Selected Works 2016-2019 Divya Vaidya
About Me Workshops 2019 2018 2018 2017 2017 2016 Experience 2018
Divya Vaidya a16divya@sea.edu.in vaidya.divya14@gmail.com Contact: +91 9967144990 Instagram: @thegirllostindarkcircles Date of Birth: 18.06.1998 3/54,55, Anand Bhuvan, Mangalwadi, Girgaum Mumbai - 400004 Fluent in English,Hindi, Marathi, Gujarati Well versed with Sketching AutoCAD Photoshop Indesign Illustrator Rhino SketchUp
Lino Printing with Tamal Mitra Explorations in Body and Space with Sanjukta Wagh Architectural Photography with Dinesh Mehta Cyano Printing with Cona Foundation Cement Hands-on with Samir Raut, Milind Mahale Brick Arch Hands-on with Malak Singh Gill Volunteer for ongoing research called ‘Decoding Urban Form’ with sP+a, Mumbai.
2018
Leadership Programme at Godrej India Culture Lab
Publications 2019 2019 2019 2018 2018 2017
South Asian Architecture I Vol 2 Post-Intensive Landscapes of Goa Resource Audit : Light and Acoustics Tectonics of Auroville Jaipur Portfolio Mumbai Neighbourhood Studies I Vol 3 Inner City
Education Ongoing
School of Environment and Architecture Currently in the Fourth year of B.Arch
2014 - 2016
Kishinchand Chellaram College Education till grade 12
2000 - 2014
Walsingham House School Education till grade 10
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Goa Documentation 01. Untaming the landscape sem6 design 02. Urban Forest sem5 design Jaipur Documentation 03. Archive of speculations as ruins. sem4 design Borivali Station Documentation 04. High Rise Thakkar Mall Resource Audit 05. Facade ReDesign Research + Documentation 06. Svaram 07. Shreepati Arcade Working Drawing Performing Arts Center Material Sense Miscellaneous Works
Section through Borivali Station
Pre-Mining Landscape
During Mining Landscape
Post-Mining Landscape
Post-Intensive Landscapes of Goa Sonshi | Goa
Collective Documentation
The landscapes of resource extraction are in constant flux . Thus the agglomerations situated in close These drawings made enquiries in the contested mining region of Sonshi, a settlement located in the Pissurlem district of North Goa. It questions the need to extract intensively and how the mines should be reclaimed restoring biodiversity and communal engagement. Overtime, Intensive mining attracted migrant truck drivers and changed the landscape of sonshi from an agrarian- forest type to a gated community of truck drivers and networks. It further questions the economic dependency of the community on mining that led the male residents to go out in search of newer sources of income and the village only left with females and their children. When and where does one stop extracting resource? Does such Intensive insensitive practice of extraction benefit us ? Once done how does one go about reclaiming it by equal engagement from the communities affected by it ?
Un-Taming The Landscape Museum of Mangroves | Bandra
Encroached land till 2019
2019
1969
The area shaded in blue marks the area of the original estuary that we have encroached on over time. In the efforts of urbanisation, growth, development we reclaimed more land that was otherwise submerged in sea and occasionally exposed during low tides. These lands were filled with dense mangroves. Mumbai lost 40% of it’s mangroves over 1995-2005, where maximum encroachment took place.The Mithi River tried finding different ways to unfold and escape the clutches of urbanisation, but it was walled, narrowed and deepened. The mangroves around it too were restricted and manicured by the roads built around them. Thus, in this manner human intervention has always tried to ‘tame’ the landscape. The design thus looks at processes in which this landscape can be ‘un-tamed’ in the process of reviving the ecological cycle that once was the nature of the landscape. The site is surrounded by a spectrum of activties that are conflicting in nature. Some of these activities are either illegal or ‘unethical’. Even the act of calling it unethical hides and tames the awareness of these activities to the other half of the city. The knowledge center will thus look at acknowledging these existing activity cycles in a way that they co-exist by providing various degrees of liesure spaces. How can the knowledge centre be a manifestation of urban life where all cycles can co-exist and cob verge into a larger system cycle ? Museum of Mangroves The knowledge center acts as a museum of mangroves by not only giving textbook knowledge via records, but also by experiancing what a mangrove is like.
1947-60
1933
1827
Letting the ground Flood, the intervention can be a series of lightweight ramps raised above ground
The built form has courtyards where the mangroves infiltrate the built space. skylights and courtyards let light touch the ground even on the inside
How does the form not restrict the wild?
How can the build form let the mangroves be wild and un-tamed ?
Museum of Mangroves Restoration of Mangroves - scattered pockets - labyrinth of bridges and ramps - skylights - cane mesh roof
Acanthus Illeifolius - reclining mangrove shrub 50-200cm tall - adventitious aerial roots - in open conditions- leaves grow spiny, in shaded spaces leaves grow spineless - forms a dense undergrowth of roots
1. Regrading Topolography 2. Re-establish Hydrography 3. Natural Regeneration 4. Planting Pioneer species 5. Minimum intervention on the ground
Avicennia Marina - grey mangroves - height- 3-12M depending on the salinity - slightly grey flaky trunks - vertical pneumatophores - lateral root system - small orange flowers in clusters - light green ovoid fruit
Sonneratia Apetala - grey mangroves - grow fast even on newly accreted soil - vertical pneumatophores 15-20 cm - lateral root system - tolerates strong salinity - aromatic flowers in clusters
The knowledge center is dispersed over the site like the labyrinth of roots of mangroves to achieve a experience the variety of species, light, smell and sound associated with the mangroves. The courtyards bring the same inside the built form.
The edge of the nala is cleaned of all waste and sloped towards the estuary. This allows water to penetrate the soil. Pioneer species like Sonneratia Apetala and shrub like Acanthus Illeifolius planted on newly accreted land to help stabilize the soil. Avicennia Marina another pioneer species grown in patches to counter-balance the growth of other pioneer species.
In 20 years... The edge of the estuary has turned into a Riparian Edge. Ocassional flooding takes place. An ecosystem is established with species like Mud Skippers and Fiddler Crabs colonizing the ground. The entire area becomes dense with mangroves
Mangrove Museum Overview
Site section / in 2019
Site section / in 10 years
Site section / in 20 years
Urban Forest
Design School | Borivali
Concept Sketch 1
The Urban Forest is a design school developed by studying the vegetation and ecosystem present on the site. The strategy was to use vegetation as a resource. The building envelope in then characterized by vertical pivoted fins on the exteriors and foldable panels in the interiors. The design school tends to incorporate the same vegetation within giving nature the possibility to take over the built form over time. SARACA ASOCA + Yellowish orange flowers + Flowering season starts from February to April + Evergreen tree + Attracts asian koel and bats like the flying foxes
Saraca Asoka
POLYALTHIA LONGIFOLIA + Light green flowers + Pyramidal growth + Does not shed leaves + Alleviates noise + Attracts tailed jay and kite swallow butterflies
Polyalthia Longifolia
Vegetation on site
Concept Sketch 2
East View
East West Section facing North
South View
South Elevation
North View
Gaitore ki Chhatriyan Gaitore | Jaipur
Collective Documentation
The city of Jaipur was established in the 18th century both as a royal capital and a center of trade in the present day north Indian state of Rajasthan and is one of the first planned cities of India. At the outskirts of this city, ‘Gaitore ki Chhatriyan’ or the Royal Cenotaphs of Gaitore was a growing necropolis - a cremation site for the Kachhwaha Rajput kings and other members of the royal family of Jaipur. Located on an undulating terrain, the overall complex is divided into three major segments. The earliest segment contains six cenotaphs, the second segment consists of a singular plinth housing fourteen smaller cenotaphs with cupolas dedicated to the 14 sons of Maharaja Maan Singh and the third segment consists of five cenotaphs, among which two were under construction during the period of visit in 2018. The architectural typology of the complex responds to the programmatic need for a memorial for the deceased that doubles up as a resting place for traders and other passersby along this route.
Archive of Speculations, Archive as Ruins Gaitore, Jaipur
Curious is man, that makes him dig layers and layers of soil. Is it in search of his past? Is it his imagination that makes him wonder if there is something beyond what he knows? He digs and digs further. Finds a stone. He speculates, rationalizes, theorizes its existence. But little does he know if it really was what he thinks it to be. In the act of observing and measuring the distances, locations of the celestial bodies, one lays a structure in the sky and speculates a relationship among them. To speculate the location of these celestial bodies and map them, their apparatus was of key importance. These heuristic devices were attuned to focus on different relations. Thus, the archive is a speculative attempt to arrive at an overall conception of the nature of the universe and human capabilities. When you look at a ruin, it has a very secretive nature. Only a part of it is visible o you from a distance. You start speculating about the other half, about its past, its purpose, its future right from the time you see it. Thus, the Archive would be like a ruin, an excavation site. a certain degree of incompleteness exists in a ruin that makes it so speculative.
How can an archive be complete and incomplete at the same time? Can the archive make someone speculate its past? Will the archive speculate its own future? How will its’ own speculative nature add to the archive?
The Folly
Upper Level Plan
Lower Level Plan
Section A
Section B
Section C
Archive of Speculations
The structures, like an excavated ruin, at times submerge in the ground and disguises itself in the landscape. Whereas some stand out evidently above the ground but don’t seem to have any portals of access. A three-meter-wide bridge takes one across the canal, where lies a folly.
Archive as Ruins
High Rise + Station Concourse Borivali Station
Can the solution to descongestion be congestion ? The comercial concourse looks at diverting the crowd from the platforms by providing functions like performance theatre and food stalls. The High Rise too provides commercial programs on the lower levels. The structural load is primarily taken care of by the central service cores and the alternaing girders counter deflection forces. Alternating floors provide terraces for liesure thus decongesting workspaces.
Model
External Wall Section
Facade Detail
Junction Detail
Expoded
PTFE Membrane
Bamboo Roof
Bamboo Facade
Detail @ 1:5 Bamboo: Guadua Angustifolia ( Dia 60MM ) Box Frame ( 100 x 50 MM) C-section ( 75 x 50 MM) Welding
660.0000
L-Angle (flange:50MM )
Facade Re-Design
2070.0000
2032.9113
Detail @ 1:5
Terrace Bamboo: Guadua Angustifolia ( Dia 60MM )
White China Mosaic Tiles ( 12 mm thick)
Thakkar mall | Borivali
Box Frame ( 100 x 50 MM) C-section ( 75 x 50 MM) Welding
Damp Proof Course ( 50 mm thick)
L-Angle (flange:50MM ) Bamboo: Guadua Angustifolia ( Dia 60MM )
Bamboo: Guadua Angustifolia ( Dia 60MM )
FACADE The facade is made up of repititive panels made of bamboo. These panels are hyperbolic parabolas made of alternate bamboo stems. This arrangement lets in fresh air and keeps the space ventilated. The panel rows are placed in a way that part of the panels that potrude, shade the lower row panel that is recessed. Thus reducing the overall heat gained by the facade. The alternating bamboo panels form triangular voids that are covered by white translucent multi-walled polycarbonate sheets(30mm).
Liqour Station at 4th floor 2590.0000
2737.9090
Bamboo: Guadua Angustifolia ( Dia 100MM )
R.C.C. Beam Sreeding ( 25 mm thick)
External Wall Section
Bamboo Facade
Bamboo Roof
Light filtering through the bamboo facade
Diffused Light entering through the roof
ROOF The roof too is made using the same panels but care is taken that the part of the panel that potrudes is aligned with the same part of the next column, thus blocking big openings. This frame of bamboo panels is covered by a tensile translucent white membrane thus letting in diffused light. The bamboo panels too filter the light coming in. The white translucent tensile membrane reflects much of the heat thus reducing the overall heat gained by the roof.
Svaram
Auroille | Research + Documentation Svaram’s adventure started in 2003, when it began as a vocational training opportunity for unemployed village youth of Tamil Nadu. Svaram has a cluster of building blocks which are the main museum of instruments, the warehouse and the studio. A resident block, office and storage with the shop space and an open place where instruments are placed to be tried and tested by the visitors. Quite interestingly the various spaces are on the either side of the road. Here, the street has also has been considered a very important part of svaram itself for engagement and attracting people. The instrument acts as an attracting force which is at the gateway of both the entrance
Shreepati Arcade
Mumbai | Research + Documentation Volunteer work at an on going reasearch called ‘Decoding Urban Form’ in Mumbai at sP+a
Performing Arts Center Bandra | Working Drawing
A
1
22
B
2 23 C
5000
D
3
5000
E
5000
4
F
5000
5
5000
E
H
G
5000
6
I
-
7
-
7500
5000
D
-
250
21
3148
UP
3148 3398
2225
3897
FIRE EXIT 300
20
400 250
2800
600 400
402 50 1400
2147
6626
425
175
4750
J
4750 10756
634
-
4750
4750
REHERSAL ROOM (60sqm)
1520
550
400 535
8
C
4447
4097
944 590
A.H.U.
385
W.C.
4198
461
402
844 400 535
4750
5000
600 150
L.V.
3057
50
C
600 150
E.S.
2000
595
1750
150
1600
2223
900
F.S.
550
595
1325
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19
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289
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2003
27500
33 60 83 62
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SR.NO. DATE REVISION DESC
76
22500
2 446 2 471
42
1910
62 44 13 47
1753
4750
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3
59
20000
23
L
4750
4750
25000
5000
SOUVENIR SHOP (40 sqm)
15000
77 36 27 39
73
48
2065
7 367 8 392
1601
20
51
9
6
162
33 60 83 62
18
94
1449
0
200
9
9
6
162
ISSUED BY
5
137 17
0
150
4750
15000
15
80
62 44 12 47
14
23
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12
3677 3926
66
5
450
AMPHITHEATRE (160sqm)
1
450
450
450
450
450
450
M
RECEPTION (50sqm)
BOOKING OFFICE (40sqm)
4
E
5
F
5000
5000
6283
5000
5000
H
G
5000
B
7500
5000 4462 4712
-
UP
5250
D
-
7
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6
3677 3927
44
40
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6033
5000
4462 4712
5000
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3
54
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-
30
31
2120
1649
1806
1963
1335
1492
250
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2998
500
500
500
500
500
500
500
500
500
500
500
500
878
4750
1725
250
3897 2426
574
-
4750
3275
4879
4750
300
4879
4751
FIRE EXIT
20
5000
3148
UP
3148 3398
2225
2000
125
N
400 250
2800
600
175
425
6626 4750
10756
2050
2751
4750
J
3402
2050
P.LIFT 1
1950
P.LIFT 1
1950
SERVICE LIFT
1950
2500 1500
2000
8
C 4175
8300
900
1450
900
875
-
4750
5000
REHERSAL ROOM (60sqm)
1520
550
-
UP
3050
4750
4447
4097
A.H.U.
385
W.C.
4198
461
402
2147
3048
3057
944
844 400
590
4750
535 400
A
634
535
4750
7 367 7 392
5000
600 150
L.V.
3143 2893
A
600 150
E.S.
1600
2223 400
595
402
595
50 1400
50
C
150
550
550
1750
900
F.S.
3522 1325
550
19
O
-
2550 150
-
00
4750
17
250
3598
344
3873
4750
4750
4750
1252
25000
15000
2 446 2 471
42
22500
PERFORMANCE ART C
DESCRIPTION SR.NO. DATE REVISION AT BANDRA, MUMBAI
62 44 13 47
3140 2889
4750
16
23
4750
4750
4750
7 367 8 392
1601
20
51
9
94
0
200
9
9
6
162
ISSUED BY
5
137
17
4750
80
62 44 12 47
23
6
5
15
AMPHITHEATRE (160sqm)
450
450
450
450
450
R
M
RECEPTION (50sqm)
BOOKING OFFICE (40sqm)
6283
6033
54
4462 4712
5250
4462 4712
500
500
500
500
500
500
500
878
4750
1725
4750
E B
10
4879
4750
D
C
E
F
H
G
I
4751
A
GROUND FLOOR PLA
D
4750
WD - SEA - C - 02
2751
3048
P.LIFT 1
O
3402
2050
P.LIFT 1
1950
1950
2500 1500
2050
SERVICE LIFT
1950
11 4879
12
N
3275
SEA SIDE
500
250
500
125
500
1963
500
2120
500
1649
2998
1806
1335
1492
2426
3143 2893
UP
5000
7 367 7 392
3050
4175
8300
900
1450
1:1
DRAWING TITLE & NUMB
30 31 574
SC
UP
3677 3927
44
2000
NORTH
KEY PLAN B
40
13
A
450
78
B
450
ROLL NO | A16 - 36 THIRD YEAR B.ARCH CHECKED BY 2018 - 2019
SCHOOL OF ENVIRONMEN AND ARCHITECTURE
+
3677 3926
66
R
WAY TO BASEMENT PARKING (6M WIDE)
4535 4712
7
14
4750
0
150
15
5850 6150
8
15000
5000
37
12
DIVYA VAIDYA
6
162
33 60 83 62
18 1449
Q
L
3
59
20000
15000
5000
UP
3875
62
SOUVENIR SHOP (40 sqm) 76
31 28 42 91
1753
-
90
77 36 27 39
42 31 92 28
1910
Q
K
272 300 300 300 300 300 300 5000
4150
27500
33 60 83 62
ENTRANCE LOBBY 73
48
2065
14
4750
1402
2222 44 47 62 11
902
F.S.
850
2
00
10
600
367 7 392 7
10000
200
1005
550
289
62 44 12 47
427
18
P
1005
42 31 92 28
649
50
2003
GENERAL NOTES
KEY PLAN ALL DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO BE FOLLOWED. DRAWINGS TO BE SEEN WITH RESPECT TO ALL OTHER DRAWINGS. P.C.C. IS IN THE RATIO OF 1:3:6 (CEMENT : SAND : COARSE AGGREGATE). ALL LEVELS SPECIFIED IN METERS. N ALL DECISIONS REINFORCEMENT CALCULATIONS NEED TO BE TAKEN BY STRUCTURAL ENGINEER. DO NOT SCALE THE DRAWING. ALL DISCREPANCIES SHALL BE BROUGHT TO NOTICE TO THE ARCHITECT BEFORE THE COMMENCEMENT OF ANY WORK. RICHER CONCRETE MIX TO BE USED FOR THE FOUNDATION AND M:30 MIX TO BE USED FOR THE SUPER STRUCTURE, ALL MIXES SHALL BE SUGGESTED, EXAMINED AND APPROVED BY O THE STRUCTURAL ENGINEER. THE COLUMNS ARE STEEL REINFORCED CONCRETE AND THE WALLS ARE MADE OF A.A.C AUTOMATED AERATED CONCRETE. VERIFY FIELD CONDITIONS AND COORDINATION STAMP & SIGN WITH THE PROJECT DOCUMENTS PRIOR TO PROCEEDING WITH THE WORK. WORK WITHIN THE FIELD BOUNDARIES AS SPECIFIED IN THE PROJECT DOCUMENT AND COMPLY WITH P ALL THE APPLICABLE BUILDING CODES, REGULATIONS AND ORDINANCE REQUIREMENTS. OCCUPANTS ON THE ADJACENCIES TO THE PROJECT AREA SHALL CONTINUE UNINTERRUPTED/UNDISTURBED OCCUPANCY DURING THE CONSTRUCTION OF THE PROJECT.
EXISTING ROAD 10 M WIDE
M
CHEC
4535 4712
7
SEA SIDE
5000
8
4750
37
A
GENERAL NOTES
ALL DIMENSIONS ARE IN MILLIMETERS OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO DRAWINGS TO BE SEEN WITH RESPECT DRAWINGS. P.C.C. IS IN THE RATIO OF 1:3:6 (CEME COARSE AGGREGATE). ALL LEVELS SPECIFIED IN METERS. ALL DECISIONS REINFORCEMENT CAL NEED TO BE TAKEN BY STRUCTURAL EN DO NOT SCALE THE DRAWING. ALL DISCREPANCIES SHALL BE BROUG NOTICE TO THE ARCHITECT BEFORE TH COMMENCEMENT OF ANY WORK. RICHER CONCRETE MIX TO BE USED FO FOUNDATION AND M:30 MIX TO BE US THE SUPER STRUCTURE, ALL MIXES SHA SUGGESTED, EXAMINED AND APPROV THE STRUCTURAL ENGINEER. THE COLUMNS ARE STEEL REINFORCED AND THE WALLS ARE MADE OF A.A.C AERATED CONCRETE. VERIFY FIELD CONDITIONS AND COO WITH THE PROJECT DOCUMENTS PRIO PROCEEDING WITH THE WORK. WORK WITHIN THE FIELD BOUNDARIES IN THE PROJECT DOCUMENT AND C ALL THE APPLICABLE BUILDING CODE AND ORDINANCE REQUIREMEN OCCUPANTS ON THE ADJACENCIES T PROJECT AREA SHALL CONTINUE UNINTERRUPTED/UNDISTURBED OCCU THE CONSTRUCTION OF THE PROJECT
900
STAMP & SIGN
875
A
DETAIL A @1:20
324 270
300
300
324 270
T-ANGLE
CHANNEL FIXING GFRC PANEL TO T
300
A
T-ANGLE
300
A
CHANNEL HOLDING STEEL ROD
CHANNEL HOLDING STEEL ROD 300
DETAIL A @1:20
300
300
CHANNEL FIXING GFRC PANEL TO T- ANGLE HOLLOW STEEL ROD Ø 2OMM
3600
3070
CHANNEL FIXING GFRC PANEL
900
3600
CHANNEL FIXING GFRC PANEL TO BEAM
900
3470
3070
GREEN ROOM
3470
300
HOLLOW STEEL ROD Ø 2OMM
GREEN ROOM
CHANNEL FIXING GFRC PANEL
300
DETAIL B @1:20
T-ANGLE
CHANNEL FIXING GFRC PANEL TO T- ANGLE HOLLOW STEEL ROD Ø 2OMM 300
300
3600
3470
ART GALLERY
3070
3600
3470
ART GALLERY
3070
T-ANGLE
DETAIL B @1:20
HOLLOW STEEL ROD Ø 2OMM
SILICONE FILLING 10MM THK
300
300
300
SILICONE FILLING 10MM THK
300
GLASS PANEL 10 MM
3600
3470
GFRC PRECAST HOLLOW PANE 830
GFRC PRECAST HOLLOW PANELS
CHANNEL FIXING GFRC PANEL
CHANNEL FIXING GFRC PANEL TO BEAM
830
ART GALLERY
3070
3600
3470
ART GALLERY
3070
300
GLASS PANEL 10 MM
270 324
270
3600
3470
3600
3470
DIRECTOR GENERAL'S CABIN 3070
DIRECTOR GENERAL'S CABIN
3070
324
DETAIL C @1:20
DETAIL C @1:20
BASEMENT BASEMENT
1200
1200
B
B
PLINTH PLINTH
RANDOM RUBBLE 250MM THK RANDOM RUBBLE 250MM THK
SHAHABAD TILE 25MM THK SCREEDING 15MM THK SHAHABAD TILE 25MM THK SCREEDING 15MM THK
SHAHABAD TILE 25MM THK SCREEDING 15MM THK SHAHABAD TILE 25MM THK SCREEDING 15MM THK
2400
2400
SHAHABAD TILE 25MM THK SCREEDING 15MM THK
SHAHABAD TILE 25MM THK SCREEDING 15MM THK
BASEMENT RAFT FOUNDATION 700
RAFT FOUNDATION 700
P.C.C 250MM THK
500
500
P.C.C 250MM THK RANDOM RUBBLE 250MM THK SOLING 250 250
C
BASEMENT
RANDOM RUBBLE 250MM THK SOLING
TYPICAL FLOOR PLAN @1:50
2500
2225
UP
4750 300
5000
2175
250
2425 500
TERRACE +19.40M
200
4000 2500
1050 1180 1300
300 300 300 300 300 300 300 300 300 300 300
MIDLANDING +17.60M
2225
FS
FOURTH FLOOR +15.8M
1050 1180 1300
DETAIL @1:20
300
MIDLANDING +14.00M
RANDOM RUBBLE 250MM THK
15
15
RANDOM RUBBLE 250MM THK
150 THIRD FLOOR +12.20M
1050 1180 1300 1050 1180 1300
MIDLANDING +10.40M
SECOND FLOOR +8.60M
1050 1180 1300
MIDLANDING +6.80M
DETAIL @1:20 FIRST FLOOR +5.00M
1050 1180 1300
1047
MIDLANDING +3.20M
R.C.C. SHEAR WALL 250 THK
GROUND FLOOR +1.40M
300
1200
150 MIDLANDING -0.40M
150 300
BASEMENT -2.20M
R.C.C RIBBON STAIRCASE
MICRO CONCRETE FLOOR FINISH 150MM THK
HANDRAIL
S T T A A V W P W I A A O P U T
-
A
B
D
C
E
F
G
H
-
I
-
-
SR.N TERRACE +17.6M
I
3600
GREEN ROOM
3600
FOURTH FLOOR +15.8M
ART GALLERY
3600
3600
3470
3600
SECOND FLOOR +8.60M
SEA SIDE
2550
ART GALLERY
3070
THIRD FLOOR +12.20M
DIRECTOR GENERAL'S CABIN
FIRST FLOOR +5.00M
3600
-
ENTRANCE LOBBY
GROUND FLOOR +1.40M
-
3600
-
BASEMENT
BASEMENT -2.20
-
PER AT A
B
D
C
E
F
G
H
DIV
I
ROL THIRD 2018 -
A
B
C
D
E
F
G
H
SCH AND
I
-
SR.N
3600
TERRACE +17.6M
3600
FOURTH FLOOR +15.8M
3600
SECOND FLOOR +8.60M
SEA SIDE
3600
THIRD FLOOR +12.20M
3600
FIRST FLOOR +5.00M
1200
GROUND FLOOR +1.40M GROUND +0.20M
PE AT
DIV A
B
C
D
E
F
G
H
I
RO THIR 201
SC
Material Sense
Subtraction | Concrete Material is what produces and allows, a form to be shaped, and a space to be perceived. Sense is what emerges when meaning is excavated out of material. The method used for casting the architectural space designed was subtarction by dissolving. The idea was to interpret the space by designing the negative and using different methods to eliminate it to obtain an interactive experiance of the then formed positive.v The negative was designed neatly, with different vantage points using grid geometry and 8 sections. Styrofoam is made from polystyrene, which is readily soluble in acetone. Thus, when acetone was poured on styrofoam casted in concrete it melted and dissolved in acetone leaving the carved concrete behind.
Material Sense
AESS | Concrete | Brick A deeper understanding of material and its properties and potentialities can sensitize one towards its use in Architecture which then, becomes a craft of sculpting spaces. The cafe designed is an AESS- Architecturally Exposed Steel Structure that looks at load distributed on a tiled spine. The structure designed tests a shell structure who’s volumes rests on four surface points only. The last image showcases the base formwork for a 1:1 mud and brick bucket handle arch that we built as a part of the Brick Arch hands-on workshop.
Kala Academy, Goa
Logo prototype for India Culture Lab’s event, Urdu Culture Now
The Giel that smiled
Field of Chimes Installation at SEA
Illustration for ‘The Viper and the File’ Aesop Fable
Onsite sktech from Mill Owner’s building, Ahemdabad
Miscellaneous Works
Drawing from Gaiwadi, Inner City, Mumbai