Undergraduate Portfolio 17-22 by Tanaya Nadkarni

17 22

portfolio T

A B O U T

An aspiring illustrator who recently graduated architecture school, she attempts to use her skill in the field. She excels in processing thoughts, visualising spaces and can convert them into drawings and colour. She yearns to make a change in the paradigm of perceiving architecture through her prowess of illustrations.

PERSONAL

INFORMATION

https://www.linkedin.com/in/tanaya-nadkarni-a158931ba

blue_from_neptune

SKILL SETS ADOBE PHOTOSHOP ADOBE ILLUSTRATOR

Institute :

Academy of Architecture, Mumbai

Date of Birth :

12 th March 1999

INDESIGN AUTODESK SKETCHBOOK AUTODESK AUTOCAD

Hobbies and interests : Hard core illustrations, paints on anything that

seems a canvas fit, reading, writing and narrating stories, rusty violin

Languages:

Marathi, Hindi, English

Contact :

7738300184

Email id:

tanayan17@aoamumbai.in tanaya121999@gmail.com

Located:

Dombivli, Mumbai

SKETCH UP ENSCAPE VRAY RHINOCEROS

EDUCATION Rachana Sansad’s Academy of Architecture FIRST YEAR : SEM 1:

8.83

THIRD YEAR: SEM 6:

9.31

FIRST YEAR : SEM 2:

9.28

FOURTH YEAR : SEM 7: FOURTH YEAR : SEM 8:

9.00 10.00

SEC. YEAR : SEM 3:

9.44

SEC. YEAR : SEM 4:

8.72

THIRD YEAR: SEM 5: 9.00 Internship at STUDIO UF + O, MUMBAI

FIFTH YEAR : SEM 9:

9.92

FIFTH YEAR : SEM 10:

awaiting...

C O M P E T I T I O N S A N D E X T R A- C U R R I C U L A R DSCA ARCHITECTURAL ESSAY WRITING COMPETITION (TOP 8)

ACARA ROOKIES 2020 (SILVER MEDAL)

Architecture and technology

Academic project based on Gandhian principles- institute design

VOLUME ZERO : AQUATECTURE

ACOA’s UNLEARNING OF SPACES (TOP 15)

Futuristic approach of architecture under water

Designing a space for recreation within a limited area restriction

VOLUME ZERO: RE SCHOOL

FOLIO SOCIETY X HOUSE OF ILLUSTRATIONS: (non architectural)

An architecture for an educational premise that questions the learning paradigm

An international illustration competition for poetic illustrations

INDIA LOST AND FOUND : RESEARCH (FIRST PLACE WINNER)

PICKLE YOLK BOOK MANUSCRIPT FOR CHILDREN : (SHORTLISTED)

Understanding heritage value of shitaladevi temple as a historic marker for Mumbai

Writing a picture book manuscript for children

RETHINKING THE FUTURE ESSAY

URBAN PLAY : RESEARCH PUBLICATION

Essay on adaptive reuse as a way forward

Understanding the role of Adult Play in an urban environment under the Research cell, Academy of Architecture

COATRC ESSAY WRITING

INDIA FILM PROJECT : (WINNER- PLATINUM AWARD)

Architecture and nation building

International digital illustration competition

CIEDA’S HULUKU 2022: (WINNER ENTRY)

VIEFE WALLHOOK DESIGN COMPETITION

An illustration competition focusing on authentic representation

International Product design for wall hooks

ARCHITERRAX DIGITAL ILLUSTRATION

An illustration competition for an architectural concept

A R C H I T E C T U R E

01 LAGAAV : SKILL DEVELOPMENT INSTITUTE SEMESTER 6, ARCHITECTURAL DESIGN

06 8-13

AVALON

INTERNSHIP PROJECT, INTERIOR DESIGN

30-35

ACARA 2020, SILVER MEDAL, UNIVERSITY TOP IN CLASS

02 THE PARADOX

14-21

contents

THE ‘EVERYDAY’ HOTEL SEMESTER 4, ARCHITECTURAL DESIGN

22-23

24-27

SEMESTER 6, WORKING DRAWINGS

05 THE THINK BLOCK

ACOA COMPETITION, TOP 15, HONARARY MENTION

36-41

08 DESIGN DISSERTATION SEM 10 THESIS PROJECT

04 THE ‘EVERYDAY’ HOTEL

GARDENS IN THE SKY

INTERNSHIP PROJECT, ARCHITECTURE,LANDSCAPE + INTERIOR DESIGN

SEMESTER 9, ARCHITECTURE DESIGN

29-29

42-55

I L L U S T R A T I O N S

01 INDIA FILM PROJECT

DIGITAL ILLUSTRATION, PLATINUM AWARD, 1ST PLACE

01 58

02 CIEDA’S HULUKU COMPETITION DIGITAL ILLUSTRATION, 1ST PLACE

COA TRC ESSAY COMPETITION

68-69

70-71

BUILDING SPACES, NATIONS AND IDEOLOGIES THROUGH ARCHITECTURE

03 60-61

TOP IN CLASS

ARCHITERRAX DIGITAL ILLUSTRATION

ARCHI -TECH- TURE

03 ELECTIVE WORK :DIGITAL ILLUSTRATION CONCEPT ART

WRITING AND OTHER

MUMBAI THROUGH A SITE LENS

72-73

RESEARCH PAPER , ILF, FIRST PLACE

04 62

DIGITAL ILLUSTRATION FOR ARCHITECTURE

VIEFE WALL HOOK COMPETITION

74-75

05 TA PROGRAMME FOR ORIENTATION

ILLUSTRATION FOR THE FIRST YEAR ORIENTATION PROGRAMTA SHIP

06 OTHER FREELANCING OPPORTUNITIES

64-65

ILLUSTRATIONS FOR BRANDING, ADVERTISEMENT, POSTERS, ETC

a 6

architecture

01 L

The

intervention

concept

chooses

community

A to

A follow

bonding.

V Gandhi’s Gandhi’s

principles have always had an impact on the education system and now have even translated to architecture. The author strongly suggests that ‘Gandhian’ necessarily need not be about the form but should stay true in its function. Thereby an effort is made to keep spaces open and connecting for exchange of thought and ideas of one skill to another. The institute is always kept energized by the movements of bodies making and breaking paths through the porous and permeable wall. It aims to generate revenue and self sustainance.

TYPE OF PROJECT: ARCHITECTURE + LANDSCAPE LO C AT I O N : B A S N I , J O D H P U R , RAJASTHAN

GANDHIAN PRINCIPLES through POINTLESS DIAGRAMS

ISOMETRIC OF THE MOVEMENT PATH

TRANSPARENCY PERMEABILITY

AND

Direct visual connectivity between adjacent zones. mode of application through large openings for permeability. OPENNESS Scope for extension of activities to adjecent spaces.

VOLUME: enhancing spatial quality and changing the moment path

MOVEMENT GRID : formal branching linear movement and rhizome like non formal movement

HONESTY Honesty and faithfulness in application of materials and technology. this is applied through materials in their true form.

EQUITABILITY Participatory approach to design process applied through public spaces which are accessible to all.

SELF SUFFICIENCY Generating revenue through skill and reusing it for development. Application is through replication of local street market culture in Rajasthan.

BASE : The skill development institutions placed along the linear movement access.

SECTION BB

ISOMETRIC VIEW OF THE PERFORMING ARTS AND HANDLOOM AND FASHION TECH

PLAN

OVER THE NALLAH, CLEANED AND MODIFIED AS A CLEAN WATER SOURCE, CONNECTING LAND ON EITHER SIDE.

LOOKING OVER THE MUSEUM BENEATH THE LIBRARY.

SECTION CC

THE VIEW OF THE CURVED WALL WITH PERFORATIONS LEADING TO DIFFERENT FUNCTIONS,

YELLOW JAISALMER SANDSTONE PAVING

REEDS TIMBER PERGOLA WITH POTATO VINES CONCRETE RETAINING WALL WATER INLET DYMONDIA GRASS, CALANDRINIA SALVIA LEUCANTHA( SILVER FLOWERED VARIETY)

FREE BOARD SILTY SAND COARSE SAND GRAVEL SIZE (10-25 MM) GRAVEL SIZE (25 -40 MM )

OUTLET CONCRETE RETAINING WALL

STORAGE TANK WITH SUBMERSIBLE PUMP FOR SPRINKLERS

DETAIL OF THE REED BED SYSTEM

CANTILEVERED SLAB

150 MM CONCRETE BUND WALL

RCC COOL ROOF WITH TERRA COTTA TILES AND ELASTOPLASTIC MEMBRANE

RAMMED EARTH RETAINING WALL CONSTRUCTION

EARTH INSULATOR CONCRETE CAPPING

PU WATERPROOF MEMBRANE

OUTDOOR WORKSHOP

RETAINING WALL FOOTING

DETAIL OF THE RETAINING RAMMED EARTH WALL

ALUMINUM CONNECTOR TO WALL HINGE PIN JOINT

ALUMINUM FRAME

DGU HEAT RESISTANT FRP WELDED BOX FRAME CLEAR SILLICONE ALUMINUM REBATE SYSTEM STEEL GIRDER, CONNECTED TO THE WALL

DETAIL OF THE TENSION ROD CANOPY

SPOT SECTION EE

SPOT SECTION FF

SECTION AA

T H E

P A R A D O X

Water and land having different tactile senses are

perceived

different

entities

which

makes their intersection interesting.What is the transition between these vast differences? How does the intervention of an edge further define their boundaries? The of

experiences contact

waterbody.

that Many

depend we

upon

come

coastal

the

across

amount with

communities

the have

made water their home, a source of livelihood and occupation. In the event of interjecting this edge, we have compromised the natural systems of ecology and the resilient cover of the mangroves and marine vegetation. This puts coastal communities and all of the closely associated built fabric at risk. We are parasites of infestations. The question is to discuss the extent of the infestation. The expanse of the horizon, boundary where the sky meets the sea and its reflecting quality are often the pleasurable points of architecture near water. However, water is also a resource. It is a source of energy generation. The architecture of generation/production could have a different view if combined with architecture for leisure/ pleasure.

SITE IMPRESSIONS OF THE VERSOVA CREMATORIUM + BEACH

EXIT

PART B

FIRE FIGHTI

SECURITY CABIN

NG ENTRY

P1 P2 P3 P4

PART C

P5 P6 P7

ACCESS CULAR 6M VEHI TWO-WAY

4 +/- 0.0 M LVL

- 0.6 M LVL

P UP

RAM

P10

AN RI ST DE AY PE W TH 1.8M PA

PART A

PART B

4 M ROADWAY ONE-WAY

IA STRY DE A PE THW 8M PA

RAMP DOWN

DROP OFF +/- 0.0 M LVL

TOILET DUCT

PRIEST'S ROOM + 0.6 M LVL

HIM + 0.6 M LVL

CHANGING ROOM + 0.6 M LVL

THEY STORAGE ROOM + 0.6 M LVL

UP MP RA

LANE 1

3 2 1 UP RAMP UP

1 2 3

RAMP DOWN

GAZEBO - 0.15 M LVL

67 68

- 0.6 M LVL

LANE 2

16 6.0 M WIDE DRIVEWAY

1.8M

PE PA DE TH ST WAY RIAN

1.8M

PE PA DE TH ST WAY RIAN

K BAC STRETCHER LIFT 1

+ 0.6 M LVL

CONTROL PANEL OPERATING ROOM 1 FURNACE+EQUIPMENT 0.6 M LVL AREA

UP HT ROOM + 0.6 M LVL FURNACE

FURNACE

LT ROOM + 0.6 M LVL

DRY COURTYARD + 0.15 M LVL

LOBBY

FURNACE

INCINERATION ROOM 2

INCINERATION ROOM 1

LOBBY

WAITING ROOM

+ 0.6 M LVL

+ 0.6 M LVL RECEPTION AREA

+ 0.6 M LVL

+ 0.6 M LVL ELECTRICAL CABIN + 0.6 M LVL

LOBBY INCINERATION ROOM 4 + 0.6 M LVL

INCINERATION ROOM 3 + 0.6 M LVL

+ 0.6 M LVL

74 75 MOURNERS WAITING AREA 4

+ 0.6 M LVL

- 0.6 M LVL

MOURNERS WAITING AREA 3 + 0.6 M LVL

COMMON AREA

MOURNERS WAITING AREA 2

+ 0.6 M LVL

MOURNERS WAITING AREA 1 + 0.6 M LVL

LIFT LOBBY

STRETCHER LIFT 2 UP

49 50

ENTRANCE FOYER + 0.6 M LVL

LOBBY + 0.6 M LVL

SET

PRESSURIZATION SHAFT

SEATING

- 0.6 M LVL

TWO WHEELER PARKING ZONE

LOBBY + 0.6 M LVL

SEATING

BURIAL GROUND - 0.6 M LVL

RAMP UP

OUT

62 LANE 3

HTING

E FIG

RAMP UP

6M FIR

9 1

- 0.6 M LVL

+/- 0.0 M LVL

P DOW

BMC OFFICER

RAMP UP

FFT +0.15 M LVL

RAM

4 STAFF ROOM

PUMPROOM +0.15 M LVL

1 THEY HER + 0.6 M LVL

2 1 2

+0.15 M LVL

P31

+/- 0.0 M LVL

2 3 4 5 6 7

4 3 2

P30

P29

DOWN

RAMP

- 0.6 M LVL

RAMP DOWN

PRODUCED BY AN AUTODESK STUDENT VERSION

HUMAN-MADE GREEN CONTOURS

RAMP

1 2 3 4 5 6

- 0.6 M LVL

STRIAN 1.8M PEDEWAY PATH

1 2 3 4 5 6 7 8 9 10 11 12 13

13 12 11 10 9 8 7 6 5 4 3 2 1

P32

4.5M FIRE FIGHTING SET BACK

GENERATION OF ENERGYSUBSIDIES UTILISING THE RESOURCE

INCINERATION

JOB OPPORTUNITY FOR THE LOCAL EMPLOYED AS STAFF

POWERING OF MACHINES THROUGH RENEWABLE ENERGY SOURCES

BURIAL GROUND MAINTENANCE AND RENT

PLAY ON THE EDGE: BEACH

ARCHITECTURE CELEBRATING LIFE : LEISURE

DECOMPOSE

ARCHITECTURE THAT PRODUCES/ GENERATES

STEP OUT

PLAY: WATER SPORTS, AND SUPPORTING ACTIVITIES

TREATMENT OF THE REMNANT

B ARCHITECTURE CELEBRATING DEATH: CREMATORIUM

STEP IN

+ 3.1 M LVL

MATERIAL IN BETWEEN LAND AND WATER

TRANSITION

UNHOLY SMOKE AND TREATMENT

SEATING

+/- 0.0 M LVL

BURIAL GROUND - 0.6 M LVL

3 2

GAZEBO - 0.15 M LVL 1 2 3

LANE 1

SEATING

13 14

- 0.6 M LVL

15 16

PRE- RITUAL/ POST RITUALS ACT OF CREMATION

CREMATORIUM RITUALS

ARCHITECTURE OF MACHINES + 3.1 M LVL

1.8

M P PA EDE TH ST WA RIA N Y

MOURNING RITUALS : (ASTHI) TIDAL ENERGY GENERATION

ECONOMIC EXCHANGE: TOURISM

WIND ENERGY

POINT OF RELAXATION, VIEW OF THE OCEAN MEDITATION

EMOTIONless BOUNDARY

EVENTS/ PERFORMANCES ON THE BEACH

VIEWING DECK

EMOTIONAL BOUNDARY

FESTIVALS AND RITUALS

3 3

RAMP UP

URBAN MACHINES AS AN EXPERIENTIAL SPACE

DESTINATION FOR FUNERAL PROCESSION

PLAY ON THE LAND: ON THE INTERVENTION

+3.1 M

RAMP UP

ENGAGEMENT AND EXCHANGE: LOCAL AND FORIEGN

2 1 2

RAMP DOWN

EATERY : OCCUPATION FOR THE LOCAL

INCUBATION PROGRAMME?

+1.4 M

REVENUE AND NON REVENUE GENERATING FLOW

LOCAL CUISINE : TASTE OF VERSOVA KOLIWADA

SELF SUSTAINABILITY

- 0.6 M LVL

DURING THE NIGHT

OPEN MOVIE COMPLEX

DEST 1.8M PE WA PATH

HUMAN-MADE GREEN CONTOURS

Generates revenue through plots which have been purchased / rented with maintenance

BOATING AND VIEWING DECK TOURS

SEAFOOD CAFE CAFETERIA

P10

GENERATES REVENUE THROUGH RENT

ART EXHIBITION SPACE

PART C

STORAGE OF ENERGY

SEAFOOD CAFE KITCHEN

PART B : CREMATORIUM

GENERATES AND COLLECTS FOR

RA MP

NETS AND FISHING WORKSHOP

PART C: GENERATOR

STEP IN

OPPORTUNI TY FOR LOCAL ART IN THE CITY

WEAVING WORKSHOP

DURING THE DAY

JOB OPPORTUNITY FOR THE LOCAL

GENERATES AND COLLECTS FOR

PRODUCED BY AN AUTODESK STUDENT VERSION

PART A : LEISURE

PRODUCED BY AN AUTODESK STUDENT VERSION

STEP OUT

PRODUCED BY AN AUTODESK STUDENT VERSION

1.8

M P PA EDE TH ST WA RI Y

CONTROL PANEL OPERATING

SPACE FOR MOURNING BEREAVEMENT : SPACE FOR EMOTION PHOTOVOLTAIC PANELS ABOVE CURTAIN GLAZING

4.5M FIRE FIGHTING SET BACK

PROGRAMMATIC DIAGRAM w.r.t INITIAL SITE INTUITIONS

SKYLIGHT

RCC FLAT SLAB

CURTAIN GLAZING

PERFORATE D SCREENS

CONCRETE FINISH WALL

RIBBON WINDOW S

KITCHEN

PERFORATE D SCREENS

CURTAIN GLAZING

VIEWING DECK

BAHAVA TREE 4-5 MTS PEEPAL TREE 7-9 MTS PALM TREE 6-8 MTS BADAM TREE 6-8 MTS

SITE VEGETATION GROUND FLOOR PLAN AT INTERMEDIATE LEVEL: MASTER LAYOUT: SITE DEVELOPMENT

PERCOLATION PIT DRAIN CHANNEL

RAIN AND STORM WATER DRAIN CHANNEL GROUND FLOOR PLAN AT INTERMEDIATE LEVEL: MASTER LAYOUT: SITE DEVELOPMENT

PART A : AMPHITHEATRE AND EXHIBITION RCC FOLDED SLAB

CURTAIN GLAZING

PHOTO VOLTAIC PANELS

GENERATOR S

WATER PUMPS

OFFICE PARTITIONS

STAFF TOILTES

SERVICE AREAS AND ACCESS GROUND FLOOR PLAN AT INTERMEDIATE LEVEL: MASTER LAYOUT: SITE DEVELOPMENT

ACCESSIBLE BEACH AREA

TURBINES POWER LINE HIGH LAGOON

LOW LAGOON

BOATING DECK

PART C : ARCHITECTURE OF MACHINES

B A

PRODUCED BY AN AUTODESK STUDENT VERSION

SECTION AA

SECTION BB OPAQUE ROOFING SCREENS

ARCHED RAMMED EARTH RAILINGS 230MM THK RCC SLAB

SAND

RCC

GRAVEL

MODERATE SIZE GRAVEL

LARGE SIZE GRAVEL

HYDRO TURBINE BY TIDAL LAGOON POWER

FILLING 500MM THK REINFORCED ACRYLIC GLASS BY ZUNHAI

RCC

RCC + METAL FRAMING FOR GLASS

300MM THK RETAINING WALL

DECK, TURBINE AND FOUNDATION DETAIL AT THE LAGOON WALL

300MM THK RETAINING WALL

GRAVEL

RAFT FOUNDATION

COARSE SAND

HARD CORE

RANDOM RUBBLE

SEA BED

B CONCAVE GLASS WALL TO LAGOON WALL DETAIL

PRODUCED BY AN AUTODESK STUDENT VERSION

VIEWING CANTILEVER DECK + GAZEBO

STRUCTURAL GRID AT 5M DISTANCE C/C

3/4TH ARCH

FULL ARCH

PHOTOVOLTAIC EMBEDDED GLASS PANELS

ARCH-3/4TH ARCH RCC GRID STRUCTURE VIEW AT THE CREMATION

View from Part C architecture of machines, looking at the expanse of the sea and curved decks

View from the beach looking at the Part B : The Architecture of the dead, with restricted access.

View from Part A of the restaurant looking onto the beach and the sea

View of the amphitheatre and the exhibition hall displaying art panels and the focus of the natural skylights

DETAILED SECTION OF COMPOSITE SLAB STRUCTURE AT ARCHITECTURE OF MACHINES

DETAILED SECTION AT X AND Y

EXHIBITION WALL IN ELEVATION

DETAILED SECTION OF RAINWATER GUTTER AT RCC ROOF SLAB

ENTRY 1

DETAILED PLAN AT Z

GAZEBO

EXHIBITION WALL IN PLAN

PIVOTING RCC WALL DETAIL AT PART A EXHIBITION AREA

LANE 1

ENTRY 2

LANE 2 LANE 3

ISOMETRIC VIEW OF THE BURIAL GROUND LANE 4

‘ E V E RY D AY ’

HOTEL

The incubation centre accomodates reseachers and people of insterest for a specific duration to stay on site and to gain an experience through dialogues and interactions with the localities. As one wanders into the intervention, be it a local, visitor, incubation researcher or a primary user, they blend in between the contrast of the intervention and the historical context. Inspired from Tschumi’s deconstructivist principles, the programme

and

architecture

become

one-

sometimes ‘ bodies violating spaces’ and at times ‘spaces violating bodies’. The

programme’s

intention

make

the

intervention a host infected by the parasitethe local users. At other times, the intervention becomes a parasite itself, using the hosts to create and understand more of its culture. The Radha- Krishna temple is the only constant witness of the many transformations that the site has gone through.

TYPE OF PROJECT: ARCHITECTURE + LANDSCAPE LO C AT I O N : PA N C H AVAT I , N A S H I K

VECTORS OF MOVEMENT

EVOLUTION OF FORM FOR THE EVERYDAY LODGING

POINTS ON A GRID: LOCATE

AXONOMETRIC

EXTRUSION TO FORM COLUMNS

FLOW IN ELEVATION

CIRCULATION IN PLAN

HELICAL STAIRS: UNAVOIDABLE INTERACTION

BRIDGES: CUTTING THROUGH VOLUME

SITTING STAIRS: SPONTAENEOUS EVENT POSSIBILITIES

EXPOSED STAIRS: MULTI LAYERED INTERACTION

SITE PLAN

SECTION AA’

‘ E V E RY D AY ’

SECTIONAL DETAIL OF THE SPIRAL STAIRCASE

HOTEL

These set of drawings were made as a set of ‘working drawings for the project of architectural design ‘The Everyday hotel’. Details such as the spiral stairs and mushroom roofs were specifically designed by the author for the project. The site is sloping and thus special care was taken into consideration to draft and consider the slope in all drawings according to the design.

TYPE OF PROJECT: ARCHITECTURAL W O R K I N G D R AW I N G S LO C AT I O N : PA N C H AVAT I , N A S H I K

DETAIL PLAN OF THE SPIRAL STAIRCASE

GROUND PLAN (ARCHITECTURAL + CENTRELINES)

+0.20 M

0.0 M

C12

C10

+0.20 M

engineer on site regarding any conditions/modifications required to be done prior to the commencement of work. 6) The contractor shall coordinate and verify the work indicated on the drawings between the architectural and various trade drawings, including but not limited to structural, electrical, plumbing, fire protection and exterior enclosure systems. 7) All work shall conform to relevant BIS codes and shall be best practice of each trade. 8) Any discrepancy is to be brought to the notice of the architect/ consultant before commencement of the site. 9) All work is to be completed to the satisfaction of site engineer/ project manager and architects

C11

ELECTRICAL SHAFT

SERVICES DUCT

-2.25 M

+0.20 M

0.0 M

EXHIBITION HALL TEMPLE

-5.40 M

- 9.65M

-2.25 M

+0.20 M

16050

EXTERIOR 1 + 0.0 M

LODGING

LIFT SHAFT

MULTIMEDIA LAB +0.20 M

SHOPS

THEATRICS

13250

- 1.8 M 0.0 M

-2.0 M

LIBRARY REVISION TABLE REVISION

KITCHEN

BHOJANALAY

DESCRIPTION

0.0 M

+0.40 M

+1.0 M

4780

0.0 M

LONGITUDINAL ELEVATION 03

DETAIL OF HANDRAIL POST C10

C12

C11 KEY PLAN PROJECT NAME:

PANCHAVATI ANECDOTES SHEET TITLE:

SHEET NUMBER:

ELEVATIONS

03 A 0015

A - 0015

SCALE : 1:50

ELEVATION SCALE = 1:50

NORTH

NAME : TANAYA NADKARNI SEMESTER 6

T . Y . B.ARCH

ACADEMY OF ARCHITECTURE, MUMBAI SIGN AND STAMP

ROLL NO.

CRL OYSTER WHITE SURFACE MOUNT STANCHION FOR RAILING POST RUBBER WASHER SCREWS TO AFIX RAILING POST TO STANCHION BASE

25 MM DIA SCREWS TO ANCHOR BASE PLATE TO TREAD 15 MM THK NIBO GRANITE ANTHRACITE STONE FOR FLOORING OF TREAD 25 MM THK SCREEDING

SHORT ELEVATION 02

DETAIL OF STANCHION OF BASE PLATE TO RAILING POST SCALE 1:2

SECTIONAL ELEVATION 01 25 MM THK INTERNAL PLASTER 230 MM THK EXTERNAL WALL 800 x 800 MM COLUMN

CRL HRS ALUMINIUM POST

HRS BASE PLATE , SCREWED IN PLACE, WELDED TO STEEL STANCHION TO HOLD RAILING POST

40 MM THK ALUMINIUM RAILING, HRS HRS ,BASE PLATE, ATTACHED TO WALL TO HOLD HANDRAIL, SCREWED ONTO WALL, 8 MM THK., OYSTER WHITE COLOUR HRS ALUMINIUM POST FOR RAILING, ATTACHED TO BASE PLATE , SCREWED, OYSTER WHITE COLOUR

HRS BASE PLATE , SCREWED IN PLACE, WELDED TO STEEL STANCHION TO HOLD RAILING POST

25 MM DIA SCREWS TO ANCHOR BASE PLATE

HRS BASE PLATE , SCREWED IN PLACE, WELDED TO STEEL STANCHION TO HOLD RAILING POST

NIBO GRANITE ANTHRACITE BUSH HAMMERED 15 MM THK WITH ANTI SKID GROOVES CARVED.

300 05

ANTISKID GROOVES CARVED IN STONE

25 MM SCREEDING

NIBO GRANITE ANTHRACITE BUSH HAMMERED 15 MM THK WITH ANTI SKID GROOVES CARVED.

150

2 06

150 MM FOLDED RCC SLAB FOR STAIRCASE

150 MM THK FOLDED RCC SLAB 8 MM DIA REINFORCEMENT BARS

25 MM THK SCREEDING

8 MM DIA STIRRUPS

150 MM THK RCC SLAB FOR MID LANDING 230x 250 MM BEAM DEPTH TO SUPPORT MIDLANDING

200 MM THK RETAINING WALL 150 MM THK PCC 500 MM DEEP PLINTH BEAM 230 MM RUBBLE SOLING COMPACT MURUM

SECTIONAL DETAIL OF STAIRCASE RISER AND TREAD DETAIL OF TREAD AND RISER

05 THE ACOA

THINK

DESIGN

COMPETITION

B LO C K ENTRY,

TOP

15,

HONARARY MENTION The brief was to choose certain adjectives of a personality and create a space to empathize with those adjectives. The

space

revolves

around

‘serene’

the

key aspect of personality. It strives to achieve harmony and peace through the spaces by dividing the volume into parts. The plan is derived by creating a unique grid from ‘Fibonacci series’ to truly attain harmony. Suitable spaces are laid on top to create volumes for different activities associated with the personality like reading alcove, unwinding corner and so on. ‘Timbrecrete’

used

with

reinforcements

in place of normal concrete. The choice of materials is an attempt to make the structure blend in with the trees existing on site. Other vegetation is planted intentionally to make it seem almost invisible – an effort for departure from the outside chaos.

TYPE OF PROJECT: ARCHITECTURAL IDEA + COMPETITION LO C AT I O N : N E R A L , M A H A R A S H T R A

06 A

PLAN

This interior project, with a scenic view of the city calls for a warm minimalistic approach for its interiors. The colour palette is kept light, filled with monotones of warm b e i g e a n d n a t u ra l s t o n e f i n i s h e s t h a t a d d a t o u c h o f l u x u r y. A t o u c h o f n a t u ra l r o p e settings, grey and beige upholstery and s h e e r c u r t a i n s w e r e i d e a s g i v e n t o m a ke t h e s p a c e fe e l e v e n m o r e l i g h t e r a n d c l a s s i e r. S o m e a c c e n t w a l l s o f r o o m s l i ke t h e l i v i n g room and the passage are adorned with panelling that complements the beige tone of the wall colours. It adds additional depth and is administered for fixing furniture like television and units, with a clean look. TYPE OF PROJECT: INTERIOR SCOPE OF WORK PERFORMED: 1. 2. 3. 4. 5. 6. 7. 8. 9.

E L E C T R I C A L L AY O U T LIGHTING SCHEDULE BOQ AND MEASUREMENT SHEET 3D MODELLING F U R N I T U R E D E TA I L S : D R A F T I N G A N D MODELLING E L E VAT I O N S D R A F T I N G P R E S E N TAT I O N S F O R C L I E N T S D E TA I L D R A F T I N G : PA N E L L I N G , FA L S E CEILING, ETC C O N T R A C T O R C O M M U N I C AT I O N S F O R B I L L I N G U P D AT E S

MOODBOARD AND CONCEPT The interior scheme is decided as warm minimalism. There are soft earthen tones that match with basic grey tones that give an overall minimalist scheme. The furniture shows such minimalist details. The upholstrey is also of similar earthen jute materials to complement the scheme. The Pop of colour is brought through paintings on walls and elements like the ‘cloth’, mesh frames that add a bit of dynamism.

PRODUCED BY AN AUTODESK STUDENT VERSION

FA L S E C E I L I N G D E T A I L S

KIDS BEDROOM

LIVING ROOM

DETAIL AA : LIVING ROOM : WINDOW

DETAIL BB : LIVING ROOM :TV PANEL WALL WITH FIRE PIPE

DETAIL HH :KIDS BEDROOM CLOSET

DETAIL FF: WINDOW

RCC BEAM FALSE CEILING 106 " FROM FFL

4.5 IN. DEEP FALSE CEILING BACKBOARD FOR AC

PRODUCED BY AN AUTODESK STUDENT VERSION

DETERMINE HEIGHT ON SITE

TV PANELLING

WINDOW

DETAIL CC: TYPICAL CONDITION : SHADOW GROOVE OF FALSE CEILING

DETAIL BB': TYPICAL CONDITION : SHADOW GROOVE OF FALSE CEILING PURPOSE : THEORETICAL

APPROVAL

EXECUTION

CLIENT

4.5 IN. DEEP FALSE CEILING

VISIBLE SHADOW GROOVE 1"X1"

D-2601 JOSHI'S

SHOE CABINET SHUTTER

RCC BEAM

FALSE CEILING details DRAWING NUMBER : SCALE. REVISION. DATE. DRAWN BY. CHECKED BY. APPROVED BY.

FORM

PRODUCED BY AN AUTODESK STUDENT VERSION

DETAIL EE: GUEST BEDROOM + HOME OFFICE

PRODUCED BY AN AUTODESK STUDENT VERSION

DETAIL CC: TYPICAL CONDITION : SHADOW GROOVE OF FALSE CEILING

PURPOSE : THEORETICAL

3" THK MARBLE PANELLING FOR TV UNIT

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

FORM

OBJECTS

DETAIL DD : GUEST BEDROOM : TV WALL UNIT

APPROVAL

EXECUTION

CLIENT D-2601 JOSHI'S PROJECT NAME

WINDOW PANELLING FOR TV UNIT CURTAIN

DETAIL JJ : GUEST BEDROOM + HOME OFFICE CLOSET

FALSE CEILING 106" FROM FFL VISIBLE 1"X 1" SHADOW GROOVE

JOSHI HOME DRAWING TITLE : FALSE CEILING details

PLY TO RECEIVE FALSE CEILING

DRAWING NUMBER : SCALE. REVISION. DATE. DRAWN BY. CHECKED BY. APPROVED BY. S

URBAN

FORM

DETAIL CC: TYPICAL CONDITION : SHADOW GROOVE OF FALSE CEILING

3 IN. DEEP FALSE CEILING VISIBLE SHADOW GROOVE 1"X1" RCC BEAM EXTERNAL WALL

SHUTTER OF CLOSET

1 07.04.2021 STUDIO UFO STUDIO UFO PRACHI PAREKH.

UF + O

FALSE CEILING 106" FROM FFL 1" X 1" SHADOW GROOVE

PRODUCED BY AN AUTODESK STUDENT VERSION

WINDOW

EXTERNAL WALL

URBAN

106" FROM FFL FALSE CEILING

CONSTRUCTED BRICK WALL (EXTENDED FROM COLUMN)

VISIBLE SHADOW GROOVE 1"X1"

1 07.04.2021 STUDIO UFO STUDIO UFO PRACHI PAREKH.

UF + O

OBJECTS

GUEST BEDROOM AND HOME OFFICE

RCC BEAM

PROJECT NAME DRAWING TITLE :

1 07.04.2021 STUDIO UFO STUDIO UFO PRACHI PAREKH.

EXECUTION

JOSHI HOME

SCALE. REVISION. DATE. DRAWN BY. CHECKED BY. APPROVED BY.

URBAN

3 IN. DEEP FALSE CEILING

APPROVAL

CLIENT

DRAWING NUMBER :

1" x 1" VISIBLE SHADOW GROOVE BEYOND COLUMN LINE

4" X 2" GROOVE FOR CURTAIN PELMET

PURPOSE : THEORETICAL

D-2601 JOSHI'S

EXTERNAL WALL

4"X 2" GROOVE FOR CURTAIN PELMET

VISIBLE 1" X 1"SHADOW GROOVE BACKBOARD FOR AC

KITCHEN

FALSE CEILING 13" DEEP FROM CEILING LVL

VISIBLE SHADOW GROOVE 1"X1"

FALSE CEILING 106" FROM FFL

1"X 1" VISIBLE SHADOW GROOVE BEYOND TV PANELLING

3 IN. DEEP FALSE CEILING

DRAWING TITLE :

DETAIL GG : MASTER BEDROOM : BALCONY

FALSE CEILING 106 " FROM FFL

DETAIL CC: TYPICAL CONDITION : SHADOW GROOVE OF FALSE CEILING

PROJECT NAME

DETAIL KK : MASTER BEDROOM : TV WALL

4" X 2" GROOVE FOR CURTAIN PELMET CURTAIN

INSIDE CLOSET

JOSHI HOME

UF + O

PRODUCED BY AN AUTODESK STUDENT VERSION

CURTAIN

SHUTTER

FALSE CEILING details

300

EXTERNAL WALL

DETAIL FF: MASTER BEDROOM : WINDOW

VISIBLE 1" X 1" SHADOW GROOVE BELOW FALSE CEILING

PRODUCED BY AN AUTODESK STUDENT VERSION

CURTAIN

PRODUCED BY AN AUTODESK STUDENT VERSION

4 x 2 IN. GROOVE FOR CURTAIN PELMET

MASTER BEDROOM

VISIBLE 1" X 1"SHADOW GROOVE BACKBOARD FOR AC

VISIBLE SHADOW GROOVE 1"X1"

AC 250 MM WIDE

RCC BEAM

FALSE CEILING 106" FROM FFL

PLY TO RECEIVE FALSE CEILING

4.5 IN. DEEP FALSE CEILING

INSIDE CLOSET O

OBJECTS

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

PURPOSE : THEORETICAL

APPROVAL

EXECUTION

CLIENT D-2601 JOSHI'S PROJECT NAME JOSHI HOME DRAWING TITLE : FALSE CEILING details DRAWING NUMBER : SCALE. REVISION. DATE. DRAWN BY. CHECKED BY. APPROVED BY.

1 07.04.2021 STUDIO UFO STUDIO UFO PRACHI PAREKH.

UF + O S

URBAN

FORM

OBJECTS

DRESSING AND WALK-IN CLOSE T

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

PA N E L L I N G D E TA I L D I M E N S I O N S I N C O R R I D O R W A L L

view the complete portfolio in detail : https://issuu.com/tanayanadkarni/docs/tanaya_nadkarni_internship_portfolio_issuu THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

FURNITURE DE TAILS : COFFEE TABLE

F U R N IT U R E D E TA I L S : DAY B E D

COFFEE BAR CONSOLE AVALON

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

FURNITURE DE TAILS : DINING TABLE

FURNITURE DE TAILS : ENTRANCE CONSOLE

DINING TABLE AVALON

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

GARDENS IN THE SKY This is a high-rise project of 31 floors w h e r e t h e r e a r e v e r t i c a l t e r ra c e g a r d e n s interspersed with working spaces. The 8th f l o o r d e c k r e v e a l s a t e r ra c e g a r d e n t h a t m a r k s t h e b e g i n n i n g o f ‘ T h e S p i n e’ . T h e S p i n e i s c o n s i s t i n g o f c o l l a b o ra t i v e m e e t i n g a n d r e c r e a t i o n a l s p a c e s w i t h c o n fe r e n c e r o o m s , l i b ra r i e s a n d o f f i c e s w h i c h l o o k o v e r t h e t e r ra c e d e c k a n d s u i t a b l e t o i t s t h e n a m e ; c r e a t e g a r d e n s o f l e i s u r e i n t h e s k y. A s t h e spine moves upwards, it is joined by smaller garden-balconies that connect offices. The areas for discussion in the working e n v i r o n m e n t a r e i m b u e d w i t h n a t u ra l l i g h t and guarded by vegetation, making them beautiful spaces for thinking. TYPE OF PROJECT: ARCHITECTURAL COMMERCIAL + INTERIORS SCOPE OF WORK PERFORMED: 1.SECTION DRAFTING 2 . P R E S E N TAT I O N S 3. 3D PRINTING 4. 3D MODELLING 5. AXONOMETRIC GRAPHICS 6. RENDERING 7 . AT T E N D I N G M E E T I N G I N O F F I C E 8. INTERIOR MODELLING 9. TERRACE LANDSCAPE DESIGN IDEAS

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

AXONOMETRIC GRAPHICS

SECTION RENDERING

D E V E L O P M E N T O F 3 D M O D E L S F O R A LT E R A N T I V E S O F S C R E E N S

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

RENDERING OF ARCHITECTURAL AND INTERIOR VIEWS

THESE IMAGES ARE OWNED BY THE STUDIO, ANY COPYWRITE INFRINGEMENT CAN CAUSE LEGAL ACTION

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HETEROTOPIAS AUGMENTED S PA C E

OF AN PUBLIC ROOFTOP CAFE: ADAPTIVE REUSE

The most exciting factor about public spaces is that they are representations of all the people who use them and exhibit the capacity of accommodating all meanings that the users give them. Hence, as we evolve, so do our spaces and expectations a n d m e a n i n g s f r o m t h e m . H o w e v e r, i t i s only within our public spaces to have the p o t e n t i a l t o w i t h s t a n d n a r ra t i v e s o f h i s t o r y as they have created collective memories that relate to a mass population and the ownness is shared. This thesis was an attempt to- 1. identify a PUBLIC heritage place in the core of Mumbai on the contours of public and private, slowly losing its publicness 2 . To h e l p i n t e n s i f y t h e e x i s t i n g h e t e r o t o p i c qualities of the site so that the mesh of d i f fe r e n t u s e r s a n d i n c o m p a t i b l e f u n c t i o n s becomes a glorified network 3 . To p r e s e r v e t h e h e r i t a g e w i t h i n t e r v e n t i o n s that subtly cater to futuristic demands of the users who reside there in addition to opening up the place to tourists. And using technology as an aid for doing so. Thus, creating spaces that comply with the t e c h n o l o g y.

GRID OF SOUND BOXES AS A WAY OF WAY FINDING THROUGH THE SITE

DHARMASHALA, RELIGIOUS SCHOOL

BRIDGES CONNECTING LEVELS

LIGHT WELL

GAUSHALA TEMPLE

SPIRAL STAIRCASES AS WINDCATCHERS

ARCHIVAL EXHIBIT : ADAPTIVE RESUSE

VERTICAL GARDEN WALL

ARCHIVAL MUSEUM, WITH HOLOGRAM PROJECTION SYSTEMS

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HETEROTOPIAS

INCOMPATIBLE FUNCTIONS THROUGH JUXTAPOSITIONING

THEY EXIST

HETEROTOPIAS OF CRISIS

PERMEABILITY AND POSROSITY

GPS TRACKING SYSTEM IN REAL TIME DATA

WEATHER STIMULATION

LAYERS OF SPACE

HETEROTOPIAS OF DEVIANCE

Cognitive layer

PRECISE FUNCTION OVER TIME

REAL TIME SIMULATION

HETEROCHRONIES

Virtual meaning

EXPOSITION Virtual Play Technological

HETEROTOPIAS OF ILLUSION

REALITY Meaning Play

Built Environment

ACCUMULATION

TEMPORALITY

HETEROTOPIAS OF COMPENSATION

Historical

In an augmented public space, in the public realm, there are multiple users in a strong intense network of virtual cell spaces over a common built background. If we imagine the layers of Cinderella’s dress, the fundamental layer of the hoop skirt is the Built environment, which gives form to other layers, and other layers of tulle (virtual) drape over it which add to the form, rather than completely changing it.

CRITERIA FOR SITE SELECTION

ECONOMIC EXCHANGE

INFLUX OF VARIED USERS

COLLECTIVE MEMORY

MUMBAI, MAHARASHTRA

BHULESHWAR, MUMBAI

IDENTITY

MONUMENTAL VALUE

Tucked in the interior pockets of Bhulehswar, Mumbai, in the dense urban context, it exhibits a variety of structures showing victorian and indo saracenic influence. The place shows many temple complexes sprinkled between the residential fabric of the city. The area is called Madhav baug. There are many ‘baugs’ meaning gardens near in the vicinity. Other than these, this site falls on the contours of public and private. The site falls under the public domain, but hosts a few private entities like the residency, stores, etc.

COMPETING FOR TWO SITE OPTIONS AND SELECTING MADHAV BAUG AS AN APT HETEROTOPIA

SELECTED SITES

HETEROTOPIC OR NOT?

KIND OF HETEROTOPIA 1 ST

MADHAV BAUG, CP TANK

CRAWFORD MARKET

COMMERCIAL ENGAGEMENT

USER PROFILE

LOCATION

KIND OF IMMEDIATE CONTEXT

HISTORICAL VALUE

NARRATIVE OF HISTORY

COMMUNITY PRESSENCE

temple's origin, history of two tanks and panjrapol and the uprrising of the jewellery market

The tank was originally ment to feed the horses, which later was reclaimed to build over. in Bhuleshwar almost every temple has a living well. It is a fresh water source, despite being close to the sea. The name Bhuleshwar comes from Bhulaiyya Ishwar, meaning it is a maze of temples, wherein god also loses her way. There are almost over 80 temples in this region. Madhav baug is one such temple precint that houses a 150 yr old temple and belong to the Gujrati community. Although, there are visitors from all sects. The dominance of temples have led to wada systems and gaushalas to grow here over time.

Gujrati community in and near madhav baug and Parsi founders in Panjrapol, with jain community presence.

Founded in 1871, the market was initially known as 'Mahatma Jyotirao Phule Market'. It got the name 'Crawford Market' after city's Municipal Commissioner, Arthur Crawford. The construction of the market building was completed in 1869 and businesses commenced in 1871. At the time, the British would often send their domestic help to buy the freshest produce from the market. The British were also the first to start

it shows muslim residencies nearby howvwever, the influx of the floating population is

2 ND 3 RD 4 TH 5 TH 6 TH

Flower vendors, rental event spaces for bhajans inside the complex, khau galli in the evening on streets, jewellery market area, cow products from panjrapol

Hawkers and vendors of all kinds outside the market, fruit sellers inside the markets, food and other products inside the market, tourism

GOLD BUYERS, JEWELLERY SHOP OWNERS, GO SHALA CARE TAKERS, TRUSTEES OF THE TEMPLES, SADHUS, SAINTS, WORSHIPPERS, COMMERCIAL SHOP OWNERS, PEOPLE WHO OWN BUSINESSES LIKE TAPS, METAL SCRAPES, HARDWARE STORES, ETC FLOWER VENDORS, ELDERLY WHO PRAY, ELDER WOMEN WHO SIT IN THE VERANDAHS TO DISCUSS WARD C, AND CHAT MUMBAI

COLLEGE ADULTS, TOURISTS, PHOTOGRAPHERS, SELLERS, VENDORS : STREET FOOD, CLOTHES, GARMENTS, CARPETS, HOUSEHOLD THINGS,ETC PEOPLE WHO OWN SHOPS - COMMERCIAL SET UPs

WARD C, A

.PLUMBING TOOLS AND FITTING STORES, STEEL STORES AND METAL INDUSTRIES, PANJRAPOL GOSHALA, JEWELLERY BAZAAR, MADHAV BAUG DERASAR, MADHAV BAUG POST OFFICE, POOJA STORES AND FLOWER MART

MCGM PAID PARKING, COURIER DEPO, PROVISION STORES, MASJID, ABDUL REHMAN STREET FOOD, OFFICE OF THE COMMISSIONER POLICE, CP OFFICE MUMBAI, JJ SCHOOL, METRO history of the WORK, MANISH MARKET, CLOTH market itself, MARKET heritage structure

selling hordes of important foods in one single place.

secular

NARRATIVES OF MADHAV BAUG

KEVIN LYNCH MAPPING

PANJRAPOLE IS ONE OF MUMBAI’S LARGEST ‘GOSHALAS’ MEANING A COWSHED, TAKING CARE AND FOSTERING COWS.

THE 5 PRIESTS LIVE HERE, CLOSE BY THE TEMPLE.

DHARMASHALA IS A RELIGIOUS SCHOOL THAT HOSTS RELIGIOUS LECTURES TO ENLIGHTEN ITS STUDENTS ABOUT THE RELIGION. TODAY IT PERFORMS AS A RENTAL EVENT SPACE.

PRIMARY ROADS SECONDARY ROADS TERTIARY ROADS DISTRICTS

THE DAILY PRASHAD, FOOD OFFERING IS MADE HERE IN THE KITCHEN.

EDGE- OPAQUE POROUS EDGE

THE CENTRAL VOID IS THE MOST CONTESTED FOR DURING FESTIVALS AND SEASONAL TRADITIONS. IT TRANSFORMS ALMOST EVERYDAY, EVERY SEASON.

OPEN EDGE NODES

The Kevin Lynch mapping identifies districts, Primary roads, Secondary roads, nodes, landmarks and edges.

THE MAIN TEMPLE, WHICH IS 150 YEARS OLD AND A GRADE 3 HERITAGE STUCTURE. THE TEMPLE SEES VISITORS FROM ALL OVER MUMBAI. BUILT IN 1874.

MADHAV BAUG HAS ITS OWN COW CARE CENTRE OF ONLY 5 COWS.

USER PATHS MAPPING

DURING COVID TIMES, A PUBLIC VACCINE DRIVE WAS SET UP HERE.

THE ADMINISTRATION OF THE TEMPLE IS TAKEN CARE IN THE OFFICE QUARTER

T H E WATCHTOWER IS A OLD TOWER FROM WHERE RELIGIOUS INSTRUCTIONS WERE GIVEN TO THE PUBLIC ON THE STREETS, ALSO FOR SECURITY PURPOSES.

THE GANESHA TEMPLE IS A RELATIVELY NEW TEMPLE THAT HOSTS A VERY SMALL GANESHA IDOL.

Different user profiles are seen navigating, interspersing through the central void, i.e the public space. This forms a potential spot for interactions and spontaneous events.

THE MADHAV BAUG GATE IS THE OLDEST GATE WHICH IS STILL PRESERVED AND WAS EARLIER FORTIFIED WITH WALLS AROUND IT LEAVING IT THE ONLY ENTRANCE.

THIS IS ONE OF MUMBAI’S FAMOUS PAAN SHOPPEE. ONE OF THE PRESERVED OLD SHOPS OF THE TRADITIONAL FACADE.

THE MINI GATE WAS THE OLDEST GATE WHICH WAS RETAINED AND USED AS A PEDESTRIAN THROUGH WAY.

EXISTING HETEROTOPIAS IN MADHAV BAUG

VISUAL HERITAGE IN AND AROUND SITE

There are four existing heterotopias on site identified, which keep changing their nature throughout the day. The influence of users on the space also changes and so does the dominance of a particular user group. ENTRANCE GATE

7 AM

The vaccine drive is set up. The remainder area serves as an informal parking space.

EVENT HALL

7 AM

The ground is prepped with the furniture for the event of the day. This is rented out for the time- being.

12 PM

The queue gets shorter in the sun and people start moving towards the temple for the timed mantra. 12 PM

Event partakers come in and start enjoying.

4 PM

As the heat starts to fade away, the space is moreactive with people waiting in lines, going to the event spaces. 4 PM

The space clears out mid-day.

9 PM

The event spaces clear up and people start moving the temporary furniture out of the space. 9 PM

In the night, the land is cleared, waiting for another festival to be performed.

PANJRAPOLE GATE

7 AM

The shop owners bring in their goods to sell, open up the shops and then wash the front of the shops. TEMPLE

7 AM

The priests perform the morning pooja and the office staff is set up to function for the day.

12 PM

Not many people buy goods in the noon heat, Since the visitors to the temple are less. 12 PM

The noon aarti timing is fixed with regular visitors to the temple.

4 PM

In the afternoon, the gates to the Panjrapole open up as more visitors come to shop and visit. 4 PM

Another small Aarti is performed at 4 PM and there are many visitors to the adminstration.

9 PM

The shops and the throughfare gate closes for security reasons.

9 PM

The priests close up the temple.

AGENCIES , GOVERNANCE AND SPECTRUM OF USERS

LEGEND FOR STAKEHOLD MAP

USER PROFILES

PRIMARY PERMANENT USERS MADHAV BAUG

INFLUENCED BY, INFLUENCE INCREASES WITH SIZE

SECONDARY TEMPORARY USERS

STAKEHOLDERS, DOMINANCE INCREASES WITH SIZE

PROGRAM (RE)GENERATION MOST INFLUENCED

STRENGTH OF RELATIONSHIP

TEMPLE

PANJRAPOLE MUMBAI WARD C

FOUNDER FAMILY 01 LAXMI NARAYAN TEMPLE

FOUNDER FAMILY 02 DHARAMSHALA- THE RELIGIOUS SCHOOL

PRIESTS DESCENDANTS OF THE FOUNDER FAMILY

13 TRUSTEES

PRIESTS WHO DONT LIVE ON THE PREMISES

KITCHEN STAFF

OFFICE EMPLOYEES

REGULAR VISITORS TO THE TEMPLE

GAUSHALA’S CARETAKERS

VETERAN DOCTOR

SCHOOL ADMIN

CLEANING STAFF

MMR MUMBAI HCC

REGULAR VISITORS TO PANJRAPOLE

MMRDA

MHADA

EVENT ORGANISERS STUDENTS

ADMIN WORKING STAFF IN OFFICE EVENTPART TAKERS RESIDENCY OF CARETAKERS

FOUNDER FAMILY 03 DHARAMSHALA EVENT SPACE - THE RENTED OUT OPEN GROUND

SHOP OWNERS

A separate element

SECURITY GATE GUARDS

DHARMASHALA EVENT SPACE

SHOPS RENTED OUT ON THE EDGES

Becomes the nucleus, interconnecting all functions through visual contact

MADHAV BAUG gaushala

FOUNDER FAMILY

LAXMI NARAYAN TEMPLE TRUST

open but isolated events GAUSHALA CARETAKERS

TEMPLE CARETAKERS

Constant Connect through architecture

DHARMASHALA

ATHAVLE TRUST

DHARMASHALA

SHOPOWNERS

SHOP RENTERS

SECONDARY USERS

ground floor unused LALBAUG JAIN TEMPLE

NGOs

Adaptive reuse used as projection ground

PRADAKSHINA PATH, AROUND TEMPLE DERASAR

PANJRAPOLE TRUST

DIGAMBAR JAIN TEMPLE

Dingy and clustered

GAUSHALA - SHELTER OF COWS

Gaushala unused, warded off Since many functions coexist on the site, they share and contest for the public ground in the centre. The areas of governance are divided among the three founders and they seamlessly function, but in reality, they contest for the open space which lies in the public domain under a constant push and pull and the plan is morphed which relates back to foucault’s heterotopic quality. The stakeholders show the strength of their relationships. Their decisions affect the secondary users, gaushala, shops and also the events that are conducted there.

Used as holographic AR tour, more active

It becomes central and ecological support

AXONOMETRIC DETAILED CONSTRUCTION OF THE SOUNDBOX

IS STEEL BASE PLATE 10 MM THICK BASE PLATE TO HOLD LIGHTING FIXTURE

LED DISPLAY LIGHT FIXTURE

ANGLE CLEAT TO ATTACH BASE TO SIDE ANGLE CLEAT TO ATTACH SIDE BOARDS DGU, BULLET PROOF GLASS, CUSTOM CUT SILICON RUBBER CONNECTOR TO HOLD GLASS OBJ OF DISPLAY ON STAND WOODEN, OAK, PEDESTAL WITH CUPBOARD HINGES WOODEN OAK, DOOR SPEAKER + RECEIVER

BASE PLATE ANCHORED TO THE GROUND, WITH REMOVABLE SCREW TOPS

THE SOUNDBOX

The person’s journey starts from the cp tank, and the iconic gate invites one inside for a heterotopic experience. The central ground retains multiple user interactions whether you are a local tourist or a foreign or an everyday priest. The temple faces the dharmashala and the rooftop cafe allows one to see the complex from a bird’s view.

There are objects of

display which are sprinkled throughout archiving sound and allow the user to record an experience too, under surveillance. These serve as wayfinding means

and

leave an unexpected surprise with every recording of sound. This creates an additional journey through space as the user mentally configures a timeline of events she

USER EXPERIENCE MAPPING

hears without visual support.

PROPOSED GROUND FLOOR PLAN

PROGRAMME 01 : GARAGE OF GARBAGE : PART A

DETAIL OF THE GLASS BRICKS USED AS INFILL WALL MATERIAL TO BRING

As one moves inside, submerged in the ground, the garage of garbage

is placed - an augmented art gallery. The part above the ground is wrapped

CONTROL ROOM

IN DIFFUSED LIGHT WHEN AUGMENTATION IS NOT IN USE.

with glass bricks that bring in diffused natural light. There are many architectural remnants on site belonging to different eras, left unnoticed. These are reconfigured

into this space. The placement of these elements is such that the elements respond to its architectural function. For instance, the column is positioned

where a structural column would be. The timber frame, at the cill and lintel level,

ornaments on walls, doors that open on the floor, that one can walk through. In

short this is a mosaic of different pieces of architecture arranged into a realist space. This space further becomes a canvas for augmented reality artists to

create and embed virtual objects. Structures in the city that have been demolished, can preserve their heritage worth parts as a memory and one can see the fabric of the city in one space- a heterotopia of accumulated time.

GROUND LEVEL

ARCHITECTURAL REMNANTS FOUND ON SITE THE OCULUS SYSTEM FOR AR IS USED. IN A PUBLIC

SUBMERGED AT -2.0 M

SPACE, WHERE THERE ARE MANY USERS, EVERY

SYSTEM HAS A HEAD SET, AND CONTROLS WITH A MICROPROCESSOR CHIPS THAT ARE LINKED TO A MAIN SERVER IN THE CONTROL ROOM. THESE MONITOR

COLLECTED HISTORICAL ELEMENTS PLACED AS PER THEIR ARCHITECTURAL FUNCTIONS

REAL TIME DATA, TRACK USER MOVEMENTS IN THE SPACE.

EVERY DEVICE HAS A SCANNING SYSTEM THAT

ALLOWS THE USER TO SCAN ITS ENVIRONMENT AND

STAIRCASE LEADING TO GIFT GALLERY ABOVE

GLASS BRICKS

MOVE ABOUT WITHIN IT TO AUGMENT REALITY WITH

VIRTUAL OBJECTS CREATED BY THE ARTIST WITHIN THE HISTORIC ARRANGEMENT OF SPACE.

PROJECTION LIGHTS AND SOUND SYSTEMS HIDDEN INSIDE FALSE CEILING TO CREATE AUGMENTATION.

THE DEVICE WILL DETECT THE SCANNED RADIUS AND

WILL NOT ALLOW THE USER TO GO BEYOND SO AS TO AVOID BUMPING.

PROGRAMME 01 : GARAGE OF GARBAGE : PART B : THE OFFSITE IMMERSIVE EXPERIENCE HELLO, WELCOME TO AUGAPP!

HANDRAILS ON A STAIRCASE ON SITE = HANDRAILS FROM STANDING ON STEPS CREATED BY A CHAIR AND TABLE AT HOME

DOOR PANELS ON FRAME ON SITE = DOOR PANEL ON A DOOR FRAME AT HOME

INWARD CORNER CORNICE ON SITE = CORNICE SEEN ON AN INWARD CORNER AT HOME

In the Pandemic of 2020, MHCC (Mumbai Heritage Conservation Committee), had started Virtual tours online for the young tourists. In addition to this program, to keep it running, I further propose that an application can be made for an immersive experience. This app would allow the user to curate an experience in their own space by recreating spatial movements that one would follow on site. Lets say, you are in your kitchen. The app instructs the user to place these virtual objects. For a column, it would require a pedestal. The app guides the user to find an elevated surface and move around to see the details as one would in reality. As the user places these objects, it informs the user about the features of the element and the structure it was once associated with. An immersive augmented journey is performed by moving in one real space and juxtapositioning it with the gallery on site.

The placement of these elements is such that the elements respond to its architectural function. For instance, the column is positioned where a structural column would be. The timber frame, at the cill and lintel level, ornaments on walls, doors that open on the floor, that one can walk through. In short this is a mosaic of different pieces of architecture arranged into a realist space.

ELEVATION FOUND ! THE COLUMN IS PLACED !! TAP TO KNOW MORE!

TO PLACE THE COLUMN, FIND A RAISED ELEVATION

MOVE AROUND AS YOU WOULD, TO SEE THE COLUMN FROM ALL SIDES

MOVE CLOSER TO SEE DETAILS, MOVE AWAY TO SEE GRANDEUR!

LEARN ABOUT THE STRUCTURES AND ORIGINS AND PLACE ELEMENTS IN YOUR SPACE!

CONNECT TO THE WEB AND SHARE YOUR EXPERIENCE GLOBALLY!

A VIEW FROM THE GARAGE OF GARBAGE

PROGRAMME 02 : DHARMASHALA, ADAPTIVE HERITAGE The event hall inside the dharmashala is kept intact and the remainder is converted to an archival exhibit opening through an arcade, peeping at the temple from within. On the first floor, the religious school continues and the remainder floor is the archival museum. The terrace level has a rooftop cafe which allows the user to see the complex from an elevation. This cafe is more active during the summer evenings.

ROOFTOP CAFE

RELIGIOUS SCHOOL

ARCHIVAL MUSEUM

EVENT HALL

ARCHIVAL MUSEUM

AXONOMETRIC OF THE ADAPTIVE REUSE

FIRST FLOOR PLAN AT 4.0 M

DETAIL A OF THE WATER DRAIN CHANNEL CONNECTING THE ROOFTOP DRAIN

+11.00M

A +8.00M

DETAIL B OF THE ROOFTOP CAFE PLANTER BED

+7.00M

+3.50M +3.00M

B +0.45M

SECTION THROUGH THE EVENT HALL AND THE EXISTING SCHOOL AND STAFF ROOMS ON THE FIRST FLOOR

+0.0 M

PROGRAMME 03 : COURTYARD LIGHTWELL TO THE ARCHIVAL MUSEUM

+11.00M

+8.00M +7.00M +3.50M +3.00M +0.45M +0.0 M -3.0M -6.2M SECTION THROUGH THE LIGHT WELL IN THE ARCHIVAL PROGRAM HIGHLIGHTING THE RELATIONSHIP BETWEEN THE EXISTING HERITAGE AND THE NEW AR MUSEUM

PLAN OF THE COURTYARD LEADING TO THE BASEMENT TO THE ARCHIVAL PROGRAMME

DETAILS OF THE LIGHTWELL : SEATING

DETAIL OF THE LIGHT WELL THROUGH THE ARCHIVAL MUSEUM +2.00M

+0.45 M +0.0 M

STONE SLAB FOR LOW RISE SEATING L SECTION RCC BEAM ACOUSTICAL INSULATION FALSE CEILING 50 MM THIK DGU CURVED GLASS PANEL, 500 MM WIDE

HORIZONTAL CONNECTOR

DETAILS OF THE LIGHTWELL : SEATING AT MID LEVEL

STONE SLAB FOR LOW RISE SEATING -3.0M

18 MM MARBLE TILE FLOORING 25 MM SCREEDING +3.50M

50 MM WATERPROOFING OUTDOOR DRAIN CHANNEL HOLOGRAPHIC TILE DISPLAY INSULATION

-6.2M -6.5M

CONNECTORS, METAL SECTIONS ACTING AS DRAIN OUTLETS

DETAILS OF THE LIGHTWELL : HOLOGRAM FLOOR

RCC SLAB WITH PERFORATIONS IN STEEL PLATE TO ACT AS DRAIN OUTLETS

AXONOMETRIC OF THE FIRST THREE FLOORS OF THE INTERVENTION

VIEW FROM THE LIBRARY AT THE FIRST FLOOR

ROOF SLAB INCUBATION ROOMS

SPIRAL STAIRCASE

GRID OF RAMMED EARTH WALLS

GALLERY LIBRARY

VIEW FROM ENTRANCE

OFFICE

GARAGE OF GARBAGE

VIEWOF THE CENTRAL GROUND

SECTION AA THROUGH THE ARCHIVAL MUSEUM FACING THE DHARMASHALA

Since the archival museum is hidden underground, the openness on the ground floor allows for spontaneous events and everyday movements of thoroughfare. It also creates two separate realms- the reality of a historic past on the ground and the virtual that preserves these realities using technology of the future.

+13.00M +9.00M +7.00M +6.00M

+4.00M +3.00M

+0.0 M

-3.0M

-6.2M

AXONOMETRIC OF THE VAULT OVER THE GAUSHALA, USED AS A PROJECTION SCREEN

SECTIONAL DETAIL A OF THE END VERTICAL GREEN WALL THAT SEPARATES THE COMPOUND FROM THE PANJRAPOLE COMPLEX

PHOTOVOLTAIC CURVED PANELS C SECTION, ISMC 50 TO SUPPORT PV PANELS

RAINWATER TOP COVER

VERTICAL LANDSCAPING

RCC STRUCTURE WALL

RCC FILLER SLAB WITH TERRACOTTA AS FILLER MATERIAL

TIMBRE CLADDING ON THE REST OF THE WALL SURFACE SCHEMATIC DIAGRAM OF MISTING SYSTEM

HOLLOW STEEL TRUSS, KING POST TRUSS

CONNECTORS

SCREWS TO CONNECT THE VERTICAL POTS

GEOTEXTILE MATERIAL

MISTING PIPES HIDDEN INSIDE HOLLOW BOX SECTION SCEMATIC DIAGRAM OF THE MISTING SYSTEM PLACED INSIDE STELL TRUSS

NOZZLE OF SPRINKLER BASE PLATE STEEL COLUMN

DRAIN TO COLLECT RAINWATER

b 56

illustrations

I N D I A F I L M P R O J E C T, D I G I T A L I L L S U T R AT I O N P L AT I N U M AWA R D, F I R S T I NT E R N AT I O N A L L E V E L

PLACE,

What would happen if Google never e x i s t e d ? Wo u l d w e s t i l l h u n t d o w n encyclopedias or maybe we would surrender to Siri and Alexa as Goddesses of knowledge. What would be the implications of not being able t o ‘ G O O G L E ’ a n y t h i n g ? B o y, o h , B o y, online exams would be tough for sure! T h i s i l l u s t ra t i o n e x p l o r e s t h e i d e a o f an alternate history wherein Google d o e s n’ t e x i s t . Instead of visualizing an alternate after-scene, the motive was to explore t h e p h y s i c a l m a n i fe s t a t i o n o f t h e v i r t u a l s p a c e . To d a y, G o o g l e h o l d s a huge blueprint in the virtual world. The author urges to ask the question i f t h i s ( v i r t u a l ) s p a c e w a s t a ke n a w a y, w h a t w o u l d i t l o o k a n d fe e l l i ke ?

tanaya nadkarni

C I E D A’ S H U LU K U A U T H E N T I C R E P R E S E N TAT I O N F I R S T P L A C E , I NT E R N AT I O N A L L E V E L The theme of Sexual orientation under the umbrella theme of inclusivity arose f r o m a s l i n k y. I t i s a s p i ra l e d s p r i n g toy that creates beautiful flexible patterns of blending colors when it is played with. This is one perspective to look at Sexual orientation- not always permanent with beautiful fluid blending. Fu r t h e r m o r e , w h e n i t c o m e s t o t h e r o l e s w e t a ke u p i n s o c i e t y, t h e s e n e e d to highlight not our labels but our contributions towards the growth of i t a l l . To d a y, m a n y h u m a n s h a v e g o n e beyond educational stereotypes purely based on their prowesses. This needs t o b e a c k n o w l e d g e d a n d e n c o u ra g e d .

tanaya nadkarni

ELECTIVE C O N C E P T A RT TO P I N C L A S S The challenge was to create environments. This scene is recreated from one of my most beloved animated movies- The Song of the Sea. This was an attempt to recreate the s c e n e a n d t h e s t y l e o f i l l u s t ra t i o n using the digital brushes and the software available at hand and to get close as much as possible to the original piece.

tanaya nadkarni

ELECTIVE NFT WEEK TO P O F C L A S S A s e t o f ra n d m o n w o r d s w e r e t h r o w n a t a r t i s t s a n d a n i l l u s t ra t i o n w a s t o be created. The words were TIGER, A U TO R I C K S H AW, A N D H E A D P H O N E S . Hence, I imagined a scenario with t h e s a f a r i a u t o r i c k s h a w, v i s i t i n g t h e authentic Indian Tiger - Tiger shroff. This would be a step towards e n c o u ra g i n g a r t i s t s t o c r e a t e a n N F T platform.

tanaya nadkarni

A R C H I T E R R A X D I G I T A L I L LU S T R AT I O N What lies between cities? The medieval space - the space in between that cannot be defined by itself but t h r o u g h o t h e r s p a c e s a s m a r ke r s t o l o c a t e i t . M i c h e l Fo u c a u l t , i n h i s ‘Of Other Spaces’, talks of opposing spaces and their intersection that holds the displaced, dis-positioned s p a c e s o f t ra n s i t i o n . T h e y a r e e v e r evolving, ethereal and free flowing. This concept is attached to Italo C a l v i n o’s ‘ I n v i s i b l e C i t i e s ’ , w h e r e o n e city takes multiple identities and where it begins and ends is a blurry b o u n d a r y. I n b e t w e e n a l l t h e s e u n i q u e cities, lies the medieval space, that f a v o u r s n o q u a l i t y.

TA O R I E N TAT I O N PROGRAMME

J a c k a n d J i l l w e n t u p t h e h i l l t o fe t c h a pale of water J a c k fe l l d o w n and broke his crown and Jill came tumbling after Jill was immensely injured but Jack never returned. What happened to Jack? Wa s h e a v i c t i m o f a c r i m e ? D i d h e f ra m e h i m s e l f l i ke a t r u m p c a r d ? The detectives(students) investigated the case of missing Jack through a set of clues, witness statements and analysed proof. T h i s i l l u s t ra t i o n c o n t a i n s m y s t e r i o u s information absurdly hidden in plain s i g h t a s a m a p o f J a c k a n d J i l l ’s v i l l a g e . This base map became the fundamental cover for overlaying layers of i n f o r m a t i o n t o u n f o l d a m y s t e r y.

F R E E L A N C E OPPORTUNITIES Working as a freelance ar tist, with a branding firm allowed me to experiment in various styles of illustrations and every brief demanded a different approach, a different technique.

F R E E L A N C E OPPORTUNITIES This was a poster that was made for a sanitary napkin company for them to promote on their social media. It also encouraged awareness about sanitary napkins, menstruation and women hygiene.

writing and other

ARCHI -TECH- TURE DSCA E S S AY COMPETITION,

N AT I O N A L TOP 8

ABSTRACT ‘Archi-TECH-ture: Decoding the Technology that lies Within’ enquires the present-day scenario affected by the creative employment of technology in the everyday. Technology evolves and with time a new possibility emerges that covers up the past, becoming the face of ‘today’. Technology has influenced architecture to achieve heights (even literally) that was once only fantasized about. In the event of standardization, architecture lost its ability to create spaces that could be felt through the senses. Cities in particular became a series of high risers competing to reach the sky, but the identity, essence of history and region seems lost with the use of technology that exists today. Hence, the essay advocates that the existing technology be adapted to create spaces that exist emotionally rather than geometrically. The pockets of city once forgotten could be avenues for rejuvenation of the one that dwells there by incorporating technological means of generating playscapes, bringing back life and identity to a city. For doing so, Regionalism is analysed as the thriving force in architecture. Regionalism incorporates the technologies that are developed with time while maintaining a hold of the deeply rooted culture. With critical regionalist values, a site specific architecture is generated; one that identifies the culture and traditions whilst carrying the face of modernity. It helps to destruct the imagery of establishing global cities without relating to its inhabitants like snapback hats- one size that fits all. The essay questions the definition of globalisation prevalent today and how interpreting it wrongly has led to the rise of buildings with functions all clamped, without justifying its form for factors like climate or history. While understanding that certain examples of star architecture do not find parallels in the city-scape where space is political, they can be used for deeper understanding of what how technology is fit perfectly in the realm of architecture.

COA TRC BUILDING IDEOLOGIES

E S S AY

COMPETITION

SPACES, NATIONS AND THROUGH ARCHITECTURE

ABSTRACT Architecture is a medium to understand our heritage, culture as they have always had an impact on how spaces were curated in the past. For instance, the Caryatides in Greece replaced the long tall columns to show their dominance over Caryae by enslaving women of marital status. These soon became ornamental features on a typical structure in Greece. In that sense, every temple, mosque, church, cathedral, monastery or a place of worship has a certain genius locus attached to it. When national leaders yearned for promoting a religion, the only way to give it a visual form was always through architecture or monumentation. the way our spaces of everyday are formed follow certain patterns of iving that come through our traditions. These traditions represent our origin, our culture our nation. This essay ponders upon how architecture is the face of the nation and how it is often visualised as an object for an identity.

INDIA LO S T AND FOUND: MUMBAI THROUGH A SITE LENS WINNING RESEARCH

ABSTRACT “The temple is the most characteristic artistic expression of Hinduism, providing a focus for both the social and spiritual life of the community it serves.” -George Michell The paper wishes to explore the various factors that have contributed to the emergence of the temple complex of Sitaladevi and analyses the sequence of events that have impacted its current setting. The underlying faith has remained the sole entity of bonding the diverse communities that are a part of the complex by perceiving the Goddess as a medium. These communities have not only contributed to the evolving culture of the precinct but have also added value to the built environment. The study also brings about the need to conserve the built in order to preserve the un-built characteristics of the site. The paper deviates from a conventional format and hopes to engage the reader with the help of oral accounts that are of immense importance to this study. The need was felt to emphasize these accounts as the place still continues to live and thrive on myths and folklores. The spine of the narrative is based on the order of approach of the spaces in the complex and the experiences lived within them. Offshoots are then drawn to this spine parallelly. They help establish the characters with their context and simultaneously shape the culture and community of the space. All the required aspects of the study have been juxtaposed such that their parallel study enables one to assess the parameters on a single plane.

VIEFE I N T E R N AT I O N A L HOOK COMPETITION

WA L L

A perfect strike between smooth and edgy.

The

simplest

belongings

square

hooked

up!

transcends With

out

minimal

give

effort,

the

stark

edge

geometry

twists

keep itself

your as

extrudes out giving the most practical yet fashionable solution for a wall hook.

VRIO The edge your wall needs

VRIO is a bespoke terrazzo wallhook that has

Introducing ‘VRIO’

been designed to suit the minimal wall decor

Versatile. Rare. Immaculate. Opus.

requirements. By utilizing mixed marble scraps, recycled glass chips and cement – terrazzo could be moulded from waste materials giving it its unique value. These small particles (originally quartz) are combined to create this seamless design–leaving virtually nothing to waste. The form of Vrio enhances these Made from terrazzo, the material is ecologically sound

and

prevents

waste.

adds

environmentally green footprint to your walls.

qualities of the material.

The combinations of patterns and textures can be custom cut to create a complete assembly of bespoke terrazzo wall hooks that hang on the canvas of your walls. It is a durable and long-lasting material which continues to be a huge advantage in today’s world. It adds value to any kind of surface and is easy to maintain. The design is a modern take on a 600 year old legacy making it timeless and versatile.

A ring of molten brass amplifies the surface adding a new dimension through its sheen.

Dear Reader, If you have come this far, reading through my portfolio, I wish to express deep gratitude for your time. These are few of the projects that have in many ways influenced my journey as a designer. These ,of the many projects I have done stood special as they have taught me many values, given me tonnes of memories to cherish and thus have been shortlisted here. We, as individuals go far beyond our work, but seldom do we get chances to represent ourselves. Hence, I have, in all my capacity, tried to let my work speak for the passionate individual that I feel I am. Thank you once again, for your precious minutes. If you happen to be here by fluke, I would love to think of it as a moment specifically curated for you to stumble upon. Sincerely, Tanaya

“Let everything happen to you: beauty and terror. Just keep going. No feeling is final. Don’t let yourself lose me. “ ` Rilke