SHANAIYA MALOO ARCHITECTURAL
DESIGNER
Structural examination of The Zentrum Paul Klee by Renzo Piano Model made in collaboration with Lily Jantarachota and Maylee Birks
CONTENTS 01. FROM ASHES TO ALKALINE
02. POSSIBLE FICTIONS
03. MUSEUM OF MIGRATION
04. PROFESSIONAL WORK 1 | N&A
05. PROFESSIONAL WORK 2 | OMA
Central Pit
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From Ashes To Alkaline Resurrecting Ecology Through Death Mumbai, India Professors: Florian Idenburg idenburg@so-il.org Ian Fletcher iaf7@cornell.edu
The project studies the funerary infrastructure of the Zoroastrians which is the Tower of Silence or Dakhma, through the lens of it being one of ecological care. Through this funerary practice, the flesh or pollution is decomposed through the process of excarnation or exposure to vultures and the sun. After this, any bodily fluid is sent to a central pit and then purified underground. In Zoroastrian tradition, this process is rooted in ecological care- to avoid contamination of the air, the earth and the water. The proposal will be situated in an apocalyptic future (2066) where Zoroastrianism is extinct, and our anthropogenic activities will have created a dystopian world- where the rate of the deceased rises daily. The main question of the thesis is, how can death be used as a means of rejuvenation and rebirth? Both for the site and the religion. The Dakhma for the Zoroastrians of Mumbai is located on Malabar Hill and is known as The Doongerwadi. The site has an pertinent geology. It is is part of the Deccan Trap province, an immense lava plateau developed, around 65 million years ago which corresponds with the end of the Cretaceous period. This province is found in west-central India. It is one of the largest volcanic provinces globally. The volume of basalt here is estimated to be about 512,000 km3. Over 100,000 people die in Mumbai annually. 14 out of the 25 of the crematoria are open pyre crematoria that use wood as fuel. 50-60 million trees are burnt annually for open pyre cremations in India. The urban population of Mumbai will increase by 176% by 2066. Humans are made of of the same chemical basis as earth itself (Hydrogen, Carbon and Oxygen). This means that our mass can be used in a circular manner and can give life after our death. The proposal creates a funerary process born from the land and through a process of biotransformation aids the land. The process will give birth to pathways and a sacred orchard with which one can interact with in addition to an urban commons for food production. This interaction will be with man and nature and man and the deceased. Hence through this network and funerary infrastructure one not only immoralizing the dead but cyclically revives the land. Nature and Technology are in a duet with eachother and benefit ecology.
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Sand Basalt V
Basalt IV
Basalt III
Breccia & Shales III
Breccia & Shales I-II
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Doongerwadi Section with Geological Units
Main service entrance
Body Preparation Area
Ceremony Area
Biotransformation | Ubran Commons
Main visitor entrance
Sacred Orchard
Site Model
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Visitation Space Entrance
Visitation Space
On entering these slitted entranced carved into the earth one will feel a sense of increased connection with it. Skylights will be placed strategically to allow for cross ventillation and areas that need light. Environmentally, subterranean architecture also is beneficial due to its thermal propoerties which can aid in a location where heatwaves are on a rise. The infrastructure of the burial ground is in a sense already present in its natural landscape. It just needs to be used.
The decision to carve or excavate the visitation space was driven by the it’s use. Areas where illuminated geolocators are placed would be excavated, and the basalt coulmns left exposed. This would make the space sublime and one would feel the prensece of the deceased without seeing them. Carved out spaces would be areas of circulation and more private visitation. This way the visitation spaces are made from the site, materials are used on the site and visitors can be with their loved ones in the site.
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Burial and Urban Commons
Sacred Orchard
Time heals all wounds. This is precisely how this funerary infrastructure operates. Through the cycical process of burial, biotransformation and renewal what is born is fertile soil which provides an ethos of growing native food to help reduce the food scarcity of the city and so literally gives back life.
After the body s decomposed, the geolocator will turn into a flying illuminated momento. One can either take this momento back home with them or choose to leave it in the new sacred orchard and visit them. The previous sites of the Dakhmas, will be treated as a ruin with which people are now allowed to interact with. Additionally, Soil produced on site will be used to grow trees in areas that currently do not have much vegetation. In doing so, one is also immoralizing the dead. The entire funerary process is temporal is nature. The burial infrastructure that supports it can grow and shrink based off of its needs and death rates.
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Ceremony Space Floor Plan
Ceremony Space (Pink) and Dakhma (Grey) Interaction on site
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Burial & Visitation Space Floor Plan
Burial & Visitation Space Model
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Cross Section through Burial, Visitation Space and Urban Commons
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UG3a
UG3b
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Geotechnical Units encoutered in The Doongerwadi Unit
Geology
Weathering Grade
Weathering Grade
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Sand
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Soil course grained
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Soil rock boundary
Basalt
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Rock mass
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Rock mass
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Possible Fictions
Reimagining Native Land Beyond Colonialism New York City, New York Professors: Florian Idenburg idenburg@so-il.org Karilyn Johanesen johanesen@so-il.org Partner: Julia Vasilyev
Like other museums, The Smithsonian, National Museum of the American Indian in NYC sees a siloing of narratives. Here the belongings of American Indians have been boxed and stored away. When looking at visitor statistics in 2021- the museum received only around 55,000 visitors, while other museums like the Smithsonian American Art Museum which received 618,629 visitors. The site of the Cooper Hewitt, Smithsonian Design Museum predates colonization. It was once the home of the Lenape Indians which was stolen from them by European settlers. This project speculates on the possible architecture and remediation strategies that would have emerged if the embodied knowledge of the land had not been lost during early European colonization of Manhattan. Our addition to the site strives to give the first people of the land back their voice and aims to reorient the focus from collected objects to collective stories. Lastly, we speculate what a common ground might be in which both parties can co-exist and benefit mutually. We aim to do this through a collaboration between the Cooper Hewitt, the National Museum of Design, and the Museum of the American Indian. We envision art pieces and objects found in the latter to be loaned out to American Indian artists from which they would draw inspiration and retell their story on a contemporary stage, in our proposed institution. In this way, we strive to give them back their voice and use their boxed objects to tell their stories. Both museums have lower foot traffic than other Smithsonian Museums and so the collaboration strives to benefit both entities. The narrative we created in which coexistence is the way forward is the context in which our proposal exists. Here no ones is siloed. A common ground is created and each benefits from the other. While monuments turn to ruins, new monuments emerge. Likewise, we envision our proposal to be a part of this phenomenon that grows and ages over time. We started the project by understanding and creating collages of historical narratives spanning from Native American occupation of the land and the arrival of Dutch merchants in Manahatta to the eventual displacement from their land. We then created possible fictions based off these historical stories, in which the Lenape people were not displaced, where both the Europeans and the Lenape people coexisted and learned from each other be it sustainable practices or construction techniques, or ways of travel.
POSSIBLE FICTIONS
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1624 DUTCH MERCHANTS ARRIVE AT MANAHATTA
+100 YEARS LAND ACTS
+100 YEARS DISPLACEMENT
The Lenape people notice eerie looking ships along their shore line. Their matriarch go and talk to Giovanni da Verrazzano, who seems to be the leader of their clan,and his family over tea. The tea tasted very different from their root tea that they were used to. Over tea Giovanni’s wife talks about owning land. This term seemsstrange to the Matriarch..
The Lenape people hear rumors that their land was sold off by their leader, a Man to the Dutch. This seems especially strange to them for two reasons: firstly, theyonly agreed to give the land to the Dutch to rest momentarily since land does not belong to humans. Secondly, and more importantly only their matriarch could makesuch serious decisions.
Manahatta remains the peaceful haven it was before the Dutch arrived.Both groups learn from eachother. In their weekly meetings the Lenape teach the Dutch about natural construction techniques and specify the exact age that the wood should be in order to be bent easily. The Dutch teach the Lenape how to make their wigwam weather proof and insulated.
1865 INDUSTRIAL REVOLUTION
+50 YEARS GILDED AGE
+110 YEARS COOPER HEWITT
The industrial revolution came and even though its ideals stood in stark contrast with what they believed in, they did see its benefits. They communicate with the Europeans and they mutually decide to allow for the extractive practices to take place but in a sustainable manner. As a token of their appreciation they gift the Europeans smoked oysters and clams that they just caught.
Finding the travel by bark and dugout canoes tedious, the Lenape people were excited at the advent of the train. Happy that the Lenapes allowed them to use their land for something which is detrimental to it, the Europeans planted trees out of respect for their traditions. The Lenape started using steel as a construction material which prolonged the life of their long houses and wigwams.
Seeing how the popularity of Carnegie steel grew because of the Lenape Indians suggesting it to others, the Cooper Hewitt decide to make a partner institution withthe Smithsonian. Here they envision a stage from which American Indians can retell their stories.
2170 While drone birds fly to keep the levels in the atmosphere stable, the reservoir in central park flows with bounty. Nature and technology coexist because traditional practices were not forgotten.
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Site Plan
E 91st St
E 90th St
Programs include Artist Residency spaces from which new work will be created and exhibited in the new addition. Striving to be generous, the addition has gathering spaces and spaces of Interaction be it community craft spaces, a library, or excavated gardens.
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PUBLIC SPACE
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PRIVATE SPACE / ARTIST RESIDENCY
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SEMI PUBLIC SPACE
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D ENTRANCE SPACE
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NEW EXCAVATED GARDEN
LOBBY / EXHIBITION SPACE
LIBRARY
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PUBLIC PARK / ENTRANCE TICKET COUNTER
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CRAFT ROOM
Program Diagram 20
Our proposal challenges the boundary of the plot and removes the fence currently on the site (1). This creates access from Central Park (2) as well as 90th Street (3). A visitor can also access the new addition through the Cooper Hewitt by the way the museum interacts with the facade.
(2)
(3)
(1) 21
(dia 1) Robots path in plan
Circle track upper limit 7ʼ-6”
6ʼ-0”
Overlap
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Unprintable
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Circle track lower limit
Overlap Row 2 track upper limit
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(dia 2) Robots path in section 22
Paying close attention to the impact our addition would have on the land, the chosen building material merges a traditional material, earth, in a contemporary mannerUsing the Wasp 3D printer to print the addition using earth excavated on site. The robot functions on a grid with a radius of 20 feet with an area of 5 feet where it is unprintable (dia 1). The process involves using a lightweight scaffolding on which the robot’s arm is erected (dia 2). This circular grid has influenced the placement of openings and massing.
Wasp 3D Printer Axon
4 3D printed rammed earth Air gap 3D printed rammed earth 3 3D printed rammed earth Air gap 3D printed rammed earth Rice husk insulation 3D printed rammed earth 2 3D printed rammed earth Air gap 3D printed rammed earth Rice husk insulation 3D printed rammed earth Rice husk insulation 3D printed rammed earth 1 3D printed rammed earth 4 Air gap 3D printed rammed earth earth 3D printed rammed Rice husk insulation Air gap 3D printed rammed earth rammed earth Rice3D huskprinted insulation 3D printed rammed earth Rice husk insulation 3 3D printed rammed earth
3D printed rammed earth Air gap 3D printed rammed earth Rice husk insulation 3D printed rammed earth
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2 3D printed rammed earth Air gap 3D printed rammed earth Rice husk insulation 3D printed rammed earth Rice husk insulation 3D printed rammed earth
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1 3D printed rammed earth Air gap 3D printed rammed earth Rice husk insulation 3D printed rammed earth Rice husk insulation 3D printed rammed earth Rice husk insulation 3D printed rammed earth
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Facade FACADE Variations VARIATIONS 4
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1 Lobby 2 Library 3 Gallery 4 Outdoor Exhibit 5 Artist Residency 6 Craft Space
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Overlap
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10’
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Artist Residency 1 Artist Residency 2 Artist Residency 3
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Circle track upper limit
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Facade Detail Not being able to carry live loads of artist residency spaces, which occupy the 2nd level, steel columns have been placed off of which floor plates are suspended through a tension rod. In this way, our hybrid system learns from the old and creates a novel architecture.
1 Steel column 2 Louvres 3 Drainage gutter 4 Double glazed skylight 5 Tension rod bolted to steel i-beam 6 Ply panel Rice husk insulation Wooden joist Ply panel Steel i-beam 7 3D printed rammed earth Air gap 3D printed rammed earth Rice husk insulation 3D printed rammed earth Rice husk insulation 3D printed rammed earth Rice husk insulation 3D printed rammed earth 8 Rammed earth floor Rice husk insulation Gravel Stabilized soil Breathable granular root protection working surface 9 Grade beam with reinforced steel Steel plate 10 Helical pile 26
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Exterior render of different entry points 29
Museum of Migration Flushing Meadows, New York Professor: Greg Keeffe gpk44@cornell.edu
The Anthropocene has not only impacted the environment but has also impacted the lives of many individuals. These individuals leave their homeland, migrating to other lands either due to dire circumstances or the want for more and more often than not are already subject to vulnerability. These deterritorialized individuals, do not move alone, they bring their, languages, ideas, dreams, imaginations, and cultures with them. On entering a foreign land such individuals may or may not feel welcome but the culture that they bring with them helps them form communities with other such migrating individuals like themself. Our site, Flushing meadows lies in the middle of two neighborhoods in Queens- Corona, and Flushing. Both neighborhoods predominantly house different migrant communities with Corona having predominantly a Hispanic population and Flushing an Asian. Though only a park separates the two neighborhoods, it is shocking to see how there is no cross-cultural exchange between the two. The Museum of Migration aims to bridge the barrier between the two communities. This is done by housing together five different cultural aspects of either community by means of exhibit spaces which would then also be linked with public interaction programs based on the needs of the residents by both speaking with them and watching interviews. The cultural categories are Religiosity which would house religious items of the communities with the public interaction space being a large event space. Language which would house items of literature with after-school English and naturalization tutoring spaces. Wellness, would encourage practices of wellness like yoga and martial arts and house items worn during such practices with an attached health center. Visual culture would have art pieces and and experimental cinema. Food culture would house ancient recipes and have a food hall attached to gardens with plants native to the two communities. The museum also acts as a means of a repository of memory Since culture is ever-changing. This way the museum acts as a repository of such cultural changes and exchanges.
(a) (b)
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Interior renders showing sunlight penetration and ventillation
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The idea of dispersing out the museum exhibits throughout the landscape was driven by the want to have the visitor experience the long path of migrating to another land. The museum entry points are knit together with its surroundings as seen in the site plan and (b)
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Hours of direct sunlight
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This also benefitted the museums form environmentally as it allowed for more sunlight exposure (a & c) and cross ventillation. (h)
a. Sunlight hours on surface- maximum on roof
b. The museum is on stilts due to the high flood potential of the site
Taking advantage of the roofscape as a potential for energy generation, it is curved and so its area, as well has energy generation increases. This is done in a strategic manner (e & f)
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c. The vast roofscape is used to generate electricity
d. The museum is on stilts due to the potential of the site to flood
On shading and ventilating the massing in summer there is a decrease in thermal stress. Conversely, on allowing sunlight penetration and protection from the wind in the winter, there is a decrease in thermal stress. This is why the facade is dynaic and operates as needed (g&h) The site has a potential to flood and so the various exhibits are floating above flushing creek (d). This design gesture also helps in bridging the two communities, on either side.
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e. Roof: Elevated at entrances Lowered at doubled height spaces and southern facing end
f. Roof: Elevated at Northern face for northern natural light
g. Openable timber framed facade glass panels act as a facade treatment to allow for bouyancy driven cross ventilation
h. Due to the large roof height at edges bouyancy driven ventilation is used to naturally ventilate the space
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LEGEND 1. Event space 2. Religious exhibit 3. Kitchenette 4. Green /Dressing room 5. Plant room 6. The terrace 7. North west lawns 8. Language Exhibit 9. Natrualization study centre 10. Toilets 11.The lawns at garden
12. Wellness Exhibit 13. Exercise studio 1 14. Exercise studio 2 15. Art Gallery 16.Experimental Theatre 17. South east lawns 18. Food hall 19. Toilets 20. The floating deck 21. South west gardens 22.South east garden 0’
1st Floor Plan
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50’
100’
Exterior view from food hall foot path 35
West elevation
Long Section
Cross section through event space
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1’
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Facade Detail Study
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Roof Detail
Facade Detail Vertical solar fins Glass finish
Structural beam
Recycled plastic transparent insulation
Metal deck
Exterior timber column
Roof upstand finished in plywood Weather capping Window sill Plywood panel Weather membrane Vapour barrier Insulation Plywood panel Roof sub structureTimber beams Roof primary structureTimber beams
Openable timber framed glass panel
Exterior vents
Roof Drainage Detail
Exterior Floor Detail Plywood finish Vapour barrier Insulation Blocking
Roof sub structureTimber beams Metal deck
Floor joist Weather membrane
Curved solar panel Plywood panel
Plywood panel Ext floor joist
Weather membrane Insulation Vapour barrier Plywood panel
Glulam Beam
Roof primary structureTimber beams
Interior Wall Detail ROOF ASSEMBLY
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FACADE LEVEL 2
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INTERIOR WALL
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FACADE LEVEL 2 ASSEMBLY (outside-inside)
Plywood panel Insulation
Glazing (6mm) Recycled Plastic Insulation (100mm) Glazing (6mm) SOLAR WOOD FINS ROOF UPSTAND
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ROOF UPSTAND(outside-inside) Mineraled surface top layer Plywood decking(6mm) Insulation STRUCTURAL BEAM
WINDOW SILL
STRUCTURAL BEAM ASSEMBLY (outside-inside)
STEPPER MOTOR VENTILATION SYSTEM
Interior timber column
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GLULAM BEAM
EXTERIOR FLOOR JOISTS
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Pin connection to structural frame Glulam column
SOLID WOOD FOOTING FACADE LEVEL 1
TRENCH HEATER
PRIMARY HORIZONTAL WOOD MULLION
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EXTERIOR ROOF UPLIGHTER
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HOT WATER SUPPLY WOOD SILL PLATE WITH FACADE TRACK RAILING
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Wood framed folding glass wall
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Weather proof capping Glulam beam INTERIOR COLUMN
FLOOR
Wood stud SHUTTER SUPPORT FRAME
EXTERIOR WOOD COLUMN
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STEEL BEARING PLATE CONNECTOR 14
CONCRETE FOOTING
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SOLAR PANEL
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Professional Work Mumbai Residence
studio: Neterwala and Aibara Interior Architects Mumbai, India
Associates: Zarir Aibara Freeyan Neterwala
This triplex was designed for a family of four. The apartment is 8,000 sq/ft and so what was important to the client was to have a lot of entertainment and seating space. This included seating for both adults and children. The couple had a keen eye for contemporary art. This, other than resulting in many art pieces being procured for this house also resulted in the main sculptural wall that cascades down the triplex staircase. Working in a team with another designer, I worked on Schematic Design, Design Development and initial Construction Documents for the project. The project after completion was featured in Architectural Digest India. Feature: Talawedkar Nayel, Vaishavi, “This gorgeous Mumbai triplex is a play of monumental proportions”, Architectural Digest India, 2023. All photos have been taken from the feature by photographer Ishita Sitwala
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Patio seating area
Main dining area
Kids emtertaining area
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Double height lounge and open kitchen area
Primary Suite 2
Primary Suite 1
Guest Bathroom
Primary Suite 1 Bathroom
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Professional Work 27 Summit Show Flat
studio: Neterwala and Aibara Interior Architects Mumbai, India
Associates: Zarir Aibara Freeyan Neterwala
The studio was tasked with designing a 5,500 sq/ft show flat for 27 Summit, a condominium complex built by MAIA Estates in Bengarulu, India. The builders wanted to design a show flat that was fully functional since they wanted to market it as a flat one could purchase, ready with furnishings at a premium rate. What was important to the builders was to strike a balance between luxury and sustainability. Hence, a good amount of the furniture is sourced locally or is made on site by carpenters. Fabrics and artwork were likewise sourced locally. Excess marble chips were even used in their office space as a terrazo flooring. Working in a team with another designer, I worked on Schematic Design, Design Development and Construction Documents for the project. I also aided in drawings of some of the furniture pieces. The project after completion was featured in Elle Decor India. Feature: Aich, Anushua, “Surrounded by pristine nature, 27 Summit by MAIA Estates designed by Neterwala & Aibara is spacious, fine and functional”, Elle Decor India, 2021. All photos have been taken from the feature by photographer Anusha Aich
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B 1149
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FAMILY ROOM 18'-0" x 16'-0" D
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D ELEVATION D (PANEL UP) 02
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27 Summit I N TE R I O R A R C H I T E C T S
27 Summit I N TE R I O R A R C H I T E C T S
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Cement Slurry
P.O.P Finish / Veneer /wood Paneling / Wall paper 4mm X 10mm groove in POP/ veneer/wood
Skirting in marble(as per approval) 6mm out from finished level
Approved marble skirting chamfered & out by 6mm from wall finish surface
WALL
flooring-opera fantasy marble(as per approval)
12mm thk plaster
Sand & Cement Mortar
12mm thk P.O.P
Slab
Necessary packing / support 12mm thk flexi ply
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Wall Plaster
Wall
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Cement slurry 12
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Sand & cement mortar
Fabric panel finished with necessary backing and frame work with 3mm pencil edge rounding
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Approved marble skirting chamfered & out by 6mm from finish surface
6mm approved metal paint finish
Flooring-opera fantasy marble(as per approval) Sand & cement mortar Slab
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12mm thk gypsum sheet cut in bands and fixed in a curve
I N TE R I O R A R C H I T E C T S
27 Summit
Aluminium Box as per Fitting
Black laminate
Aluminium Box pipe Framing 50mm X 50mm Aluminium Box Section
Aluminium Box pipe Framing
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Aluminium Box pipe Framing Plywood Support for fixing aluminium box section only
Sliding Folding Channel 50
10mm gap
Solid Wooden Edging
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Aluminium Frame as per support
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12mm thk approved metal "L" profile out by 6mm on all 4 sides of the fabric edge Fabric Paneling 12mm thk plywood backing
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Gypsum Sheet
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Plywood Support for fixing aluminium box section only
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12mm thk plywood backing with necessary support
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18mm thk approved metal "L" profile out by 6mm on all 4 sides of the fabric edge
Aluminium Frame as per support
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Minimum sponge backing with approved fabric finish
Minimum sponge backing with approved fabric finish
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18mm thk approved metal "L" profile out by 6mm on all 4 sides of the fabric edge
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I N TE R I O R A R C H I T E C T S
12MM THICK GYPSUM SHEET-PAINT FINISH
75 12mm thick solid wood
P.O.P Paint
approved paint finish
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12 mm plaster
27 Summit
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PLASTER 12MM POP FINISH 12MM THICK PLY BACKING
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overlap of 16mm on the window frame
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ALUMINUM FRAMEWORK AND SUPPORT
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P.O.P paint / finished surface Approved Veneer
PLASTER
38 12mm thk plaster
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ALUMINUM FRAMEWORK
Solid wood skirt flush with veneer panel
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Cement Slurry
POP FINISH FOR LEVELING OF WALL
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Flooring marble / Tiles
PLY PANEL AND MINIMUM SPONGE BACKING WITH APPROVED FABRIC FINISH AS PER DESIGN APPROVED MARBLE SKIRTING CHAMFERED & OUT BY 6MM FROM PANEL LEVEL
Sand & Cement Mortar Slab
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Family Room Drawings and Details
I N TE R I O R A R C H I T E C T S
27 Summit
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Professional Work 100 LOMBARD
studio: OMA, NYC
Associates: Yennis Dennis Project Lead: Sam Biroscak
This residential building sits on a half acre site in Downtown Toronto’s Younge east area. It aims to be a mixed use tower that strives to be an urban vertical village. The proposal creatively re-uses the facade of a heritage building to engage the public in a new way without losing the personality of the area. The redevelopment includes retail at grade, contemporary office spaces, modern residential suites and amenities. The amenity spaces are placed strategically to encourage interaction among residents of the building.
* Diagram done by William Reive
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SHANAIYA MALOO ARCHITECTURAL DESIGNER