Architecture Portfolio- Pulkit Mogha '16

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portfolio of architecture

PulkitMOGHA


Pulkit MOGHA BIRTH CONTACT

10|02|1993 pulkitmogha@gmail.com +91 837 686 4614 2/166, Sector-2, Rajendra Nagar, Sahibabad, N.C.R. Delhi- 201005 India

INSTITUTE

School of Planning and Architecture, Delhi


CONTENTS CONTENTS GODHRA MUSEUM-MEMORIAL MUSEUM-MEMORIAL COMPLEX, COMPLEX, Gujarat Gujarat 01-04 GODHRA 01-04 05-08 COOPERATIVE COOPERATIVE SOCIETY SOCIETY HOUSING, HOUSING, Najafgarh Najafgarh 05-08 09-12 TRAINING TRAINING PROJECTS, PROJECTS, Jodhpur Jodhpur 09-12 13-16 13-16

NCAER OFFICE, OFFICE, IP IP Estate Estate NCAER

17-22 RAI RAI PRAVEEN PRAVEEN RESIDENCE, RESIDENCE, Orchha 21-26 23-26 BARD BARD HOUSE/LIVING HOUSE/LIVING SKIN, SKIN, Khirki Khirki 27-30


EDUCATION May 2011 – July 2016

SCHOOL OF PLANNING AND ARCHITECTURE, Delhi (Class of ‘16)

-Accredited Undergraduate Degree in Architecture (5 years) -Course approved by the Indian Institute of Architects, the Council of Architecture, and the Commonwealth Association of Architecture. -Registered license architect under the Council of Architecture (2016) May 2013 - July 2013

UNIVERSITY OF OKLAHOMA, United States of America (SUSI 2013)

-Study of U.S. Institutes for Student leaders in New Media, Awarded by the Fulbright Commission -Member, International Exchange Alumni, US Department of State April 1999 - March 2011

D.L.F.P.S., Sahibabad (Grad. April ‘11)

-Central Board of Secondary education, Science Stream -Prefect for three Consecutive years.

WORK / VOLUNTEER EXPERIENCE Research Associate, February-June 2017.

FRENCH CULTURAL INSTITUTE, India

-Exhibition Design and Curation for Bonjour India 2017-18 with Architectural Firm SpaceMatters. -Research and analysis, project lead and manager. Junior Architect, October 2016-January 2017.

SPACEMATTERS, Delhi

-Bhopal Gas Tragedy Museum and Memorial; Museum design and stage drawings. -Design development for School projects ( Delhi Government schools Tender. Ardee School) Freelance Architect, March-June 2015. -Carried out public projects in collaboration with the Jodhpur Municipal Corp. Intern Architect, January-April 2015.

STUDIO LOTUS, Delhi

-Coordinating Jodhpur Projects, RAAS Haveli and others. Core Member. 2011-‘13.

MUSTBOL // Commutiny- The Youth Collective initiative.

-Mustbol is UN funded campaign aiming at engaging men and youth against gender-based violence. <www.mustbol.in> Program Admin Intern, Curator, 2012.

ENGENDERED // Art Gallery, Shahpur Jat

-Transnational Arts and Human Rights Gallery exploring Gender, Sexuality, Culture, and Religion in South Asia -Worked towards curating a solo exhibition by Architect Satyakam Saha. Volunteer. 2011.

Please Mend the gap (PMIT)

-A volunteer-led initiative towards reclaiming public spaces and safer public transport in New Delhi. Social Media Intern. June ’11 to July ’11.

MUSTBOL // Commutiny- The Youth Collective initiative. <www.facebook.com/delhiyouth>

-Involved in collaborated projects with Indian Youth Climate Network, Jagori, YP Foundation, UN Women, One Billion Rising India -Core Member of QueerCampus (2011-13), India’s largest queer youth support group, organizing meetings with Max Mueller, Naz Foundation -Group Exhibition, What’s up Bharat?, Hauz Khas Village

ARCHITECTURAL PROJECTS

ACADEMIC RESEARCH

Research Associate, French Cultural Institute

July-November 2015

FRENCH PAVILION

-French Pavilion for Bonjour India -Research and Exhibition Design on French Socio-Cultural History, Arts and Economy. -Project Management, Case Study Research, Design Inputs. Jr. Architect, SpaceMatters

BHOPAL GAS TRAGEDY MUSEUM & MEMORIAL -Research and Exhibition Design for the historic timeline of the Union Carbide Disaster and remediation strategy. -Stage Development Drawings for Museum Design. Jr. Architect, SpaceMatters

ARDEE SCHOOL – PWD SCHOOLS

-Pitching proposal for Public Works Department, NCT Delhi Government Schools Competition and Ardee, a Private School Client. -Involved in Design, Proposal Drawings and Presentations. Independent Project

TUNWAR JI KA JHALRA

-Architectural design intervention and drawings of Baoli (stepwell) in Old City, Jodhpur. -Conservation and revitalization of heritage monument with local business and community initiatives. -Proposal Drawings approved by City Municipal Corporation. Independent Project

TANGA STAND

-Architectural Design and Drawings for Schematic Design of a stand for horse-ridden carriages in Ghantaghar, Jodhpur. Intern, Studio Lotus

ANOOP SINGH HAVELI

-Proposal Drawings to convert Old Mansion into Bistro and Retail outlet with Studio Lotus. -Measured Drawings and Documentation of Mansion. Intern, Studio Lotus

STEPWELL HOUSE

-Measured Drawings and Documentation of Building

Seminar // TECHNOLOGY INFUSED SPACE

-Presented in Seminar on Architecture and the City in Delhi (Nov ‘15). -Paper published in Seminar Series volume 2015 ‘F5: Urbanity’. July-December 2014

Dissertation // POLITICS IN THE PUBLIC REALM

-Dissertation examining inherent power structures embedded in public spaces using technological means, spatial programming by means of space syntax. -Politics in spatial planning in light of Globalization and Digitalization. July-November 2014

Series of consolidated essays // TECHNOLOGY AND SOCIETY

-Successive reviews of writings as part of chosen elective by (XE7Architecture through a Technology and Society Lens. -Essays on writings by Marx, Ellul, Winner and others on covering theories ranging from historical materialism to technological determinism. August 2013

Settlement study // MEHRAULI

-Part study of main bazaar road. -Study collated in published documentation of Mehrauli. February 2013

Settlement study // BETIM, Goa

-Settlement study and Demographic mapping of native Goan settlement. -Installation, findings displayed in exhibit for Goa Exhibition. February 2012

Settlement study // ORCHCHA, Madhya Pradesh

-Study of local construction practices in rural villages of Orchcha.


ACADEMIC PROJECTS

SKILLS

LANGUAGES

February-June 2016

Hardskills

-English (Full professional proficiency) -French (Limited working proficiency) -German (Elementary proficiency)

THESIS: Godhra Museum-Memorial Complex -Tradition-Utopia Dielectic and the In-between. -Quest for dialogic space in a site of conflict. -2.16 hectare Institutional complex. July-October 2015

URBAN DESIGN, Dwarka

-Team project: It Hub cum Entertainment Center and Hotel. -International work center in rapidly developing site, close to the I.G. Airport. -14 hectare 225 FAR density with maximum saleable floor space. July-October 2014

SOCIAL HOUSING, Najafgarh

-Team Project: Community co-operative housing in Najafgarh. -109 hectare site between military township and rural village -14.9 hectare sector arrangement of EWS, LIG, MIG housing. February-May 2014

NCAER OFFICE, near ITO.

-Designed a High-rise office complex situated in the busy business centre around ITO. -Thoroughly resolved building MEPs, climatic analysis for mixed use building, facade details, tessellation strategy. April 2014

CAMPUS façade Design

-Joint Workshop between University of Applied Sciences Erfurt, Germany and SPA, Delhi. -Façade design strategy for Campus Ecotect analysis August-November 2013

CONTEMPORARY MUSEUM, Mehrauli

-Contemporary Art Museum on that pays homage to ancient capital city of Mehrauli. -Social intervention that connects the densely inhabited yet ignored city-amidst-ruins (present day Mehrauli) and one of the largest tourist attractions of Delhi, Qutab complex. -Extensive study of isovists in gallery spaces and landscaping. February-May 2013

RESORT, Goa

-Multi-facility beach resort in Candolim, Goa. August-November 2012

RESIDENCE, near Qutab Minar

-Family residence in proximity to a city landmark, Qutab Minar. -Context-specific design to complement sensitive surroundings. -Spatial programming on principle ‘form follows function’, set on visual access and axis. February-May 2012

RAI PRAVEEN HOUSE, Orchcha

-Design for reincarnation of local legend Rai Praveen, attempt to reconnect with the past. -Design expression through metaphors, heavy symbolism; built with vernacular principles. -Gender sensitivity in designing a neutral space for transgender client. August-November 2011

BARD-HOUSE, Khirkee Village

-Social intervention in a cultural context. -Designing on the idea of ‘living skin’ cum shelter for single-user. -Imbricated anthropometric studies over alternate flexible functional space.

Drafting- Autocad (A), Revit 2014 (I), Vectorworks Architect (I) 3D Modelling- SketchUp 8 (A), Autocad 2014 (B) Graphics- Photoshop CS6 (A), Kerkythea (I), V-ray (B) Publishing and Layout- InDesign CS6 (A) Space Syntax tools- AJAXv1.02 (A), UCL Depthmap 10 (I) Sustainable Design tools- Ecotect Analysis (A) [A-Advanced, I-Intermediate, B-Basic]

Softskills

Leadership, Communication, Presentation, Research, Time Management, Project Management

LinkedIn http://in.linkedin.com/in/pulkitmogha/


GODHRA MUSEUM-MEMORIAL COMPLEX Dialogic Space in a City of Conflict

Godhra 22.7788, 73.6143


February-June 2016 PROJECT:

Godhra Museum Memorial Complex

Project was carried out as part of an Undergraduate Thesis in SPA. The project is situated in Godhra, known for being the epicenter of the Gujarat Riot pogrom in 2002. Embracing the contemporary socio-political condition of rising hindu nationalism, globalization-liberalisation as the backdrop, the project adressed communal anxiety and negotiation of identity in the site of controversy. Presently Godhra holds immense economic potential as an ‘Investment Region’ because of its proximity to the proposed DMIC (Delhi-Mumbai Industrial Corridor) belt. The history of violence and present day communal tension demonstrates the need for a dialogic space in Godhra. A museum-memorial is intended as a community-building cultural center in this rapidly urbanizing context. The museum as a reflection of reality, encapsulates the rich historical timeline of the town. A narration of traditions/roots, that anchors a sense of identity to the local and a broadened perspective towards Godhra to the visitor. The museum becomes the linear transitional journey leading up to the memorial. The Memorial is a reflection of the aspirations of the people; of peace and harmony. A utopian space that offers a meditative introspective environment. Space is political. The design is in pursuit of the in-between. Taking on Rowe and Koetter’s merits in engaging the dialectic of Tradition and Utopia, in combination. The balancing act, the overlap of the contrasts becomes the stage for change. The Orthogonal forms of the complex are not essentialist but bear qualities of Kipnis’ InFormation. A collage approach was explored in adressing the dialectic and disparate elements. With form and lines derived from site, the project is an assemblage of functions and events. A community hall, Museum, restaurant, retail store, memorial, library, offices for NGOs, workshops and vocational training centers; the complex employs diverse heterogeneuos spaces and empowers them. The Museum and Memorial produce such contrasting environments that they amplify each other, highlighting the issues at hand and the resultant in-between becomes the space for further dialogue and hence the way forward.

Figures: Left, overlooking the memorial tower (Model); Center-left (from top to bottom), Memorial design determinants; Museum design determinants; Right (from top to bottom), view of complex from the main entry; path leading to memorial tower; semi-covered drop-off to museum and hall; pedestrian spine; sculpture garden; Bottom, design possibilities explored. KeyMuseum block [M] Secondary Block [S] Assembly Block [A]


T

he site was explored and mapped geologically. Existing vegetation was kept into account and retained. Climatology and geomorphology led to design considerations and choice in vernacular construction material. Programming and Zoning followed preliminary exploration, where inferences from case studies were taken into account. Identified design determinants led to exploring possible arrangements in program assemblage on site, all the while exploring spatial experience across resolutions. A conceptually favorable yet sound variant became the chosen variant. The memorial became a point within a circle demarcated as memorial grounds, untouched, largely unbuilt. This point was located at the site edge that enabled public pedestrian access and visibility along with a connection to adjacent waterbody in hopes to revitalize it. The memorial grounds were designed as a ‘truly public’ space drawing inspiration from Maya Lin’s similarly democratic Vietnam memorial. The museum program was split in three zones arranged in horizontally sliced belts on site with the major access route to site and the adjacent water body on either ends. A community hall was closest to the main road due to bylaw restrictions and ease of managing peak footfall. A secondary block of porous public retail functions on ground and rentable office spaces, workshop and classrooms on upper floors were kept on the other edge to revitalize the pedestrian grounds and water body. The museum itself became the centrally located imposing built linking both the elements together. Figures: Right, site plan; Left, secondary block floor plans; Bottom, museum and hall floor plans.

03


olitics of context

1. main dropoff leading to the Museum and Community spaces, 2. built decending to pay homage to overlooking memorial. 3. pedestrian spine linking the museum spaces to the retail spaces and adjacent water body. 4. detail 5. office dropoff.


Project dealt with a diverse population and the realities of overcoming housing segregation that is otherwise pervasive in Indian cities. Equitability and accessibility were a primary concern. Use of cluster typologies within sectors encouraged a community lifestyle, and interfaces between typologies were carefully deliberated. Adjacencies were designed with sensibilities to prevent conflicts and promote interaction. All building plans demonstrate the flexibility to address specific nuanced needs of each demographic.

SOCIAL HOUSING Najafgarh Co-operative

The housing township rests around a central axis, defined by a pedestrian street flanked by shops and orchards on either ends of which rests the commercial and community nodes. Vehicular movement was restricted to the periphery of the site with cul-de-sacs providing connectivity to the core of the site. The design encourages pedestrian movement through an efficient network of pedestrian streets and shortcut routes. Open greens were equitably distributed with all income groups over the site. Orchards were designated to promote local sustainable practices. The commercial center connected the proposed development via major access routes to Delhi, Najafgarh City and adjcent town of Chhawla. The community center, located at the intersection of primary movement lines, connected the proposed development to the existing village, Rewla Khanpur. A market with cottage industries serve as primary interface between the city and village. The idea of Najafgarh cooperative housing rests on the principle of creating Integrated Sustainable Townships through an Inclusive Growth Model of partnering with the Landowners. Units HIG were located close to the main access route to Delhi. MIG walk-ups were located along the primary cul-de-sacs allowing vehicular accessibility at the same time ensuring their connectivity to the community. Plots were designed as clusters promoting community integration into the city fabric. LIG plots were located primarily in the core of each sector ensuring easy accessibility into the central vista. EWS community has been provided with plotted row housing typology with shortcuts and green spaces to achieve a better quality of life without compromising on density.

EWS Housing

LIG Flats with convertible Shops

LIG Plotted Community Housing

MIG Duplex Apartments (E-W opening)

MIG Duplex Apartments (N-S opening)

Farmers Market

HIG Towers & Plots Community Center

Rural Support Infrastructure

Commercial Center

DENSITY Gross Density of Site (Housing + Public Functions): 65.65 DU/Ha Net Denisty of Sector (Housing + Schools): 109.91 DU/Ha AREAS Vehicular Roads / Streets: 32.25 Ha Housing: 58.7 Ha Greens Parks: 8.53 Ha Orchards: 2.22 Ha HIG Greens: 2.3 Ha Schools: 5 Ha Total: 19.05 Ha Housing Typologies HIG (343 DUs) MIG (1080 DUs) LIG (1942 DUs) EWS (3902 DUs)

73.79 DU/Ha 80 DU/Ha 113.17 DU/Ha 184.47 DU/Ha


DU Area 30sqm + 25sqm (Duplex)

Plot Area: 125sqm Built Area: 132sqm

Plot Area: 37sqm DU Area 49sqm 28sqm + 21sqm (Duplex)

Plot Area: 30sqm Built Area 24sqm

DU Area 86sqm 102sqm (with Duplex)

social inclusivity

Plot Area: 37sqm DU Area 124sqm (Type A) 130sqm (Type B)

06


Figures: Right, typical sector plan; Top-left, EWS housing typologies, plans and section; Middle, LIG Clusters, plans and section; Bottom, Typical floor plans of some other typologies.

07



STUDIO LOTUS Training Projects

09


Rawaton ka Bass, Old city, Jodhpur PROJECT:

Tunwar Jee Ka JHALRA

Independently handled project for Conservation and Renovation of a Baoli (stepwell) in Blue City. Project was coordinated by the local community and enterprises along with the Nagar Nigam to revitalize a heritage monument in the midst of the Old City of Jodhpur. Measured drawings of the same along with a 3D model of the entire site and the context were singlehandedly produced. Renovation design proposal presented to the Municipal Authority were approved for carrying out. Since renovation, site has contributed to a boost in the tourism potential of the area by restoring the beautiful monument to it’s former glory. The baoli is also important to the local community: serving as a dargah for the local muslim community and a site for performing last rites for Hindus. Site also supports a thriving ecosystem of fishes, kingfishers, cormorants and other birds . Figures: Left, digital model, baoli; Center-left (top to bottom), baoli before draining; after draining and cleaning; after sand blasting, repairs; Right, render.

ritage conservat

Jodhpur 26.2970,73.0229


2 Intern, Studio Lotus Project: STEPWELL HOUSE 1" 26'-32

1" 2'-42

1" 26'-32

3'-1"

1" 8'-62 1" 1'-82

6'-9" 5'-1"

3'-5"

2'-6"

2'-9"

2'-5"

2'-11"



9"

1" 1'-22

1" 2'-42

3'-1"

1" 1'-82

5" 6'-9"

1'-5"

2'-9"

2'-11"

1" 1'-22





2'-5" 4'-11"

1" 2'-72

1" 2'-42 2'-7"

1" 2'-102

1" 2'-42

2'-11"

2'-5"

3'

1'-5"

2'-6" 1'-5" 1'-4" 2'-3"

3'

2'-5"

3'

3'-5"

2'-71 2"

(GROUND FLOOR)

LVL = (5'-5")

2'-5"

3'

1'-5"

3'

3'-11"

G.F. LVL = (5'-5")

Q

2'-6"

1'-5"

2'-3"

G.F.

3'-11"

LVL = (±0) LVL = (5'-5")

2'-11"

FRONT ELEVATION

3' 2'-5"

3'

1'-5"

3'

SECTION AT (A-B)

(GROUND FLOOR)

2'-6"

1'-5"

2'-3"

3'

A

D

A

D

ROOF

SECTION AT (A-B)

(GROUND FLOOR)

(GROUND FLOOR)

ROOF

B

ROOF

LVL = (33'-6")

LVL = (33'-6")

1" 4'-22

3'

3'

LVL = (33'-6")

5"

LVL = (33'-6")

C

3'-5"

5"

S.F.

LVLROOF = (25'-7")

3'-5"

1" 2'-72

1" 2'-72

3'-6"

S.F.

3'-5"



3'-6"

2'-6"

7'-11"

2'-6"

F.F. LVL = (13'-4")

LVL = (13'-4")

HALL

2'-6"

18'-8"

LVL = (13'-4")

Q

P 1" 11'-52

G.F.

LVL F.F. = (5'-5") LVL = (13'-4")

SECTION AT (P-Q) (GROUND FLOOR)

G.F. LVL = (5'-5")

G.F. LVL = (5'-5")

G.F.

Q STEPWELL HOUSE

(GROUND FLOOR)

STEPWELL HOUSE

23'-1"

1'

STEPWELL HOUSE (FIRST FLOOR)

SECTION AT (C-D)

SHEET TITLE:

MEASUREMENT DRAWINGS

DRAWING TITLE:

SCALE:

MD

D

PROJECT:

STEPWELL HOUSE

DRAWING TITLE:

MD

D

DATE:

1:75

MEASUREMENT DRAWINGS

5th Feb,15

DWG.NO.:

SCALE:

Plans, Elevation, Sections DATE:

1:75

5th Feb,15

DWG.NO.:

SECTION AT (P-Q)

(GROUND SECTION AT FLOOR) (C-D)

LVL = (±0)

(GROUND FLOOR) SECTION AT (P-Q)

(GROUND FLOOR)

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PROJECT:

PROJECT:

STEPWELLHOUSE HOUSE STEPWELL A A

SHEET TITLE:

LVL = (±0)

LVL = (±0)

(GROUND FLOOR)

23'-1"

STEPWELL HOUSE

SECTION AT (P-Q)

(GROUND FLOOR) Plans, Elevation, Sections

G.F. LVL = (5'-5")

LVL = (±0)

SECTION AT (C-D)

1'

LVL = (±0)

LVL = (±0)

PROJECT:

(FIRST FLOOR)

G.F. LVL = (5'-5")

G.F.

Q

1" 11'-52

(FIRST FLOOR)

23'-1"

1'

F.F. LVL = (13'-4")

LVL = (5'-5")

Q

4'-21 2"

1" 11'-52

23'-1"

LVL = (±0)

SECTION AT (C-D) (GROUND FLOOR)

Graphic Design including Branding and Merchandising for RAAS Jodhpur. A Proposal Drawings for a floating Installation Sculpture in Stepwell. Photo-documentation of Ghantaghar (clock tower). A Photo-documentation of heritage site Gulab Sagar Haveli.

P

1' LVL = (±0)

HALL

F.F. LVL = (13'-4")

2'-6"

LVL = (5'-5")

1" 4'-22

P G.F.

LVL F.F. = (5'-5")

2'-6"

F.F. LVL = (13'-4")

F.F. LVL = (13'-4")

HALL

F.F.

HALL

3'-0"

LVL = (25'-7")

S.F. LVL = (25'-7")

3'-0" 2'-6"

0"

1" 2'-72

S.F.

LVL = (25'-7")

LVL = (25'-7")

7'-11"

18'-8"

LVL = (25'-7")

ROOF LVL = (33'-6")

S.F.

7'-11"

3'-6"



LVL = (25'-7")

LVL = (33'-6")

ROOF LVL = (33'-6")

2'-6"

2'-6"

S.F.

ROOF

LVL = (33'-6")

C C

B

1" 4'-22

S.F.

LVLROOF = (25'-7")

(GROUND FLOOR)



(GROUND FLOOR)



SECTION AT (A-B)

(GROUND FLOOR)

18'-8" 3'-0"

18'-8"

1" 4'-22

(GROUND FLOOR)

FRONT ELEVATION



STEPWELL HOUSE

2'-6"

1

2'-11"

(GROUND FLOOR)

C

3'-0"



1" 11'-52

1'-4"

2'-5"

1" 2'-72

PASSAGE 1" 2'-102

STEPWELL HOUSE

2'-6"

P

F.F. LVL = (13'-4")

2'-6"

 3'

1" 4'-22

Q

2'-10"



SECTION AT (A-B)

G.F.

S.F.

5"

2'-5"

F.F. LVL = (13'-4")

2'-10"

LVL = (±0)

(GROUND FLOOR)



7'-11"

4'-11" 2'-2"

 5"

LVL = (±0)

3'-6"

2'-31 2"

1" 1'-22

2'-61 2"

2'-11"

1" 2'-102

S.F. LVL = (25'-7")

LVL = (±0)

FRONT ELEVATION

D 1" 2'-72

6"



6" PASSAGE

2'-7"

1" 2'-42 8'-91 2"

FRONT ELEVATION

B

2'-32" 2'-5"

3'-101 2" 2'-2"

1'-4" 4'-11"

1" 2'-62

2'-11"

1" 8'-92

2'-41 2"

Q

0"

3'

2'-6"

2'-11"

S.F.

LVL = (25'-7")

1

1" 1'-22

91 2"



(GROUND FLOOR)

5"

1'-81 2"

LVL = (33'-6")

1'-9"

2'-9"

9'-91 2"

 5"

2'-3"

B A

1" 92

6'-9"

1" 2'-72

ROOF

1" 3'-102

1" 9'-92

6"3'-1"

2'-11"

2'-6"

P

D

STEPWELL HOUSE

1" 4'-22

2'-7"

G.F.

3'

A

2'-41 2"

8'-61 2"

1" 6" 2'-72

2'-6"

1'-5"

(GROUND FLOOR)

1" 4'-22

1'-5"



2'-5"

C

LVL = (13'-4")

3'-11"

1" 2'-72 2'-11" 2'-5" HOUSE 3' 1'-5" STEPWELL



P

LVL F.F. = (5'-5")

3'

PASSAGE 1" 2'-102

Q

3'-11"

1" 2'-62



2'-6"

1" 1'-82

2'-9"

2'-6"

F.F.

2'-10"

1" 2'-72 6"

2'-11"

1" 8'-92

3'

S.F. LVL = (25'-7")

LVL = (13'-4")

 5"

PASSAGE 2'-6"

P

1" 2'-32

2'-2" 1'-4"

1" 92

1" 2'-62

2'-11"

3'-1"

1" 8'-62

3'-5"

6'-9"

 9"

2'-5"

4'-11"

2'-10"

6" 2'-7"

1" 8'-92

5'-1"

1'-5"

6'-8"

1" 3'-102

1" 9'-92

 6"

2'-6"

P

3'

S.F.

1'-9" 1" 2'-32

2'-2"

1" 8'-62

1" 2'-72

3'

B

9"

1'-9"

2

LVLROOF = (25'-7") LVL = (33'-6")

6"

ROOF LVL = (33'-6")

2'-6"



6'-8" 1'-4" 1'-10"

C

1" 3'-102

1" 9'-92

 1" 92



C 1" 26'-32 2'-41"

3'-5"

0"

1'-5"

1'-4" 1'-10"

5'-1"

0"

3'

2'-6"

B



9"

6'-8"

1'-4" 1'-10"



3'-5"



1" 31'-102

5'-1"

1" 31'-102

1'-4" 1'-10"

6'-8"

ROOF

LVL = (33'-6")

1'-9"

1" 31'-102

C

B

B

1" 31'-102

-Measured Drawings and Documentation of Mansion. -Photo-Documentation of Site.

1" 26'-32

DD

SHEET TITLE:

SHEET TITLE:

MEASUREMENT DRAWINGS Plans, Elevation, Sections MEASUREMENT DRAWINGS Plans, Elevation, Sections

DRAWING TITLE:

DRAWING TITLE:

MD MD

SCALE:

SCALE:

1:75 1:75

DATE:

DATE:

5th Feb,15 5th Feb,15

DWG.NO.:

DWG.NO.:


3

Intern, Studio Lotus Project: ANOOP SINGH HAVELI -Proposal Drawings to convert Old Mansion into Bistro and Retail outlet with Studio Lotus. Presented to Clients. -Measured Drawings and Documentation of Mansion. -Photo-Documentation of Heritage Site. PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT





 





 









 

  



 







 

    

 





   

2"

 6'-5"

ENT..

ENT..

ENT..6'-5"

1 4'-316"



111 2" 7 5'-916" 6'-5"

7 5'-916"

   

       

 

 

   

   

  

ENT.. 

   



 



 

 

   



     

   



       



 





 

   

   

  

 

 

 





 





    

PROJECT: PROJECT:

ANOOP SINGH ANOOP SINGH 

HAVELI  HAVELI

 

  

   



      



    



   

 

 



 





 



 

 





 SHEET TITLE: SHEET TITLE:      SCALE: DRAWING TITLE: SCALE: DRAWING TITLE: MD 1:75 MD

    

MEASUREMENT DRAWINGS Plans, Elevation, MEASUREMENT DRAWINGS Plans, Elevation, SectionsSections DATE:

DATE:



DWG.NO.: DWG.NO.:



5th Feb,15 5th Feb,15

1:75

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 4'-316"

   

       

   

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

 



1 5'-816"

7 5'-916" 111

     

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

111 2"



1 4'-316" 1 75'-816" 5'-916" 6'-5"

1 4'-316"

111 2"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

 9'-6"

9'-6"



   

   

     

1 5'-816"

1 5'-816"







9'-6"

9'-6"

UP

 

   



UP 



 

   

UP

UP





4



 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PROJECT:

ANOOP SINGH ANOOP SINGH HAVELI HAVELI

PROJECT:

 

 

SHEET TITLE:

MEASUREMENT DRAWINGS Plans, Elevation, Sections MEASUREMENT DRAWINGS Plans, Elevation, Sections

SHEET TITLE:

SCALE:

DRAWING TITLE: DRAWING TITLE:

MD

MD

SCALE:

1:75

DATE:

1:75

DATE:

5th Feb,15

5th Feb,15

DWG.NO.: DWG.NO.:

Independent Project Project: TANGA STAND

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT



   



 



DN

DN

    

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

 



   

 

DN DN



 

 



   

 











 











 

-Architectural Design and Drawings for Schematic Design of a stand for horse-ridden carriages in Ghantaghar, Jodhpur.

12


NCAER OFFICE ITO

IP Estate 28.62655, 77.24509

13


T

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

February-May 2014

he National Council of Applied Economic Research (NCAER) is a premier thinktank at the forefront of economic policy research in India, at the site of an existing building in Indraprastha estate, adjacent to the Ring Road, New Delhi. The project entailed designing the new complex followed by an exchange design studio concentrating on optimized facade treatment with students from FHE Erfurt, Germany.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY ANBY AUTODESK EDUCATIONAL PRODUCT

The design proposed the creation of a civic landmark in a skyline of iconic built, yet remaining humble to functional needs. The built was mixed mode, designed with eco-friendly sensibilities. Using natural ventilation and passive cooling techniques for user comfort along with adequate natural lighting. Insolation analysis on prototypes to determine the optimum incline to reduce direct summer heat on most impacted facades without projecting shades.

The typical office floor is designed keeping in mind the pros and cons of working in an open office scheme as well as a cubicle system, and resolves as a hybrid of the two. The private offices are lined up against either sides, receiving clear views and ample sunlight, and allowing indirect lighting to reach the workstations within. The workstations are a complex array of modules derived from simple geometric aesthetics, allowing a fluid but organized work ethic. The stations come together as a whole, functioning organism, but on an individual level, provide a complex variety of sub-spaces which account for anything from open to closed, solitary to group, private to public experiences for the worker. The higher floors are mostly all function specific, with meeting rooms and Administration right above the office floors and the accommodation, both staff and guests, on the topmost floors.

ED BY AN AUTODESK EDUCATIONAL PRODUCT

The first floor is completely dedicated to the library functions and connected over the ground floor reception. The library is closer to the ground because of the contributed load, doubling up for both public and office use. The west wing is mostly for office users and research while the east wing for more public use and reading. The library bookshelves continue up to the next floor in the east wing.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Figures: Left, structural basis; Bottom-left, Location in Delhi; Bottom, elevations; Center-right, structural column grid; Site Plan; Right (top-bottom), floor plans, Ground floor to Roof level.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A 7 storey high rise multi-functional complex, with each floor plate almost exactly 1500 square meters area. The building has a central core with two blocks on either side. Both 'blocks' overlook a central plaza that is intended for hosting public events and for users to spill out into. Organizational structure of NCAER is responded to by keeping functions of public interest at the lower floors and those of specific interest at higher levels. Lifts, along with a central staircase are sufficient to cover everyday occupancy load easily while fire escape staircases on both ends cover escape routes for the entire building.


Figure: (left-panel, clockwise from top) left, insolation analysis for individual facades on ecotect; center-right, built form model; bottom, prototype form models.

Facade Treatment:

The building was been angled at 15 degrees from both extreme ends such that the building slowly tilts outward. This not only made the south-east and south-west facade comparatively insulated but made the walls shade themselves. The angles had been derived after verifying insolation levels on 10 degree, 15 degree, 25 degree and 35 degree. It was found that at 15 degree, most requirements were fulfilled without compromising on structure The south east and west facades are angled inwards to act as their own shades. The glass is tinted to allow in light but not direct sunlight.

Window size- 2200x1800 (900 from ground level) The north east and west facade, also the front facades are almost entirely single glazed to allow in most light and make indoor spaces feel more open and spacious. The glazing is embedded in a structural tesselated steel framework. The east and west extreme facades are covered in a double skin glazing spaced 600 to create an air vaccum. This creates an insulation layer but allows views and the feeling of spaciousness.

South West Facade Insolation Analysis Total Radiation

Value Range 810000-1800000

South East Facade Insolation Analysis Total Radiation

Value Range 810000-1800000

North West Facade Insolation Analysis Total Radiation

Value Range 810000-1800000

LOWEST HSA - JUNE 27 - 27.3 degrees LOWEST VSA - JULY 19 - 53.4 degrees (recorded between 930-1100 hrs) North East Facade Insolation Analysis Total Radiation

Value Range 810000-1800000

LOWEST HSA - JAN 03 - -0.4 degrees LOWEST VSA - DEC 07 - 3.9 degrees (recorded between 1500-1700 hrs)


climatology

Figure: (right-panel, clockwise) top, technical drawing; center-right, MEPs- ground floor; top-right, block models; bottom-right, site model.


BEETLE HOUSE Rai Praveen Residence

Students were first introduced to site on a class trip organized in February to perform measured drawings and heritage restoration exercises of mud houses vernacular to humid subtropical composite climate of Madhya Pradesh. The community lifestyle and local construction practices and techniques were studied over the course of the homestay. Orchha is a 16th century princely state close to Khajuraho in Bundelkhand, preserving local monuments, cenotaphs and marketplaces, including the Raja Mahal, Laxmi Narayan Temple and Raja Ram Temple February - May 2012 CONTEXT:

ORCHHA, Madhya Pradesh

Rai Praveen Mahal, Orchha Local legend goes that Rai Praveen was well known for her enchanting beauty, poetry and music. Paramour of King Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide until it reached the Imperial Court of Akbar. The Mughal emperor was smitten, and he arrogantly summoned her to his durbar. Indrajit Singh was too weak-kneed a ruler to defy the Imperial summons. The Rai Praveen Palace was constructed in three stories by Prince Indrajit Singh for his beloved. The walls of the central hall on the second story bore many paintings depicting the several moods of the Rai Praveen. The palace is combined with a garden divided into two parts, popularly known as Anand Mahal bagh (Garden). Figure: top, site plan; center, location of Orchcha in Madhya Pradesh.

The historical context and an open-ended narrative were supplied with the aim of designing a new home for Rai Praveen’s reincarnation along the Anand Mahal bagh.


metaphor

Orchcha, Tikamgarh 25.36853, 78.62369

‘ Vinit Rai Praveen ki, suniye sah sujan. Juthi patar bhakat hain, bari, bayas, swan.

’

(Upon being summoned again, Rai Praveen went to the Mughal court in 1602 to save Orchha and its ruler from getting into further problem. She presented herself before the emperor and asked for leave to recite a couplet. The couplet above translated as: 0' good and intelligent! Please listen to the prayer of Rai Praveen. Only bari (a low caste among Hindus), barber could eat from a plate, food from which has been partaken by someone else. Akbar, an intelligent person himself, understood the substance of Rai Praveen's couplet immediately. he rewarded her and allowed her to return to Orchha with dignity and honour.

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#1

he legend of Rai Praveen is brought to the present through her reincarnation, a transgendered linguist and dancer, Maria. The design derives semiotics throught the narrative on Maria’s character sketch, her story and habits. Maria returns to Orchcha to claim what is hers not only to be refused entry into her home, Rai Praveen Mahal, but also to be discriminated on grounds of her alternate sexuality. Thrown out at an early age from her house, this alienation hit home and Maria decided to use the residence as a statement to society. A twofold response, she situated it right at the periphery of the Mahal, to enjoy views to what was once hers. The house was private, meant to overpower the mahal, and draw attention towards itself. Figures: #1 Ground Floor; #2 First Floor; #3 Outer Shell.

#2

#3


CONCEPT DIAGRAM FOR RAI PRAVEEN’S CONTEMPORARY RESIDENCE

ORGANIC A house that takes from its surroundings and has an influence from nature. The house should make use of locally produced natural materials and sustainable practices. The form of the house however breaks into the context. CIRCLE OF SPACES To accomplish a circle of spaces for user to experience enhanced spaciousness while cruising in a smaller space as with Atelier Deshau’s Spiral Galleries. INTROVERT vs EXTROVERT Maria draws from her experiences, twin personalities. She is private and public to extremes. The house is built to facilitate such spaces and transition in between them.


Sections


22


BARD-HOUSE Living skin/shelter

‘ Enough for me: with joy I see The different doom our Fates assign. Be thine Despair, and scept'red Care,

’

To triumph, and to die, are mine.

He spoke, and headlong from the mountain's height, Deep in the roaring tide he plung'd to endless night.

Khirkee Village 28.53137, 77.21996

23


Intervention in the urban village of Khirkee was in (re)introducing the people of Khirkee village to their historical and cultural surroundings. Like any social intervention, this was not achieved by design alone. The actor of change, who once tied communities strongly before, was now lost in the hurdles of city life and forgotten. A bard of the Khirkee village would revive local interest and create a sense of community. Would get them to take pride in local landmarks- the Khirkee Mosque and Satpula Bridge. Once the significance of these monuments was felt, their potential could once again be explored. Once there was a sense of community, there would be attempts to revitalize, clean and reclaim all that was lost.

August - November 2011 CONTEXT:

KHIRKEE Village

Once a gem in the Tughlaq city of Jahanpanah (14th century), today Khirki Village is a mammoth mess, a conglomeration of dense buildings. Starting at Saket, just across from some of India’s biggest malls the labyrinthine alleys go all the way upto Malviya Nagar, and Khirki is also flanked on all sides by other equally interesting urban villages like Hauz Rani and Chirag Dilli. While Hauz Khas and Shahpur Jat and even Lado Sarai have a strong artistic/ design bend, Khirki has acquired the reputation of hosting more experimental art practices, like the artist residency Khoj, or the dance residency, Gati. It now has a rich tradition of community art festivals and projects and frequent interactions between the local community and the arts community. (from 1100walks) While the older generation, the elders of the village had a lot of stories to share about the history of the place, this curiosity did not seem to have passed on to future generations. The project was part of studio’s anthropometric exercises. The daily activities of a chosen user were recorded and mapped along planes. For a constantly shifting landless user, the challenge lay in designing a multi-functional modular and portable space, a living skin. Spaces were amassed as daily and nightly and surfaces of varying materials (finally canvas) were molded in and around the optimum anthropometric space. The space was realised within exisitng portable structure of a rickshaw for economical viability. A foldable, moveable shelter cum performance space was hence designed to assist the bard in his daily living.

Figure: Right, Map of Delhi with location of Khirkee village; Left, Map of Khirkee Village and Extension with landmarks and proposed bard routes

jugaad innovatio

Bard; storyteller who travels far and wide recounting stories of local legends to people in a poetic, singsong manner, often accompanied by a string instrument.



Details: left to right, #1 painted canvas for flexible outer skin, detail shows how the outer edge of canvas is folded in and tightened by string; #2 joint detail in steel framework; #3 seat detail, during the day when the foldable canvas frame is fastened up, the hinged seat to the house is pulled up as shown. During the night it is tucked in and the foldable canvas frame with its ply base rests over for support, increasing the interior floor area for sleeping.

Elevation #1

Elevations: #1 arrangement during night, the ply sideboard is supported against the saddle and front set. This increases the indoor floor area to create optimum space for sleeping; #2 arrangement during the day, the sideboard is folded and tied back to make a sitting space in the front to navigate the vehicle; #3 doors in the back to enter, also allows for sitting space.

Elevation #2

Anthropometric Details: corner-left, initial sketches; left, traditional rickshaw wireframe superimposed on street imagery; bottom, layered anthropometric studies of bard’s routine activities from left to right- standing, sitting, playing instrument, eating and sleeping respectively.

Elevation #3

Initial Sketches

Detail #1

Detail #2

Detail #3



http://pulkitmogha.tumblr.com/ pulkitmogha@gmail.com +91 837 686 4614

the creator, solo graffiti, S.P.A. lobby.


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