My Portfolio

Pranav Kadambi Selected works over the course of 7 semesters 2020-2023 School of Environment and Architecture Mumbai

Hi ! I’m an avid listener of music, appreciate art and culture in any form and i’ve always been intrigued of the thoughts behind anything out-ofthe-box, be it films, books, art or buildings.

I collect random things regarding pop culture, can spend an entire Mumbai local ride eavesdropping an arguement, and can find things to observe even in an empty field.

I see myself exploring and discovering new things on my own- skills, knowledge and even places. Makes it a lot more exciting that way!

Being a keen student of architecture, the interaction between builtform and life intrigues me- the nuances of the smaller details and the effects they have in the everyday of the people fascinates me. The curation of space is a powerful tool.

Education

Participations

LKG - Grade 7 | 2006 - 2015 PSBB-LLA, Bangalore

2015 |Represented school in Table Tennis AECS Magnolia, Interschool tournaments

Grade 8 - 10 | 2015 - 2018 AECS Magnolia, Bangalore

2016 - 2017 | Represented school in Basketball AECS Magnolia, Interschool tournaments

Grade 11-12 | 2018 - 2020 Bangalore International Academy (NSV), Bangalore

2016 - 2018 |Taught Spoken English At a local NGO, taking 1 class per week

B.Arch | 2021 onwards School of Environment and Architecture, Mumbai

2022 - 2023 | Content Committee Head of Reflective Blogs 2023 - Present | Council Member Class representative of the batch and Assembly Coordinator

Workshops

Skillsets

2021| Useful and Unuseful Objects by Milind Mahale

AutoCAD

Good

2021| Inside the Haveli by Anubhav Pradhan

Adobe Photoshop

Good

2022 | Illustrations and Storytelling by Sadhana P

Adobe illustrator

Fair

2022 | The Self and The Structure by Dipti B

Adobe InDesign

Fair

2022 |Disobedient Subjects by Aastha Deshpande

Sketchup

Good

2023 |Printmaking by Sanjana Shelat

Rhino

Basic

Model Making

Good

Microsoft Excel

Fair

Microsoft Access

Basic

Languages English, Kannada & Hindi (Basic) Number - +91 7619447773

Contact E-mail -

pranavskadambi@gmail.com a20pranav@sea.edu.in

1

Instagram - pkads_ Twitter | X - pranavkadambi

1

2

Planet of Creases

Patience

4

5

Gradualities

7 Visible and Invisible Spaces

Daily Wage Workers

8 Claims of Water

3 Threshold of Twin Identities

6 Disobedient Subjects

9 Haji Ali Park & Market

2

Planet of Creases

1

Form and Space Semester 2

The first year involved us exploring various mediumsthese included narratives, visual methods of representation, and finally, a physical method of interaction which aims at intertwining both.

Based on reading extracts, I created hand painted visual mediums which represented some of the first thoughts that came to my mind while reading- these being highly free flowing, and in some cases a monotonous texture.

The character sketch is derived from the visual medium created, and what thoughts it induces which further reflects the idea of motion, movement, and self consciousness. This in the form of the narrative.

The physical space is then further derived from the character sketch- what space does the character seem to inhabit? This was derived to be a modulated space with multiple planes.

These initial exercises allowed me to think through various lenses- how to convert perception into a visual form, and further convert that into a physical space.

What feelings do visuals, and physical space induce? induce?

3

“Take it behind and follow through” “down to up, down to up- do it in a sweeping motion” “focus, come on, focus” “quick, punch it downwards, put some force into it” “towards the other side” “move your shoulders, do it one motion- in a flow” “run back!” “bend your knee, be in form” “run front!” “quick, in position” “ move sideways, keep the consistency going” “ah!, I could’ve done that better” “how can i make my movement refined?” “don’t get your form wrong” “i can do this”

“you have to place it perfectly- the

accuracy is key” “push yourself, you can do better” “Keep practising, no errors” “okay, one more time, the same routine” “judge it quickly, analyse its movement” “how can i improve?” “think one step ahead” “take it smooth and easy, you know the technique!” “predict the placement, make your move” “do it gradually, don’t rush it”

4

Patience Allied Design | Useful & Unuseful Objects Semester 3

2

Given the task of identifying any object or tool in our daily lives that held a memory or recalled certain events over the years, I had chosen a hex key used to tighten bolts in a cycle.

Working on the concept of inducing patience, a quality using a hex key requires, I identified other objects in our daily lives that induced a very similar feeling- the urge to do something quickly but at the same required patience to accomplish.

This quality of patience would then be the prompt to design a product, which was to induce the quality of the

Analysing various methods of holdng a hex key, depending on its usage

same.

I Looked at the idea of dismantling the bicycle in a convenient manner such that it can be portable in small spaces.

Later, taking the idea of Legos and Mechanix kits, which use the same blocks and pieces to create varied products, brought out the idea of converting the basic frame of a cycle into temporary shelters or tent frames, I further worked on my design idea by working with its form, thinking about its ergonomic aspects, with which

Identifying limitations of a hex key

the final concept was made.

This module brought out the aspect that even small tools when observed through its form, function and practical use can lead to interesting design ideas that sometimes might not be related to its initial field of use.

The various components of a bicycle, opening the possibily of multiple uses of such components

5

The Manual

Standardising components along with its specifications

Identifying various joineries and its assembly

Identifying various joineries and its assembly

Identifying various joineries and its assembly

The cycle in its final form, with standardised sizes and components

The conceptual tent that can be created using the frame components of the cycle

6

Threshold of Twin Identities

3

Genealogy Studio | What is a museum?

Semester 4 Hudson Circle, Bangalore

The studio approached the understanding of genealogy through the question- What is a museum?

What is the role of a museum in representing culture and community?

The site lies in between what was the old city of Bangalore, and the cantonment which was later set up by the British after the annexation of the city. The Cubbon Park, and Chickpēte are located within a 300 metre radius.

The old city, with its market and organic growth has a very distinct identity compared to the more colonially planned cantonment.

The museum is to blur the threshold between the two areas - with a strategy to create an interface between them by reproducing the inner city streets and in its context, creating an interactive art and museum space.

This studio was the first to help grasp the process of designing a structure, as well as formulating programmes and intents.

Design Process

Site Location

7

Ground floor plan,

The design follows the language of a grid, creating social spaces in the form of courtyards, terraces and balconies. Alcoves, niches become smaller spaces of gatherings,

First floor plan,

Mezzanines , along with large volumes of spaces within, allows to host exhibitions of larger scales, house artefacts and other installations.

Second floor plan,

The higher floors give a sense of the varying size of buildings present within the older city, which rise above the balconies of those around it 8

A

A

Section through amphitheatre, restrooms and the old city

B’

B

Section through the larger, street facing museum block, sh

View from balcony

9

A’

A’

y house, showing the mezzanines and double-heighted spaces within

B

B’

howing narrow entrances to the inner courtyards, and steps toward balconies

View of the street and courtyard

10

Gradualities

4

Environmental Flows Semester 5 Jampore, Daman

The studio aims to address the environment as a set of interconnected networks.

How does architecture participate in these interconnections that alter, interrupt, break, prolong, hinder, stunt certain cycles that privilege or suppress life forms?

Jampore beach, Daman has a very distinct gradualness in its approach to the waters, with the Saru trees providing shade and instilling activities that extend up to the water, in contrast to

Diagrams of movement on site

the newer promenade that strictly limits certain activities for the locals and tourists alike.

Tides & Textures

The changing landscape due to tides provides uniqueness in the experience while approaching the water. The newer

High-tide

promenade, however, creates an abrupt change in materiality in the flow of texture and shade one experiences on the beach. How can we create a perforated intervention to blur the abruptness of change? What can be the potential in allowing a conducive environment for people to live and inhabit?

Inter-tide

The design explores a language which opens up the existing shacks by rearranging them along the walls within the shade of the trees, and allowing the approach to the beach to be unobstructed.

Low Tide

The curved spaces act as spaces of pause around the trees, and also provide a safer space for the activities of the existing school to spill out beyond its premises as well, while allowing for activities of play.

Partnered with Lohitha Rao

Change in intensity of shade

2008

Present

11

It is one of the last beaches here that still allows for hawkers and shacks on the beachfront, with the coastal road not built to its fulllength. The built promenade here is largely uninhabited during the day, while the unbuilt provides a very porous edge to the beach with the setup of shacks and the movement of hawkers under the Saru trees. The unbuilt is occupied by people hroughout the day, however, this dynamic will change as the road’s construction will eventually lead to the systematic removal of the ecosystem over here.

Conceptual Axos, Canteen spaces and shelter

Conceptual Axos, walls wrapping around trees, steps

Concepts of elevated walkways

12

Sections

13

A’

A”

B’

B”

C’

C”

D’

D”

Plan

14

Daily wage workers

5

Allied Design | Self and the Structure Semester 5 Borivali West, Mumbai

What is an organisational structure? What does it mean? How does it allow people to hold and design their form of life?

In the ‘informal’ professions we studied we observed how their everyday is structured, their connections within various circles, their method of working, and finally, the inefficiencies noticed in their method of working.

The idea of a narrative to provide context of the everyday for each practice was taken up, and along with it would be illustrations to provide a more visual understanding.

The narrative follows the routines of those needing workers, the routines of these daily wage workers along with their backgrounds, and methods of working.

Partnered with Keerat Kaur Gill

15

“You know what? I’ll just ask my dad, he’ll know where they sit ‘’ ‘’I think they’re usually at that gully near Krishna Sweets.

I’m not really sure though, it’s better to ask someone else”.

I’ve been needing a painter, not very urgent but it would be nice to have someone finishing the job. I asked my neighbours and some colleagues at work and they seem to have second thoughts about really knowing where they are.

“They usually sit near that big tree a little ahead from the junction where the skywalk starts”

I’m pretty sure I know where that is, but it’s better that I check the map to be sure. I got off at the junction and started walking down the street. I went past the big red banner Anish was talking about, and saw a decent crowd sitting by the shed under the Peepal tree. About 8 of them were gathered in a line and talking amongst themselves. With all of them being tightly involved in conversations, it almost felt like I was intruding on their own small corner.

“Bhaiya, painter kidhar milega?”

They were plumbers.

“Usse apna ghar banane me bahut saari thakleefe aayi”

Talking about some gossip from their village back in Bihar. They kindly directed me down the road. As I went a little ahead by about 50 metres, I looked to my right just as I came to the bus stop. Sure enough, I saw a small group of 5 gathered in a circle conversing amongst themselves.

“Aap painter ho?”

“Haan” We very briefly discussed what work was to be done, and what the problem was, with a quick 2 minute conversation they agreed.

“Hum shaam ke 6 baje ke baad kaam nahi karenge” The work timings vary with the group, and the work they do. I gave them my number, and told them what time I'd be home in the evening.

“Rakesh ko puch” They spoke amongst themselves as I left, probably discussing who's doing the job. They usually delegate tasks to each one in the group, generally on the location and duration of work.

16

There were a few food carts nearby where they sat. The vendors set up shop by 7AM as the workers usually have their breakfasts here in the mornings. I packed up a few samosas and pavs and headed back to the bus stop. As I walked past, a few young workers were gathering around their van heading to work, loading their carpentry tools and bags in the back while having a chit chat. A few others sat on the side waiting for other work. There are a few days in the month where they lose out and do not receive work. Overhearing their conversation, “Kal ka din badi mushkil se nikala, kal kaam nahi mila toh mera nuksan hogaya. Agar yaha kuch suvidhaye hoti taki pure din me kaam mil sake toh bohot accha hota humare liye. Agle mahine apne gaon jane ka soch raha hu, ek do mahino me aa jaunga.”

They usually go back to their hometowns for about 1 and a half to 2 months every year. The months in which they go back home generally varies from the region and community they’re in. Their groups are largely formed by bringing in family and hometown members who are looking for work in the city.

“Accha you found them there? I always thought they were near the jewellers junction” “Told you they would be near the station area” I told my neighbours and colleagues I got someone to do the work by going around in the morning, and thanked them.

17

The painter came as expected in the evening, bringing in a large bag, which contained every painting equipment needed- from tiny brushes, to plasters.

“Kidhar?”

Straight to the point, with no unnecessary conversations. I directed him to where and what the problem was, and he immediately got working. 15 minutes into his work, he called a co-worker asking for some fixings he didn't have.

“Me idhar kaam ke liye aaya hun, uske liye thoda saman leke aa” Not even 10 minutes later, he arrived with what was required, and the work resumed. The worker who brought in the materials seemed to be new in the profession, the more experienced worker gave him small directions for every other step.

“Chai bana sakte ho?”

About halfway through the work, I gave them some biscuits and tea.

“Aaj kal koi ek dusre ko janta hi nahi hai, kon kaha se aaya hai, kidhar rehta hai ..agar hum subhe jab kaam dhunde ke liye rukhte hai tabhi sab naye mazduro ko kaam sikha de toh accha hoga, humari dosti bhi badegi.”

They had their own chit chat during that time, unbothered by me. They finished the work by the evening, after which they cleaned up the material and waste. They pointed out what the problems were, and told me what I had to get changed and Wreplaced to prevent further issues.

“Kitna hua?”

“Aapko jitna lage, utna dedo. ” “Nahi, jitna har jagah lete ho, utna bata do” We discussed the cost of materials, and had a few back and forth about how much I needed to pay him. He demanded I pay for the transport he and his co-worker had taken to come home.

They usually get 1500 rupees on a good day of work, usually working in 2 or more places.

“Thik he, 1200 de do” We eventually settled on 1000, and they headed to their next place of work after promptly packing up their tools into the bag.

“Hum idhar aas-paas mein rehte hain, aur kuch kaam hoga toh, humko call karo” They gave me their contact as they left.

“Hey, do you know where I can find a plumber? I know they’re near the station somewhere, i was hoping you’d know better” A friend called me up, he needed some touching up in some parts of the house. However, I had the contact of a painter though, so I couldn't help him there.

“No, I'm not sure about plumbers, you can find some workers by the bus stop a little ahead from where the skywalk starts. You can ask them, they’ll know” A while later he came back to me, “Turns out they usually gather near that post office building on Mahant Road, there was a bit of asking around to do”

18

Disobedient Subjects

6

Electives Semester 5

What is ‘disobedience’? Is disobedience understood as a site of protests and revolutions? Where and why do they emerge? What is disobedient to society? Is it a subject of what is right or what is wrong, or a subject of taboo?

The discussion of ‘Disobedient Subjects’ started with mind mapping a concept or topic which we felt is disobedient, it could be either disobedient to society, a particular person, or oneself.

We then created a mind map on each of these topics and looked at disobedience through the lens of why, when and how.

Each individual mind map was then interlinked with common anchoring points of others’ mind map, to see how each individual idea of disobedience overlaps with one-another.

Taking my ‘disobedient’ practice of procrastination, I further asked- What is productivity? What is time? What is the need for time management?

Overall, the course helped us articulate & introspect our own biases. Words can be used as a powerful medium to change our perspectives and are a tool to make communities and individuals feel included or excluded.

The mind-map 19

20

Visible and Invisible Spaces

7

Building Making | Working Drawings Semester 6 Trombay, Mumbai

Due to the existing school’s incremental nature, various spaces in the school have opportunities in being used for various purposes thanks to its materiality and temporality.

Spaces with more defined intents and fewer affordances for multiple activities tend to be disused, and ends up being used as storage The incremental built-form has resulted in certain spaces being less visible, and as a result changed the way it has been used and maintained. The library being a recent addition, has covered up the washroom behind it, causing more pile up of trash and items for storage purely because the clutter is not visible to the eye. This has caused highly unhygienic spaces for the students to use.

How do niches, jaalis, columns, plinths and shade form segration of genders and also allows affordances of certain activities, while demarcating spaces for the same. What forms allow for gaze? A sense of security?

Conversations? Play? Loitering?

The incremental growth of builtform in the school has resulted in some spaces neglected due to newer structures being built, hiding those spaces behind it

21

Concepts

Concepts of plinths, and semi open spaces

Creating spaces of play, intimacy and conversation through the creation of semi-open spaces, plinths and modulations

Designing the plan using a grid, demarcating spaces based on purpose and programme

Physical models, experimenting with form and tensile materials

Sketched sections

22

Ground Floor Plan

Section

23

The school is used by the local community for larger events such as festivities or weddings, as it is one of the few spaces with a large open ground.

This provides an oppurtunity for a multi-purpose space which can hold classes, as well as events depending on the requirement, with collapsible, modular walls.

This multi-purpose space in the centre allows for larger gathering to happen around it, taking the typology of stage.

The school also provides niches for community spaces and washing in the gullies behind by having setbacks. This also allows for more light and ventilation to enter, while allowing for a backyard garden space for some indiviual classrooms.

As a classroom

The classrooms follow a typology which has multiple entrances, and keeping the corners open, so as to not provide the feeling of a compartmentalised space, something more open than enclosed.

As a wedding stage

8m

24

Working Drawings A

C

D

E

F

G

H

J

I

K

L

M

O

Q

P

1000 500 1000

3000

1500

2500

FINISHED DIMENSION

36615 36500

W

7000

1500

4000

3000

1385

3000

J1 325 325

D1 D1

CLASSROOM 7 7.77M X 6.77M

4

D1

975 1000

J4

KOTA STONE 300 mm x 300 mm

4000

D1 1893

1033

772

750

D3

3500

W2

1820

D3

913 845 845

11000

500

44730

2500

W1

1500

300

1920

450

CLASSROOM 10 5.00M X 4.77M KOTA STONE 300 mm x 300 mm

W1

150mm-450mm PACKING STONES

J2

P

303

UP

2250

D5

D1

3000

1078

4885

A

1613

ANTI SKID CERAMIC TILE 300 mm x 300 mm

1000

P

KOTA STONE 300 mm x 300 mm

R

J3

TH 2

UP

W2

730

1000 1500

D2

AADHAR OFFICE 4.77M X 4.77M

760

1000

900

D2

1200

3500

600

W1

RANDOM RUBBLE

850

963

1000

1200

W2

2000

918

6000

1500

D1

D1

5385

W2

FILLING IN WITH APPROVED MURRUM BROUGHT FROM OUTSIDE

673

1000

4770

J1

W1

W2

D5

4885

KOTA STONE 300 mm x 300 mm

D4

D1

15000

STAFF ROOM 2.77M X 5.27M

D1

KOTA STONE 300 mm x 300 mm

D1

TOILET FOR DIFFERENTLY ABLED

4.76M X 4.77M

2000

D1

CLASSROOM 1 5.77M X 6.76M

4

W2 750

UP

593

D1 CLASSROOM 9

KOTA STONE 300 mm x 300 mm

2770

675

1885

1385

5

15 MM THICK EXPOSED BRICK FIRST CLASS INTERNAL MASONRY WALL

44500

875

2990

508

1013

1500

4

D3

1500

2500

1078

8000

1615

PLINTH BEAM

1885

W1

3000

3

J2

750

D1 1793

2

W2

TOILET FOR DIFFERENTLY ABLED

3385

J3

J2

W2

5

1

4000

D1

2273

3000

7 6

D3

D4

3385

500

8

UP

A

J4

W2

10

D11000

OF CONCRETE M20/40 J2

W1

W2

D1

D1

KOTA STONE 300 mm x 300 mm

6

2

11

D1

CLASSROOM 2 7.77M X 3.27M

3

13 12

9

D1

3000

7

14

ANTI SKID CERAMIC TILE 300 mm x 300 mm

4288

918 5770

6000 44500

1500

44730

230D1 mm FIRST MULTI-USE SPACE 6.23M X 7.23M CLASS EXPOSED BRICK KOTA STONE 300 mm x 300 mm MASONRY WALL

W2

15

1000

J1

D1

D1

D1

J4

W2

D2

16

LIBRARY BLOCK 15.24 SQ. M. KOTA STONE 300 mm x 300 mm

W1

1500

8

1000

J2

3385

9

W2

913

900

945

1500 1000

1788

418

11 10

1788

KOTA STONE 300 mm x 300 mm

913

12

1000

13

W2

D2

925

1500 500 1500

14

ANTI SKID CERAMIC TILE 300 mm x 300 mm

W2` D1

613

STAFF MEETING ROOM 5.77M X 6.76M

W2

TOILET FOR DIFFERENTLY ABLED

J1

2500

15

D1

W2

TOILET FOR 750 DIFFERENTLY ABLED

350 530

6500

3500

1793

W2

4418

SR

2963

4308

1500

D1 J2

W1

2883

D2

S

A

1000

1200

D6

W2

1

2

ENTRY GATE

W2

FINISHED DIMENSION

36615

OVERALL CENTRELINE DIMENTION

36500

CENTRELINE DIMENSION

5875

2625

4500

4

6

7

5500

8000

5000

B

1000

E

CENTRELINE DIMENSION

W2

1200

1500

W2

D2 1000

FINISHED DIMENSION

W2

D2 1000

OVERALL CENTRELINE DIMENTION

OVERALL CENTRELINE DIMENTION

CENTRELINE DIMENSION

FINISHED DIMENSION

1

D2 1000 1200

1630 1000 1500

3500

3500

D2

ANTI SKID CERAMIC TILE D2 300 mm x 300 mm

4000

4380

W2

1

D1

CLASSROOM 3 6.27M X 8.25M KOTA STONE 300 mm x 300 mm

-

10

9

D1

D1

5385

-

8

CLASSROOM 8 7.77M X 6.77M

W1

D1

D1

6

KOTA STONE 300 mm x 300 mm

1943

1943

4000

D1

8000

KOTA STONE 300 mm x 300 mm

3

D1

W1

-

543

918

D1

J3

-

1500

385

18

-

1803

KOTA STONE 300 mm x 300 mm

W1

W1

1500

-

5000

CLASSROOM 4 7.77M X 6.77M

8000

5000

5500

1500 1500

1500

D1

CLASSROOM 6 23.69 SQ.M.

6250

CLASSROOM 5 23.69 SQ.M.

W1

1500

1000 1000

7000

6248

2000

1500

D1

D1

W1

2000

1885

J1

KOTA STONE 300 mm x 300 mm

W1

1500

7000

543

J3

1500

J5

418

19

16

-

-

7000

D1

22

17

X

1500

7000

1885

2000

V

4500

3000

OVERALL CENTRELINE DIMENTION

23

20

U

T

1500

1500

6385

875 1125

J5

21

S

6500

1500 500 1500

25

24

R

1500

CENTRELINE DIMENSION

3000

N

1385

Ground Floor Plan

B

8

1

4000

I

Section

GI SHEET ROOFING

230 mm FIRST CLASS EXPOSED BRICK MASONRY WALL

STEEL BEAMS ISMB 250 I SECTION

D1

2500

500

1425

OF 1M X 2M SHEETS WITH OVERLAP OF 150mm

KOTA STONE FLOO

GREEN MIRROR POLIS 300mm X 300mm OVER 20mm CM 1:6

R.C.C. SLAB

B

PLINTH PROTECTION

150MM

150mm RCC M20

RCC RAFT WALL 300mm THICKNESS

25

RANDOM RUBBLE 150mm-450mm PACKING STONES

FILLING IN WITH APPROVED MURRUM BROUGHT FROM OUTSIDE

Staircase Detail DETAIL 1

-

DETAIL 1

-

TIMBER HANDRAIL WITH GROOVES ON SIDE FOR GRIP

-

1200

METAL RAILS 15mm

16

18

19

22

23

METAL BARS 10mm DIAMETER

-

METAL BALUSTERS

175

13

WELDED DIRECTLY TO STAIRCASE BEAM

EQ

EQ

EQ

EQ

SANDWICHED METAL BALUSTERS 15mm THICKNESS

-

EQ

TIMBER HANDRAILS

EQ

STEEL STAIRCASE BEAM

EQ

100 I-SECTION 10mm THICK

EQ

DETAIL 2

STEEL COLUMN

EQ

METAL BALUSTERS 1200mm IN HEIGHT

-

100 I-SECTION 10mm THICK EQ

STEEL BEAMS ISMB 250 I SECTION

EQ

1204

DETAIL 3

STEEL COLUMN

500

W4

15mm THICK

300

R.C.C. SLAB

300

150MM

450 2250

300mm THICKNESS

600

TIMBER HANDRAILS 600

250 250

2

+350

250

3

+525

600mm RAFT SLAB

750

10

250

250

250

250

250

750

14

16

250

250

250

17

M20 SCREW TO HOLD GUSSET PLATE TO RCC PLINTH

16

11 12 13 14 15 250

DETAIL 3

+2800

9

+2625

8

+2450

7

+2275

+1750

6

+2100

+1400

+1575

5

+1925

+1225

11

+1050

750

METAL BASE PLATE 10mm

IN CONCRETE M20/30

+875

+700

4

A'

METAL BASE PLATE 10mm

300 mm PCC BED

+175 M20/30 1 IN CONCRETE

PLINTH PROTECTION 150mm RCC M20

RCC RAFT WALL

2250

ANTI - TERMITE PRECONSTRUCTION TREATMENT

TIMBER STEPS 20mm

4 GROOVES OF 7.5mm

WELDED METAL L-PIECE

DAMP-PROOFING LAYER 50mm

SCREEDING

GROOVES FOR GRIP

20mm THICK TEAKWOOD PANELS

935

1105

MID-LANDING

4 M10 SCREWS PER STEP

R.C.C. SLAB 5 PANEL TIMBER LOUVERED 150MM WINDOWS

MID-LANDING

450

GREEN MIRROR POLISHED 300mm X 300mm OVER 20mm MORTAR OF CM 1:6

SCREW TO HOLD TIMBER STEPS

GREEN MIRROR POLISHED 300mm X 300mm

450

J2

2550

KOTA STONE FLOORING

1115

1115

230mm EXPOSED BRICK JAALI

KOTA STONE FLOORING

175

500

D1 D1

280

250

SCREEDING 25mm

-

DETAIL 2

EQ

700

100 I-SECTION 10mm THICK

G.I. ROOF GUTTER

5mm, WITH 10mm BRACKETS

OF 1M X 2M SHEETS WITH OVERLAP OF 150mm

EQ

2800

GI SHEET ROOFING

EQ

1600

ANGLED PURLINS ISMC 100 WITH J - HOOK

250

750

19

20 GUSSET PLATE KOTA STONE 20mm

Q

K

S

SCREEDING 20mm

20mm THICK WITH 4 M20 BOLTS FOR HOLDING 100 I-SECTION STAIRCASE BEAM

RCC SLAB 150mm

X

U

250

1211

ANGLED PURLINS ISMC 100 WITH J - HOOK

2540

890

473

5000L SINTEX OVERHEAD WATER TANK

370

G.I. ROOF GUTTER 5mm, WITH 10mm BRACKETS

ORING

2810

2810

3700

W2

460

450

305

SHED m MORTAR OF

PLINTH BEAM

B'

OF CONCRETE M20/40

SCREEDING ANTI - TERMITE PRECONSTRUCTION TREATMENT

2686

DAMP-PROOFING LAYER 50mm

600mm RAFT SLAB 300 mm PCC BED IN CONCRETE M20/30

IN CONCRETE M20/30

26

-

External wall section with details

DETAIL 1 AT 1:10

100mm

60mm

NATURAL

40

LOUVER -

G.I. ROOF GUTTER 5mm, WITH 10mm BRACKETS

ANGLED PURLINS ISMC 100 WITH J - HOOK

MET

10m

METAL MESH

W1

DETAIL 1 AT 1:10

1mm DIAMETER WIRES 20mm X 20mm GRID

30mm WIDE SH GROOV

100mm RCC LINTEL

TRUSS MEMBERS

60mm PCC SILL

HOLLOW BOX SECTION ALL MEMBERS 100 x 100, 8 mm THICK G.I. ROOF GUTTER

TEAK LOUVERS O

NATURAL STONE LINTEL 40mm THICK

LOUVER - SHUTTER HINGE

I-SECTION BEAMS

5mm, WITH 10mm BRACKETS

OF ISMB 250 FOR SUPPORTING TRUSS SYSTEMS ANGLED PURLINS

ISMC 100 WITH J - HOOK

METAL PIVOTS

METAL ANGLE

WIND

10mm DIAMETER

10mm THICK FOR BEAM SUPPORT METAL MESH

W1

STONE COPING OVER CLASSROOM WALLS

1mm DIAMETER WIRES 20mm X 20mm GRID

40m

30mm WIDE SHUTTER PIECE WITH GROOVED HANDLE

HAVING DIMENSIONS 250 MM WIDE 100 MM TRUSS MEMBERS THICKNESS IN PIECES OF 600 MM

DETAIL 1

NATURA

TEAK LOUVERS OF 20mm THICKNESS

HOLLOW BOX SECTION LENGTH OVER A MORTAR BEDDING OF ALL MEMBERS CM 1:6 100 x 100, 8 mm THICK

I-SECTION BEAMS OF ISMB 250 FOR SUPPORTING TRUSS SYSTEMS

METAL ANGLE

WINDOW FRAME

10mm THICK FOR BEAM SUPPORT

DETAIL 2 AT 1:10

STONE COPING OVER 5 PANEL TIMBER LOUVERED CLASSROOM WALLS

W1

DETAIL 1

WINDOWS

HAVING DIMENSIONS 250 MM WIDE 100 MM 20mm THICK TEAKWOOD PANELS THICKNESS IN PIECES OF 600 MM LENGTH OVER A MORTAR BEDDING OF CM 1:6

NATURAL STONE SILL 40mm THICK

75mm THIC

WITH 10mm MOR

WACK

230 mm FIRST CLASS 5 PANEL TIMBER LOUVERED WINDOWS EXPOSED BRICK MASONRY

W1

DETAIL 2 AT 1:10

75mm THICK EXPOSED BRICK

WALL

20mm THICK TEAKWOOD PANELS

OF 2 MICR WATE

WITH 10mm MORTAR BEDDING OF CM 1:6

SKI

HEIGHT 115mm, MIRRO CUT 20MM THICK WACKER LAYER

DETAIL 2

DETAIL 2

GUSS

OF 2 MICRON THICK FOR WATERPROOFING

230 mm FIRST CLASS EXPOSED BRICK MASONRY SKIRTING WALL HEIGHT 115mm, MIRROR POLISHED AND MACHINE CUT 20MM THICK KOTA STONE

20mm THICK W FOR ISMB 250 I

SKIRTING

R.C

HEIGHT 115mm, MIRROR POLISHED AND MACHINE CUT 20MM THICK GREEN KOTA STONE

1

GUSSET PLATE 20mm THICK WITH 6 M10 BOLTS FOR ISMB 250 I-SECTION COLUMN

SKIRTING HEIGHT 115mm, MIRROR POLISHED AND MACHINE CUT 20MM THICK KOTA STONE

R.C.C. SLAB 150mm

GROUND LINE PLINTH BEAM GROUND LINE CONCRETE M20/40

PLINTH PROTECTION

PLINTH BEAM CONCRETE M20/40

150mm RCC M20

ANTI - TERMITE PRECONSTRUCTION TREATMENT

ANTI - TERMITE PRECONSTRUCTION TREATMENT

DETAIL 3 AT 1:10

DETAIL 3

DETAIL 3

EXCAVATION PIT LINE WITH 1200mm FROM RAFT WALL

DETAIL 3 AT 1:10

RCC RAFT WALL 300mm THICKNESS

EXCAVATION PIT LINE

WITH 1200mm FROM RAFT WALL

ANTI - TERMITE PRECONSTRUCTION TREATMENT

DAMP-PROOFING LAYER

600mm RAFT SLAB IN CONCRETE M20/30

600mm RAFT SLAB

600mm RAFT SLAB

PCC BED 150mm CONCRETE M20/40

IN CONCRETE M20/30

IN CONCRETE M20/30

RANDOM RUBBLE 150mm-450mm PACKING STONES

COMPACTED EARTH

PCC BED 150mm CONCRETE M20/40

RANDOM RUBBLE

PCC BED 150mm CONCRETE M20/40

150mm-450mm PACKING STONES RANDOM RUBBLE 150mm-450mm PACKING STONES

COMPACTED EARTH

COMPACTED EARTH

27

G.L.

LEGEND FRESH WATER PIPE

Toilet Plan

BLACK WATER PIPE

B'

GREY WATER PIPE

335

900

W2

900 600 GRANITE PARTITIONS FOR URINALS

1170 START

MALE TOILET ANTI SKID TILES

LARGE FLAT BACK WALL HUNG URINAL SIZE 610 X 400 X 380MM.

600

300 mm x 300 mm

500mm X 500mm VENT OF FROSTED GLASS, PANELS

VITREOUS WHITE CHINAWARE URINAL

W2

W2 A'

1170 START

1000

665

A

INDIAN MAKE WHITE GLAZED VITREOUS CHINAWARE WALL HUNG EUROPEAN WATER CLOSET CISTERN

W2 514 1470

3510

START

635

NAHANI TRAP

300

300

300

300

100mm

1210

900

900

900

500

435

FEMALE TOILET

W2

ANTI SKID TILES

230 mm FIRST CLASS BRICK MASONRY WALL

300 mm x 300 mm

TILE DADO OF CERAMIC TILES 15mm 200mm X 300mm

SCREEDING 25mm

125

720

405

720

970

WACKER LAYER

280

OF 2 MICRON THICK FOR WATERPROOFING

125

970

720

405

720

970

405

720

970

TILE DROP

970

OF 15mm

ISI MARKED MAKE WHITE GLAZED VITREOUS CHINAWARE ORISSA WATER CLOSET OF 600MM X 455MM WITH BOX RIM INLET WITH P TRAP START

500

START

500

625

W2

START

START

500

625

W2

500

625

W2

START

500

625

W2

500

500

W2

B

Toilet Section

PCC COPING OVER PARAPET WALLS HAVING DIMENSIONS 300 MM WIDE 50 MM THICKNESS OVER MORTAR BEDDING OF CM 1:6

RCC SILL 150mm

W2

500mm X 500mm VENT OF FROSTED GLASS, PANELS

W2

HINDUSTAN PILKINGTON MAKE MIRRORS, 6MM THICK WITH PLAIN 8MM THICK PLYWOOD BACKING, 4NOS CP BRASS SCREWS.

TILE DADO OF CERAMIC TILES 15mm 200mm X 300mm

GRANITE PARTITIONS FOR URINALS

SCREEDING 25mm VITREOUS WHITE CHINAWARE URINAL LARGE FLAT BACK WALL HUNG URINAL SIZE 610 X 400 X 380MM.

INDIAN MAKE WHITE GLAZED VITREOUS CHINAWARE WALL HUNG EUROPEAN WATER CLOSET CISTERN

ANTI SKID TILE FLOORING 15mm THICK OF 300mm X 300mm

50mm SCREEDING

A'

A

SCREEDING 30mm

WATER PROOFING 6mm

R.C.C. SLAB 150MM

W2

W2

W2

W2

W2 230 mm FIRST CLASS BRICK MASONRY WALL WACKER LAYER OF 2 MICRON THICK FOR

28

Claims of Water

8

Settlement Studies Semester 6 Kumbalangi, Kochi

How can we map the changing relationship between human and other-than-human relationships, in the context of ‘climate change’ in tropical monsoonal grounds?

How can we map a ‘settlement’ and its built forms as manifestations of changing relationships - monsoons, water, ground, canals, backwaters, vegetation, marine, humans, crops- and revise the notion of ‘built form’, ‘settlements’ and ‘climate change’?

The module took us to the edges of the city of Kochi, Kerala with its backwaters, coasts and fishing harbours.

The sites of Kumbalangi and Chellanam are along the confluence of the Arabian sea with the Vembanad lake and the terrain is majorly composed of brackish water.

The fabric of builtform in Kerala as a whole is interesting as there are few cues to differentiate what is truly ‘Urban’ and ‘Rural’.

The site is a thin strip of land built up by various bund segregating ponds and other smaller water bodies, all being surrounded by the large, vast backwaters.

Groupwork with Anika Pugalia, Chetasvi Patel, Gauri Shinde and Hrishikesh Chhaparwal

The Derive explains the various anchoring points in orienting our site, and the observations of various elements we made along the way.

29

DAILY Hours

0

1

2

4

3

5

6

7

8

9

10

11

12

13

14

15

16

17

18

20

21

The crabs are fed small fishes caught while fishing prawns.They are fed once every 2 days.

The Assamese fishermen and fishermen working on the Chinese fishing nets do their individual fishing during the day.

The Chinese fishing nets are used mainly during the night.

The fishermen start preparing the nets by 6pm. It works on a half-an- hour cycle where the fishing nets are lifted after being dipped in the water for half-an-hour from 8pm to 4am.

19

22

23

24

CLOSED BACKWATER

A light at the surface is used to lure prawns.

PRAWNS & CRABS

Before markets open, the shopkeeper visit these fishermen and a bidding takes place.

The other way is to clean the fishes and export. The prices drop & hike according to the quality and health of the fish.

FISH

MARKET

FISH

FISH

Karimeen in the barrel nets are fed soya bean granules 2 times a day.

Karimeen is caught is very small quantities while using the Chinese fishing nets.

KARIMEEN

During high tide the water slowly overflows into the backwaters. The net is attached to the bridge over the inlet/outlet to catch fish using the flow of water.

Small quantity of fishes is caught during high tide.

During low tide, the water rapidly flows back to the river. The net is attached to the bridge over the inlet/outlet to catch fish using the flow of water. Large quantity of fishes is caught during low tide.

TIDES

SEASONAL Months

1

2

4

3

5

7

6

8

SUMMER

WINTER

9

11

10

MONSOON During the monsoon season some fishermen work as taxi drivers while some work on the paddy fields.

Water is drained from the closed backwaters to prepare for the pokhali rice fields.

12 WINTER The fields are filled again to prepare for the prawn season and prawn stockings are added.

PRAWNS & POKHALI RICE

Fishing is done extensively during from November to April.

The Rhythm shows the routine and close relationship between the water bodies, their entities as well as the landscape and its influence on the people who rely on them with their multiple interdependencies

During the monsoons, the backwaters are not left untouched for the fishes to breed.

KARIMEEN

The land does not belong to anyone between June to December. It is open for anyone to fish.

From April 14th to 30th the waters are opened to everyone to fish by showing permissions given by the Padshekharam.

Fishing on water that is sub leased.

LAND DISTRIBUTION

DAILY Hours

0

1

2

4

3

5

6

7

8

9

10

The Chinese fishing nets are used mainly during the night.

The fishermen start preparing the nets by 6pm. It works on a half-an- hour cycle where the fishing nets are lifted after being dipped in the water for half-an-hour from 8pm to 4am.

11

12

13

14

15

16

17

18

19

20

21

The crabs are fed small fishes caught while fishing prawns.They are fed once every 2 days.

The Assamese fishermen and fishermen working on the Chinese fishing nets do their individual fishing during the day.

22

23

24

OPEN BACKWATER

A light at the surface is used to lure prawns.

PRAWNS & CRABS

The fishes caught are then sorted and then sent to the local market.

A bidding takes place in the local market where the fishes are sold to the highest bidder.

Karimeen are lured by soya bean granules into the setup. The setup consists of concentric squares with bamboos at intervals to attach the net. Once a good quantity of fish enter the outer square, the nets are lowered to the water bed to trap them inside the setup. The net is then constricted to the inner square to create a high fish density area. They then catch fish using nets from the high density zone.

MARKET

A barrel net structure is used to keep the bigger karimeens. It has a metal structure attched to barrel with nets on the metal rods, segregating the fishes into cages.

Karimeen in the barrel nets are fed soya bean granules 3 times a day.

KARIMEEN

Men from Assam migrate to Kochi and work on the chinese fishing nets in the night and do individual fishing during the day.

During high tide the water slowly overflows into the backwaters. A net is attached to the bridge over the inlet/outlet to catch fish using the flow of water. Small quantity of fishes is caught during low tide.

During low tide, the water rapidly flows back to the river. The net attached to the bridge over the inlet/outlet is flipped to the other side to catch fish using the flow of water. Large quantity of fishes is caught during low tide.

TIDES

SEASONAL Months

1

2

3

4

5

6

7

8

SUMMER

WINTER

9 MONSOON

The fishing activities are minimum. The backwater is left for the fishes to mature and breed.

10

11

12 WINTER

The fishing season starts in November and continues till April.

FISHING

FESTIVALS

On the occassion of Easter, the fishing activity increases.

On the occassion of Onam, the fishing activity increases.

On the occassion of Christmas, the fishing activity increases.

30

31

The Spatial affordance documents the built-form and its relationship with the water, and its changing patterns with its immediate environment

The built form of the site has been changing over the years in a constant effort to withstand evolving environmental conditions; this change and development of the built form are quite evident in the settlements. It is not only the environmental aspect that changes the characteristics of local built form, but also the economics of each settlement and its dependencies on its fishing industries.

The module gave a great perspective on the seemingly unrelated factors on livelihood, produce, economy, culture and community- and allowed us to move a step deeper into sensitising ourselves with climatic conditions, with its ever changing patterns, along with which we evolve our practices, routines and built environments.

32

Haji Ali Park & Market

9

Specialisation | Landscape Design Semester 7 Haji Ali, Mumbai

Mumbai’s new coastal road has resulted in the reclamation of about 274 acres of land, where new transport hubs, parks and other public infrastructure is planned to be built. This project has provided an opportunity to rethink the urban landscape while being more sensitive to the environment around us as the massive infrastructure created by the coastal road project is highly desensitised to its immediate surroundings.

The Haji Ali Dargah, along with its market has seen a stark change with construction of the interchange.

The reclaimed land provides an opportunity where the market can be revitalised, along with the creation of public parks and other infrastructure while incorporating smaller nuances to allow for a more sustainable ecosystem that has been affected by the coastal road.

The project is 9.2 acres, or 400.000 sq. ft. in area and incorporates spaces for the market, a transit hub, viewing decks and revitalising a stormwater drain to sustain its immediate ecosystem.

The market takes a radial form around the central event space where cultural activities may spill out beyond the dargah, while the park has meandering spaces with spaces for seating scattered around.

Landscape projects like these helped familiarise myself with dealing with larger scales, and understand the nuances in designing such projects.

Master Plan

33

34

35

Transit Hub

Multi-level Deck

Gazebos Naala and Reedbeds

Market

36

Miscellaneous Model Making

Rhino Tactical Interventions and Light Structures - Street Design

37

Sketchup Repair and R

Retrofit - Housing

Laser-cut Models Visible and Invisible spaces, Building Details

38

The face of the city varies with every passing moment, the busy junction by day, becomes a haven for the chai-walas on their cycles at night, selling cigarettes That railway overbridge, by the market, is home to about 4 families, who eat, sleep and bathe there. crazy right?

Some complain about the conditions in the city, some wonder what the solutions are, some wonder why it is so, and some perhaps, wonder if there’s an issue at all?

Architecture shapes all lives and form