EXPERIMENTS IN DESIGN 2017
PORTFOLIO
M A L H A R. C H A W A D A
Work Experience
Education
2016
Studio Amita Vikrant
Malhar Chawada +91 9975 448822 malhar.chawada@gmail.com Mumbai.India Indian
Goa.IND
2011 - 2016
Intern Assemble Workshop: Design + Drawings + Client document + Lumion video Siolim Villas: 3d print models + Photography + Lumion video Residential Apartments: Photography SAV website: Designed webpages Flying House: Working drawing + Landscape design + Lumion video + Interior Unilab Office: Furniture design + Feature wall design summer 2015
Studio for Environment, Architecture and Design
Mumbai.IND
Summer Intern Poetry in Parametrics: Design of a parametric installation Trupti Apartments: Designed and detailed balcony section
NMIMS University
Mumbai.IND Balwant Sheth School of Architecture Bachelor of Architecture Certificate of Honor - 1st Rank (Graduating batch 2016) 2008 - 2010
Mengo Senior School
A - Levels Awarded Academic Achievers Certificate (2010) Ranked 12th Nationwide for National Mathematics Contest (2010) 2004 - 2007
Old Kampala Senior Secondary School
Freelance Visualizer
Curriculum Vitae
Lumion 6.0 video renders
Travel.India.Uganda.Bhutan. Spain.Sri lanka.Holland. Sketch.Abstract.Doodles. Read.Radical.Theory. Write.Radical.Ideology. Listen.Classical.Fusion. Photograph.Architecture. Abstract.Details. Speak.English.Hindi.Gujarati
Publications + Exhibitions Author Co-author Co-author Co-author Co-author Finalist for 1:1 model Co-author Co-author
DETONATION, Towards a newer architecture. Thesis manifesto (2016) Thesis Bazaar. Exhibition of student design dissertation concepts Ramayana & Mahabharata. Compiled student short stories (2015) Vasai, a sub-urbanism. Urban theory analysis (2014) Bhutan, Frozen in time. Bhutan study tour documentation (2013) (2 Volumes) Hive Minds, Installation exhibition (2012) Ahmedabad Travelogue. Ahmedabad study tour drawing documentation (2012) Jaisalmer, the city within. Drawing exhibition (2011)
Competitions “(Mo)Tility” Global Schindler Award (2015) “Moksha” 120 Hours (2015)
Group participant Group participant
Kampala.UGANDA
Secondary education
Kampala.UGANDA
Skills Advanced Virtual Advanced Real Rhinoceros Autodesk 3ds Max Google SketchUp Lumion Autodesk Autocad Adobe Suite Microsoft Office Vray
Sketching Hand drafting Model making Photography Wood workshop Laser cutting 3d Printing CNC cutting
Basic Virtual Basic Real Grasshopper Videography Autodesk Revit Corel Draw
Index of Works 11
Unilab Pharma Office Furniture design
2016
Flying House Khandala
Siolim villas
01
Assemble workshop
2015
09
Poerty in Parametrics
Parametric installation
2014
SAV website
Goa
Goa
Content management
02
Residential apartment
Radical Anti-Architecture of the Information Age Design Dissertation
03
Generative Institute Re-Designing a fisheries institute
04 07 12
06
Adaptive-Transit Market
Mechanized Retail space
Photography
14
Pin Architecture
Hybrid highrise
Detonation: Towards a newer Architecture
2012
10
Arch(ed)
13
Experimental Preservation Svalbard
05
Architecture School magazine Logo design
Hybrid Systems
Design in Bhutan
Moksha
Dissertation poster
Alternate Ramayana
Educational
08
Thesis Bazaar
Dissertation manifesto
A Place for “Happiness�
2013
The inverted corner
Vasai
Farm + House
Professional
Global Schindler Award (Mo)Tility Shenzhen
Emotions through a Market Juhu
An Urban Fringe
Hive minds
Art institute
Behavioral Installation
Rustic Sewri
2012
Experimental design Group Initiatives
Interior
Architecture
Urban
Research
Graphic
Competition
01 Assemble Workshop architecture
An educational and industrial “skills” workshop which shall cater for both the mechanical production and hand crafted production requirements of Studio Amita Vikrant. CNC routers, laser cutters and 3d printers sit amidst a traditional wood and metal workshop, enhancing both technical skills and hand craftsmanship of workers and students that experience the space during seminars or exchange programs.
Exploration of “the splitting column” and their joinery with the deformed roof diagrid system
The splitting column has been explored as the major design element with a supporting parametrically deformed diagrid roof structure to express the evolution of a new typology of the “factory building.” Once complete, the facility shall produce industry quality furniture, products and innovative hand crafted products.
Studio Amita Vikrant 450 sq.mt Under construction (Khopoli, Khandala, India)
Evolution of finalized roof structure system professional
architecture
The roof structure is a deformed diagrid system based on certain parameters and design logic.
Initial roof structure experiments professional
architecture
0
4
8
professional
2
3
5
6
7
9
10
11
architecture
1
Growth of a workshop
professional
GROUND FLOOR PLAN - 1:100
30000 7500
PAINTBOOTH 130SQM +00.60 +00.60
5000
RM M2 FSL FFL
RM M2 FSL FFL
RM M2 FSL FFL
METALWORKSHOP 170SQM +00.60 +00.60
C4
C5
PAINTROOM 50SQM +00.60 +00.60
STAFF TOILET
VISITOR TOILET
SUPERVISORSROOM 10SQM +00.60 +00.60
RM M2 FSL FFL
+0.3M
302 C
C3
C2
RM M2 FSL FFL
+0.6M
301 B
C1
RM M2 FSL FFL
DIGITALPROTOTYPING 37SQM +00.60 +00.60
CNCROOM 50SQM +00.60 +00.60
STAFF LOCKER AND CHANGING ROOM
SMALL STORE
C11
STAFF TOILET
C12 RM M2 FSL FFL
15000
RM M2 FSL FFL
STAFF ENTRANCE
PANTRY 10SQM +00.60 +00.60
WOODWORKSHOP 200SQM +00.60 +00.60
A' 300
A 300
6
C13
5
C14
4
RM M2 FSL FFL
MATERIALLIBRARY 15SQM +00.60 +00.60
3 2 1
RM M2 FSL FFL
STORAGE 270SQM +00.60 +00.60
RECEPTION
OFFLOADING
RM M2 FSL FFL
C7
LOADING
+1.05M C8
C6
C9
C10
+0.6M
301 B'
STAFFDINING 15SQM +00.45 +00.45
302 C'
RAMP UP
+0.45M
N
architecture
+0.3M
RM M2 FSL FFL
Ground level plan
PARKING 40SQM +00.00 +00.00
C5A
C4A
C1A
C3A C2A
C4B
C2B C3B C1B
C5B
C11A C12A
C11B
C12B
C13A C14A
C14B
C13B
C7B C6B
C9B
C10B
C8B
C10A
C8A
C9A
C7A C6A
Exploded axonometric view
Reflected ceiling plan professional
SECTION A-A' - 1:100
TOP ROOF LEVEL
9000
BOTTOM ROOF LEVEL
3400
6000
FIRST FLOOR LEVEL
Section A-A’
SECTION B-B' - 1:100
450
2000
SECTION C-C' - 1:100
Section C-C’ professional
architecture
600
450
PLINTH LEVEL
NORTH EAST ELEVATION - 1:100
NORTH WEST ELEVATION - 1:100
TOP ROOF LEVEL
TOP ROOF LEVEL
TOP ROOF LEVEL
BOTTOM ROOF LEVEL
BOTTOM ROOF LEVEL
PLINTH LEVEL
PLINTH LEVEL
6000
6000
6000
FIRST FLOOR LEVEL
9000
9000
9000
BOTTOM ROOF LEVEL
3400 PLINTH LEVEL
Scale model
SOUTH WEST ELEVATION - 1:100
SOUTH EAST ELEVATION - 1:100
BOTTOM ROOF LEVEL
FIRST FLOOR LEVEL
FIRST FLOOR LEVEL
PLINTH LEVEL
PLINTH LEVEL
South-West elevation professional
9000 6000
BOTTOM ROOF LEVEL
3400
TOP ROOF LEVEL
9000
TOP ROOF LEVEL
6000
SOUTH EAST ELEVATION - 1:100
3400
architecture
NORTH WEST ELEVATION - 1:100
South-East elevation
architecture NORTH EAST ELEVATION - 1:100
NORTH NORTHWEST WESTELEVATION ELEVATION- 1:100 - 1:100
NORTH WEST ELEVATION - 1:100
TOP ROOF LEVEL
TOP TOP ROOF ROOF LEVEL LEVEL
BOTTOM ROOF LEVEL
9000
9000 9000
9000
BOTTOM BOTTOM ROOF ROOF LEVEL LEVEL
6000
3400
6000 6000
6000
FIRST FLOOR LEVEL
PLINTH LEVEL
PLINTH PLINTH LEVEL LEVEL
North-East elevation SOUTH WEST ELEVATION - 1:100
professional
SOUTH SOUTHEAST EASTELEVATION ELEVATION- 1:100 - 1:100
SOUTH EAST ELEVATION - 1:100
North-West elevation
architecture
02
A Radical Situationist Anti-Architecture of the Information age
The information age is going to be the basis of the next revolution in architecture, design and theory. The dissertation therefore looks forward to re-imagining the institute building typology since it is most likely to become obsolete. The basis of an institute is information transfer, which previously was physical. With the availability of virtual information transfer, the institute as a physical piece of architecture loses meaning, thus it has to be re-designed theoretically, physically and virtually in order to cope with the upcoming revolutionary change.
Design Dissertation Year 5 1.5 sq.km JVPD, Mumbai, India
From Retrospect to Prospect
Classical Architecture
What issues should architecture of this era address in terms of its obligation to the properties of a city and to what extent is it free of these obligations? Therefore questioning the relevance of systems today (political, cultural, social etc) in prospect.
Radical Industrial Revolution
1 (especially of change or action) relating to or affecting the fundamental nature of something; far-reaching or thorough. 2 Characterized by departure from tradition; innovative or progressive.
Situationism is a theory in psychology that began Modernism and other related Movements
in 1968 when a Person-situation debate was triggered by the publication of a monograph by Walter Mischel. It refers to an approach to behavior which holds that general traits do not exist (perhaps apart from Intelligence).
The Information Age (also known as the World Wide Web (Information age)
Computer Age, Digital Age, or new media Age) is a period in human history characterized by the shift from traditional industry that the Industrial Revolution brought through industrialization, to an economy based on information computerization.
Masterpiece, which eith ruin, with a very regiona
Ruins that get disjointed because of changes in culture end up having a negligible impact.
Anti architecture. What will Architecture of this era be? (What should it be)?
academic
1. An unplanned situation which has come up due to the coming together of multiple introvertly planned “architectures,� for example the street spaces of organic cities. 2. A parallel discipline that tends to defy all the rules that govern the other parallel-architecture. 3.An architectural quality that cannot be defined by the tools used to understand architecture.
Monuments that don’t ser the present demands of various fields end up as anti-monuments.
Evolu
From Chrono order to Everything is global, Work, the blackmail We demand the true Chrono chaos and Architecture as Everything is local. architecture of the spectacle of of survival. back. Detonate everything!! 21st century. society. Individualistic physical perception of these “masterpieces.”
Change in world view based on contemorary realities (Induced solely by the Situationists)
The physical model loses value due to the importance gained by the middle-men. Industrialization allows perceptions to be communicated worldwide through the media such as books, journals, magazines. A revolution from an industrial age to an information age
Ruins that reflect important cultural aspects end up becoming major attractors for learning.
Consumerism Mass consumerism gave rise a group that was completely against the drab way of looking at things(art, culture, universities etc). This led to the creation of anit-monuments, aimed at changing the entire world perception.
The physical model further loses value.
To parking lots.
rve Monuments embedded with historical values end up shaping urban identity and memory.
ution of a “masterpiece.”
As architecture breaks barriers of the systems it abides to, it creates a spectacle, a masterpiece which like a gunshot produces a sound that resonates far beyond the immediate surrounding, but these gunshots attract attention of the multi-layered systems of the world (economics, politics, society etc) which respond in ways completely opposite(non radical) leading to a certain kind of exaggerated naive response_the parking lot effect. (The bilbao effect, Vancouverism, Sydney etc)
Global connectivity has led to zones in cities which are disjointed from the city because of the way they function.
With the coming up of the internet, the process of conveyance of information was made infinitely quicker and more complex in that almost anyone could write about something and this text was available to everyone on the globe. academic
architecture
her turns monument or al impact
From gunshots
architecture
Word map decrypting “masterpiece text� and creating a basis of the concept by generating links between these visionary pieces of architectural theory.
academic
architecture
Research aspects culminating into a concise narrative. The narrative “Detonation, towards a newer architecture� then forms the basis for design principles and ideology. academic
The becoming event of the image. The becoming image of the event. le Sca
Library
age
he im
up t
Th
Democratic park
The becoming anti-image of the image.
age
le im
mb e hu
High art
The world
Lofts
Real art
The world on groundd
architecture
An archive of the world
Museum The Circus. The perception of the image.
The becoming image of the process.
Theatre
Auditorium
academic
13
Road 13
03
02
10
05
04
16 06 11
07
11
architecture
01
15 08
10
12
17
09 Pond 10 14
13
15 18
01 - Amphitheatre 02 - Sculpture deck 03 - Maker’s asylum 04 - Virtual reality 05 - Metal workshop 06 - Cybernetic loft 07 - Sculpture loft 08 - Experimental gallery 09 - Audio visual room 10 - Display gallery
11 - Sculpture gallery 12 - Museum deck 13 - Elevated cycle track 14 - Skateboarding deck 15 - Lobby 16 - Private gallery 17 - Flexible gallery 18 - Discussive space
Road
13
13
Ground level plan 0
academic
1
3
5
5
10
architecture
Section B-B’
academic
Section D-D’
Section A-A’ academic
architecture
Section C-C’
03 Generative Institute architecture
Re-designing a Fisheries institute
Re-designing the Central Institute of Fisheries Education (C.I.F.E) Institutes for higher learning in India are confronted with economic difficulties, affecting the way they work, the facilities they are provided to conduct research, hence affecting overall performance. C.I.F.E conducts research crucial enough to change national systems of water usage, the fishing industry etc, which is limited due to economic factors and lack of collaboration among individual learning institutes of different faculties. This leads to a very controlled level of research that does not reach a level of finesse it would have had it been provided the missing facilities mentioned above.
Public vs Private programmatic response (Yearly)
Space vs Program (Daily)
The design creates a self-sufficient institute by making some of the programs public so as to create awareness among general citizens, activate the region, and increase revenue (which shall be used for research purposes). The layout abolishes the compound wall thus making a truly public urban park connecting the city dweller to the mangroves and in-formalizing the process of live-work-play. The in-formalization is based on a study of how programs are used at different times (of a day and throughout the year) thus making the new model much more efficient in terms of usage of time and space. Programs have been interconnected so as to increase the efficiency. (Library + Aquarium, Auditorium + Amphitheater, etc.)
Existing Fisheries institute with stark programmatic segregation and minimum public involvement. (Disconnected institute)
Architectural design studio Year 4 20,000 sq.mt Versova, Mumbai, India academic
Design to cater for previous shortcomings and reinforce national and public importance of the institute.
architecture
The institute acts as a platform for interaction amidst socially varied users staying on campus. It opens up to the city by way of its spacial hierarchies
Programmatic response to conditions present within the functioning of the institute
Different users navigate the massing differently based on spacial hierarchy, route and time of year. (Experience driven)
Multiple programmatic requirements generate multiple volumes of space, enhancing and controlling the type and intensity of activity generated within. academic
Basement plan Ground level plan
architecture
Roof plan
Section A-A’
Section B-B’ academic
Second level plan
architecture
First level plan
The elements of circulation have been designed in relation to the spaces and functions adjacent to them so as to function as valves that control the accessibility of spaces by different user groups, hence evoking a constantly varying dialogue between the institute and the diverse hierarchical users.
Hand drafted drawings
academic
04 Farm + House Hybrid Highrise
architecture
The project is based on a “hybrid,” which indicates a third typology between two already existing categories. In this case, Farming and Housing come together in an urban context.
Varying module sizes and relation between houses
The challenge was to efficiently design relations between the workings of the house and farm so that the efficiency of the outcome is exponentially larger than the sum of the individual programs. The design exploits overlapping parameters of the two functions in order to inform design, logic and practical queries. The studio aimed to address a very contemporary issue relating design on all scales and responses to unforeseen but predictable urban conditions created by “city creation” and vertical growth.
Architectural design studio Year 4 4000 sq.mt Green field project.
Applying scale to the housing units and farms, on the basis of the previous diagram.
The primary circulation is created by a loop of the “Farm belt,” whereas the secondary circulation is by a service core. Farms punctuate the space between units. academic
The loop is re-arranged into a vertical organization due to space constraints. (horizontally)
The farm support systems. (Recycle belt)
Facade (Moss fins)
The Hybrid
Farms + secondary circulation
Services + Structural core
academic
architecture
Structure
architecture
The houses, at all times have at least three sides open, thus they receive ample light and ventilation throughout the year, the intensity of which can be controlled by changing the angle of the moss fins.
academic
architecture
Dynamic moss facade, angles governed by user preference within a unit.
Secondary circulation
Section B-B’ academic
Section A-A’
05
Global Global Schindler Schindler Award Award {Mo}Tility
urban
{Mo}Tility
The urgency of reform to mobility. Urban regions are dense and complex overlays of very The urgency of reform to mobility. distinct programs, spaces, arrangements of economies, Urban regions are dense and complex overlays of very distinct cultures etc, thus the kind of fabric that evolves is very programs, spaces, arrangements of economies, cultures etc. multi layered in terms of the linkages that are formed, both Thus the kind of fabric that evolves is very multi layered in terms planned and unplanned, physical and invisible. This creates of the linkages that are formed, both planned and unplanned, urgency with respect to the mobility of the individual in physical and invisible. This creates urgency with respect to the these regions, both along the vast horizontal expanse of mobility of the individual in these regions, both along the vast the region as well as across the dense fabric with respect horizontal expanse of the region as well as across the dense to vertical overlay of spaces. The core purpose underlying fabric with respect to vertical overlay of spaces. The core purpose the design decisions made was to better link these underlying the design decisions made was to better link these connectivity disjoints in terms of physical, economic, connectivity disjoints in terms of physical, economic, cultural and cultural and social aspects of urban life. social aspects of urban life. Nodes have been created at centers of localities where an Nodes have been created at centers of localities where an overlap of the different modes of mobility is designed, for overlap of the different modes of mobility is designed, for example example a cyclist lane, metro station, vehicular road come a cyclist lane, metro station, vehicular road come together so as together so as to avail a variety of options of mobility to the to avail a variety of options of mobility to the individual, enhancing individual, enhancing mobility within the locality.( By means mobility within the locality.( By means of slow traffic, cyclists of slow traffic, cyclists and pedestrians) These Nodes are and pedestrians) These Nodes are both visually and physically both visually and physically connected to themselves so connected to themselves so as to increase the permeability of as to increase the permeability of the suburb and to better the suburb and to better interlink the whole suburb in a weave of interlink the whole suburb in a weave of penetrable penetrable urban space. mobility by means of vehicular and cyclist modes of Global Schindler competitionholistic appraisal of the region as movement,ensuring Year 4 whole and increase in the real estate value evenly (so that 2.5 sq.km economic divides are not created over time). Shenzhen, China competition
urban
It is unrealistic to create a drastic large scale change in the built fabric at once, thus the development has been centered on phases, which have been planned as per their practicality and urgency, keeping in mind the traditional predictions of city growth and development. 1; the major nodes have been identified and the modification of the immediate areas around these has been undertaken, new main nodes are also created, the disjointed nodes and zones are better connected. Amenities have been provided so as to create an incentive for people to settle and work in this region 2; the region around the major nodes are developed into commercial zones, mixed use urban super blocks, residential complexes for the various income groups is created, the connection between the two development zones is made stronger by enhancing street connection, more amenities are provided. 3; the areas at the periphery are developed in a similar mixed use fashion maintaining a strong physical connectivity among them through all the modes of mobility, thus creating a homogenous yet varying model for development. Homogeneous in a way that the basic methodology is the same, varying in a way that what is developed on the new sites is with respect to what programs are most urgently required. 4; the areas which may have turned unstable over the development of the previously mentioned zones are identified and a plan for development is proposed based on the market trends then. Strategic mixed use
Visual connect between zones maintained for fluid movement
develeopment throughout the urban fabric for a much more safer environment to dwell in
Better connect between urban zones
Mixed use architectural typologies strategically developed to make the site more porous and socially rich.
New development pattern designed to support the current dynamism and further enchance it. Various mobility options within each urban zone
Fringe between dwelling and nature blurred
SECTION HH’
competition
urban
Sections competition
urban 3 Students 1 Mentor 2.5 sq.Kms
competition
urban
Markets all over the world are constantly changing in either a more complex inter relationship or into drab monotonous events that eventually fade out, thus the understanding of this character and evolution into a future model became the core aspect of the design brief since these systems form an important part of the “Urbanscapes.” The challenge is to predict, based on history, trends and assumptions, the nature of markets of the future, their behavior and functioning in relation to the parameters that directly or indirectly affect their functioning. The design process borrowed from the nodal aspect of the site both in the present situation and the future scenario which plans to connect various modes of rapid transit through the site. The core parameter taken into consideration is the informal character currently available at site and the dynamic adaptive quality that the market has (which we believe is a factor that protects a market from the changes in user trends). The design also looks forward to a response to the urban fabric in which it is situated both programmatically and spatially, despite the various pressures from different urban issues. The ability of this design to act as a model for deployment in various contexts has been thoroughly considered.
Urban design studio Year 4 25,000 sq.mt Andheri station, Mumbai, India
Site analysis
Adaptive-Transit_Market
Market nature
The formal shops on the site have grown temporary spill out spaces allowing commuters to filter through. The commuter is always on the move, hence an informal interface facilities the travel.
Concept development
06
Market density
Andheri station witnesses a complex density change influenced by pedestrian movement and transit popu changes leading to congestion zones and heavy traffi
Trends
Technology
Driving Force Trends are a response to many influences and start shaping the character of everything they feed information to. In the future, there will be global connectivity leading to global trends instead of regional trends. Varying levels of trends Due to the increase in population density and economic equality, the market will meet varied classes of people requiring it to constantly update its “system.”
Efficiency Availability Due to the characte Technology shall affect more people in the future networks, logistics (reduced costs and higher disposable incomes). They have ample te Simplification capacity and distrib The basis of the “market” is about to change efficiency, logistics because of improved technology and exploration of markets. the VR marketing area. Automation Autonomous responsive and dynamic sale units shall create an ever changing “adaptive-transit_market”
academic
Logistics
Program analysis
The requirement of a module that can serve the purpose of a market in its ever changing consumer trend fabric. The shipping container was finalized as a module because it fits well at both international and domestic scales of exchange. The shipping container is flexible in terms of its compatibility within all of the existing transport systems.
Economic equality
Factors affecting the growth, efficiency and death of markets. Better public transport
Reduced number of personal vehicles
academic
3 new metro lines are under construction (93 stations total) compared to the current 1 metro line (13 stations). An elevated train corridor from Oval maidan to Virar is under discussion.
Higher education
Congession free public zones
Ease of commuting
Ease of technology
Reduced manual labour
Automated operations
Availability of information
Richer product
Higher Income
Small scale logistics
Systematic operations
Customer satisfaction
Transit Market
Adaptable design
Continuos production
Non-stop “on the go“ activity
urban
Due to the low disposable income and large economic gap, the economic classes are divided in their modes of transport which creates markets for specific groups at their varied paths of travel.
Module
Economic status (National)
Incomes shall be larger and thus the economy shall be more equal leading to increased interaction between the varied classes.
Design strategy
e throughout the day, months and year, heavily ulation. Market systems fail to adapt to these ffic accumulation.
er of these bigger and more complex is a must for their operation. echnology, man force, production bution but if the future promises such s will become an integral component of
Future scenario
Economic status (Site)
Ground level plan
First level plan
Third level plan
urban
Second level plan
Mechanism
The shipping container and the advanced technology were combined to create the core adaptive unit. This system is used because of the multifaceted use it offers in catering for an ever changing pattern. The mechanism almost immediately caters The shipping containers move vertically serving as a market when on the ground level. The containers are reloaded with commodi- to changes in patterns of markets, thus ties through the logistics level,(sandwiched between two mechanized slabs) which is connected to the goods train offloading region. generating that buffer which markets often The mechanized slab holds pulleys that pull up the containers, and rollers which push up the containers. end up lacking.
academic
urban
Transverse Section
A section showing connections between the elevated rail corridor, the ground rail system, the bus depot and the new business hubs.
Longitudinal Section academic
07 A Place for happiness architecture
Designing an experience
Different navigation paths through the co-related spaces end up as different experiences.
Abstract space building based on permeability and axis.
A process of understanding happiness as a feeling, hinting its identification, interpreting its meaning and conveying it through architecture.
Abstract section models
The design is a result of the relationship between spaces, the emotions they evoke and the collective emotion that one has when he experiences the space in a particular succession.
Density study
Architectural design studio Year 3 1,500 sq.mt Paro, Bhutan
People density
academic
Movement patterns
Possible intervention
Important nodes
Conceptual massing Site analysis
architecture
The traditional prayer hall is taken and its spacial character inverted so as to have an open space with a fixed focus rather than an enclosed space with an axis oriented character.
The design houses multiple public functions such as; The triple height library at the heart of the layout with a direct entry on the ground level and an indirect entry from below ground. An Amphitheatre abutting the existing houses so that the fringe isn’t solid but instead, a permeable front.
academic
architecture
Co-published: “Bhutan Frozen in time”
A documentation on Bhutan through drawings, images, sketches and text. Team: hiral.ahir malhar.chawada karun.asrani sweedel.d’cunha sridiya.chintapali
The design creates a planned urban park which makes use of the space that was otherwise barren. It also activates the riverfront which was inactive due to the busy commercial main road.
Section B-B’
academic
Section D-D’
A walk to another world: An inverted meditation space.
Performances with nature as a backdrop and pre-stage.
Section A-A’
academic
architecture
Section C-C’
preservation
08
Moksh(A) Experimental Preservation Moksha
You can’t get any further away tillExperimental you start coming Preservation back. HowYou do can't you preserve not only physical space but the essence of space, character, soul, like get any further away till you start coming back. How do youitspreserve notitsonly physical legends bodies haveoflong beenitsgone, only their liveslike andlegends ideas still inspiring teaching spacewhose but the essence space, character, its soul, whose bodiesus,have long us, been guiding thustheir the lives approach is notstill to forcibly life into something it into pointless gone,us.only and ideas inspiringinstill us, teaching us, guidingand us, resurrect thus the approach is not to pieces of mediocre properties, less,itcharacterless, void of of contextual to forcibly instill lifephysical into something andspace resurrect into pointless pieces mediocrerespect physicalbutproperties, enhance experience that there once a livelihood thattoflourished region, preserving only spacetheless, characterless, void was of contextual respect but enhanceinthetheexperience that thereit was as past itself, letting it go into the hands of natural preservation or decay, experiencing natural erosion once a livelihood that flourished in the region, preserving it only as past itself, letting it go into the of what man oncepreservation imposed, momentarily understanding lifelong processes, hands of had natural or decay, experiencing natural erosion of what getting man hadinspired, once imposed, questioning ourselves as to whylifelong we holdprocesses, on to thingsgetting that should bequestioning let gone off,ourselves like a soulasthat momentarily understanding inspired, to has whyleft we a physical entity, making it blissful in its sense of absence. hold on to things that should be let gone off, like a soul that has left a physical entity, making it blissful in its sense of absence. the region is under threat from what man has done, the built mass, the global The pollution region is acts underthat threat manlevels has of done, mass,which the global actsupthatflooding are the are from raisingwhat water seastheandbuilt oceans shall pollution one day end raising levelswith of seas oceansofwhich shallthat oneflourished day end upamidst flooding site,covered drowning with it site,water drowning it theand essence livelihood the the snow wooden the essence of livelihood thattoflourished amidst theofsnow covered wooden houses.the Wespaces thus choose to houses. we thus choose restrict one aspect nature(water) from engulfing while on restrict one aspect of nature(water) from engulfing the spaces while on the other hand we let nature the other hand we let nature itself (snow, wind, erosion etc.) fade the physical leaving behind a itselfscenario (snow, wind, erosion fade the physical leaving behind a scenario depicting thephysical dynamic depicting theetc.) dynamic balance between time, space, nature and man. the balance between time, space, nature and man. manifestation of the program shall not only restrict water but instill an emotion so strong that it challenges the relevance of the built itself, engaging with the site in a hypothetical marriage of The conservative physical manifestation the program shall not only restrict water but instillthe ancore emotion so of strong design andofdesign for conservation, exponentially enhancing reason travel to thatthis it challenges the relevance of the built itself, engaging with the site in a hypothetical marriage of thus no longer void interpretation. the program is an embankment impregnated with a graveyard, conservative andofdesign foressence conservation, enhancing to try creating adesign dialogue only the of life, exponentially for the diseased, the sitethe andcore the reason mindsetofoftravel we who this to nopreserve longer void interpretation. The program is an embankment impregnated with a graveyard, thus almost everything that we come across, overly attached to our pricey hollow possescreating a dialogue of only the essence of life, for the diseased, the site and the mindset of we who try sions, let it go, enough of man. to preserve almost everything that we come across, overly attached to our pricey hollow possessions, let it go, enough of man. 120 hours design competition Year 4 Svalbard, Norway
Design for Long term Preservation
Challenge
Preservation of “Character of Space�
Preservation
Preservation from human induced Climate change.
Intervention Embankment.
Current Scenario
The Physical aspect of the region is Static but has a strong mysterious life
Program
Spiritual Burial Embankment.
Instilling a pulse that reaches out to a specific set of users
competition
Hypothesis
Borrowing from the Character of the region, the program reflects a direct intangible connection to it.
preservation 2 Students 120 hours
competition
09 Cellular parametric 3d paneling
Cellular parametric 3d paneling
Cellular parametric 3d paneling
Cellular parametric 3d paneling
interior
Edge curves
Poetry in Parametrics
Modular surface mapping
Parametric paper installation pushing limits of the renewable “everyday� material. The attempt is to collate origami and parametric modelling with paper as a pivotal medium.
SEAD Consultants Summer internship Irla, Mumbai, India
Surfaces
Extruded modules
Installation process professional
interior
Final Installation 2 People 800 modules 1 Installation
professional
10 Leaf growth and position variation
Hive Minds
installation
Behavioral Mimicry
Based on Kevin Kelly’s “Out of Control,” the design workshop investigates into the phenomenon of collective intelligence in nature. Species demonstrate the ‘hive mind” through simple interactions between individual organisms at a local scale to perform complex global operations. Specific collective behaviors (such as defense, propagation, foraging, locomotion etc.) were documented through diagrams based on the parameters (such as sight, structure, communication, linkages etc.) that define the interaction between the individual organisms. Patterns of interactions were evolved through process of generative models analyzing the parameter. Selected projects were built at an experimental scale.
Shadow growth and interference mapping
Leaves The collective intelligence of leaves as efficient light receivers was studied, giving rise to patterns of growth, overlap and re-positioning based on proximity of different leaves, sun paths and inherent growth patterns of the respective species. The installation is an iteration responding to a light source at an angle, thus the system creates hollow spaces and leaves(t he modules) of various scales based on the constrains.
Scaled down process models
Foundation workshop Year 2 BSSA corridor, Mumbai, India
Building process (Heat bending acrylic sheets, riveting metal sheets) academic
installation
Module variants
Final installation academic
3 Students Design selected in Top 10 1 Installation
11 interior
Unilab Pharma Office The proposal is to create an open plan interior, bringing natural light, transparency and a contemporary fresh feel. Inspired with the form of chemical composition, the lighting and furniture will create a layered pattern showcasing the different formulas used, making the pharmaceuticals as pieces of art.
Workdesk design
The work-spaces are arranged centrally within the space on long desks that will allow for an expansive and flexible feel. Using mix of textures and lights the design will bring a tactility and softness to the space. Furniture and door panels have been machine cut and pre-fabricated.
Studio Amita Vikrant 150 sq.mt Under construction (Andheri, Mumbai, India)
Workdesk under construction professional
interior
File storage panels
Door into pantry
Office back wall
Wall elevation showing different types of CNC routed elements
Each panel conceals storage spaces behind itself. professional
Wall panels as built
12
N
N
architecture
An Urban Fringe An experiment with indirect opening up of spaces derived from the area of study (A 500m stretch between Marine drive railway station and Masjid bunder railway station). The design is situated on the “fringe” between the British era Fort wall that defined the old town and local settlements of the mill workers. The design employs indirect axes that bleed into each other, derived from the character of space available on site, as a key aspect such that there is no strict definition of “space” within the project.
Ground level plan
First level plan
Such architecture lends itself well to an art institute that vocationally enhances local as well as advanced skills in related fields. (Photography, Theatre, Gallery, Workshop among others)
Architectural design studio Year 2 400 sq.mt Wellington street, Mumbai, India
Scale model made by coating wire mesh with Plaster of Paris academic
All drawings for this project are made by hand.
Section B-B’
A set of working drawings has been created for this project for academic exploration. Though there is a change in the built architecture, there has been maximum effort to make minimum changes to the concept design.
Section C-C’
Section A-A’
academic
architecture
The language of the architecture breaks edges and makes flow from one space to the other seamless.
NOTES:
INTERNAL STREET
G+3 EXISTING STRUCTURE ELEVATOR SHAFT 2000 X 2000
C2
2
1
-0.45 ELECTRICAL ROOM -0.15
2 1 C13
WORKSHOP -0.90
3250
W C S F C12
C16
2150
TOILET
TOILET
-0.92
-0.92
W1 C S1 F1
W C S F
1
2
3
3 4
5
6
C
D7
EXISTING STRUCTURE ABOVE
DN
W1 C S1 F1
V1
4
5
6
V1
C17
1150
D5
G+1 EXISTING STRUCTURE
DUCT D8
LARGER DUCT ON UPPER LEVEL
VOID OPEN TO SKY
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
G+3 EXISTING STRUCTURE
STAIRCASE SCHEDULE STAIRCASE 1 TREAD TREAD 300X1000 APPROX RISER RISER 150 NO. OF RISERS NO. OF RISERS 22 F.F. F.F. 3300 TREAD RISER NO. OF RISERS F.F.
11. ALL BRICK WORK IS IN ENGLIS BOND.
Z
D6
09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS
10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE RELEVANT SERVICE DRAWINGS.PROVISION TO BE MAD FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.
D4
C15
D6
1000
W C S F C11
GREEN ROOM -0.90
GREEN ROOM -0.90
-0.45
STEP 4
3
-0.90
DN
D8 D8
08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.
+0.00
W C S F
06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
B
PERFORMANCE AREA -1.35
DN
05. THIS DRAWING IS TO BE READ CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.
EXECUTION NOTES
D3
C10
2 C14
INTERNAL STREET
2190
2580
C7
DW1
Y
OP2
UP C9
A
RAMP
04. DO NOT SCALE THE DRAWING ONLY WRITTEN DIMENSIONS TO B FOLLOWED.
C4
CHAJJA ABOVE
STEP 2
+0.00
3
W C S F
-0.30
12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDIN UNLESS UNTIL SPECIFIED. 13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND AL LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.
PROJECT NAME
SITE + X
1
TREAD RISER NO. OF RISERS F.F.
RAMP 1:10
C3
4
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT NOTICE BEFORE COMMENCING TH WORK.
6720
11370
HOP ENTRANCE TO WORKS
5
C8
C6
3
C5
B
6
STEP 3
2
7
OHT +0.1
13
-0.15
STEP 1 1
9 8
1
-0.45
10
11 12
STAIR
+0.00
MAIN ENTRANCE
B2 D1
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND METERS UNLESS OTHERWISE SPECIFIED
INTERNAL STREET
+0.00
1280
OP1
3850
architecture
W C S F
B1
DN
VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT
01. ALL EXISTING GROUND LEVEL TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
INTERNAL STREET
600
RECEPTION
GENERAL NOTES:
+0.00
C1
STEP 1 300X3400 APPROX 150 3 450 STEP 2
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETE AUTHORITIES.
G+2 EXISTING STRUCTURE
U
X
4
2000
EXISTING STRUCTURE ABOVE
C
3
VOID OPEN TO SKYLIGHT
5400
420
A
A1
1
1. THIS DRAWING IS A PROPERTY MALHAR CHAWADA AND SHALL NO BE REPRODUCED WITHOUT WRITTEN PERMISSION.
2 STEP 3 300X900 APPROX 150 6 900 STEP 4 300X1700 APPROX 150 3 450
3
W = WINDOW
V = VENTILATOR D = DOOR
TYPE NO SIZE(W X L) SILL DESCRIPTION POLISHED TEAK WOOD FRAME D1 1 2600X3000 00 WITH VENEER FINISHED TEAK WOOD PIVOTED PANEL DOOR
ANODIZED ALUMINIUM SLIDING FRAME SHUTTER WITH TRANSPARENT GLASS PANEL 1 900 X 2200 150 POLISHED TEAK WOOD FRAME WITH POLISHED TEAK WOOD HINGED DOOR ENCASING GLASS PANELS
DW1 1 5000X3500 00
D3
W = WINDOW
V = VENTILATOR D = DOOR
TYPE NO SIZE(W X L) SILL DESCRIPTION POLISHED TEAK WOOD FRAME D5 1 900X2500 00 WITH HINGED POLISHED TEAK WOOD PANELS D6 2 750X2200 00 POLISHED TEAK WOOD FRAME WITH HINGED POLISHED TEAK WOOD PANELS D7
1200X2500 00
POLISHED TEAK WOOD FRAME WITH VENEER FINISHED TEAK WOOD PIVOTED PANEL DOOR
academic D8
1800X2200 00
POLISHED TEAK WOOD FRAME
4
MARINE LINES
NOTE Construction drawing (Ground level plan)
TABLE OF FINISHES
DOOR WINDOW SCHEDULE D = DOOR
MEDIA INSTITUTE
W = WINDOW
V = VENTILATOR
TYPE NO SIZE(W X L) SILL DESCRIPTION OP2 1 VARIES 1300 ORGANIC OPENING IN THE R.C.C WALL 2000 VENTILATOR AS PER MANUFACTURER'S SPECIFICATIONS
V1
2
300X300
WI
1
600X1000 1500 ANODIZED ALUMINIUM FRAME WITH GLASS LOUVERS
W C S F W1 S1 F1 W2 C1
NEERU FINISHED PLASTER. NEERU FINISHED PLASTER. CURVED TERRAZO TILE SKIRTING. ROUGH BRUSHED PLASTER FINISH. FULL HEIGHT DADO. 150MM-MATCHING THE FLOOR FINISH. SLIP-PROOF FLAMED KOTA STONE. PLASTERED AND PAINTED. PLASTERED AND PAINTED.
CO-ORDINATE SYSTEM IS ADOPTED FOR CURVED STRUCTURE WITH RESPECT TO X AND Y BENCHMARK OF A PERMANENT LOCATION AT SITE WHERE X = 0.0 , Y = 0.0
NOTE
BRICKWORK RCC SIPOREX WALL
WORKING DRAWING
NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04
CENTERLINE DIMENTIONES SCALE: 1: 50 BETWEEN R.C.C WALL SHOULD BE GROUND LEVEL PLAN THE PURPOSE OF WALLS WITH VARYING FOLLOWED AS PER THE THICKNESS IS TO HIDE COLUMNS AND TO GIVE THE CO-ORDINATE SYSTEM FROM
NOTE
STRUCTURE A FLOW AESTHETICALLY
N
NOTES:
3
VOID OPEN TO SKYLIGHT
4
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETE AUTHORITIES.
2000
5400
G+2 EXISTING STRUCTURE
GENERAL NOTES:
01. ALL EXISTING GROUND LEVEL TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
U FC3
FC2
D9
FC1
PHOTOGRAPHY DARK ROOM +3.6
+3.6
VOID OPEN TO SKYLIGHT
W C S F
ELEVATOR SHAFT 2000*2000
OP1
W2 C1 S F
G+3 EXISTING STRUCTURE
+3.6
FC4
9
UP
8 7
6
C3
5
FC6
15
VOID
1400
17
RAILING
20
19 18
17
STEP 7 UP
2
+2.55
C7
FC8
2 D9
D10 V1
D10
STEP 6
X
1130
FC9
C15
GENTS TOIlLET +4.85
06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
EXECUTION NOTES
B
C16A
C
C16B
08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.
10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE RELEVANT SERVICE DRAWINGS.PROVISION TO BE MAD FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.
11. ALL BRICK WORK IS IN ENGLIS BOND.
D10
C17
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS
Z
G+1 EXISTING STRUCTURE
FC10
14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND AL LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.
VOID OPEN TO SKYLIGHT
2
12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDIN UNLESS UNTIL SPECIFIED. 13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
D9
G+3 EXISTING STRUCTURE
1
1410
DUCT
LADIES TOILET +3.75
D10
1510
C12
V1
1040
W1 C S1 F1
1 2 3
C11
W C S F
3
C14
W1 C S1 F1
C
CLASSROOM +4.5
1
+3.3
EXHIBITION HALL ON RAMP +3.3 W C S F
D11
4.4 W C S F
VOID
UP STEP 5
21
AT 1:10
EXHIBITION HALL ON RAMP +4.00
2 22
RAMP UP
16
FC7
4.5
VOID
14
W C S F
RAILING
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT NOTICE BEFORE COMMENCING TH WORK.
05. THIS DRAWING IS TO BE READ CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.
C4
EXISTING CORRIDOR
10
11 12 13
CORRIDOR +3.6
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND METERS UNLESS OTHERWISE SPECIFIED
04. DO NOT SCALE THE DRAWING ONLY WRITTEN DIMENSIONS TO B FOLLOWED.
B2
C1
1
Y
C2
FC5
EXISTING CORRIDOR
VERTICAL LADDER TO TERRACE
architecture
1
1. THIS DRAWING IS A PROPERTY MALHAR CHAWADA AND SHALL NO BE REPRODUCED WITHOUT WRITTEN PERMISSION.
3
4
PROJECT NAME
SITE + X
MEDIA INSTITUTE MARINE LINES
NOTE
DOOR WINDOW SCHEDULE D = DOOR
W = WINDOW
V = VENTILATOR D = DOOR
TYPE NO SIZE(W X L) SILL DESCRIPTION POLISHED TEAK WOOD FRAME D9 3 1000X2200 00 WITH HINGED POLISHED TEAK WOOD PANELS D10 4 750X2200
00
D11 1 1000 X 2200 00
POLISHED TEAK WOOD FRAME WITH HINGED POLISHED TEAK WOOD PANELS POLISHED TEAK WOOD FRAME WITH HINGED POLISHED TEAK WOOD PANELS
W = WINDOW
V = VENTILATOR
TYPE NO SIZE(W X L) SILL DESCRIPTION VENTILATOR AS PER V1 2 300X300 00 MANUFACTURER'S SPECIFICATIONS TABLE OF FINISHES W C S F W1 S1
NEERU FINISHED PLASTER. NEERU FINISHED PLASTER. CURVED TERRAZO TILE SKIRTING. ROUGH BRUSHED PLASTER FINISH. FULL HEIGHT DADO. 150MM-MATCHING THE FLOOR FINISH.
STAIRCASE SCHEDULE STEP 5 TREAD 300X1000 APPROX RISER 150 NO. OF RISERS 2 F.F. 300 STEP 6 TREAD 300X1400 APPROX RISER 150 NO. OF RISERS 3 F.F. 450
THE PURPOSE OF WALLS WITH VARYING THICKNESS IS TO HIDE COLUMNS AND TO GIVE THE STRUCTURE A FLOW AESTHETICALLY
NOTE
ALL OPENING SIZES TO BE REFERRED FROM THE CO-ORDINATE SYSTEM DRAWING SPECIFIED TO THIS PURPOSE
a c NOTE ademic CO-ORDINATE SYSTEM IS
NOTE
CENTERLINE DIMENTIONES BETWEEN R.C.C WALL SHOULD BE FOLLOWED AS PER THE CO-ORDINATE SYSTEM FROM SETTING OUT PLAN
NOTE
FLOATING COLUMNS HAVE BEEN ADOPTED BECAUSE OF THE FLUIDITY OF THE STRUCTURE. THEY REST ON THE FLAT SLAB
NOTE
Construction drawing (First level plan)
BRICKWORK RCC SIPOREX WALL
WORKING DRAWING
NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04 SCALE: 1: 50 FIRST LEVEL PLAN
N
NOTES:
C
B U
INTERNAL STREET
STEP 6
1
4
Z
G+1 EXISTING STRUCTURE
2
+7.7
3
4
1:200
CLASSROOM
STEP 5
+3.3
EXHIBITION HALL ON RAMP 1:10 22
+3.6 21
20
19
12130
12920
3
350
+4.85
2000
800
X-3460 Y10060
INTERNAL STREET 540
60
LEGEND
IMAGE
ICON
FUNCTION
MATERIAL DESCRIPTION
MULTI COLOURED LIGHTS TO BE USED DURING DIFFERENT KINDS OF PERFORMANCES IN THE PERFORMANCE AREA
L1
FUNCTION CEILING LIGHT
Edison Chandelier Light Pendant Lamp Ceiling Hanging - 7 Bulbs
T5 8W/4X54W FLUORESCENT SUSPENDED LIGHTING FIXTURES Opal PMMA diffuser Aluminium alloy(6063)end caps Luminaires are fitted with GPT electronic ballasts.
SUSPENDED CASE LIGHTING FOR PRIVATE FUNCTIONS SUCH A WORKSHOPS.
9W LED 3X3W Recessed Ceiling Light Cabinet Downlight Spot Lamp Bulb cool white
CONCEALED MOVABLE LED LIGHTS TO HIGHLIGHT COUNTERS.
L4
3
Output Power: 9W(3*3W), High Brightness and Low Heat.
HUGEWIN 3W Surface Mounted LED Spotlight AC85V-265V lighting Spot Lamp Hot Sale HSD403 SUMSUNG CHIPS
CEILING LIGHT BEHIND SLIDING ROLLING FINS
16x27mm Standard Led Neon Flex Light, 220V/240V high voltage
LED LIGHT INSTALLATION IN LOBBY
PLACEMENT ALONG CENTER LINE OF COUNTER TOP OF SNACK BAR
L3
ALIGNMENT OF LIGHTS EITHER PARALLEL OR PERPENDICULAR TO CENTERLINE X-X AS INDICATED ON DRAWING
L4
LIGHTS ABOVE PERFORMANCE AREA ARE 790MM AWAY AND PARALLEL TO CENTERLINE 3-3
L2
4
Model: NF-S80x-220V/240V
X-230 Y9920
X760 Y9680
X1470 Y9460
B2
X1400 Y9400
G+3 EXISTING STRUCTURE
X6700 Y11830
X4700 Y11830
ELEVATOR SHAFT TO BE CLEARLY 2000 X 2000
C2
X1230 Y9880
X4700 Y9830
X6700 Y9830
X7630 Y9580
X4100 Y9470
B' 02. ALL DIMENSIONS ARE
X2760 Y8360
X780 X500 Y7170 X1450 Y7090 Y6970
X1600 X-2470 X-1990 Y6360 X-3250 X-2880 Y6270 Y6320 Y6190 Y6230
X-1090 Y6400
X170 Y6770
X-410 Y6520
X3410 Y6910
A
X2050 Y5810
B.S.S.A
C7
X3650 Y4870
REFERENCE POINT 1
X6580 Y7910
X7210 Y4190
REFERENCE POINT 2
X7900 Y4400
C14
X8530 Y4520
X2790 Y800
X0 Y0
X6300 Y2500
X4400 Y860
X11090 Y7160
X12840 X13290 X13750 Y7580 Y7620 Y7640
X6000 Y1800
X5600 Y1300 X5300 X4880 Y1130 Y920
X9740 Y4480
X14720 Y7700
X015390 Y7800
X17550 Y8690 X17600 Y8290
X17110 Y8630 X16780 Y8390
Y
X17670 Y7960
X17890 Y7350
C10
X19030 Y6380
X20630 Y6320
X19560 X20020 Y6310 Y6310
B
X21830 Y6390
X21240 Y6350
X10530 Y4420 X11360 Y4120
X6830 Y3790 X6640 Y3600 X6470 Y3180 X6400 Y2900
C12
X1160 Y840
X10330 Y7070
X12300 X11840 Y7510 X11460Y7380 Y7260
X16250 Y8100
X9100 Y4600
SHEET NO:08 X540 Y890
X9590 Y7110
C9 X10620 Y8040
2
X4980 Y5790
C13
B.M FOR THEODOLITE OR TOTAL STATION
X8670 Y7410 X9100 Y7420
X17460 Y8780
C4
X10120 Y8320
X18380 Y6650
DATE: 29.03.14
X0 Y900
X8090 Y7660
X4270 Y5120
C11
X-530 Y1000
X5970 Y7800 X5610 Y7480
X4690 Y5420 X3000 Y4970
X9690 Y8570
C8 X7210 Y7930 X7630 Y7830
X5350 Y6850
X2420 Y5350
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S SIGN: NOTICE BEFORE COMMENCING THE R.C.C RETAINING WALL ON EDGE OF STREET WORK.
X5170 Y7570
POINT WHERE WALL ENDS
X1640 Y6720
N
X8710 Y9040 X9130 Y8850 X4840 Y8450
X3110 Y7800
X1240 Y7510
C3
X8170 Y9350
X4570 Y8800
X2400 Y8790
WORKING DRAWING
C15 X12090 Y3680
C16
C
ST2
X12710 Y3340 X13110 Y3190 X13530 X13960 X14380 Y3080 Y3000 Y2950 X14810 X15240 X18810 X15700 Y2890 Y2640 Y2820 Y2740 X16190 X16680 X17180 X17660 X18120 X18560 Y2660 Y2590 Y2570 Y2600 Y2620 Y2630
X21840 Y2770
C17
(REFER SHEET 01)
G+1 EXISTING STRUCTURE
R.C.C EDGE RETAINING WALL ON EDGE OF EXISTING STRUCTURE
G+3 EXISTING STRUCTURE
4
3 A1
1 W0
Z
3
4
G+2 EXISTING STRUCTURE
S
E
3
2
+0.00
2
1
1
STEP 2
PERFORMANCE AREA
WATERPROOFING CEMENT MIX
-1.35
BRICK WALL 500 THICK RAFT SLAB
SECTION B-B'
150 THICK P.C.C LEVELING BED RUBBLE PACKING COMPACTED EARTH
3
academic
4
G+3 EXISTING STRUCTURE ELEVATOR SHAFT TO BE CLEARLY 2000 X 2000
C2
B2 B
B'
C
C3
B'
C4
Y
C9 C8
C6 C5
C10
A
B
2
C7
Setting out plan C14
C13
C15
C16
C
ST2
R.C.C RETAINING WALL ON EDGE OF STREET
ST1
C11
C12
Z
C17
(REFER SHEET 01)
G+1 EXISTING STRUCTURE
R.C.C EDGE RETAINING WALL ON EDGE OF EXISTING STRUCTURE
X
G+3 EXISTING STRUCTURE
REFERENCE POINT 1 N0, W0 X0, Y0
Section B-B’
N E
:2
C1
S
TIERS
N1
08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.
SETTING OUT PLAN 1:50
B1
A U
W
INTERNAL STREET
2
6720
M.S GRATING OVER GUTTER GUTTER TO PREVENT WATER INFLOW 3
1
EXECUTION NOTES
2500
+0.00
1
X-1330 Y10030
07. ALL STRUCTURAL W0 DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
D4
-0.90
L1
X1960 Y9150
X
OP2
WORKSHOP
X-2190 Y10040
N0, W0 PLASTER 15mm , 06. INTERNAL X0, Y0 EXTERNAL PLASTER 25mm. AS PER DRAWINGS, NUNLESS OTHERWISE SPECIFIED.
300
ED
INTERNAL STREET
OP
GENERAL NOTES:
05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL 3000 & SERVICES DRAWINGS. +2.5
DW1
OP
MATERIAL DESCRIPTION Euro Lite LED THA-100F COB 3200K Color Temperature: 3200K Beam angle: 10 ° - 50 ° Number of LEDs: 1 LED Type: COB LED 100 W, white DMX Connector: 3-pin and 5-pin XLR DMX channels: 1, 3 channels (2 modes) Dimensions: 38.7 x 30.5 x 37.0 cm
L3
X-3020 Y1290
+2.55
3300
SL
IMAGE
L5
4
Plan showing lighting layout
LEGEND ICON
B1
01. ALL EXISTING GROUND LEVELS WATERPROOF SHEET PEDESTAL ROD TO BE VERIFIED BY THE ON EDGE OF WALL BRICK BAT COBA CONTRACTOR BEFORE B COMMENCING THE WORK. B'
04. DO NOT SCALE THE DRAWING. CWRITTEN DIMENSIONS ST1 ONLY TO BE FOLLOWED.
+4.5
CORRIDOR OF EXISTING STRUCTURE
1000
3 1:50
W
17 STAIR 1
4
+4.5
M.S GRATING OVER GUTTER GUTTER TO PREVENT WATER INFLOW
INTERNAL STREET
2
NAME C6 UNFINISHED AND ARE IN MM : MALHAR CHAWADA C5 UNLESS OTHERWISE SPECIFIED. CLASS: YR.3 ROLL NO:04 ALL DIMENSIONS SHOULD BE Z 450VERIFIED SCALE: 1: 50 B' AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SECTION A-A' SPECIFIED
SKYLIGHT 5
ROOF PLAN 1:200
+3.9
300 THICK FLAT SLAB 18
LARGER DUCT ON UPPER LEVEL
STRUCTURE
X1040 Y10540
C
+9.2
G+1 EXISTING STRUCTURE
+7.6
G+3 EXISTING STRUCTURE
TERRAZZO TILE CURVED SKIRTING
+4.85
1690
L3
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
D8
BY-LANE
2 1
0
BY-LANE
SKYLIGHT 3
SKYLIGHT 4
+3.3
VALLEY
W3 _ S1 F2
A
TERRAZZO TILE CURVED SKIRTING 1:10
+8.45
3950
+7.7
X
450
D11
FIRST LEVEL PLAN
HALL ON RAMP
+7.6
Ø100MM RAIN WATER DOWNTAKE PIPE
VOID OPEN TO SKYLIGHT
1
EXHIBITION
W3 _ S1 F2
+7.6
A
GROUND LEVEL PLAN 1:200
CORRIDOR OF EXISTING STRUCTURE
+6.7
C
FC9
C17
+3.75 FC10
EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER
VALLEY
+7.6
W3 _ S1 F2
Z
G+1 EXISTING STRUCTURE
DUCT
97
BY-LANE
EXISTING CORRIDOR
UP
D10
LADIES TOILET
D9
G+3 EXISTING STRUCTURE
A 3400
DUCT
W1 C S1 F1
C12
1 2 3
C11
X
+7.65 BUND WALL 300MM HIGH
+7.6
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO RCC APPROVALS FROM ALL COMPETENT A 580 AUTHORITIES. C1 SIPOREX WALLS
U
BUND WALL 300MM HIGH
+7.7
DN 6
5
BY-LANE
3
VOID
EXISTING CORRIDOR
1
INTERNAL STREET
INTERNAL STREET
DN
STEP 3
+0.00
STEP 2
2
INTERNAL STREET
STEP 1
STAIR
MAIN ENTRANCE
+0.00
VOID OPEN TO SKY
1
C
INTERNAL STREET
15050
ENTRANCE TO WORKSHOP
STEP 4 50MM GAP LEFT DUE TO ABANDONED SHUTTERING
VOID OPEN TO SKY
D10
BUND WALL 300MM HIGH
W3 _ S1 F2
+8.8
+7.7
BUND WALL 300MM HIGH
TRANSLUCENT POLY CARBONATE +7.7 +7.7 SHEET IN ALUMINUM FRAME
+7.7
C
L2
2810
4
6720
INTERNAL STREET
G+1 EXISTING STRUCTURE LARGER DUCT ON UPPER LEVEL
OP
SKYLIGHT 2
EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER
B
C
C16B
12
1400
9880 C17
DUCT
D8
V1
C16A
C15
6720
+6.7
G+3 EXISTING STRUCTURE
D10
EXHIBITION HALL ON RAMP +3.3 W C S F
GENTS TOIlLET +4.85
2100
0
Z
W1 C S1 F1 D10 V1
B'
50
31
6 L4
L3
80
6
+3.3
W C S F
5
3 4
L3
2160
5
+7.6
D9
00 12
4
C14
50
D5
B
DN
W1 C S1 F1
C7
17
C EXISTING STRUCTURE ABOVE
17
540
6
19 18
530
5
20
2 3
620
3 4
21
CLASSROOM +4.5
1
FC8
2110
3
D6
V1
2380
V1
2
2
3590
W1 C S1 F1
1
D7
EXHIBITION HALL ON RAMP +4.00 +2.55
B
1000
-0.92
+7.7
UP STEP 5
22
STEP 7 UP
VOID
FC7
W C S F
SKYLIGHT 6
C4
D11
4.4
AT 1:10
00
W C S F
TOILET
-0.92
FC6
RAMP UP
2 1
+8.8
C3
6 5
21
C12
C11
D6
TOILET
8 7
17
L3
W C S F
C16
B'
9
16
SKYLIGHT 6
SKYLIGHT 3
W C S F
-0.45 D4
C15
50
GREEN ROOM -0.90
GREEN ROOM -0.90
16
WORKSHOP -0.90
-0.90
10
TRANSLUCENT POLY CARBONATE 4.5 SHEET IN ALUMINUMVOID FRAME
15
L5 2 3
1
2000
D7
REFLECTED GROUND FLOOR PLAN SHOWING LIGHT FIXTURES
X1020 Y11560
SKYLIGHT 4
1 C13
DW1
L3
2
11
12
13
14
W C S F
B +0.00
L2
V1
X1000 Y11160
Y
9880
3
6720
11370
D8
C2
B2
C1
CORRIDOR +3.6
L2
3970 L5
W1 C S1 F1
1150
D5
L3
MARINE LINES
9740
+7.7
W3 _ S1 F2
1600
MEDIA INSTITUTE
4
G+3 EXISTING STRUCTURE
OVER HEAD TANK W3 _ S1 F2
+6.7
FC4
15050
B +0.00
1400
3850
D8
W2 C1 S F FC5
D3
C10
PERFORMANCE AREA -1.35
3
SKYLIGHT 1
Y
ELECTRICAL ROOM -0.15
D3
L1 L1
SITE + X
1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.
A'
+6.7
G+3 EXISTING STRUCTURE
-0.92
V1
NAMEG+2 EXISTING STRUCTURE
NOTES: PROJECT
G+2 EXISTING STRUCTURE
VOID OPEN TO SKYLIGHT
+3.6
TOILET
-0.92
L1
L2
L1
D6
780
NOTES:
GENERAL NOTES:
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.
1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.
01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.
04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.
EXECUTION NOTES
05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.
09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS
10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.
11. ALL BRICK WORK IS IN ENGLISH BOND.
12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED.
13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.
SITE + X
RCC
PROJECT NAME
SIPOREX WALLS
MEDIA INSTITUTE
WATERPROOF SHEET
MARINE LINES
N
BRICK BAT COBA
WORKING DRAWING
SCALE: 1: 50
NAME : MALHAR CHAWADA
CLASS: YR.3 ROLL NO:04
ELECTRICAL ROOM -0.15
C9
DN
OP1
+3.6
4
10210
1
U
VERTICAL LADDER TO TERRACE
W C S F
ELEVATOR SHAFT 2000*2000
2150
W1 C S1 F1
70
B' C7
PHOTOGRAPHY DARK ROOM +3.6
3
4
SKYLIGHT 4
GREEN ROOM -0.90 D6
TOILET L3
+6.7
+3.6
+0.0
4
Y
Z
450
C
-0.45
SKYLIGHT 2
FC3
FC2
D9
FC1
Y
OP2
UP
C14
3
VOID OPEN TO SKYLIGHT G+2 EXISTING STRUCTURE
CHAJJA ABOVE
1
1
11
3
SKYLIGHT 6
EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER
+7.7
SKYLIGHT 5
+9.2
W3 _ S1 F2
+8.45
1
U
1 W0
GLAZED TILE TABLE TOP
A'
C4
TRANSLUCENT POLY CARBONATE W C S F SHEET IN ALUMINUM FRAME
GUNITED ROUGHT CEMENT PLASTER
L1
L5
PERFORMANCE AREA -1.35
400
3 2
810
3100
3600
BUND WALL 300MM HIGH
9740
+7.65
W3 _ S1 F2
VALLEY
2
1050
+7.7
+7.6
G+1 EXISTING STRUCTURE
+7.6
G+3 EXISTING STRUCTURE
BUND WALL 300MM HIGH
+7.6
BUND WALL 300MM HIGH
+7.7
W3 _ S1 F2
3
2
D8 D8
GREEN ROOM -0.90
1310
SKYLIGHT 1
G+2 EXISTING STRUCTURE
OP
A'
+6.7
+7.6
+7.7
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
+7.6
SKYLIGHT 2
OVER HEAD TANK W3 _ S1 F2
+7.7
10210
SKYLIGHT 1
VALLEY
W3 _ S1 F2
BUND WALL 300MM HIGH
W3 _ S1 F2
+7.7
G+2 EXISTING STRUCTURE
+7.7
TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME
850
1
+6.7
EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER
+7.7
+6.7
4
C8
A
1310
+6.7
+0.00
U
C
5
OHT +0.1
-0.30
RAMP
W C S F
1310
+3.6
11370
O.H.T
UTILITY
PASSAGE
B
WATERPROOFING CEMENT MIX
BRICK WALL
150 THICK P.C.C LEVELING BED RUBBLE PACKING COMPACTED EARTH
B'
RAMP 1:10
C3
630
B2
B2
4
Y
B
Z
C
6
WOODEN FLOOR
290
C16B
12 13
-0.15
7
0 90
U.G.T
3
C4
W C S F
CLASSROOM +4.5
SHEET NO:08
DATE: 29.03.14
9 8
C6
3
C5
C
X
2
10
11
D1
-0.45
DN
1
1000
C2
B2
1860
3850
B
D11
4.5
C16A
SKYLIGHT 2
+4.00
FC6
B
FC4
1
4.4
2
3
C15
G+3 EXISTING STRUCTURE
VOID
UP
D9
STEP 7
G+1 EXISTING STRUCTURE
VOID OPEN TO SKYLIGHT
FC8
W1 C S1 F1
GENTS TOIlLET +4.85
W C S F
D10
D10
VERTICAL LADDER TO TERRACE
AT 1:10
B.S.S.A
SECTION A-A'
SIGN:
U
B
ELEVATOR SHAFT 2000*2000
OP1
C1
+0.00
+7.7
4
G+3 EXISTING STRUCTURE
B1
EXISTING STRUCTURE ABOVE
A
B
3
VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT
+0.00
600
1060
C3
-0.90
A'
+3.6
6 5
W C S F
V1
FC9
RAMP UP
2
C17
TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME
8 7
C14
4
VOID OPEN TO SKYLIGHT
W C S F
Section A-A’
L1680
L1640
L4
L3
WORKSHOP -0.90
14. THE PURPOSE LEGEND OF THE CENTER LINE IS TO IDENTIFY THE ICON MATERIAL DESCRIPTION LOCATIONS OF COLUMNS AND ALSO ROUGH FINISHED IPS FLOOR LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND SMOOTH FINISHED IPS FLOOR TRANSFERRING THE LOAD OF THE FURNITURE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL. GROUND MOUNTED SPOTLIGHT A1
MATERIAL DESCRIPTION HIGH STREGTH IPS FLOOR
DN
3000
13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
SECTION A-A'
G+2 EXISTING STRUCTURE
RECEPTION
2
12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING 1 UNTIL SPECIFIED. UNLESS
ICON
610 L4
0
+7.7
9
FC3
V1
EXHIBITION HALL ON RAMP +4.00
EXHIBITION HALL ON RAMP 1:10
10
D10
D10
300 THICK FLAT SLAB
11
W1 C S1 F1
+3.75
ELEVATOR SHAFT 2000*2000
12
13
14
+2.55
WORKSHOP
OP1
17
16
15
C12
VOID OPEN TO SKYLIGHT
C2
+3.6
B2
C7
LADIES TOILET
G+2 EXISTING STRUCTURE
17
3
A1
1
A
11. ALL BRICK WORK IS IN ENGLISH BOND. G+3 EXISTING
B2
650
STEP 4
FC2
W C S F
D9
19 18
12130
1
B
900
L5
10. ALL MECHANICAL CUT-OUTS & 3000 SLEEVES TO BE IN L3 CONJUNCTION WITH RESPECTIVE & 70 15 L4 RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS 2900 IN ALL DUCT 3000 SHAFTS & CUTOUTS ON ALL L3 FLOORS.
150 THICK P.C.C LEVELING BED RUBBLE PACKING COMPACTED EARTH
C
A'
L4
Y
L5
UP 400
3310
09. FOR DOORS AND WINDOWS 330 REFERL4 THE RESPECTIVE DOOR/WINDOW SCHEDULE L3 DW1 DRAWINGS
L1
780
1
2390
C1
20
VOID
1 2 3
0
W2 C1 S F
PHOTOGRAPHY DARK ROOM +3.6
21
+3.3
22
EXHIBITION HALL ON RAMP +3.3
W C S F
CORRIDOR +3.6
FC7
A
BRICK WALL
2
L4
L3 08. FOR ALL CIVIL DETAILS REFER L4 RAMP RESPECTIVE DRAWINGS.
X
WATERPROOFING CEMENT MIX
U.G.T
500 THICK RAFT SLAB
3
2690
C
-0.90
C
FC1
FC5
C11
UP STEP 5
2
1
-0.90
4
DN
D10
LADIES TOILET +3.73
GREEN ROOM
1
500 THICK RAFT SLAB
SECTION A-A'
U
C
12920
ROOF PLAN 1:200
G+3 EXISTING STRUCTURE
architecture
+7.6
-0.92
D6
LADIES TOILET +3.73
D10
TOILET
B
92
6720
B'
LADIES TOILET +3.75
Y
Z
PASSAGE -0.90
CHAJJA ABOVE
B
C
+0.00
EXISTING STRUCTURE ABOVE
1
INTERNAL STREET
WORKSHOP
5
67
4
D3
D4
Ø100MM RAIN WATER DOWNTAKE PIPE
-0.90
GREEN ROOM
-0.92
TOILET
C
L4
6
OHT +0.1
13
L1
500
DN
X
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
7
12
1300
700
33
9 8
370
6
450
PASSAGE -0.90
B2
EXECUTION NOTES DN
+0.00
5
C10
4
900
-0.90
+0.0 +0.00
PASSAGE
780
00
10
11
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE 1 2 3 STRUCTURAL DRAWINGS.
MARINE THIRD STREET
4
ELECTRICAL ROOM -0.15
-0.45
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
3
VOID OPEN TO SKYLIGHT
INTERNAL STREET
D6
1050 L2 L1
06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
B
INTERNAL STREET
6
1:200
3600
ELEVATOR SHAFT 2000 X 2000
STEP 3
5
-0.45
3 4
-0.90
300 THICK FLAT SLAB
3750
OP1
500
3
U
+3.6 +3.6
UTILITY
G+3 EXISTING STRUCTURE
B1
MARINE THIRD STREET
2
2
+0.0
+6.7
+4.00
EXHIBITION HALL ON RAMP 1:10
05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & +0.00 SERVICES DRAWINGS.
EXISTING STRUCTURE ABOVE
A
STEP 2
3
C4
1
VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT
C16
A
EXISTING CORRIDOR
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
LADIES TOILET +3.73
LADIES TOILET +3.73
1
OP2
W C S F
FC10
VOID
LADIES TOILET +3.75
STAIR
W C S F
D7
VOID OPEN TO SKY
PERFORMANCE AREA -1.35
D9
FIRST LEVEL PLAN
G+3 EXISTING STRUCTURE
DUCT
850
+3.75
VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT
04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.
16 40
C15
G+3 EXISTING STRUCTURE
C9
1
G+3 EXISTING STRUCTURE
RAMP 1:10
2
W C S F
G+1 EXISTING STRUCTURE
1 UP
3100
4
G+2 EXISTING STRUCTURE
2300
UP
3
X
EXISTING CORRIDOR
STEP 6
D10
D10
3
VOID OPEN TO SKYLIGHT
BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.
1900
1
C3
DN
3850
A1 103. DISCREPANCY IF ANY SHOULD
+6.7
4860
2
W1 C S1 F1
D8
G+2 EXISTING STRUCTURE +6.7
1900
3
D6
GREEN ROOM -0.90
-0.92
TOILET
INTERNAL STREET
2100
4
V1
LARGER DUCT ON UPPER LEVEL
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
5
C8
A'
6
2
C17
DUCT
4
INTERNAL STREET
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED
O.H.T
+7.7
+7.6
1200
7
D8
C14
TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME
STEP 1
9 8
V1
-0.92
W1 C S1 F1
TOILET
+7.6
01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
SKYLIGHT 1 TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME
INTERNAL STREET
10
+0.00
OHT +0.1
D8
3
STEP 4
SKYLIGHT 2
2660
3850
11
D6
GREEN ROOM -0.90
W C S F
DN
GENERAL NOTES:
3750
900
12
13
ELEVATOR SHAFT 2000*2000
C13
D5
VOID OPEN TO SKYLIGHT
G+2 EXISTING STRUCTURE
OP1
600
-0.15
C2
B1
B2
W C S F
-0.30
+0.00
C12
STEP 3
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.
A1
C1
C7
2
1
B2
+0.00
11370
3850 C6
RECEPTION
A
W C S F
WORKSHOP -0.90
A
GROUND LEVEL PLAN 1:200
VOID OPEN TO SKY
G+3 EXISTING STRUCTURE
STAIR
STEP 2
B
+7.6
C11
D1
-0.45
G+3 EXISTING STRUCTURE +3.75
3
STEP 1
+0.0
2
C5
-0.90
1
RAMP
DN
+0.00
1
MAIN ENTRANCE
DW1
1
EXISTING STRUCTURE ABOVE
+0.00
MAIN ENTRANCE
A
B
C
ENTRANCE TO WORKSHOP
ENTRANCE TO WORKSH
X
INTERNAL STREET
1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.
09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS 10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS. 11. ALL BRICK WORK IS IN ENGLISH BOND. 12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED. 13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
1
2
3
W0
KEY PLAN SHOWING EXTENT OF RAFT SLAB
1:200
4
4
B
L
SCREEDING
2
G+3 EXISTING STRUCTURE
A230 THK BRICK WALL
TEAK WOOD BRIDGING JOIST
FC4
RAMP UP
16 17
21
20
W C S F
EXHIBITION HALL ON RAMP +4.00
19 18
17
2
+2.55
C7
STEP 7
2
W C S F
3 D9
V1
C16B
B
B G+1 EXISTING STRUCTURE
INTERNAL STREET
12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED. D4
B
13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
+0.00
STEP 1
CHAJJA ABOVE
-0.45 ELECTRICAL ROOM -0.15
NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS
D3
C10
2
PERFORMANCE AREA -1.35
DN
D8
D8
3 2 1
C13
WORKSHOP -0.90
GREEN ROOM -0.90
GREEN ROOM -0.90
W C S F
W C S F C12
C11
+0.00
W C S F
C14 C7
INTERNAL STREET
BRICK WALL BELOW
C4
OP2
UP C9
A
RAMP
DW1
M.S SHOE TO RECEIVE TEAK WOOD JOIST
A
W C S F
1
-0.30
C5
ENTRANCE TO WORKSHOP
3 2
STAIR
MAIN ENTRANCE
+0.00
-0.90
C16
W C S F
TOILET
-0.92
-0.92
W1 C S1 F1
1
2
3
3 4
C17
DUCT
B
6
B EXISTING STRUCTURE ABOVE
DN 4
5
B
6
G+1 EXISTING STRUCTURE
D8
VOID OPEN TO SKY 2 1
LARGER DUCT ON UPPER LEVEL
G+3 EXISTING STRUCTURE
5
D7
W1 C
V1
V1
-0.45 D4
C15
D6
TOILET
D6
D5
50MM GAP LEFT DUE TO ABANDONED SHUTTERING
VOID OPEN TO SKY
ANGLE PLATE WELDED TO M.S FLANGE TO RECEIVE BOARDING
M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS
100
B
1
3170
PROJECT NAME
2
1:50 G+3 EXISTING STRUCTURE
R.C.C LINTEL
SCALE: 1: 50 SETTING OUT PLAN
N
B.S.S.A SIGN:
DATE:30.11.13
SHEET NO:02
100
M.S SHOE
M.S ANGLE WELDED TO FLANGE (TO SUPPORT BOARDING ABOVE)
CORRIDOR -0.90
CORRIDOR -0.90 M.S PACKING
+4.5
TEAK WOOD BATTENS
13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.
1350
W2
POLISHED KOTA STONE SKIRTING POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 1:3:6 PCC LEVELING BEDX2
PERFORMANCE AREA
-1.35
TEAK WOOD BLOCK
M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS
100
BENT M.S SECTION (GIRDER)
DAMP PROOF COURSE SANDWICHED BETWEEN 2 LAYERS OF 150 THICK P.C.C BED
M.S SECTION GIRDER
TEAK WOOD BLOCK
M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS
14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.
PROJECT NAME
SITE + X
M.S GIRDER
MEDIA INSTITUTE BRICKWORK
SCREEDING POLISHED KOTA STONE SKIRTING POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 WORKING DRAWING P.C.C BED BLOCK 1:3:6TEMPLATE PCC LEVELING BEDX2 NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04
N
SCALE: 1: 50, 1:10 LOAD BEARING
-1.35 PERFORMANCE AREA B.S.S.A
FLITCH BEAM DETAIL (DETAIL AT "H") 1:10
P.C.C LEVELING BED IN C:M 1:2:4 DRY RUBBLE PADDING
RAMMED EARTH
SECTION L-L'
B
M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS
1:50
SIGN:
DATE: 29.03.14
SHEET NO:10
DAMP PROOF COURSE SANDWICHED BETWEEN 2 LAYERS OF 150 THICK P.C.C BED
M.S SECTION GIRDER
BRICK FOOTING
POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 TEAK WOOD BOARDING TEAK WOOD BRIDGING JOIST
L'
F
BOND
M.S ANGLE TO HOLD JOIST
CLASSROOM
+4.5
RAMMED EARTH
SECTION L-L'
1:50
Construction drawing for a load bearing design (Schematic section)
W2
09. FO REFER DOOR DRAW
12. AL LOA DISTA EXTER UNLES B.
P.C.C TEMPLATE BED BLOCK RESTING ON 460 THK BRICK PIER
R.C.C LINTEL
MED
SCALE
100 HIGH POLISHED KOTA STONE SKIRTING H
P.C.C LEVELING BED IN C:M 1:2:4 DRY RUBBLE PADDING
Construction drawing for a load bearing design (Schematic plan)
academic
G
S
08. FO RESPE
CLASS 11. AL
MASS CONCRETE
BENT M.S SECTION (GIRDER)
PRO
10. AL SLEEV CONJU RELEV DRAW WOR FOR D SHAFT NAME FLOOR
BRICK FOOTING
MASS CONCRETE
FLITCH BEAM DETAIL (DETAIL AT "F") 1:10 P.C.C TEMPLATE BED BLOCK
FLITCH FIRSTBEAM FLOORDETAIL PLAN 1:50 FLITCH BEAM DETAIL (DETAIL AT "F") 1:10 (DETAIL AT "H") 1:10
25 EXTERNAL PLASTER
CLASSROOM
OP2
M.S FLANGE TO SUPPORT BRICK WALL ABOVE
M.S FLANGE TO SUPPORT BRICK WALL ABOVE
STRUCTURE
WORKING DRAWING NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04
100 HIGH POLISHED KOTA STONE SKIRTING H
POLISHED KOTA STONE SKIRTING
BITUMIN WATERPROOFING TEAK WOOD BOARDING
KADAPA STONE GUTTER
CHINA MOSAIC TILING SCREEDING IN C:M 1:4
12. ALL CENTER LINES ARE AT A SEASONED AND TREATED DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING TEAK WOOD UNLESS BOARDING UNTIL SPECIFIED.
M.S ANGLE TO HOLD JOIST
NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS
MEDIA INSTITUTE
RCC
OP2
1:50
BOND.
POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 TEAK WOOD BOARDING TEAK WOOD BRIDGING JOIST
G
P.C.C TEMPLATE BED BLOCK RESTING ON 460 THK BRICK PIER
SITE + X RAFT SLAB
BITUMIN WATERPROOFING 11. ALL BRICK WORK IS IN ENGLISH
BENT M.S SECTION (GIRDER)
F
TEAK WOOD BRIDGING JOIST
M.S PACKING
230 THK BRICK WALL
G+1 EXISTING STRUCTURE
09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS
10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.
2
L'
POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4
M.S ANGLE WELDED TO FLANGE (TO SUPPORT BOARDING ABOVE)
TEAK WOOD BLOCK 100
W2
P.C.C TEMPLATE BED BLOCK 230 THK BRICK WALL
3170
100
EXECUTION NOTES
P.C.C TEMPLATE BED BLOCK
G+1 EXISTING STRUCTURE 1
550 C\C X 9
06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.
TEAK WOOD BATTENS
KADAPA STONE GUTTER BENT M.S SECTION (GIRDER)
NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS
05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
STONE COPING
M.S GIRDER P.C.C TEMPLATE BED BLOCK ON BRICK PIER
04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.
PART ROOF PLAN
SEASONED AND TREATED TEAK WOOD BOARDING
POLISHED KOTA STONE TILING
230 THICK BRICK WALL
100
CHINA MOSAIC TILING SCREEDING IN C:M 1:4
BITUMIN WATERPROOFING
R.C.C LINTEL
BITUMIN WATERPROOFING SCREEDING
FIRST FLOOR PLAN
GROUND LEVEL PLAN 1:200
550 C\C X 9
TONGUE AND GROOVE JOINT TEAK WOOD BOARDING
100
100
100
ANGLE PLATE WELDED TO M.S FLANGE TO RECEIVE BOARDING
TEAK WOOD BLOCK
B
RAMP 1:10
C3
4
M.S FLANGE TO SUPPORT BRICK WALL ABOVE
TEAK WOOD BRIDGING JOIST
11. ALL BRICK WORK IS IN ENGLISH BOND. +0.00
INTERNAL STREET
P.C.C TEMPLATE BED BLOCK ON BRICK PIER
1130
M.S FLANGE TO SUPPORT
BRICK WALL ABOVE NO BRIDGING JOIST IN THIS SPACE BECAUSE M.S THE SPAN IS LESS THAN 2 SHOE METERS
5
C8
SCREEDING IN C:M 1:4 BITUMIN WATERPROOFING SEASONED AND TREATED TEAK WOOD BOARDING
50X100 TEAK WOOD BATTEN PART ROOF PLAN 1:50
50X100 TEAK WOOD BATTEN
230 THICK BRICK WALL
1370
CHAJJA ABOVE 09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS
6
CHINA MOSAIC TILING
25 EXTERNAL PLASTER
BITUMIN WATERPROOFING TEAK WOOD BOARDING
10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN D3 CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.
7
STONE COPING
DRIP MOULD
100
A
9 8
OHT +0.1
STEP 2
600 X 5
INTERNAL STREET
EXECUTION NOTES
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
2
10
11 12 13
-0.15
C6
3
M.S SHOE DETAIL (DETAIL AT "G") 1:10
POLISHED KOTA STONE TILING
POLISHED KOTA STONE TILING SCREEDING BRICK WALL BELOW IN C:M 1:4
08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.
1
VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT G+3 EXISTING STRUCTURE
ELEVATOR SHAFT 2000*2000
OP1
C2
B2 D1
-0.45
DN
M.S SECTION GIRDER BENT TO SPECIFIC SHAPE
1370
05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS. 06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
2
+0.00
600
B1 +0.00
M.S SHOE TO RECEIVE TEAK WOOD JOIST POLISHED KOTA STONE SKIRTING
04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.
1
A
W C S F
C1
SCREEDING
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.
14. THE PURPOSE OF THE CENTER LINE ISEXISTING TO IDENTIFY THE STRUCTURE ABOVE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.
4
G+2 EXISTING STRUCTURE
RECEPTION
EXISTING STRUCTURE ABOVE
BITUMIN WATERPROOFING
3170
2
1
1:200
VOID OPEN TO SKYLIGHT
230 THICK BRICK WALL
TONGUE AND GROOVE JOINT TEAK WOOD BOARDING
M.S PACKING TO CATER FOR THE VARYING ANGLES OF THE BRIDGING JOISTS
C16A
C15
D10
FC9
C17
+3.75 D9 FC10
P.C.C TEMPLATE BED BLOCK ON BRICK PIER
9880
W1 C S1 F1
GENTS TOIlLET +4.85
D10 V1
D10
W1 C S1 F1
C12
1 2 3 STEP 6
CLASSROOM +4.5
1
FC8
C14
+3.3
EXHIBITION HALL ON RAMP +3.3
CURVED PROFILE OF WALL ACHIEVED BY USING CARVED SIPOREX BLOCKS
600 X 5
22
AT 1:10
UP
VOID
FC7
UP STEP 5
D11
4.4
350 X 4
FC6
2 1
SIPOREX WALL BELOW
C4
4.5
VOID
1130
5
G+1 EXISTING STRUCTURE
A
C3
6
EXISTING CORRIDOR
8 7
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.
G+1 EXISTING STRUCTURE
G+3 EXISTING STRUCTURE
+3.6
9
G+3 EXISTING STRUCTURE
W C S F
10
15
100
11
12
13
14
W C S F
TEAK WOOD BRIDGING JOIST
G
600X4
C2
B2
C1
9880
25 EXTERNAL PLASTER
TEAK WOOD BRIDGING JOIST
2
5950
FC3
ELEVATOR SHAFT 2000*2000
OP1
+3.6
W2 C1 S F
CORRIDOR +3.6
P.C.C TEMPLATE BED BLOCK RESTING ON 460 THK BRICK PIER
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED
TONGUE AND GROOVE JOINT BETWEEN BOARDING
A
G+2 EXISTING STRUCTURE
FC2
PHOTOGRAPHY DARK ROOM +3.6
01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 BITUMIN WATERPROOFING TEAK WOOD BOARDING
M.S SHOE TO HOLD BRIDGING JOIST ONTO M.S GIRDER
FLITCH BEAM WELDED TO M.S GIRDER FLITCH BEAM
FIRST LEVEL PLAN
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED
2
1
1
A
G+3 EXISTING STRUCTURE
GENERAL NOTES:
POLISHED KOTA STONE SKIRTING
AIR GAP FOR EXPANSION
P.C.C BED BLOCK ON BRICK PIER BELOW STONE COPING
D9
FC1
FC5
NOTES:
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.
450
M.S FLANGE TO SUPPORT BRICK WALL ABOVE
12.04. ALL C DO DISTANC ONLY EXTERN FOLLO UNLESS 05. TH SCREEDING IN C:M 1:4 13.CONJU ALL F BITUMIN WATERPROOFING THICK U ARCH SERVI SEASONED AND TREATED 1350 TEAK WOOD BOARDING 14. THE P 230 THICK BRICK WALL LINE T 06.IS INT LOCATIO EXTER LOCATE AS PE TYING T OTHER TRANSF WALLS W EX GROUND 07. AL TO BE STONE COPING STRUC CHINA MOSAIC TILING
GENERAL NOTES:
230 THICK BRICK WALL
2
+4.5
CLASSROOM
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.
NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS
1350
TURE
B
B
ROOF PLAN 1:200 VOID OPEN TO SKYLIGHT
D10
01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
INTERNAL STREET
SKYLIGHT 5
G+3 EXISTING STRUCTURE
LADIES TOILET
07
25 EXTERNAL PLASTER
L
G+3 EXISTING STRUCTURE
+9.2
G+1 EXISTING STRUCTURE
+7.6
5950 2600
1
A
W3 _ S1 F2
EXISTING CORRIDOR
VALLEY
+7.7
B.S.S.A
O ING
+7.6
+7.7
W C S F
1. THIS DRAWING IS A PROPERTY OF DATE: 27.04.15 MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT SHEET NO: WRITTEN PERMISSION.
0
+8.45
+7.6
C11
SIGN:
EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER VALLEY
+7.6
BUND WALL 300MM HIGH
W3 _ S1 F2
+7.6
Ø100MM RAIN WATER DOWNTAKE PIPE
NB
SCALE: 1: 50
BUND WALL 300MM HIGH
+7.7
+7.7
+7.7 W3 _ S1 F2
1400
NAME : MALHAR CHAWADA
BUND WALL 300MM HIGH
+6.7
+7.7
CLASS: YR.4 ROLL NO:04 R/F CEILING PLAN
+7.65
EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER
9880
RCC
A
100
BRICKWORK SIPOREX WALL
WORKING DRAWING
SKYLIGHT 2
+7.7
BUND WALL 300MM HIGH
W3 _ S1 F2
100 HIGH POLISHED KOTA STONE SKIRTING DRIP MOULD H
M.S ANGLE TO HOLD JOIST
NOTES:
1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.
SKYLIGHT 6
+7.7
310 X3
MARINE LINES
G
F
STONE COPING
G+3 EXISTING STRUCTURE
OP
100
M.S PACKING TO CATER FOR THE VARYING ANGLES OF THE BRIDGING JOISTS
MEDIA INSTITUTE
BENT M.S SECTION (GIRDER) POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 TEAK WOOD BOARDING TEAK WOOD BRIDGING JOIST
+6.7 OVER HEAD TANK W3 _ S1 F2
SKYLIGHT 3
SITE + X
350 X 4
9880
PROJECT NAME
1:50
2
SKYLIGHT 1
W3 _ S1 F2
INTERNAL STREET
FIRST FLOOR PLAN
CURVED PROFILE OF WALL ACHIEVED BY USING CARVED SIPOREX BLOCKS
1
A G+2 EXISTING STRUCTURE
+6.7
SKYLIGHT 4
14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.
M.S SECTION GIRDER BENT TO SPECIFIC SHAPE
INTERNAL STREET
SIPOREX WALL BELOW
THICK UNLESS SPECIFIED.
100
12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED.
M.S SHOE DETAIL (DETAIL AT "G") 1:10
VOID
100
L'
11. ALL BRICK WORK IS IN ENGLISH BOND.
600X4
INTERNAL STREET
P.C.C TEMPLATE BED BLOCK ON BRICK PIER
100
2
3170
10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.
A13. ALL FULL HEIGHT WALLS 230
B
DN
1
B
09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS
TEAK WOOD BRIDGING JOIST
G
STEP 3
08. FOR ALL CIVIL DETAILS REFER EXISTING STRUCTURE ABOVE RESPECTIVE DRAWINGS.
P.C.CJOINT TEMPLATE BED BOARDING BLOCK TONGUE AND GROOVE BETWEEN
G+1 EXISTING STRUCTURE 100
07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.
M.S GIRDER
P.C.C TEMPLATE BED BLOCK
INTERNAL STREET
B
G 08. FOR RESPEC 01. AL TO BE 09.CONT FOR REFER T COMM DOOR/W DRAWIN 02. AL UNFIN 10.UNLES ALL M SLEEVES ALL D CONJUN VERIF RELEVAN ALL LE DRAWIN METER FOR DAM SPECI SHAFTS FLOORS 03. DIS BE BR 11.NOTIC ALL B BOND. WORK
AIR GAP FOR EXPANSION
BENT M.S SECTION (GIRDER) M.S SHOE TO HOLD BRIDGING JOIST ONTO M.S GIRDER
ANGLE PLATE WELDED TO M.S FLANGE TO RECEIVE BOARDING
+0.00
EXECUTION NOTES
FLITCH BEAM
STONE COPING
TEAK WOOD BOARDING
KADAPA STONE GUTTER
EXISTING CORRIDOR
05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.
FLITCH BEAM WELDED TO M.S GIRDER
310 X3
NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS
04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.
06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm. AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.
P.C.C TEMPLATE BED BLOCK ON BRICK PIER
1370
P.C.C BED BLOCK ON BRICK PIER BELOW STONE COPING
03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.
POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 BITUMIN WATERPROOFING
STEP 4
BRICK WALL BELOW
B
EXISTING CORRIDOR
450
A
EXE
2. THE 07. ALL S CONS TO BE R APPRO STRUCT AUTHO
TEAK WOOD BATTENS
M.S FLANGE TO SUPPORT BRICK WALL ABOVE
1130
02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE HAJJA ABOVE SPECIFIED
1:50
SEASONED AND TREATED TEAK WOOD BOARDING
POLISHED KOTA STONE SKIRTING
UP
GENERAL NOTES:
100
CHINA MOSAIC TILING SCREEDING IN C:M 1:4
BITUMIN WATERPROOFING
230 THICK BRICK WALL
POLISHED KOTA STONE TILING
2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.
01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.
100
25 EXTERNAL PLASTER
BITUMIN WATERPROOFING
1
INTERNAL STREET
TONGUE AND GROOVE JOINT TEAK WOOD BOARDING
5950 2600
1
A
M.S SHOE TO RECEIVE TEAK WOOD JOIST
NOTES:
1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.
550 C\C X 9
PART ROOF PLAN
600 X 5
INTERNAL STREET
A
06. INTE 1. THIS EXTERN ASMALHA PER BE RE OTHERW WRITT
230 THICK BRICK WALL 50X100 TEAK WOOD BATTEN
CONJUN ARCHITE SERVICE
architecture
9880
EXISTI
BITUMIN WATERPROOFING SEASONED AND TREATED TEAK WOOD BOARDING
DUCT
80
M.S PACKING TO CATER FOR THE VARYING ANGLES OF THE BRIDGING JOISTS
13. AL SIGN:
THICK
14. TH LINE IS LOCAT LOCAT TYING TRANS WALLS
13 graphic
Emotions through a Market A Graphical representation of a sensory experience through Juhu Market represented through: Ink on paper, Pastel on paper, Hand drafted plans, Water color, Deconstructivist drawings and Pencil sketches. The Studio aimed at mapping sensory stimulus from a machine like organization taken over by overspill, typological requirements, commodity behavior, display logic and juxtaposition of unrelateds.
Graphic design studio Year 3 Juhu market, Mumbai, India academic
Em graphic
A Grap repres color,
The S organ behav
6 Students 6 techniques 1 Graphic
academic
video - graphic
Dissertation walkthrough video. (Freelance work)
“Assemble workshop” walkthrough video for Studio Amita Vikrant.
https://www.youtube.com/watch?v=cHXs_aeDf8k&spfreload=10
https://www.youtube.com/watch?v=nA7OftrF9B8
“Flying villa” walkthrough video for Studio Amita Vikrant.
Design walkthrough video. (Freelance work)
https://www.youtube.com/watch?v=Tp54S8P55-o
https://www.youtube.com/watch?v=NuJdkHtV3QI&t=7s academic + professional
Rustic Highlands, Pune, India Rustic Highlands, On Pune,forIndia SAV On Assignment assignment
Central Station, Rotterdam Central Central Station, Station, Rotterdam Rotterdam
Market Hall, Rotterdam Market Hall, Rotterdam Markethall,
On Assignment for SAV
On Assignment for SAV
professional
graphic
Rustic Rustic Highlands, Highlands, Pune, Pune, India India Rustic Highlands, On Assignment Pune, SAV On assignmentfor forIndia SAV
14
When architecture is created, it resonates around within the lives of the people that it affects by the impact of its physical presence, locally of course, if this resonance is good, the word is accepted and spread canonically over a larger fabric, attaining more resonance and attention, the impact is then again further highlighted by scholars and their written material so as to give a masterpiece status. (A status that a built mass achieves due to a whole populace showing its belief in it), thus the world develops an impression of that architecture.
Rigidity being in the DNA of architecture, the impressions are extremely slow paced and almost permanent in the sense of the built mass itself but their
interpretations remain dynamic given a longer period of time in the minds of the generations to come. What this impact does is, to give rise to a whole parallel system born out of a very rigorously elaborate architecture but based on everything except the basis of the architecture creating a scenario of “gunshots leading to parking lots.�
theory
As architecture breaks barriers of the systems it abides to, it creates a spectacle, a masterpiece which like a gunshot produces a sound that resonates far beyond the immediate surroundings. But these gunshots attract attention of the multi-layered systems of the world (economics, politics, society etc.) which respond in ways completely opposite (non-radical) leading to a certain kind of exaggerated naive response_the parking lot. (The Bilbao effect, Vancouverism, Sydney etc). -author
Detonation
Towards a newer Architecture
Dissertation manifesto Year 5
When this system of transformation evolves into a more quicker setting due to shifts in lifestyles, the impressions of the architecture is easily widespread affecting even more intellectual minds, reducing the value of a masterpiece through multiple channels of perception of the very architecture which initially stood in theoretical, special and interpretational isolation. With the rise in plurality of perceptions by even more plural scholars, the attention has equally shifted from architecture itself to its theorists and critiques, since they are more easily available and dynamic like the life of the users and provide multiple fresh views based on the architecture, which is difficult to imagine by everyone, thus the architecture gives way to its impression, creating an anti-impression, an anti-architectural setting. What led to this impressionist movement over a period of innovative times is a parallel development alongside exciting life-drab monotonous industrialization and the dark times it gave rise to. This revolutionary transformation came as both a blessing and a curse to society, culture, commune, policy and architecture. It made observations on architecture even more plural and easily available to the whole world to decipher, understand, accept or reject. Students who spend entire learning periods generating personal mantras based on these opinions and studies of other persons views on architecture (extreme layered perspectives), it did put forward the presence of certain architecture to the world, but it did this through a secondary source meant for consumption and all the positive and negative aspects affected how and what was circulated(consumerism sets in), it quickened the process of building, the method of building and the restrictions of building, the language, the system and complexity of building, creating a practical ground for utopian believers to experiment through the emergence of prototypical design, pop up towns, moving cities etc.(industrialization put to good use which later died) while at the same time swift transfer of perceptions created lab rat cities, monotonous drab un humane living cities meant for mental dualist lives of subjects-un catered labor vs. praised consumers; policy, economy and culture playing their tricks on the dwellers who felt a need to have an identity to hold on to in this ever changing fabric-the city. But then this quick tool helped a lot, refugee camps, government interventions to eradicate poor housing, innovation in all fields of the industry due to booms, wars etc. It gave us Vila Savoye. It opened up the initially untouchable field of architecture (in terms of professional hierarchy) to multiple perceptions, debates, criticisms, categorizations and secondary perceptions. The crux of this new system, the literary matter was canonical in terms of both perceptions and new eye opening observations not only in architecture but in all fields exuberating these forces through existence. The genius was not only in the writing but also in the ability of the writing to transcend physical boundaries.
academic
A RADICAL ANTI-ARCHITECTURE THAT ENCOURAGES ENDLESS PARALLELS TO REVOLT THROGH REFORM THUS CREATING ASYMETRY. A new non evolutionary form of architecture based on everything else apart from architecture itself encouraging new systems to flux chaotically within themselves mutating into asymmetric realms of thought incapable of being achieved by evolution or isolation. UNATTAINABLE RURAL OR URBAN ORDER LEADING TO CHRONO-CHAOS. The acceptance that our ways of living have gone beyond understanding through the methods that we are trying to use in order to categorize these urban and rural settings sadly ending into a perception of chrono chaos whereas it seemingly just might be the exact opposite-extreme order like the urbanism in Lagos, Nigeria. PROPERTIES OF A REAL SOCIETY WHOSE SOCIAL STRUCTURE IS BASED ON EXISTANCE OF BELIEF ON CULTURE AND SUBSTANCE. The derive and belief in our very real society in which we believe so much so that entire sprawls are based on it, which is itself based on something so manipulative and masked such as the illogical evolution of culture and substance as cores of civilizations. A belief in this creates a basis of the properties of our civilizations. DOMINANCE OF A CAPITALIST SYSTEM UNDER CONTROL OF A POWERFUL DIPLOMATIC POLITICAL GOVERNANCE EXUBERATING COST ONLY TO SATISFY AN IMAGE. INFORMATION AND CONTENT UNDER A VIRTUAL FEEDBACK LOOP WITH REALITY AS A TOOL OF TRANSFORMATION. A shift for the tools of transformation from ancient times where the impact was first, then the transformation occurs which is risky, to current times where the quantum of information and content available on aspects of life form tools which are virtual but end up affecting the real through a loop system ending up transforming everything. These aspects are a result of a physical involvement and thus affect the real in a much simulated, almost self-organizing. THE SPECTACLE OF PHENOMENON IN A GAME SITUATION. Events elevated to such an extent through momentary play in order to form scenarios for the populace to look up to/live up to/die upon/ swear upon, manifesting our lives based on the events that we see shaping eras. IMPORTANCE OF SYSTEMS AS A CHANGE FROM PERMANANCE SUCH AS THE CAPABILITY OF THE THIRD WORLD TO ATTAIN QUICK PROSPERITY. THE VIOLATION OF PUBLIC-PRIVATE BOUNDARIES THROUGH THE REJECTION AND DENIAL OF DIVIDE. The information age and its continued infiltration into our lives, ways of living and our bodies which end up creating a blur between what we perceive as public and private. Our societies and lifestyles became more dynamic, volatile and temporal hinting to the next revolution. Top down systems like governments, economies, cultures etc. used this new system to create an unknown secret system in order to manifest greed and selfish wants for the good of select few hindering direct development of our civilizations into efficient and optimum innovators regarding the new technique available at our disposal-the internet. With the publicizing of the internet, all aspects of the world that made it a vast space crumbled down to sheer junk. Distant corners were connected almost instantaneously for trade, communication, leisure, war, gathering etc. whatever remote meant was mostly irrelevant now. The basic reason for cities to come up-interaction between different people from various realms, is instantaneously vanished since almost all of the former physical strongholds are capable of being performed over the internet, thus the basis of the city needs to change-be redefined into something else completely different from the parent city, which the situationists predicted quiet early. The information age affected and is still affecting almost all aspects of life apart from architecture (on a broader scale of course) where it has managed only to filter through into its elements and not through the crux or the language of the field. What this has done is created a disjoint in the lifestyle of the dwellers and the physical fabric that houses these dwellers in terms of working ways, globalization and its effects such as outsourcing (creating multiple disjointed cities within a larger city), bit coins (which governments strongly oppose but can do nothing about), and the basic way in which a hierarchy of information is transferred including the quantum that is generated due to the ease of creation. The manipulative falsely created hierarchy of information travel has been toppled briefly by “human icons” such as Julian Assagne and Snowden, who set an example of the power of the smallest unit of a bottom up system to create havoc in even the most concrete system. (it no longer mattered whether the icon was a human, a robot, a group, a building, what mattered was the information-the idea) These events set an example of how this new system is on the verge of a revolution into a truly bottom up system so as to cater for greater good and homogenize the whole world in terms of its ability to connect, understand, evolve, destroy, innovate: a global commune_be it virtual, it has the strength of almost all of the human populace.
academic
theory
URBANIZED METROPOLIS UNDER OBLIGATION OF A UNITARY SYSTEM THAT UNDERGOES SUBSTANTIAL OVERLOAD INTO A DISASTROUS END ONLY EMERGING OUT OF IT THROUGH IMPACTFUL BATTLE. Unquantifiable architecture at a scale beyond our understanding, a metropolis, an organism controlled by systems that defy our social livelihoods (evolutionary form of social behavior) thus oppressing the very basis of the extended commune leading to non-human, non- measurable outcomes like the megalopolis which work towards the end of the glitch thus attempting to overthrow the non-accepted system through straight forward rejection and battle.
theory
Architecture has to step up and revolutionize in order to cope up with the current way of living. Change is something that already built architecture doesn’t easily accept only going into drab restoration or uncontrollable anti-city ruins. Not that architecture isn’t stepping up, there are hints and conceptual settings that have developed slowly that take extreme advantage of this new tool, Meta City Data Town, Mood City, Gameplay etc. that show a belief in a city as a point of departure for new activity through anti architecture, since the opposite is tied down by its own ability to physically transcend generations without undergoing major changes. What the information age has brought forward is the relevance and importance of the event in the lives of the dwellers, both private and public for a collection of these decides what a lifestyle is which in turn shapes cultures and societies (the basis of everything we believe in now). Thus an architecture catering to this event is a must for we forget that this too is a field that needs a revolutionary turn in order to be at least considered something worthy of the news. The event has become the describing factor of our lives and a collection of these creates the pattern generator of our civilization. A study of both of the above leads to a basis of predictions of the behavior of this organism, it also forms a new tool deployable at any scale to map and understand architecture and the metropolis in new ways so as to try and understand what is important, relevant, being affected, usage etc. The conveyance of these events is on a stronghold as the way in which it is conveyed affects the overall reaction of new events in the short run and of architectural change in the long run. This creates a new window into the realm of city planning, systems designing, city data diagramming (it becomes responsive) eventually leading to powerful observations and breakthroughs in the way this un-describable, un-understandable megalopolis functions hence bringing chrono chaos down to order and eventually to chrono order and maybe this helps us in understanding why cities fail or why systems are inefficient and why is anti-architecture so much that it is almost overpowering architecture, all of this based on the understanding of an event and its relationship with other events. Events and co-relation of events govern everything, bringing down anything chaotic to a defined set of rules, taking randomness out of the equation. Why is architecture still only reflecting singular events? Should it not cater to the complexity of multiple events, interplaying over a span of time of occurring simultaneously, without downsizing itself to hollow expressive lofts and sheds? How can we architects learn from the impact of the event, many events, and the way of communication between these and create a new breed that truly transcends the boundaries of what its ancestors stood strongly for, for the sake of the life of the user. The multiplicity of the event has expanded exponentially leading to a logistic situation similar to what history is based on, but why negate any event, why choose, why defy bottom up. Hence the mode of transfer of information of events gains importance for it is fixed, evolving though it is not minutely as plural as the events it conveys. It possesses the ability to radicalize conveyance – from letter postings to almost an instantaneous existence of multiple events and their impact on all ways of life. Thus the point of departure is not the event anymore but the conveyance of the event, the event forms . . . . . In this age where identities, places, spaces and cultures are based on such contemporary ways of living – the virtual age, we question the relevance of physical monuments and masterpieces which still advocate permanence and the relevance on a top down system be it through sheer mass or a form of advertisement known less by the general public or through mere rigidity and contextualessness of their very existence. Why do we look up to these bulky fixed in time examples of inefficiency as a basis of entire governments, systems, economies, histories when they convey to us too little in relation to what we demand of them, why do we, city dwellers, build an image based on these events carved in stone when they have already passed, why do they end up becoming a basis of measurement of how well our civilization is doing. What becomes of architecture that is not a bi-product or that doesn’t arise out of this new understanding, this new direction which is promising to bring together even the most distant groups of people? Should such architecture continue, should we repeat what we have been doing for an eon and let go of the most pressing requirements? To answer this question, we shall look at the most basic form of information, how it is conveyed and the typologies it gave rise to, then we shall vaporize what the civilization holds most dear to itself in order to awaken, reveal, shock and change that typology into something relevant and worthy of the footprint it spans over.
academic
To decipher this evolution of information, we understood the library and the institute as a monument on which civilizations were based, a space for transfer of information and of communication, play, evolution, discussion etc. It is one typology responsible for holding together people – youth in order to prepare them, make an army for the real world, be it through monotonous biased mediums or through extremely creative almost riot like outbreaks, it did have a physical presence and a monumental impact, thus what happens when in today’s lifestyle we start to remove the dead spaces that have accumulated in this age old typology-the classroom, the auditoriums, the libraries, the studios etc. and replace them with spaces that cities most require-for leisure to turn fruitful, democratic spaces capable of bringing youth together to evolve and put forward ideas of extreme creativity and potency to change even the strongest of top down forces and systems, replacing the monument and its political, historical, religious values and baggage with an anti-monument only to reflect the crux of livelihood.
Detonation may be a biased process but it is the only one promising enough of visible change and revolution for it puts forward a bare event for a
It shall reflect a change in belief, from 30 years of belief in a consumer economy to a belief in data, cities and megalopolises driven by sheer data that they create for a solution or an improvement of
existing conditions only capable of being deduced through data itself, the complexity is too great to remain rudimental and provide logical solutions. Architecture here gets super critical, critical to a point of absolute vanishing. It fights between form and function, user and used space, language and gibberish, event and permanence, end and beginning, day and night, for us and by us. It gets critical to the point of breaking but it does this only to show a new belief, a new faith in itself trying to overcome its own weakness disguised as requirements ever since its conception. This architecture, unlike all other architecture around the world, shall not decay, it shall exist and only exist because decay occurs when architecture forgets that time is a stronger factor than any other.
It makes architectures dream bubble of permanence burst.
The systems and processes shall decay in case they illogically attempt to disrupt the new unitary system. The architecture shall not decay; it shall instantaneously vanish, leaving behind an example, a legend as to what needs to be done. This new anti-architecture is an attempt to pierce the endless dark cloud cover bringing forth a ray of light, fresh, weightless and momentary, shining over the tired eyes of the dead and weary humans who have almost forgotten how to look up, hope, dream, create utopias. It is an attempt to glorify everything that architecture has ever stood for except itself.
Only after the last brick wall has been demolished by the last concrete ball shall we realize that this was never what we wanted, and we will have worked towards the end of the world of the spectacle.
academic
theory
society, a commune that exposes and rectifies what is wrong, not under a thousand layers of gibberish but in broad daylight in front of a fabric that is supposed to matter most – we the people. This new vaporized institute shall be the epitome of information transfer and urban space with great seriousness where games shall be played, manifestoes written, systems changed, all of this through a bottom up system that owes it strength to the smallest unit of creation-an individual, who will be taking himself through this ocean of information with the ark being only his body and the interface being this anti-monumental monument. We shall look at architecture not as only skeletal but as only muscular – only what is required for certain aspects is retained keeping in mind that the muscles don’t function in isolation, their functioning and growth or reduction up to a point of failure.
STANCE Design here gets super critical, critical to a point of absolute vanishing. It fights between form and function, user and used space, language and gibberish, event and permanence, end and beginning, day and night, for us and by us. It gets critical to the point of breaking but it does this only to show a new belief, a new faith in itself trying to overcome its own weakness disguised as requirements ever since its conception. This new process is an attempt to pierce the endless dark cloud cover of banality, bringing forth a ray of light, fresh, weightless and momentary, shining over the tired eyes of the dead and weary humans who have almost forgotten how to hope, dream and create utopias. It is an attempt to glorify everything that design has ever stood for except itself.
2017