Stories and Soliloquies / Architecture Portfolio

Stories and Soliloquies

- selected works Kabir Sahni

Index

004

About the author profile / 2012 - 2020

006

Potluck Publics academic / Columbia University GSAPP / 2020

020

Daily Soaps academic / Columbia University GSAPP / 2019

034

Liminal Ecology academic / Columbia University GSAPP / 2019

046

Manhattan Billboard academic / Columbia University GSAPP / 2020

056

Untitled academic / Columbia University GSAPP / 2020

060

Door to Policy academic / Columbia University GSAPP / 2019

062

Short Stories academic / Columbia University GSAPP / 2019

068

Stables for Steeds and Sapiens professional / Enso Design / 2018

074

Raw Patina professional / Enso Design / 2018 - 2019

080

Exit Music academic / School of Planning and Architecture / 2017

002

Stories & Soliloquies

090

Urban Treble academic / School of Planning and Architecture / 2016

096

Atmosphere academic / School of Planning and Architecture / 2015

104

Riptide academic / School of Planning and Architecture / 2015

110

Under the Banyan academic / School of Planning and Architecture / 2012

112

Knolli Center academic / School of Planning and Architecture / 2014

116

Sosta, Messina professional / Hive India / 2018

118

Coulomb, Rapallo professional / Hive India / 2018

120

Block of Light professional / Enso Design / 2018 2019

128

a.BEERÂŽ professional / Enso Design / 2018

136

Atto Exhibit professional / Atto Atelier / 2016

138

Hatch Public House professional / Atto Atelier / 2016

003

about the author

KABIR SAHNI

New York, NY www.kabir-sahni.com kabir.sahni@columbia.edu 929-402-5125

Work Experience

Columbia Center for Resilient Cities and Landscapes / Architectural and Urban Designer

/ New York, NY / June 2020 - Present Volunteered

Design and tactical urbanism project targeted in Red Hook, Brooklyn, NY. The goal of the project is developing and testing strategies to lower the surface and atmospheric temperature of public space in Red Hook in the challenging time of a hot summer and a social distance emergency. In collaboration with Resilient Cities Catalyst and Resilient Red Hook. Pilot testing in progress.

Freelance / Architect / New Delhi, India / May

Kabir is a designer from India, working at the intersection of architecture, urbanism, graphic design, interiors, writing, and social advocacy.

He received his Master of Science in Advanced Architectural Design from Columbia University along with the Dean’s academic scholarship, and previously his Bachelor in Architecture from School of Planning and Architecture, New Delhi.

Post his graduate studies at GSAPP, Kabir received the Lowenfish Memorial Prize for a project titled “Potluck Publics” that tackled squatter settlements in Lima through social urbanism, economics, and programming along with ad hoc and prop-style architecture. His work aims to coalesce critical thinking with real-world pragmatism, employing trans-scalar and trans-disciplinary methodologies, and supported with his predilection for romanticism and vernacular piquancy.

Currently based in New York City, Kabir has previously worked in India for two years on projects in multiple locations in the country. These involve a range of typologies and scales including institutional, residential, retail interior projects, branding, and research. He has previously worked as a designer for a project in Italy introducing solar energy and local economic opportunity at train stations. Presently, he is working as a volunteer with the Columbia Center for Resilient Cities and Landscapes on a design and tactical urbanism project targeted in Red Hook, Brooklyn, aiming at urban activation and reducing environmental temperatures.

Kabir says hi.

004

2018 - May 2019

Design development of a residential project - a two-bed residence in the hills of Kausani, Uttarakhand.

Enso Design / Architect / New Delhi, India / February 2018 - February 2019 Project and design lead for multiple typologies, scales and disciplines - horse riding academy + animal shelter, office interiors, commercial + retail block, museum for Buddhist relics, ayurvedic, naturopathy, and yoga center, chain of beer stores launched by AB InBev, research on progressive museum display techniques.

Hive India / Design Consultant / Gurugram,

Haryana, India / April 2018 - December 2018

Series of energy and economic efficient kiosks and hubs titled Sosta [means ‘break’], in Italy aimed at generation and consumption of renewable energy, creating livelihood opportunities and urban activation. Executed at the Messina and Rapallo train stations. In collaboration with Verde 21.

Atto Atelier / Architectural Intern / Bengaluru, Karnataka, India / January 2016 - April 2016 Project lead for a bar for upcoming artists, makers and startups in Bengaluru and Atto Atelier’s exhibit at the DesignxDesign showcase at Alliance Francaise, Delhi.

*Columbia University GSAPP / Teaching Assistant / New York, NY / Summer 2020 /

Deferred to summer 2021 in lieu of covid-19

TA to Karla Rothstein for the Summer studio. Syllabus and prestudio research in progress.

Stories & Soliloquies

Education

Awards

Columbia University GSAPP / Master of Science - Advanced Architectural Design (M.S.AAD) /

Lucille Smyser Lowenfish Memorial Prize /

New York, NY / 2019 - 2020

Columbia University GSAPP / 2020

recipient of academic scholarship

Best project for the final semester studio project, “Potluck Publics”; critic, Anna Puigjaner

School of Planning and Architecture / Bachelor of Architecture (B.Arch.) / New Delhi, India /

Dean’s Scholarship / MS-AAD, Columbia University GSAPP / 2019 - 2020

2012 - 2017

graduated First Class

Nomination / COA Awards for Excellence in Architectural Thesis / Council of Architecture,

India / 2017

Fachhochshule Erfurt / Student Exchange Programme / Erfurt, Germany / 2015

architectural thesis, “Exit Music”

Publications

Winner / INTACH Heritage Awards for Excellence in Documentation / INTACH, New

Editor, Archichakkar / School of Planning and

Architecture, New Delhi/ 2017 Archichakkar, seminar series

Selected student work / Columbia GSAPP and

End of Year Show websites / 2019 - 2020

projects, Liminal Ecology, Daily Soaps, Potluck Publics, Manhattan Billboard, Door to Policy

Exit Music / architectural thesis / School of

Planning and Architecture, New Delhi / 2017

Modern Times / seminar / School of Planning and Architecture, New Delhi / 2016

Delhi / 2015

project, “Mukteshwar Temple Complex”

Skill Set Languages / Hindi, English Technical and digital / AutoCAD, Revit,

SketchUp, Rhinoceros, Photoshop, InDesign, Illustrator, Premier, Microsoft Suite, 3D printing, laser and router cutting

Analog / design, conceptual thinking and development, research, writing, organisation, planning, leadership, physical modeling

Editor, Tirtha at Mukteswar/ School of Planning and Architecture, New Delhi / 2015 Music & Architecture - Mapping the Transposition Process, dissertation / School of

Planning and Architecture, New Delhi / 2015

Social linkedin / kabirsahni issuu.com / kabir.sahni instagram / @kabir.sahni

Licenses and Social Architect / Council of Architecture, India / CA/2017/89354 / issued 2017 005

Potluck Publics

Spring 2020 El Ermitano, Lima, Peru

Critic Anna Puigjaner (MAIO Architects)

Collaborator Andrew Keung

Awarded, Lucille Smyser Lowenfish Memorial Prize

Lima, since the 1940s, experienced an immigration downpour from its rural communities.

Situated in a third world environment, the Peruvian government was unable to satiate the need for basic amenities and facilities in the countryside. These areas battled underdeveloped infrastructure, lack of education and healthcare, the dearth of work opportunities, and mass poverty.

The move to the nation’s capital came from the search for economic opportunity and essential social and civic services and infrastructure. With power and wealth concentrated towards the western flank of Lima, inchoate and upcoming barriadas in the North and East foothills remain neglected and impoverished. One such neighborhood is El Ermitano, located on the western flank of the ridge.

Since the cost of development on the hills is far more expensive than the lowlands, the State’s limited funds have the perfect alibi to not arrive in such underdeveloped neighborhoods. The residents at the lower rungs of the economic food chain, live with only legal squatting rights and devoid of basic infrastructure. With El Ermitano as a test site, this project explores the next phase of

formal-informal negotiations. The bottom-up previously restricted to self-help dwellings and mediocre urban informalities, formal systems are re-engineered to provide greater informal agency and allow the ascendant to support the State’s inadequate funds and unconscious intent. With t h e potential

for restoring social idiosyncrasies and magnetizing additional urban development, the ethos, agency, and architecture of the comedores populares initiate the project’s civil disobedience.

Potluck Publics, as an act of civil disobedience, restores and enables simultaneous formality and informality, permanence and temporality. Approached through a movement of kitchen sink real-

axonometric : collection of new comedores populares deployed throughout El Ermitano, Lima 006

ism, a domestic depiction of the working class, the project confronts quotidian life in Lima.

The project focuses on the future projection of barriadas, hoping to amplify the potential of past open-work. The urban outdoors is deployed with openended, locally funded and reprogrammable props, platforms, and pavilions. This is bolstered with a government-funded network of improved public infrastructure (roads, water tanks, bus stops).

The final phase of the civil disobedience is denying the urban sprawl further growth. Government-funded greenhouses form a barrier of the first wave, employing may residents and supplying to all new and old comedores populares. Additionally, an arboreal wall is grown to finally stop the city and maintain the seismic robustness of the hill, pushing government funds to develop the countryside. Using political and socio-economic hyperlinking that is spatially realized, the urban potluck focuses on familial and friendly development, overruling any personal endgames.

This way these barriadas can collectively improve as co-capitalists, yet foster inter-social contracts and communal piquancy.

Stories & Soliloquies

model : keyless domesticity, the formation of a multicellular domestic organism 007

Potluck Publics

collage : housing histories, progression of open-work 008

Stories & Soliloquies

009

Potluck Publics

010

Stories & Soliloquies

collage : interior, potlucking and hyperlinking

011

+

collage : urban model; shared systems; potlucks; network of water comedores collage : system oftanks, urbanstaircases, potlucks, tiers of government populares; blockade of greenhouses; arboreal wall aid, network of comedores and the arboreal wall 012

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Stories & Soliloquies

013

Potluck Publics

014

Stories & Soliloquies

collage : interior, potlucking and hyperlinking 015

Potluck Publics

oblique : potlucks, platforms, pavilions and props 016

Stories & Soliloquies

017

Potluck Publics

collage : intimate, platforms, pavilions and props 018

Stories & Soliloquies

019

Daily Soaps

Fall 2019 Cheyenne, WY

Critics Jimenez Lai (Bureau Spectacular), Miku Dixit

Protagonist Domesticity

Cheyenne embodies the social characteristic of secondary cities or suburban centers or peri-urban centers of America – “everyone knows everyone”.

Under prevailing sprawl trends of suburbia, the Cheyennese social contract is buried under disassociated and isolated stelae governed by capitalism, consumerism, standardization, mass production, urban geometries, order, and privacy. They neatly cut land and society into geometric packages, standardizing the appeal of a home, the spread of society, movement patterns, and thresholds. These thresholds under the desire for privacy, large automobiles, and capital greed have become obese, causing social and physical fragmentation and a divergent urban drift. Suburbia does not hold enough people to justify the land they occupy. It’s like a fancy luncheon in a massive hall, with massive tables and poor scope for conversation. There is a need for new social contracts. Or just a revival of fossilized values.

of thresholds. Challenging suburban spatial redundancy and social absenteeism, the first half of the project is a critique, equating Cheyenne as an eerie ghost town or a museum of domestic fossils. Daily Soaps is a collection of fables and personas. Sixteen fables of domesticity cooked by collaging issues, conditions, heroes and delinquents,

to establish new social contracts.

Privacy is overrated and if “everyone knows everyone”, there will be nothing to hide. Sharing is efficient and instead of building replicas of domestic readymades, resources and artifacts can be collated to have lesser items and eventually threaten the capitalist systems. This hyperlink socialism establishes a 1/16th downsized open sandwich, or smorgas.

Everyone sits around the table, talks, laughs, eats. Everything is public and only self hygiene, sleep and sexual life is considered worthy of privacy.

The focus remains centre stage - the common space.

It brings back, rather, follows the trending work-live spatial mutations, emancipating domestic spaces from isolation and degeneration.

This fictional architectural production is a giant mirror excavating the eerie reality of Cheyenne, followed by a cathartic moment of sixteen domestics leaving their graves and enjoying an afterlife in a virgin landscape. Will human inevitability end this new milieu or does the ‘happily ever after’ experience a new wave of domesticity, urbanity and society?

Observed through a surrealist filter, the studio “Cheyenne Free State” is reviewed as a cry for help by a suburban American society.

Trapped in a graveyard of equidistant domestic stelae, social potentials are separated by a palindrome

met and heard of in Cheyenne.

Each fable represents a character and simultaneously a superset of characters. These domestic personas are masqueraded behind nomenclatures and asked to stand in their plots, like corpses in grave plots. There are rules, standards, curfews, and duplicity.

A social, professional and architectural hyper-link is drawn

image : architectural and visual archetypes of domesticity, stelae of Cheyenne’s suburban graveyard 020

This is a piece of fiction. Or maybe a blueprint for a revolution. A critique, a proposal. Nostalgia and revival.

Stories & Soliloquies

021

Liminal Ecology

axonometric : sixteen fables of Cheyenne’s present isolated in post-modern plots, barricaded by a palimpsest of thresholds 022

Stories & Soliloquies

axonometric : sixteen fables of Cheyenne’s future, emancipated, with the social milieu altering physical gravitation 023

Liminal Ecology

axonometric : exquisite corpse - the image of a house and the reality of an interiorized domesticity 024

Stories & Soliloquies

image : object, readymades - the pool of accepted redundancy and commercialization of the domestic life 025

Liminal Ecology

oblique : palindrome of thresholds - a series of accepted exterior redundancy, popularly known as ‘suburban order’ 026

Stories & Soliloquies

plan : hyperlinking - intersection of social, spatial, occupational and psychological needs and desires, replacing self sufficiency with collective sufficiency 027

Liminal Ecology

image : 16 low-res domestics tectonics image : deconstructed suburbia by hyperlinking 028

image : post-hyperlinking downsizing and social domestic reconstruction, the social super-house

Stories & Soliloquies

image : 16 low-res domestic archetypes of Cheyenne image : hyperlinks of alter-suburbia, social gravitation

image : the super-house, a smĂśrgĂĽsbord of social spaces at the core and a rim of private quarters 029

Liminal Ecology

axonometric : a critique of contemporary suburbia, an outmoded dispersion of dwellers jeopardizing potentials of society and favoring capital behavior 030

Stories & Soliloquies

axonometric : a new domestic model, emancipated from the cliches of privacy and urban order, rooted in collective spaces and social connections 031

Liminal Ecology

plan : smorgas, level one, a table of collectively managed spaces circumscribed in a spool of privacy 032

Stories & Soliloquies

section : new collective tectonic built over the museum of fossils and under the stars of what they wished for 033

Liminal Ecology

Summer 2019 San Delano Roosevelt Park, NY

People draw and consume resources from Earth throughout their lives. Mankind calls itself as a resource, the human resource, capable of mental/cerebral applications and the ability to endure labor to manipulate its surroundings. But under its arrogance and self-proclaimed superiority, humankind has let its weakness, its finiteness, plague its surroundings. The complex overlays of time are degrading under the finite rule of humankind. In its finite chronology, every unit of human being has consumed resources and space, laboring the ecology, locality, and even corrupting the healthy state of the world’s timeline.

The fragments of the world are observed as systemic and temporal overlays - urbanity, locality, ecology, and memory.

Observing the San Delano Roosevelt Park in lower East Manhattan as a test site, the seven-block site and its immediate, extended, and planetary context are simplified to the four fragments. Viewed as a temporal section, fragments of the past, present, and future are observed simultaneously as

Critic Karla Rothstein (Death Lab, Latent NYC)

Collaborator Seid Burka

a palimpsest. Fragments of the past and present include the urban networks, nodes and systems, arboreal typologies, soundscapes, built morphologies, and human demographics. Fragments of the future entail a series of urban and ecological reparations to prolong short term and long term human existence.

death. Through the composting of the deceased, death contributes to the lives of future flora, and eventually future fauna.

Memory, a subset of the world’s palimpsest has somehow become a physical expression of human archiving. Is memory a function of loss or can it be of life and progression? Can space for memory represent the chronology of the world and its complex overlays or does it still have to follow a framework of reminiscence? Do we reminisce about the past or can we contribute to the progression of time and add ourselves back into the system instead of corrupting its properties? Are humans only capable of conquering, extracting, capitalizing, or could they contribute, preserve, and prolong?

Acknowledging the human corpse as biological material, the chosen field performs liminally - coalescing resources, spaces, and programs of life and

image : smörgåsbord of pictures from Roosevelt Park and its immediate context 034

Fragments of the future define forms of urban revitalization through over-pedestrianization and maintenance of arenas of play established in the past. This new urban living room is populated by reprogrammable furniture and pavilions that adapt to seasons and weather conditions, and finally is a mass funerary system - burial silos and nursery tholoi.

Expanding the urban living room, soil stelae and stalactites archive human matter and simultaneously grow new carbon organisms to feed an oxygenate future humankind. Challenging a vicious human anthropocene, an ‘arbopocene’ is projected as a method of ecological reparation.

Post the age of human Anthropocene, in a plausible era of the Arbopocene, humans could positively contribute to our shared ecology rather than being a geophysical assailant. Reminiscence, remembrance, preservation.

sketch, plan : abstraction and reconstruction of agricultural archetypes as urban forms

Stories & Soliloquies

01

cultivable countryside

02

urban polarisation

03

urban living room

04

time capsules 035

Liminal Ecology

new memories

remembrance

reminiscence

old memories

sketch, axonometric : a sliver of the “arbopocene�

036

ecology

urbanity

memory

locality

Stories & Soliloquies

sketch, axonometric : fragments of the world 037

Liminal Ecology

Canal Street

Hester Street

Grand Street

seven blocks of San Delano Roosevelt Park

Broome Street

Rivington Street

Stanton Street

Forsyth Street

Chrystie Street

Delancey Street

Houston Street

North fragments

LOC/

- locality | URB/

- urbanity |ECO/

- memory

[loc]

[urb]

[eco]

[mem]

sports playgrounds, basketball court [x6], soccer pitch [x2], handball wall [x2], running track [200m]

public nodes, room for stories, play room I, kitchen, fountain, library, theater, play room II, agora, classroom

grains, medicinal, fruits + vegetables, other edibles, fungi, house plants, forests [x8], songbird garden, hummingbird garden, pollinator garden, butterfly garden

silo [12 bays], silo [6 bays], silo [12 bays], silo [6 bays], silo [12 bays

sketch, plan : seven-block programming and creating the urban living room 038

- ecology |MEM/

Stories & Soliloquies

P - past | F - future

fragments

past

future

[loc]

morphological spacing

anthropocentric to arboreal grid

[urb]

collection of playgrounds

new living room of urban utility and imagination

[eco]

flora and fauna species

urban cultivation and nurseries

[mem]

people [reminiscence]

soil [remembrance]

sketch, plan : past and future (accrued and introduced, respectively) fragments of the world 039

Liminal Ecology

oblique : accrued and retained fragments, San Delano Roosevelt Park 040

Stories & Soliloquies

[loc] 01_built morphology 02_roads 03_cycle ways 04_subway 05_sidewalks 06_demographics

[urb] 01_pedestrian routes 02_sports grounds 03_play grounds 04_public nodes 05_soundscape 06_density

[eco] 01_trees 02_foliage density 03_softscapes 04_tree properties

[mem] 01_people 02_stories 03_flora 04_fauna

041

Liminal Ecology

isometric : swath of the liminal field - block vi between Grand and Hester Street 042

liminal field

agora

forest

composting back of the house

burial bay

burial silo

observatory

time capsule

nursery tholos

seasonal garden

basketball x soccer

world / palimpsest

Arbopocene / living room

[reminiscence] short term memory

[preservation] long term memory

[remebrance] average term memory

Stories & Soliloquies

isometric, section : swath section of the liminal field, revealing the time capsules

043

Liminal Ecology

01_grains 01_songbird garden

basketball

basketball forest London Plane Tree

silo_01_12 bays [open]

01_songbird garden

01_songbird garden

02_medinal

room for stories Stanton Street

forest

01_songbird garden

play room I Kentucky Coffee Tree

silo_05_6 bays [covered]

basketball

basketball

03_fruits + vegetables kitchen 02_hummingbird garden Rivington Street

forest fountain 04_fruits + vegetables

Forsyth Street

football/soccer

02_hummingbird garden

forest 05_edibles

plan : San Delano Roosevelt Park, past and future fragments - map of the urban living room 044

Delancey Street

Stories & Soliloquies

library forest

03_pollinator garden

silo_03_12 bays [covered] Broome Street

[eco] existing arboreal system

06_house plants

03_pollinator garden

03_pollinator garden

Ginkgo Tree handball

[eco] forests

theater

07_fungi

03_pollinator garden

silo_04_6 bays [open] 08_house plants

Grand Street

basketball football/soccer

[eco] nursery tholoi

Chrystie Street

[eco] seasonal gardens

forest

09_edibles play room II

silo_05_12 bays [open]

04_butterfly garden forest Hester Street

[urb] public imagination

04_butterfly garden

[mem] composting silos

basketball

[loc] playgrounds

agora

Japanese Pagoda Tree

running track 200m

classroom Canal Street

forest

[loc] streets

10_house plants

045

Manhattan Billboard

Spring 2020 Manhattan, NY

Critic Andreas Tjeldflaat (Framlab)

Collaborator Tarun Abraham

New York City’s residential architecture is Harvey Dent’s coin. From tight pigeon hole and expensive rentals to gracious but criminally expensive condos, the options are fixed and dull.

Embracing the availability of rectilinear plots, can residential rigidity be challenged by reverse-engineering the domestic?

and spaces for play that singularly and collectively reverse engineer a residential building to a vertical micro-neighborhood.

ously manifests through a series of spaces meant for programmatic play - sports, courtyards, and greens, for congregational behavior, elevating housing to a social housing typology. This act of play is an abstraction of the battleship gameplay, interface, and physical components. The social gameplay drives the social spine and play spaces, the geometric simplicity transforms the building into a three-dimensional billboard, and the components inspire simplicity and reconfigurability.

Architectural theory on the concept of the island and the archipelago displays the duality of space - a solo entity bounded by certain thresholds and the simultaneous connectivity to similar islands. Challenging the binary of residential architecture where units always exist alone and only as a collective building, this project introduces notions of plurality in order to reconfigure domestic space and foster solitude in tandem with social interactions.

By introducing play as a program and an act, the project tackles reconfiguration at an interior level and social interaction at an interunit scale. Part one establishes a mutating interior through moveable interfaces that work as modules. Instead of rendering a unit as a fixed island, it transforms it into a dynamic archipelago of functions and utilities. Part two is a play of units, interstitial spaces,

Occam’s Razor is deployed as the problem-solving principle that states that “Entities should not be multiplied without necessity.” Basically, going for the simplest explanation.

Instead of applying play to arrive at a dramatic concoction in the city’s skyline, this project uses the act of play to arrive at a lucid compromise between sedentism and nomadism. Sedentary behavior is maintained by fixed apartment spaces and the nomadic behavior is experienced through the flexibility of constant redecoration to satiate resident needs. Play simultane-

sketch : elevation (left - right), building framework, pilotis and the activated rooftop 046

The final phase of modularity is defined through a Russian doll system. Applying modularity at a trans-scalar level, domestic units are inhabited by modular frames that arrow shelving, seating, plugging in appliances and fixtures, and leaving empty. These are deployed for various domestic functions. The largest scale is the building itself that acts as a modular unit to be plugged or detached with other such billboards and scale up from a residential building to a large-scale housing project.

P.S. “Sinking a battleship” is when the units align perfectly like any other residential building, which defeats the purpose.

sketch : section (left - right), spine of play spaces and circulation, play of residential types

Stories & Soliloquies

3a

3b 2a

1b 3c 2a 3b 4b 1a 2a 2a

2a 1a 4a 2b 1a 3a 3a

1a

047

Manhattan Billboard

isometric : billboard, circulation, play zone and follies 048

Stories & Soliloquies

isometric : living inside a billboard 049

Manhattan Billboard

Revisiting the battleship interface, analyzing, interpreting and abstracting nuances of the game, the interface and the representation. Battleship is played with a partner. With two interiorized interfaces, both players interact to guess the other’s sequence. The physical manifestation are two interfaces butted against each other with the same army of deployable ships.

Information is of one’s navy is placed in plan and the one of the other recorded in elevation.

The first extraction lies in the spatial logic and its visual representation. The board works with a simple square grid with all ships deployed in either northsouth or east-west orientation.

The planar and vertical interfaces hold identical grids. Projecting both vertically and horizontally respectively, one arrives at a volumetric representation of the grid. This is the building’s primary logic and structural system. A 10’x10’x10’ volumetric grid in timber with steel joints is manifested as the building, the billboard, the framework and the modular interface. And now we will inhabit the billboard. axonometric : battleship - abstraction axonometric : interface - volumetric grid 050

Stories & Soliloquies

The unique feature of the game is the dual relationship with the partner/competitor - you cannot see his/her navy, yet you begin gathering information about it till you know everything about the person. This duality is abstracted and applied as a social housing scheme. Aimed to introduce hierarchies of neighborly interaction and establish as a mid-rise micro-neighborhood, different social spaces and interfaces are established through the building. They range from common windows to corridors to rooms, to different categories of play spaces and play floors.

The final reading of battleship gives us a navy of ships.

Standardized to fit in a standard grid, these embody a modular behavior. This is applied to the placement of residential and play units. These units are modular and simultaneously syncretion of modules. The play, services and circulation modules are deployed as a fixed logic whereas residential modules have the freedom to combine, detach and play within the rest of the space and across levels. axonometric : game play - semantics of the social axonometric : components - elementarism and modules 051

Manhattan Billboard

plan : precedent study, Moriyama House, spatial structure and analysis 052

Stories & Soliloquies

053

Manhattan Billboard

isometric : nine steps to domesticate a billboard 054

Stories & Soliloquies

section : wall modules and assembly combinations 055

Untitled

Spring 2020 Speculative City Seminar

Critic David Eugin Moon (NHDM)

Protagonist Hart Island, Bronx, NY

The intent lies in speculating the coexistence of the dead and the alive – past and the present and hopefully, the future.

The transfer of jurisdiction to the Department of Recreations opens Hart Island with the intent of making it public. Overruling the emancipation of graveyards and funerary systems from public life, a programmatic, architectural and infrastructural integration of Hart Island to contemporary urban and collective lifestyles is superimposed.

This coexistence will be resolved at the body, built and urban scales, challenging the prevailing methodologies of human remembrance and archiving.

of past-present coexistence. It challenges social clichés and cultural and religious fetishes of disposal, archiving, and isolation.

There will be redefining, designing, or resurrection of systems of body disposal that counter planetary Anthropogenic degradation and pandemic chaos of contagious virus and bacteria.

urban integration, infrastructural connections, and ethos of preservation and prolongation of human civilization. This exquisite corpse will be enacted in two ways. The first is the intersection of two histories – the history under the Department of Corrections and the Speculation under the Department of Parks and Recreation. The second is based on the reading of Franz Kafka’s Burrow and deriving an exquisite corpse to the burrow, a symbol of acute interiorization, escape, and paranoia. This projection will be in the form of an archipelago of archives on Hart Island.

These archives will cater to recoding and storing different types of data and matter – identities of the unidentified, history of disease, carbon form, imminent threat of rising water levels, and of course, human archiving through human composting, keeping certain programs alive and some semantically archived. This speculation is presented as a series of plates coalescing facts of the past and present, fictitious hyperlinks and a speculative future, to be read as layers of palimpsests. (Layers: space, Hart Island, Dymaxion World, Central Park, labyrinth, recyclers 1-2-3, Hart Island as the World, datum)

The context extends beyond Hart Island’s geographic confinements. The Island will be read as a palimpsest of programs, ownerships, and identities.

Analyzed geographically and historically, Hart Island will hence be represented as a timeline section before the year 2020 and a timeline projecting beyond the year 2020, planned and design through the lens of the Department of Parks and Recreation.

This will involve additions, accruals, erasures, and reuse of identities, buildings, land, and histories, aligned with the overhead intent

This speculation is based on semantics and systems. The former is addressed through a superimposition of speculative fiction and a physical island. The exquisite corpse will become a critical reading of histories and a projection of new archetypes of coexisting the alive and the dead. It will address the body, mortality, architectural systems and expressions,

oblique : overlay of all layers of the Palimpsest (past, present and future of Hart Island) 056

billboard domesticated untitled space

Hart Island

world 1

Central Park

labyrinth

reccycler 1

reccycler 2

reccycler 3

world 2

datum

palimpsest

Stories & Soliloquies

057

Untitled

pamphlet : Untitled presented as two cascading pamphlets - research and layers of the palimpsest 058

Stories & Soliloquies

059

Door to Policy: Scales of Architectural Politics

Summer 2019 Contentious New York Projects

Critics Andres Jaque (OFFPOLINN), Ife Vanable

Collaborators Shouchang Zhou, Xinglu Zhu

¶ In 2015, promising to build and/or preserve 200,000 affordable housing units over 10 years1, Mayor Bill de Blasio renewed the 421-a Tax Abatement Law, giving exemptions up to 35 years to real estate developers on including 20-30 percent units for affordable housing. The same year, private developers at Extell, erected a 33-storey heterogeneous residential tower with 219 market-value condominiums starting at $25 million, and 55 [20 percent] affordable housing units starting at $813 rent per month for a studio. Complying with development regulations, this led to “separate entrances that are now almost ubiquitously labeled “poor doors”.”2 ¶ Started in 1971, 421-a gave tax exemptions to private real estate developers for building multi-unit residential property in abandoned and underutilized land. In 1980, understanding the inadequacy of financial capabilities, the Department of Housing Preservation and Development introduced the Inclusionary Zoning Program, compelling private stakeholders to “engage in otherwise economically irrational behavior”3 - develop affordable housing. Establishing the Geographic Exclusion Zone [GEA],

421-a refocused on affordable housing through mandatory inclusion of 20 percent affordable units by giving tax benefits up to 25 years. Capitalizing on 421-a was the first nail in multi-scalar design politics and segregation.

Upon compliance, Extell Development received tax abatements and lawfully superfluous buildable area that they intended to utilize in future projects. The program does not specify the zoning relationship between market-rate and affordable units in the larger development. Consequently and manipulatively, Extell chose to starkly segregate them. As market-rate units with the best views and amenities can draw top dollar4, not only do these units rest on affordable entitlements [including low cost of construction], they physically sit on a podium of affordable units, manifesting discrete zoning and receiving views of the Hudson. This, so intended, established spatial political power – the poor underbelly and the rich capitol. ¶ Such split zoning compels the need for separate doors “to make it easier for the units to be separately managed by a nonprofit in the future.”5 What is prominent in these dual points of ingress and egress is the introduc-

tion of aesthetics-driven politics, solidifying the ‘real’ dwellers of One Riverside Park. Condo owners enter through a glass revolving door with a concierge from riv-

1 Charles V. Bagli and Mireya Navarro, “Mayor De Blasio’s Plan Aims to Spur More Affordable Housing in New York,” New York Times (Online), May 6, 2015, , accessed June 18, 2019, http://www.nytimes.com/2015/05/07/ nyregion/mayor-de-blasios-plan-aims-to-spurmore- affordable-housing-innew-york.html?partner=bloomberg.

2 Justin Wm Foyer, “NYC Bans ‘poor Doors’ -- Separate Entrances for Low-income Tenants,” ProQuest Central, June 30, 2015, accessed June 8,

060

er-facing Riverside Drive, while renters access from a modest ‘poor’ door, commensurate with any New York entrance, from the perpendicular 61st Street. Their

2019, http://ezproxy.cul.columbia.edu/login?url=https://search.proquest. com/docview/16 92254731?accountid=10226.

3 Conor Arpey, “The Multifaceted Manifestations of the Poor Door: Examining Forms of Separation in Inclusionary Housing,” American University Business Law Review, 3rd ser., 6, no. 3 (2017): , http://digitalcommons.wcl.american.edu/aublr/vol6/iss3/3.

4 Mireya Navarro, “88,000 Applicants and Counting for 55 Units in

Stories & Soliloquies

size, mechanics and kinetics, physical locations, and materiality strengthen trans-scalar elitism and architectural apartheid – the front and back doors, the main and service entrances. Additionally, if non-profit management is the rationale behind housing bye-laws, what happens if the developer builds healthy residential heterogeneity in good faith?

Does that challenge the “rationale” and effectively dissolve the need for a law-abiding separate entrance? ¶ Scaling up, the transition of

material opacity to transparency maintains the politics of aesthetics. The façade translates from modestly-sized fenestrations for renters with views of 61st street, to full-height curtain walls viewing the Hudson for condo owners. Glass becomes a marker of the rich, while opaque materials apparently reek of the affordable.

Additionally, this variance in materiality and the expression of the main and service doors strengthen the duality of ‘permanent’ owners and the ‘temporary’ renters. ¶ And finally, architectural titles and politics even define the intangible. Renters are addressed at 475 West 61 Street, while the rich, despite living in the same building, receive the ‘Riverside’ title and 50 Riverside Boulevard as their address. Two zones, two doors, two addresses, but one building. ¶ Designed in accordance with the Far West Side’s residential ethos, One Riverside Park focuses on mirroring Extell’s real estate and economic motivations. By the end of 2015, anticlimactically, the 55 affordable units received a whopping 88,000 applications, demonstrating that the need for affordable housing and the privilege of quality localities trumps the want for egalitarian access. There is no establishment of a ‘rich door’ but of a ‘poor door’, and renters were oxymoronically willing to be economic minorities in rich neighborhoods at affordable rents. ¶ It is interesting, rather humorous, to see affordable hous-

‘Poor Door’ Building,” The New York Times, April 20, 2015, , accessed July 25, 2019, https://www.nytimes.com/2015/04/21/nyregion/poor-doorbuilding-draws-88000-applicants-for-55-rental-units.html.

5 Steve Cuozzo, “The Truth about the ‘Poor Door’,” New York Post, December 07, 2014, , accessed June 28, 2019, https://nypost. com/2013/08/27/the-truth-about-the-poor-door/.

ing responsibilities left to capitalist housing developers. The lack of delineating design constraints of such composite real estate allows private developers to manipulate design and sequence multi-scalar segregation to maintain real estate values. In addition, with applicants having to make 60% of area median income [which is $51,540 a month for a family of four], the program again renders futile by excluding the lower-income groups, threatening the ‘inclusionary’ title. ¶ The poor door stands as a testament to the naïveté of policy and policymakers and the economic motivation of private developers. Ranging from isolation in rich neighborhoods to intra-building zoning, material and address differentiation, and finally to the architectural object, the doors, One Riverside Park, like others, is a display of micro and macro politics in architectural design. The public outcry has remained provincial by only painting a ‘poor door’ problem. The conflict must oscillate between inclusionary entrance doors, the inadequacy of policy in architectural delineation, and trans-scalar design manipulation. Perhaps a disassociation of affordable housing from market-value real estate through ‘affordable only’ tax exemption is a start because a 1600:1 ratio [88,000 applicants for 55 units] is a city crying for homes.

perspective : the tiers of conflict between condominium owners (blue) and affordable housing renters (red); ranging across scales, tangibles and intangibles, architectural and systemic 061

Short Stories

Fall 2019 Graphic Architecture Projects

Critics Michael Rock (2 x 4), Whitney Dow

Investigation Time, plot, narrative

This is a collection of short stories and experiments. Each story is a study of time, plot, and narrative, under the Graphics Architecture Projects seminar.

Along with a reconstruction of storytelling techniques, these projects study different storytelling media and devices ranging from objects, text, images, layouts, film, and audio.

the amount of time allotted to each work, days of the mid-term and final reviews, days when each of the critics will be available, when can I have pizza, when do we travel to Cheyenne (the site of the studio) and how much my workaholism is eating into my sleep. Additionally, the timeline is a map of the State of Wyoming, the perfect rectangle, and whose gerrymandering is a subject of consideration in the studio.

resent a trajectory - my self-destructive workaholism and selfdoubt leaving me awake for days and represented through my mechanical relationship with GSAPP’s vending machine. Yes, I need to sleep and help.

“five dates” object A study of plot and narrative through five simple objects.

The form of presentation along with the details of the contents visible and veiled narrates the tale of five dates at Shake Shack. Presented as five receipts from the fast-food joint, the menu is visible only in the first one, revealing an order for two. The subsequent pieces only show proof that all five belong to Shake Shack and the total of the order are similar except for the last one which hints that the protagonist ate alone. “fall schedule” object / digital A timeline of works allotted for every day in the fall semester to achieve the final design project of the studio under Jimenez Lai and Miku Dixit. Using symbols, colors, and keys, one can track

“hot wiring” object An instruction booklet with no words for night owls like me to learn to use the hot-wire foam cutter at short notice. No words, just images to suit my impatience and sleeplessness.

“These Time, New York” object A reconstruction of the first page of the New York Times for my grandfather who used a magnifying glass to read the newspaper. The zine scale makes it easier for him to hold as his frail hands find it difficult to fold the newspaper. Additionally, a little wordplay for a sense of humor. “no sleep___” film A 1-minute film study to rep-

film : a self-portrait displaying my self-inflicted insomnia as a mise-en-abyme of buying coffee seven days a week, ending in a flatline 062

“Domestic Discographies” film A 3-minute film study to make a visual trailer of my fall studio project. An overlay of a single street-front video with stills of house-fronts, the empty and sparse imagery of Cheyenne works in tandem with my critique of American suburbia as a wellplanned graveyard. The juxtaposition of Chet Faker’s plucky Dead Body guitar solo and Radiohead’s Treefingers brings out the reality of traveling with American radio and the eeriness of the city.

“Daily Soaps” film A 6-minute film study narrating my fall projects with the same title, the movie is created like an old 60s daily soap opera. This is a story of how 16 domestics of Cheyenne leave the monarchy of King Metric and start a new form of urban domesticity and domestic urbanity, challenging prevailing suburban domestic lives and urban rules.

Stories & Soliloquies

063

Short Stories

object : diagramming time - a schedule of works, critiques, events, essentials and pizza 064

Stories & Soliloquies

065

Short Stories

object : an instruction manual for all first timer nightowls to set up and use the foam cutter 066

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067

Stables for Steeds and Sapiens

2018 Mysore, Karnataka, India

Design lead, Enso Design Horse Riding Academy

Collaborators Chinglemba Chingtham, Chhavi Gupta, Gagandeep Sabharwal

The Muse Music for Strings, Percussion and Celesta, Bela Bartók

Celebrated composition by the Hungarian composer, title itself brings out the synergistic duality of piece of music - the strings and the percussion. Bela Bartók uses his instrumentation as front runners, in title, stage presence and spirit. He used to place the strings on one side and the percussion on the other side of the stage but what the audience heard was the perfect union of the warp and the weft, making a transcending fabric. The strings and the percussion, the sounds of the air and earth, respectively, their harmonious interaction during the entire piece are chosen as representations of the horse’s grace and power.

X

X

X

X

song structure

X

movement patterns

Andante Tranaquillo

Slow

Pure, lean, mono-thematic, fugue with varying signatures

Allegro

Fast

Brisk, rhythmically incisive, aggressive, dark, mysterious X

Adagio

Slow

Allegro Molto

Fast

X

X

Night music, nocturnal, palindrome, glissandi Dance music, number of frenzies,

The Puravi Riding Academy is built to observe, nurture and experience the synergistic duality of its primary residents, horses. A collection of single to double-story buildings, they collectively form a series of stables around the arena. A stable for steeds and sapiens, the academy mimics the austerity and strength of stables. The architecture, materiality, and engineering coalescences opposites - air and earth,

mass and tenderness, strings and percussion, the idyllic, and ethereal. The present stables are the only recently renovated structure and hence maintained on site. Additional stables include a restaurant and viewing pavilion, guest rooms, a residence of the owner, dormitories for syces, and stables for more animals including dogs, cows, and chickens. Guests are invited from the north as they may either access the restaurant or

multiple : Music for Strings, Percussion and Celesta, Bela Bartók, spatial and conceptual driver 068

movement properties

coming full circle

walk down to the arena and guest rooms. The owner fins his house and office in the quaint southwestern corner with a view of the west. The other animals find themselves in their own lavish stables accessible to caretakers. contribution - project lead, conceptualization, design development, design drawings, digital modeling, research, graphic design, presentation design

perspective : (top - bottom) road level entrance; view from vehicular entrance; between stable and arena

Stories & Soliloquies

069

Stables for Steeds and Sapiens

gro

Alle agio

Ad

olto

oM llegr

A

a

Easany ry + treasu on recepti

Vayu l anima r shelte

O

body water ance tr n e +

Kubera

O O

Indra a

Brahm a Varun

O

X

X

horse stable

Agni a Dharm i Nirudh temple e + offic

r maste n kitche

gallery

O

Vastu grid

strings

>>>> >>>>

l anima + r shelte rms o syce d

ria cafete oms t ro + gues eption + rec sury + trea

l anima r shelte

horse stable

cafe + gues + rec + tr

syce dorms

horse stable arena

office

+ office ce n reside n

kitche

temple

vastu programming

plan : site planning, programming and unification of spatial and conceptual grids 070

nce

reside temple

crafting

Stories & Soliloquies

entrance corner ante

And

uillo

q Tran

quillo

te Tran

Andan

l anima r+ shelte orms syce d

ria cafete rooms st e u g + ption + rece ry + treasu

Allegro

X X

horse stable

arena

Adagio

X X

Allegro Molto

O

s-percussion grid

+ office nce reside n

kitche temple

resultant blocks

>>>>

>>>>

>>>>

>>>>

eteria s st roomn ceptio reasury

arena

n

kitche

building footprints

roof plan

071

Stables for Steeds and Sapiens

11

11

5

6

11

7

11

11

8

9

11

10

13

14

4 12

3 2

1

15

1 2 3 4

vehicular parking guest room lobby reception desk guest room access corridor

5 6 7 8

guest room 1 guest room 2 guest room 3 guest room 4

9 10 11 12

guest room 5 guest room 6 backyard lotus pond

13 housekeeping, supplies and other services 14 to block B 15 up to caféteria

9

7

8 4

1

10

2

5

6

3

1 information desk 2 caféteria 3 south balcony

4 north balcony 5 east balcony 6 kitchen

plan : guest rooms and guest parking, north 072

7 mens’ washroom 8 womens’ washroom 9 main bridge to main road

10 down to area level, guest rooms, animal shelter, horse stable

plan : restaurant and viewing deck, north

Stories & Soliloquies

3

6

12 15 11

5 2

14

2 1

8 7 10

13

9

2

4

16 1 2 3 4

cow shelter enclosure milking area feeding area

5 6 7 8

calf pen chicken shelter dog shelter feed grain

9 10 11 12

feed grain mixing syce dormitory syce common room syce common bath

13 14 15 16

tack room treasury + administration to block A to horse stable

11

2

1

5

4

3 6

8 7 9

10

1 guest entertainment hall 2 outdoor porch 3 office

4 conference room 5 courtyard 6 private residence

plan : animal shelter and syce dormitory, north-east

7 bathroom 8 pantry 9 toilets

10 Ganesha temple 11 to arena and horse stable

plan : owner’s office and entertainment hall, south-east 073

Raw Patina

2018 Noida, Uttar Pradesh, India

Design lead, Enso Design Healthcare and wellness center

Collaborators Chinglemba Chingtham, Anubha Singhal, Chhavi Gupta

The Y-axis is the alternative to the standard progression of time, the X-axis. As opposed to the utter velocity and chaos in the world today, Deerghayu looks to adorn the mindset of people with the possibility of an alternative lifestyle. Longevity is not built on speed and chaos, it is a function of the mellow and the melody.

Complete harmony between the outside and the inside denies any kind of osmosis or a surge in loss of energy. Believe it or not, we are built to be incongruous with the environment we are born in. Any disruption in our natural selection breeds chaos on the outside and permeates catastrophe on the inside. The Y Axes is a collection of physical, environmental, and emotional alternatives that allow longevity to become a lifestyle and not a goal. An alternative system for habituation and habitation, the axes dial down the speed and concentrate on healing and living better.

from each other. Instead of keeping users constantly indoors, we propose a strong interception of the outside in the primary movements of the healthcare center.

Any transition between any two blocks will move through a central courtyard (the Brahmasthan), a natural void breeding vegetation, ventilation, and natural light into the center at all times. The gaps between the blocks are wide openings that foster the natural transition from the interiors of spaces to the outside, physically and visually. They polarize the entire mass with a complete view of the site from all directions, emulating a sense of openness, ease, and humbleness.

language, reflection of the trees on the glass, and the organic patinas on steel, earth, and the landscape. Indeed 120° equals privacy!

The Y axes are the resultant of the three blocks splitting away

By having a 120° angular separation between individual blocks, none of them ever look directly into each other. Each block receives direct contact with the wilderness on all four directions (the central courtyard on the fourth side). One can only see the other block at a skewed angle, restricting views of only the architectural

perspective : (top - bottom) view from entrance; meditation hall; amphitheater and medical center 074

Patina is the natural oxidation of material adding a greenish tone to the surface. Here at Deerghayu, we propose the development of a pre-existing patina, a metaphorical patina. Along with the natural accrued history on all material, the blocks will be inscribed in a thicket of trees, lawns, organic farming, and flower beds. The pre-existing patina will change hues as seasons pass adding a quality of age. The landscape is a collection of organic shaped and non-manicured framing and flower beds, grass depressions and knolls, and meandering pathways between walls of trees. contribution - project lead, conceptualization, design development, design drawings, digital modeling, writing, research, graphic design, presentation design and coordination with vendors

Stories & Soliloquies

075

Raw Patina

plan : Deerghayu Healthcare Center, accessed from the east, yoga hall to the north, health center to the west 076

1 drop off 2 ramp to plinth level 3 central circulation 4 central courtyard

5 reception + admin 6 yoga hall 7 fish pond 8 health center

9 reflexology walkway 10 private residence 11 parking 12 sunken area

13 amphitheater 14 pavilions 15 organic vegetables 16 medicinal plants

Stories & Soliloquies

01 07

02 08

03 09

04 10

05 11

06

12

isometric, diagram : formation of the “Y� axes from programmatic volumes

077

Raw Patina

plan : yoga hall (level 1) plan : staff dormitories (level 2) 078

plan : (left) lounge and reception (level 1); (right) cafeteria (level 2)

Stories & Soliloquies

plan : health center (level 1) plan : guest lodging (level 2)

plan : (left) private residence - living (level 1); (right) private residence - bedroom (level 2) 079

Exit Music

Spring 2017 I.T.O., New Delhi

Critics Dr. Amit Hajela, Rahoul Singh

Architectural thesis Funerary architecture and systems, urban revitalisation

This study cites the obsolescence of funerary spaces and practices in contemporary India. Sure, we can either bury or cremate but are we doing it the right way? The world is facing an alarming level of environmental degradation and so can human decomposition be harnessed to bandage the damage caused by its life? Why are martyrs the only ones to receive their monuments? Can public architecture commemorate the ordinary deceased? Exit music formulates a mission statement. It calls upon people to come together and establish a system of turning the inevitability of human death as a means to restore personal memories, bandage urban disconnects and maybe even save the environment from its current inevitable degradation.

and recomposition. The physical plotting of spaces on site begins with four sacred geometries that place three cubes (cremation, recomposition, and internalization) around the triangular central pyre, forming an octahedron. The project expands its scope by using this intervention as a solution for urban restoration. New pedestrian routes are created through this fortified and abandoned site. Site area is sacrificed to widen roads, allocate space for parking on the periphery and all hearses drop off the deceased right under the building, keeping matters private.

Water proves as the transition from land to blocks. Each block is accessible from any of the four cardinal directions through pathways chiseling across the water bodies. Water spiritually plays the cleansing agent, and architecturally as a heat trap that helps in passive cooling of the building from all directions. The outermost outline of all water bodies put together forms a distorted outline of an icosahedron.

The manifestation of this thesis begins with a demographic analysis of religious practices in the city of New Delhi, followed by the simplification and redevelopment of obsolete practices to form a new funerary structure – electric cremation, resomation,

The Light Well is the centerpiece of the site. It is the primary ‘manifestation’ of Exit Music and the confluence of the primary axes. Designed as a large pyre with intersecting slabs of highly polished stainless-steel surfaces, the pyre embodies all elements water (through water bodies), air (with the air it encapsulates), earth (where it rests), metal (through materiality), aether (through people) and fire (six beams of light that flash in the night landscape).

isometric : urban layout of three blocks, light well, gardens of past, present and future tenses 080

The outdoor elements on site are the gardens of past, present, or future tense. The garden of past tense is a collection of pavilions with names of deceased chiseled into the ceiling. As light falls through, the names fall on the ground, creating a mosaic of memories. The garden of present tense in a link between the site and the rose garden that exists in the north. And finally, the garden of future tense, a negative of the garden of past tense, is a collection of courtyards with flora grown from earth generated through recomposition, completing the cycle of life.

Stories & Soliloquies

081

Exit Music

11 10

08

02

12

09

08

18

11

05

diagram : (top to bottom) degree of public-ness, pedestrian axes, water vs. turf 082

plan : three built volumes, light well, gardens of past, present and future tense

Stories & Soliloquies 100

16

10 20 30

17

0

meters

50

13

14 07

11 15 01

19

03

06 04

20

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20

Light well Block A - recomposition Block B - cremation Block C - internalisation Garden of past tense I Garden of past tense II Garden of present tense Garden of future tense Nursery Existing cemetery On-site parking Additional parking Rose garden Overhead bridge City highway Vikram Nagar SPA, Delhi Commercial buildings Indira Gandhi Stadium Government authorities

083

Exit Music

north

usable space

core services lifts

staircase circumambulation

west

east

sky to ground

horizontal circulation

staircase

south

inverted arch

brick cladding

brick jaali

funicular opening

double brick wall

glass parapet

plan : building layout and circulation strategy 084

elevation, detail : material hierarchy and strategy

Stories & Soliloquies

isometric-section : cremation block, courtyard cut

isometric-section : cremation block, deep cut 085

Exit Music

model : bird’s eye view of the entire site from the south-eastern corner 086

model : south elevation of the internalisation block and the garden of past tense

Stories & Soliloquies

model : bird’s eye view of the light well and the intersection of the three axes

model : bird’s eye view of the garden of future tense and the garden of inevitability 087

Exit Music

lobby

cleansing

+500

recomposition

+23100

lobby

+5900

congregation

+28500

cleansing

faith

+11300

rituals

+16700

faith

+11300

nursery

+33900

rituals

+16700

mortuary

-4900

1 2 3 4 5 6

cleansing stations records MCD office sitting+circulation florist core + services

7 8 9 10 11 12

recomposition silo cleansing booths mosque temple church gurudwara

13 14 15 16 17 18

ritual booths burial chambers waiting area supplies wood storage congregation

plan : (left to right) floors plans of the recomposition, cremation and internalisation blocks 088

19 20 21 22 23 24

drop off mortuary office security collection tank correction room

1 2 3 4 5 6

cleansing stations records MCD office sitting+circulation florist core + services

+500

+5900

7 8 9 10 11 12

cleansing booths mosque temple church gurudwara supplies

Stories & Soliloquies

cremation

+23100

lobby + café

+500

library

+23100

resomation

+28500

meditation

+5900

library

+28500

columbarium

+33900

library

+11300

administration

+33900

-4900

library

+16700

services

+39300

mortuary 13 14 15 16 17 18

ritual booths wood storage cremation rooms urn storage resomation rooms columbarium

19 20 21 22 23 `

drop off mortuary office waiting area security

1 2 3 4 5 6

café kitchen sitting core + services counseling rooms group therapy

7 8 9 10 11 12

hall pre-function meditation hall lending area library media library work stations

13 14 15 16 17 18

music booths staff room office storage administrators waiting area

19 20 21 22 23 24

librarian’s office security room services data machine room terrace garden

089

Urban Treble

Fall 2016 Sector 10, Dwarka, New Delhi

parking parks hotel auditorium workshops sports hospital school cinema café f&b offices retail houses

Critic Rahoul Singh

Collaborators Alankrit Gupta, Prabhash Dhama, Shweta Sundar

A

pedestrian riskshaws autos bus metro

B

People have their teeth sunk in multiple interests and activities. They enjoy speed and high performance. Static is stale, and more is, in fact, more. To serve to a multi-tasking population a multi-use program is developed by tossing all functions in a salad bowl and crafting combinations. The city of Delhi navigates through a complex transit system including bus and metro network, along with roads flooded with private vehicles, auto rickshaws, cycle rickshaws and now cabs in the new Uber-Ola era. Intra-city transit mustn’t function independent of the city’s activities and so this multi-use programme finds itself plugged to a multi-modal transit point at Sector 10 Dwarka metro station and the national highway.

The site is split into quadrants by three pedestrian axes all of which link critical public nodes inside and outside the site (namely, the Blue Line of the Delhi Metro at the Sector 10 station, two bus stops in the North and the High-

way on the South, a low-traffic bus depot, rickshaws and e-rickshaws and all other private and commercial vehicular networks). The program development is not as capricious or arbitrary as it sounds.

Each built volume is a combination of workable ingredients. The western flank which is linked with tertiary roads is occupied by residences and supported by f&b, quotidian retail and recreational assets. The southern flank is a triangular courtyard spooled with retail, offices, entertainment and f&b, becoming the center around the park and existing commercial buildings. The east block is a podium with individual blocks of corporate offices, workshops, serviced apartments and a hotel, and also supported by retail and f&b assets. The north quadrant is seen as the center for all neighboring residential communities, including the one proposed on site, and has everyday retail, a sports complex and a primary school.

The Urban Treble’s focuses on maximizing greens and pedes-

diagram : development of a mixed land-use salad 090

D

C

trianisation. Sunken courtyards, green balconies, green roofs and green knolls are proliferated all over the site and weaved with the built. Cars are restricted to the periphery and functions are aligned to the metro, bus stop, existing informal feeder systems and urban fabric. A bridge linking public floors on of all buildings to the south of the metro line provides an alternate pedestrian and cycle access from the metro station, and may be accessed by users from outside of the site to walk up and access the metro station, public floors or just enjoy the view.

Finally, the underneath of the metro line, a commonly abandoned and often unsafe zone in the city is reactivated as a long strip that flows eastwards. Consisting of well-lit pedestrian routes, water bodies, sand pits and play fields, it makes the area safe and a potential grounds for commercial and non-commercial temporal activities, another idiosyncrasy of the city.

plan : urban layout and mixed use composition

091

10 0

meters

20

50

Stories & Soliloquies

Urban Treble

092

1 2 3 4 5 6

access road hospital lobby emergency wing ambulance drop hospital lounge residential lobbies

7 8 9 10 11 12

departmental store retail and f&b sunken courtyard to sports complex to central court / spine to public park

13 14 15 16 17

building core service room common balcony dwelling unit type A dwelling unit type B

oblique : bird’s eye view of the complete complex 5 10

meters 0

40

Stories & Soliloquies

plan, section : east wing, residential + hospital

093

1 2 3 4 5 6 7

vehicular access lane to basement drop-off cycle ramp kiosks service core escalators

8 9 10 11 12 13 14

courtyard water bodies steps + stands to primary axis to primary axis to central courtyard service core

15 16 17 18 19 20 21

escalators courtyard cutout sitting + play dunes cycle ramp football cage basketball cage running track

22 23 24 25 26 27 28

kiosks + cycle stands gymnasium food court to residential wing to convention area to hotel + offices rock climbing wall

plan, section : south wing, retail + recreation + offices

094 5 10

meters 0

40

Urban Treble

1 2 3 4 5 6 7 8

hotel drop off office drop off convention drop off metro station curb primary spine central courtyard convention space lobby auditorium lobby 9 10 11 12 13 14 15 16

auditorium crechĂŠ retail along spine public courtyard metro to spine link bank #1 bank #2 indoor restaurant

17 18 19 20 21 22 23 24

outdoor kiosks & seats office lobby hotel lobby hotel indoor restaurant hotel bar banquet hall entrance banquet hall workshop lobby

25 26 27 28 29 30 31 32

painting workshop crafts workshop sculpture workshop administration cafĂŠteria office space #1 office space #2 office space #3 33 34 35 36 37 38 39

0

5 10

meters

office space #4 office space #5 office space #6 office space #7 office space #8 balconies building cores

40

Stories & Soliloquies

plan, section : west wing, offices + hotel + convention

095

Atmosphere

Spring 2015 Vasant Kunj, New Delhi

Critics Dr. Amit Hajela, Rahoul Singh, Dr. Jaya Kumar

Institution and programs School of Planning and Architecture / B.Arch - B.Plan

exosphere

resource

labs + recreation

thermosphere

essential

studios

mesosphere

resource

library + labs

stratosphere

essential

studios

troposphere

resource + public

crust

The design begins at the redevelopment of architectural pedagogy and is translated as a ‘colloidal program’. The undergraduate wing is a rendition of the layers of the atmosphere - individual strata, forming a homogeneous cloud. Starting from within the crust, the volume rises as a square doughnut; inspired by the traditional Indian courtyard morphology to maximize light, views, and ventilation. The levels are alternating layers of essential (studios and lecture rooms) and resource spaces (libraries, labs, workshops, research rooms, and public studios). Their vertical alternation

resource

weaves the ‘colloidal program’ that makes the entire volume unite as one homogeneous unit of heterogeneous minds.

The studio is redefined as a workroom for group and solo work with lecture niches for theoretic learning and group discussion. The open plan enables cross-pollination across all sections, years, and departments. The ‘colloidal programming’ creates equitable access to workspaces, thinking spaces, resources, faculty, exhibition, and recreation, emulating a scintillating Tyndall effect. The courtyard further acti-

diagram : colloidal programming elevation : south western elevation and program strata 096

labs + recreation workshops

vates as a locus for college festivals, recreation, exhibition, or just ephemeral procrastination. The geographic highlight of the site is the gorge. Sheltered by one-fourth of the doughnut, the courtyard, and peripheral yards fade into this gorge, making it active for work and play.

Collectively, the building imitates the minds of the aspiring designer – a complete mash-up of learning, resources, recreation, application, and cognition. The colloid elevates the pedagogy from a studio to a think tank for students and faculty alike.

Stories & Soliloquies

workshops + recreation I+II+planning studios library + art labs +digital labs III+IV+V studios workshops + recreation

faculty floor archives faculty floor administration

workshops + parking

097

1 2 3 4 5 6 7

entrance foyer central courtyard east park central park bridge to north park bridge to hostel gorge

8 9 10 11 12 13 14

full year studio

postgraduate block central library service centre waiting area head of department registrar section officer

15 16 17 18 19 20 21

22 23 24 25 26 27 28

administrative office administrative records transport lab conservation lab surveying lab materials & tech. lab main staircase

staggering

fire staircase washrooms lift well ramp to basement cafeteria open studio academic block spine

flipping

light wells inter-section

section

section

intra-section

intra-section

section open studio

plan : level one diagram : studio development 098

ingresses

section

section

spatial hierarchies

section

5 10 0

meters

20

Atmosphere

Stories & Soliloquies

sections : (top to bottom) E-W courtyard cut, N-S studio cut, N-S courtyard cut 099

Atmosphere

-1

100

0

1

Stories & Soliloquies

2

3

4

diagram : geometric play across levels perspective : view from the southern corner 101

1 2 3 4 5 6 7

archives research centre second floor foyer men’s washroom women’s washroom fire staircase service shafts

8 9 10 11 12 13 14

elevators main staircase AHU room digital design lab graphics studio presentation space computer lab

15 16 17 18

library group presentation slots research centre main academic spine 1 2 3 4 5 6 7

staff room staff room waiting area staff recreation conference room first floor foyer men’s washroom women’s washroom

8 9 10 11 12 13 14

fire staircase service shafts elevators main staircase open studio IIIrd year open studio IVth year open studio

15 16 17 18 19 20

Vth year open studio studio presentation slots lecture niche studio sitout research center main academic spine

Atmosphere

plan : level two

102

plan : level three

1 2 3 4 5

workshop workshop rooftop garden men’s washroom women’s washroom

6 7 8 9 10

fire staircase service shafts elevators main staircase AHUroom 1 2 3 4 5 6 7

staff room staff room waiting area staff recreation conference room third floor foyer men’s washroom women’s washroom

8 9 10 11 12 13 14

fire staircase service shafts elevators main staircase open studio Ist year open studio IInd year open studio

15 16 17 18 19 20 planning open studio studio presentation slots lecture niche studio sitout main academic spine AHU room

Stories & Soliloquies

plan : level four

plan : level five

103

Riptide

Fall 2015 I.N.A. Colony, New Delhi

Critics Manish Gulati, Dr. Ranjana Mital

Long-span protagonist Aquatic stadium

Stadia are crown jewels of a city. They are a harvest of a city’s pride, glory, and aspirations, designed to house the blood, sweat, and tears of those who battle and those who watch their idols battle. Amongst all its exuberating glory, stadiums become rather massive and redundant structures in the city. For a city like New Delhi with complex demographics and a large and dense population, utility and economy are always finds preference over extravagance. Optimum space utilization, multi-use, cost efficiency, material durability, and public use efficacy are given more weightage especially when it comes to public infrastructure. Here the ethos of stadiums injects a sense of pathos among public architecture due to its aspirational shenanigans. In addition, water sports or even just swimming has a popularity below 1% even as a leisure sport in Delhi

(Global HABIT, Hakuhodo Inc., 2012). So the prime focus was to develop a manifesto that harped on the merger of public utility and sports popularisation: a democratic arena of sport and expression instead of architecture pronouncing grandeur.

and public life becomes the driving manifesto of spatial and functional organization.

The latter was expressed in the form of Olympic level facilities - diving pool, racing pool, practice pool and even play pools, to introduce the sport at all ages and comfort levels. The arena and its glory remained the heart of the complex but to manifest optimum public utility, it was circumscribed and adorned with a spool of cultural, commercial, and recreational spaces - a turban of public utility and festivity. Stadia are a force to be reckoned with, but this arena was an opposing wave of grass-root humbleness and hence the title, Riptide. A union of sport

section: cut through racing pool and west wing 104

To tap this adrenaline, ‘Lateralus’ (by prog-metal band, Tool), became the defining muse for structural and visual expression.

The line “spiral out, keep going” devised the spool of cultural, commercial, and recreational spaces around the arena and finally faded into the existing Thyagaraj Park, an expression of free-thinking public utility. The Fibonacci roots of the track formed the structural symbols and the radial trusses, and the psychedelic instrumentation formed the inlay work of primary colors like a gigantic stained-glass mural, reverberating the cosmopolitan and picturesque persona. The entire volume emulated the physical manifestation of a radial spectrograph of the city’s adrenaline.

Stories & Soliloquies

105

Riptide

treble line Riptide spectrograph bass line

model : physical spectrogram overlaid with Lateralus (2002) treble and bass lines 106

Stories & Soliloquies

position of Olympic arena

Olympic arena and play pool blocks

introducing public spool

levels of the public spool

Lateralus spectrogram as radial grid

interpolation of spool to radial grid

structural radial trusses

covered with a turban

isometric : structural and architectural components and assemblage 107

plan : rooftop level layout 108

10 0

meters

20

50

Riptide

1 2 3 4 5 6 7 8

Olympic arena Play pools Promenade Amphitheater Park Football cage Local market CafĂŠ

9 10 11 12 13 14 15 16

10 0

meters

20

50

Stories & Soliloquies

Retail walk Retail walk Sit-out Basketball court Thyagaraj Park Skate park Parking - A Parking - B

plan : ground and arena level layout 109

Under the Banyan

Fall 2012 Fields of Punjab

Critics Dr. Prabhjot Singh Sugga, Kapil Mathur

Protagonist element Air

panoramic view with no physical obstructions, the wind grazes like a free spirit as it speaks through its care and its wrath. Its care is felt through a soothing and sweet ringing of metal. Its wrath, an angry clangor suggesting farmers retire inside. And finally, its static disposition felt as an eerie silence.

tree. The chimes form the thicket of hanging aerial roots and the clear cover allows light to penetrate through, emanating a soft Tyndall effect. The platform is the locus of village life where the elders exchange political views and children play with marbles.

The wind is your host as it plays muzak. It is an arpeggio that enables you to think, talk, play, or just bask in the sun or the shimmer of the moonlight.

polycarbonate roofing

timber truss system

aluminum aerial prop roots / the chime

aluminum trunk

plinth with embankment and an array of benches

crop aisle

Air. Breeze. Wind. Storm.

The invisible force with grades of robustness. The omnipresent ghost that caresses, scares, and breathes life. Never seen, never spoken to, its presence is felt, heard, and experienced. The exercise is aimed to manifest a basic element in the form of usable space. This pavilion taps the energy of the air by the subtle creation of sound. The setting is an open meadow. Clothed by a

The shelter is reminiscent of the platform under the banyan

isometric : structural and material components plan : change in pavilion use throughout the day 110

perspective : lunchtime in the fields, pavilion at the intersection of crop aisles

Stories & Soliloquies

sitting solo

group lunch

panchayat conversations

game of hopscotch

111

Knolli Center

Spring 2014 Sinli Village, Barmer District, Rajasthan

Critics Parul Kiri Roy, Anjali Mittal, Henry Fanthome, Gauri Gandhi

Collaborator Girisha Sethi

combination of natural and built knolls

spatial order and nolli layout of a dhaanis

This welfare center is an addition to a small and remote rural settlement, Sinli, in the arid region of Rajasthan, India. It looks to cater to a small community occupied in cultivation and animal husbandry for subsistence. A unique program is introduced to a barren parcel of land that understands the shortcomings of the indigenous and subsistence-oriented community.

Looking to achieve basic necessities, the program introduces a health center (for people and animals separately), a resource center (for theoretic and practical education), and food supply from the locally grown output. Lastly, a marketplace display forms a collection of all household produce,

clusters of dhaanis

handicrafts, and other goods from Sinli and other neighboring villages, turning household hobbies and village specialties into lucrative ventures.

The center imitates the poetic dunes or sand knolls of Rajasthan through domes of vaults.

The title, “knolli”, also speaks of the arrangement of these knolls, similar to ‘dhaanis’ or clusters of Sinli village. Houses are small and primarily mud and thatch shelters, clustering around courtyards that are intended for domestic work, living, and recreation. Built knolls of each function form their own dhaani around a courtyard for communal functions such as

sketch : (left - right) analysis of Sinli’s dhaani spatial system; development of knoll morphology 112

demonstration, waiting areas, market place, canteen seating, or just recreation. All knolls are built of compressed earth blocks that are locally produced and provide climatic comfort of earth structures in the arid region. Their compression and stabilization make them permanent as compared to current Sinli ‘jhompas’ (earth huts) that are repaired periodically. The poetic quality of the center is in the familiarity of spatial arrangements and materiality, aiming to not cause any alienation yet build a system of progressive spaces and an epicenter of settlement upgradation.

(All work is hand-drawn)

plan : Sinli Village community center layout section-elevation : NW-SE cut, NE-SW cut, elevation

1 2 3 4 5 6 7 8

main road health center resource center staff quarters central plaza canteen loading - unloading sandbox

9 10 11 12 13 14 15 16

market market storage rain water tank pagdandi parking mandir (existing) primary school (existing) Sinli village settlement

5

meters 0 2

10

15

Stories & Soliloquies

113

1 2 3 4 5 6

model : canteen entrance and rooftop view plan : canteen planar layout 114

section : (top - bottom) courtyard-eating area cut, entrance-courtyard-kitchen cut

1 0

meters

2

plaza 7 washing area courtyard 8 cooking area food counter 9 pantry eating area 10 backyard kitchen 11 biogas digester indoor washing area

5

Knolli Center

5 2 1

meters

0

1 2 3 4 5

counseling room veterinary center veterinary yard classroom 1 lecture room 1

6 7 8 9

library lecture room 2 classroom 2 demonstration yard

Stories & Soliloquies

model : resource center dhaani and blocks plan : resource center planar layout

section : (top - bottom) N-S cut facing library, E-W cut facing classrooms 115

Sosta, Messina

2018 Stazione Messina Centrale, Italy

single pixel kiosk

Design lead, Hive India Urban Rest Stop

Collaborator Niharika Shekhawat

double pixel kiosk

triple pixel kiosk

perforated pixel alternative roofing

Sosta, a break in urban fluidity, introduces a utilitarian point of rest. It is a junction in the urban realm where one can charge phones while grabbing a bite or interacting with people, work outdoors, or just take a nap, and then get back on the road or the next train. This process recharges the

wood and corten steel seats

mind, body, and device. By principle, Sosta is an energy and economically sustainable micro-economy in the bustling city.

Sosta at Messina Centrale, Italy, is a span of pixelation painted by modules of furniture and structure. Space is bro-

perspective : view from the north-bound platform at Messina Central Station 116

ken into pixels where the dynamos become nuclei of the urban membrane. Retail and hydroponic cultivation work as second-tier loci to generate economy; and the seating, a point of pure arbitration, becomes the expression of public boredom, utility, and creativity.

axonometric : furniture - wooden kiosks, perforated public shelters, corten steel benches

Stories & Soliloquies

perspective : (top - bottom) under public shelters facing north wall and hydroponics 117

Coulomb, Rapallo

2018 Stazione Rapallo, Italy

Design lead, Hive India Urban Rest Stop

shrine dynamo

Collaborator Niharika Shekhawat

regular geometry dynamo

irregular polygon energy floor

organic sprawl charging benches

organic ellipses charging pavilions

free flow movement lines

100% organic people!

apostles charging benches

600

1200

1200

landscape energy floor

The smallest manifestation of Sosta is a charging station. Titled ‘Coulomb’, it is centered around one unit of charge, i.e. one dynamo. The station is a collection of shaded stands with charging points hurdled around the dynamo like followers around the shrine. Following the sustain-

able philosophy of Sosta, Coulomb is restricted to clean and renewable energy. In addition to the charging points, there is a scattering of seats in reclaimed corten steel and wood. The entire assembly sits on a raised platform with energy flooring - technology that converts the kinetic energy of

multiple : rest stop components, systems, furniture and materiality 118

600 450

600 450

1200

450

flora shade + lighting

people walking over it to electrical energy. Coulomb at Rapallo Station, Italy is the ideal rest stop for people to charge their devices, finish some work, or chit chat whilst they wait for the next train. Placed on the balcony is also allows visitors to enjoy the view and maybe even claim some vitamin D!

oblique : east side view of the rest stop with available systems and services

Stories & Soliloquies

photovoltics

charging island

air purifiers

energy floor

digital display

mimo access

universal access

119

Block of Light

2018 Noida, Uttar Pradesh, India

Design lead, Enso Design Healthcare and wellness center

Collaborators Chinglemba Chingtham, Chhavi Gupta

This block is a multi-use volume and available for residential, commercial, retail, food, and beverage or small institutional purposes. This extremely narrow site extremities and the under-developed and cluttered context pose as the biggest challenge. The block of light aims to physically illuminate the space within and outside, becoming a beacon of inspiration, illumination, and development for

the area. Having four owners the block is divided into four towers in proportion to the ownership to allow individual control maintenance. Looking at larger urban issues, the narrow pedestrian route is unobstructed and open to the sky to maximize light. Additionally, level one along the ally is left porous to arrow visual contact with the inside, f&b business to allow direct customer contact,

and to allow maximum night light.

Levels two, three, and four are folded like a lantern to allow views of the street and increase the surface area for maximum light.

sketch : how build a block of light 120

contribution - project lead, conceptualization, design development, design drawings, fabrication drawings, digital modeling, graphic design, presentation design.

perspective : (left - right) day and night views

Stories & Soliloquies

121

Block of Light

plan : construction plans of levels one, two and four 122

D

C

D

C

NOTES: Stories & Soliloquies 1. ALL DIMENSIONS ARE IN MILLIMETER.

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

3. ANY CHANGE REQUIRED SHOULD BE CONFIRME FROM THE ARCHITECT.

4. THIS DRAWING SHOULD BE READ IN CONJUNCT WITH OTHER PERTINENT DRAWINGS.

ISSUE STATUS:

DESIGN DRAWINGS

DISTRIBUTION: Date:

A

Remarks:

ARCHITECT:

B

25

PROJECT:

Block of Glass Imphal, Manipur

level one +1.35m

FORMAT: A3 SIZE NOTES: SCALE: NTS 1. ALL DIMENSIONS ARE IN MILLIMETER.

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

3. ANY CHANGE REQUIRED SHOULD BE CONFIRME FROM THE ARCHITECT.

4. THIS DRAWING SHOULD BE READ IN CONJUNCT

WITH OTHER PERTINENT DRAWINGS. ISSUED DATE: 04.12.2018

DRAWN BY: KABIR

ISSUE STATUS:

CHECKED BY: C. C

DESIGN DRAWINGS

DISTRIBUTION:

A

BLOCK OF LIGHT Imphal, Manipur

GROUND LEVEL +0.45 & +1.35 metres

metres 0

1

2

3

B

level two / four +4.35m | 10.35

Date:

Remarks:

DRAWING TITLE:

Layout - Ground Floor and Mezzanine

1.02

FORMAT: A3 SIZE SCALE: NTS

ISSUED DATE: 04.12.2018 DRAWN BY: KABIR CHECKED BY: C. C

123

Block of Light

D

plan : construction plans of level three andthe rooftop 124

C

NOTES: Stories & Soliloquies 1. ALL DIMENSIONS ARE IN MILLIMETER. 2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT.

4. THIS DRAWING SHOULD BE READ IN CONJUNCTIO WITH OTHER PERTINENT DRAWINGS.

ISSUE STATUS:

DESIGN DRAWINGS

DISTRIBUTION: Date:

A

Remarks:

ARCHITECT:

B

PROJECT:

Block of Glass Imphal, Manipur level three +7.35m

FORMAT: A3 SIZE NOTES: SCALE: NTS 1. ALL DIMENSIONS ARE IN MILLIMETER. 2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT.

4. THIS DRAWING SHOULD BE READ IN CONJUNCTIO

WITH OTHER PERTINENT DRAWINGS. ISSUED DATE: 04.12.2018

DRAWN BY: KABIR

ISSUE STATUS:

CHECKED BY: C. C

DESIGN DRAWINGS

DISTRIBUTION:

SECOND FLOOR PLAN +7.35 metres

BLOCK OF LIGHT Imphal, Manipur

metres 0

1

2

rooftop +13.35m

3

Date:

Remarks:

DRAWING TITLE:

Layout - Second Floor

1.04

FORMAT: A3 SIZE SCALE: NTS

ISSUED DATE: 04.12.2018 DRAWN BY: KABIR CHECKED BY: C. C

125

Block of Light

ARCHITECT:

PROJECT:

Block of Gl Imphal, Ma

NOTES:

1. ALL DIMENSIONS ARE IN 2. WRITTEN DIMENSIONS

3. ANY CHANGE REQUIRED FROM THE ARCHITECT.

4. THIS DRAWING SHOULD WITH OTHER PERTINEN

ISSUE STATUS

DESIGN DRAW

DISTRIBUTION Date:

Rem

FORMAT: A3 SIZE SCALE: NTS

ARCHITECT:

ISSUED DATE: 04

DRAWN BY: KAB

CHECKED BY: C.

SECTION

BLOCK OF LIGHT Imphal, Manipur

BB'

metres 0

1 PROJECT:

2

Block of Glass Imphal, Manipur

NOTES: 1. ALL DIMENSIONS ARE IN MILLIMETER. 2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED. 3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT. 4. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS.

ISSUE STATUS:

DESIGN DRAWINGS

DISTRIBUTION: Date:

Remarks:

FORMAT: A3 SIZE SCALE: NTS

ISSUED DATE: 04.12.2018 DRAWN BY: KABIR CHECKED BY: C. C

BLOCK OF LIGHT ONLY

ELEVATION Nahampal Road

BLOCK OF LIGHT Imphal, Manipur

metres 0

section : transverse building section 126

1

2

3

elevation : street elevation

DRAWING TITLE:

Elevations

2.04

DRAWING TITL

Sections

3

2.0

Stories & Soliloquies

SECTION

BLOCK OF LIGHT Imphal, Manipur

AA'

metres 0

1

3

2

ELEVATION Red Alley

BLOCK OF LIGHT Imphal, Manipur

metres 0

section : longitudinal building section

1

2

3

elevation : alley elevation 127

a.BEER®

Design lead, Enso Design branding and store interiors

2018 multiple outlets, Mumbai, Maharashtra

Collaborators Chinglemba Chingtham, Vivaan Kamath, Chhavi Gupta

!

! =

AB the AB InBev’s hidden identity

BOLD bold, easy to read, colloquial

BOLD easy to identify and seen from a distance

DASH the hyphenation to create a pause

BEER direct “beer” identity

This is a series of beer stores launched under a new brand name and identity in Mumbai.

Beer is fun. Most youthful amongst all in its fraternity, it is a symbol of colloquial boisterousness and social exuberance.

Just hours of kicking back and engrossed in conversation, soaking in the hoppiness and happiness. a.BEER® believes in idiosyncrasies. It is more than just a beverage, it is a feeling. Stepping outside the domain of direct visual familiarity, we look to tap the energy by enabling buyers to immerse themselves in this feeling. Brewed with the effervescence of “beerish” idiosyncrasies and frolic, this beer brand is for all lovers and curious souls.

All we want to talk about is beer.

Beer, beer, beer, and beer. This is a.BEER® brand, for a.BEER®

store, for you to buy a.BEER® or more, and pay for a.BEER® of more, and sit back and enjoy with a.BEER® or maybe more, and talk for hours over a.BEER®, or maybe more! Keeping the idiosyncrasies alive, harnessing the colloquial energy, and making it all about the beer, we call it this series of retail stores a.BEER®! a·BEER® epitomizes casual and colloquial vibrancy. Built on raw but relatable vocals, it aims to create beauty out of the quotidian interests and consumption of beer. We bring this colloquial comfort through minimalist vector-based graphics, a raw but clean material palette, with the subtlety of pastel shades (mainly yellow), playful limericks, and well-lit space that is comfortable to all current and future customers who just want to buy a·beer! The shelves

logo : (left - right) a.BEER® primary and secondary identities 128

INLINE reflection from the glass

SILHOUETTE also reads as an “A” in a.BEER®

SHARP matching the wordmark typeface

and chillers will be neatly laid out to surround buyers with the vast AB portfolio and brought to life with exuberant a.BEER® visual merchandising. The façade will speak with this warm and relatable baritone to draw customers from all walks of life and genders. The idea is to make them want to try new, try different, and keep coming back for more! With a.BEER® beer here, and a.BEER® beer there, here a.BEER®, there a.BEER®, everywhere a.BEER® beer! contribution project lead, conceptualization, branding and store identity, graphic design, design development, site appraisal, research furniture design, fabrication drawings, presentation design, preparation of final brand and retail docket, site management.

axonometric : (top - bottom) a.BEER® principles and the story of a.BEER® sea

Stories & Soliloquies

x

yellow

x

pattern

=

beer

a.BEERÂŽ emotion

129

a.BEER®

130

Stories & Soliloquies

800

800

Working Plan scale: NTS

1905

655

G

580

450

74

EQ

800

410 1292

1206 450

C'

1292

1292

4041

C

928

2943

1292

510

EQ

290

EQ

D

848

1030

D'

1055

EQ

230

2088

2080

F

F'

268

275

E

E

A'

B'

ARCHITECT:

Remarks:

1.02

WORKING PLAN

DRAWING TITLE:

CHECKED BY: C. C

DRAWN BY: KABIR SAHNI

ISSUED DATE: 21.09.2018

SCALE: NTS

FORMAT: A3 SIZE

Date:

DISTRIBUTION:

DESIGN DRAWINGS

ISSUE STATUS:

4. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS.

3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT.

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

1. ALL DIMENSIONS ARE IN MILLIMETER.

NOTES:

...

LAXMI NAGAR, CHEMBUR EAST, MUMBAI, MAHARASHTRA

aBEER II RETAIL STORE

PROJECT:

plan : contruction layout of the Chembur East store

perspective : (top - bottom) views of the pilot store

1085

1000

1292

EQ 1000 EQ

254 4

1105

835

G'

498

1458

Note : Verify exact store dimensions at site

760

A

B

1

300

800 EQ EQ

1250 1250

1165 281 1639 280 1290

1560

760

325

527

131

ion AA'_Wall Hatch NTS ®

BATHROOM DOOR

a.BEER fy exact store dimensions at site

ARCHITECT: GLASS PARTITION

1200MM HIGH VINYL STICKER HATCH PATTERN ON MOUNT BOARD

PERPENDICULAR BOARD

GLASS PARTITION WITH 4MM THICK ACP ON IN 5 MM BLACK ACRYLIC 1"X1" MS FRAME WITH 1"X2" MS FRAMES WITH LED LIGHTING PARTITION WALL WITH IN MATTE SPOTLIGHTS ON WHITE PAINT FINISH BLACK PAINT FINISH MATTE WHITE FINISH 1"X2" MS FRAME WITH TRACKS PENDANT LIGHT AT MS BUDWEISER BOWTIE AT 12MM WOODEN PANELING 2400MM LVL WITH LED LIGHT ALIGNED WITH 2000MM AND STORAGE SHELF WITH WHITE PAINT FINISH AND MATTE RED PAINT FINISH BOTTOM OF BEAM 2100MM LVL TYPE V 345

EQ

1200

825

MAIN LOGO IN 5 MM BLACK 4MM THICK ACP ON AND YELLOW ACRYLIC 1"X1" MS FRAME WITH MATTE BLACK FINISH WITH LED LIGHTING 40" TV AT 2100 MM LVL

160

74

3977

290

1324

aBEER II RETAIL STORE

25

25

LAXMI NAGAR, CHEMBUR EAST, MUMBAI, MAHARASHTRA

25

EQ

1000

25

800

EQ

300

PROJECT: 587

904

ALIGNED TO BOTTOM OF BEAM

1268

ALIGNED TO BOTTOM OF BEAM

800

590

1080

EQ

500MM WIT

478

11

...

150

580

NOTES:

2930

2340

650

2930

25

1. ALL DIMENSIONS ARE IN MILLIMETER.

900

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

2450

2293

3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT.

2100

2462

2410

2100

2100

1350

650

450

4. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS.

ISSUE STATUS:

1200

1880 380

DESIGN DRAWINGS

1200MM HIGH VINYL STICKER HATCH PATTERN ON MOUNT BOARD

ation DD'_Wall Hatch ion AA' : NTS erify exact store dimensions at site NTS

1

1200MM HIGH VINYL STICKER ON GLASS PARTITION

40MM THICK FLUSH DOOR WITH WHITE PAINT FINISH

CHECKOUT COUNTER

Elevation BB'_Wall Hatch scale: NTS

Note :CHILLER Verify exact 2-DOOR WITH CASING TYPE IV

store dimensions at site WINE DISPLAY SHELF TYPE II

100

100

150

25

125

500

862

650

1200

275

DISTRIBUTION: Date:

Remarks:

BEER DISPLAY 500MMISLAND HIGH PERIPHERAL WALL SHELF TYPE WITHIII WHITE PAINT FINISH

fy exact store dimensions at site

SPOTLIGHTS ON TRACKS ALIGNED WITH BOTTOM OF BEAM

EQ

800

ALIGNED TO BOTTOM OF BEAM

160

498

21

ALIGNED TO BOTTOM OF BEAM

1200

300

EQ

345

590

40" TV AT 2100MM LVL

88

25

25

EQ

1000

25

EQ

1129

25

FORMAT: A3 SIZE

624

2340

2462

2293

150

2930

SCALE: NTS

ISSUED DATE: 21.09.2018

1350

DRAWN BY: KABIR SAHNI BY: C. C

1880

150

275

100

500

862

CHECKED 275

DRAWING TITLE: BEER DISPLAY ISLAND SHELF TYPE III

ation DD' : NTS

erify exact store dimensions at site

elevation : interior elevations, Kandivali East store 132

SECTIONS AND ELEVATIONS

BESTSELLERS DISPLAY SHELF TYPE I

2

Elevation BB' scale: NTS

Note : Verify exact store dimensions at site

2.03

Date:

STORE SHUTTER

Stories & Soliloquies PARTITION WALL WITH 1"X2" MS FRAME WITH 12MM WOODEN PANELING WITH WHITE PAINT FINISH

Note : Verify exact store dimensions at site

WHITE PAINT FINISH MS BUDWEISER BOWTIE AT 2400MM LVL WITH LED LIGHT AND MATTE RED PAINT FINISH

290

4041

74

129

260

760

820

800

ALIGNED TO BOTTOM OF BEAM

800

500

825

1116

25

300

1113

3

SPOTLIGHTS ON TRACKS ALIGNED WITH BOTTOM OF BEAM

1206

ALIGNED TO BOTTOM OF BEAM

1260

PENDANT LIGHT AT 2000MM AND 2100MM LVL

760

88

2930

FORMAT: A3 SIZE

2462

ISSUED DATE: 21.09.2018

CHECKED BY: C. C 1200

275

150

25

500

1880

1200

DRAWN BY: KABIR SAHNI

380

2100

2100

2000

2462

1530

2360

2293

2930

SCALE: NTS

DRAWING TITLE: 2-DOOR CHILLER WITH CASING TYPE IV 1200MM HIGH VINYL STICKER HATCH PATTERN ON MOUNT BOARD

Elevation CC' scale: NTS SPOTLIGHTS ON TRACKS NoteBOTTOM : Verify exact ALIGNED WITH OF BEAM

587

1324

290

store dimensions at site

2.01

3977

824

1268

2-DOOR CHILLER WITH CASING TYPE IV

CHECKOUT COUNTER

PARTITION WALL WITH 1"X2" MS FRAME WITH 12MM WOODEN PANELING WITH WHITE PAINT FINISH

825

74

1268

1268

4

STORAGE SHELF TYPE V

1080

ALIGNED TO BOTTOM OF BEAM

2

GLASS PARTITION

SECTIONS AND ELEVATIONS 1200MM HIGH

25

800

650

2293

2450

2462

2930

650

478

450

BESTSELLERS DISPLAY SHELF TYPE I

650 125

750

1200

380

25

H

4MM THICK ACP ON 1"X1" MS FRAME WITH MATTE WHITE FINISH

Elevation CC'_Wall Hatch scale: NTS

830

1

M HIGH PERIPHERAL WALL TH WHITE PAINT FINISH

Remarks:

HATCH PATTERN ON MOUNT BOARD

2-DOOR CHILLER WITH CASING TYPE IV

2-DOOR CHILLER WITH CASING TYPE IV

2-DOOR CHILLER WITH CASING TYPE IV

BROOM CABINET SHELF TYPE VI

133

a.BEER®

E

25 25

12

12

12

12

12

12

12

12

12

12

800

12

12

750

12

1

25

12

363 12

25

25 12 263 25 12

25

12 12 25

12 25

200

15

12 15

179

182

363

182

179

12 15 15

25

12

801

900

363

400

at site

25

12

25

25 12 25 12

12 12

12

378 12

12

12

B'

B'

776 Remarks: Date:

12 12 12

Remarks:

Checkout Checko Coun

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH

25

25MM THK WOODEN NoteCOUNTER : Verify exact Note :store Verifd WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

D'

5MM THK MS ROD 25MM HIGH RAILIING 25 25MM THK WOODEN PLANK 25MM THK WOODEN PLANK WITH MATTE BLACK DUCO PAINT WI WITH MATE POLISHED FINISH WITH MATE POLISHED FINISH FINISH

25

750

25

12X 12MM MS12X SECTION 12MM FRAME MS SECTION FRAME 12MMX12MM MS FRAME WITH MATTE 12M EQ 12 WI WITH BLACK MATTE DUCOMATTE FINISHDUCO FINISH WITH BLACK BLACK DUCO PAINT FINISH 800

EQ

12MM THK WOODEN PLANK 12MM THK WOODEN PLANK WITH MATTE POLISHED FINISH WITHE' MATTE POLISHED FINISH

3

12MM THK WOODEN PANEL 12MM THK WOODEN PANEL

12X WI

ROLLER FOR ROLLER DRAWERS FOR DRAWERS

Shelf Type 1 _ Bestsellers _ Section BB' scale: NTS

25 WI

378

12MM THK WOODEN 12MM THK PLANK WOODEN PLANK WITH MATTE POLISHED WITH MATTE FINISH POLISHED FINISH MS BRACING WITH MATTE BLACK DUCO PAINT 12XFINISH 12MM MS12X SECTION 12MM FRAME MS SECTION FRAME WITH BLACK MATTE WITH BLACK DUCOMATTE FINISHDUCO12 FINISH

0 12

0 12

750

A'

12 12 12

12

12

A'

ISSUED DATE: 25.09.2018 ISSUED DATE: 25.09.2018

DRAWN BY: KABIR SAHNI DRAWN BY: KABIR SAHNI

800

E' Checkout Checkout CounterCounter _ Joinery_ Details Joinery Details

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

450

400

426

25

12 12

WITH MATTE BLACK DUCO PAINT MS HOOKS WELDED MS HOOKS TO MS WELDED STRIP TO AND MS STRIP AND FINISH SCREWED TOSCREWED 12MM WOODEN TO 12MM PLANK WOODEN PLANK 12

12 12 12

12X 12MM MS12X SECTION 12MM FRAME MS SECTION FRAME WITH BLACK MATTE DUCO FINISHDUCO FINISH 25 WITH BLACK MATTE 25 750

498

426

450

25MM THK WOODEN PLANK 3MMsections THK MS 3MM PLATE WITH THK MS PLATE WITH LASER THK CUT MS LASER CUTNote : Verify CHECKED vertical and elevations; horizontal sections10MM THK MS10MM exact Note :store Verify exact store site at site BY: C. Cdimensions CHECKED BY: C.atCdimensions MATTE BLACKMATTE DUCOBLACK FINISHDUCO FINISH PRIMARY LOGO PRIMARY WITH MATTE LOGO WITH MATTE 12MM THK WOODEN 12MM THK PLANK WOODEN PLANK BLACK DUCOBLACK PAINT FINISH DUCO PAINT FINISH and elevations; joinery details 5MM THK MS ROD 25MM HIGH RAILIING

WITH MATTE POLISHED WITH MATTE FINISH POLISHED FINISH

134

12

9 scale: 9 NTS scale: NTS

3MM THICK MS 3MM STRIP THICK WITH MSMATTE STRIP WITH MATTE

25

750

250

MS SC

800

GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

D'

5MM THK MS ROD 25MM HIGH RAILIING WITH MATTE BLACK DUCO PAINT FINISH

25

276 12

10M PR BL

12 FRAME MS12SECTION FRAME 776 WITH BLACK DUCOMATTE FINISHDUCO FINISH WITH BLACK SCALE: NTS MATTE 25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

Checkout Checkout CounterCounter _ Joinery_ Details Joinery Details 12MM THICK WOODEN BOARD

25MM THK WOODEN 25MM THK PLANK WOODEN PLANK

Dconstruction D' FINISH D drawings : (top - bottom) beer display WITH MATE POLISHED WITH MATE FINISH POLISHED FINISH BLACK BLACK PAINT DUCO PAINT FINISH GROOVE FOR LED STRIPDUCO UNDER

ore s atdimensions site at site

FORMAT: A3 SIZE A3 SIZE 12X FORMAT: 12MM MS SECTION 12X 12MM SCALE: NTS

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN 25MM THK FINISH WOODEN 25MM THK PLANK WOODEN PLANK MATTE BLACK DUCO PAINT WITH MATE POLISHED WITH MATE FINISH POLISHED FINISH

3M BL

3MM THK MS 3MM PLATE WITH THK MS PLATE WITH MATTE BLACKMATTE DUCO FINISHDUCO FINISH E BLACK 12MM THK WOODEN PLANK 12MM THK WOODEN PLANK MS BRACING WITH MATTE BLACK DUCO PAINT FINISH WITH MATTE POLISHED FINISH WITH MATTE POLISHED FINISH

25

12 12 12

ounter Section _ Section CC' CC'

12

12 12 12 12 776 ROLLER FOR ROLLER DRAWERS FOR DRAWERS

12 12

12

12

12

750 12

12

12

12MM THK WOODEN PLANK 12MM THK WOODEN PLANK WITH MATTE POLISHED FINISH WITH MATTE POLISHED FINISH 12

498

378

Note : Verify exact store dimensionsMATTE at site BLACKMATTE Note : Verify exact store dimensions at site DUCOBLACK PAINT FINISH DUCO PAINT FINISH B' 25MM THK B' WOODEN 25MM THK PLANK WOODEN PLANK 25MM THK WOODEN 25MM THK PLANK WOODEN PLANK 25MM THK WOODEN PLANK 25MM THK WOODEN PLANK WITH MATE POLISHED WITH MATE FINISH POLISHED FINISH WITH MATE POLISHED FINISH WITH MATE POLISHED FINISH WITH MATE POLISHED FINISH WITH MATE POLISHED FINISH

12X 12MM MS12X SECTION 12MM FRAME MS SECTION FRAME E WITH BLACK MATTE WITH BLACK DUCOMATTE FINISHDUCO FINISH

1

12

Note : Verify exact store dimensions at site 12MM THICK WOODEN BOARD

E'

Shelf Type 1 _ Bestsellers _ Top View 25MM THK WOODEN 25MM THK COUNTER WOODEN COUNTER scale: NTS WITH 3MM THK WITH MS 3MM ANCHORS THK MS IN ANCHORS IN 12

12 12

B'

scale: NTS

Checkout Checkout CounterCounter _ SectionAA' _ SectionAA'

Note 12MMX12MM : Verify exact Note MS :store Verify dimensions exact store atdimensions site FRAME WITH MATTE BLACK DUCO PAINT FINISH 12MMX12MM MS 12MMX12MM FRAME WITH MS FRAME MATTE WITH MATTE BLACK DUCOBLACK PAINT FINISH DUCO PAINT FINISH

12 12

750

12

Date:

D

12 12

12

12

12 12

426

450

Note : Verify exact Note :store Verifydimensions exact storeatdimensions site at site

E

Note : Verify exact Note :store Verifydimensions exact storeatdimensions site at site

12

12 12 12

A

B'

7 scale: 7 NTS scale: NTS

Checkout Checkout CounterCounter _ Side Elevation _ Side Elevation A

B' 498

426

6 scale: 6 NTS scale: NTS

B'

7 12

12

D'

B'

12

Checkout Checkout CounterCounter _ Side Elevation _ Side Elevation

12

D

12 12

Shelf Type 1 _ Bestsellers _ Rear Elevation 7 scale: 7 NTS 6 scale: 6 NTS scale: NTS scale: 12 12

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN 378 MATTE BLACK DUCO PAINT FINISH

378 12

450

12

12

E'

12

498

12

12

12 12

400

378

12

12

25

378 12

12 12

378 12 12

DESIGN DRAWINGS DESIGN DRAWINGS

12

12 12 12

Note : Verify exact store dimensions at site 12

12 12 12

12

C'

Shelf Type 1 _ Bestsellers _ Front Elevation scale: NTS 12

50

4. THIS DRAWING SHOULD BE READ 4. THIS IN CONJUNCTION DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS. WITH OTHER PERTINENT DRAWINGS. 776

12

25MM THK WOODEN 25MM THK COUNTER WOODEN COUNTER B' WITH 3MM THK WITH MS 3MM ANCHORS THK MS IN ANCHORS IN MATTE BLACKMATTE DUCOBLACK PAINT FINISH DUCO PAINT FINISH MS BRACING WITH MATTE DISTRIBUTION: DISTRIBUTION: BLACK DUCO PAINT FINISH 25 12

378 12

900

325 2. WRITTEN DIMENSIONS SHOULD 2. BE WRITTEN FOLLOWED. DIMENSIONS SHOULD BE FOLLOWED.

62

801

801

900

C'

776

MS BRACING WITH MA BLACK DUCO PAINT FI

1. ALL DIMENSIONS ARE IN MILLIMETER. 1. ALL DIMENSIONS ARE IN MILLIMETER.

3. ANY CHANGE REQUIRED SHOULD 3. ANY BE CHANGE CONFIRMED REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT. FROM THE ARCHITECT.

12 12

12

E'

12

12

12

...

NOTES:

ISSUE STATUS: ISSUE STATUS: 378

25 12

6 12 12

863

863

25 12

...

NOTES:

12

25

12 12 12

12

12

E 12

ore s atdimensions site at site

12 12

900

12 12 12

C

ounter Section _ Section BB' BB'

C'

200

200

12 15 15

15

12 12 12

25

12

863

12 12

C

25

25

MUMBAI, MAHARASHTRA MUMBAI, MAHARASHTRA

C

12MM THK WOODEN 12MM THK PANEL WOODEN PANEL

12

726

863

12 12

74

25

263

263 25 12

12 25

C

25MM THK WOODEN 25MM THK COUNTER WOODEN COUNTER WITH 3MM THK WITH MS 3MM ANCHORS THK MS IN ANCHORS IN 10MM THK MS10MM LASER THK CUT MS LASER CUT MATTE BLACKMATTE DUCOBLACK PAINT FINISH DUCO PAINT FINISHPRIMARY LOGO PRIMARY WITH MATTE LOGO WITH MATTE BLACK DUCOBLACK PAINT FINISH DUCO PAINT FINISH 182

12 25 182

179

12 15

25 25

C'

12

12

325

325

400 25 12

25

1200

300

300

12MM THK WOODEN 12MM THK WOODEN PANELS FOR PANELS DRAWERS FOR DRAWERS

900

900

325

363

C'

PROJECT: 750

25MM THK WOODEN 25MM THK COUNTER WOODEN COUNTER II RETAIL aBEER STORE II RETAIL STORE WITH 3MM THK WITH MS 3MM ANCHORS THK MS IN ANCHORSaBEER IN MATTE BLACKMATTE DUCOBLACK PAINT FINISH DUCO PAINT FINISH LAXMI NAGAR, CHEMBUR LAXMIEAST, NAGAR, CHEMBUR EAST,

CASH AND COIN CASH TRAY AND COIN TRAY INSERTED INTO INSERTED DRAWER INTO DRAWER

12

776 12

726

750

12MMX12MM MS 12MMX12MM FRAME WITH MS FRAME WITH MATTE BLACKMATTE DUCOBLACK PAINT FINISH DUCO PAINT FINISH 12MM THK WOODEN PANEL 12MM THK WOODEN PANEL 25 PROJECT:

74

25

1200

300 12

450

376 74

750

12

12

12

394

25 12

376

25

325

325 12

04 3.07

ODEN MM THK PANEL WOODEN PANEL

450 376 74

25MM THK WOODEN C WITH 3MM THK MS AN MATTE BLACK DUCO P

12

12

25 138

450

450

300

10MM LASER THK CUT MS LASER CUT WITH MARYMATTE LOGO WITH MATTE LACK AINT FINISH DUCO PAINT FINISH

450

376

25

25

B

B'

450

12MM THK WOODEN 12MM THK PANEL WOODEN PANEL

450

12 12 414 12

12

394 450

25MM THK WOODEN 25MM THK COUNTER WOODEN COUNTER WITH 3MM THK WITH MS 3MM ANCHORS THK MS IN ANCHORS IN 25 25 MATTE BLACKMATTE DUCOBLACK PAINT FINISH DUCO PAINT FINISH 25MM 25MM THK COUNTER WOODEN COUNTER 10MMTHK THKWOODEN MS LASER CUT 10MM THK MS LASER CUT 12MM THK WOODEN 12MM THK WOODEN WITH 3MM THK WITH MS 3MM ANCHORS MS IN ANCHORS B B C' C THKWITH PRIMARY LOGO WITH MATTE PRIMARY LOGO MATTE IN PANELS FOR PANELS DRAWERS FOR DRAWERS MATTE DUCOBLACK PAINT PAINT FINISH DUCO FINISH PAINT FINISH BLACK BLACK DUCOMATTE PAINT FINISH BLACK DUCO

12

25

750

50

12

B

25

414 12

12

414 12

12 12

WITH " MS FRAME MATTE WITH MATTE LACK AINT FINISH DUCO PAINT FINISH

363

138

25

12

12

C

01 3.07

300

25

01 3.07

300

05 3.07

B

B

25

ARCHITECT:

363

394

363

394

B

750

ARCHITECT:

12MMX12MM MS 12MMX12MM FRAME WITH MS FRAME MATTE WITH MATTE 1"X2" MS FRAME WITH MATTE WITH MATTE 1"X2" MS FRAME BLACK DUCOBLACK PAINT FINISH DUCO PAINT FINISH BLACK DUCOBLACK PAINT FINISH DUCO PAINT FINISH

12

NTHK COUNTER WOODEN COUNTER ANCHORS MM THK MS IN ANCHORS IN LACK AINT FINISH DUCO PAINT FINISH

B'

12

25

250

B

12

12

276

B 25

12MM THICK WOODEN

12

250

400

12

25

12

A'

300

25 700

400

750

700

400

12

750

400

25

62

25

25

B

12

25

750

02 3.07

12MM THICK WOODEN BOARD

25MM THK WOODEN 25MM THK COUNTER WOODEN COUNTER25MM THK WOODEN COUNTER 25MM THK WOODEN COUNTER WITH 3MM THK WITH MS 3MM ANCHORS THK MS IN ANCHORSWITH IN 3MM THK MS 3MM ANCHORS IN ANCHORS IN WITH THK MS 25 MATTE BLACKMATTE DUCO BLACK PAINT FINISH DUCO PAINTMATTE FINISHBLACKMATTE DUCOBLACK PAINT FINISH DUCO PAINT FINISH

179

12

25

25

02 3.07

1560

12

1560

25

25

363

250

400

12 276

400

12

750

A

300

25

12

A'

250

363

25

03 3.07

5MM THK MS ROD 25M WITH MATTE BLACK D FINISH

25

750

25

25

A

12

25 400

5MM THK MS ROD 25MM HIGH RAILIING WITH MATTE BLACK DUCO PAINT FINISH

400

25 363

12

25

363

400

400

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

EQ

55

EQ

12MMX12MM MS FRAM BLACK DUCO PAINT FI

12 12 12

776

25

12 12

12

12

12

5MM THK BLACK ACRYLIC SHELF SIGNAGE

338

25

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

12 12 12

776

12

12 12

363

12

12

E

250 12

E' DRAWING TITLE:DRAWING TITLE:

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

PROJECT:

Stories & Soliloquies

aBEER II

LAXMI NAGAR MUMBAI, MA

D

...

E 02 3.07

ME WITH MATTE INISH

12 12

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

12 12

450

12 12

12

NOTES:

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

12 12 12

776

2. WRITTEN DIMENS

25

12

12

25

1. ALL DIMENSIONS

5MM THK BLACK ACRYLIC SHELF SIGNAGE

3. ANY CHANGE REQ FROM THE ARCHI

363

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH 12

363

ARCHITECT: 10

5MM THK MS ROD 25MM HIGH RAILIING WITH MATTE BLACK DUCO PAINT FINISH

ISSUE STAT

DESIGN DR

363

MM HIGH RAILIING DUCO PAINT

400

12

25

03 3.07

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

5MM THK MS ROD 25MM HIGH RAILIING WITH MATTE BLACK DUCO PAINT FINISH

400

25

25

400

363

413

400

4. THIS DRAWING SH WITH OTHER PER 12

10

25

750

DISTRIBUT

25

25

430

25

400 25

25

450

498

25 400

400

25 250 12

12MMX12MM MS FRAME WITH MATTE 12MM THK WOODEN PLANK WITH BLACK CLEAR DUCO PAINT MATTEFINISH POLISH FINISH

25

62

25

12

25

25

4. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS.

750

25 DISTRIBUTION:

12X 12MM MS SECTION FRAME

12MM THICK BOARD WITHWOODEN BLACK MATTE DUCO FINISH

5MM THKHINGE MS ROD 25MM HIGH RAILIING WITH MATTE BLACK DUCO PAINT FINISH 12MM THK WOODEN PLANK WITH CLEAR MATTE POLISH FINISH

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

ISSUE STATUS:

12

4

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

Shelf Type 1 _ Bestsellers DISTRIBUTION: _ Section CC' scale: NTS

25MM THK WOODEN PLANK WITH CLEAR MATTE POLISH FINISH 5MM THK MS ROD 25MM HIGH RAILIING WITH MATTE HINGE BLACK DUCO PAINT FINISH

Date:

12X 12MM MS SECTION FRAME WITH BLACK MATTE DUCO FINISH

Remarks:

5X5MM METAL ROD STOPPER WITH POWDER COATED FINISH ALUMINUM ENCASED LED STRIP IN 15X15MM GROOVE

12MM THK WOODEN PLANK WITH 12MMX12MM MS FRAME WITH MATTE CLEAR MATTE POLISH FINISH BLACK DUCO PAINT FINISH

DRAWING T

DETAILS_ TYPE_1_

5

Sh sca

3.

Note

FORMAT: A3 SIZE

25MM THK WOODEN PLANK WITH MATE POLISHED FINISH

E'

15

5

Remarks

15

12X 12MM MS SECTION 12MM THICK WOODEN BOARD FRAME NoteBLACK : Verify MATTE exact store dimensions WITH DUCO FINISH at site D' GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

Date:

D'

GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

25 250 12

12 ISSUE STATUS:

Date:

498

450

400

3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT.

ROLLER FOR BOTTOM DRAWERS 25

SCALE: NTS

ISSUED DATE: 25.09.2

Shelf Type 1 _ Bestsellers _ Details scale: NTS

DRAWN BY: KABIR SA CHECKED BY: C. C

Note : Verify exact store dimensions at site

12X 12MM MS SECTION FRAME WITH BLACK MATTE DUCO FINISH

Remarks:

5X5MM METAL ROD STOPPER WITH POWDER COATED FINISH 15

25 25

750 276

498

450

400

25MM THK WOODEN PLANK WITH 5MM THK MS ROD 25MM HIGHFINISH RAILIING CLEAR MATTE POLISH WITH MATTE BLACK DUCO PAINT FINISH HINGE

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED.

1

CHECKED BY

25MM THK WOODEN PLANK WITH CLEAR MATTE POLISH FINISH

1. ALL DIMENSIONS ARE IN MILLIMETER.

25 25

498

450

4. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS. 250

25 25

25

12

3.07

NOTES:

4. THIS DRAWING SHOULD BE RE WITH OTHER PERTINENT DRAW

DESIGN DRAWING

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN

25

12 12 12 426

12 12

MS PLATE SCREWED TO 25MM THK WOODEN PLANK

3. ANY CHANGE REQUIRED SHOU FROM THE ARCHITECT.

DRAWN BY: K

aBEER II RETAIL STORE MATTE BLACK DUCO PAINT FINISH

12X 12MM MS SECTION FRAME WITH BLACK MATTE DUCO FINISH

Note : Verify exact store dimensions at site

D' WITH BLACK MATTE DUCO FINISH GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

BLACK DUCO PAINT FINISH

MUMBAI, MAHARASHTRA

2. WRITTEN DIMENSIONS SHOULD

ISSUE STATUS:

12 12 12

PROJECT:

NTS

1. ALL DIMENSIONS ARE IN MILLIM

ISSUED DATE

12MM THK WOODEN PLANK MS BRACING WITH POLISHED MATTE WITH MATTE FINISH

...

DESIGN DRAWINGS

12MM THICK WOODEN BOARD FRAME 12X 12MM MS SECTION

E

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

Shelf Type 1 _ Bestsellers _ Section CC' DRAWING TITLE: 25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN scale: NTS DETAILS_CHECKOUT MATTE BLACK DUCO PAINT FINISH DISTRIBUTION: COUNTER

12X 12MM MS SECTION FRAME WITH BLACK MATTE DUCO FINISH

NOTES: SCALE:

25 25

498

450

25

25

4

FORMAT: A3

25

12

12 12

363 25

12

400 25

25

25

25

12 12

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED. 3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT. 25

12

800

NOTES: 1. ALL DIMENSIONS ARE IN MILLIMETER.

276

12MM THK WOODEN MS BRACING WITH MATTEPLANK WITH MATTE POLISHED BLACK DUCO PAINT FINISH FINISH

12 12 12

MX12MM MS FRAME WITH MATTE CK te DUCO PAINT FINISH

800

...

12

E'

ers _ Section AA'

WITH MATE POLISHED FINISH

250

E

12 M THK MS ROD 25MM HIGH RAILIING 12 12 H MATTE BLACK DUCO PAINT 776 SH

aBEER II RETAIL STORE

25 750 ROLLER FOR BOTTOM DRAWERS

25

...

MS PLATE SCREWED TO 25MM THK WOODEN PLANK

E' DESIGN DRAWINGS

PROJECT:

400

498

450

FINISH M THICK WOODEN BOARD

LAXMI NAGAR, CHEM MUMBAI, MAHARASH

ROLLER FOR BOTTOM DRAWERS

12 12 12

12X 12MM MS SECTION FRAME WITH BLACK MATTE DUCO FINISH

aBEER II RETA

Shelf Type 1 _ Bestsellers _ Section DD' scale: NTS

12MM THK WOODEN PLANK 250 276 12 MS BRACING WITHPOLISHED MATTE WITH MATTE FINISH 800 BLACK DUCO PAINT FINISH

LAXMI NAGAR, CHEMBUR EAST, MUMBAI, MAHARASHTRA

MS PLATE SCREWED TO 25MM THK WOODEN PLANK

D'

LAXMI CHEMBUR EAST, Note : Verify exact store dimensions atNAGAR, site

D

D'

12 12

D

5MM THK MS ROD at 25MM TTE BLACK Note DUCO PAINT FINISH : Verify exact store dimensions site HIGH RAILIING

D' AND S HOOKS MS STRIP OOVE FOR WELDED LED STRIPTO UNDER 12MMX12MM MS FRAME WITH MATTE CREWED TO 12MM WOODEN PLANK M THK WOODEN PLANK BLACK DUCO PAINT FINISH

12

25MM THK WOODEN PLANK WITH MATE POLISHED FINISH

Note : Verify exact store dimensions at site

12

D'

WITH MATTE BLACK DUCO PAINT LACK DUCO PAINT FINISH

12

D'

GROOVE FOR LED STRIP UNDER

12MMX12MMAA' MS FRAME WITH MATTE Shelf Type 1 _ Bestsellers _ Section BLACK DUCO PAINT FINISH scale: NTS 25MM THK WOODEN PLANK

Shelf Type 1 _ Bestsellers _ Section BB' M THK WOODEN COUNTER MM THK MSMS LASER CUT CHECKED BY: C. C NTSIN H 3MM THKscale: ANCHORS RIMARY LOGO WITH MATTE

250

E' ARCHITECT:

9

12

498

450

25

E'

ISSUED DATE: 25.09.2018 GROOVE FOR LED STRIP UNDER MM THICK MS STRIP WITH MATTE 25MM THK WOODEN PLANK LACK DUCO PAINT FINISH DRAWN BY: KABIR SAHNI

25

498

450

25 400

12 12 12

CK DUCO PAINT FINISH

25

5MM THK MS ROD 25MM HIGH RAILIING 12 WITH MATTE 12 12 BLACK DUCO PAINT 776 FINISH

FORMAT: A3 SIZE

ARCHITECT:

12 12

5MM THK MS ROD 25MM HIGH RAILIING 12 WITH MATTE BLACK DUCO PAINT 12 12 776 FINISH

E 12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

25 25MM750 THK WOODEN COUNTER SCALE: NTS WITH 3MM THK MSEQANCHORS IN 12 MATTE 800BLACK DUCO PAINT FINISH

EQ

750

GROOVE FOR LEDFINISH STRIP UNDER 25MM THK WOODEN PLANK 25

5MM THK WOODEN PLANK BRACING WITH MATTE ITH MATE POLISHED FINISH Note : Verify exact storeE'dimensions at site

12

25

12 12 12

426

426

12

12 426

12

12

2

25MM THK WOODEN COUNTER EQ EQ WITH 3MM THK MS ANCHORS IN 12 800 MATTE BLACK DUCO PAINT FINISH

WITH MATTE BLACK DUCO PAINT

X 12MM12MS SECTION FRAME 12 12 ITH BLACK MATTE DUCO FINISH

E'

PROJECT:

25MM THK WOODEN PLANK WITH MATE POLISHED FINISH

776

GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

Shelf Type 1 _ Bestsellers _ Section BB' 25MM THK WOODEN PLANK 25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN scale: NTS MATTE BLACK DUCO PAINT FINISH

BLACK DUCO PAINT FINISH

426

3

5MM BOARD THK MS ROD 25MM HIGH RAILIING 12MM THICK WOODEN 750

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

MATTE BLACK DUCOexact PAINT FINISH Note : Verify store dimensions at site

12 12 12

3

25 EQ

Shelf Type 1 _ Bestsellers _ Section BB' 25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS scale: NTS INE'

12

426

450

498

12 12 12

MM E THK WOODEN PLANK MS BRACING WITH MATTE ITH MATTE POLISHED FINISH 800

12

12

12

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH

5MM THK WOODEN PLANK ITH MATE POLISHED FINISH

12

25

Note : Verify exact store dimensions at site 776

750

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH

te

3

12 12 12

776

12 12 12

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

25

D'

GROOVE FOR LED STRIP UNDER 25MM THK WOODEN PLANK

5MM THK MS ROD 25MM HIGH RAILIING WITH MATTE BLACK DUCO PAINT FINISH

12 800

D

776

D

25

12 12

Shelf Type 1 _ Bestsellers _ Section EE' scale: NTSE

12 12

25

12MM THICK WOODEN BOARD

E

12 12

ers _ Top View

12MM THICK WOODEN BOARD

25

EQ

25

Remarks:

MATTE BLACKexact DUCO PAINT FINISH at site Note : Verify store dimensions

12 12

12

62

25

12

25

E' Date:

E

Shelf Type 1 _ Bestsellers _ Top View 25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN scale: NTS D'

12

E'

400

12 12

400

363

12

DISTRIBUTION:

nter _ SectionAA'

8

400 25

25

750

D

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH

800

12

dimensions at site

ARCHITECT:

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

25

DESIGN DRAWINGS

D'

12

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH

C' 12 12 12

ISSUE STATUS: 390

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH

1

12 12 12

E

776

426

12

450

498

25

12

25

D'

4. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER PERTINENT DRAWINGS.

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

E

25

12 12

12

400

363

2. WRITTEN DIMENSIONS SHOULD BE FOLLOWED. 10 3. ANY CHANGE REQUIRED SHOULD BE CONFIRMED FROM THE ARCHITECT.

363

12 12 12

426

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH

1. ALL DIMENSIONS ARE IN MILLIMETER.

12 12 12

12 12

12

12

25

776

D

B'

25

C'

12

25

12

MS BRACING WITH MATTE BLACK DUCO PAINT FINISH C

750

12 12 12

430

25

363

400

363

LAXMI NAGAR, CHEMBUR EAST, E MUMBAI, MAHARASHTRA

25

NOTES:

01 3.07

750

394

...

12MM THK WOODEN PANEL

12MM THICK WOODEN BOARD

394

10

10MM THK MS LASER CUT PRIMARY LOGO WITH MATTE BLACK DUCO PAINT FINISH 10

ATTE C' INISH

B

aBEER II RETAIL STORE

12MM THK WOODEN C FOR DRAWERS PANELS

250

Date:

12

PROJECT:

NCHORS IN PAINT FINISH 25MM THK WOODEN COUNTER 10 WITH 3MM THK MS ANCHORS IN MATTE BLACK DUCO PAINT FINISH430

12 276

25

25

12

12MMX12MM MS FRAME WITH MATTE BLACK DUCO PAINT FINISH COUNTER

12

12 250

10

B'

12 12

A'

363

25MM THK WOODEN COUNTER WITH 3MM THK MS ANCHORS IN 10 MATTE BLACK DUCO PAINT FINISH430

B

12MM THICK WOODEN BOARD

400

363

N BOARD

A

12

A'

25

12

A

ALUMINUM ENCASED LED STRIP IN 15X15MM GROOVE 25MM THK WOODEN PLANK WITH MATE POLISHED FINISH

FORMAT: A3 SIZE SCALE: NTS

135

DRAWING TITLE:

DETAILS_SHE TYPE_1_BEST

Atto Exhibit

2016 Alliance Française, New Delhi

Intern, Atto Atelier Exhibition for Design x Design

Collaborators George Attokaran, Niyati Thakkar, Ann James

I was fortunate to be interning at the firm during the year it was selected to showcase its work at the “20 under 35” exhibition under the annual Design x Design exhibit at Alliance Française, New Delhi.

ing a clan-like vibe, the exhibit was a collection of banners, symbolic trinkets, and contraptions to incite public participation, all leading to a three-piece setup. The first was a book of original tracing sheet drawings bound in concrete panel covers to capture the rawness of the point of conception. The second was a periscope-like contraption with films of renders, concepts, and designs. And the third

was a series of banners with prints of the final products on canvas.

Materials like wood, metal, concrete, and cloth were used but kept raw and unpolished, bringing out their innate beauty. (We got coverage in the newspaper!)

The exhibit was designed to reflect Atto Atelier’s idiosyncrasies and the love for building, experimenting, and materiality. Emanat-

image : banners, lower half image : concrete cover, trinkets, banner arrows 136

contribution - exhibit concept, design development, graphic design, off-site execution management

image : complete exhibit, three banners, operable periscope, book of ideas

Stories & Soliloquies

137

Hatch Public House

2016 Yesvantpur, Bengaluru, Karnataka

Intern, Atto Atelier Bar for innovators and “makers”

Collaborator George Attokaran

The Hatch Public House is a place conceived by the client as a space for collaboration, advertising, performance, and recreation, calling it a “maker space”. As an extension to a recently renovated kitchen and restaurant, the space is meant for ideas, talent, and products to be displayed and proliferated. Bengaluru is a city with an unstoppable eruption

of newcomers with great promise, and this bar is conceived to house food for thought, ideas, and performances.

to mimic the idiosyncrasies of various kinds of makers - artists, musicians, gamers, cartoonists, craftsmen, photographers, geeks, and all treasured and talented misfits!

image : music lounge sketch : idea for the wall of makers 138

Originally an old shady restaurant, the site was transformed into a boisterous tank of novelty, and, yes, of course, beer!

The furniture, choice of material, and the layout are designed

contribution - conceptual design, layouts, furniture design, graphic design, construction drawings, and site management.

image : (top - bottom) view from the stage; view from the bar; improvisation room

Stories & Soliloquies

139

This a collection of stories and soliloquies from two thousand and twelve to two thousand and twenty. These tales include academic and professional projects during the author’s time at Columbia University Graduate School of Architecture Planning and Preservation, School of Planning and Architecture, and two years of work experience in India. This is not a full body of work but a series of selected works presented as abridgments. You may find more on the author’s website, www.kabir-sahni.com. These stories and soliloquies are a coalescence of projected romantic utopias with deep-seated real-world pragmatism. These are works of fiction and non-fiction and not intended to hurt any sentiments. Enjoy.

Stories and Soliloquies

Selected Works Kabir Sahni