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portfolio Barkha Kapoor

2016-2020


India Habitat Centre, J.A Stein. The memory of IHC, as the first building I ever wanted to visit again and again as a 10 year old is still fresh in my mind. I didn’t understand back then the why, but my architecture education has helped me dissect and decode it now. Awareness about context, surroundings, materials, people, communities has all equipped me one way or another to be more aware of myself. I am ever grateful to my teachers, and architects who are bringing a change to this world for inspiring my interest in this field.


www.linkedin.com/in/barkha-kapoor

www.instagram.com/barkhahaha

“In the big picture, architecture is the art and science of making sure that our cities and buildings fit with the way we want to live our lives� Bjarke Ingels. An aspiring and passionate student who believes that architectural design and visualisation is a rigorous yet organic process, focused on resolving issues with creative solutions. Great Architecture is one which is inclusive, responsive and sensitive.

PROFILE Address: E-983 First Floor Chittarnjan Park New Delhi 110019 Mail: barkhaaa98@gmail.com Mobile: 9990359286 DOB: 19 September 1998 EDUCATION 2014

Higher Secondary 10.0 CGPA Delhi Public School, Vasant Kunj

2016

Senior Secondary 86.5% (PCM) Delhi Public School, Vasant Kunj

2016-

B.Arch (120 NATA score) Currently- 4th Year Sushant School of Art & Architecture Gurgaon

2020

SKILL-SET Autocad Advanced

Photoshop Advanced Rhino Beginner

Illustrator Intermediate Revit Beginner Sketchup Advanced

Indesign Intermediate

SPECIALITIES

Hand Graphics

EXTRA-CURRICULAR 2017 2018 2019

ANDC | Fashion Trophy Top 8

Photoshop Collage

ANDC | Fashion Trophy Top 8 Workshop| iPAC Writing Architecture

Digital rendering


01 02 03

The Acre-Age Semester 7 Future of Housing Encore Semester 6 Mixed-use, T.O.D Poshaak Semester 5 Institution


04 05 06

Dissertation The death of the rose window Construction Drawings Selected works, building construction studio. Miscellaneous Personal artworks from 2016-2020


01 The Acre-age focused on group housing at a large scale in the urban setting of Gurgaon.Technology based approach was undertaken for this project. It aimed at reviving farming techniques synonymous with old gurgaon. Along with the typical roti, kapdaa and makaan, Acreage offers a sense of belonging to the locals of Gurgaon which in the current scenario is missing. Vertical stacking of services, by laws, understanding of Floor area ratio along with designing of community spaces were the key factors driving the whole project.


THE ACRE-AGE


PERMACULTURE Permaculture integrates land, resources, people and the environment through mutually beneficial synergies imitating the no waste, closed loop systems seen in diverse natural systems. Permaculture studies and applies holistic solutions that are applicable in rural and urban contexts at any scale. It is a multidisciplinary toolbox including agriculture, water harvesting and hydrology, energy, natural building, forestry, waste management, animal systems, aquaculture, appropriate technology, economics and community development. Acre-age plugs in the technology strand by introducing Permaculture as the project’s backbone. According to FSI 2.5, massing on site, with connections between towers for public interaction as skywalks. Open green at terrace level.

Acre-age design intent. Urban Farming

Locals

Farmers market No transport cost.

Cafe Lo-cal ownership

Traditional farming

Aquaponics

Aquaponics technology required 90% lesser water for the same produce as compared to traditional farming practices. Hence this technique has been adopted in Acre-age as a clean method of farming. Aquaponics though has a high initial set-up cost, is extremely efficient in growing produce like cabage, tomatoes etc. It is a technique where nutrients exchange between food and fish through water.

9%

14%

27%

20%

The towers developed a pixel form, with repeating units to create more open terraces for communit level interaction not only on ground, but all floors.

30%

Contribution of variojus industries towards green house gas emissions. Cycle-loop is a vision where all production and consumption happens within site and hence is self-sufficient.

8x8 grid was followed for convenient parking, and hence the grid was extruded to add greens and run pipes for Aquaponics.

S


Site entry/exit 1

Surface parking

Surface parking Farmers market

9.

Drop - off for blocks

15.

Towards Basement

12.

1.

Aquaponics

11.

Farmland

10.

2.

9.

Farmland

11.

Farmland

Farmland

3. Farmland

4.

14.

Moulsari Avenue Road

13. Drop - off Clubhouse`

Site entry/exit 2 Drop - off Cafe

5.

6.

1. Block Aqua

9. cycle parking 10. Storage/livestock 1 1 . Farmer’s market 12. Golf cart parking 13. Walkway 14. Seasonal Garden 15. Admin. block 16. Clubhouse

2. Block Aero 3. Block Hydro 4. Grocery 5. Cafe Lo-cal 6. Open Gym 7. Basketball court 8. lawn-tennis court 5

10

8. Towards Basement

SITE PLAN

0

7.

16.

15

Spot section through Farmer’s market

25

Spot section through cafe.


The activity pattern on ground. Mughal painting inspired visualisation of walkway area. Cafe Lo-cal at the Moulsari avenue road.

The activity pattern on air. Mid-landing of open staircases serve as collection points. Common terraces after every 2 floors reshape the meaning of community spaces.


SITE-SECTION

0

5

10

15


25


Dwelling 1 3 x 2 BHK 1 x Studio 1 x 4 BHK

Dwelling 6 (E.W.S) 3 x 2 BHK 1 x Studio 1 x 4 BHK

Dwelling 2 3 x 2 BHK 3 x 1 BHK 1 x Studio

Dwelling 5 3 x 2 BHK 1 x Studio 1 x 4 BHK

1 x 3 BHK

1 x 3 BHK

TOWER- AQUA

1 x 3 BHK

TOWER- HYDRO

Dwelling 3 2 x 2 BHK 3 x Studio 1 x 1 BHK

Dwelling 4 3x 2 BHK 2 x Studio 1 x 3 BHK 1 x 1 BHK

TOWER- AERO


site area : 34741 SQM FSI : 2.5 coverage : 20%

Built up : 86852.5 SQM

2 BHK

2 BHK

- 120 sqm

- 120 sqm

3 BHK

1 BHK

- 180 sqm

- 80 sqm

studio

4 BHK

- 80 sqm

- 240 sqm

studio : 180 units 1 BHK : 180 units 2 BHK : 215 units 3 BHK : 80 units

4 BHK : 125 units

studio : 80 SQM 1 BHK : 80 SQM 2 BHK : 120 SQM 3 BHK : 180 SQM

4 BHK : 240 SQM

studio : 1 BHK : 2 BHK : 3 BHK :

900 ppl 900 ppl 1075 ppl 400 ppl

4 BHK : 125 ppl


02 Encore at Nehru Place is a mixed use project aiming for a holistic pedestrian experience and an international hub for shopping. The idea of Transit Oriented Development plugs in and hence the density dealt with is large. The idea of clubbing certain functions like hotel, retail, office etc, efficiently makes Encore a wholesome experience.

E


NCORE


MASSING C 4.

3.

2.

D

E

B

A 5.

A

NE

U HR

PL

A

M CE

ET

RO

ZONING A KA

LK

AJ

I M

ET

6.

RO

The front of the site connected to the main road, according to TOD can have no setback, hence this area is dedicated for active frontage along with a public realm inviting inside the site.

1.

The hotel enjoys views of Aastha Shanti Kunj Park and lotus temple. Whereas most of the residence is park facing and on top most floors of Encore. Perforations in the market at front enable users to seep in the site.

1. 2. 3. 4. 5. 6.

A B C Vehicular entry D Pedestrian entry E

M E T R O STATION OFFICE FABRIC MARKET POST OFFICE MTNL BUILDING A A S T HA PARK

RETAIL HOTEL RESIDENCE OFFICE DABBA-WALI CAFE

The massing is such that there is a balance between heights, adjacent to that of the context. Most of the public realm/ active frontage is human scale and the scale gradually increases on entering the site.


O

UNDERSTANDING THE CONTEXT:NEHRU P

The context of Nehru place is rich and diverse. With daily hustle bustle owing to Nehru place metro station, Asia’s biggest computer market and cloth market, people are always on the move. Though its so vibrant and fluid, the place is mostly enjoyed by men and is rather unsafe for women due to less no. of women centric functions and welcoming public spaces.

TRANSIT ORIENTED DEVELOPMENT

E

The idea of transit oriented development sits beautifully in the context of Nehru place due to two major metro stations present in its vicinity. It is within reach, but is it reaching a destination? Its a place being merely used for the function it offers, but is lacking in acommadating pedestrians. Hence with the concept of transit oriented development, Encore was able to achieve walkability and active frontage. Eyes on the street concept works for combating the safety concerns. To increase particpation of women D A B B A W A L i cafe is introduced, where women can learn and earn.


SITE PLAN

S.NO. 1 1A

1B 1C 1D 1E 1F 2 2A 2B 2C 2D 2E 2F 2G 2H 2I

0

5

SPACE RETAIL SHOPPING BLOCK A -1 CAFE -2 ANCHOR STORES -5 UTILITY SHOPS BACK TO BA SHOPPING BLOCK B - 6 CLOTHING STORES SHOPPING BLOCK C -3 UTILITY and3 EATERIES SMALL CAFE SHOPPING BLOCK E - 6 BOUTIQUES SHOPPING BLOCK F - UTILITY and EATERIES HOTEL ENTRANCE FOYER RECEPTION DESK -LIFTS TO BANQUET CONCIERGE PRIVATE LOUNGE SOUVENIR SHOP CLOAK ROOM WASHROOMS OFFICE CORE - 4 LIFTS

10

15

25


Groundfloor Hotel

PLANS

- Retail -Foyer -24hour coffee shop -reception and lobby

Typical type 1 Hotel

First floor plan Hotel

-Dabba-wali cafe -Theme retaurant

First floor plan

Typical type 2 Hotel

office

- bakery institute -Dabbawali

Second floor plan

Typical type 3

AREA

Office

Hotel

-Meeting rooms -0ffice core

-executive suites

400SQM

Upper floors

SECTION

ACK) 256 SQM 200SQM 64 SQM 200SQM 256SQM

Swimming pool and gym 32SQM 160SQM 20SQM 64 SQM 32 SQM 16SQM 80SQM 24SQM 60SQM

Typical 2 Typical 1 Cafe/ restaurant

Executive floor Retail Parking

office connection

Parking


The sens tail being The idea spect to trees pro The trans spaces w nated are


se of arrival at ENCORE NEHRU PLACE can be seen in the view above. The reg activated on the ground level ensures human activity and social interaction. of permeablity is explored on the front strip connected to the main road with reT.O.D guidelines. The pedestrian friendly experience is of utmost importance. The ovide the buffer from the main road, with cafes on the footpath ensuring activity. sition space between the office and hotel is a series of shaded and open to sky with required seating so that the site remains activated throughout. A desigea of hawker zones like Chai garam, Chaayos etc is also given to the offices.


POSHAAK


03 Poshaak aims at revival of traditional textiles; creating a fashion village to foster collaboration between designers and craftsmen. Located in Pragati Maidan, the intent of the project was to devise a program to increase footfall in the museum as the potential of the museum in the current scenario is not being tapped to its full potential. The spaces are designed in a way that not only art and crafts enthusiasts but people who want to do retail therapy can have a good time.


POSHAAK:FASHION VILLAGE

CONCEPT

The national crafts and handloom museum located in Pragati Maiadan was the site. The lack of footfall was the main issue along with participation of women as craftspersons. The idea of promoting crafts which were dying needed to have some kind of reinforcement. A collaboration between craftsmen and designers was needed along with hands on activities for visitors in order to act as magnets and attract footfall. The existing built was taken in consideration while devicing programs and designing spaces. Customer

+

Designer

Craftsman

Craftsman Fashion

Designer

Product

Bridging the gap between designers and craftsmen by ensuring customers on site.

Customer Designer

Craftsman

Accessory

Above are the views of the existing museum. The dull entries and lack of activity can be the major reasons for less footfall. The central spine area has a tree shelter and is relatively cooler as compared to other dead-ends and pockets and is compara-

RECREATIONAL Bazaar

tively more active.

Bazaar O.A.T

exhibition

collection point entry

Hostel for craftsmen

AUDITORIUM

Admin entry collection point

Meeting Halls

Backstage

COLLABORATION

ADMINISTRATION

O. A. T collection point

Entry/Foyer

LEARNING

ADMIN

Workshop

COLLABORATION

Sampling

entry collection point

LEARNING

Auditorium

AUDITORIUM

entry Bazaar

RECREATIONAL

Handloom Dyeing

Store

Craftsmen

Designer

Entry

Exhibition Printing Weaving

The above diagrams depict the linkage and overlaps of spaces with one another. The devised area prograam is born out of the dire need of the lack of footfall. Programs such as workshops in the learning centre are introduced for visitors.


ACTIVITY MAPPING

DEMOGRAPHICS Handloom

Hostel

The diagrams show the no. of visitors in existing placeson morning noon and evening. It can be drawn out from the data that the most popular place to visit in the current scenario is the lota cafe. The cafe being on the main road lacks connect with the interior part of the museum. The no. of men and women both

Exhibition

Central spine

Library

Lota cafe

visiting are equal.

L

M K

SITE PLAN

N

I P

Q

J G

H

O

T

U

F

R S

E D

B A C

A B C D E F G H I J k

Entrance lobby block poshaak Designer studio craftsmen studio Designer sampling Backstage Auditorium for fashion show Lobby/foyer for audi Terrace for afterparty Open Air theatre for kathputli art Tattoo/ piercing shops

K L M N O P Q R S T U

Gali bazaar mini exhibition area Shilpghar (hostel for craftsmen) Admin block Hunar block entrance Embroidery Exhibition Weaving Printing Cloth shops Info centre 0

5

10

15

25


SITE SECTION

POSHAAK BLOCK


NUMAISH-HALL


DI SSE R TAT I O N


The Death Of the Rose Window Year: Guide: Co-ordinator: Published by : Acknowledgements: Inspiration: Duration:

Understanding the stained glass technique, decoding the reasons of death by studying entire life cycle.

2019-2020 Rahat Varma (Assistant Professor) Radha Dayal (Associate Professor) Sushant School of Art and Architecture Direct Create, Shankar Glass house, Sikanderpur Notre-Dame,Paris. 6 months

Abstract

The rose window has been a significant architectural feature in the great, grand churches and cathedrals of the Gothic period. Color, light, transparency and intricate geometric patterns are certain key principles on which the rose window is born out of. The intention of this study is to decode various possible relationships between the material ‘stained glass’ and the product the ‘rose window’. The study will further explore the reasons of decline of this extravagant and intricate craft all around the globe. This will entail the exploration of origin and popularity of stained glass, the techniques of making stained glass, the fabrication of a rose window and its traditional and cultural relevance. Numerous conventional and unconventional uses of stained glass will be discussed. The fading away of stained-glass technique will also be kept under the microscope to get cues about the decline of the craft. The redundancy of rose windows will be taken account for with the factors contributing to it.

Findings of study

The reason for this redundancy can be threefold:

5.1 Mass production

Mass production is responsible for the decline of many crafts. As soon as one element becomes machine-made, the cost comes down, it is readily available and extremely replaceable. A similar situation happened in terms of the technique of stained glass, sheet glass was made available readily. This led to architects opting for more glass-based facades rather than just windows. The amount of glass required and the scale changed. Hence stained glass wasn’t able to survive this cut throat competition. As its still unclear whether mass production was entirely the cause for decline, where it could have been an accelerator for the craft too, it is crucial to understand the following.

5.2 Change in lifestyle, typology, preferences

With multiple movements throughout the timeline, it is always seen that there is a shift and a revival. The fact that stained-glass technique has only seen shifts but no revival can be a product of the change in lifestyle of the people. Cleaner and more purist forms are always chosen over intricate details in today’s world. But the problem lies with the cladding of these forms, for most of them glazing is being done which has made buildings extremely alike and dull. Glazing is available easily, very convenient to apply and is cheaper too, but is pointing at a major issue. The lack of identity and individuality in buildings today. Especially in office buildings where millennials spend most of their time. They spend all their lives in a glass box, which looks like any other glass box! Hence efforts should be made by architects and designers to fully and efficiently explore this technique of the past and fuse it with modern day preferences to create something extremely unique and exquisite.

5.3 Lack of advancement in technology

It is a dire need for more and more architects and designers to take up this field, and try reviving this craft to unlock the various possibilities that lie today. It is much easier to get the elements, to cut glass even. Following are the learnings from an elective session with Direct Create firm: - With the availability of glass blocks, an entire 3D structure of glass using a similar technique to stained glass can be built. -Stained glass can be machine-made too, with larger size of each cut glass piece. -The idea of changing the scale of the products can also contribute to its popularity. -The price point is eventually going to drop with the increased popularity of the technique.

Conclusion

Though the cultural implication of a rose window is engraved in it, and the typecast of circular intricate form allowing light inside is symbolic with respect to the church, the dilution of this form isn’t being used at full potential. Though the great churches in the world are bejewelled with Rose Windows, the idea of using stained glass in day to day life, as a utility is missing. The case studies discussed previously, showcase the journey of the rose window, depicting on how the intricacy diluted to more rectangular and squarish shapes to how it went again to an organic form. The lack of interest in reviving this skill/artform by architects and people in general is what makes this a delicate situation. Brink of redundancy will push stained glass technique soon to being an antique feature, which would further increase the gap in terms of both, the cost and the will to have a stained-glass panel. As conscious architects and designers we should come up with ways to revive this technique due to the cultural manifestation behind it and also the priceless aesthetic value it adds to mundane human life.


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CONSTRUCT

A collection of various construction d case, toilet, door window details and handloom museum project: Poshaak


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TION DRAWINGS

drawings throughout the semester including staird plans section elevation for National crafts and k.

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kota stone

paint over paint over plaster plaster

D1 AR-DETAIL-03

DOWN

L

+9200

kota stone

2140 X 2010

LIFT

NOSING 25MM

SCHEDULE OF DOORS TYPE

+6790

paint over paint over plaster plaster

D1 AR-DETAIL-03

1800 X 1000

PLUMBING

D1 AR-DETAIL-03

REMARKS

LINTEL WIDTH

D1

+7960

SCALE 1:50

P

2900 6130

66 65 64 63 78 77 76 75

+5600

paint over paint over plaster plaster

STAIRCASE SECTION

8130

NOSING 25MM

UP

DOWN

03

+5600

67 68 69 70 71 72 73 74

6130

50 49 48 47 62 61 60 59

1200 X 600

FHC

2900

2900 8130

-

51 52 53 54 55 56 57 58

F

ST-1

+4350

MID LANDING 1 1100

1200 X 600

ELECTRIC

4200

ST-1

ST-1

GROUND FLOOR +750

BAL

1270

8130

MID LANDING 2 +1810

BAL

1270

4200

6130

1270

SINGLE

1000

2400

SHUTTER DOUBLE

D2

2400

1800

D3

2400

2000

SHUTTER WOODEN DOUBLE SHUTTER

HAND RAIL DIA 30MM

115 MM BRICK WALL

4940

4940

4940

SCHEDULE OF WINDOWS

STAIRCASE PLAN AT FIRST FLOOR LVL SCALE 1:50

STEEL BALUSTER 50 X 30 CAPPING

STAIRCASE PLAN AT MID LANDING 6 SCALE 1:50

STAIRCASE PLAN AT SECOND FLOOR SCALE 1:50

115 MM BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

KOTA FLOOR

115 MM BRICK WALL

20 MM MORTAR

115 MM BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

100 MM TRIMIX 100 MM PCC

RISER OF BRICK

115 MM BRICK WALL

400 MM SANDFILL

RCC SLAB 150MM

600

W3

1800

WINDOW

DATE

SLITS

REVISION

CORNER WINDOW

REMARKS

REVISIONS PROJECT

TITLE

STAIRCASE PLAN ,SECTION AND DETAILS AR-DETAIL-01

115 MM BRICK WALL

115 MM BRICK WALL

1200

W2

20 MM MORTAR

115 MM BRICK WALL

STRINGER FOLDING

STEEL BASE

115 MM BRICK WALL

115 MM BRICK WALL

WAIST SLAB 150 MM

FRENCH

W1

NOSING 25MM KOTA FLOOR

115 MM BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

REMARKS

TYPE LINTEL WIDTH

RCC RAFT

115 MM BRICK WALL

STRINGER RCC ARCHITECT

20 MM SCREED WATERPROOFING 150 MM PCC 115 MM BRICK WALL

115 MM BRICK WALL

DETAIL- A

DETAIL- B

SCALE 1:2

SCALE 1:10

DETAIL- C

SCALE 1:5

SCALE

DATE

DWG NO.

MADE BY

SIGN

AR-DETAIL-01

REV NO.

BARKHA KAPOOR

NOTES

Ai

Ah

Ag

Af

Ae

Ad

Ac

Ab

Aa

115 MM BRICK WALL 115 MM BRICK WALL

40 MM KOTA STONE

115 MM BRICK WALL

MUMPTY LVL +12650

PARAPET +10550 TERRACE +9500 MID LANDING 7 +9200 MID LANDING 6 +7960

40 MM KOTA STONE

A

115 MM BRICK WALL

A' B

300 MM RETAINING WALL 115 MM BRICK WALL

115 MM BRICK WALL 115 MM BRICK WALL

20 MM FLOORING

115 MM BRICK WALL

DETAIL A

B'

40 MM SCREED

115 MM BRICK WALL

MID LANDING 5 +6790

KEY PLAN

FIRST FINISH LVL +5600

SCHEDULE OF SHAFTS

MID LANDING 4 +4350 MEZZANINE +3260

20MM MORTAR

115 MM BRICK WALL

115 MM BRICK WALL

100 MM PCC 115 MM BRICK WALL

NUMBER

NAME

E

115 MM BRICK WALL

100 MM TRIMIX

MID LANDING 2 +1800 BLOCK PLINTH +750 +450 SITE PLINTH NGL +00 MID LANDING 1 -1110

DETAIL C

CONFIGURATION

NOTES

1200 X 600

ELECTRIC

F

400 MM SANDFILL

1200 X 600

FHC

P 115 MM BRICK WALL

1800 X 1000

PLUMBING

RCC RAFT

L -2760

115 MM BRICK WALL

DETAIL B 115 MM BRICK WALL

2140 X 2010

LIFT

20 MM SCREED WATERPROOFING

150 MM PCC

115 MM BRICK WALL

SCHEDULE OF DOORS 20 MM FLOORING

115 MM BRICK WALL

DETAIL BB' SCALE 1:10 SECTION AA" SCALE 1:100

20MM MORTAR 100 MM TRIMIX 100 MM PCC 115 MM BRICK WALL

TYPE

LINTEL WIDTH

REMARKS SINGLE

D1

2400

1000

D2

2400

1800

D3

2400

2000

SHUTTER

115 MM BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

400 MM SANDFILL

RCC RAFT 20 MM SCREED

SHUTTER WOODEN DOUBLE SHUTTER

115 MM BRICK WALL

A9

A8

A7

A6

A5

A4

A3

A2

A1

115 MM BRICK WALL

A10

WATERPROOFING 150 MM PCC 115 MM BRICK WALL

115 MM BRICK WALL

SCHEDULE OF WINDOWS

DETAIL CC' SCALE 1:5

TYPE LINTEL WIDTH

MUMPTY LVL +12650 115 MM BRICK WALL

COPING PCC (100 X 75)

PARAPET +10550

MACHINE ROOM +9500

W1

1200

W2

600

REMARKS FRENCH WINDOW

W3

SLITS

1800

CORNER WINDOW

115 MM BRICK WALL

DRIP COURSE (10X10) 115 MM BRICK WALL

115 MM BRICK WALL

FIRST FLOOR FINISH LVL +5600

300 MM PARAPET WALL

PLASTER 10 MM

20 MM REFLECTING TILES

115 MM BRICK WALL

A11

DOUBLE

GROUND FLOOR +750 NGL +00 -

115 MM BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

BASEMENT FINISH -2760

115 MM BRICK WALL

115 MM BRICK WALL

LIFT PIT -6200

115 MM BRICK WALL

SECTION BB" SCALE 1:100 DETAIL AA' SCALE 1:10

GOLA100X100 20 MM MORTAR

DATE

REVISION

REMARKS

REVISIONS PROJECT

75 MM PCC 200 MM MUD PHASKA 50 X 50 CLEAT 150 MM SLAB

500 MM BEAM

TITLE BUILDING SECTION AR-SEC-01

ARCHITECT

SCALE

DATE

MADE BY

SIGN

BARKHA KAPOOR

DWG NO. AR-SEC-01

REV NO.


D4

B'

1050

900

1120

1400

1410 AR-DETAIL-03

2930

REFLECTED CEILING PLAN SCALE 1:50

FIRST FLOOR LEVEL

115 MM BRICK WALL

KEY PLAN

FIRST FLOOR LEVEL

1010

115 MM BRICK WALL

D4

AR-DETAIL-03

2930

TOILET FLOORING PLAN SCALE 1:50

C'

10 mm drop

D4

2090

AR-DETAIL-03

AR-DETAIL-03

1050

4200 1050

900

1100

1400

1500

10 mm drop

D4

AR-DETAIL-03

TOILET PLAN SCALE 1:50

1050

900

1850

1000 900

1050

2260

10 mm drop

10 mm drop

D4

2090

D4

AR-DETAIL-03

1500

D'

10 mm drop

10 mm drop

1400

730 1050

890

4200

940

1410 1050

1500

2090

690

890

1050

1850

940

4200

940

2260

940

D5 xx

D

ST-1 TREAD 300 RISER 150 WIDTH 1800

2960

2960

5400

5400

D5 xx

1050

940

4200

4200

1050

D5 xx

2260

1000

A'

940

D5 xx

NOTES

9670

2960

2960

550

D5 xx

1850

D5 xx

Af

PLUMBING SHAFT

9670

2960

Ag

Ah

Ai

PLUMBING SHAFT

9670

2960

A

Af

900

PLUMBING SHAFT

Ag

Ah

Ai

900

Af

C

4200

Ag

Ah

Ai

B

115 MM BRICK WALL

SCHEDULE OF SHAFTS

LINTEL RCC SLAB

300 X 300 CERAMIC TILES

115 MM BRICK WALL

2520

690

115 MM BRICK WALL

300 X 300 CERAMIC TILES

NUMBER

NAME

CONFIGURATION

E

1200 X 600

3190

ELECTRIC

F

FRAME 50X50

2500

2500

2500

FHC

115 MM BRICK WALL

600X600 VITRIFIED TILES ON 20 MM MORTAR 115 MM BRICK WALL

SECTION AA' SCALE 1:50

940 820

670

750

670

P 115 MM BRICK WALL

600X600 VITRIFIED TILES ON 20 MM MORTAR 115 MM BRICK WALL

115 MM BRICK WALL

SECTION DD' SCALE 1:50

300 MM SUNK LIGHT WEIGHT FILLING

FIRST FLOOR LEVEL

1800 X 1000

PLUMBING

150 MM RCC SLAB

115 MM BRICK WALL

115 MM BRICK WALL

330

330

670

670

1680

2500

2500

740

960

670

1200 X 600

115 MM BRICK WALL

115 MM BRICK WALL

150 MM RCC SLAB

L

FANLIGHT

2140 X 2010

LIFT

300 MM SUNK

LIGHT WEIGHT FILLING 115 MM BRICK WALL

FIRST FLOOR LEVEL

115 MM BRICK WALL

FRAME 50X50

SCHEDULE OF DOORS TYPE

6MM GLASS

115 MM BRICK WALL

115 MM BRICK WALL

300 X 300 CERAMIC TILES

115 MM BRICK WALL

3760

SIL RCC

SINGLE

1000

2400

SHUTTER DOUBLE

D2

2400

1800

D3

2400

2000

SHUTTER WOODEN DOUBLE SHUTTER

2100

2500

1200

115 MM BRICK WALL

REMARKS

LINTEL WIDTH

D1

300 X 300 CERAMIC TILES

990

1230

760

520

330

520

230

115 MM BRICK WALL

SECTION CC' SCALE 1:50

VENTILATOR DETAIL SCALE 1:5

920

600X600 VITRIFIED TILES ON 20 MM MORTAR

600X600 VITRIFIED TILES ON 20 MM MORTAR

115 MM BRICK WALL

115 MM BRICK WALL

SCHEDULE OF WINDOWS

115 MM BRICK WALL

SECTION BB' SCALE 1:50

300 MM SUNK

115 MM BRICK WALL

LIGHT WEIGHT FILLING

REMARKS

TYPE LINTEL WIDTH

150 MM RCC SLAB

150 MM RCC SLAB

300 MM SUNK

RAWL PLUG AND FASTENER

115 MM BRICK WALL

FRENCH

W1

1200

W2

600

W3

1800

WINDOW

LIGHT WEIGHT FILLING

STAINLESS STEEL BRACKET

WALL

DATE 115 MM BRICK WALL

SLITS CORNER WINDOW

REVISION

BRICK WALL

REMARKS

REVISIONS

PHENOLIC PANEL

PROJECT 4MM SCREW

STAINLESS STEEL BRACKET

115 MM BRICK WALL

BRACKET

115 MM BRICK WALL

600X600 VITRIFIED TILES

TITLE

ON 20 MM MORTAR

MIRROR

115 MM BRICK WALL

STAINLESS STEEL BRACKET

115 MM BRICK WALL

STAINLESS STEEL HINGE WOODEN FRAME 115 MM BRICK WALL

115 MM BRICK WALL

300 MM SUNK

BRICK WALL

115 MM BRICK WALL

115 MM BRICK WALL

ARCHITECT

150 MM RCC SLAB

300MM

MIRROR FIXING DETAIL SCALE 1:2

PILASTER

E

DWG NO.

SIGN

AR-DETAIL-02

REV NO.

NOTES

F

9080

DATE

MADE BY

45 12

33520

SCALE

BARKHA KAPOOR

10850

65

100

35

D

INSWING DOOR

OUT SWING DOOR

WC PARTITION DETAIL SCALE 1:5

SUNKEN SLAB DETAIL SCALE 1:5

11420

TOILET PLAN ,SECTION AND DETAILS AR-DETAIL-02

STEP BOLT AND BARREL NUT

LIGHT WEIGHT FILLING

5050

A'

45

35

5050

4840

60

A

PROFILE A

30

100

15

35

MULLION 45 75

PROFILE B

35

45

11210

10120

11210

65

15

B

B'

75

PROFILE 3

WINDOW SHUTTER FRAME OF WINDOW 12MM THK PLASTER

20510

W8 DETAIL

10000

9000

11700

C

C'

ELEVATION D3, SCALE:1:10 W4

SECTIONDD' SCALE:1:10

B

SECTIONEE' SCALE:1:10

SECTIONFF' SCALE:1:10

SCHEDULE OF SHAFTS NUMBER

NAME

CONFIGURATION

E ELECTRIC

1200 X 600

F

1200 X 600

FHC P PLUMBING L

A

1800 X 1000

2140 X 2010

LIFT

A' SCHEDULE OF COLUMNS CONFIGURATION

NUMBER

NAME

450

C1

450

120 330 450

450

220

SECTIONAA' SCALE:1:10

330

450 450

220 330

DETAIL A

89

C2

47

C3

64

7560

B' ELEVATION (D1)

SECTION BB' SCHEDULE OF DOORS TYPE

PLAN AA'

OUTSIDE SECTIONBB' SCALE:1:10

REMARKS

LINTEL WIDTH 2400

1000

D2

2400

1800

D3

3000

2000

D1

INSIDE

SINGLE SHUTTER DOUBLE SHUTTER WOODEN DOUBLE SHUTTER

SCHEDULE OF WINDOWS TYPE

DETAIL B

FRENCH WINDOW

1200 600

SLITS

W3

1800

CORNER WINDOW

DATE

INSIDE

REMARKS

LINTEL WIDTH

W1 W2

REVISION

REMARKS

REVISIONS

1342,81

PROJECT 1400

B

OUTSIDE

480

2600

A

SECTIONCC' SCALE:1:10

DOOR WINDOW DETAIL AR-DETAIL-03

1825

ELEVATION (W2)

DETAIL C

SECTION BB' SCALE

C

PLAN A-A'

DATE

MADE BY

BARKHA KAPOOR

DWG NO. SIGN AR-DETAIL-03

REV NO.


50

TR S R EA T-4 W ISE D ID R 30 TH 1 0 5 18 0 00

50

m

p pa las int ter ov er p pa las ble int ter ov er 23

D2 AR-DETAIL-03

ar

L

BA

L

BA 71 0

-4

ST

45 0

UP

0

AR-DETAIL-03

N

28

30

W

DO

00

15

00

dro p

64

m

P

10

m

22

60

20

00

15

70

39

00

r

ste

pla

22 pa in pla t ov ve ste er trif pa r ied in pla t ov ste er r

89

0

78 0

66 0

15 30

45 0

67

D2

D1 AR-DETAIL-03

70

m

15

m

00

dro

p

39 60

0

15

18

D3 xx D2

20

60

10

+600

E

AR-DETAIL-03

F

0

42

0

Bl

75

60

93

0

27

16

72

0

+3000

p pa las int ter ov er rp et

ca

20

L

B6

BA

'

B

AR-DETAIL-03

0

76

18

BA

10

Bg Bf

24

0

23 5

' B4

L BA

80

3210

B5

0 61 32

Be

B4

D2

BAL

AR-DETAIL-03

vetrified tiles

08

D1 AR-DETAIL-03

1340

paint over paint over plaster plaster

B3

Bd

Bc

4200

1850

B2

2960

2260P

Bb 1500

150

10 mm drop

10 mm drop

2090

4200

30

00

26

10

44

64

pa in pla t o ste ver r pa KO TA pla int o ste ve r r 19

1530

970

B1

2510

03

kota stone

W5 AR-DETAIL-03

970

paint over paint over plaster plaster

BAL

970

0

98

42

D1 AR-DETAIL-03

Ba

Bh

24

+1050 D2 AR-DETAIL-03

80

Bi

L

70

BAL

-B

LO

D1

B5

CK

Bj D1 AR-DETAIL-03

cla d tim ding be r

TRE RIS WID

Ai

Ah

A

Bk


NOTES

D

C

B A

SCHEDULE OF SHAFTS NAME

CONFIGURATION

E

B7

ELECTRIC F

NUMBER 1200 X 600 1200 X 600

FHC

P 1800 X 1000 PLUMBING L

2950

2140 X 2010

LIFT

A11

W4

BAL

6

AR-DETAIL-03

A10

ST'-2 TREAD 300 RISER 150 WIDTH 1500

SCHEDULE OF COLUMNS CONFIGURATION 330

220

D2 AR-DETAIL-03

330

220

330

1490

1260

+3400

BAL

W2

A7

AR-DETAIL-03

A6 BAL

W2

Granite

02

AR-DETAIL-03

+900

paint over paint over plaster plaster

W2

2400

1800

D3

3000

2000

WOODEN DOUBLE SHUTTER

830

W3 AR-DETAIL-03

W2 AR-DETAIL-03

2460

W3 AR-DETAIL-03

1630

900

BAL

ST'-1 TREAD 300 RISER 150 WIDTH 1500 BAL

LINTEL WIDTH REMARKS FRENCH WINDOW

W1

1200

W2

600

SLITS

W3

1800

CORNER WINDOW

A4

BAL

1320

660

A5

970

9350

W3 AR-DETAIL-03

SCHEDULE OF WINDOWS TYPE

AR-DETAIL-03

BLOCK - A BAL

D2

REMARKS SHUTTER DOUBLE SHUTTER

1670

930 270

1980

F

00

UP

6130

W2

AR-DETAIL-03

wooden

06

paint over paint over plaster plaster

ST-1

A3

920

UP

W2

+3400

AR-DETAIL-03

BAL

1100

DOWN

ST-1 EAD 300 SER 150 DTH 1800

Ag

64

2400 1000

D1

1330

D1 AR-DETAIL-03

D1

C3

LINTEL WIDTH

TYPE

AR-DETAIL-03

2960

AR-DETAIL-03

47

SCHEDULE OF DOORS

W2 AR-DETAIL-03

W2

420

89

C2

A8

560

wooden

1030

AR-DETAIL-03

paint over paint over plaster plaster

E

NUMBER

C1

paint over paint over plaster plaster

W2

350

450

450

marble

04

paint over paint over plaster plaster

07

450

450

Granite

05

NAME

450

1260

BAL

450

A9

120

UP

01

A2

W2

granite

DATE

AR-DETAIL-03

W1 AR-DETAIL-03

2300

BAL

W1 AR-DETAIL-03

1720

2090

BAL

PROJECT

AR-DETAIL-03

W1 AR-DETAIL-03

BAL

REMARKS

REVISIONS

W2 380

1210

REVISION

690

paint over paint over plaster plaster

A1 TITLE

GROUND FLOOR WORKING PLAN AR-PL-02

ARCHITECT

Af

Ae

Ad

Ac

Ab

Aa

SCALE

DATE

MADE BY

SIGN

BARKHA KAPOOR

DWG NO. AR-PL-02

REV NO.


A3

A2

A1

A4

A6

A5

A7

A9

A8

A10

A11

CONCRETE

MUMPTY 12650

BRICK CLADDING

PANELS

PARAPET 10550 TERRACE +9550 LINTEL6 +9000 LINTEL5 +8200 LINTEL4 +7800

-10200

-7495

+-00

SILL 2 +6000 F.F.L +5550

PAINT OVER PLASTER

LINTEL2 +4500 LINTEL2 +3850 LINTEL1 +3400

-15200 SILL +1650

W2 DETAIL

ELEVATION -A BLOCK-A

AR-DETAIL-03

Aa

Ab

Ac

Ad

Ae

PLINTH +450 NGL +00 -

W2 DETAIL

AR-DETAIL-03

Ag

Af

Ah

Ai

MUMPTY 12650

CONCRETE PANELS

PARAPET +10550

CON PAN

TERRACE +9550 LINTEL 5 +4000 LINTEL 4 +750 SILL LVL 5 +7800

BRICK CLADDING

PAINT OVER PLASTER -7495

SILL LVL 4 +6220

+-00

FIRST FLOOR +5500 LINTEL 3 +4700 LINTEL 2 +4000 SILL LVL 3 +3630 SILL LVL 2/ LINTEL1 +3000

SILL LVL 1 +1800 PLINTH +450 PLINTH PROTECTION

W2' DETAIL

AR-DETAIL-03

D2 DETAIL

AR-DETAIL-03

ELEVATION -B BLOCK-B

+100 NGL +00 -

PA OV PL


NOTES

B

C

A11

A D

A8

A6

A7

A4

A5

A3

A2

A1

KEY PLAN

CONCRETE PANELS

MUMPTY 12650

SCHEDULE OF SHAFTS CONFIGURATION

NUMBER

NAME

E

NOTES

LINTEL LVL 7 11330

SILL LVL 5 +10700 TERRACE +10550

1200 X 600

ELECTRIC

F

1200 X 600

LINTEL LVL 6 +8550

FHC

BRICK

LINTEL LVL 5 +8050

P

CLADDING

NCRETE NELS

AINT VER LASTER

A9

A10

1800 X 1000

SIL LVL 4 +7050

PLUMBING

LINTEL LVL 4 +6550

L

-7495

FIRST FLOOR +5500

2140 X 2010

LINTEL LVL 3 +4650

LIFT

LINTEL LVL 2 +4150 SILL LVL 2 +3150

-7495

SCHEDULE OF DOORS

Ai

2400

1000

D2

2400

1800

D3

2400

2000

Ah

Ag

SINGLE SHUTTER DOUBLE

PLINTH +450 NGL +00 -

W5 DETAIL

ELEVATION -C BLOCK-A

AR-DETAIL-03

SHUTTER WOODEN DOUBLE SHUTTER

Ad

Ae

Af

SILL LVL 1 +1800

+-00

REMARKS

TYPE LINTEL WIDTH W2' DETAIL

AR-DETAIL-03D1

LINTEL LVL 1 +2650

-7495

Ab

Ac

Aa

SCHEDULE OF WINDOWS TYPE LINTEL WIDTH W1

2100

W2

2100

W3

2100

1200

W4-7495 2100 W5

REMARKS

BRICK FRENCH CLADDING WINDOW

1500

FRENCH WINDOW

1800

WINDOW

FRENCH

1500

PARAPET +10550

CORNER

1800

2400

MUMPTY 12650

TERRACE +9550

WINDOW

LINTEL LVL 3 +9070

PRESSED STEEL

SILL LVL 2 +6070 FIRST FLOOR +5500

-7495

DATE

REVISION

+-00

REMARKS

LINTEL LVL 2 +4640

LINTEL LVL 1 +3400

REVISIONS PROJECT

SILL LVL 1 +1800 PLINTH +450

TITLE BUILDING ELEVATION AR-EL-01

W2' DETAIL

AR-DETAIL-03

ELEVATION -D BLOCK-A

ARCHITECT

SCALE

DATE

DWG NO.

SIGN

AR-EL-01

1:100

MADE BY BARKHA KAPOOR

REV NO.

NGL +00 -


D I R E C T- C R E A T E ( E L E C T I V E )


EMPOWERMENT

ECLECTICISM

Empowerment. Draped in purple, the color of royalty. The perfect balance between warm and cool toned color is connected to the nature of women. Along with an amalgamation of organic and stark geometric shapes, The Woman.

Ecletic. Borrowing from all, making it our own. Eclecticism has been a movement of experiments, some work some work well. The design constitutes of features from cubism and art deco to form something completely unique. The brown tones connect everything back to the earth.

ANNUAL NASA DESIGN CONVENTION

ISTAN BUL-

BH IN DI- ME DI UM

Vegetable exploration exercise done in First Year. Here visualisation of bhindi as a space was done.

O RH A N PA M U K

F A S H I O N T R O P H Y ( 2017 and 2018) After reading Istanbul by Orhan Pamuk, the narrative was conceptualised as a 2D graphic and 3D model.


HAND GRAPHICS

ON SITE SKE TCH ES

Nehru Place, Chaiwaalas

National handicrafts museum, Pragati Maidan.

National handicrafts museum, Pragati Maidan. Iskcon Temple, East of Kailash

Iskcon Temple, East of Kailash


Collage making using old magazines was the task. Social media lingo was chosen as the subject.A dictionary of terms which are extremely relevant today was taken as the theme of this exercise.Whether its understanding aesthetics, FOMO, queer or Wanderlust, I got you covered.

FINE- ART S

PHOTOGRAPHY


f i n.

Profile for Barkha Kapoor

Barkha Kapoor | Architecture Portfolio 2016-2020  

Sushant School of Art and Architecture (SSAA) - Selected works from 2016-2020.

Barkha Kapoor | Architecture Portfolio 2016-2020  

Sushant School of Art and Architecture (SSAA) - Selected works from 2016-2020.

Profile for brkap
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