Undergraduate Architectural Portfolio - Anusha Dhawan

october 2018 pollen Indian ink on watercolor paper

selected Anusha

works

Dhawan

ABOUT ME

TIMELINE

D.O.B. - 24.07.1994 Hometown - Sonipat, Haryana +(91)8980065327 dhawananusha.24@gmail.com

A highly active and bright eyed kid in school, I could be frequently found practicing or prepping for another competition, cultural event and largely all forms of co -curricular activities. I was appointed as house vice-captain during higher secondary and later as School President during my Senior Secondary years at school. I was also awarded with the Annual Best Girl award in seventh grade.

EDUCATION

August 2012 - moved to Vadodara to pursue Bachelors of Architecture

B. Architecture Dept. of Architecture The Maharaja Sayajirao University of Baroda (2018)

hroughout the years at the college participated in multiple T N.A.S.A trophies (listed under) & competitions, Design & Theatre Workshop and choreographed various dance performances for College Cultural Events

ANUSHA DHAWAN

Matriculation & Higher Secondary Holy Child Sr. Sec. School Sonipat, Haryana (2010 & 2012)

An architectural graduate from the city of Vadodara in Gujarat, a tenacious seeker of many things, inquisitive about art and architecture round the clock and gradually transforming into a bibliophile

SKILLS Hand drawing and hand painting mediums : water color, acrylic, ink, pencil and mix media Writing communicative and content based

I.S.O.L.A. Trophy 2016 - National N.A.S.A . Shortlisted in top 18 - Concept, Design Development and team coordination - in a group of 7-10

Panel Discussion 2017 - Zonal N.A.S.A. Static and Dynamic - Shortlisted in top 12 Concept, Reserch team Coordination, Graphics and content lead a group of 4 A.N.D.C. - 2017 - National N.A.S.A. Shortlisted in top 50 Graphics Design and Concept development - in a group of 4

Research & Documentation self motivated to seek, read, analyze understand and skim through research and study material and live projects to produce well written reports and documents

Sketching Competition - Won the IA&B Magazine’s ‘Power of Hand’ Competition, published in the Magazine’s October 2015 Issue

Compositional Skills (Graphical) with a basic understanding of format making

Architectural Internships Vijay Gupta Architects - New Delhi (2 months, Summer 2015) Harsh Vardhan Jain Architects - Gurgaon (6 months, May to November 2016)

Software Skills Expert Adobe Photoshop, Autodesk Autocad, Google Sketchup, Rhinoceros Intermediate V ray, Adobe Indesign Illustrator

Beginner Grasshopper, Lumion, Autodesk Revit Problem Solving Teamwork Self management Resilience Strong interpersonal & Social Skills

2015 Certified as I.G.B.C. Associate Professional

https://www.archdaily.com/894769/the-house-between-a-well-anda-light-tower-harsh-vardhan-jain-architects https://www.archdaily.com/901163/terrace-folly-2-harsh-vardhanjain-architects

Inktober (October, 2017) - A series of Ink Drawings and Sketches - instinctive and prompted - later exhibited at Reflection 2018 - Annual College Event September 2018 - Assisted in Forum 22 organized at Banyan Fig Architects - ‘Emotional Impact of Architecture’ Inktober (October 2018) - A series of Ink Drawings social content & context October 2018 - Assisted in research and preparation for a Guest Lecture on ‘Space and Light’ at TDV, Noida competitions

certifications

publications

CONTENTS

K.A.R.T.A.

Undergrad thesis

Mohammad talao

Architecture in an urban context - design studio viii

Balwadi

Design Studio ii

Vishwamitri Project Office Design Studio iii

Bhookhi Nullah

Annual N.A.S.A. Design Competition

Static and Dynamic Panel Discussion

The language of (my) being Personal Work

Internship Work

Harsh Vardhan Jain Architects - Delhi

| PROLOGUE| “If a man is called to be a street sweeper, he should sweep streets even as a Michelangelo painted, or Beethoven composed music or Shakespeare wrote poetry. He should sweep streets so well that all the hosts of heaven and earth will pause to say, ‘Here lived a great street sweeper who did his job well.”

- Martin Luther King

| K.A.R.T.A. |

Karigar Anusthapan Rozgaar and Training Academy Primary Guide: Dr. Shishir R. Raval Secondary Guide: Dr. S.Brintha Lakshmi

The thesis aspires to reclaim the lives of workers and regenerate the dignity of labour and re associate the idea of karigari with the Construction Craftsmen and the Construction Industry. The proposal is for a state of the art school with skill training to serve the critical market requirement of skilled workers and as a support system to set new benchmarks and redefine practices related to construction work, occupational health and Safety, living standards and to inculcate synergies among the government, patrons, material suppliers, developers and institutions (like CREDAI, L&T, SEWA, ITIs etc.) and the workers.

the motivation Out of the total number of people employed by the construction Industry around 75% are workers, In most of the cases to be a construction worker is a compulsion & not a choice. Yet, every building made – all construction accomplished - all architecture in 1:1 scale happens through the undervalued contribution of these workers.

What we often fail to realize is that

“All buildings are workplaces before they ever become apartments, art museums, shopping centres, concert halls or sport stadiums”

These workplaces are not safe, don’t have an acceptable work culture many a times, don’t demonstrate examples of equality or equity and aren’t obviously any good to work in. The family gets into the sector together, living in homes potla (tents in the night and wrapped up during the day), chawls/slums, on site labour colonies of marginalized conditions, with which is born the “umbilical cord of labour”, a lineage of slave labourers.

|gestalt+initial studies|

the labour chowks

a labour naka in Abhilasha Chowk, Vadodara

As architects we design for different communities but this community is the one that we interact with on an everyday basis, and it is pitiable that these vishwakarmas or kartas or labourers are living- learning-working in questionable conditions, this thesis more visibly tries to address the issue related to their learning & working conditions and also tries to inculcate new morals for their living conditions.

The labour chowks or nakas played an important role in understanding the social dimension of their work culture which might be lost if these were to be institutionalized, would the nakas then become defunct? the learning classrooms as of now were the new sites and these chowks apart from points of socializing and panchayat, were also like recruitment centres and work profile connections for these people.

Another important derivative from the chowks were ideas for such spaces in the design to induce dialogue and conversation in the institution that could be proposed.

Space quality understanding and takeaways from chowks K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

Focus Areas

कारीगर

- Craftsmen Because the skill of building needs to be understood as an Art and Science, where we stop taking for granted a person’s skill to build things of mere imagination

अनुथापन - Orientation

For us and for them, orientation lies in understanding relativity and interdependence of us humans on each other

रोजगार - Employment

A recruitment locus, registering and maintaining records of workers, skill-pages (like yellow pages) acting as an institute for outreach.

टेिनंग - Training Up-skilling and craftsmanship and the ambiance of learning अकादमी - Academy As a society or artists that can maintain, promote and thrive on the renewed standards of practices Mela/Expo - Poonam

Theatre - sangmanch

Tool Bank

Community Kitchen - Dhaba

a periodical exhibition and market to maintain interaction and exchange and to sell products made during workshops.

Convocation Space for cultural celebrations inducing togetherness & lifelike environment into the campus.

To facilitate self employment of workers and supply them with machines and tools on lease basis.

To induce and promote togetherness inculcate an environment of charcha (discussion) over tea and food.

Housing - Rehnaak

Activity /Play Area

Training - Dialogue based

Training - Hands On

on site residential facility for the trainees and their family, a place to go back to after training

For kids of workers that can also function as a creche where these kids can be left, while their parents are in workshops.

discourses of functional literacy, understanding drawing reading and application, technical knowhow of paper and digital medium`

Learning by doing thus enabling the karta’s to learn new skills or to upskill themselves with newer Techniques.

|program|

Why Vadodara?

Taking up a tier II and an emerging Indian city like Vadodara wood enable me to look and address the issue for multiple number of cities, a model for cities that are going to become concentrations of infrastructural developments in the coming years then becomes the task. The site is chosen to fill the gap as per the existing ITI’s and vocational training centres in a part of Vadodara that is easily accessible to just from the city but also from the highway without actually having to enter the city. In order to avoid becoming an isolated program of good faith & vision the chosen location talks of being a part of the much urbanizing and enormous city life and be a trigger

Construction Industry’s Vadodara domain Labour Naka Chowks or Crossroads where construction workers come early morning (7:00 a.m. to 11:00 a.m.) to get a job for the day from the contractors of common people looking for task-workers and return to their homes if they do not find work. Vadodara has 12 such Labour Nakas namely Hari Nagar, Chhani Jakat Naka, Gorwa-Darshanam, Sangam char rasta, Abhilasha Chowkdi, Vrundavan, Ajwa Crossing, Nyay Mandir, Manisha Chowkdi, Manjalpur, Jupiter Crossing, Bapod.

CREDAI Office L&T Vadodara Organizations like CREDAI & L&T can become providers as partner institutions to this centre and help the program thrive.

BUILDERS/CONTRACTORS Material Suppliers People to and for support. It is a synergistic interdependence between both parties and can help make such a program robust.

Existing ITI’s Educational Institutions (related to construction) In order to gather together, exchange & grow.

|mapping the industry|

K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

|site studies|

Recording Gestalt

The site’s past

The proposed site was a scrub land in contrast to the neighbouring plots that had noticeable green cover, activities as observed were drawn that revealed features of the land and past landuse

A deeper inspection revealed that this site was a panjra pole too, before the highway, and change of agricultural pattern. Cattle was still brought to the site as nearby plots were used for grazing

Tree Cover Green : Existing Red : Destroyed

Road Network roads on the site : Primary, Secondary and tertiary

Seasonal water network blue : existing ; red: destroyed/absent

the site under consideration had all three levels of roads a national highway, a proposed state highway, a link road.

Revealed in concoction with the green cover mapping the destruction of an exiting water network in the past 7 years.

To the North of the proposed site is the Air force Campus, with a green buffer of varying width in between and also a state highway (proposed), cutting through between the two.

The western edge is marked by the National highway 48, an important route in the DMIC. on the other side of the Highway is Vadodara Municipal Corporation’s existing panjra pole - the Gujarati word for an animal care centre.

Towards

the South is the APMC -Agricultural Produce Market Committee , including their administrative buildings and a vegetable wholesale mandi.

The orange zone

marked shows areas that will experience high noise due to traffic and activity on the roads.

The blue zone shows areas that might experience collecting or flowing water seasonally, owing to the larger water connections it has to the city’s watershed

In the name of development

The two satellite images on the right show absence of a water body earlier present on the site. The story that the site showed informed a great deal about the way an intervention could be made.

K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

The structures drawn in pencil are temporal learning vines that grow and keep changing like the activity on a construction site/ all activity woven around the frames as the loci

Reclamation of the 1) Dignity of Construction Workers 2) the natural system of the site 3) the Construction & Demolition Waste

the frames of learning, exchange & activity The workshops were first conceived as a series of frames, when viewed from the catchment area, these frames become the canvases where the learning/teaching/exchange happens and gives the viewer a collage of various works being taught/practiced

places of exchange building as an exhibition

building environments of inter action

|process|

elevation of a typical ‘gali’

Childcare and inter generational spaces

Permanent slab structures for K.A.R.T.A / with slab component for on site housing needs Removable wall panels made out of construction and demolition waste

fully occupied plan

proposal 2: one built wall elevation

partially occupied plan

proposal 1 : Residential unit clusters: flexible and expandable

K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

Plan at 900mm

Plan at 3500 mm

Roof plan

|workshops|

Masonry department

fabrication department

Plan at 900mm

Plan at 3500 mm

|mapping the industry|

Roof plan K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

the four zones

recognizing the presence of the dried up water catchment, the axis and the drivers come from this pattern

the catchment - of ideas, people and water

underdstanding building and expansion parameters of the institute/ guarding the pond

the design development through iterations of spaces, scales and transitions

the mandala / a binding

increasing the cohesion of the blue and the green and building in the seams

the green blue arms and the embrace created taking in various parts of the institute

the blue green arms

|layout process|

SITE LAYOUT 1. Entrance aangan ‘plaza’ 2. Parking 3. Open exhibition courts 4. Administration & office 5. Mela pavillion 6. Retail areas 7. Dhaba/community cafe 8. Amphitheatre 9. Orchard/ community kitchen garden 10. Rehnaak / housing 11. Wadi - activity area for kids & elderly 12. Common wash & toilets 13. Fabrication department 14. Masonary department 15. High Intensity Construction Zone 16. Salvage yard 17. Tool bank

K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

equipment store

fruits and vegetables wadi

|sections and elevations|

workshops and learning activities high intensity construction zone

workshops and learning activities high intensity construction zone

transition f rom work to housing

amphitheater

housing and community zo

dhaba

elevation aa

one for kartas

mela & recreation zone

elevation bb

mela

administratio n with library

cc

dd

section cc

section dd K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

Process models The idea to make frame structures in different materials like concrete and steel , these become like canvases or practice frames for the art and learning and also become exhibition spaces - that show the learning process

|models|

departments model These frames were later integrated and thought as the structure of the departments itself/ and extended version of the structure become practice frames

K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

Creating intergenerational spaces conducive to industry - workmen dialogue, and incorporating attitude of flexibility and ‘jugaad’ has acted as compelling image information in defining material language of the design.

The design is an attempt to find an amalgam of a robust learning and work environment & a reflection of the tribal-traditional living.   The process generated belief-learning and learners both canhappen anywhere, but I believe architecture can inspire, catalyze and be a conductor to the art of creation by exemplifying art through construction and experimentation.

The site or every parcel of land comes with its own set of information as history/memories of either a time or people or any events.

This information becomes the design driver depending upon how direct or indirect a relation it bears to the proposed project.

I also reckon that architecture of such a place of learning needs to accommodate and present canvases and flexible work platforms to maintain a influx of ideas. These missing parts, the intentionally undersigned or other half spaces can experience creation, for every construction starts with destruction.

|conclusion|

K.A.R.T.A. Karigar Anusthapan Rozgaar and Training Academy

| Mohammad Talao|

Re-energizing waterscapes : architecture in an Urban Context

RELATIONAL DESIGN one that does not stand in isolation to the site, the (urban) setting at all stages the program What & Why site selection

Where & Why concept and design How & Why

T he whys here are derivatives of what the site/ neighborhood/city tells

Evolution on the lines of Water These maps that trace the evolution of the city of Vadodara, from th phase when it was a fortified city show how the first foundation and even the expansions were either in parallel to the existing talabs or to include them in the city area.

The interconnections of these ponds evident from the older maps are evident of how the morphology of the city at that time was derived through these water bodies and how important was the role of ‘water’ in the city’s character

|evolution of the old city|

older construction with traditional pol and other houses made in wood and stone generally with public chowks, as an important community feature

the talab/pond is located on the fringe of the old and the new

3

4

5

2 1

1. Existing Talab/Talao/ Pond 2. Existing atithi gruh/ Guest House 3.Shastri bagh 4. Existing Burial Ground(small) 6. Rajiv Awaas Yojana Housing 6. Existing Burial Ground

6

km

inference

the area lying partly in the old city has largely, residential and public buildings, with a composition of varying grain size of buildings. a dense, organic and minute grain size on the western(old city) section of the study area and more regularized and bigger footprints as we move towards the east to newer developments.

|mapping|

land use plan

residential residential+retail religious public institutional cmmercial slums Mohammad Talao/Mahadev Talao - architecture in an urban context

building heights

rainwater flow + Olfactory experience

the Rajiv Awaas Yojana housing - G+4, convenient to get more people stuffed onto a smaller footprint but cutting off the newer developments from the natural featue - the pond

a big traffic island existed near the pond and one of the busiest nodes of the setting, and turned into a scrub land where cattle would rest and stay The parts of the open drain as remains of the man made yet ecologically respectful water connection that prevailed

The sewage odor and the open rainwater drains and channels helped understand the older water connections that existed between the ponds and water bodies of the once fortified city the older houses, in the denser zone with uncommon and increased building heights to accomodate for expansions and new requirements

inference

the setting is composed of a uniformly high buildings but the dynamic experience of the volumetric is experienced when the character of the streets changes with road widths, and also how each of these vertical volumes - streets and galis - open up into small sqaures/chowks and to more larger horizontal views around the talab/pond

|mapping|

km

Ground Floor Building G+1 - G+2 Building G+3-G+5 Building

the odour and garbage around the pond revealed how the edges of the pond that were left to people made the pond and the area around into a wasteland and the one edge which had a buffer zone(a park) from human activity was comparatively cleaner and in its natural state

inference

How the pond catches the diverted water from all areas around it, except where it has been obstructed due to developmental activities but water still finds its way home The mapping of the olfactory experience helped decipher the problem areas related to cleanliness and also the unavailability of toilets or garbage disposal.

km

low flow rate medium flow rate high flow rate garbage sewage cattle ammonia

circulation & noise mapping the movement towards east being highest during day time and more during weekend because of the main bazaar of the city

high noise in the rajiv awaas yojana quarters because of high density of people and a lot of noise producing make do mechanical jobs happening in the open spaces

cultural nodes the debate over the name of the pond Mohammad/mahadev gives a stronger idea of the multi-religious fabric of the area

high noise levels around the narrower roads because of vehicular movement and the use of street as a space for play and other activities creating incoherent functional overlaps many public s p a c e s created and self formed around the talab

the north south Gade I road connecting to the pond cente and as the threshold of the old and the relatively newer city

largely cultural activities located around street corners km

two edges of the talab experienced heavy traffic during most part of the day, with two very important traffic and pedestrian junctions. The larger movement is from East to West on Grade I and Grade II roads, moving to and fro between the old city core(East) and the newer parts(on the West)

inference

the high noise zones in built areas were largely result of density of people and vehicles and some functionally uncomplimentary activities happening along roads. On the opposite was the area around the talab where even with large no. of vehicles and hawkers noise levels were tolerable and a part of the serene experiential quality

pedestrian concentration Chaotic Nodes Grade I - heaviest traffic Grade II - heavy traffic Grade III - light traffic Grade IV - sparse traffic

recreational gathering spots religious spots (temples +mosques) community functions & gathering spaces (wadi, burial ground etc.)

anganwadi

km

recreational peak temple visiing activities

inference

The existing cultural and public activity nodes, and the durations of a day they are used for convey a possibility of complimentary (time based) clubbing of functions. Could these help reduce building footprints and make more relevance in neighbourhood level designs

Mohammad Talao/Mahadev Talao - architecture in an urban context

use and abuse of the pond

ignored/unrealized value of the pond

isometric view of the seting

the street space as a legacy

where the street character still pevails

cultural sensitivity & strong nodality

the threshold of the pond & the Premanand hall

elevation of the north south street facing the talab/pond

constructed temple building : new building 100 years old residence a novel residency : mounts over tiny retail shops that very recent row houses a proud maratha house recently function enough to with modern facades for : the bold statement red extensions : harsh contrast in old location : shrines of different : stands nobly in all its the humble make do clusters character and workmanship dieties stacked one atop another crumbling antiquated glory run the houes above new people to leave no doubts

|character of the setting|

southern edge of the pond a1 a2 a3 a perforated street elevation / with different niches or axis for public connection

a1. houses-30/40 years old with few exceptions (one on the east extreme) a2. Retaining wall with punctures, not present along all he edges a3. the pond with a more manicured but not maintained edge

temple veiled beneath huge neem and other old trees

western edge of the pond b1

b2

b3 only open edge left fro where public can access this side of teh pond

old water outlet structure / connection with other ponds

b1. Rajiv Awaas Yojana Housing - Slum Redevelopment - G+ 4 with all work happening n ground b2. slums embedded around the remaining pond edge b3. the pond and it’s steep but not deep organic edge

temple in sthe slums around the pond natural vegetation around the pond

street section near shastri bagh

street view around dhundiraj temple

the streets in the setting of Mohammad talab were both narrow and tall, the deeper one would go into the older city and more wider and framed by trees as one moved to one of the edges of the pond Mohammad Talao/Mahadev Talao - architecture in an urban context

|program|

the public sqaure around the old water route |coherence+relevance|waterwalks|gates of continuum| gathering water. people.memories.|invention/memory intervention|transparence/transfabric| designing the island park in conversations with water and stepwells

the place is designed like a walk in the old city, taking an old friend to niches and places of greetings, pause and contemplation - both private and of the neighbour’s.

The building derives its language from the stepwell, like the deepest part of the form where water collects and is stored, is envisioned as the place where people gather for the urban water care & rejuvenation programs and other community activities.

transition through layers of memory / gateways inspired from old water bridges - people passing through them like water continues it’s journey through them

inverted stepwell- water &heritage

|concept|

Mohammad Talao/Mahadev Talao - architecture in an urban context

|layout|

|sections and layers|

Mohammad Talao/Mahadev Talao - architecture in an urban context

Water awareness program

RETAIL FRINGES

Experiential Learning

of the site adjoining the primary level road - like the existing character of the city market

Artists’ residency Human Compostig Space allocated for vegetable vendors : daytime food laaris : evening & night

Community Park

utilizing a small part of the island for open space design - to make it interesting for different age group

|design overview|

Temporary structures can be taken down to get the large marked area as space for water/heritage festivals

smaller more relatable urban rooms to enter the building andd these axially leadin to the larger public space - the three sided courtyard from which all the rainwater runoff flows into the talao

the otla to make the place a part and parcel of the everyday life of the neighbourhood. one length of otla is on the threshold facing the old and new city and the other one is near the artists’ work area to promote interaction

Area around the existing kaans designed as a public square where informal setups can thrive

Potential forest that will be generated from the human composting - the act of burial tranforms this site gradually into a forest Plant Nursery to be maintained through participation from the neighbourhood Probable compost loaclities

location for pits in nearby

Mohammad Talao/Mahadev Talao - architecture in an urban context

| Balwadi | A village play school - first year design studio

An aangan for the people of the village and a very open plan to facilitate its use as a school during the day and as a village common during the non school hours.

|design overview|

Balwadi - a village play school

| Vishwamitri Project Office| A river rejuvenation centre for Vishwamitri River Vadodara

| amalgamation | the way a river holds onto streams and nallahs binding in itself the water and new identities similarly this “more� of the program also calls for people of all rungs of the watershed to come and collaborate. |the have-nots| the skeletal metal wire arm |the well-offs| seemingly bountiful blue arm

Study model made to understand + reflect on the language of the river and its channels.

| The amalgam | In the program the implications from this study and the sculpture that emerged was invented through bringing rag pickers into a more organized role in waste collection and segregation anvvvd bringing the people of the city with their waste to this waste collection and river rejuvenation centre.

|concept sculpture|

They have been throwing all this garbage for years (un) intentionally into the river for years , now they can get it to the segregation centre.

Vishwamitri Project Office

-Very initial idea of deriving form from the step-well and traditional bhungas of Kutch (turned out as a very rigid approach)

existing heritage building cafe exhibition gallery waste collection office semi-covered meeting area cells for environmentalists public toilets existing step-well

-In an attempt to create a dynamic zone on the river facing edge of the site - more open spaces thus created on the river edge inviting more public interference weren’t desirable

Worked with zones, trying to create a story along the circulation

making interventions. ‘the nest�- a perching spot for the stakeholders, the environmental caretakers, the borrowers and the givers

|design overview|

1. office 2. Cafe 3. meeting rooms 4. public toilets 5. cells 6. proposed stormwater drain 7. deck

site plan

Vishwamitri Project Office

| ANDC| BHookhi nullah

Role Conceptualizing the overall concept of presentation and illustrations, final layout of the illustrations and the shown ‘collage of different ages’ Shortlisted in Top 50 entries

| Panel Discussion| Static & dynamic

Role Guiding the study of examples used, ideation for the presentation and graphics and drawing conceptual parallels in a team of 5 Shortlised in top 12 entries

|The language of being| personal work

|clouds| Indian Ink on Watercolor paper

रेती के एक ढेर पे खिलौनों के फेर में विरासत में मिला था मुझे तसला मैंने कोई सवाल नहीं किया हाँ! मैंने सवाल नहीं किया सबको देख ईंटों को उसमें भर लिया और विरासत को सर उठाकर चल दिया चलता रहा बढ़ता रहा रद्दे पे रद्दा चढ़ता रहा मेरे जीवन के हर कोनें में गारे का धब्बा पड़ता गया दीवारें उठती गयी चाहतें छुपती रही विरासत जीती रही मैं मरता रहा

|the umbilical cord of labour| Indian Ink on Watercolor paper

|Feeding poison| Indian Ink on Watercolor paper

|Everyday silence| Indian Ink on Watercolor paper

|Feeding poison| Indian Ink on Watercolor paper

|Instigated incisions| Indian Ink on Watercolor paper

|Internship work| Harsh Vardhan Jain Architects, New Delhi (Courtesy : Harsh Vardhan Jain Architects and Niveditaa Gupta for photographs)

The house between a well and a light tower Renovating a 1970’s generational home, to accommodate client’s current requirement of a Lawyer’s Office and a Dentist’s clinic.

P-90, South Ex -II, New Delhi

A residential project - renovation and terrace extension

ELEVATOR

ELEVATOR

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

   

  



room index - ground floor room no. room name 101 lobby powder room 102 103 kitchen drawing room 104 105 bedoom - I

room sizes (mm) room no.

5875 x 3675 107 108 1150 x 2090 4365 x 4630 109 (5215 x 8930) + (4050 x 4165) 5225 x 4160

room name dresser - I bathroom - I family room

room sizes (mm) 3430 x 2430 3430 x 2365 4085 x 4455

room index - first floor room no. room name 201 lobby - 1 TV room 202 203 master bedroom master dresser 204 205 master bathroom

room sizes (mm) 3675 x 3345 5405 x 4665 6505 x 4130 2190 x 4665 2455 x 4665

room no.

206 207 208 209 210

room name lobby - 2 living area - II bedroom - II dresser - II bathroom - II

room sizes (mm) room no.

211 3300 x 1700 (5185 x 4145) + (2410 x 2680) 3975 x 5415 3460 x 3275 3460 x 2635

room name puja room

room sizes (mm) 2360 x 2795





 







 



 

   

ELEVATOR

   

   

 



 

10.42 m 10.42 m

10.42 m

T.F. FFL

10.42 m

T.F. FFL

T.F. FFL

T.F. FFL

  

  

    

7.05 m 7.05 m

7.05 m S.F. FFL

S.F. FFL

S.F. FFL

  

  

R

    

T

T

O

O

R

 

 

  

 

A



V

V

A



 

H S

H

 

S

     

 

T

A

7.05 m S.F. FFL

 

  

A

F

F

T

 

  

3.81 m 3.81 m

E

E

3.81 m

3.81 m F.F. FFL

F.F. FFL

L

L E

F.F. FFL

  

E

F.F. FFL

 

  

 

  

0.675 m 0.675 m

0.675 m

G.F. FFL

G.F. FFL

0.675 m

G.F. FFL

G.F. FFL

 

room index - second floor room no. room name 301 lift lobby 302 kitchen 303 dining/living room store room 304 lobby 305

room sizes (mm) 1200 x 2980 5055 x 3425 4775 x 9175 1435 x 3025 4265 x 2625

room no.

306 307 308 309 310

room name walk-in closet living area - III bedroom -III bathroom - III dresser - III

room sizes (mm) 2360 x 4265 5185 x 4265 7975 x 4495 3460 x 3385 3460 x 2565

room index - terrace floor room no. room name 401 lobby 402 powder room lift cabin 403 laundry room 404 405 staff room

room sizes (mm) 3300 x 1130 1320 x 3880 1200 x 1560 4270 x 2830 3800 x 2910

room no.

406 407

room name staff bathroom corridor

room sizes (mm) 1800 x 2910 11600 x 1340





 







  

room index - second floor room no. room name 301 lift lobby 302 kitchen 303 dining/living room store room 304 lobby 305

room sizes (mm) 1200 x 2980 5055 x 3425 4775 x 9175 1435 x 3025 4265 x 2625

room no.

306 307 308 309 310

room name walk-in closet living area - III bedroom -III bathroom - III dresser - III

room sizes (mm) 2360 x 4265 5185 x 4265 7975 x 4495 3460 x 3385 3460 x 2565

room index - terrace floor room no. room name 401 lobby 402 powder room 403 lift cabin laundry room 404 staff room 405

room sizes (mm) 3300 x 1130 1320 x 3880 1200 x 1560 4270 x 2830 3800 x 2910

room no.

406 407

room name staff bathroom corridor

room sizes (mm) 1800 x 2910 11600 x 1340





 







  

room index - ground floor room no. room name 101 lobby powder room 102 103 kitchen drawing room 104 bedoom - I 105

room sizes (mm) room no.

5875 x 3675 107 108 1150 x 2090 4365 x 4630 109 (5215 x 8930) + (4050 x 4165) 5225 x 4160

room name dresser - I bathroom - I family room

room sizes (mm) 3430 x 2430 3430 x 2365 4085 x 4455

room index - first floor room no. room name 201 lobby - 1 202 TV room 203 master bedroom master dresser 204 master bathroom 205

room sizes (mm) 3675 x 3345 5405 x 4665 6505 x 4130 2190 x 4665 2455 x 4665

room no.

206 207 208 209 210

room name lobby - 2 living area - II bedroom - II dresser - II bathroom - II

room sizes (mm) room no.

211 3300 x 1700 (5185 x 4145) + (2410 x 2680) 3975 x 5415 3460 x 3275 3460 x 2635

room name puja room

room sizes (mm) 2360 x 2795





 







  

 





 

 

 



 









 



 



 

 

 

 









 

 

 





 

 

BEAM BOTTOM

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

4"hinges in brass to match the existing

+2530 BEAM BOTTOM

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs To be shifted in the center and repolished with dark wenge polish on the interior side and PU on the exterior as/specs

0.0



GROUND FLR FFL

 

 

 

0.0 GROUND FLR FFL



To be relocated and repolished with dark wenge on both sides as/specs To be repolished with dark wenge on both sides as/specs

Frame to match the existing windows, finished with dark wenge polish on the interior side and PU on the exterior as/specs Double shutter window with a mesh shutter on the inside and glass shutter on the outside and two central fixed glass panel, to be finished with dark wenge polish on the interior and PU on the exterior as/specs.



Automatic closing and new floor spring to be added, door to be levelled, repolished with dark wenge on the interior side and PU on the exterior side as/specs

0.0

GROUND FLR FFL

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

 

12mm toughened clear glass door with patch fittings To be repolished with dark wenge on both sides as/specs Glass panel door with 4mm clear glass panels with fixed clerestory window, frame to be finished with dark wenge polish on both sides as/specs Wooden accordion door with four 12 mm thick glass panels To be repolished with dark wenge on both sides as/specs To be repolished with dark wenge on both sides as/specs

+2530 BEAM BOTTOM

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs,removal of grill and change of wire mesh To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs,removal of grill and change of wire mesh

12mm toughened clear glass door with patch fittings

 

 

+2485 BEAM BOTTOM

12mm toughened clear glass door with patch fittings

0.0 GROUND FLR FFL

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

Double door with mesh and glass panel shutter with 4 mm clear glass panels, frame to be finished with dark wenge polish on the interior side and PU. on the exterior side as/specs Glass panel door with 4mm clear glass with fixed clerestory window, frame to be finished with dark wenge polish on both sides as/specs To be relocated and repolished with dark wenge on both sides as/specs To be relocated and repolished with dark wenge on both sides as/specs Glass panel door with 4mm clear glass with fixed clerestory window, frame to be finished with dark wenge polish on both sides as/specs To be relocated and repolished with dark wenge on both sides as/specs To be repolished with dark wenge on both sides as/specs

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs To be relocated and repolished with dark wenge polish on the interior side and PU on the exterior as/specs Fixed glass panel window

+2530 BEAM BOTTOM

12mm toughened clear glass fitted in U-channel

Central double shutter window with a mesh shutter on the inside and glass shutter on the outside and fixed glass panel on the side , to be finished with dark wenge polish on the interior and PU on the exterior as/specs.

Central double shutter window with a mesh shutter on the inside and glass shutter on the outside and fixed glass panel on the side , to be finished with dark wenge polish on the interior and PU on the exterior as/specs.

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs Glass panel to be changed, repolished with dark wenge polish on the interior side and PU on the exterior as/specs To be repolished with dark wenge on both sides as/specs To be repolished with dark wenge on both sides as/specs To be repolished with dark wenge as/specs

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

 

+2485

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

0.0 GROUND FLR FFL

0.0



GROUND FLR FFL



+2485

 

BEAM BOTTOM



12mm toughened clear glass door with patch fittings 12mm toughened clear glass door with patch fittings Wood panel door to be matched with existing doors and finished with dark wenge polish on both sides as/specs To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

0.0 GROUND FLR FFL

+2530 BEAM BOTTOM

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

Wood panel door to be matched with existing doors and finished with dark wenge polish on both sides as/specs



laminated flush door as/specs To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

laminated flush door as/specs Glass panel door with 4mm clear glass with fixed clerestory window, frame to be finished with dark wenge polish on both sides as/specs

0.0 GROUND FLR FFL

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

laminated flush door as/specs with fixed glass window on side

To be repolished with dark wenge polish on the interior side and PU on the exterior as/specs

12mm toughened clear glass fitted in U-channel

+2530 BEAM BOTTOM

fixed glass window, finished with dark wenge polish on the interior side and PU on the exterior as/specs fixed glass window, finished with dark wenge polish on the interior side and PU on the exterior as/specs fixed glass window, finished with dark wenge polish on the interior side and PU on the exterior as/specs Double shutter window with a mesh shutter on the inside and glass shutter on the outside and a fixed glass panel, to be finished with dark wenge polish on the interior and PU on the exterior as/specs. operable shutter with 12mm toughened acid etched glass, finished with dark wenge PU polish as/specs



0.0 GROUND FLR FFL



  

  

 









 



 

 













 



 





 









 



 

 























 





  



  

 

 



   

  

 

 







 

 

 

  

  

 





 



 

 



    

 

 

  





  

 

  



 

 



 

  



  

 

 

  

 

 

 



 

 

 



 



 





 







 

 















 





 

 

 





  



 



MUMTY B.O.S

ELEVATOR

     TERRACE LVL FFL

  

A.C. to be pulled out

      





A.C. location revised as per recommendation by H.V.A.C Engineer for better cooling and flow

SECOND FLR B.O.S ELEVATOR

ELEVATOR

ELEVATOR

FIRST FLOOR FFL

    ELEVATOR

new A.C. for puja room - decision to be taken

   GROUND FLOOR FFL

ENTRANCE FOYER FFL

A.C. location revised





 











 

  

 

 

 

     

   



 







  





 

 

  

 

 



 





       





 







  

A-55, New Friends Colony, New Delhi

National War Memorial Competition

dhawananusha.24@gmail.com +91 8980065327