Language of Water - Black book - Thesis 2020 by JAy Pawar

LANGUAGE OF WATER A Centre for Understanding the Past, Experiencing the Present and Enhancing the Future

A thesis presented by

JAY SUBHASH PAWAR to Department of Architecture in partial fulfilment for the degree of BACHELOR OF ARCHITECTURE

Design Dissertation Guide: Prof. Ar. TANVEE JOSHI

Year: 2019-2020

UNIVERSITY OF MUMBAI CTES COLLEGE OF ARCHITECTURE, CHEMBUR

INTRODUCTION

CHEMBUR TROMBAY EDUCATION SOCIETY’S

CTES COLLEGE OF ARCHITECTURE

CERTIFICATE

This is to certify that the project entitled

“Language of Water” A Centre for Understanding the Past, Experiencing the Present and Enhancing the Future is the bonafide work of

“Jay Subhash Pawar” who is a student of the Final Year of CTES College of Architecture (2019-2020) and has carried out this work under my guidance and supervision

Signature Prof. Ar. Tanvee Joshi Design Dissertation Guide Date

Signature Prof. Ar. Alka Tawari Principal Date

Signature Prof. Ar. Anil Nagrath Director Date

DESIGN DISSERTATION, PART 1 APPROVAL

This dissertation entitled “Language of Water”

“A Centre for Understanding the Past, Experiencing the Present and Enhancing the Future”

By “Jay Subhash Pawar”

is approved for the partial fulfilment for the degree of Bachelor of Architecture.

Examiners:

Signature: Name: ___________________________________

Signature: Name:___________________________________

Date: Place: CTES College of Architecture, Chembur

DECLARATION I hereby declare that this written submission entitled “Language of Water” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references. No material other than that cited and listed has been used. I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying. I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission. This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student: Name of the Student: Jay Subhash Pawar Roll No: 1526 Date:

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include:  the verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement;  the close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement;  unacknowledged quotation of phrases from another’s work;  the deliberate and detailed presentation of another’s concept as one’s own.  “Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

ACKNOWLEDGMENT It gives me immense pleasure to express my gratitude for all those who, knowingly or unknowingly helped in my project. I’d like to thank my Mentor Prof.Tanvee Joshi for her valuable guidance, advice and the never ending patience. I am pleased to have her as my thesis Mentor. I would also like to thank the director of CTES College of Architecture, Prof. Ar. Anil Nagrath and the Principal, Prof. Ar. Alka Tawari for constantly inspiring me and others. I would also like to thank Prof.Ar. Gayatri Narkar, Prof.Ar. Pushpagandha Shukla and Prof.Ar. Souvik Choudhuri for giving all support and guidance which made me complete my book. I would like to express my gratitude towards my parents, Subhash Pawar and Ragini Pawar and my brother Raj Pawar for believing in me throughout , and for traversing on this path of Architecture along with me through good days and bad. They were my foundation to support me at every situation, my beam to reduce my load and my coffee to keep me awake all nights. I would also like to thank all my college friends who helped me out in every possible way in thick and thin. Urvi basu, the one who never let me step down in hard times, Aditya Ingale, the one who always encouraged me, Mukul Kriplani, the one who taught me to jump over hurdles and Disha Dorwani, the one who always motivated me. At last, this Thesis book couldn’t have been complete without these pillars in my life, standing strong and supporting me throughout the journey. I would like to extend my sincere thanks to all of them.

“The sea is everything. It covers seven tenths of the terrestrial globe. Its breath is pure and healthy . It is an immense desert, where man is never lonely, for he feels life stirring on all sides.” - Jules Verne, French Author

ABSTRACT Present work in on an idea to connect past and present of water usage, heritage and management practices with future needs. To restore a new relationship between humanity and water and a new “sense of civilization” which helps to reconnect people with the liquid element, in all its dimensions, including social, cultural, artistic and spiritual dimensions. The Center must have a learning center that will decode and provide a detailed analysis of a particular water system. The learning center will be open-ended where everyone could contribute and study. An exhibition space should be immerse and interactive in experience so that the visitors feel the essence of a particular form rather than an awareness method. The Center experience should be able to reflect on the culture where a particular language originated for the visitors to completely understand the vitality of that water. Creation of a dedicated learning platform that will allow a detailed research and innovation in terms of the past, present and future world water. The Learning Centre should also allow for the development of new systems, especially for people with visual or hearing disabilities, thus contributing to the society in a fulfilling way. It should be creative and dynamic so that it leaves a long-lasting impression on the visitors. The spaces must have different experiences which should be bound into an aesthetic and visually appealing museum shell. When the clear water dies out or the sense of the water, future generations lose a vital part of the culture that is necessary to completely understand it. This makes water a vulnerable aspect of cultural heritage, and it becomes especially important to preserve it. The design strives to create a ‘Center of water that will put all the past, present and new water techniques of water presence on one platform.

येरे येरे पावसा, तुला देतो पैसा पैसा झाला खोटा, पाऊस आला मोठा ये ग ये ग सरी, माझे मडके भरी सर आली धाउन, मडके गेले वाहुन! 6

INTRODUCTION

Water –

An element in nature that life is constantly surrounded by; an element that has given birth to life on Earth and continues to support it. Although we made our shift to land, our bond with water still remains significant asa ever; it is an element that is a basic necessity for our survival

INTRODUCTION

WATER: THE MOST ESSENTIAL ELEMENT

Water, the universal solvent, plays a vital role in the survival of lives of different forms on the earth. Almost 71% of the earth’s surface constitute of this solvent, out of which only 2.5% consist of drinking water as natural resource. This resource can be found out in various natural landscapes such as rivers, lakes, oceans and streams in which they undergo the process of evaporation, transpiration, precipitation and condensation leading to transporting this resource in the rest of the parts of the world. These natural water bodies also sustain various ecosystems that helps in maintaining the oxygen balance of the water. As an essential element to the living; water also plays an extensive role in generating major resources of electricity; power and energy supplies. Due to various uses of water, its has become an highly exploited resource. With the ever-growing demands of the increasing population; water endangers scarcity in the near future. In the course of time, the amount of water pumped has also gone from 126 to 283 cubic kilometers per year leading to the rapid shrinking of the natural underground reservoirs. Therefore, it becomes extremely important to understand the importance of this global issue and to take initiatives by understanding methods and following protocols. Humans intend to affiliate themselves with water as an element of survival,calmness and connection to nature.Different phases of water teaches many lessons and understanding of life and its challenges be it a running stream or a calm pond, raindrops forming circular rings slowly on the waterbody or the winds rushing the waves to the shore, or the basic understanding of the science of floating in water against gravity; human experiences many such events and water forms a vital element in these experiences.

INTRODUCTION

WATE R

INTRODUCTION

LIFE

INTRODUCTION

Kastrup Bathing Platform - Copenhagen, Denmark

“As an architect you design for the present, with the awareness of the past, for a future which is essentially unknown ” - NORMAN FOSTER

INTRODUCTION

WATER & ARCHITECTURE

Architecture as a tool manifests certain quality of making their users more attentive and create several experiences that can initiate a psychological situation. These situations can be played along with different spaces and can put a user in conditions to relate-think-react. As an urgent need to conserve and cautiously use water has been the talk of the town. Hence, architecture can act as a resource to generate awareness amongst various users and provide information by playing along spaces and experiences. Water plays an important role in sustaining human lives but when we think beyond Architecture, Water finds a special place from an artistic point of view. Utilizing various water features derived from the natural landscapes can formulate a relationship of nature in human fast forward lives. In the history of water as an element in architecture, it has also been used as a material with spiritual qualities. In religious perspectives, water symbolizes as a sacred element of purification and cleansing of the body and soul. Many philosophers have related to water with different aspects of life forming broader concepts of symbolism. Water and light are concepts closely connected in terms of usage, establishing a base of the universe and the brightness of the environment and at the same time is the factor of cleansing, purity and brilliance. These traits are associated with the fact of building in architecture in such a way that their presence in the context of religious architecture makes the building pure and bright. Light and water are the elements that traditionally have played an important role in architecture planning. The use of water and light together is a work that gives mystical sense to space, especially the religious spaces such as mosques. Considering light as a core component of the space and considering water as something that gives life to the environment, these two overall combinations create a specific philosophical shape. Hence the presence of light and water, which manifest in various forms in environment, is visualization and manifestation of beliefs and attitudes of space creators towards them which is originated from its high value on human life.

INTRODUCTION

“ Water is the most critical resource issue of our lifetime and our children’s lifetime. The health of our waters is the principal measure of how we live on the land. ” - LUNA LEOPOLD

INTRODUCTION

CURRENT SCENARIO

“There’s plenty of water in the universe without life, but nowhere is there life without water.” - SYLVIA EARLE When the clear water dies out the sense of the water, the future generations loses a vital part of the culture that is necessary to understand. This makes water a vulnerable aspect of cultural heritage, and it becomes especially important to preserve it. The growing water pollution, desertification, melting glaciers, water scarcity, exhaustion of resources and floods due to climatic changes, with the consequent dramatic reduction of biological and cultural diversity and the ever growing mass of entire population, seems not to be resolvable issues only through technocratic approaches. During the last decades, technocratic vision conceived and used water mainly as a means to afford unusual economic development at a global level. Simultaneously, the liquid element has been become invisible, that is, far from people’s awareness, where a condition has came up where water has become more vulnerable than ever. Every civilization has passed down through generations an invaluable and incomplete knowledge and heritage related to water. Today various organizations urged to communicate the value of such water heritage to the large audiences in a more coordinated way, in order to better understand the global water crises and its possible solutions ways. Citizens who believe wholeheartedly in preserving water, together with their cultural and historical dimensions: those dimensions which still may narrate memories to the special and unique relationship of humanity with this most precious source of life. Water has largely been neglected as an important element of the world, apart from some certain sections in major museums and centers devoted to individual elements. The Life on Earth is today plagued by adverse affects of global warming, the increasing toxic emissions, rising population, and scarce land resources. It is now time to brace ourselves against the unseen future and design solutions to deal with the changing problems on Planet Earth.

INTRODUCTION

12 SOME FACTS TOWARDS OUR FUTURE INTRODUCTION

INTRODUCTION

AIM The aim of the research is to design a Learning Center of Water, which will reconstruct the vision of people by providing Knowledge and Awareness by creating certain experiences in the spaces of the center. It also envision to understand various traditionally forgotten methods and also amalgamate with newer ideas for creating a better understanding of different aspects of water. OBJECTIVES • To understand water as an element with its usage and exploitation of Water’s Nature in the current scenario. • To reconnect people with the elements imbibed in water, in all its dimensions, including social, cultural, artistic and spiritual dimensions. • To create a learning Center which will be open-ended where everyone could contribute and study. • To exhibit various forms of water in architectural termsand understanding. • To give a experience to the people through various spaces and intervention. • To generate awareness in the society about the limited resources of the water. • To use different natural elements and materials to reflect the formation of human life. • To build and provide an active research facility dedicated to the preservation of heritage structures. • To use expressive forms that would be created by observing water formations, which will draw visitors into the facility. • To exhibit and preserve marine heritage.

INTRODUCTION

SCOPE

The research will address the current scenarios of water resource depletion and explore traditional methods of conservation to culturally and traditionally connect the user with the lost heritage and its essence. The research expands further to understand an overall climatic change scenario occurring and create spatial experiences enacting them and creating more awareness. The architectural intervention would encompass elements of the water body present on the site. The Centre cum museum will be combined as a visual representation of water’s importance and uses. The design works on creating various psychological experiences that would keep changing throughout the center. A research specific zone will also be included for interested users to explore the topic in more depth.

LIMITATIONS • Only, Indian traditional methods are consider to preserve in the Museum. • • As in India, there are manyand methods water which have Relation between human water inforallconserving forms. been practiced from decades. However these conservation methods been lost. Therefore only the history and use of the method • has Thehave Nature of water is diversion to different materials. which has help the people to sustain for so long will be revived. • Water is very susceptibility to heat. • Only, Indian traditional methods are consider to be preserve in the • Museum. Heritage structure will be incorporate with the beneficial use according to the site. • Water has been experience in many forms, in different places and in different situation. As it is not possible to give people the actual experience, However the Virtual Technology can help them to experience the nature of water in its all dimension without any problem. • The awareness regarding water is major priority, but awareness on water treatment won’t be touched in this Center. • Heritage structure will be incorporate with the beneficial use according to the site. It won’t be a replica as it has its own style and importances, changing the design would not be a solution. • Site to be near a natural water body to give the user its depth essence of the current scenario of water and the step which should be taken towards a better future.

INTRODUCTION

METHODOLOGY The research contributing to the study of the Knowledge center of water has been carried out by understanding the water in all its form and use in different activities. Some similar examples are studied by referring books and Internet for a deeper understanding of the topic. The design program is thus a result of the research carried out in an extensive manner.

INTRODUCTION

HERITAGE AND MUSEUMS: SCOPE, ROLES AND RESPONSIBILITIES

BOOK - South African Museums Association Bulletin AUTHOR - SAMA KwaZulu-Natal YEAR - 2011 PURPOSE OF THE ARTICLE To understand the role and responsibility of community towards the heritage structures and to preserve their importance and use for future generation. The article talks about Museums, Monuments, Heritage Site, Theaters, Festivals, Cultural Organizations who keep this heritage alive, Conservation, etc. ANALYSIS • Heritage is built for a purpose - whether for nation building, community or culture. • Heritage can play a role in redress, especially in situations where histories have been suppressed, distorted or silenced. It opens and generates either a different understanding that would challenge past and present prejudices while also allowing for an acceptance of diversity. • Museums are generally viewed as the custodians of ‘Our Culture’, and hence, our identity, and ‘Our Heritage’. • Museum core functions are research, outreach and collection management. • Collections of data/material constitute the memory of individuals, communities and the nation and consist of both tangible and intangible objects, both the everyday and the rare, the strong and the fragile, the good and the bad, of local and national importance. These therefore must be preserved for future generations in their original form. SOURCE https://reference.sabinet.co.za/documents/journal_documents/guidelines/0370-8314_474.pdf

LITERATURE

REVIEW

Heritage is bigger than just museums. It encompasses economic development such as tourism,arts and crafts, it defines cultural groups who choose what aspects of their heritage they wish to be known by and it even drives scientific research into it. The main role of museums is the documentation, storage and conservation of heritage.

LITERATURE

REVIEW

Water and light in Islamic philosophy, is the base of the universe and the brightness of the environment and at the same time is the factor of cleansing, purity and brilliance. These traits are associated with the fact of building in architecture in such a way that their presence in the context of Islamic architecture makes the building pure and bright.

LITERATURE

REVIEW

POSITION OF LIGHT AND WATER IN ARCHITECTURE AND PHILOSOPHY OF ART

BOOK - The Turkish Online Journal of Design, Art and Communication AUTHOR - Aysegul Yurtyapan Salimi, Amineddin Salimi & Nuran Kara Pilehvarian YEAR - April 2016 PURPOSE OF THE ARTICLE To get to know the relation between Water and Light. In this article they have shown the importance and application of light and water in architecture with arts and philosophy. ANALYSIS • Light occupies a central place in Heritage Structure. • The light can change face of a location by its different colors and effects, because in each season of the year, in different climates or at any time of day, light has its own face. • Use of Water in Architecture is seen as the key element, as it gives shape and form to a places, bonds and links the different spaces, passes through the environment in smooth form which give its importance by itself. • Light and water are key elements and indicators in human life. • Water can be designed in the form of streams and springs for the quiet and serene places and in the form of waterfall and large jets for crowded and busy places. • Water is used not only for irrigation and supplying water to garden plants but also conceptual, poetic and artistic use of it has decorated garden spaces and with its presence, has created freshness, vitality, movement and beauty in the garden. SOURCE http://tojdac.org/tojdac/VOLUME6-APRLSPCL_files/tojdac_v060ASE106.pdfurusg=AOvVaw1MIZffJlEsKh_oJfctTkSZ

LITERATURE

REVIEW

WATER AS AN ARCHITECTURAL ELEMENT

BOOK - Water as an Architectural Element AUTHOR - Abdalrahman Elkot YEAR - March 2016 PURPOSE OF THE ARTICLE To get to know the use of water in structures from ancient Egypt to Greek, from Rome to Islamic times, Renaissance, and are still being used in modern times. ANALYSIS • Courtyards are one of the oldest architectural element in which water is used in different manners. • Water is the very first reflective surface man ever saw himself in. • La Acequia has been given as an example where the 7 types of water body has been design with different functions and experience. • Fountains are said to be great in a way which unites people in urban spaces. When people see a fountain they sub-consciously think of the space as a central friendly space that intrigues them to pass through and experience. SOURCE https://www.academia.edu/25576393/Water_as_an_Architectural_Element

LITERATURE

REVIEW

There are different types of water elements in courtyards; points, lines, and pools. They all enrich the architecture in different ways. Points, such as fountains and springs, unite people and gather them around. water can be considered as a powerful and important element as light and shadow are considered in Architecture.

LITERATURE

REVIEW

Water will determine if India becomes wealthy or remains poor. But the management of water is not simply about building more dams, or laying pipelines to take the water to our cities and then pipelines to flush the waste from our homes. The management of water is about building relationship of society with its water, so that we can understand the value of each raindrop and understand that unless we are prudent, indeed frugal, with our use of this precious resource, there will never be enough water for all.

LITERATURE

REVIEW

A COLLECTION OF TRADITIONAL PRACTICES FOR WATER CONSERVATION AND MANAGEMENT IN KARNATAKA

BOOK - Water-nama AUTHOR - Sandhya Iyengar YEAR - 2007 PURPOSE OF THE ARTICLE To study the Conservation and Water Management system of Karnataka. The article formulates sensitivity towards our traditional methods which has been lost due to modern techniques. ANALYSIS • How technology helps the society to survive through water problems. • The solution to capture the rain and to use it to recharge groundwater which can be used for the remaining year. • Each region has been studied and documented in the book to make people understand and get to know each practice withs it methods and use. • Documentation has been done according to the user understanding. SOURCE Water-nama ( Book )

LITERATURE

REVIEW

Do you know 71% of the Earth’s surface is cover by water and yet there is only 2.5% drinkable water ?

Do you think there is a need to make people aware of Conserving Water?

Would you like to know the historical uses of water?

Would you like to know the modern or future ways of using water?

SURVEY

ANALYSIS

Do you know any Museum which is meant to promote water and its importance?

Would you like to visit a Center which will give you more insight about water?

Do you want to visit experience center for leisure activities or environmental awareness

Where would you like to have this Experience Center?

SURVEY

ANALYSIS

A PLACE TO LEARN AND EXPERIENCE

INTRODUCTION

Museums are made for collecting materials, styles, history, monument, etc. It will collect natural objects or art objects which are out of the economic circulation, either temporarily or permanently. The museum aim is to safeguard them from damages and show them within the very best method, so as to catch the eye of the guests. The term museum comes from the Greek ‘ Mouseion’, which implies place of the muses and of their mother Mnemosyne, the Greek goddess of memory.

The aim of the museum will be to evoke the love of knowledge through a physical path, giving the possibility to the visitors to fully live different experiences and to look at themselves as learners across the rich array of available formal and informal learning experiences. Experiencing the area is one among the primordial instinct of the world, and we usually do it through the body. We place ourselves in relation with the scale of the building and its dimensions form. This spatial quality is shown by means of geometric abstraction. In this manner, the presentation of objects represent a fundamental and crucial task to be done. The content and all its characteristics play a crucial role of the visibility of an object. If the special condition are changing, the perception of the objects changes too. In alternative cases, it’s the object itself that change completely the area. “The person-object-space constellation may occur in accordance with a variety of design principles: as correspondence or harmonious connection, as contrast or conscious antithesis, or as adaptation

or association, in which the imaginative experience of the objects finds more or less adequate correspondence in the building.” [A design manual, Museum Buildings, 2004] Our Museum will exhibit the traditional methods of water conservation used in India. The aim is to show the structures on small scale and at the same time it would express itself. In order to attend its importance, the design of the museum should be done by considering each and every aspect which would help the people to experience it through its depth. This will be the case of permanent exhibitions. In others occasions, the structure should have the quality of being adaptable to different possible exhibitions. It is important to mark that the interrelationship between objects-space -observer rely on the artificial and natural light as well. Every space has its own spatial quality and the light plays an important role to make it suggestive and unique for every single use.

INTRODUCTION

A PLACE TO CREATE A BETTER FUTURE

INTRODUCTION

Self awareness is very important because once we have an improved understanding of ourselves, we are able to experience ourselves as distinctive and separate people. We are then empowered to make changes and to build on our areas of strength as well as identify areas where we would like to make improvements.

As several water problems want broad public support and understanding, raising awareness on problems surrounding water resources is more and more seen as necessary. Public awareness means an overall level of understanding of a particular topic. So raising awareness for water problems may be a way to build a standard understanding of water problems and to make shared values on how water should be used and managed. Raising awareness isn’t constant as telling people what they’re supposed to do. It is explaining problems and providing information so people will create their own, informed decisions. There are 2 completely different activities to raise awareness. One is the more general public awareness, which involves wide-spread acknowledgment and understanding of water issues. The other one is awareness, which means understanding the relation between personal water use and natural and societal impacts. Related to selfawareness, citizen science programs can be a fun way for the public to learn and participate in monitoring their local water resources.

The aim of raising public awareness for water problems is to engage the general public in topics such as: water conservation; sanitary water use; or preservation of ecosystems. Other problems are the development of selfacting water institutions, increasing the willingness to pay or contribute to water services; awareness for planning for emergencies; and strengthening political will. Ideally, public awareness isn’t a unidirectional communication, however an interaction of the many active stakeholders, who influence one another and supply social control by mutually reinforcing in agreement sets of values. Awareness is raised through a range of channels that should be coordinated during a larger communications strategy. Those channels include water campaigns, engaging with environmental NGOs and community teams, creating information accessible to the overall public through inventories, as an example, and providing information to the general public through product labeling etc.

THE EARTH IS ALL WE HAVE IN COMMON

INTRODUCTION

SUSTAINABLE APPROACH

INTRODUCTION 34 https://i.pinimg.com/originals/e0/25/ef/e025efc983611302d929b82fa68a157a.png

THE INDOOR QUALITY, MATERIAL AND ENERGY CONSUMPTION The world is changing in a lot of ways. Because of the carelessness; that have dominated for several years a new issue has come up. Global warming is an issue that describe the increase in temperature of the earth’s atmosphere and is said to be caused/ expedited because of human behavior and the fact that we as people pollute like never before. Many people from different professions have been working on minimizing the CO2 level in their respected area of expertise. Architecture is a vital part of a strategy for a greener future. RESPECTING THE SITE

PASSIVE STRATEGIES

Materials from the area should be investigated for their properties and construction abilities. This would mean that transportation would be minimal. If other materials would have better properties and a higher sustainable values these should be used instead.

Using the climate studies, their should be investigated passive strategies that could possibly minimize the overall consumption. It is important that this step is incorporated in the design during the early phases of the design process and be used as a form factor.

INDOOR CLIMATE

ACTIVE STRATEGIES Active methods can be used to create a better indoor environment. They can include electric light, heat pumps, etc

The museum should include operational management that need to ensure that the indoor climate is on satisfying levels. Suitable parameters should be met and incorporated in the overall design. No direct daylight will hit any walls inside the gallery area. It is important to work with indirect sunlight and artificial light. Well functioning methods should be investigated to use passive and active ways for maintaining a good indoor environment with a low energy consumption. Software for analyzing energy consumption and the indoor quality should be used to achieve the most sustainable outcome that lives up to the requirements.

SUSTAINABLE ARCHITECTURE Nordic architecture should be the key focus on approaching the project. Honesty, Simplicity and light are important elements of Nordic architecture that mix, in a unique and distinctive manner. Local materials should be investigated to find their optimal properties which could benefit the sustainable purpose while making a connecting between nature and architecture.

INTRODUCTION

CASE STUDIES

INTRODUCTION

TRADITIONAL WATER CONSERVATION SYSTEMS

INTRODUCTION

• JHALARA ( STEPWELL ) - Jodhpur

Fig.1: Plan of Jhalaras

Fig.2: Section of Jhalaras

TRADITIONAL

WATER

CONSERVATION

SYSTEM

Fig.4: View of the Jhalaras ( Stepwell )

Jhalaras are typically rectangular-shaped stepwells that have tiered steps on three or four sides. These stepw ells collect the subterranean seepage of an upstream reservoir or a lake. Jhalaras were built to ensure easy and regular supply of water for religious rites, royal ceremonies and community use. The city of Jodhpur has eight jhalaras, the oldest being the Mahamandir Jhalara that dates back to 1660 AD.

Fig.3: Front View of the Jhalaras ( Stepwell ) https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

TRADITIONAL

WATER

CONSERVATION

SYSTEM

• MATA BHAWANI NI VAAV - Ahmedabad

Fig.5: Plan of Vaav

Fig.6: Section of Vaav

TRADITIONAL

WATER

CONSERVATION

SYSTEM

Fig.8: Front view of the Vaav This vaav at Asarva is the oldest known stepwell in Ahmedabad, built in 11th century during the Solanki rule. Although it has always been associated with a female protective divinity, the addition of a shrine has ensured its preservation. This shrine dedicated to Goddess Mata Bhavani is set into the rear wall of the well-shaft. The stepwell is thronged daily by pilgrims, visitors, birds and animals alike and is so deeply integrated with the lives of this neighbourhood that it has become the embodiment of a living well. Fig.7: Central view of the Vaav https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

TRADITIONAL

WATER

CONSERVATION

SYSTEM

• TAANKA - Rajasthan

Fig.9: Plan of Taanka

Fig.10: Section of Taanka

TRADITIONAL

WATER

CONSERVATION

SYSTEM

Fig.12: View of Taanka from overflow valve

Taanka is a traditional rainwater harvesting technique indigenous to the Thar desert region of Rajasthan. A Taanka is a cylindrical paved underground pit into which rainwater from rooftops, courtyards or artificially prepared catchments flows. Once completely filled, the water stored in a taanka can last throughout the dry season and is sufficient for a family of 5-6 members. An important element of water security in these arid regions, taankas can save families from the everyday drudgery of fetching water from distant sources. Fig.11: View of Taanka while using https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

TRADITIONAL

WATER

CONSERVATION

SYSTEM

• KUND - Gujarat

Fig.13: Section of Kund

Fig.14: Plan of Kund

TRADITIONAL

WATER

CONSERVATION

SYSTEM

Fig.16: View of Kund

A kund is a saucer-shaped catchment area that gently slope towards the central circular underground well. Its main purpose is to harvest rainwater for drinking. Kunds dot the sandier tracts of western Rajasthan and Gujarat. Traditionally, these well-pits were covered in disinfectant lime and ash, though many modern kunds have been constructed simply with cement. Raja Sur Singh is said to have built the earliest known kunds in the village of Vadi Ka Melan in the year 1607 AD. Fig.15: View of Empty Kund showing its central depth https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

TRADITIONAL

WATER

CONSERVATION

SYSTEM

• JOHADS - Rajasthan

Fig.17: Isometric view of Johads

Fig.18: Section of Johad

TRADITIONAL

WATER

CONSERVATION

SYSTEM

Fig.20: View of Johad ( Khadin )

Fig.19: View of bund, stopping water to flow

Johads, one of the oldest systems used to conserve and recharge ground water, are small earthen check dams that capture and store rainwater. Constructed in an area with naturally high elevation on three sides, a storage pit is made by excavating the area, and excavated soil is used to create a wall on the fourth side. Sometimes, several johads are interconnected through deep channels, with a single outlet opening into a river or stream nearby. This prevents structural damage to the water pits that are also called madakas in Karnataka and pemghara in Odisha.

https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

TRADITIONAL

WATER

CONSERVATION

SYSTEM

• WELL - Maharashtra

Fig.21: Section of Well

TRADITIONAL

WATER

CONSERVATION

SYSTEM

Fig.23: View of a well which is used for many activities Basically, a well is a hole drilled into the ground to access water contained in an aquifer. A pipe and a pump are used to pull water out of the ground, and a screen filters out unwanted particles that could clog the pipe. Wells come in different shapes and sizes, depending on the type of material the well is drilled into the ground and water is pumped out.

Fig.22: View of a well used for daily needs https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

TRADITIONAL

WATER

CONSERVATION

SYSTEM

CHANGE OF AN ERA

CHANGE

ERA

CHANGE

ERA

Fig.25: Front View of National Water Museum of China https://www.watermuseums.net/museum/national-water-museum-of-china/

NATIONAL WATER MUSEUM OF CHINA Architects - Portuguese Architects Siza Location - Hangzhou, China Category - Museum Project Year - March 22nd, 2010

Fig.24: Internal View of National Water Museum of China

CHANGE

ERA

The main building of the museum adopts the shape of pagoda. The pagoda structure satisfies the museum’s purpose of storing precious artifacts as well as represents people’s aspiration of keeping rivers under control through its symbolic meaning of expelling water devils. Appreciated from afar, the building is like a crystal pagoda floating on the water. NWMC actively pushes forward its role in displaying the magnificent history of Chinese Water Management and the diffusion of watersaving ideas through educational activities and research programs. The exhibition is divided into Water and Human Civilizations. The Exhibition of Water and Human Civilizations demonstrates the complicated and inseparable relationship between water and human civilizations from a global perspective.

Fig.27: Pagoda Concept

Fig.26: Internal View of National Water Museum of China “The thought of watching films here seemed surprising. A screen, nestled somewhere between the rocks. And the audience… floating… hovering above the sea, somewhere in the middle of this incredible space of the lagoon, focused on the moving images across the water,” - Ole Scheeren

CHANGE

ERA

Fig.29: Birds eye view of Archipelago Cinema https://www.archdaily.com/226936/archipelago-cinema-buro-ole-scheeren-film-on-the%25e2%2580%258b-rocks-yao-noi-foundation

ARCHIPELAGO CINEMA Architects - Buro Ole Scheeren + Film on theRocks Yao Noi Foundation Location - Ko Kudu Noi, Thailand Category - Cinema Project Year - 2012 Fig.28: Night view of Archipelago Cinema

CHANGE

ERA

The experience of watching an open-air film fills you with delight. This experience is involving one in its calmness and fluid nature. Part architectural masterpiece, part theatre going spectacle, this floating auditorium was created for Thailand’s Film on the Rocks Festival. The auditorium, a raft of sorts, intended to float on the sea, was designed by German-born and Beijing-based architect Ole Scheeren. The raft is built out of recycled materials as a series of individual modules. This allows the unit to be flexible for future use and to allow the raft to travel to other film screenings on the water. It’s nothing short of a breathtaking backdrop to view film and art. Surrounded by momentous rocks rising out of the sea with inky dark water reflecting light off the screen, it offers a complete submersion with both the natural landscape and the cinematic one. If film itself is known to be dramatic, this viewing platform is nothing short of the same. Fig.31: Concept of Archipelago Cinema

Fig.30: Section of Archipelago Cinema

Section

“The thought of watching films here seemed surprising. A screen, nestled somewhere between the rocks. And the audience… floating… hovering above the sea, somewhere in the middle of this incredible space of the lagoon, focused on the moving images across the water,” - Ole Scheeren

CHANGE

ERA

Fig.33: View of Thematic Pavilion https://www.archdaily.com/236979/one-ocean-thematic-pavilion-expo-2012-soma

THEMATIC PAVILION Architects - SOMA Lima Location - Yeosu-si, Jeollanam-do, South Korea Category - Pavillion Project Year - 2012

Fig.32: Front entrance of Thematic Pavilion

CHANGE

ERA

The Experience of the ocean is in two ways, as an endless surface and – from a submerged perspective – as depth. The Experience of the sea as an endless surface and as depth was the conceptual basis for the design of the exhibition modules. Visitors will find a 360° view of the surrounding landscape and the Expo site to get the Essence of water. The innovative kinetic facade proposed in the competition was developed according to bionic principles in collaboration with engineering consultants Knippers-Helbig of Stuttgart, underlining the innovative and ecological approach of the EXPO. The exhibitions within this Pavilion will offer visitors an overview and introduction to the theme of the Expo: ‘The Living Ocean and Coast’.

Fig.35: Concept of Thematic Pavilion

Fig.34: Section of Thematic Pavilion “The idea was not to communicate the intention of the EXPO, to promote the responsible use of natural resources, by means of gestures, but to implement this in architectural form.” - Soma Lima

CHANGE

ERA

Fig.37: View of Spectra - A light and water show https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwjf4dSTycrjAhU37nMBHd32AQ0QjRx6BAgBEAU&url=https%3A %2F%2Fwww.youtube.com%2Fwatch%3Fv%3Di6E_pJLuAn8&psig=AOvVaw0mndJnWIG7IeuVIckcJ5qt&ust=1563955151604827

SPECTRA - A LIGHT & WATER SHOW Architects - Moshe Safdie Location - Marina Bay Sands Singapore Category - Water Fountain Project Year - 2011

Fig.36: View of Spectra - A light and water show

CHANGE

ERA

LASER SHOW FOUNTAIN Architects - Not specified Location - Sector 17, Chandigarh, India. Category - Fountainv Project Year - 2014

Fig.39: View of Laser show Fountain Musical Fountain Show is held at Sector 17 in Chandigarh and is a popular place of recreation and sightseeing. The show is held in the evening hours and is a wonderful display of water fountains dancing to a rhythmic livid music. The place is thronged by locals and tourists alike to visit the show.

Fig.38: View of Laser show Fountain

Section

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=&url=https%3A%2F%2Fwww.fountainlights.in%2Ffountain-light-chandigarh.html&psig=AOvVaw1cM4Lhf8xPdITr_QZFSW_F&ust=1563955028863649

CHANGE

ERA

SITE

ANALYSIS

SITE SELECTION

SITE

ANALYSIS

Fig.40: Formation of Mumbai - 1670

SITE

ANALYSIS

Fig.41: Formation of Mumbai - 2019

7 ISLANDS OF MUMBAI

There are few places where the composition of land and water demands the creation of a city. The natural harbor of New York, the bay of Tokyo and Rio de Janeiro are prominent examples. So is the opening of Thane Creek, the largest natural harbor on India’s west coast. Yet, there is no city more bridled by the topography of its surroundings than Mumbai. The city’s linear geometry and the Arabian Sea surrounding the city on three sides constrain its expansion to accommodate the ever increasing population. This has resulted in Mumbai becoming the densest populated region in the world. One third of Greater Mumbai’s population lives on the small southern finger of the island, the original ‘Island City.’ The evolution that transformed Mumbai from seven modest islands into the productive ‘Island City’ is today being replayed at the scale of the region. Much as early causeways and provided the first sense of unification between the original islands, new transport linkages across Thane Creek, the harbor, and the western waterfront seek to unify the ‘Island City’ with the larger region. Once linked, new sites will gain strategic potential – nexuses of infrastructure, commerce, and housing – opportunities for expanding the city, perhaps through reclamation. Understanding the first generation of this evolutionary process, as follows, provides a framework and basis for invention when considering Mumbai’s future development. Mumbai’s history of growth and development was enabled by the process of land reclamation, slowly filling in the low-lying wetlands in-between the seven islands and setting a precedent for the city’s relationship between water and land. This process established the foundation for urban form in the city and determined the resulting spatial structure as major infrastructural routes were organized around the relationship between reclaimed land and the location of original islands.

https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/

SITE

SELECTION

AREA 603KM2 DENSITY 412KM2 POPULATION 12,967,483 SEX RATIO 832 LITERACY 89.21

SITE

ANALYSIS

Fig.42: Plan of Mumbai - 2019

ABOUT MUMBAI

Mumbai, also known as Bombay, is the capital city of the Indian state of Maharashtra. The most populated city in India and second most populous agglomeration in the world and is also the wealthiest city in India with the highest GDP ( Gross Domestic Product ) of any city in South, West or Central Asia. Mumbai is the financial, commercial and entertainment hub of India. The business opportunities, as well as the potential to provide a superior standard of living, entice migrants from all over India. Mumbai is built of seven islands - Bombay Isians, Parel, Mazagaon, Mahim, Colaba, Worli and Little Colaba, on the Konkan Coastline. Over time, these islands joined to form the island city of Bombay that in turn joined Salsette to form Greater Bombay. It’s full of dreamers and hard-laborers, starlets and gangsters, stray dogs and exotic birds, artists and servants, fisher-folk and corporatist (millionaires), and lots and lots of people. It has India’s most prolific film industry, some of Asia’s biggest slums (as well as the world’s most expensive home) and the largest tropical forest in an urban zone. Mumbai is India’s financial powerhouse, fashion epicenter and a pulse point of religious tension. The climate of Mumbai is warm and humid. There are four seasons. Cool weather prevails from December to February and hot weather from March to May. The rainy season, brought by monsoon winds from the southwest, lasts from June to September and is followed by the post-monsoon season, lasting through October and November, when the weather is again hot. Mean monthly temperatures vary from 91 °F (33 °C) in May to 67 °F (19 °C) in January. Annual rainfall is about 70 inches (1,800 mm), with an average of 24 inches (600 mm) occurring in July alone.

SITE

SELECTION

AREA 966 Hectares LENGTH 28KM PROJECT MbPT (Mumbai Port Trust) POPULATION 3.28 lakhs. APPROVAL 27-04-2018

SITE

Fig.43: Plan of Mumbai ( Eastern waterfront ) ANALYSIS

EASTERN WATERFRONT

Like other cities, European and Asian, Mumbai has lost its orientation towards its historic city centre and is developing, in the planner’s imagination, into a Metropolitan Region. The emerging landscape has, in the process, been fragmented into numerous specialized zones spread across the metropolitan area (including the historic inner city), whose relative importance depends on their potential connectivity. Mumbai is thus at an interesting juncture of its history where the city is negotiating simultaneously its relationship with the metropolitan region as well the many potential spaces or voids that are emerging , or could potentially emerge, within its centre. At the centre, the most interesting prospects for the city have to do with reclaiming the post industrial landscapes in the city for public use. It is the Mill Lands and the vast stretch of land along the city’s Eastern Waterfront that are emerging as the focus of this ‘reclaiming’ process, where multiple aspirations, needs, and conflicts are playing themselves out. In this context, the city’s Eastern Waterfront is particularly interesting and of great relevance, on account of its position both in the geography of the city, as well as the Metropolitan Region. The very connection of the historic city centre to the metropolitan area is dependent on how this stretch of waterfront is recycled for urban use. The relationship between ports and cities is an extremely complex and evolving one, with a coastline spanning of 7516km. India’s 12 major ports are a significant part of this interconnected web of international trade. The city of Mumbai has an interesting 1800 acres Eastern Waterfront in terms of the geographic location within the city. The areas are largely the landholdings of Mumbai Port Trust. The Eastern Waterfront particular extends from Sasson Dock in the south to Thane Creek in the North. The potential and impact of the eastern waterfront to the entire city is immense as it is almost 4.5 times the area of the mill lands, is equivalent to 18 Oval maidans, 10 Chowpatty beaches or 21 Priyadarshini parks.

SITE

SEELCTION

AREA 734 Hectares AREA CONSIDERED 400 Hectares AREA EXCLUDED (Docks, Roads & Residential area) 334 Hectares LENGTH 21KM

SITE SELECTION

Fig.44: Plan of Mumbai ( MbPT )

MUMBAI PORT TRUST (MbPT)

The Mumbai Port Trust area, spanning bout 10 kms, along the Eastern Waterfront is one of the best waterfront properties located in the heart of Mumbai city. Due to shifting of some port activities from to the new port across the bay, an area of about 500 Ha is available for redevelopment. Considering the extreme shortage of built space in the city, this underutilized land offers a great and historic opportunity to fulfill the demand for space. It would also give an impetus to the economy and provide the much needed social and recreational public amenities to the city. The master plan for the Mumbai Port Complex (MPC) has been proposed to meet dual objectives - of re-purposing the port lands and of integrating it with the rest of the city, providing public spaces and facilities to the citizens. After winning the project through a global tender, HCP is in the process of preparing the master plan for the 500 Ha (approximately) of port lands. The draft master plan proposes to develop a new financial Centre, a Government office, hotels, commercial as well as residential properties in close proximity to the proposed metro line and the existing sub-urban railway stations. The waterfront area is also proposed as a tourist and recreational zone which will have features such as the Mumbai Eye, Tourist Ferry Services, Cruises and Rope-way Connection to Elephanta Caves among other things. The project will also preserve heritage structures like the Sewri Fort, Ghadiyal Godi (Clock Tower) as well as the environmentally sensitive mudflats and mangroves that attract flamingos and other flora and fauna. The future development will also open up multiple east-west street connections to connect Mumbai to MPC and the Eastern Waterfront. In addition to preparing a master plan, HCP is also tasked to prepare infrastructure design, investment and marketing strategy, engage in business development and provide support for statutory approvals under the project.

SITE

SELECTION

SITE

ANALYSIS

SITE

ANALYSIS

Wadala Reclamation Sewree-Mazgaon Reclamation

Port Trust Railway

Sewree-Mazgaon Reclamation Darukhana Mazgaon Dock Elphistone Estate

Princess Dock Victoria Dock Alexandra Dock Hughes Dry Dock Ballard Estate Apollo Reclamation Sassoon Dock

Fig.45: Plan of Mumbai ( Major Landmarks )

SITE

ANALYSIS

Fig.46: Plan of Darukhana Darukhana is Supporting a local ship breaking industry in the heart of a teeming city. The ship breaking industry is known for hazards both to the environment and the workers. It requires close regulation to prevent pollution from toxic wastes and oil sludge in ships which are taken in hand for breaking as well as concerns of its workers who work without helmets, safety or eye protectors. Ship breaking is unsuitable as a means of employment in a city. This area represents a great opportunity to use the valuable water front for the recreation and wellness of citizens. Darukhana can be faulted on all these counts. APLI Mumbai initiative strongly recommends cessation of ship breaking activities at Darukhana. The priority will be to remove the highly toxic and environmentally hazardous waste matter leached into the ground. The cessation of ship breaking will also discourage local traders from making this prime waterfront as dumping ground for unwanted scrap material even from the suburbs of Mumbai. It is time for India to recapture its own traditional methods of water conservation. The Mumbai Portland would be a perfect home for a Knowledge Centre of water. The Mumbai Port Trust is providing the much needed social, awareness and recreational public spaces to the city by redeveloping the Eastern Waterfront for a Greater Mumbai.

SITE

SELECTION

DRAFT MUMBAI METROPOLITAN REGIONAL PLAN 2016-36

Fig.47: Plan of Mumbai ( DP-36 )

SITE

ANALYSIS

Fig.49: DP blown up plan of Darukhana

SITE Fig.48: Google earth Image of Darukhana

SELECTION

SITE

ANALYSIS

SITE

ANALYSIS

D’

B’

A C’

C A’

SITE

Fig.50: Site plan

ANALYSIS Fig.51: Contour plan

Fig.54: SECTION D - D’

Fig.55: SECTION C - C’

Fig.52: SECTION B - B’

Fig.53: SECTION A - A’

SITE

ANALYSIS

- INDUSTRIAL AREA - SLUMS - COMMERCIAL AREA Fig.56: Land use plan

SITE Fig.57: Vegetation plan

ANALYSIS

SITE

ANALYSIS Fig.58: Site views plan

SITE

ANALYSIS

TEXTURE Water with different materials can create different texture while showing its free form. Water can diffuse, reflect and refract light in different situation in which the user can experience the space in a different environment by its natural properties. Within architecture, water evokes sentiments of calmness and wellbeing.

LIGHT Use of Water and light in Architecture is seen as an important element, as it gives shape and form to a places, bonds and links the different spaces, passes through the environment in smooth form which give its importance by itself. Light and water are key elements and indicators in human life.

Fig.59: Water and Glass

ARCHITECTURAL

INTERVENTION

SCALE When the proportions of architectural composition are applied to a particular building, the two-termed relationship of the parts to the whole must be harmonized with a third term— the observer, who not only sees the proportions of a door and their relationship to those of a wall but measures them against his or her own dimensions. This three-termed relationship is called scale.

The sunlight that falls on the exteriors of buildings cannot be directed or changed in quality, but it can be reflected or absorbed in a wide range of modulation by the relief and texture of surfaces. The planes and decoration of a facade, therefore, are not just the lines the architect makes on working drawings but are receptacles of light and shadow that change in character, even in form, as the Earth moves about the Sun.

REFLECTION

Fig.60: Room of Reflection

ARCHITECTURAL

INTERVENTION

ENVIRONMENT The problems of design extend beyond the organizing of space and mass complexes to include the relating of the total form to its natural and architectural environment. Throughout history, architects have been employed in giving a new form to the environment itself: planning the natural surroundings by the design of parks, roadways, waterways, etc.

Fig.61: Landscape through Water

ARCHITECTURAL

INTERVENTION

Space and mass are the raw materials of architectural form; from them the architect creates an ordered expression through the process of composition. Composition is the organization of the whole out of its parts—the conception of single elements, the interrelating of these elements, and the relating of them to the total form.

COMPOSITION

LANDSCAPE “as achieving a balance between the built and natural environments” Landscape area are design according to the areas so that they are not only functional but also beautiful and harmonious with the natural environment.

CIRCULATION Circulation is the areas which are most widely and easily accessible to the user. In this guise, circulation is often overlapped with other functions, such as a lobby, atrium, or gallery, and is enhanced to a high level of architectural quality. Issues of visibility, how crowds move, and clear escape paths are key. Circulation space is sometimes seen as useless space, adding needless area and cost to a project. As a result, the word efficiency often goes hand in hand with circulation.

Fig.62: Water Experience

ARCHITECTURAL

INTERVENTION

SITE

ANALYSIS Fig.63: Site Zoning

DESIGN SITE

PROGRAM ANALYSIS

DESIGN

PROGRAM

DESIGN

PROGRAM

TABLE OF FIGURES Fig.1: Plan of Jhalaras Fig.2: Section of Jhalaras Fig.4: View of the Jhalaras ( Stepwell ) Fig.3: Front View of the Jhalaras ( Stepwell ) Fig.5: Plan of Vaav Fig.6: Section of Vaav Fig.8: Front view of the Vaav Fig.7: Central view of the Vaav Fig.10: Section of Taanka Fig.9: Plan of Taanka Fig.12: View of Taanka from overflow valve Fig.11: View of Taanka while using Fig.13: Section of Kund Fig.14: Plan of Kund Fig.16: View of Kund Fig.15: View of Empty Kund showing its central depth Fig.17: Isometric view of Johads Fig.18: Section of Johad Fig.20: View of Johad ( Khadin ) Fig.19: View of bund, stopping water to flow Fig.21: Section of Well Fig.23: View of a well which is used for many activities Fig.22: View of a well used for daily needs Fig.25: Front View of National Water Museum of China Fig.24: Internal View of National Water Museum of China Fig.26: Internal View of National Water Museum of China Fig.27: Pagoda Concept Fig.29: Birds eye view of Archipelago Cinema Fig.28: Night view of Archipelago Cinema Fig.30: Section of Archipelago Cinema Fig.31: Concept of Archipelago Cinema Fig.33: View of Thematic Pavilion Fig.32: Front entrance of Thematic Pavilion Fig.34: Section of Thematic Pavilion Fig.35: Concept of Thematic Pavilion Fig.37: View of Spectra - A light and water show Fig.36: View of Spectra - A light and water show Fig.38: View of Laser show Fountain

TABLE

FIGURES

40 40 41 41 42 42 43 43 44 44 45 45 46 46 47 47 48 48 49 49 50 51 51 54 54 55 55 56 56 57 57 58 58 59 59 60 60 61

Fig.39: View of Laser show Fountain 61 Fig.40: Formation of Mumbai - 1670 64 Fig.41: Formation of Mumbai - 2019 64 Fig.42: Plan of Mumbai - 2019 66 Fig.43: Plan of Mumbai ( Eastern waterfront ) 68 Fig.44: Plan of Mumbai ( MbPT ) 70 Fig.45: Plan of Mumbai ( Major Landmarks ) Fig.46: Plan of Darukhana Fig.47: Plan of Mumbai ( DP-36 ) Fig.49: DP blown up plan of Darukhana Fig.48: Google earth Image of Darukhana Fig.50: Site plan Fig.51: Contour plan Fig.54: SECTION D - D’ Fig.55: SECTION C - C’ Fig.52: SECTION B - B’ Fig.53: SECTION A - A’ Fig.56: Land use plan Fig.57: Vegetation plan Fig.58: Site views plan Fig.59: Water and Glass Fig.60: Room of Reflection Fig.61: Landscape through Water Fig.62: Water Experience Fig.63: Site Zoning

74 75 76 77 77 80 80 81 81 81 81 83 83 84 88 89 90 91 94

TABLE

FIGURES

100

B I B L O G R A P H Y

BIBLOGRAPHY

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https://architexturez.net/file/pnl-sm-anthill-yale-stepwell-exhib-20x24-mata-bhawanicomposed-100-20x24in-jpg https://www.watermuseums.net/ https://architexturez.net/file/pnl-sm-anthill-yale-stepwell-exhib-20x24-mata-bhawanicomposed-100-20x24in-jpg/ http://www.cpreec.org/pubbook-traditional.htm https://www.thebetterindia.com/61757/traditional-water-conservation-systems-india/ https://www.architectmagazine.com/design/editorial/the-climate-is-changing-somust-architecture_o https://www.thenbs.com/knowledge/biodiversity-the-new-challenge-for-architecture http://papers.cumincad.org/data/works/att/acadia14_463.content.pdf https://www.yellowtrace.com.au/archipelago-cinema-thailand-buro-ole-scheeren/ https://www.archdaily.com/226936/archipelago-cinema-buro-ole-scheeren-film-onthe%25e2%2580%258b-rocks-yao-noi-foundation https://www.detail-online.com/article/one-ocean-thematic-pavilion-forexpo-2012-16339/ https://www.archdaily.com/236979/one-ocean-thematic-pavilion-expo-2012-soma http://www.noel-murphy.com/rotch/2013/08/ https://indianexpress.com/article/cities/mumbai/from-gunpowder-factory-to-shipscrap-business-an-areas-changing-fortunes/ http://savethewater.org/education-resources/water-facts/ https://www.mappingmegan.com/travelers-guide-to-safe-tap-water-countries-withunsafe-drinking-water-can-i-drink-the-water-in/ https://www.aljazeera.com/news/2018/06/india-faces-worst-water-crisisreport-180616072654630.html https://www.downtoearth.org.in/news/water/19-of-world-s-people-without-access-toclean-water-live-in-india-60011 https://issuu.com/pennplanning/docs/mumbai_for_web http://www.udri.org/publication/study-eastern-waterfront-mumbai/ https://www.britannica.com/topic/architecture/Theory-of-architecture http://portico.space/journal//architectural-concepts-circulation

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