INTERNSHIP REPORT
LANKA ADARSH | B. ARCH 4TH YEAR | IIT ROORKEE
DIDI CONTRACTOR DESIGN CONSULTANTS
figure 1:
a staircase in sambhaavnaa institute, kandbari
[
acknowledgements:1
]
Perhaps this whole chain of events would not have unfolded as it did without Joseph, a dear friend of my father’s, who first mentioned Didi’s work to me. This led to me volunteering at Dharmalaya in 2017, and later to me applying to Didi’s for an internship. Didi herself acknowledged that if it weren’t for Joseph, she would not have scrutinized my portfolio. I shall be eternally thankful to Didi for taking me on, especially in light of her erratic health. Didi would always enquire what I was up to and ensured that I was sufficiently busy. Her periodic lectures were always insightful, and almost always amusing; she reinforced her assertions with humorous anecdotes, and they always cracked us up. Her disapproval of my (scarce but periodic) stupidity was often strong, but it (my aforementioned stupidity) was soon forgiven and forgotten. Lakshmi was quick to adopt the role of the elder sister, and this entailed her “bullying” me (her words, not mine) into various things: becoming the designated chai maker, running errands and favours on the pretext of that most feared sentence “can you please do me a small favour?”, and even teaching her how to solve fractions. In return, she made the best sambar I have had since leaving Tamil Nadu, let me borrow her scooter, took me to some wacky places, and, most importantly, let me make fun of her without getting offended. Her sociability and ability to network are unmatched. My contact with Amol was brief and limited, but I was deeply impressed by how well he understood space (he could tell where a picture was taken from just by looking at it, and immediately knew the proportions of a given object) and the “readability” of surfaces (a simple concept, but one I had been alien to thus far). He was also responsible for initiating me as a socialist (or an anti-capitalist). Kriti was another member of the recurring cast, and helped me design the window shutters for Haiku. I still remember how she would lay out her food before us, and insist that we partake of it. She had the warmth of a mother and the affability of a child. Maya was not an active part of my life, but when I decided to rescue a stray puppy, she was the one who bought dog food, a leash and collar, two medicinal soaps, and arranged to have her seen by a veterinarian. Baali bhaiyya (Didi’s “most gifted mason”), and Raju bhaiyya (Didi’s carpenter) by virtue of their capability and knowledge made me aware of the importance of craftsmen in the building process. Baali bhaiyya’s resourcefulness and skill as a site supervisor is second to none, and any section of wall built by him – whatever be the material – is impeccable. Raju bhaiyya answered all of my stupid questions without ridiculing me, and it was because of his guidance that I was able to supervise – from start to finish – the last bit of woodwork in Haiku. Mihirchand bhaiyya deserves praise for being able to execute the woodwork after only a brief explanation from my side. Upkaar ji, Ricky ji, Krishna didi and the numerous other workers in Sambhaavnaa were always welcoming and hospitable, even though I was too young to have been supervising them.
[
acknowledgements:2
]
Didi was directly or indirectly responsible for all of the good things that happened during my 5-month stint, and it isn’t possible to acknowledge them all here. But – by far – the best thing she did was to arrange my accommodation with Baali bhaiyya and his family. It grounded me, and gave me the space to attain clarity on certain matters of the soul. It was in that small room made of mud and stone and bamboo that I decided what I wanted to do with the remainder of my life. It marked the first time I lived with a functional family, and they were all so warm and welcoming that they have permanently established a place in my heart. I will always remember Mataji and her enthusiastic greeting every morning, Manju didi and her perennial sense of urgency (manifesting as briskness), Anu didi and her congenial nature, and the group of boisterous kids: Kashish, Samar, Mansi, Anshu, Prince, Naksh, and Kirti. Kashish (or Kashu) was one of the principal reasons behind my recovery and recuperation; simply watching her play and make faces was medicinal. I will always remember how she stood – every day – at one end of the mud path connecting their house and my room, and continuously called out “bye!” as I walked back to my room after dinner. The only people left to thank are Didi’s helpers. Sachin bhaiyya’s childlike innocence, and sense of duty was as endearing as his food was delightful, Bimla didi and Maya didi, besides their memorable antics, were like mothers to me, and would always enquire if I was okay when they happened to catch Didi chiding me. Sanjib bhaiyya I could not interact with much, but he would always return my greetings with great enthusiasm. The first three I have grown to admire greatly for their attitude in the face of great difficulty; Sachin bhaiyya lost both his parents at an early age, but is the most involved, doting father I have seen; Maya didi is attempting to raise two kids on her own, while struggling with her own mental health; Bimla didi has a son who is recovering from a debilitating accident, but is the most cheerful person in the house (besides Lakshmi). Without Ginger, Pulkit, and Toffee, this whole exercise would be incomplete. They were the most interesting animals anyone could have asked for, and while only Toffee was openly affectionate, I am sure Pulkit and Ginger had a deeply buried affection in them too. Their many idiosyncrasies – which are becoming of actual human beings – continue to amuse me.
[ index ]
1 THE FIRM expectations
8
values
10
2 PROJECTS
haiku, sambhaavnaa
16
house + homestay, khidku
32
3 SUPPLEMENTUM
annexure
64
list of figures 78
2
the people
jyoti niwas, taragarh
vocabulary
13
46
15
ishwar parvat, rishikesh
53
hotel + n.g.o tirthan valley
58
figure 2:
the path to Didi’s (as viewed from her patio)
[
expectations
]
I had been looking forward to my 6-month internship period since the latter part of my second year. At college, I tried my best to exert myself (and succeeded for most part), but failed to overlook the underlying pointlessness of our design problems: academic critiques of hypothetical academic exercises that proceeded without fully understanding the problem at hand, with disregard for real-life constraints made me a deeply embittered, impatient soul, wanting to go out into the “real world�, and observe how problems were actually solved. The internship period became, for me, an escape from all that I despised, and a glimpse into a world I had been pining to see. When it was time to send out portfolios and cover letters to various firms, I had an idea of what I wanted from my internship: to learn to design appropriately rather than interestingly; to focus on spatiality rather than ideas behind buildings; to let go of my attachment to computer-aided-design software; to learn cost-effective and sustainable architecture and ideology; and lastly, to work on-site, in direct link with the various people involved in the building process. The first mail that I wrote to Didi conveyed all of the above. After a little back-and-forth, she decided to take me on as an intern.
[
values
]
fig. 3
Values are all-pervading: one’s set of values informs every thought thought, and every action undertaken. Didi’s sustainability isn’t limited to her buildings; to her, sustainability is a way of life: all rough sketches were drawn on the back of used paper (which were later torn by hand to be used in plastering), models were made out of “waste” cardboard and biscuit dabbas, reflective biscuit wrappers are used as filling in panels made from the trim of the wood, and the last bits of food on the tawa were left for the snails and slugs.
fig. 4
Humanism: Didi’s spaces are unquestionably beautiful, but most of the (numerous) details etched into them actually stem from an imagined activities and usage scenarios. All heights in section and elevation (floor heights, placements of horizontal members in the window shutters) are made on the basis of the user: what will they see? What will you frame between the two members of a window? How do the dimensions of a space relate to the user when he/she inhabits them? Didi insisted that we draw a 6’ man in every section and elevation.
[
values
]
fig. 5
Building with local materials, techniques: not the result of a misguided romanticism, but a very conscious choice with certain economic and social implications. Didi’s buildings – by her own admission – cost as much as conventional ones, but the distribution of the money is markedly different; building with conventional materials (burnt brick, cement, and steel) means a greater proportion being used for materials (implying more profits for already wealthy capitalists), and since one can build quickly and “efficiently” with these materials, the job creation potential remains low. Local materials, on the other hand are more labour intensive, creating employment for longer periods of time. Most of the money thus goes back to the local economy.
fig. 6
Symbiotic relationship with craftsmen: I grew to admire – apart from their skills – their resourcefulness, their problem solving ability (when given new details to make), their knowledge (which was so internalized that it had become intuition), and above all, their dignity; they loved – and were proud of – whatever they did, and put their heart into perfecting their creations. While – for most part – their job was to do as Didi instructed, there were instances where she modified details and joineries after meeting with the carpenter, or gave them the freedom to take certain decisions.
[
people
] Lakshmi Senior Intern
fig. 8
Amol Senior Intern
Didi Contractor Principal
fig. 7
fig. 9
Raju + Jeetu Carpenters
fig. 10
Kriti Senior Intern
fig. 11
Naresh Contractor/ Master Builder
fig. 12
Baali Mason
fig. 13
[
vocabulary
]
fig. 14
Berms
fig. 15
Cobbled pathways
fig. 16
Windows
fig. 17
NIches
fig. 18
Skylights
fig. 19
Ledges
fig. 20
Fireplaces
fig. 21
Drying racks
fig. 22
Attics
fig 23: haiku (near completion; viewed from southwest)
HAIKU
SAMBHAAVNAA INSTITUTE FOR PUBLIC POLICY AND GOVERNANCE, KANDBARI
RETROFIT + EXPANSION DIDI CONTRACTOR FEBRUARY - JULY
Haiku, formerly an semi-open shed-like structure was to be converted into a “learning center” for Udaan, an alternative school located on the Sambhaavnaa campus. Programatically, this implied adding a reading room on the north, and an office (for Udaan staff) on the south, while the shed was converted into a hall (to be used for workshops and movie screenings). The room behind the hall was to be converted into an art room.
fig 24: site context, haiku
N
6"
2'
1'
8' 4'
LVL -12" LVL 0.00
LVL +6"
LVL -13"
LVL -25"
LVL -6"
dwg 1
EXISTING STRUCTURE: PLAN
6" 1'
dwg 2
EXISTING STRUCTURE: SECTION A-A'
dwg 3
EXISTING STRUCTURE: SECTION B-B'
2'
8' 4'
6"
2'
1'
dwg 4
EXISTING STRUCTURE: SECTION C-C'
dwg 5
EXISTING STRUCTURE: SECTION D-D'
4'
fig 25: middle opening, south wall
6" 1'
EXISTING STRUCTURE: SECTION E-E'
8'
2'
8' 4'
dwg 6
fig 26: east opening, south wall EXISTING STRUCTURE: SECTION F-F'
dwg 7
dwg 8
FRONT (WEST) ELEVATION
dwg 9
dwg 10
dwg 11
dwg 12
DOOR FRAME DRAWINGS: ENTRANCE FROM HALL TO READING ROOM, OFFICE(NTS)
dwg 13, 14 DOOR FRAME DRAWINGS (nts)
DOOR FRAME DRAWINGS: BATHROOM, OFFICE ENTRANCE (NTS)
dwg 15, 16
dwg 17
dwg 18
OFFICE SINGLE SHUTTER (W1) - 1 NO. (to hold 17" shutter)
dwg 19
HALL (W2) (NORTH WALL, TO EITHER SIDE OF BRICK COLUMNS) - 2NO. (to hold 22 1/2" shutter)
dwg 20
dwg 21
dwg 22
OFFICE DOUBLE SHUTTER (W3) - 3 NOS. (to hold 33 12" shutters)
dwg 23
OFFICE (W4) (CENTRAL WINDOW: 2 OPENABLE + 1 FIXED) - 1 NO. (each openable shutter is 17")
dwg 24
dwg 25
MAIN HALL (W5) (SOUTHERN WINDOW: 2 OPENABLE + 3 FIXED) - 1 NO.
Designation
Description/Location
D1 D2 D3 D4 D5
Main entrance; South side, middle oppening Hall/Reading Room interface Office/Hall interface Office/outside, art room/outside Toilet entrance
W1 W2 W3 W4 W5
West wall, Office (near entrance) North wall, Hall Office, east and west walls Office, centre of south wall Hall, eastern end
dwg 27
Number
dwg 26
Type
Total Shutter Width Shutter Height
2 1 1 2 1
Double shutter, double pitamb door with single shutter windows on either side Double shutter, single pitamb Single shutter, single pitamb Single shutter, double pitamb Single shutter, single pitamb
44 1/4" for door; 22 3/8" for window 44 1/4" 32" 32" 25"
1 2 3 1 1
Single shutter 17" 2 Single shutters, joined through 22 frame 1/2" Double shutter 33 1/2" 2 single shutters with fixed glazing 17" each 2 single shutters with 3 fixed glazing 15 1/4" each
83 1/8" for door, 59 1/8" for window 83 1/8" 82" 82" 80" 46" 46" 34" 46" 59"
DOOR AND WINDOW SCHEDULE
The first proposal for Haiku - besides articulating the nature of spaces - also dealth with the roof: the old roof had insufficient slope (about 3/11) for a slate roof (at least 1/2), and therefore the new roof was to be propped up on the old truss, while 2 new trusses were to be added. However, the existing trusses were adjudged to be unsafe, and a completely new set of trusses were used (in actuality).
dwg 28
dwg 29
dwg 30
dwg 31
dwg 32
dwg 33
art room extension A room behind the hall (on the east side) had been previously constructed by unskilled labourers as an extension. The foundations of this room passed over a rock, which was left in place (probably due to cost constraints). As no plinth beam was cast, cracks developed in the walls due to uneven settling. The wall was therefore shifted back by 3 feet, and neccessary mechanisms employed.
fig 27: position of rock (east wall)
fig 28: footing detail
dwg 35
dwg 34
dwg 36
window and door shutter design
dwg 39
SHUTTERS FOR D3
dwg 37
SHUTTERS FOR D4
dwg 38
SHUTTERS FOR W3, W1
My maiden design task was to draw shutters that harmonized with/ echoed the window and doors shutters on the west elevation.
SHUTTERS FOR W2
SHUTTERS FOR W5
SHUTTERS FOR W4
dwg 42
dwg 40, 41
Here, the diagonal expresses the presence of a square, and not the direction in which it opens (Didi’s convention).
fig 29: window W5
Shoring (adobe)
shoring pillar
PCC Bed Soling
dwg 43
fig 30: mason laying first course
dwg 44
dwg 45
Site visits and supervision were an integral part of my training as an intern. I was expected to communicate with the masons/craftsmen to ensure that the drawings were correctly executed, and to answer their questions, if any.
fig 31: mason laying second course
woodwork (office gable, east end window)
dwg 46
dwg 47
dwg 48
dwg 49
dwg 50
a c
d b
dwg 51
dwg 52
a
a c
d
dwg 53
a b c d
dwg 54
Balla (3” x 6”) Bamboo (~4” dia) Kamarpatti (3”x 1.5”) Naksh (3” x 6”)
fig 32: view of site (from east)
KHIDKU HOUSE + HOMESTAY LAKSHMI SWAMINATHAN MARCH - (ONGOING)
SALAG, RAKKAR-TANG ROAD DHARAMSHALA
Mr. and Mrs. Balaji, a Delhi couple fond of trekking (and part-time guides) initially asked for a 3-bedroom house, with 4 homestay units. After much negotiation, they settled on a 2-bedroom house with 2 homestay units, a Kirana store, and a room for the care-taker. The site has views to the east, west, and south sides, and has a kuchha road along one of its sides.
fig 33: site context, khidku
fig 34: site context (more immediate)
N
dwg 55
SITE PLAN (FINAL)
FINAL SITE PLAN (AFTER PATWARI)
pre-final proposal The design was shaped by three considerations: the first was the desire to separate the public areas (guestrooms, karyana store) from the house; the second was to maximize ground coverage (the area available was small considering the program); the third was the desire to capture views to the north, east, and west.
dwg 57: Level 2 (living + kitchen + bedroom)
dwg 56: Level 1 (karyana + guest bedroom)
N
N
dwg 58: Level 3+4 (guest bedroom + care-taker’s room; master bedroom + study)
INITIAL SITE PLAN
N
6"
2'
1'
8' 4'
LVL +4'6"
dwg 59
ROOF PLAN: PROPOSAL 2
6" 1'
2'
8' 4'
PLAN: LEVEL 2
dwg 60
SECTION A-A': PROPOSAL 1
final proposal
ͳ LVL +3'
ͷ
LVL +4'6"
LVL +4'6"
LVL +1'6"
LVL +4'6"
dwg 61: Level 1
Ϊ LVL 0.00
N
6"
2'
1'
8'
PLAN: LEVEL 2
4'
dwg 62: Level 2
ͳ LVL +3'
LVL +4'6"
N
PLAN: LEVEL 1
LVL +4'6"
LVL +4'6"
6" 1'
2'
8' 4'
ย ย ย ย ย ย อณ LVL +3'
ย ย ย ย ย
ย ย ย ย ย ย ย อด
ย ย ย ย ย ย
LVL +4'6"
LLVL +11'6"
LVL +4'6"
dwg 63: Level 3 ย ย ย ย ย ย ย ย ฬตย ย ย ย LVL +8'6"
N
6"
2'
1'
8' 4'
dwg 64: Level 4
ย ย ย ย ย ย อด LVL +13'
ย ย ย ย
LVL +13'6"
PLAN: LEVEL 3
N
6" 1'
2'
8' 4'
N
6" 1'
2'
8' 4'
dwg 65: roof plan
SECTION A-A': FINAL SECTION A-A': FINAL
dwg 66
dwg 67: filler slab (with plate positions)
il eta td fig (pl 35: an rei ) nfo rce me n
fig 36: reinforcement detail (section)
I N I T I A
4' 1'
PLAN: LEVEL 2
8' 2' 6" N
PLINTH LVL +7'6"
LVL +3'3"
LVL 0.00
LVL -6"
N
PLAN: LEVEL 4
6" 1'
2'
8' 4'
models + site supervision
fig 38: site supervision - site sections
fig 37: roof - 1st iteration
fig 39: guest room + toilet
fig 44
fig 40: north facade
fig 43: roof fig 41: karyana store
fig 42: south facade
fig 45: view of verandah, turret
PLINTH LVL +7'6" LVL +3'3" LVL 0.00
HOUSE + HOMESTAY + CAFE AMOL MANKEEKAR APRIL - (ONGOING)
Mrs. Jyoti Singh, a descendant of Amar Singh, inherited a hunting outhouse. It was later converted into a homestay, to which (presently) further extensions are being planned.
LVL 0.00
JYOTI NIWAS
TARAGARH, ALHILAL AWERI
LVL -6"
After 3 rounds of discussions, it was decided that a house for the family would be built first, followed by a book cafe and more homestay units. Landscaping will be done along the edge adjoining the road to minimize sound. LVL -6"
A L S I T E P L A N
fig 46: site context, jyoti niwas
PLINTH LVL +7'6"
LVL +3'3"
LVL -6"
SITE PLAN: EXISTING' N
LVL 0.00
dwg 68
SITE PLAN: EXISTING'
N
dwg 69: ground floor plan 9”
I N I T I A L S I T E P LA N
N
The design was to be “simple”, and ordered, much like the existing house. One enters through a mid-landing, and goes down for the public spaces, and up for the private spaces. The kitchen has a separate entrance which cuts across the berm.
I N I T I A L S I T E P L N
dwg 70: first floor plan 9�
PLINTH LVL +7'6"
LVL +3'3"
LVL -6"
N
LVL 0.00
SITE PLAN: PROPOSED dwg 71
SITE PLAN: PROPOSED
VERANDAH 120 Sq.ft
LIVING + DINING AREA 430 Sq.ft
FIREPLACE
ENTRANCE PORCH 80 Sq.ft
LOBBY 70 Sq.ft
TOILET 45 Sq.ft
SERVING COUNTER 30 Sq.ft
KITCHEN 140 Sq.ft STORAGE
dwg 72
PROPOSAL 2: PLAN
SIT-OUT 65 Sq.ft
SIT-OUT 65 Sq.ft
STUDY
STUDY
BEDROOM 210 Sq.ft
TOILET 45 Sq.ft
BEDROOM 210 Sq.ft
WARDROBE
WARDROBE
TOILET 45 Sq.ft
LOBBY 70 Sq.ft
dwg 73
PROPOSAL 2: PLAN
Since a tubewell was discovered, the kitchen had to be shifted, and the orientation of the staircase had to be changed. Further changes were made by adding an open-air-theatre, and an oblique stepped entrance. The idea of the mid-landing was abandoned.
fig 47: south elevation
ASHRAM RETROFIT AMOL MANKEEKAR APRIL - (ONGOING)
ISHWAR PARVAT, NEELKANTH MAHADEV ROAD RISHIKESH
Ms. Bettina, a scholar of Kashmiri Shaivism sought to retrofit a 25-year old “cottage” on her premsises; in addition to making it leak-proof, she wanted to convert it into a residential unit where her students/ disciples could stay. She asked for 2 independent rooms, one with an attached bathroom, and a larger floor area, but was also open to other possibilities and proposals.
fig 48: site context, ishwar parvat
LVL +6"
LVL +2'
LVL +1'10"
EXISTING STRUCTURE: PLAN
dwg 74
EXISTING STRUCTURE: PLSECTION A-A'
dwg 75
fig 49: room (interior; looking east) dwg 76
EXISTING STRUCTURE: SECTION B-B'
dwg 77
EXISTING STRUCTURE: PLSECTION AC-C'
dwg 78
EXISTING STRUCTURE: PLSECTION D-D'
NORTH ELEVATION
fig 50: room (interior; looking north)
dwg 79
LVL +6"
SOUTH ELEVATIOTION
LVL +2'
dwg 80
fig 51: north elevation
6”
design proposal (rejected)
A core is built into the existing structure, which serves as both a partition and buttress. This divides the existing area into two cells of 10’ x 6’, with light shafts at two corners. The kitchen is re-oriented, and a utility space can be built if needed. A staircase with two reading alcoves leads upstairs; the kitchen storage is present under it.
N
dwg 81: ground floor plan
The upstairs area is left as a flexible space, that can be used as a dorm when needed. A toilet is built atop the existing ine on the ground floor. LVL +6"
dwg 82: first floor plan
LVL +2'
INITIAL SITE PLAN dwg 83: section A-A’
dwg 84: section B-B’
fig 52: view of entrance porch
HOTEL + NGO DIDI CONTRACTOR
TIRTHAN VALLEY HIMACHAL PRADESH
Mr. Panki Sood, a businessman wanted a building that would fulfill three needs simultaneously: it would have two homestay units, a cafe/restaurant for visitors, and an office for his NGO. He had asked for a 3D visualisation of the project in order to attract potential investors.
fig 53
fig 54
fig 55
fig 56
fig 57
fig 58
LVL +1'10"
[
annexure
]
Location
Running feet
Item
Western opening Eastern opening North side extension Middle opening (with door) EXISTING STRUCTURE: Gable/triangulation (cozy room) PLAN Walls of cozy room (till overhang) Office
Art Room
Corner Queen Bricks per Closer per No course cou course
14.15 14.15 9.75 11.5
7 7 4 0 0
1 1 1 1 1
56.75
10
6
19.5 1
0 0 0
1 0 1
LVL +1'10"
Increasing height of wall (for lean-to roof) Shoring Wall adjoining toilet
fig 61: brick estimates, haiku
Item
Advance
Price/unit (with tax) - Didi's
Sleepers (5" x 10") Transport (Mill to Workshop) Contingency
Quan 2000
Total Advance
Labour
West faรงade (main entrance) woodwork Woodwork - South faรงade, middle opening 5 da Door frame - hall to cozy room 1000 per day (Carpenter and 1 helper) Labour - assembling frames on site 1600 per day (including travel, overnight stay at Sam Total Labour
Transport
Sidhbari to Kandbadi
Total
fig 62: comparative woodwork estimates, haiku
o. of urses
Total Bricks 16 16 22 14
680 680 644 30 483
16
2724
8 38
ntity
Total Corner Bricks
ays in all mbhaavnaa) 1
2517
112 112 88 0 0
2724
160
312
16 16 22 0 14
68
160
96
96
8 0 0
8
EXISTING STRUCTURE:0 PLAN 468 114 729
Total cost - Didi's
9
Total Queen Closers
18000 300 500
1311
0 0
0
Price/unit (with tax) Sambhaavnaa
Total cost Sambhaavnaa
Quantity
2000
9
18800
5000 1600
18000 2500 500 21000
1600 per day (including travel, overnight stay at
0
6 days in all
0
9600 0
6600
9600
2500
0
27900
30600
Item
Quantity Price
Slates (11"x22") Truck 1 Transport Loading
1000
Total cost 26
26000 3000 200 Total, T1
Slates (11"x22") Chakkas Truck 2 Transport Loading
800 200
26 60
20800 12000 3000 200 Total, T2
Supervision cost for 2 days
Area
Ferrocement Sand
Cement
Surface area of roof (excluding art room) 10% allowance Total surface area Thickness of ferrocement layer Volume of ferrocement (1:5) Volume of Sand (5 parts) Volume of Cement (1 part) Weight of cement Bags of cement
fig 60: ferrocement estimates, haiku
36000 3000
Total
fig 59: slate estimates, haiku
29200
68200
1200 sqft 120 sqft 1320 sqft 2 inches 220 cuft 183.3333 cuft 36.66667 cuft 1496.278 kg 29.92557 bags
fig 63: initial site, khidku
N
INITIAL SITE PLAN
INITIAL SITE PLAN
dwg 85
fig 64: site supervision, khidku - jcb excavation
fig 65: site supervision, khidku - jcb excavation
fig 66: site supervision, khidku - foundation work
fig 67: site supervision, khidku - sieving
fig 68: unassembled model (khidku)
6�
dwg 86: plan, proposal 1 (Ishwar Parvat)
6�
fig 87: plan, proposal 2 (Ishwar Parvat)
fig 88: proposal 2, section A-A’ (Ishwar Parvat)
fig 89: proposal 2, section B-B’ (Ishwar Parvat)
fig 69: Didi’s note on my transcription
fig 70: Poster for “Fragmented Spaces� workshop
[
definitions
]
[
[
scope
]
responsibilities
]
[
responsibilities
[
distribution
]
]
[
list of figures, drawings
]
figure 1: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 2: Lanka, Adarsh. No. 208, Rakkar Road. 2019 figure 3-6: Lanka, Adarsh. 2019. figure 7: Lanka, Adarsh. No. 208, Rakkar Road. 2019 figure 8: Lanka, Adarsh. Khidku. 2019 figure 9: Lanka, Adarsh. Phoolchatti Ashram, Rishikesh. 2019 figure 10: Lanka, Adarsh. Jyoti Niwas, Taragarh. 2019 figure 11: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 12: Lanka, Adarsh. Khidku. 2019 figure 13: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 14: Lanka, Adarsh. Guranditti. 2019 figure 15: Lanka, Adarsh. No. 208, Rakkar Road. 2019 figure 16: Indian Express [2018]. The entrance to Didi Contractor’s house in Sidhbari. Retrieved from URL on 16th August 2019: https://indianexpress.com/article/express-sunday-eye/unto-the-earth-didi-contractors-oeuvreis-a-story-of-rare-beauty-5023346/ figure 17: Lanka, Adarsh. Ishwar Parvat. 2019 figure 18-19: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 20: Lanka, Adarsh. No. 208, Rakkar Road. 2019 figure 21: Lanka, Adarsh. Badi. 2019 figure 22: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 23: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 24: Google Earth. Sambhaavnaa Institute for Public Policy. 2019 figure 25-31: Lanka, Adarsh. Sambhaavnaa Institute for Public Policy. 2019 figure 32: Lanka, Adarsh. Khidku. 2019 figure 33-34: Google Earth. Khidku. 2019 figure 35-44: Didi Contractor Design Consultants (drawing/ model + photo by Lanka, Adarsh). 2019 figure 45: Lanka, Adarsh. Jyoti Niwas. 2019 figure 46: Google Earth. Jyoti Niwas. 2019 figure 47: Lanka, Adarsh. Ishwar Parvat. 2019 figure 48: Google Earth. Ishwar Parvat. 2019 figure 49-51: Lanka, Adarsh. Ishwar Parvat. 2019 figure 52-58: Didi Contractor Design Consultants (drawn by Lanka, Adarsh). 2019 figure 59-62: Didi Contractor Design Consultants (calculated by Lanka, Adarsh). 2019 figure 63: Google Earth. Khidku. 2019 figure 64-67: Lanka, Adarsh. Khidku. 2019 figure 68: Didi Contractor Design Consultants (model + photo by Lanka, Adarsh). 2019 figure 69: Didi Contractor Design Consultants (written/scanned by Lanka, Adarsh). 2019 figure 70: Sambhaavnaa Institute for Public Policy [2019]. Untitled. Retrieved from URL on 16th August 2019: http://www.sambhaavnaa.org/programs/fragmented-spaces-the-grammar-and-politics-of-urban-housing -in-india/ drawing 1-54: Didi Contractor Design Consultants (drawn by Lanka, Adarsh). 2019 drawing 55: Didi Contractor Design Consultants (drawn by Swaminathan, Lakshmi). 2019 drawing 56-60: Didi Contractor Design Consultants (drawn by Lanka, Adarsh). 2019 drawing 61-66: Didi Contractor Design Consultants (drawn by Swaminathan, Lakshmi, and Lanka, Adarsh). 2019 drawing 67: Didi Contractor Design Consultants (drawn by Swaminathan, Lakshmi). 2019 drawing 68: Didi Contractor Design Consultants (drawn by Bharadwaj, Kriti). 2019 drawing 69-70: Didi Contractor Design Consultants (drawn by Lanka, Adarsh). 2019 drawing 71: Didi Contractor Design Consultants (drawn by Bharadwaj, Kriti, and Lanka, Adarsh). 2019 drawing 72-89: Didi Contractor Design Consultants (drawn by Lanka, Adarsh). 2019