Undergraduate Architecture Portfolio 2020 - Aruni Mukhopadhyay

Hello, I am Aruni Mukhopadhyay.

As a highly driven and curious student of architecture, I’ve had the privilege of an unbridled passion and enthusiasm in chiselling my craft and it’s expression. The idea is always on the run, and I, speed on in earnest, dedicated pursuit.

As a recent graduate of architecture, I’ve tried to imbibe key factors into the process I generally engage in, for the production of archtecture. Study of the context, culture and climate, the flora and fauna, and the people and their lives, in terms of history and sociology, inform the work I have tried to do. At the beginning, the values of coherence, narration, emotion, phenomenological experience and the relationship between what is built, and what one may denote as unbuilt, and the manner of their meeting, are really delved into.

Apart from design, I take interest in a motley of other pursuits.

The bodies of text and the collection of images/ drawings, ahead, are ones which aptly exhibit my abilities, and endeavours. I hope you enjoy them, and I am grateful for your gesture.

Thank you, and regards.

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Aruni Mukhopadhyay +91-9051743345 14.01.1997 + Kolkata. muk.aruni97@gmail.com instagram.com/arunim23/

Education 2020 Piloo Mody College of Architecture, Cuttack. (bachelors in architecture) 2015 Delhi Public School Megacity, Kolkata. (secondary education, ISC)

Technical Skills Autodesk AutoCAD, Revit.

SketchUp + Vray Rhinoceros 6 Lumion Adobe Suite (PS, ID) MS Office

Coursework 2019 5 star hotel and service apartments, Bhubaneswar.

2018 Museum, workshops and cultural centre, Cuttack.

Luxury housing (gated community), Khandagiri.

2017 Residential primary school, Berhampur 2016 Luxury residence, for a Yogi, Naraj, Cuttack.

Other Relevant Coursework

Competitions

2020 Entrepreneurship in Emerging Economies - HarvardX. Introduction to Generative Architecture - Oneistox Circular Economy for a Built Environment - DelftX. Zero-Energy Design - DelftX (active).

2019 The Architectural Imagination - HarvardX. Charles Correa Memorial Lecture, Kolkata.

KAF Sketchwalk - Park Street Cemetery, Kolkata.

2018 Photojournalism by Running Studios, Vagamon.

LBC-NASA Exposure Programme, Vilappilsala.

Sustainability in Architecture - UP ValenciaX. Design Forum: Urban Workshop, Bhubaneswar.

Ecodesign: Ecodesign for Cities and Suburbs - UBCX. 2017 CADDCentre Course on Revit Architecture, Kolkata.

Photojournalism Studio workshop, Jaipur.

2021 COA NIASA Thesis Awards 2020 120H Mini.

Motif Collective Photography Awards.

Archstorming African House Design.

Mango Architectural Thesis Award.

Volume Zero Tiny House 2019 Volume Zero Reschool.

Sw/tch Central Park Book Studio.

Archsharing Rural School in Haiti.

Archasm Berlin Bohemian Hostel.

Motif Collective Photography Awards.

Satara Municipal Corporation (at ADS).

2018 NASA Vagamon - Industrial Design, LIK. BDA Urban Design for Hockey WC. Archasm Anti-Library Tokyo.

Volume Zero Marsception.

2017 NASA Jaipur - Reubens, Landscape.

ZONASA Guwahati.

Ethos Transparence.

ANDC. 2016 ANDC. ZONASA Bareilly.

Experience 2020 The Multilogue Collective, Delhi - Contributor.

2019 Abin Design Studio, Kolkata - Intern (5 months) + Kolkata Architecture Foundation - Intern (5 months) - JSW Bengal Partition Museum, Kolkata.

- Ramkrishna Forgings Ltd. HQ, Kolkata.

- Satara Municipal Corporation, Satara.

- HDFC Training Centre, Palava City.

- Hindustan Park Road Redevelopment, Kolkata.

- Asics Club, Bangalore.

- Abwab Pavillion, Dubai.

2018 PhD Philosophy- Dr. Sumantra Misra - Photographer.

NATCON Odisha - Student Volunteer.

2017 IIA Odisha Chapter - Student Volunteer.

Literary Club ABIT-PMCA - Coordinator (2 years) 2015 ABIT PMCA Football Team - Midfielder (3 years) Freelance Work (collaborative) 2020 Staff Quarters, Guwahati - Architecture (unbuilt).

Cafe, Cuttack - Interior Design (on-hold).

2017 Meals and Memories, Cuttack - Graphic Designer.

2016 Madad (student charity), Cuttack - Graphic Designer.

TBA Mention TBA TBA Top 50 Finalist Top 25 Mention Top 15 Top 18 Top 50 1st Longlist Shortlist 4th

Publications 2020 The Multilogue Collective: Organised and Unorganised Sectors: Learnings from India’s Marketplaces.

2018 PMCA Silver Jubilee Newsletter. (unpublished) 2016 NASA Indian Arch - Form Follows Function?

I can speak English, Bengali, Hindi, and little bit of Odia.

References Ar. Amit Bhattachharya.

Associate Professor, Piloo Mody College of Architecture.

Ar. Tilak Ajmera.

Senior Architect, Abin Design Studio.

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2020 Thesis: Bengal Partition Museum - The Voices of Millions Since Lost in the Abyss, Kolkata

(05)

2020 Built Competition - Archstorming African House Design Competition: AdobeAbode, Getamock.

(68)

2020 Ideas Competition - Volume Zero Tiny House: Cabins in Kumartuli, Kolkata.

(73)

2019 Built Competition - Archsharing Rural School in Haiti: Winds of Change, Cabaret.

(77)

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2019 Ideas Competition - Sw/tch Central Park Book Studio: Treehaus/nyc, New York City.

(81)

2019 Ideas Competition - Archasm Berlin Bohemian Hostel: Rhapsody, Berlin.

(85)

2019 Built Competition - Municipal Council Building, Satara Municipal Corporation, Satara (ADS)

(88)

2019 Design Proposal (currently in-progress) : HDFC (95) Training Centre in Palava City, Mumbai (ADS)

2020 Working Drawing and Details: Internship at Abin Design Studio, Kolkata.

(100)

2020 Architectural Documentation and Study - LIK Trophy: Kolkata Municipal Corporation Building, Kolkata

(105)

2018 Architectural Journalism: Organised and Unorganised Sectors: Learnings from India’s Marketplaces.

(110)

2020 Photography, Art and Drawing, during my travels

(112)

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Bengal Partition Museum

The Voices of Millions Since Lost in the Abyss The proposal for the development of a museum complex addressing the partition of Bengal, which thus divided Bengal into West Bengal and East Bengal (Bangladesh after 1971) in 1947 in Newtown, Kolkata.

The museum addresses the event, and its social, cultural, religious and political implications through spaces, to thus create a manifesto for remembrance and reflection.

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History

(+) They settled in West Bengal, mostly.

Some travelled to states like Bihar and Odisha. The centres of violence were in Kolkata and Noakhali. The Bengal migration occurred for 30 years.

2M

4M

million in migration

1920

In 1905, the partition in Bengal was duly implemented making the two provinces, West and East Bengal, easier. The partition split the province based on religious demographic.

The act was considered baseless and highly unethical, for it could produce absolutely no considerable justification for its execution.The 1905 partition left considerable minorities of Hindus in East Bengal and Muslims in West Bengal. In 1911, the two provinces were once again united.

1940

Disagreements between Hindus and Muslims in Bengal which had sparked the Partition of Bengal in 1905 remained.

This caused massive disruption. The laws were opposed. The Mountbatten Plan, on 20 June, 1947 resulted in the partition of Bengal. This created West Bengal and East Bengal.The second partition of Bengal left in its wake a legacy of violence.

In 1947 a population transfer began after partition. Millions of Hindus migrated to India from East Bengal (+) Riots, massacres, and defamation, were rather commonplace.

The social climate was in tatters during this span, and the once industrialized city lost its financial prowess to other large cities. The political climate in Pakistan deteriorated. Came 1950, severe riots occurred in Barisal, causing a further exodus of Hindus.The 1951 census in India recorded 2.523 million refugees, in from East Bengal. By 1973 it reached 6 million. A mass exodus.

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Urbanism

A study was conducted of the Adarshanagar and Bibeknagar areas in Jadavpur, Kolkata. They were refugee colonies.

The land was acquired by the act of ‘jabardakhal’. Extreme negative spaces between homes as of lack of room during the span of ‘dakhal”. Paths were created to the end of which one could not see. The pace of urbanisation led to acute angled corner plots, which allowed for alternating visual angles and movement, further adding to the existing urban complexity.

: Compression

: Window Styles, Jadavpur

: Context.

: Visual Block

: Sealdah Station

: Acute Split

A study was conducted of the Sealdah Railway Station, in Kolkata. Millions of refugees put up there for long periods of time, when they arrived in Kolkata, and could not find accomodation in refugee camps.

Refugees crowded platforms, experienced extremes of proxemics. The platform was their home. Diffused light in the executive areas. The volumes altered from the centre to the edges, as did the density.

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People

Sunanda Sikdar ( Sunanda Bhowmick before marital alliance), is the youngest of the 8 siblings. She was born after the paritition, in 1950, in the village of Digpait, in the Mymensingh Zila.

She made the journey to Kolkata in 1961. She wrote the book Dayamayir Kotha, which went on to become a literary sensation.

Jyotirmoy Bhowmick, is the eldest brother of 8 children. He moved to Kolkata, Calcutta then, back in 1947.

He was 17 years old, and had enrolled himself in Shibpur University to begin with, following which he continued his higher education, and studied electrical engineering from Jadavpur University. He moved to Kolkata from the then town of Mymensingh, in East Pakistan. “.. villages back in East Pakistan, were religiously segregated ..” “.. river banks were incessantly destroyed ..” “.. the courtyards, of homes, were used to produce cash crop ..” “..dadu travelled from Mymensingh to Jagannath, and then fought onto a steamer from Jagannath to Shirazgunj, and eventually, a train to Kolkata, specifically Sealdah ..” “... large gatherings of impoverished people resided in the Sealdah Station ..” “... small and intimate, and had a taali roof.... “ “.. act of jabardakhal so that he could provide accomodation to his family ...” “.. third year of his undergraduate study at Jadavpur Univerisity, he and 10 of his friends went over to the empty patches of land in Jadavpur, and forcefully occupied them in an act of jabardakhal ...”

Supriya Ghosh ( Supriya Bhowmick before marital alliance), is the 3rd eldest of 8 siblings, and the eldest daughter to her parents.

She was born in the village of Tangail, in the Mymensingh Zila, in East Pakistan, back in 1937. She is 82 now, and lives in Dum Dum, Kolkata. She went to school, and further went on to graduate with an Arts degree, in History.

Subrata Sikdar ( Subrata Bhowmick before marital alliance), is the 4th eldest of 8 children, and the second eldest daughter to her parents. She was born in the village of Tangail, near Mymensingh, in the year 1940. She was a tender 10 years old, when she moved to Kolkata in the year 1950.

She further went on to study English at the Lady Brabourne College, in the city of Kolkata, following which she became a professor. “ .. reluctance to return, for things have changed too much ... ” “ ..reminisced her days in Mymensingh, where they had a tin roof home, expansive in nature, with a courtyard, and cement flooring, and how she would often take a bus to Tangail, which was her mamarbari ... ” “ .. studied in a school, right next to her home, called the Radhashundari Girls School ... ” “ .. didu, had a boshar ghar, two bedrooms, an uthon, a kitchen in one end, a changing room, a servants room adjacent to the verandah ... ” “ ... the floors were made of cement, and the furniture, of wood, the windows were grilled by vertical bars .... ” “ ... remorseful of the animosity that was prevalent amongst the people of Bengal ghotis towards bangals... ”

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Site

Address of the Site: Street 374, Aliah University Road, Kadampur Village, Newtown, Kolkata, West Bengal, India 700156.

South

West

South

North

South

East

West

West

South

Area of the Site: 13.6 acres / 55037.25 sq.mtrs / 5.50 ha.

Coordinate Location: 22*36’ N, 88*28’ E. NKDA Land Use Map: Assembly building.

Elevation above Mean Sea Level: 9 mtrs.

India

Kolkata

The site is accessible from the Aliah University Road, Street Number 374, 622 and 587. It is accessible through public transport, and is near both the airport (NSCBI) and the rail stations (Sealdah and Howrah). Distance from NSCBI Airport9.8 km and the Sealdah station- 15.1km.

The main abutting road is the Aliah University Road, total width - 45mtrs, no. of Lanes - 4, span along site - 92mtrs, one lane (width) - 14mtrs, service lane (width)- 5mtrs.

Study of the views from the site reveal, expanse of land and presence of a water body and vegetation, clear views in every direction, allowing for emphasizing the building, flat land allows for ease of building.

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2002

2006

2010

The diagram to the bottom aptly aims to represent, to a degree, the road network near the site, and the various routes of accessibility and approach. As can be derived, the site is not located in the midst of several narrow lanes and “gullies” as is in coherent to the city of Kolkata. The site is located on a corner plot at the crux of 2 large roads, and thus, lacks the intimacy and the coherence of the traditional and regionalistic “gullies”. This adds to a dearth in a strong critical context.

Biswa Bangla Sarani Aliah University Road

2015

1. Consistency in urban growth towards the north east.

2. Urban growth at both ends of the socioeconomic spectrum.

3. Gradual growth of water bodies.

On a gloomy day.

Street 374

2019

4. Development of major arterial roads at a distance from the other, implying the division of land into large plots to thus allow for the development of large buildings, of primarily a public nature.

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Site Context: Study reveals that urbanisation is faint.

There is urban growth towards the north east. The sparsity will change. Major buildings are alienated.

Water bodies affect the microclimate.

Approach to Site

The Newtown Kolkata Development Authority land use map dictates an assembly building.

Ground Coverage - 40%: 5.44 acres.

Ground Water

Haldirams More

Min Open Green - 5% of plot: 0.68 acres.

Floor Area Ratio - 2.75: 73.15 acres.

Max Height - No restriction.

Figure Ground

Setbacks - 6m (front), 5m (side), 5m (side), 8m (rear).

Aminia Junction

Ground Figure

>15 y 5-15 y <5y

Variations in the structures affect resulting volumetric enclosure, both transitional and the functional, which affects the cohesiveness of the neighborhood. Most buildings in the area were built in the last 10-15 years.

Assem Resi Comm

0-20 mtrs 20-40 mtrs >40 mtrs

City Centre 2

Site Vicinity

Sources of odours are the dump of waste to the north, and the body of water running to the east. Sources of sounds are the existing fauna (birds) on the site, contrasting with Calcutta traffic.

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: Fauna, on-site.

: They were here first.

Locals fish in the nearby canal on the site, and this activity is catered for in design.

The following diagrams represent the proposed site in the context of it’s surroundings, and thereby provide conclusive zoning analysis regarding the site, in terms of noise, runoff, circulation and wind. Zoning allows for greater degrees of comprehension of the site and it’s surroudings, and thus allows for the production of cohesive, thoughtful architecture. In wind zoning, although the force of wind is consistent throughout the site, the diagram represents a post built condition.

Noise

x

Runoff

Development in terms of sculptures/sitout areas could be added, to the corner of the site. Also, it could be filleted with the addition of footpath. Development of corners can create minor public spaces, which will be sociopetal. They could also remain transit areas.

: Nodes near site. : Vegetative spread (56 trees).

Wind

Towards the northern edge of the site, are existing sewerage facilities, with pipes and manholes for access. Also present on the abutting lane. Therefore, sewage collections pits should be located along this edge of the site.

Towards the southern end, is the Newtown Action Area 2A Electrical Substation. Thus, the generator room for the site should be placed accordingly.

Circulate

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Parti + Process

Stories of people

Sequence

Mass, scale and volume studies were thoroughly conducted, with intense research of the works of architects such as Louis Isadore Kahn, Tadao Ando, Sou Fujimoto, Alvaro Siza, Steven Holl, Kengo Kuma, Charles Correa and Balkrishna Vithaldas Doshi. The outcome of the entire design process laid profound emphasis on the creation of a rather sculpture in terms of architecture, through geometry, monumentality, light, volume, mass, contrasts, porosity and phenomenological experiences.

Creation of Parti - The fundamental parti of the design is the creation of architecture to thus lead to greater comprehension of the journey of migrants and refugees during the Partition of Bengal, through an intensely phenomenological experience, crafted out of varying parameters, which emotionally convey the narrative, through various manifestations of space. The diagram represents stories, which were collected and plotted and organized, to be retold.

Synchronise

Narrative

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Design approach for the Museum Block The search for coherent juxtaposition in pure volumes. It portrays an interwoven narrative, where each is essential to the the next, and the one before it. The violent juxtaposition shows the ruthlessness of the act, and haphazard, like the Radcliffe line. Intended on producing an iconic sculpture of sorts, to embellish the skyline from afar.

Design approach for the Ancilliary Block Searched for coherence in the transitional space created between volumes. Seperated volumes, each sculpted from an original cube, spaced out to create pockets and courtyards, an outer ring to act as a datum. Porosity and freedom of movement.The design process began at this juncture, for site, case and urban studies had since been conducted. An iconic sculpture of sorts, was the final intention.

Block Dev 1

Block Dev 2

Block Dev 3

Several buildings inspired the architecture. They include the National Assembly Building of Bangladesh, the Church on the Water, the Champilimaud Centre for Studies, the Hurva Synagogue, IIM Ahmedabad and Bangalore, Novartis Office Building, Koshino House, Bair Ur Rouf Mosque, the Jewish Museum, and the Virasat E Khalsa, to name a few. The diagrams represent the various attempts made at sculpting volumes and mass from a cube. Several incisions were made.

The outcome of the entire design process laid profound emphasis in terms of definitive geometry, monumentality, light, volume, mass, contrasts, porosity and phenomenological experiences.

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The diagrams represent the various and multifarious attempts made at sculpting volumes and mass from a cube. Several sprts of incisions were made, of varying, primarily pure form geometric forms.

Geometry is of fundamental importance in this approach, and the shadows have to a degree,been depicted, to allow for comprehension of the nature of lgiht, and the fashion in which it carves out space.

Small figures have been placed to allow fo a degree of comprehsnion regarding the nature of movement and inhabitation of the structures, although the scale has been enlarged for ease of viewing.

The intention is to create very taut rigorous geometric compositions and relationships. They intend on being expressive compositions animated by light and its assemblage with material.

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Morphosis / Iterations

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Design Drawings

The drawing to the right, represents the site plan of the proposed project. The following diagrams were produced based on a thorough study of the climate and the consequential zoning, along with the enforcement of the developed conceptual masses and forms, into the placement of the blocks. Total travel time for the museum building would be approximately an hour to an hour and a half. The total distance to be traversed is arppoximately 1.5kms.

Water Vegetative Roofs Brick on Edge Herringbone Existing Grass Asphalt.

Landscape Coverage: 37145 sq. mtrs. (including the water) Ground Coverage: 8562 sq. mtrs. (15.6%) FAR achieved: 0.46 Road Layout Coverage: 5500 sq. mtrs. (10.1%) (Parking for 2-Wheelers: 194, Parking for 4-Wheelers: 104.)

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1. Service/Bus Entry and Exit.

2. Effluent Treatment Plant and Store.

3. Sewage Septic Tank and Store.

4. Fire Tender Route (6000mm width).

5. Guards Room (Service Gate).

6. Water Sump for Municipal Connection and Store.

7. Toilet and Changing Room.

8. Site Corner left for Fishing Activities of Locals.

9. Service Vehicle Parking.

10. Bus Parking.

11. Chamfered Slope to allow for greater run-off.

12. Sewage Sump 3m away from individual Building.

13. Ramp for Museum Block Underground Access.

14. Fire Hydrant location.

15. Artificial Body of Water.

16. Central Court.

17. Museum Block with green roofs, water tanks on top.

18. Memorial Block.

Road Layout

Hardscape Area

19. Ramp for Ancilliary Block Underground Access 20. Museum Block Entry.

21. Museum Block Exit.

22. Service Drop Off Area/ Loading Unloading Dock.

23. Auditorium Hall Block.

24. Gallery Showcase Block.

25. Bridge.

26. Library Block.

27. Gallery Block.

28. Office Block.

29. Museum Store.

30. Lobby Area.

31. Cafe and Kitchen Block.

32. Main Entry and Exit with Guards Room.

33. Drop Off for Visitors.

34. Parking for 2 Wheelers (2x1m).

35. Parking for 4 Wheelers (5x2.5m).

36. Toilet and Changing Room.

Landscape Area

Water Bodies

37. Transformer/ Generator Room.

38. Entry to the Lobby Block.

39. Aliah University Road, from which main entry.

40. Statue More.

41. Adjacent Plot.

42. Canal Adjacent to Site.

43. Pond on Site with outlets for overflow release.

44. Street Number 374, from which service entry.

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A quinessential aspect of architecture is the understanding and thorough comprehension of the site itself, and to thus respet it and it’s life to the greatest extent feasible.

Of the 59 prominently existing trees on the site, 54 were maintained. Also, the area used for the activity of fishing by the locals has not been tampered with, and has been preserved.

To the right, is a map of preserved and added trees on the existing site.

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Ancilliary Block

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: Soft thresholds.

The enitre block has been designed based on the idea of softening thresholds and porosity, along with the ease of access and inclusion. Zoning has been done in its development based primarily on noise and privacy hierarchy. Hence, the library, the office and the cafes are located far from the side of the main road. Inclusion has been emphasized with the crossing paths and weave of routes created, allowing movement within with ease.The staff area is located at the centre.

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The image to the left represents the volumes enclosing the lobby and the tucket counter areas. Steps lead up to the platform, from whre one canbuytickets. Small slits were made in themass to let in lgiht.

The lobby is a double heighted volume, to let in light, from above, also. It can accomodate 150 people at one time. The ticket counter can serve 3at once.

The horizontal slitlooks upn the upperlvelof the suspended cafe.

: Inclusive by design.

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The curve has been draen along to create a smoother transition, upon entry, where the visiotr has to turn back, face the ctiy behind through a slit, anf then turn back around and head towards the museum, which lay in the backgroudn, along the walkway, flanked by the shop,and the ofcfice, and the gallery.

A large glass opening to the north, lets in plentyof diffused light to the lobby. A brutalist vibe has been maintained overall.

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The image to the top depicts a summer day, at the entry of the mueum, at the lobby of the anciliiary block. The visitors make their way up the steps around the semi circular volume of the staff area, revealing the museum in the background.

To the right, is an image of the gallery space to the north of the ancilliary block, with seperate levels providing varying degrees of daylight, for exhibition of different sorts of art and sculpture and other installations.

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The diagram represents the varied porosity of the building, citing instances of ambiguity between what is inside, and what is outside. This has been done to create an interesting transition between and through spaces, and to not make it very abrupt.

Also, we have most of the buffers made with circulation and services on the southern faces of the segregated buildings, to thus allow for protection from the heat to a degree.

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29

30

31

To provide climatic relief to a degree,by creating a buffer twards the south, with the canteen and the lobby, whereas the main office spaces where people work are facing the north. Cutouts within each room allow for free connnection between the people and those whom thy work with. Even small slits of glass betweenadjcent roms intends on serving the same purpose. the position of the office along the main walkway allows for a direct interaction with the realm of visitors.

The office block is divided into 2 floors, connected by a set of stairs wrapping around a tree. the idea behind the design of the office was to increase porotsity within the building between the staff working there.

The drawing to the right, represents the ancilliary block ground floor plan of the proposed project. The scale has been provided at the bottom, with the use of a bar scale for reference on the plan itself.

The drawing has been drawn at a scale of 1:150. A compass has been provided for ease of understanding of direction, and hence, architectural orientation. The design is driven by

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Double etended steps for seating, for those who dare pick either floor.

The entrance to the south form an effetive bugger against the southern heat, and the trees help with it.

A pneumatic vacuumtube lift is provided in the uillding to, allow for barrier free access. The toilets also act as a buffer from the south.

The ceiling has been further provided with layers of false ceiling for ffecive insulation, and the ceiling height in general raised.

to thus allow for cooling through the stack effect.

Te massing was developed through a continuous process of substraction and addition, onto volumes, and emoved, to allow for a window to let in light.

The library block is of fundamental importance, for it will be housing books, novels, and other literature and media content related to the very history the museum creates a narrative for.

It is located on the quieter side of the site. It is also double storeyed. The entrance is through a curve whih swoops us into to the dropped volume, where we find the information desk. It is curated withpockets of green, and a grand staircase leading up across the side of the western wall.

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34

35

Museum Block

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37

38

39

40

41

42

The structural system devised consists of a framed structure, with double walls made of rat trap bonds.

Shear wall systems, in a symmetrical manner have been proposed, for stability.

All the walls are on a grid.

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Ideas + Elements

When one is seated, one generally has a greater degree of permanence and unwillingness to just up and leave, compared to when one stands/walks by. This has been played on, by altering the angle of seating.

The diagrams to the bottom, represent a few ideas inculcated in the process.

Volume/wall memory, point of protagonist entry, alterations in feeling of permanence, and the fluctuations of volume and wall angles.

Slabs in places, have been cast flat, however, the raised flooring, has been shaped at an angle for added uneasiness. Sizes of points of entry altered, for self perception, along with a play on spacing slits.

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Alterations in the height of a space also lead to differed perception of oneself, along with changes in breathing, quite akin to a gripping narrative. Walls have been inundated with grooves, to act as scars one can touch.

Altered textures, along with varying cross sections of handrails, are effective in the narration. Architecture could be formed of apparently varying thickness’ of wall/slabs. Kinesthetics can be varied for movement.

The materials are fundamentally important, in that, they age differently. Over time, the wood would wear out and lose its texture, to a greater degree than concrete. Varying opacities of glass has been used.

Speed of ascent/descent can be controlled to a degree based on the number of steps, and along with the length of a transitional space such as a court or a corridor. This is essential to the creation of a story.

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This is the first block in the Museum block, which depicts the apparent unity between the two sections of society based on religion.

The experiences relate to the unity and the division of these 2 religious sects.

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These images represent varying parts of the first block, across all levels.

Each represents a different period predating the Partition, and the eventual build up to the Partition itself. Experience of the story.

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The images and drawings here show the second block in the narrative, where people had fled in a mass movement, from their villages to villages near the western edge of East Bengal. An intricate section is visible.

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50

This particular piece of architecture/installation, tries to recreate in an architectural sense, the events during which refugees were in hiding, in a home, near the border, before they made their way to the other land, and how, even then, they fell prey and were victim to heinous crimes, wherein, criminals and terrorists would barge into the homes on the lookout for them, and the poor refugees tried to find footing, and make the best of an attempt to escape from a backdoor.

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The images depicted here, are of the central block in thr museum block. This one, attempts to depict the events and actions just preceding the crossing over of millions to Kolkata. One shows a space, where the cross sectionally curved false ceiling drops down, and leads up to a glorious view of the blocks ahead, the ones which depict life in Kolkata, after curving back up. The other, depicts the frightening narratvie of how people made their way through canals to escape death.

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In this particualr exhibit space, of Block 5, the experience recreated is that of walking through forests and marshlands, on thei ay to Kolkata post partition. The ground of this place, uneven due to the presence of chips made of wood and stone, allow for instability. Light shimmes through small circular openings on the roof, onto the tips of columns which rise high, touching the ceiling. The walls along the cicumference ilt inward. People journeyed for months like this.

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: Maze of mirrors.

The images depict the second stage of complextiy induced in a maze like architecture, with mirrors lining the inclined walls, to induce a greater degree of confusion, although the light at the end serves as a guide.

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The images here, depict the last stage of the accentuating complexity of maze like architecture in the museum block. This particular one depicts the experience that unfortunate refugees made on their arrival to Kolkata, which was a more complex urban system than they had ever experienced. They used to live on the outksirts, and gradualy made their way into the city. Volumes get larger, on a slanted raised flooring system, with light flushing the volume in the wrong places.

The blocks get more slanted and larger as one makes their way in, and the handrails, soon change in cross section, nearing the centre.

Unlike the one with the mirrors, the light falls to misguide one from the exit.

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The images depicted here showcase spaces on the ground and 2nd floor, of Block 7, wherein we have an ehxhibition space on the ground, depicting varying specimens and ornaments and artefacts from the journey made.

The image above, depicts the beauty of section, in a perspective. A framed photograph of the womens march is hung from the wall, as people make their way to the exhiition of the city and it’s manfestations.

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The image to the left, represents a little section of the museum that tries to reveal the feeling of imprisonment, especially one the masses felt whilst they were in the concentration camps, in Kolkata.

The sections also depict not only the constant fluctuations in volume, but also, the very sectional porosity in this partituclar block, where all levels can be easily perceived from the others, and is quite like a city.

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On arrvig to Kolkata, most families had to make do with small homes, on the outksirts and marshlands of Kolkata, before they could land a place in the city itself, These rooms show that growth, in space and items.

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The final piece of architecture, in this particular museum block, is the Hall of Humanity, which is but a freely standing sculpture-like structure. It contains a plaque at its centre, for people to read through.

It is heavily inspired by the iconic architecture of American architect Louis Isadore Kahn, and especially his work, the Hurva Synagogue. The light through the day, really transcends the atmosphere of the place, and gives it a phenomenal appeal.

In plan, it is but the juxtaposition and superadjacency of rectangular and circular forms, and comprises of several thresholds to thus create quite a few levels of permeability. In essence it tries to evoke a feeling of awe and wonder, with it’s sheer scale, and mass. The wals, in places, are lined with wood, which is done to, apart from aesthetic contrast, allow for differing degrees of evolution over time. At the exit, the arch frames the ancilliary block and the city, in equal parts.

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The diagram and the image here, represent the memorial hall, wherein, through voids, contrasts and light, a sense of loss has been attempted at being induced. One walks in, there is a sudden expansion of volume, and one can see the voids along the wall, and how they go up in number and decrease in spacing, as the person makes their way inward, and also, look upward after theyve made their way to the centre of the space. Water falls in from the edges, where one can touch.

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3 1. Common toilet.

2. The guards room’s.

3. Room for fishermen.

4. A store room,has been provide in areas on the site.

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The drawings and images here, represent an intervention made, which really imbibes the philosophy and essence of the partition itself. A bunch of men, often come by and fish in the canal running along the Eastern edge of the site, and have bee doing so for a while now. It would be extremely ironical to have them vacate the space, to build a Partition Musuem. Instead a small room, for rest and a toilet, along with a set of benches have been provided, to help them out.

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House for the Jorejicks - Getamock, Tanzania.

A house is a space, with rooms for living. A home however, is made when a space, is made a place, by those who began life there, and more often than not, return to it. It is a process of finding a soul in the shell, one of place-making, rather. A home is where parents bequeath two things for their beloved children, the first being their roots, and the latter being wings to soar and fly. The Jorejick family, have made their land, their home. Their home is not simply bounded by the walls of the huts they live in, but in the porosity of their land.

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Family + Context

Currently living in the house

They cultivate fields and livestock. Maria has a stomach ulcer.

Paulo is the oldest child. Cecilia stays away, but her 3 children, live here. John is a professor. Nico is building a house on the site. Emaculatey lives far, but her son lives in Getamock.

Sanslaus is 22, and wishes to continue academics. Prisca also does to. Alberto and Gertruder are 15, and help out at work. Rafel is vegan. Maria is a beacon of wisdom. Chile had to work, and couldn’t continue studying.

Huts Nicos Brick House Cattle Outside Kitchen Shower + Latrine Pastures for Cattle Main Access Access to Neighbours.

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Design Proposal

The zoning depicts the movement of the family and the neighbors, along with the livestock for feeding.

General direction of wind flow has also been depicted.

Axono to the right, the block development of the home.

1. Living Space, 2. Outdoor Kitchen, 3.Indoor Kitchen and Storage, 4.

Prisca’s room, 5. Sanslaus’ and Chile’s room, 6. Room for visiting family/ Library, 7. Open dining area, 8. Room for visiting family, 9. Briston and Rafaels room, 10. Alberto and Getruder’s room, 11. Grandmother Maria’s room, 12. Garden, 13. Garden, 14. Room for Visiting Family, 15. Melania and Virguita’s room, 16. Maria and Bura’s room, 17. Courtyard, 18. Toilets, 19. Cloth Washing Area, 20. Bathing Area, 21. Pen for Cattle, 22. Existing hut for residence during construction, 23. Taps for Water, 24. Unbounded path for access, 25. Nico’s new home, with Paulina.

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:Rainwater Collection Network.

Diagrams representing the structure of the windows and doors, wire mesh built in.

The design unfolded around a central court, to bring the family together. The site alows for the provision of burnt clay bricks, hence, the same has been used in the constuction, of almost all elements. Doors and windows, were made of wood.

Planning was made porous on the north-eastern corner, to so it’s a little welcoming to the neighbours, who pass by. No trees, which existed on site, were destroyed. Everybodys privacy, and age, and physical needs, gave us direction.

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Jali’s at the bottom, and near the top, allow for an ease in the flow of air through the rooms, and hence better natural ventilation based on the Venturi effect and the Stack effect.

The sill level has been kept consistent for the purpose of construction, and its ease. The heights vary with respect to the occupancies. Children with educational aspirations are living in close parameters, and the young boys have their room right in the sightline of their grandmother and parents.

The youngest children live with the parents.

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Cabins in Kumartuli

Incremental Tiny House - Kumartuli, India.

Kumartuli has been a potters and artisans community in Northern Kolkata for over 250 years. Around 150 families of creatives, spanning generations, passing down the baton, dedicate their lives to the production of clay sculptures.

They work immensely hard, yet have none other than to resort to deject conditions of living, rather ironic in contrast to where their idols make it to. The COVID pandemic died down the market for their works.

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People + Context

Their workshops lack daylight, ventilation, and skirt narrow lanes, and narrower ones lead on to the residential zones, which are often extremely cramped and fall short of basic safety measures.

India

Kolkata

The Potters community of Kumartuli, is located in Northern Kolkata, in the precinct of Hatkhola. The general topography is flat, and the climate is hot and humid. The site has general access from the airport and the station, nearby.

Kumartuli has been around for 200 years, and plays an important role in Kolkata being the cultural captial, and it is often said to have acted as a nucleus. The essence must be preserved, and there must be social and cultural growth.

: “The art; the artist”.

Toilets are used by tens of people. The structures are constructed of bamboo. tarpaulin sheets, plastic sheets, timber beams, bamboo rafters to form slopes and the floors of clay.

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Design Proposal

To allow for a studio space, the tiny house was shifted to the side, thus acting as a ceiling for the outdoor/ indoor space, which the families could turn into a workshop of their own initiative.

A (gl) We’ve taken up this opportunity to create two tiny home modules for the families. An attempt at low-rise density was made. Only the essentials of the home were provided, as the framework, the toilet and the kitchen. Only one tiny house was created above, without having to incorporate additional access through flights of stairs/ elevators, for they would have been expensive. taken up room, and be subject to the nuances of private maintenance of public space.

Spout

Clerestorey Vent

B (ul) 1. Cook, 2. Store underneath Stair, 3. Study, 4. Wash, 5.

Workshop/Studio Store, 6. Dine (foldable chairs), 7. Rest/Play, 8.

Live/Rest, 9. Observe/Interact.

All under 300 sq. ft. as per brief.

As a result, room is created for expansion in the future. with the use of the roof, and the walls as framework.

It acts as a canvas for individual expression, a pursuit our clients are highly and deservingly capable of.

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For ease of water lines, the toilet and kitchen were placed close, and the toilets on top of each other.

A small balcony in the upper floor allsows for light and air no matter the incrementalism.

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Winds of Change

Rural Primary School - Cabaret, Haiti.

The parti is to narrate a story through - the structure, its materiality and the play of spaces. The structure with all its curves aims to challenge the linearity in education and propagate the idea of organic growth in the community. The constituent materials are Bamboo and straw bale. Burning of rice straw is a major cause of pollution in rice growing nations.

Two to three rice crops are annually grown in Haiti, making straw a rapidly renewable resource. Using manually baled straw, is environmentally impactful.

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People + Context X

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Haiti is a Caribbean country located on the western third of the island of Hispaniola and part of the group of archipelagos that form the Greater Antilles with Cuba, Jamaica, Puerto Rico and the Dominican Republic.

The new school will have to accommodate about 50 children from the TE NWA community. The proposals must take into account all the aspects necessary to welcome children into a school.

One of the country’s greatest current challenges is to recover from the natural disasters that have devastated the island in recent years, most notably the earthquake of 2010, killing more than 300,000.

The project site for the new school is located approximately 5 kilometres from the city of Cabaret and 35 km from the capital. This is a large site occupied by the current school. Its large area allows construction alongside the existing school, running on site. (safety, furniture sizing, playful aspect,...). The simple act of providing a roof over one’s head is not enough, it is also necessary to provide the children of the community with good educational conditions.

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Design Proposal

The diagram to the bottom, represents the phasing of construction. It allows for the development of a classroom, the faculty space, toilets, and the canteen. Another set of classrooms, are in Phase 2.

The process began with a cuboid on the site. Removal from the centre to serve as a courtyard.

Following the first stage, subtraction to allow for wind.

This creates the Venturi and Bernoullis effect.

Toilets were placed in the south west, to allow wind to carry odour away.

Classroom, kitchen and multipurpose area were separated , and buildings were in the line of sight.

The aesthetic was given a cohesive feel. A playful arrangement of openings created an organic form.

Teachers room with a waiting area was placed at the corner, allowing it a clear view of either side.

The design involves the community from the onset of the process. The aim is not just to create awareness about sustainable methods of construction and involve the community in the process but to help the community grow with the school. By making it a place of permanence that not just resists natural hazards like earthquakes or hurricanes, but also preserves the authenticity of materials and the architectural heritage.

Phases: 1 + 2

The diagram to the right, represents the plan, on the site.

1. Toilets.

2. Classrooms Phase 1.

3. Classrooms Phase 2.

4. Canteen + Kitchen.

5. Teachers Room.

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The process of construction will incorporate manual labour, using leftover strawbale for constrcution. The structure thus created would be capable of withstanding hurricanes to a formidable degree, along with earthquakes. The first phase wil allow for the construction of the kitchen, however, the entire roof for the kitchen and the proposed multipurpose space will be created at once, and the mutipurpose space and seating area for the kitchen will be built under that roof.

The structure with all its curves aims to challenge the linearity in education and propagate the idea of organic growth in the community. The constituent materials are Bamboo and straw bale.

Burning of rice straw is a major cause of pollution in rice growing nations.

Two to three rice crops are annually grown in Haiti, making straw a rapidly renewable resource. Using manually baled straw.

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treeHAUStudio

Reading Pavillion - New York City, USA. The subtleties of proxemics and the pace of perception, drive our parti. When ones strolling about, in the wrap of shadows, through the lanes of a park, in search of a quaint little spot to enjoy their favourite novel, they find solace at the foot of a tree. They gently lay, nudge a bit, and carry on from where they’d left off.

What if this little privilege could be shared? What if the shade and cover, weren’t ones own?

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Site + Context

The Big Apple juts out masses and volumes of contradiction, with every passing second, at every turn. It could be quite the frantic nightmare. A subtle series of rings, atop each other, could design a rather graceful transition, and perhaps allow for a more subtle continuum?

A nap in a city, that is yet to sleep.

Central Park is one of the most known and visited park in the world and is located in heart of New York City, becoming one of the most characterizing features of the city pattern. It is the most visited urban park in the United States, with an estimated 37–38 million visitors annually, and one of the most filmed locations in the world. To revive the reading culture we need to reinterpret the reading space and make it more appealing to the masses.

The drawing to the right, represents, the site plan in Central Park, and along with it, the surroundings, which are lined with skyscrapers, quite in the contrast to the open, luscious space, that is Central Park.

The architecture should be inviting and informal, being able to connect with the public and change the rigid outlook of libraries. The library be fluid and dynamic spatially, being with the natural context.

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Design Proposal

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The hammocks have been designed, so that everybody can cozy up, and share a little room, under their choice of canopy, socially, but privately. The set of steps, climbs upwards, to each hammock.

Steel pipes, not hollow, are fit into a circular network, upon which the rings rest.

People can also use it as a ledge, and sit down with a book. It also lets one take a good look at the park as one circumvents it. It is very ephemeral, and suits all seasons.

The treehouse, is rather cozy, and lets everybody spend a warm summer afternoon, reading under a tree. Complete wooden frame, along with steel framed wooden steps, to hammocks made of rope.

The architecture of the ring, is rather contradictory to the grid networks, in the lap of which it sits. People can swirl up, and collect a book they like, from above on the rings. Not all parts are accessible.

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Hostel for Bohemians - Berlin, Germany.

“Is this the real life? Is this just fantasy?”

The proposition intends on provoking the idea of a cultured revolt against order and the perceived ‘german’e form through the manifestation of spaces, volumes, light, textures, and colour. Johann Wolfgang von Goethe wonderfully stated that architecture is music, frozen in time.

Could we incarnate Freddie Mercury’s wonder?

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Site + Context

Bohemians are all sorts of wanderers and adventurers who very significantly converge in Berlin and its underground art districts to create, discuss and share new ideas and bond with each other.

Berlin is the 21st century contemporary world’s ideal capital.

The city left its torrid history behind to grow and cement itself into the intellectual and cultural core of the world. Berlin is the epicenter of any movement that starts to demolish the old world order. Ever since the wall came down in 1989, Berlin has been known as a bohemian paradise, a place where the empty spaces between east and west could be inhabited by the most creative, who could create with impunity.

Bohemianism is the practice of an unconventional and an alternate lifestyle, often in the company of likeminded people and with few permanent ties. Bohemians are considered to have very different tastes in music, fashion, art and literature.

Numerous artists from across the globe have taken full advantage of Berlin’s transition period throughout the 1990s and 2000s to find gallery and performance spaces in the most unexpected places. The underground art scene is very modern, very edgy and relatively unlimited in the city of Berlin.

Berlin is cheaper to live than most big cities today— so artists have more time to put creative energy toward their visions, and they can take the financial risks that are necessary.

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Design Proposal

Drawing - The various elements in design. Steel framework, with plastered brick walls, and a cluster of coherent volumes for inhabitation.

: Space for Craft

: Units

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Satara Municipal Corporation

Municipal Corporation - Satara, India.

The Satara Municipal Council intends to be a forward-looking urban administration that dreams of leadership from both the top-down and bottom-up approach. The building that embodies such an institution should symbolize the ethos of its policies and stand as a flagbearer in both administrative and architectural practice. In the essence of such a building, should lie the sense of ownership and accessibility by its citizens, to address civic responsibility and human rights.

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Site + Context

: Layers Democracy is best reflected when the civic institutions create a semblance of openness, transparency and pride of local culture and history.

Mountain form as an opaque sculpted abstract mass monolithically wrapped in the multiple strata of local regional stones. The functional organisation of spaces is set in hierarchy from the lower public floors to exclusive VIP zones in the upper levels. The service cores are set in two corners catering separately to public and VIP use.

The form slopes inward on the south and west, accommodating the decreasing requirement of functional floor space as well .

It needs to serve as a bridge between yesterday, today and tomorrow, binding technology and tradition, connecting the public to the policy-makers, like a symbol of a horizon that connects the bountiful earth to the providential sky.

The Satara Municipal Council building is envisioned as an iconic public building celebrating the beauty of its natural setting and local architectural references.

The design emulates the

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Design Proposal

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: 10 year growth.

Rapidly grow as much biomass as possible, plant fast growing legumes to improve soil fertility, plant native ecologically important species and be polycultural and increase biodiversity.

Adapt to natural system based farming methods, grow native species, grow perennials and limit use of annuals to future expansion zone, avoid using genetically modified seeds, introduce inter-cropping and companion planting. : Stairway up to court.

As per climate zone map of india satara falls between the border zone of cold & warm-humid zone. Hence the overall stragegy adapted has been to allow the windflow into the building, provide a lot of terraces as interactive zones and use plants as part of a heat shade. Predominant wind direction is from the west, which brings the cold air from the mountains.

Hence the design aims at creating more openings and a double volume terrace on the western side, to allow the wind.

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Viewing gallery + Admin staff

Council House + Staff

Civil Dept. and Town Planning Dept.

Property Tax Dept.

Accounts

Citizens Facilitation Centre, Cafe.

Reception

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: Section - Council Hall + Viewing Gallery.

The facades here are punctuated with voids that capture the predominant wind from the west. The big cut out representing the valley form on the northern facade responds to the urban context.

The design emulates the character of the mountain form as an opaque sculpted abstract mass monolithically wrapped in the multiple strata of local regional stones. The functional organisation of spaces is set in hierarchy from the lower public floors to exclusive VIP zones in the upper levels. The service cores are set in two corners catering separately to public and VIP use. The form slopes inward on the south and west, accommodating the decreasing requirement of function.

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HDFC Training Centre

Educational Institute - Palava City, Mumbai..

The HDFC Training Centre, in Palava City, near Mumbai, is an educational institute for the employees of HDFC. The design for this training facility for a prominent national bank revolved around an interplay of solids and voids. The multifaceted program incorporated a broad spectrum of public and private spaces including an auditorium. educational rooms, a library, administrative areas. gathering or break-out spaces. and residential units.

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Site + Context

Plateaus and hills drive the concept of terracing and levels, creating interesting points from within the building. Local materials like Basalt are sourced while connecting the form to the landscape.

: The landscape.

: The site.

A form of dynamically twisted blocks with interstitial green break-out spaces houses the facility. A monolithic character and unity in materiality serves as a visual identity of the campus. Each function is provided as a block with independent circulation with the flexibility of getting connected when necessary. Interspersed with courtyards. terraces and breakout spaces, the Academic block provides zones for interesting interactions.

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Design Proposal

Superadjacency of curves and rectilinear forms has been moulded, to allow for more coherence in the form, along with more relevant juxtaposition.

Development of cores for the services and transportation, along with the installation of fins and solar panel systems for better response to the climatic demands. Mass and void in coherence, is the ultimate aim of this particular massing A low rise design scheme for the Academic functions as a more Human scale of activities.

More rational approach to separate the academic and accommodation functions.

A very clear segregation of vertical circulation cores as per dedicated function.

Overlooking Courtyards as relief and green breakout spaces. Use of Local Materials as a visual identity of the place and sustainable.

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Ground Floor + Site

First Floor

Courtyards are interspersed in the lock as interstitial spaces, with both an academic faciltiy and hostel facility.

Audiotirum located towards the wider end of the site.as best fit for circulation and for its separation.

Reception placed at a pivotal point to allow access to both the academic and hostel blocks. Academic block opens up to other internal courtyards. Solar panels provide energy, and sun breakers.

: The reception and lobby

: Mass.

Second Floor

Third Floor 100

A low rise design scheme for the Academic functions as a more Human scale of activities. More rational approach to separate the academic and accommodation functions.

A very clear segregation of vertical circulation cores as per dedicated function. Overlooking Courtyards as relief and green breakout spaces. Use of Local Materials as a visual identity of the place and sustainable.

: Courtyards

: Lily Ponds

Fairface concrete has been used, along with the plentiful use of local stone, that is Basalt. Lily ponds have been interspersed, , to maintain a degree of humidity.

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Working Drawing + Detail Drawing Various Projects - Kolkata, India.

A set of working drawings, I had produced during my internship at Abin Design Studio, Kolkata, from May to October in the year of 2019. The working drawings were eventually implemented in the varying projects they concerned, both architectural and interior.

These drawings were made under the guidance of senior architects Ar. Poorvi Dugar Ajmera, and Ar. Tilak Ajmera.

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Architectural Documentation

Kolkata Municipal Corporation Building Documentation through ink drawings of the Kolkata Municipal Corporation Building, in Chowringhee, Kolkata. This exercise was pursued for the fulfilment of the requirements for the Louis I Kahn trophy, for the Annual NASA Convention. A study of the design and the details were done for this purpose.

The building was founded in the 1876, and currently serves as the seat of the mayor of Kolkata, Firhad Hakim. It is a landmark and architectural emblem of the city.

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Urban Context

The Victoria Memorial is a large marble building in Kolkata, West Bengal, India, which was built between 1906 and 1921.

It is dedicated to the memory of Queen Victoria, then Empress of India, and is now a museum under the auspices of the Ministry of Culture.

The memorial lies on the Maidan, near Jawaharlal Nehru Road (also known as Chowringhee Road). The Victoria Memorial’s architect was William Emerson, the President of RIBA.

The drawing above, shows the precinct of Babughat, which sits itself along the Ganga. It is the central hub of ferries and water transport, and was so during the British Raj. It is a in Central Kolkata.

The Eden Gardens stadium, is arguably one of the most iconic structures in Kolkata.

Established in 1864, it is the oldest and second largest cricket stadium in India after the newly built Sardar Patel Stadium.

The drawing to the left depicts the Shahid Minar, which stands erect on the Brigade Ground, in memory of the martyrs of the Indian Freedom Movement. It was designed by J.P.Parker, and is located in Maidan.

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Documentation

Semi-circular arch, also known as the Roman Arch, in which each voussouir is identical, and tapers towards a neighbouring voussouir (1).

The motif represents that of a draped curtain, through it’s design (2).

Brackets give support at angles, and are decorative members (3).

A floating column, for the sole purpose of architectural ornamentation (4).

Oriel windows in a gabled roof, which all together guards the dome (5).

Trapezium shaped dormer windows, with rose windows within it (6).

The ornamentations have few variations throughout the building, and are mainly decorative Italianate or console bracketed (7).

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Two major stairways are present in 2 different blocks of the building, and they vary greatly in their typology. All blocks embody varying sorts and manifestations of ballister design, nosing and soffit design and variations in the material and the balustrade.

The primary profile is subjected to a series of subtractions, to thus create a central courtyard and spaces for movement and pause, a retreat to the otherwise busy surrroundings.

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The building is a beacon of municipal order in the city.

Standing the test of time, it has seen the suave and serene cityscape under both colonial typologies and the chaotic bstling nature of New Market.

: Elements

The drawing represents the council house in the KMC. It is an extended volume, overlooked by a balcony, to allow the larger community to partake in the meetings.

Hierarchy is maintained in accordance with position 111

India’s Market Urbanism This exploration pertains to the urbanism and the dynamics of Indias various markets, from Delhi to Goa, from Imphal to Mumbai. These markets manifest themselves in an assortmen t of fashions, and they incorporate all levels of permanence and establishment, within them, They are generally informal, and hence their bounds remain rather blurred, and through this journalistic exploration, an attempt has been made to delve into what makes the urban dynamics and the moving masses of our markets, so very special.

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: Inside/Outside - New Market, Kolkata

: Maps and expansions. “... It’s a hot Calcutta Saturday morning, and it’s nearing the end of a delightful summer ...” “... weaving through a constellation of cars ...” “... face of the white brutalist mass that is the Peerless Inn ..” “.. you’ll witness sheer expanses. You stand across Jawaharlal Nehru road, buzzing with a sea of pistons ...” “... lungs of Kolkata, the Maidan ...” “... of the 42. The prevalent dimensions of forms are rather stupendous ...”

: Varieties in permanence

“... As you walk down the street, nothing but the sky above you ...” “.. the countless colours, textures, and materials take turns to unveil themselves to you ...” “... popping in and out from under the shade, ever so often. The street, in terms of its level and gradient, has been as consistent as it comes in Kolkata ...” “... a red behemoth that is the Hogg Market..” “.. foot have spawned a plethora of stallsrs, entries, ane exits.. “

: Hogg Market and it’s outskirts.

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Art + Photography I didn’t really learn how to draw much, until I went to university.

Early on, in the 1st year, witnessing my peers in action, I began to draw and sketch a tad bit, and I tried my hand at all sorts of mediums. After trying them all out, I ended up quite liking the use of ink for drawing.I learnt photography from my father, and a few friends in college, back in my 2nd year of college, and it has really helped and given me a lot of enjoyment.

Gear - Nikon D3300, edited in Photoshop/Lightroom.

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I hearby declare that all the works in this portfolio are original and true to my knowledge.

I would like to extend my heartfelt gratitude, and thank you, for your time and consideration.

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