road, with double height open and covered spaces for community interaction and activities. And private terraces and balconies staggering on the facade to allow for visual connectivity and interactions with neighbours.

Nestled in the tight row house fabric in the hot and arid town of Bharuch, is a home for a family that is designed to provide cool and comfort, greens and shade.

This inward looking home exhibits a contemporary take on traditional materials and building strategies to build in such climate.

Scope of Work :

- Design discussions and development, design drawings and presentations for client.

- Co-ordination with structural, HVAC, electrical - automation and plumbing consultants for design resolution and finalization.

- Entire tender drawing set with detailed MEP coordinated drawings.

- GFC drawing set and other necessary details as required on site.

- Co-ordination with the on - site supervisor/contractors.

- Detail drawings for samples of wall finishes and wall cladding.

- Co-ordinated and managed execution of entire super structure on site.

Cool House is a G+2 first home of the client. Nestled in the hot and dry setting of Bharuch, Gujarat; this house is designed to provide cool and comfort by opening it inwards into the courtyards nestled between the family spaces and the narrow interstitial “creek” like transitional space which is further punctured with skylights thus forming a narrow crevice of light. Doing so it completely tries to respond to the sun - wind paths and the existing tree locations. The house uses concepts of passive cooling such as double wall insulations, recessed windows etc. to minimize the transmission of heat inside the house, thus keeping it cooler.

Further sculpting both the blocks to form courtyards

Connecting the two blocks with the spine

The courtyards begin from the first floor. The wind is allowed to pass from the southwest courtyard and escape from the northeast courtyard on the first floor, thus ventilating the entire house.

The southwest courtyard has a shallow water-body that cools the incoming wind before it enters the house. It also has a jali that allows the wind to be channeled and then throw cool breeze into the house

The other courtyard has trees and is looked upon from the internal windows.

The house is designed like an inward looking box with windows that are strategic to bring in the cool breeze and diffuse the sharp light.

Materially this box on the outside has one part painted in black lime plaster and the other is textured siporex bricks. Thus, further calling out the central spine more evidently.

The interior of the house has soft curved surfaces both vertically and horizontally and are done is cool soothing lime plaster that helps cool the rooms from within.

Southwest courtyard

Glimpse of other courtyard Northeast courtyard framing the sky Openings overlooking onto the greens in the courtyard

Skylights punctured along the central spine/creek forming a crevice of light

Delhi is a city that is steeped in history and any major building that is situated in an important location, such as Princes Park, must integrate with the place harmoniously. This does not mean that the building must fit in by simply following the language of its, undoubtedly majestic, neighbors. Instead, the building must continue the historical narrative and try to encapsulate the ethos of the place by seeking new ways to express it in its architecture.

By virtue of being a public building it must also give something back to the people and provide for a new public space from where one can experience the city differently. The architectural expression must present a solution for the dichotomy of having a contemporary building in a historic setting.

With this in mind the design proposal of National War Museum seeks to find answers to the following questions.

- What is the role of a museum in the city?

- How can historical context inform the architecture of the museum?

- How does the building carry out the function of its program?

- How can the museum be recognized as a symbol of the armed forces by the citizens?

MUSEUM AS A PLATFORM TO EXPERIENCE THE CITY

What is the role of a museum in the city?

How can the building from within the plot boundary still relate to the larger city scale?

British architect Edwin Lutyens planned this part of Delhi on the garden city principle. The C-Hexagon is designed with India Gate and the chhatri at the focal point in the center. All important buildings; such as Hyderabad House, Jaipur House, Bikaner House, Baroda House etc; feature a butterfly shaped plan to orient maximum number of rooms to the street. Another common aspect is that all these buildings have their entry placed at the corner.

The design proposal for the museum reinterprets the butterfly plan with a corner entry by splaying the building not only in plan but also in section. This stretches the ground up onto the public roof of the building creating an architectural transect of the garden city.

MUSEUM AS A MONUMENT FOR THE PEOPLE

How can historical context inform the architecture of the museum? How can it create a sense of belonging for the people?

The museum design pays homage to the fact that military operates for every citizen in our country. Therefore, instead of placing a building within an ornamental landscape to reinforce its monumentality, the landscaped terraced building itself becomes the monument. This terraced roof is accessible to all and belongs to the general public.

The triangular forms resemble the Samrat Yantra in Jantar Mantar, the steps of the sloping wing like roof echo the steps of Jama Masjih and the raised platform is reminiscent of Humayun’s tomb and Viceroy’s House on Raisina Hills all of which are located in the immediate vicinity of the site. The building is therefore a people’s monument and finds its own place in the grandeur of important buildings in the area.

The building’s orientation back to India Gate immortal flames of offers fresh perspective

The sight of India Gate anywhere on the roof.

orientation reinforces the focus Gate which contains the the Amar Jawan Jyoti and perspective of the city.

Gate is not lost from roof.

The museum sits in a garden and adds a layer of ambiance to the building. Once one clears security, the ground level is an open and freely accessible area. The auditorium, cafe, museum shop and flexible exhibition areas are all programmed on this floor.

Natural stone is used on the roof and on the surfaces around the building. The stone flows inside the building and is used on all pedestrian areas. This blurs the boundaries between inside and outside of the building.

MUSEUM AS A MODERN SUSTAINABLE BUILDING

To prevent against extreme Delhi heat, the building does not have too much of glass surface on the external facade. The stepped platform connects back to each level within offering means of speedy evacuation. Along with the that the roof is also a huge collector of rainwater, lined with drain channels and a storage area below.

From inside this is a modern building with well-organized exhibition spaces. As the building rises up, in section, it creates a variety of spaces within. Some areas have soaring ceilings where as others have more intimate volume giving the curator freedom and flexibility to display large artefacts or small memorabilia.

How does the building carry out the function of its program? How can the building respond to the environment?

The roof is a grand amphitheater or manch. Each level connects back to the floor inside giving the visitors a chance to step out and pause their journey through the galleries. This roof can have multitude of activities that can even take place simultaneously. It has an outdoor exhibition for large artefacts like battle tanks, planes etc. It also acts as a place for events and gatherings. The roof is also a landmark that acts as a meeting point for non museum goers. This stepped roof has the added advantage of offering a means of a speedy evacuation if the need so arises.

MUSEUM AS A SYMBOL FOR THE ARMED FORCES

How does the museum express military heritage, their values, challenges and sacrifices? How can the building itself become a source of inspiration to motivate the citizens?

At the top, a band accentuates the butterfly profiled people’s platform, which appears as if it has been tenuously linked to the building below, relying on its support to keep itself propped up. This connection symbolically represents the fragility of the freedom that citizens enjoy and is a reminder of the fact that it has come at the cost of many sacrifices of our armed forces, the subject matter of the museum below. The arduous climb over the roof offers a unique human experience that evokes the emotions of struggle endured by our brave soldiers often in treacherous terrain. Deep voids cut the building at odd angles to protect existing trees. These cavities portray the harshness of war.

The facade of the War Museum maintains a stoic and robust disposition. The base of the facade has arches that have the outline of a soldier standing guard around the building in an ordered manner. The middle section has a solid outlook. The red sandstone blocks shift only slightly to create narrow slits. This acts as a jaali that keeps the sun out, controls the light that enters the galleries and cools the building. The narrow slits on the wall are reminiscent of EMBRASURES or ARROWSLITS, a common element of the military architecture of forts; including the nearby Red Fort. Symbolically it can even be read as a body that has been riddled with bullet holes.

FACADE DETAIL

Thesis research aims at determining and understanding various different, complex and inter-related factors that are responsible in forming the architecture, construct and fabric of the city of Jaisalmer. These factors help to formalize disciplines and planning principles that are indigenous to the city.

The newer building constructed and newer developments do not incorporate these principles, but blindly use the architectural features which have evolved indigenously; in order to maintain the imagery of Jaisalmeric architecture for the city. The newer buildings are constructed with traditional facade, where the internal layout has no relation with the facade. And in the process of this shift, the role of the traditional craftsmen has been reduced to just the execution and decoration of the building. The traditional skills and craftsmanship of the building construction tradition in Jaisalmer is not completely lost but has been reduced down to just the facade treatments.

Thesis intends at reviving, refining and re-interpreting the forgotten principles and features of the traditional architecture of Jaisalmer such that it does not lose its true essence of regional value and traditional value and hence forming an identity to the old, original, regional and traditional (indigenousness) of the city with the acceptance of new means.

TYPOLOGY

Thus, the thesis design intervention aims at setting up an example before the newer developments happening in the city; for designing and building in the indigenous way that completely responds to the region but not ignoring the newer technological and functional needs.

TEXTURE / MORPHOLOGY

The architecture and the form of the spaces in Jaisalmer has evolved the way it is due to a number of influencing factors such as the hot and dry climate of the region, its topography, availability of materials and craftsmen, water systems and along with these physical aspects or factors there are social factors such as culture, protection and traditions of the peo ple living there as the governing factors for the architecture of Jaisalmer.

The research puts together an analysis superimposing these factors on the macro and micro elements of the city and its built forms that have been changing over time. Thus deriving the basic principles and methods that are crucial to designing and building in the region.

Jaisalmer has been evolving as a city in terms of infrastructure, public facilities, commercial and residential development such that the neighboring smaller village settlements too benefit from the same and thus get incorporated into the city.

UIT (Urban Improvement Trust) of Jaisalmer established in 2009, has been operating from the CAD building which is its temporary location. And it has undertaken a number of such planning to improve the city planning and facilities offered to the residents of Jaisalmer.

One such scheme proposed by UIT involves three important factors namely a residential settlement, a commercial zone and permanent institute building of UIT.

Hence, the thesis study and concerns emerging from it, focuses at proposing the UIT institute building for Jaisalmer to be built in a manner such that it imbibes the old indigenous and lost planning and organization principles along with the incorporation of the new technological developments. Thus, setting up an for the newer developments happening in the city, as UIT is the government body that deals with the planning and implementation of the building and infrastructural developments of the city.

UIT LIBRARY COMMERCIAL

Spatial organisation along the ground street which is punctuated with UIT programs is that of a singly loaded corridor which is half level raised or sunk to allow visual interactions.

Public natured ground street is punctuated at two places with semi - public natured programs of UIT, which then connects to the upper level office spaces of UIT.

UIT

LIVING QUARTERS & GUEST HOUSES FOOD COURT

The route of movement is designed along the N-S axis. The Entry and Exit to the site are restricted to the two ends along the length of the site such that the visitor can experience the nature of STREET spaces and experiences created along it.

DESIGN STRATEGY

Meandering route of movement across the ground STREET to allow revealing nature of street and making it mundane and monotonous to walk across for a user.

QUARTERS

HOUSES COURT

UIT AUDITORIUM COMMERCIAL

UIT COMMERCIAL

movement allow the not monotonous

Opening up to the sides by creating half level raised or half level sunk, such that there is a visual connect to the outside and a physical access to the sides but cannot enter or exit through these intermediate breakpoints or pause points.

Spatial organisation along the ground street which is punctuated with UIT programs is that of a singly loaded corridor which is half level raised or sunk to allow visual interactions.

Spatial organisation of commercial public spaces along the ground street is such that it forms a chowk like space at the centre and route of movement cuts across or passes through it.

VIEW AT B’

The oblique sandstone panels at the higher floor is deep, which allow the space created by them to be used as private seating / reading corner of the library on the topmost floor of the commercial block at south end

VIEW AT D

VIEW AT C’ (FROM THE STREET)

Workshop space opening on to the street

VIEW AT C (FROM OUTSIDE)

Staggered floor plate of the UIT office spaces above the street

SECTION CC’

SECTION DD’

SECTION BB’

Gateway to the shaded street at south end

VIEW AT C’

VIEW AT E

Entrance gateway to the shaded street at the south end

VIEW FROM TERRACE

Overlooking on to the stepped terraces at lower levels of the office spaces used for informal meetings and discussions

VIEW FROM RAISED WALKWAY

The street is raised by half a level and the space below is used by street vendors during the day time and at night it houses cows and stray dogs

VIEW AT L

Office spaces overlooking each other through half split levels

VIEW AT I

VIEW AT I

Central food court with informal stepped seating

SECTION GG’

VIEW AT J

VIEW AT J

The street expanding and undulating at the center to form an amphitheater

SECTION AA’

VIEW AT M

UIT stepped seminar space

VIEW OF THE STREET AT NORTH END

Stepped street leading to commercial shops at north end

SECTION EE’

VIEW AT M

VIEW AT K

VIEW AT G

The connecting walkway at the center between two wings of the UIT office spaces, overlooking at the amphitheater down

VIEW AT H

The street expanding and undulating at the center to form an amphitheater with connecting walkway overlooking

VIEW AT A

The street steps down to become lobby courtyard for the auditorium and also doubles up as informal performance or discussion space when required

VIEW AT F

Entrance to the shaded street at the north end

VIEW AT K

Living quarters gives a glimpse of ways to incorporate indigenous design principles to newer changing residential form like that of vertical stacked apartment building typologies

Terraces at different levels are all interconnected through stairs and network of bridges. A system of water collection and harvesting is implemented via a network of gutters.

Vertical oblique fins :150 mm thick Jaisalmer sandstone panels placed at 1000 mm center to center.

Horizontal panels :150 mm thick Jaisalmer sandstone panels placed at 750 mm center to center.

Openings thus formed have adjustable sandstone panels with solar cell panel over it, adjustable open-able windows, and some are packed from external face such that from inside can be used for storage purposes.

DETAIL AT K

Exposed Jaisalmer Sandstone Jali balcony. Openings are punctured at different positions depending upon the solar altitudes for the living quarters and guest houses

DETAIL AT B

Exposed Jaisalmer Sandstone Jali balcony for UIT office space are angled differently along east and west face to cut sun glare but allow wind flow

DETAIL AT F’

Exposed Jaisalmer Sandstone Jali wall. A course of five sandstone blocks of 450X150X150 mm placed at perpendicular angles to the course below with 12 mm dia reinforcement bars to anchor the blocks.

The precinct of Maulana Azad Central Library in the inner city of Bhopal is surrounded by a number government institutions for health care, education, and ecology of the area. Some of these include the Women and Child Care Hospital, Central Libraary and Barkatullah Hall, Maddarssa, and Madhya Pradesh Rajya Matsya Griha.

The intent of the studio is to reconnect the public and increase their involvement with the government through institutional organizations. The proposed intervention is the Marine Life Research and Learning Institute, a research institute established by government for the advancement of research and improvisation of biodiversity of the region as well as school for higher studies in the same, at the site of Madhya Pradesh Rajya Matsya Griha and incorporating it within.

On site study of the precinct led to some unique observations of site conditions and how they reflect in everyday activities. The in between space or the transition space from a road to a shop or a private building is the most interactive space where most of the activities spills out. It behaves as a transitional threshold with some sort of functional values assigned to it.

Thus, imagining the institution building to be this threshold that allows the free transition of public across and making this transition more experiential for the public.

In order to achieve this a system of routes and pathways is used as seen and observed on site and the use of wall as an architectural element to achieve the idea of a building as a transitional threshold.

On site dirt rails being used to establish a diagram of routes and pathways.

Mass lifting thus forming the holding and the held or the built and unbuilt.

Lifting, splicing and drifting of mass to form public spaces of gathering.

axis pathways in between the built blocks.

Connector pathways cutting across the blocks establishing connections.

Diversions of the connector axis opening up to open public spaces.

Series of sectional analysis of built form

LONGITUDINAL SECTION THROUGH THE LEARNING BLOCK

SECTIONAL ELEVATION OF THE LEARNING BLOCK THROUGH THE CONNECTOR

LONGITUDINAL SECTION THROUGH THE LIBRARY BLOCK

SECTIONAL ELEVATION OF THE OFFICE BLOCK THROUGH THE CONNECTOR

TRANSVERSE SECTION THROUGH THE THREE BLOCKS

Nashik is one of the four holy and blessed lands where the most auspicious and the biggest Indian festival takes place - The Kumbh Mela, which is woven around many other set of beliefs, on account of which people from all over India flock to Nashik to seek the Holy dip and hence cleanse all their sins. From this twelve yearly system of faith and belief arises a unique, dense, complex but organized system of - ‘The Pop - up city’.

Belief is woven, land is sectored, grids laid and roads paved, electric poles raised and water and drain lines laid, tents raised and spaces are heirarchized, Sadhus march and pilgrims pour in - giving the city its millions of faithful, devoted and dedicated residents giving life to this holy land and turning it into a hub. Series of auspicious dips and processions structured with poojas and hawans; aartis, leelas, langaars and blessings are an integral part of this fest. The holy city is built in a couple of months for a couple of months and millions of people and their infinite faith. The fest comes to an end and the land awaits for another twelve years to get transformed into a city in the mean while being used as fields. Thus a city emerges out of river land and faith, and goes back to the river and land with the faith of re-emerging after twelve years.

A dense network of multiple complex systems is woven due to, for and by the river which is a system in itself.

Processional roads become the divide between sectors and hence the akhadas. But treating this divide as a braid to connect and link the two will help to bring together the akhadas and celebrate the festival. Thus, using the canal which acts as a natural divide on the site to establish the braid in the form of programs and spaces alloted for communal gatherings and processions.

STRATEGY 1

Utilizing the existing divide on site and that is the canal.

STRATEGY 2

Incorporation and involvement of existing institute structures (public in nature) on site and those are trust and temple buildings.

STRATEGY 5

Formation of public natured spaces along the divide, thus diluting the divide by the interlocks of the various strands.

STRATEGY 3

Braiding the two divided plots along the canal by introduction of the procession path strands

STRATEGY 6

Further diluting the procession strand by introducing nodes along it to make it celebratory and hence diluting it.

STRATEGY 4

Further dilution of divide by introduction of strands connecting the neighboring sectors.

STRATEGY 7

Further introducing strands of secondary road networks connecting the public spaces to each other and the procession strand and hence sectoring the land.

MASTER PLAN DIAGRAM 1 MASTER PLAN DIAGRAM 2 FINAL MASTER PLAN DIAGRAM

REVEALING realms

Annexed Interventions

Academic | Design Studio| 2013 Site - Tashiding, Bayul Demazong, Sikkim Guide - Rohan Shivkumar, Shilpa Gore Shah (S+PS Architects)

The Buddhist monasteries are illustrated with paintings of the circle of life, which talks about the different realms and experiences attached to them and that are part of one’s life.

The project intends at revealing the unrevealed, unnoticed, over looked realms/spaces in Tashiding, Sikkim; which have their own deeper stories and experiences attached to them in the way of ruins, remains, rituals, process etc.

The process involved intervening in and around these unnoticed spaces in Tashiding without disturbing the existing site conditions like the textural ruins of space and the experience of space.

PLAN AT +0.5M

The path to crematorium and the rituals associated to it along the path for which a consolation space with pavilion provides pause points along the path.

SECTION AA’

PLAN AT +4.5M SECTION CC’

Other small interventions related to other unrevealed realms in Tashiding which includes workshop exhibition space for the old monk carving the sacred chant on the rock since years. N

PLAN AT -1.4M

Revealing and reviving the old existing kitchen by introducing a restaurant keeping intact the existing ruins and remains of old kitchen, cooking area, furnace etc which has stories and experiences associated to it.

SECTION CC’

SECTION BB’

Academic Projects Professional Projects OTHER

CONNECTINGverandahs

Site - Harihareshwar

Type - Street-scape design Guide - Hussain Indorewalla, Rika Chaudhry Year - 2012

CONNECTINGwall

Alternate Healing & Research Centre

Site - Vajreshwari

Type - Architecture Guide - Advait Potnis Year - 2013

deLAMINATION

Indian Diaspora Community Centre Site - Bangkok

Type - Urban | Architecture Guide - Ainsley Lewis Year - 2014

KATHIWADAhouse

Type - Interior Architecture Site - Worli, Mumbai Organization - SRDA (Samira Rathod Design Atelier) Project Role - Project Architect Team - Samira Rathod (Principal Architect)

Scope - Concept & detailed design, contractor & site coordination Year - 2017

JAINhouse

Type - Interior Architecture Site - Juhu, Mumbai Organization - S+PS Architects Project Role - Project Architect Team - Shilpa Gore Shah (Principal Architect)

Scope - Concept & detailed design, material & furniture selection, contractor & site coordination Year - (2021 - 2022)

MITUL SANGHAVIresidence

Type - High-end Interior Architecture Site - Worli, Mumbai Organization - S+PS Architects

Project Role - Project Architect Team - Pinkish Shah (Principal Architect), Kalyani Shroff Gupta

Scope - Concept & detailed design, material & furniture selection, contractor & site coordination Year - (2019 - 2022)

Competitions Freelance Projects

GummingVILLAGE

Type - Master planning|Architecture

Site - Gumming village, China

Team - Arunima, Payal, Nikita

Year - 2015

Shortlisted for top 50 entries

PUSHKAR’Ssecond home

Type - Residential Interiors Site - Pune

Scope - Concept & detailed design, material & furniture selection, contractor & site coordination Year - (2017 - 2018)

FIRST FLOOR

Type

Site - Berlin, Germany

Team - Mrinali, Yashna

Year - 2019

GROUND FLOOR

VACATIONhouse

Type - Architectural Site - Tungarli, Lonavala

Scope - Concept, form and design proposal Year - 2018

penthouseTERRACE

Type - Outdoor Architecture Site - Khar, Mumbai

Scope - Concept & detailed design, material & furniture selection, contractor & site coordination Year - 2020

COLLABORATION

The Gift Karkhana Collaborative Startup

The Gift Karkhana, is a small collaborative startup based in Mumbai with a team of 5 practicing architects involved in designing and producing customized products with a fun and creative approach.

It an experimental lab to explore different materials and design innovative ways of conveying feelings and ideas into tangible products and gifts for special ones and special occasions.

Team Arunima Dubey Hiral Satra Lipika Kosambia Nikita Mahajan Roshni Parthasarathy

thegiftkarkhana

COLLABORATIONwork

Logo Design Collaborative Project

Logo design for a real estate agency business that is going to be used for business cards, letter head and the billboard of the shop.

Team - Riddhi Mehta

HIRALsatra