ARCHITECTURE PORTFOLIO ILA D’CRUZ
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3
1.
URBAN OASIS An insert in an inner-city zoo, Mumbai
2.
YOUTH CENTER An intervention for city youth, Banganga, Mumbai
3.
PRIMARY SCHOOL A day school for local children, Matheran, India
4.
DESIGNING FOR DEMOCRACY Research and development of a suitable representation for Government architecture, India
5.
EMOSPHERE Winner of Citation -NASA Product Design Trophy 2009
6.
INTERPRETING MUSIC Exploring the relationship between music, art and its physical representation
ACADEMIC 2006-2011
SELECTED WORKS
PROFESSIONAL at SJK Architects 2011-present 7.
HOTEL AT BODHGAYA Design and execution of a four star resort at a sacred Buddhist site
8.
TASTE OF EARTH Installation design for an exhibition, Delhi
9.
PREMIUM SHOWROOM Localization and execution of a showroom for premium home appliances, Mumbai
10.
MUSEUM FOR JAIN HERITAGE Design development and presentation for a Jain museum, Ahmedabad
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Byculla Zoo
Mumbai, India
URBAN OASIS An insert in an inner-city zoo, Mumbai
Academic Project
2006
Solo Project
First year architecture studio.
The Brief ‘Jijamata Udyan’, formerly Victoria Gardens is a zoo and garden located at Byculla, in the heart of Mumbai, India. Laid out in 1861, it is one of the oldest zoos in India. Originally property of a wealthy Jewish businessman, Davaid Sassoon, the zoo follows the Victorian dictum of park first, with exotic animals displayed as trophies. It consists largely of 48 acres of beautiful, well laid out gardens and walkways. However it is also considered one of the worst zoos in the world, following outdated ideas of tiny enclosures for unfortunate animals, which are in a state of disrepair. Byculla Zoo as it is commonly known holds special memories for `most citizens of Mumbai. They have been coming here as
children and now they come with their children and grand children. It is one of those rare places where people can interact with nature and come face to face with wild, exotic animals. An oasis in the heart of skyscrapers and apartment blocks and a very critical one at that, it is an essential experience for human beings to associate with forgotten aspects of nature. Unfortunately it forms a very incomplete experience. People view animals through closely spaced bars, with the animals cooped up in tiny enclosures, as if looking at specimens in a lab. My concern was to amplify the natural experience for people, not only of connecting with the animals but also of connecting with nature.
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Fig 1. Reversing the cage situation.
Walking through the insert
Fig 2. The enclosure would be an extension of the the earth itself. vantage points for viewing the leopards
CONCEPT Initially I began with the idea of reversing the cage situation. A person would walk into the animal’s enclosure so that he would be surrounded by bars/ glass and completely immersed in the experience, surrounded by animals on three sides. But this was just a superficial change – we were still in enclosed spaces, separated by bars, passive onlookers. We required an organic experience that allowed humans to observe and be observed as just another species in the zoo. Modern zoos create specifically designed enclosures for animals that recreate their natural habitats. The insert needed to respond to that – the enclosure would be an extension of the the earth itself, rising and dropping to create a unique environment for visitors.
cave-like relaxation spaces
INTERVENTION Adjacent to the leopard enclosure lies a plot of land very close to the entrance to the park where visitors relax and enjoy lunch. I chose this as the spot for my intervention and amplifying its role in the park.
gently sloped play areas
By using a triangulation method and organically manipulating it so the ground itself dipped and rose to create spaces for people to recline and relax. High points from which the leopard enclosure could be viewed, expanses for children to play as well as sheltered corners for people to recline with a book. Observing nature and cohabiting with nature, all at once.
dynamic walk through spaces
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Fig 3. Plan of the insert
Fig 5. Representation of the insert
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2
3
4
5 mtrs
Fig 4. Sections through the insert
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YOUTH CENTER
An intervention for city youth, Banganga, Mumbai
Academic Project
2008
Solo Project
Second year architecture studio
Context
Concern
Banganga tank is an ancient water tank which is part of the Walkeshwar Temple Complex in Mumbai, India. Just off one of the city’s busiest streets, one encounters an anomaly in time, this ancient step well, completely anachrous to its surroundings. Its origins shrouded in mythology, on any day one finds people engaged in religious activities around the water.
The tank surroundings are occupied by small dilapidated structures that are home to not only temple priests and their families but several other lower middle class people. Classified as a heritage precinct, this area is unlikely to undergo any expansion or redevelopment in the near future. As a result, the residents live in cramped conditions with no hope of immediate respite.
From Hindu ceremonial rites performed on the steps to actually immersing themselves in the water, this tank provides people with an unbroken link to their religious heritage. Hemmed in by skyscrapers and some of the most expensive real estate in the world, the tank and its surroundings provide cultural and spatial respite in an urban context.
Although a culturally rich and fulfilling location, Banganga is also tightly packed and claustrophobic in terms of living conditions. Close to slumlike houses mean that the youth of this locality have no access to privacy and private space whether they want to study, mingle with other youth or just enjoy a little quiet time.
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CONCEPT Research about youth centres talks of the need for community spaces for youth as well as the need for smaller and more private spaces where the interaction is down to one or two people. The plot was a small rectangular piece of land facing the tank one one end and open to the sea on the other. The idea was to create an introverted building that recreated the feeling of a tree canopy while allowing for views of the water body.
INTERVENTION As the plot was already being used by neighbourhood kids to play in, it was critical to preserve that space. Hence the lower floor allows for only a large community hall and a cafe with a large sheltered courtyard for children to play. The staircase branches out like a tree leading to the smaller spaces above. A central tree provides the trunk around which the building wraps itself.
WHY VORONOI?
Voronoi is a mathematical division of a region based on a set of points. The effect produced is similar to the veins on a leaf.
branching circulation around a tree
intricate shadows like the forest floor
The pattern of openings follows the branching of the veins on a leaf. Openings at the ground level are large and reflect more public spaces while as you go higher the openings are smaller and generate smaller, more private spaces .
massing reduces from bottom to top
a sheltered play area maximises the site
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Like a tree canopy – protective, with branching out spaces and allowing room for play in its shade. 17
Pen and ink illustration describing the major influences on Matheran - the city tourists, the local settlements, the horse trainers and the forests.
METAPHORS IN ARCHITECTURE School building - windmill processes minds
Vocational center -lighthouse provides guidance
Library building -ship facilitates mind travel
PRIMARY SCHOOL A day school for local children, Matheran, India
Academic Project
2007
Solo Project
This project involved first studying the community and its requirements and then designing the insert.
Context
Concern
Matheran is a hill station around 90 km away from the city of Mumbai and a common picnic spot for city people. Due to its elevation, it has a cool and pleasant climate and has been used as a summer getaways since the days of the British empire.
Due to the number of tourists that frequent there, Matheran’s economy is heavily dependent on tourist related activities. Entire communities rear horses as these provide the only mode of transport here. Other related occupations included working in hotels and restaurants or setting up small shops to cater to tourists.
Matheran’s cool climate makes it a popular weekend getaway for urban residents. Matheran, which means “forest on the forehead” (of the mountains) is an ecosensitive region, declared by the Ministry of Environment and Forest, Government of India. It is Asia’s only automobile-free hill station.
Interviews with the residents established a growing dissatisfaction about their circumstances. Most of the younger generation had to move to the city to get jobs and felt like second-class citizens in their hometown due to the constant influx of tourists.
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METAPHORS IN ARCHITECTURE With the intent to galvanise the community and create a unique identity for the school, I arrived at the idea of using metaphors for the individual school buildings. The objects arise out of the contoured site, unveiling and disentangling themselves from it, yet very much a part of their context. These were visualized as being constructed of ferro-cement panels.
Top: Study models for the different buildings within the school campus Above: A model of the three different buildings placed within the contoured site
Above: A top view of the model of the three different buildings placed within the contoured site
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DESIGNING FOR DEMOCRACY 23
Ancient Greece 5th and 6th century BC Democracy is accompanied by evolution of a public realm.
325 B.C. Greek theatre of Dionysus at Athens
Rome 2nd century BC Forum evolves as center of public realm
100 B.C. Greek agora
179 B.C. Section of the Basilica Aemilia
visibility accessibility universal symbols
1794 A.D. Central Pavilion, Tontine Crescent, Boston
1800 A.D. The White House, Washington D.C.
Neo-classical Architecture early 19th century Characterized by strong references to the Greco-Roman style.
INDIA
1956 A.D. Vidhana Soudha, Bengaluru
Democratic India 1950’s Imposing government buildings in a style described as ‘Neo-Dravidian’.
Medieval Europe 13th century AD The building of town halls and the city square or plaza evolves.
1297 A.D. Palazzo Pubblico
1299 A.D. Palazzo Vecchia
1963 A.D. Palace of Assembly, Chandigarh
Democratic India 1960’s Le Corbusier abstracts images of the local symbols and countryside.
1299 A.D. Town hall, Rothenburg
2000 A.D. Vidhan Bhavan, Bhopal, Madhya Pradesh
Democratic India 2000 Charles Correa draws inspiration from local monuments.
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From top left: Road and traffic analysis, Vegetation, Government Institutions, Building typology analysis, Built up height analysis and Pedestrian movement-providing a shortcut across site.
DESIGNING FOR DEMOCRACY
Research and development of a suitable representation for Government architecture, India
Academic Project
2010-11
Solo Project
This project was my design thesis - research into the topic proved both enlightening and inspiring and has provided the base for what I would like continue to study at graduate level.
Context
Concern
In a democracy, where the government is supposed to comprise of public servants and representatives of the people, government buildings and institutions are still built as symbols of power and supremacy. They are built as fortresses to keep out those very people they are supposed to represent.
Currently ward offices throughout the city function as a maze of paperwork. Even in the twenty-first century, they continue to use the old system of filing resulting in large rooms functioning as go-downs for flies and paper.
Imposing structures, imperial architecture and inaccessibility still characterize government institutions whether in the capital city of New Delhi or anywhere else in the country. This is an extension of the type of democracy existing in the country, where elected leaders are elevated to kingly status, using the privilege of public office as a vehicle for enriching and empowering themselves.
In order to increase efficiency and save public time, the government has introduces Civic Facilitation Centres (CFC) in all their wards. These function as the public face of the office, dealing with paperwork and issues that are most often required by people. The most common reasons for which people visit Ward Office are Birth and Death Certificates, Payment of taxes and Grievances. Hence by dealing with the first two i.e. certificates and taxes, the CFC aims to stem the flow of people to and from the ward office itself.
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SITE SELECTION The site selected was an existing Government ward office at Dadar, the busiest hub of Mumbai. Dadar is also a railway station on both the Western and Central lines of the Mumbai Suburban Railway network. This makes the station a transit point for thousands of passengers using the Mumbai Suburban Railway and one of the most crowded railway stations on the network. The site allows people a shortcut to the railway station, thereby ensuring a steady movepedestrian movement across the site.
WHY THE WARD OFFICE ? The ward office should ideally function as a tool of democracy - be involved with people at a grass roots level. People must have a chance to actively participate and make themselves heard. Regular meetings with their representatives and with each other will open up discussions and decisions affecting their locality.
The ward office could act as the stage on which people could make themselves seen and heard by their government.
the maze-like ward office
plan becomes elevation
easy to read building
STRATEGIES With the vast illiterate population in the country, it is imperative that they too be able to understand and therefore be represented in the building. building would indeed become transparent to the public.
creating a readable facade
visual communication
transparent offices of policy makers
market street along walkthrough 29
1. establishing a pedestrian walkthrough
2. preserving existing trees and open space
3. defining the plaza+amphi theatre
louvred south west facade prominent waiting areas head of dept’s cabin occupants visible from outside pedestrian walkthorugh with market street
A long section through the building
head of dept’s cabin occupants visible from outside prominent waiting areas pedestrian walkthorugh with market street market function with shops
A cross section through the building
4. locating the market function
6. allowing the south west winds to ventilate the building
5. incorporating the walkthrough within the building
7. vertical louvres provide protection from the harsh south sun
Vertical louvres on the South-west face of the building
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6
1 1
5 4
1
1 1 2
1 3
1
1 1
1
1
2
1 Shop 2 Waiting+ exhibition 3 Councillor 4 Citizen center 5 Information 6 Grievances
VIEW FROM ENTRANCE
VIEW OF PLAZA 33
EMOSPHERE Winner of Citation NASA Product Design Trophy 2009
Competition entry
2009
Team Project
We worked in a 3-person team for this project. My role included creating a 3d model and working out the usability of the product. Team members: Ankita Thadani, Ishan Thacker
Designing For Courtyards. For the NASA product design competition, the brief was to create an object that had emotional value. The reasons for placing our product in the courtyard were its emotional memories, its closeness to nature, and its tradition of building families. Every garden, every soul, needs a place of peace and purity, somewhere to relax away from the computer coalface, where we can reconnect with the natural world.
The courtyard acts as a focal point, drawing various activities from different rooms to its one central open space. It is an active architectural space for eating, sitting, gathering, celebrating and playing. It fulfils many of the functions of the living room of the modern house, meeting the demands of varied age groups in its own unique way. Our product was thus placed in the courtyard: where the family can exist as a whole, secluded from their busy lives and united by their values.
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CONCEPT This design derives its inspiration from a soapstone candle holder with Mughal filigree carving. The soapstone candle holder is used in modern homes for its functionality and aesthetics yet having its roots in Indian tradition.
HOW IT WORKS When open, the Emosphere becomes a table with seating, catering to varying family units. With a weather shade that protects you from the heat while casting interesting shadows that merge with the organic nature of the open environment. By opting for voronoid openings, the product achieves a natural form, blending into the outdoors while giving the impression of sitting under a tree.
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2.
4.
3.
1.
“We watched the tragedy unfold We did as we were told We bought and sold It was the greatest show on earth� Amused to Death, Roger Waters
INTERPRETING MUSIC First year architecture studio 1. initial impression of the song 2. abstract interpretation of the lyrics 3. the painting is deconstructed so that the initial meaning is withdrawn 4. three dimensional expression of the deconstructed painting
Frozen Solid Poste colour on paper
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HOTEL AT BODHGAYA
(SJK Architects)
Design and execution of a four star resort at a sacred Buddhist site Professional Work
2010-12
Team Project
We worked in a 3-person team for this project. I started as an intern with this project and after a year and a half, I am now managing this project under an associate. Principal Architect: Shimul Javeri Kadri, Associate Architect: Vaishali Shankar
Designing For Buddhism. Bodh Gaya is a religious site and place of pilgrimage associated with the Mahabodhi Temple Complex in Gaya district in the Indian state of Bihar. It is famous as the place where Gautama Buddha is said to have obtained Enlightenment. For Buddhists, Bodh Gaya is the most important of the main four pilgrimage sites related to the life of Gautama Buddha. In 2002, the Mahabodhi Temple, located in Bodh Gaya, became a UNESCO World Heritage Site. On visiting the site, we were struck by the replication of a few architectural motifs like the stupa as well as the corbelling that is so specific to Buddhism. We wanted to create a hotel that was indigenous to Bodhgaya, India with its own identity, unique from the architectural vocabulary associated with Buddhism in South-east Asia.
From top left clockwise: a monk stands in front of an earthen stupa in the temple grounds; the Mahabodhi temple, Bodhgaya; a vault inside the temple; an iconic motif carved into the the temple dome; ieze carved in stone on the Mahabodhi temple; arched openings and roof corbelling characterise Bodhgaya architecture.
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SITE PLANNING The sacred bodhi tree is at the junction of the two defining axes become vital restoratives. Every garden, every soul, needs a place of peace and purity, somewhere to relax away from the computer
AERIAL VIEW OF THE PROJECT
The residential block
The water body collects rainwater from rooftops in the monsoon and replenishes the ground water; it is fed by borewells in the dry season.
The sacred bodhi tree is at the junction of the two defining axes
The residential blocks face the waterbody
The entrance portico is fitted with prayer flags
The public block
43 SECTION THROUGH THE PROJECT
Interior view of the cafe Image source : Rendered by professional 3D consultant
THE BRICK VAULT This project began with the premise of being low cost, ecologically conscious architecture. We explored highly exciting avenues of brick architecture including load bearing walls and brick vaults. However a year down the line reality hit like a ton of bricks.
Byelaws required that loading calculations for eathquake resilience be submitted for permission. However, there are not yet accurate calculations available for large span brick vaults in the country.Thus we opted for concrete shell vaults with internal brick cladding.
G
G
H
H
FINISH IS CLAY FINISH TILES IS CLAY TILES FIXED ON MS FIXED PURLINS ON MS PURLINS CEMENT SCREED CEMENT + SCREED + WATER PROOFING WATER PROOFING LAYER LAYER MS FRAME TO MSSUPPORT FRAME TO SUPPORT PURLINS PURLINS RCC SHELL RCC SHELL EXPOSED BRICK EXPOSED BRICK CLADDING CLADDING
1785
1785
W2
2400
3400
2400
3400
4165
2250
4165 3000
W2
3000
W1
W1
2250
+0.60 M FFL +0.60 M FFL +0.45 M FFL +0.45 M FFL +0.15 M MGL+0.15 M MGL
Section through vault Secondly, as the buildings were mostly single storeyed and the soil had a low load bearing capacity, the foundations would need to be disproportionately deep. Therefore, the load bearing system was no longer economically viable and we opted for a framed RCC structure.
13
13
6570
600
600
6570
12
12
45
CORBELLED ARCHES AND ROOFS
Top: View of verandah with central Bodhi tree Above: View of cafe verandah
125
RCC RING BEAM
RCC LINTEL MADE TO SPECIFIED PROFILE
200
980
200
200
100
200 MM X 200 MM RECESS IN LINTEL
145 125 125
SQUARE PANEL IN PLASTER BRICK MASONRY WALL LAID USING ENGLISH BOND VERTICAL CORBELLING IN BRICKWORK
2400
2420 unfinished
THREE TIERED STEPPED OPENING
150
+0.45M FRM MGL
150
150
+0.3M FRM MGL
Detail of a corbelled opening
+0.15 M FFL
Jan 2011
Dec 2012
April 2011
Sept 2013 Articulation of openings over the course of the project
Using the strong, simple language of repetition of arches at once recalls a Buddhist monastery. However to establish the lightness associated with a resort, we went ahead with curved openings.
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+0.15M FRM MGL
N Site Plan
6
9
5
8
7
10
11
12
13
14
3
4
2
1
1 Entrance portico
6 Kitchen yard
11 Gym
2 Reception waiting
7 Service yard
12 Back office
3 Pre-function
8 Cafe
13 Lounge
4 Banquet
9 Pool court
14 Reception
5 Kitchen
Top: Front elevation of the public block Above: Plan of the public block
10 Spa
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P
4085
Q
1715
R
2400
1715
S
4085
BRICK BAT COBA
+8.95 M
MS FRAME TO SUPPORT PURLINS
RIDGE HEIGHT
MS PURLINS CEMENT SCREED + WATERPROOFING LAYER FINISH IS CLAY TILES (HALF ROUND SINGLE LAYER) FIXED ON MS PURLINS
+7.05 M
70 700
70
RCC SHELL
TOP OF SLAB
500
UPSTAND BEAM 3 TIERED CORBELLING IN RCC
500
475
EXTERNAL SAND FACED PLASTER RCC LINTEL WITH CORBELLING
W3
2400
2985
W1A
APPROX. 150 MM CLEAR
2400
EXPOSED BRICK CLADDING
W1A
W3
2400
OPTIONAL
2950
4030
2400
2 TIER STEPPED OPENING
MS RAILING
CORRIDOR
TOILET
ROOM
+4.0 M FFL
TOILET
ROOM
950
2 TIERED CORBELLING IN RCC
790
750
RCC SLAB
750
345 MM THK BRICK WALL RCC LINTEL WITH CORBELLING
3400
W1 W3
2400
3120
W1
APPROX. 300 MM CLEAR
2400
230 MM THK BRICK WALL
W3
115 MM THK BRICK WALL
2400
BRICK BAT COBA
2400
PCC RUBBLE SOLING
CORRIDOR
COMPACTED EARTH
ROOM
TOILET
+0.45 M MGL
RAISED GARDEN LEVEL
150
TOILET
150
ROOM
+0.60 M FFL 0.0 M MGL
PLINTH BEAM RCC COPING BRICK MASONRY FOUNDATION
NOTE:
SECTION AA' PMC:
ARCHITECT:
CLIENT:
302-303,VEENA KILLEDAR INDL.EST. ,10/14,PAIS STREET, BYCULLA-WEST, MUMBAI-400 011 TEL.NO.: 022- 2300 8766, 022-23008761 FAX.NO. : 022-2309 0983 email: design @sjkarchitect.com
MARASA HOSPITALITY PVT. LTD. 11th FLOOR, BAKHTAWAR BUILDING, NARIMAN POINT,MUMBAI 400 021
REVISIONS:
NOTES:
PROJECT:
HOTEL AT BODHGAYA
ALL BOXED DIMENSIONS ARE 'CLEAR' OR FINISHED DIMENSIONS.
1. All Dimensions Are In METERS Unless Otherwise Specified 2. All Dimensions Specified Are UnFinished Dimensions, Unless Otherwise Specified. 3. All Structural Dimensions Shall Be Confirmed As Per Consultants' Drawings. 4. Any Discrepancies In the Drawings Shall Be Brought To The Notice Of The Architect,Prior to Execution. 5. DO NOT SCALE Drawing
TITLE: SECTION AA - RESIDENTIAL BLOCK
DRAWING NO: BH/RB/S1
SCALE: 1: 50
DATE OF ISSUE: 20/11/12
REV NO: DATE OF REVISION:
PURPOSE: TENDER DRAWING
This "drawing" is the copyright of SJK Architects and shall not be used for any purpose other than that for which it has been loaned.
a -ii to v
g -ii to v
d -ii to v
h -ii to v
k -ii to v
g -ii to v
n -ii to v
h -ii to v
26620 (with plaster) 5770
3250
5770
5770
26
TOILET C13
C20
+100.65m FFL
3000
ROOM
+100.65m FFL
+100.65m FFL
W2
R1
125
360 360
W1
+100.35m MGL
W1
R1
W2
Refer to detail Drg no.-AR-RB-DT-W1
Refer to detail Drg no.-AR-RB-DT-W2
Fin. floor level
D2
800
2450
Fin. floor level
D3
800
2450
Fin. floor level
D4
800
1500
Fin. floor level
FIN.OPENING SIZE (MM) WIDTH
UNFIN. CILL LEVEL
HEIGHT
8
8
+2.45m from FFL (Fin. bottom of local lintel) +1.5m from FFL (Fin. bottom of local lintel)
TOILET PCC laid to slope towards Nahani Trap
4
SHAFT PCC SUNK wrt PCC in room
1610
One brick thk masonry wall below pcc
2
W1
2200
2100
W1A
2200
1800
+ 0.3m from FFL
W2
600
600
+1.25m from FFL
W3
500
700
+1.4m from FFL
W4
1600
4200
Mid-landing level
W5
1600
2400
+0.45 from MGL
Fin. floor level
+2.4m from FFL (Fin. bottom of local +2.4m from FFL (Fin. bottom of local +1.85m from FFL (Fin. bottom of local +2.1m from FFL (Fin. bottom of local +4.2m from FFL (Fin. bottom of local +2.4m from FFL (Fin. bottom of local
380
605
DETAIL OF TOILET SCALE 1:50
302-303,VEENA KILLEDAR INDL.EST. ,10/14,PAIS STREET, BYCULLA-WEST, MUMBAI-400 011 TEL.NO.: 022- 2300 8766, 022-23008761 FAX.NO. : 022-2309 0983 email: design @sjkarchitect.com
PMC:
SYConE CPMC PVT. LTD. #36, 20TH MAIN, CHORD RD, 2ND BLOCK, RAJAJINAGAR, BANGALORE 560 010 TEL.NO.: +91 80 23133316, 23325088, 23122577 FAX.NO. : +91 80 23325085 email: syc.tirupati.hotel@syconepmc.com
CLIENT:
MARASA HOSPITALITY PVT. LTD. 11th FLOOR, BAKHTAWAR BUILDING, NARIMAN POINT,MUMBAI 400 021
PROJECT:
HOTEL AT BODHGAYA
1
lintel) lintel) lintel) lintel) lintel) lintel)
125 2095
DRAWING FOR RESIDENTIAL BLOCKS II TO V
24
NOT FOR BLOCK I n-i
26330
a-ii
n-ii 26330
a-iii
n-iii 26330
a-iv
n-iv 26330
a-v
+100.275 M connector lvl
+100.65m FFL
UP
RESIDENTIAL BLOCK II
RESIDENTIAL BLOCK III
RESIDENTIAL BLOCK IV
RESIDENTIAL BLOCK V
8 8
400X490 (fin. size) duct for RWP, water supply pipes, fire hydrant pipe
W5
RESIDENTIAL BLOCK I
4
250
n-v 26330
26 4
R1
440
Plinth Beams below
NOS.
125
605
n -ii to v
2
1
23
20
For RCC jamb of W5 refer to drg no AR-RB-DET-W5
1
WATERBODY
2
690
DETAIL OF RAINWATER DUCT SCALE 1:50
KEY PLAN OF RESIDENTIAL BLOCKS SCALE 1:500 ARCHITECT:
eq
RCC
a-i
FIN. LINTEL LEVEL
eq D3
Door opening to align with face of wall
Half brick thick brick masonry wall
HOLD
WINDOW SCHEDULE: RB GROUND FLOOR
24 One brick thick brick masonry wall
250
2450
WINDOW TYPE
LEGEND: NOS.
+2.45m from FFL (Fin. bottom of local lintel) +2.45m from FFL (Fin. bottom of local lintel) +2.45m from FFL (Fin. bottom of local lintel)
TOILET
W3
530
965
W3
780
D1A
TOILET
180
Fin. floor level
D2
D2
D1
FIN. LINTEL LEVEL
2450
m -ii to v
CENTER all one brick thick walls to align with center of corresponding plinth beams below
600
FIN. CILL LEVEL
HEIGHT
915
l -ii to v
250 355
14010
FIN.OPENING SIZE (MM) WIDTH
k -ii to v
1350
25
26330
D1
3130
125
C32
GROUND FLOOR CIVIL MASONRY LAYOUT SCALE 1:100
DOOR TYPE
j -ii to v
i -ii to v ALIGN outer face of half brick thick toilet walls with outer face of plinth beam below
1035
ALIGN
2110
DETAIL OF MAID'S AND ELECTRICAL ROOM SCALE 1:50
1350
795 125
Toilet Shaft 940 x 1445 (fin size)
R1
ROOM
+100.35m MGL
HOLD
1760 125
HOLD
C31
W2
W1
1140
C24
D1
TOILET
C30
C
R1
A
125
360 360
C23 W3
D2
W4
B
795
C29 C28 W1
SHAFT
C26
D4
Space below mid-landing
24
1610
+100.65m FFL
R1
W3
D2
5000
ROOM
+100.275m MGL
625
C22
D1
1665
4060
5795
C21
R1 Fire cabinet
UP
TOILET
C25
W2
250
D3
TOILET
ROOM
D1A
C16
430
D1
W3
D2
C27
D1A
D1
Refer to Staircase detail Drg no.-AR-RB-DT-ST1&2
+100.65m FFL
3355
SHAFT
D2
eq
W5
C19
W3
TOILET
TOILET
W3 C15
CORRIDOR
UP
C18
D1
SHAFT
C14
R1
250 eq
HOLD
D3
2170 C17
W3
D1
62.5
1240
C
B
D1A
C12
62.5
25
R1
ALIGN outer face of half brick thick wall with outer face of plinth beam below
MAID'S ROOM +100.65 M 125
Niche for electrical panels
D2
Cut-out for copper piping in first floor slab above Cut-out in first floor slab above for cable tray
125
+100.65m FFL
C8 D1A
D1
C11
2045
125
ROOM
+100.65m FFL
D2
TOILET
W3
790(W)
955 C6
ROOM
D3
250
250
W3 C10
UP
DOOR SCHEDULE: RB GROUND FLOOR
EQ
W2
890(L)
250
W2
62.5 mm wide PCC projection all around (refer section AA)
MAID'S ROOM
250
500
1735
1735
SHAFT
TOILET D1
W5
2420
14010
14260
W1A
R1
125 mm wide PCC projection to accomodate W1/W1A (refer section BB)
+100.65m FFL
HOLD
20
125
C5
+100.65m FFL
D3
21
360 360
D2
C9
22
W1A R1
W2
R1
D2
1735
23
605 605
C4
+100.65m FFL
C7
Fire hydrant pipe
+100.275m MGL
W2
ROOM
3860
HOLD
14300 (with plaster)
24
1910 +100.05m MGL
ELECTRICAL ROOM
3810
4060 5795
25
ODU
W2 C3
+100.65m FFL
1660
1910
+100.5m
R1 W1A
C2
ROOM ALIGN outer face of half brick thick toilet walls with outer face of plinth beam below
360 360
5520
Access chamber for Hume pipes in floor below 850(L) x 750(W) (fin size) for block I, II, IV & V 1600(L) x 750(W) (fin size) for block III
m -ii to v
225
C1
605 605
l -ii to v
255 300
W1A R1
W2
CENTER all one brick thick walls to align with center of corresponding plinth beams below
A
+100.05m MGL
325
125
1910
2100
1910 125
j -ii to v
2210
i -ii to v
4400
2010
f -ii to v
1960
c -ii to v e -ii to v
5795
b -ii to v
26
EQ 250
Raised platform for ODUs - 4.4 m x 2.1m
325
5770
125
26580
NOTES:
1. All Dimensions Are In MILLIMETERS Unless Otherwise Specified 2. All Dimensions Specified Are UnFinished Dimensions, Unless Otherwise Specified. 3. All Structural Dimensions Shall Be Confirmed As Per Consultants' Drawings. 4. Any Discrepancies In the Drawings Shall Be Brought To The Notice Of The Architect,Prior to Execution. 5. DO NOT SCALE Drawing
This "drawing" is the copyright of SJK Architects and shall not be used for any purpose other than that for which it has been loaned.
REVISIONS: R1- PCC in toilet to be laid to slope; not sunk by 50 mm Revised window nomenclature W1 & W1a Location of maid's room wall in detail
TITLE: GROND FLOOR CIVIL MASONRY LAYOUT SCALE: 1: 100
SHEET SIZE: A2
REV NO: R1 DATE OF REVISION: 19.07.13
DRAWING NO: AR-RB-PLN-003-R1 DATE OF DRAWING: 10/07/13 PURPOSE: GOOD FOR CONSTRUCTION
N
FINISH IS CLAY TILES FIXED ON MS PURLINS CEMENT SCREED + WATER PROOFING LAYER
FINISH IS CLAY TILES FIXED ON MS PURLINS
CEMENT SCREED + WATER PROOFING LAYER RCC SHELL
RCC SHELL
EXPOSED BRICK CLADDING (INT)
EXPOSED BRICK CLADDING (INT)
MS FRAME TO SUPPORT PURLINS
MS FRAME TO SUPPORT PURLINS
EQ
EQ
125
2 TIERED RCC CORBELLING
+5.73 M LVL
80
RCC RING BEAM
3 TIERED RCC CORBELLING RCC RING BEAM
830
125 125
+3.5 M LVL
EXT. SAND FACED PLASTER
EXT. SAND FACED PLASTER
125 125 125
CEMENT MORTAR PACKING WITH DRAIN HOLES AT EAVES LEVEL
CEMENT MORTAR PACKING WITH DRAIN HOLES AT EAVES LEVEL
125 125 125
'KINNI' IN PLASTER
ARCHED CORBELLING
COUNTRY TILES
RCC SHELL CORBEL DETAIL A
12 MM THK CEMENT MORTAR
RCC RING BEAM RCC SLAB
302-303,VEENA KILLEDAR INDL.EST. ,10/14,PAIS STREET, BYCULLA-WEST, MUMBAI-400 011 TEL.NO.: 022- 2300 8766, 022-23008761 FAX.NO. : 022-2309 0983 email: design @sjkarchitect.com
CLIENT:
250 MM THK BRICK WALL EXT. SAND FACED PLASTER
MARASA HOSPITALITY PVT. LTD. 11th FLOOR, BAKHTAWAR BUILDING, NARIMAN POINT,MUMBAI 400 021
1. All Dimensions Are In Millimeters Unless Otherwise Specified. 2. All Dimensions Specified Are UnFinished Dimensions, Unless Otherwise specified. 3. --. 4. All structural dimensions shall be referred as per Consultants' drawings. 5. DO NOT SCALE Drawing 6. Any Discrepancies In the Drawings Shall Be Brought To The Notice Of The Architect,Prior to Execution.
HOTEL AT BODHGAYA
125
250
PCC 1:2:4 KHURRA
ELEVATION
SECTION
DETAIL FOR SPOUT (RWP OR FREEFALL DETAIL)
NOTES:
PROJECT:
400
MS GRATING
RCC CORBELLING EDGE DETAIL C PMC:
130
270
+5.73 M LVL
50
+5.73 M LVL
700
115
BRICKBAT COBA CHINA MOSAIC
3 TIERED RCC CORBELLING
125 125
RCC SHELL CORBEL DETAIL B
STONE COPING
BRICKBAT COBA STONE COPING GROOVE
75 195 125
125 125 125
200 130
CEILING PLASTER
REVISIONS:
TITLE: ROOF DETAILS
DRAWING NO: BH/PB/DT1
SCALE: 1: 25
DATE OF DRAWING: 08/01/10
REV NO: R1 DATE OF REVISION: 13.3.2013
PURPOSE: TENDER
This "drawing" is the copyright of SJK Architects and shall not be used for any purpose other than that for which it has been loaned.
75
A
REM
740
RCC LINTEL
450
RCC LINTEL MADE TO SPECIFIED PROFILE (REFER DETAIL)
345 MM THK BRICK WALL
ARCHED NICHE SECTION
345 MM THK BRICK MASONRY WALL
ARCHED NICHE ELEVATION WITHOUT PLASTER
75
2250
2400
REM
400
VERTICAL CORBELLING IN BRICKWORK
2250
150
RCC LINTEL 75 75 180 65
300
200 MM X 200 MM RECESS
150
EXTERNAL SAND FACED PLASTER
SLIDING GLASS WINDOW (item not included in C1 civil package)
ARCHED NICHE PLAN
345MM THK BRICK WALL THK EXTERNAL SAND FACED PLASTER
W1
FFL 100 MM THK PCC
PROFILE OF ARCH
75
395
200 MM X 200 MM RECESS
345 MM THK BRICKWORK TO BE FINISHED IN ROUGH CAST PLASTER
75
RCC LINTEL MADE TO SPECIFIED PROFILE
W1 EXTERNAL ELEVATION - WITHOUT PLASTER VERTICAL CORBELLING IN BRICKWORK
A
W1 SECTION AA 75
VERTICAL CORBELLING IN BRICKWORK JAMBS
115
RCC JAMB
75
75
JAMB TYPE A ARCHITECT:
302-303,VEENA KILLEDAR INDL.EST. ,10/14,PAIS STREET, BYCULLA-WEST, MUMBAI-400 011 TEL.NO.: 022- 2300 8766, 022-23008761 FAX.NO. : 022-2309 0983 email: design@sjkarchitect.com
PMC:
CLIENT:
MARASA HOSPITALITY PVT. LTD. 11th FLOOR, BAKHTAWAR BUILDING, NARIMAN POINT,MUMBAI 400 021
PROJECT:
HOTEL AT BODHGAYA
NOTES:
1. All Dimensions Are In Millimeters Unless Otherwise Specified. 2. All Dimensions Specified Are UnFinished Dimensions, Unless Otherwise specified. 3. --. 4. All structural dimensions shall be referred as per Consultants' drawings. 5. DO NOT SCALE Drawing 6. Any Discrepancies In the Drawings Shall Be Brought To The Notice Of The Architect,Prior to Execution.
REVISIONS:
RCC JAMB
115
NOTE: PAID FOR IN THE ITEM FOR REGULAR BRICKWORK.
115
INTERNAL BACKING PLASTER
115
NOTE: PAID FOR IN THE ITEM FOR CORBELLING FOR JAMBS.
115
115
EXTERNAL SAND FACED PLASTER
JAMB TYPE A
75
115
345 DETAIL A
345
115 115 115 12 20
W1 PLAN
40 75
VERTICAL CORBELLING IN BRICKWORK JAMBS
2600 JAMB TYPE A
40
INTERNAL BACKING PLASTER
7575
115
2300
75 75
min 230
75
EXTERNAL SAND FACED PLASTER
75 JAMB TYPE B
EXTERNAL SAND FACED PLASTER
TITLE: DETAIL OF W1
DRAWING NO: BH/RB/W1
SCALE: 1: 25
DATE OF ISSUE: 08/01/10
REV NO: DATE OF REVISION:
PURPOSE: TENDER
This "drawing" is the copyright of SJK Architects and shall not be used for any purpose other than that for which it has been loaned.
51
Moodboard to establish the essence of the palette
Palette of colours to establish the brief
TASTE OF EARTH
(SJK Architects)
Installation design for an exhibition, Delhi
Professional Work
2013
Team Project
Working directly with the principal architect, I over saw this project from concept to completion. Principal Architect: Shimul Javeri Kadri
The client, a paint manufacturer, asked us to create an exhibit for them showcasing a palette titled “Taste of Earth� they were about to launch. The palette used natural, earthy tones and was suited to a more sophisticated, well traveled customer. The raw beauty of local, indigenous materials created this natural palette. It brings to life a community thriving with imagination in an environment tactile and rich with varying finishes and surfaces. This is a refined and nuanced earthy vocabulary, relying on textures as well as shades for impact.
53
1
AT THE VENUE
2
3
1. the installation begins to take shape at the exhibition venue 2. the underside of glass steps which form the glass canopy for the installation 3. a close up of the screen that makes contemporary use of a primitive motif 4. accents of colours from the palette used inside the installation 5. the installation being set up at the venue
4
5
55
PREMIUM SHOWROOM (SJK Architects)
Localization and execution of a showroom for premium home appliances, Mumbai
Professional Work
2013
Team Project
This project was a collaboration with SWA and Einszu33,two German firms that represented the clients. I took on the role of lead executive architect. Principal Architect: Shimul Javeri Kadri Associate Architect: Vaishali Shankar
A multi-national home appliances brand with German origins approached us for their Mumbai showroom. The brief was developed by their German architects as well as a detailed design that followed brand policy. We were asked to provide local, medium priced equivalents for the materials as well as execution details that Indian carpenters were familiar with. The major challenges with this project were reconciling the services within a seamless ceiling while maintaining the maximum height the space offered.
From top left clockwise: A stark palette of white and grey showcases the products and lighting provides the required drama; the oakwood centre table arising out oof an oakwood floor with a shadow gap recalls the brand’s humble beginnings; crisp white furniture with hard to achieve hairline joints; the company values in matt stainless steel against a matt white backdrop.
57
MATERIALS Finding local equivalents for materials associated with the brand
CARPENTRY Working out joinery that was elegant yet strong enough to support the teakwood suspended ceiling.
LIGHTING Illuminating the products Ambient light +Drama
Lighting in this project was about striking the right balance between ambient lighting and illumination of products. We used a combination of focussed spotlights, wallwashers and downlighters. It was a carefully designed product experience - ambient lighting was just adequate to guide customer movement through the space and product illumination provided the contrast required to highlight individual products.
A key plan of the showroom approximately 5500 sq.ft. in area
59
Entrance into the building is from the North east as determined by Jain scripture.
The inner oasis formed by the water body and trees provides respite from the harsh sun.
MUSEUM FOR JAIN HERITAGE (SJK Architects)
Design development and presentation for a museum project, Ahmedabad, India
Professional Work
2013-14
Team Project
Principal Architect: Shimul Javeri Kadri, Associate Architect: Sarika Shetty
The layout for the project already in place, my role involved articulating the interior spaces of the building as well as developing the 3D views for it. The museum plan is introverted, based on the Mandala form derived from Jain scriptures. The building was designed to be completely passively cooled. The inner water body and trees filter the hot desert air before it passes into the gallery spaces via an openable screen.
Jain mandala
An aerial view of the complex
61
Ila D’cruz
Phone: +91-9920328815 Email: dcruz.ila@gmail.com