Excellence Awards Catalog - Spring 2022

EXCELLENCE AWARDS

About TLC

CEPT University set up the Teaching and Learning Center (TLC) to support and strengthen new directions in pedagogy and learning. The role of TLC is that of a facilitator and a collaborator. It supports the functioning of the ‘Course Approval Committee’ as its secretariat and functions under the guidance of the Deputy Provost (Academics).

TLC facilitates the following:

1) Preparation for studio units and courses through structured workshops.

2) Innovation in teaching methods by partnering with faculty members.

3) Faculty development through Online learning resources and peer learning.

For more information please visit the website of the Teaching and Learning Center at https://cept.ac.in/tlc

CEPT EXCELLENCE AWARDS

Contents

About CEPT University Excellence Awards 7

A note from the Chair of the selection panel 8 L2/ L3 Studio Units 11

Student Projects

Nambarai 14 Sivatmika J

A Residence In Jada Bhagat Ni Pol 20 Shreeya Ajay Luharuka Kinstugi: Rekindling The Roots 26 Divyanshi Tulsian Labyrinth 32 Sanklecha Dhwani Manoj Avian Arc 38 Nanditha Meria Francis

Linear Delineation: Between Lines And Silhouettes 44 Aarunima Singh

Establishing The Lost Relationships Of An Iconic Section 52 Mehta Naomi Nishit Nostalgia Della Natura 58 Omya Sharma ‘The Lantern’ 64 Dhruv Patel

Tughlaq : By Girish Karnad 70 Aayushi Bhatt

Aarudhih 76 Ananda Krishnan

Studio Units

Space Kinematics 84 Anuj Anjaria, Muntaha Rushnaiwala

Vernacular Resurgence 90 Hamid Raj

Towards A Critical Project And A Project Of Critique, Situation: The Favourites 96 Shubhra Raje, Kevin Low Theatre Stage Design 102 Sunita Dalvi

Form and Structure: Steel 108 Dhara Shah, Vasav Bhatt Jury Profile 116

About CEPT University

Established in 1962, CEPT University, a 50 year old institution in Ahmedabad, India, focuses on understanding, designing, planning, constructing, and managing human habitats. Its teaching programs aim to build thoughtful professionals and its research programs attend to the deepening of the understanding of human settlements. CEPT University also undertakes advisory projects to further the goal of making habitats more livable. Since the very beginning the University has functioned as a collaborative between academics and professionals, with support from philanthropic civil leaders and the government.

CEPT started with the establishment of ‘School of Architecture’, in 1962 at a time when the country was going through a transformative phase to establish institutions of modern India. Balkrishna Doshi, Rasu Vakil and Bernard Kohn initiated this institute with the support from Kasturbhai Lalbhai and Ahmedabad Education Society. In 1972, the Faculty of Planning was established as the ‘School of Planning’ with key inputs from Christopher Benninger who set up the first curriculum in collaboration with Y K Alagh and Doshi. Rasu Vakil, the then dean of CEPT in collaboration with G N Tambe and S N Banker helped set up the Faculty of Technology in 1982. Then known as the ‘School of Building Science and Technology’, it was focused on engineering and construction. In 1991, Krishna Shastri helped set up what was then known as ‘School of Interior Design which deals with habitat related interiors, crafts, systems and products. Recently, CEPT has also established the Faculty of Management which focuses on Urban Management. Started with one school and 30 students in the early sixties, the Centre for Environmental Planning and Technology or CEPT became CEPT University in 2005.

Our ethos reflects most clearly in our liberal pedagogic regime that integrates the departments of the University and expands learning options for our students by making it possible for them to easily move across faculties and programs and to explore different intellectual worlds while allowing each to go deep into respective areas of focus and expertise. Programs at CEPT allow potent cross pollination of ideas among disciplines through choice based curriculums and a vast array of electives.

Excellence Awards

Since Monsoon 2018, CEPT University has established awards for excellence to honor students’ studio work in undergraduate programs. These awards have been introduced to ratchet up excellence in teaching, learning, and recognizing and celebrating the best of students’ projects. The awards intend to complement the regular grades students receive from their tutors.

In Jan 2019, the University conducted its first exhibition titled ‘Honor’s exhibition’ and published a catalog. Based on the feedback received after the first event, the title of the awards was revised to ‘CEPT Excellence Awards’ for further semesters. This Catalog compiles the work of all student projects and studio winners for the excellence awards for the Spring 2022 semester.

A special review panel appointed by the University independently reviewed the work of all nominated students and studio units. The review panel then shortlisted students’ projects and studio units with the potential for winning the excellence awards. Based on the presentations made by the shortlisted students and tutors, the final excellence award winners are selected. The review panel selected the best work that exhibited relevance, research, design proposition, idea development, and communication.

For the Spring 22 semester, out of a total of one hundred fifty-six nominated student projects, nineteen students were shortlisted for the excellence award presentation. From the shortlist, six individual student projects and five studio units are recognized for their excellent work. Five studio projects were also selected for honorary mention. Out of the six individual student projects, the review panel selected the top three for the cash prize of Rs. 1 Lakh each from the Gujral Foundation.

We congratulate all the students and studio units selected for this exhibition. In addition, we also congratulate all other students who contributed to the larger academic environment through their works in the studio and in multiple ways by being a part of the community.

A note from the Chair of the selection panel

This note summarises the conclusions of the CEPT Excellence Awards 2022 judges deliberations following a review of award submissions from 58 CEPT studios and 156 individual students. Studio and student submissions were received from all CEPT faculties.

What the jury is looking for?

Judging the excellence awards at CEPT University presents the jury with a number of formidable challenges.

Firstly, CEPT University is quite large with many highly motivated staff and students annually producing very large quantities of design and academic work. The jury is assisted by the university faculty in reducing this great mountain of work to a manageable size by nominating only their best students for consideration by the judging panel. However even this reduced scale ‘foothill’ of selected works is a very large body of work.

Secondly the work covers a very diverse range of outputs from students from different built environment and design skill backgrounds at different levels in their studies.

Finally, there is a very diverse approach to teaching across the various studio courses. This is equally true when considering studios within a single design discipline as between differing disciplines.

How then does the judging panel go about seeking excellence in these circumstances?

Excellence requires that the submissions set out something more than mere compliance with normally expected standards, regulations or conventional codes. Hard work, though admirable, is not enough of itself to merit the award of excellence. Essentially the judges were looking for redeeming qualities in the work in response to questions relating to five criteria.

1.Relevance

Is the topic being studied relevant and to the discipline and more broadly to the contemporary condition?

2.Research

How well has the topic been researched? Have the students demonstrated a deep understanding of the subject of their studies? Does the studio structure sufficiently reference world-class research and best practice?

3.The design proposition

Does the proposal respond creatively to both the topic under consideration and the research findings?

4.Idea development

Having arrived at a well-researched and inspirational initial proposition has the student been able to build on it to develop a rich, engaging and thoroughly developed proposal?

5.Communication

Is the work clearly communicated?

It is essential that consideration is given to clear and inspiring communication of the ideas. This is particularly the case in a competitive awards environment. It is also more broadly true for every encounter that a design professional encounters at every stage of their careers.

Close study of all the prize-winners will reveal that they have responded very fully to all these five sets of questions.

The Process

All the studio and student submissions were first reviewed independently by two of the Excellence Award judges Suranjana Satwalekar and Steven Smith. At the conclusion of their review a shortlist of 10 studios and 19 students were invited to participate in online presentations and interviews. For this stage in the judging process the panel was enlarged to include Sameep Padora and Walter Dsouza.

Judges independently complied their list of award nominations. The list of final award winners was then debated and agreed upon by the judging panel during an online meeting of all judges assisted by the CEPT Teaching and Learning Centre.

At the conclusion of the process:

•Five studios received citations of special merit

•Three students were awarded CEPT Gujaral Foundation Excellence Award prizes

•Three further students were awarded CEPT Excellence Awards

•Five further students were awarded CEPT Excellence Award Honourable Mentions

The review panel comprised:

•Steven Smith- Director- Urban Narrative - London

•Sameep Padora- Founder sP+a architects - Mumbai

•Suranjana Satwalekar- Museum and themed environment designer - Mumbai

•Walter Dsouza- Artist, printmaker, teacher – Ahmedabad

Observations on submissions

Judges Suranjana Satwalekar and Steven Smith have both participated in the CEPT Excellence Awards judging process in previous years so have the opportunity to compare the overall quality of submissions year on year.

The judging panel were acutely aware of the disruption to teaching and learning environments caused by COVID restrictions this last year. Students and faculty have had to master working and studying from home and on-line with the consequent loss of support and peer-to-peer learning that comes with campus-based studies. Despite these problems the judging panel took an early decision not to adjust the standards we were expecting in the studio and student submissions.

We can therefore say with certainly that the standard of work by the prizewinners is at least equal to that of previous years. The judging panel offers sincere congratulations to them all both for the quality of work and for overcoming the many challenges they have faced.

The review panel would like to express our thanks to CEPT Teaching and Learning Centre for their patient and efficient organisation and support provided throughout the Excellence Awards judging process.

The judging panel offers our sincere congratulations to all students and faculty.

L2/ L3 Studio Units

In Spring 2018, CEPT University revised its learning pedagogy, laying emphasis on the new Studio Unit system. Within this system, learning and teaching is centered on the studio or unit, each of which comprises of about 12 to 15 students. Each five—year undergraduate program is organized into three levels: a common one year foundation is followed by Level 2 (L2) and Level 3 (L3) integrated studios. L2 studio comprises students from 2nd and 3rd year and L3 studio comprises of students from 4th and 5th year. The studio units have small groups of students led by one or two tutors; design studios have a greater curricular weightage in terms of credits and time— the semester calendar allows 4 weeks of uninterrupted studio work towards the end of the semester. The studios have a focused approach with specified learning outcomes.

L2 and L3 are designed as integrated studios to enhance peer learning and to function as a learning community. These integrated studios emphasize the belief that learning happens when a small group of students tackle problems on their own, under the review and close mentoring of tutors.

L2 studios clearly focus on developing one of the skills: Visualizing and Communicating, Analyzing and Designing, Constructing and Specifying, Planning and Organizing. In addition, all Level 2 units develops the skill for: Building Arguments and Rationales.

In L3 studios, the students use multiple design abilities to solve complex design problems. They evolve their aptitude to exercise architectural and/or design judgments. Design problems are defined based on a specific theme, approach (along with its rationale) or a theoretical position. The site and the area of program may be defined by the tutor or by the student.

2

Sivatmika J

Residence In Jada Bhagat Ni Pol

Ajay Luharuka

Rekindling

Tulsian

Dhwani Manoj

Nanditha Meria Francis Avian Arc Aarunima

Roots

Nambarai

Sivatmika J

Space Kinematics

Anuj Anjaria, Muntaha Rushnaiwala

Constructing and Specifying

Jury Citation

The project focuses on a creating ‘A place of Contemplation’ located within an open site at Saat Kaman, Champaner, Gujarat that includes a gallery, auditorium café and storage and support spaces. The design synthesizes a very wide range of design strategies into the final form including, intuitive responses to landscape explored though accomplished charcoal drawings, architectural responses to music explored through model making, and detailed design of a building component- in this case a mobile roof louver system. The project demonstrates great facility with a rich mix of inspiration sources and creative techniques needed to synthesise inspirational architecture.

Design Description

The design process was initiated by decoding the piece Nambarai by the Hadouk Trio and weaving together a narrative that would eventually manifest the program (a place for contemplation). The walk through of the spaces visualised became the anchor which then led to the articulation of the light, the enclosures, the volumes and the levels within these spaces. The main ideas that arose out of this process was the organization, the degrees of enclosure and the manifestation of intagible attributes — Undulations and Thresholds.

The final design of the project of a place to contemplate would comprise a exhibition gallery, a cafeteria, an artists’ store and the toilets. The design attempts to establish a trail, intertwining a curation of spaces — open, semi open, enclosed. It attempts to reflect existing site conditions and Saat Kamaan in Champaner by the creation of a sense of ruin and have the roof detached and floating. The roof of the gallery is also that which has the kinetic building elements which curved louvres that change the nature of space by changing the quality and direction of light entering the gallery. Interpretation of Jazz as a genre and the music piece itself was emphasized in the project while the narratives served as a beacon.

Double glazed glass

Of thickness 13mm

Steel spider fitting

Curved steel box section 100mm x 200mm 5mm thk

Steel connecting members 50mmx460mmx5mm

Aluminium louvers 400mm wide

Rcc lintel band Of depth 150mm

Steel pulley 10mm thk cable

Steel window frame

Stone window sill Of thickness 60mm

Stone masonry wall 450mm thk and tapering Stone plinth 450mm depth

deep stone niche

Stone retaining wall

Wall Section The project was defined by the melding of kinetic and design elements.

Fig.

Conceptualisation

Fig.

Thinking through models

Trail Iterations Iterating

at BB’ Protoype

Shreeya Ajay Luharuka

Vernacular Resurgence

A Residence In Jada Bhagat Ni Pol Hamid Raj

Constructing and Specifying

Jury Citation

The Pol houses in the historic Ahmedabad are a source of profound insight into vernacular architectural and traditional urban lifestyles. In an age when those with choice are abandoning these remarkable structures, this project explores ways in which contemporary lifestyles might be accommodated in these remarkable streets. Following rigorous analysis of the Pol architecture a new house for a large family is proposed in Jada Bhagat Ni Pol. Traditional forms of cellular space and courtyards are repurposed and reimagined to create a new but harmonious intervention in the urban structure of the pol. The rigour of analysis and engagement with an issue of great architectural historic importance is highly credible in this beautifully communicated proposal.

Design Description

Situated in Dariyapur, Ahmedabad, the Jada Bhagat ni Pol is filled with hustle and bustle, making the daily lifestyle a joy. The design caters to a family of six people. The crux of the design lies in giving back to the pol, rather than taking from it.

The form and massing intends to keep the users at their best connection with the pol and it’s people. The same level of interaction has been tried to achieve inside the house, with the living room being the core of the design. The play of volumes and levels aim at interweaving the spaces into one huge mass of the house. A juxtaposition of public and private spaces has been made by designing transitional spaces like otlas and courtyards. The residence has attempted to adapt to the modern day lifestyle, at the same time uphold the heritage of the pol houses through this design. The functionality of a pol house has been understood and re-equipped to a 21st century family.

Honourable Mention

Fig. 1

Site plan with the highlighted area being the plot to design

2

Conceptualising the massing and area potrayal through sketches

Fig..3

Ground floor plan (Plan at +1.5M)

Fig..4

First floor plan (Plan at +4.5M)

Fig..5

Second floor plan (Plan at +7.5M)

Fig..6

Third floor plan (Plan at +11.5M)

Cross section cutting through the living room and courtyard South east elevation

Fig..9

Fig..10

Walkthrough of the design Form and massing of the entire structure with spaces receeding in as well as jutting out

Kinstugi: Rekindling The Roots

Divyanshi Tulsian

Travelers Home

Shikha Parmar

Planning and Organizing

Jury Citation

At a time of COVID restrictions the project explores journeys of the imagination through the design of a traveller’s home on the top floor of an apartment building a small town famed for its views of Mouth Fuji Japan. The traveller’s home brief entirely constrains the design to fit within a fixed volume. The design makes use of a fine gained timber lattice grid to frame complex interconnected, multiple height volumes and spaces serving the creative and interactive activities of the travellers. Nature is brought into the space in small courtyards. The elements of wind water and fire are all celebrated, the travellers sleep in nets suspended in space. Divyanshi produces a design fusion of fantasy and traditional Japanese architecture in this delightful proposal.

Design Description

In the studio our travellers were presented with a ticket to anywhere in the world, thus to achieve much needed rejuvenation and to a zen state of mind we take a journey to Japan— a country whose culture encourages the phenomenon of recharging. This project stands as a symbol of one quintessential Japanese practice: Kinstugi, repairing broken pottery with gold making it stronger and better than before.

The studio is based on three fragments: the user group, the site and the given envelope. The user group is a group of 6 to 7 companions who have been so busy in the hustle of their personal lives that they have lost touch with one another. They yearn to mend themselves and their bond. The site which is the tiny town of Fujikawaguchiko becomes our context offering the breathtaking view of mount fuji and lake kawaguchiko. The envelope is 28 m long with a width of 9 m and a fixed access point.

Japanese culture has always placed a strong emphasis on the elements of nature and hence fire, wind, water and earth become central to the design of the house and the boundaries of the house are offset to bring in nature. The phenomenon of a multitude of spaces within a single space is achieved with the use of an anthropometric grid called the Tatami Mat. The grid of the house extends 3 dimensionally, resulting in a huge volume which is subtracted in such a way that it brings in some diagonality.

Hammocks being placed one above the other create a vertical play of light which is a reinterpretation of the Japanese idea of playing with light through different bamboo and rice paper partitions. bringing light and energy into the house

Honourable Mention

Fig. 1 A sectional perspective, showcasing the tea ceremony area, kitchen, dining, sleeping capsules and portico.

Advait, 28 stock trader

Tanya, 26 fashion designer user group: family & friends

Tara, 30 freelancing mom

Shaurya, 25 culinary expert

Neel, 25 Altruistic lawyer

shloka, 23 Fresh graduate

Fujakawaguchiko, Japan

27 m by 9 m

Fig. 2 An understanding of the given constraints in terms of user group, location and site envelope

Fig. 3 Abstraction of japanese elements through a tangible model

Fig. 4 Growth of the grid: From a 180 cm by 90 cm tatami mat to a spaces in multiple of 180 cm.sq. area.

Mt. Fuji and lake kawaguchiko South winds are blocked

Openings Skylight

Sunk Fixed access

North winds are welcomed South inclining sun

Fig. 5 Plan at 5000 mm 15&16. sleeping capsules connected by hammock, 17. bedroom, 18. east facing portico.

Fig. 6 Plan at 4000 mm 11. bathroom, 12 13& 14. sleeping capsules connected by hammock

Fig. 7 Plan at 1800mm. 1. Genken, 2. cloakroom, 3. tea area, 4. living, 5. dining, 6. kitchen, 7. garden, 8. bathroom, 9. onsen, 10. pottery studio

Fig. 9 Section AA’: staggering mezzanine

Fig. 8 Exploded Structure showing Joinery

Fig. 10 View of hammock, tea area, pottery

Fig. 11 Section BB’: pottery area, entry (genken), living room, dining, sleeping capsules, hammock

Fig. 12 Onsen: The recreation of japanese thermal bath merging with the landscape of Mt. Fuji

Labyrinth

Sanklecha Dhwani Manoj

Jinal Shah Expeditions in Digital Technologies

Constructing and Specifying

Jury Citation

Computer generated three dimensional form making is increasingly becoming part of the designers skill set in creating, architecture, interior and product design. This project explores the possibilities of form generation using the Grasshopper computer programme. Inspired by leaf vein patterns the computer was used to generate a form and assembly system that was then used to as the basis for a muti—volume interactive play space formed within a lattice frame and infill panels. This well considered, clearly drawn and communicated proposal vividly demonstrates the potential of this emerging field of parametric design.

Design Description

Reticulate venation is one of the types of classifications of vein patterns that are typically found in leaves. Here, veins are interconnected to form a web—like network. The pattern of a leaf depends on the rate of growth of its tissues around its veins. The leaf will have a pattern just like Voronoi pattern in such a way that it looks as if a Voronoi cell is sub divided into Voronoi cells. This beautiful web like structure results in giving many slops of different angles which is used as an inspiration in this project. Labyrinth is situated in Riverfront Park, Shahibaug which tries to create a structure for kids with the help of these slopes. It creates interesting spaces within, with the help of 3D Voronoi cells creating slopes. These slopes are then used as different kinds surfaces. Hence, the overall structure looks playful.

Honourable Mention

CONCEPT— RETICULATE VENATION

The pattern of a leaf depends on the rate of growth of its tissues around its veins. The tissues that are next to the veins will have a much greater growth rate than tissues away from the veins. If we consider the pattern of a leaf as a Voronoi diagram, the veins will be the Voronoi edges. In each Voronoi region, the Voronoi site will be the point where the rate of growth is the slowest. While the leaf grows, the tissues on both sides of the veins grow at an equal rate, making the Voronoi site (slowest growth rate point) be placed symmetric about every vein. As a result, the leaves will have a Voronoi pattern.

Fig. 1 Concept— Reticulate Venation and its exploration.

GARDEN AREA REQUIRED- 1-10 M2 AREA- 12 M2

UP

BALL POOL AREA REQUIRED- 1-10 M2 AREA- 9 M2

FRAME STRUCTURE HAVING ROCK CLIMBING SURFACES2.2M X 0.8M

UP

BOUNCY NET SURFACE 2

AREA REQUIRED- 4-40M 50 M

FRAME STRUCTURE HAVING ROCK CLIMBING SURFACES2.2M X 0.8M

PATHWAY

FRAME STRUCTURE ON UPPER LEVEL ROCK CLIMBING SURFACES- 2.2M

UP

SANDPIT AREA REQUIRED- 1-10 M2 AREA- 7 M2

BOUNCY NET SURFACE ON ALL SIDES AREA- 8 M2

AREA REQUIRED- 4-40M M 7 M

SANDPIT AREA REQUIRED- 1-10 M AREA-

Fig. 2 Conceptual diagram depicting each activity in the assigned voronoi with the circulation path.

FRAME STRUCTURE ON UPPER LEVEL ROCK CLIMBING SURFACES- 2.2M X

PATHWAY HAVING MONKY BARS

STRUCTURE ON UPPER LEVEL HAVING SURFACES- 2.2M X 0.8M

UP

STRUCTURE ON UPPER LEVEL HAVING SURFACES- 2.2M X 0.8M

Constructing Prototype.

Fig. 4 Interior and Exterior views of the structure.

Avian Arc

Nanditha Meria Francis

Elements of Form and Space

Gaurang Shah

Constructing and Specifying

Jury Citation

The final output for this project is the design of a public seating system for Kankaria Zoo. The design arises from a study of design theory of pattern and form making including gestalt theory of design classifications, radii and line manipulation etc. At the zoo observer research analysed the needs of users for seating while the forms of the abundant birds in the selected site area provided the inspirational starting point for generating the seating system form. The result is a poetic but functional design that would add robust utility and delight in an authentically original form appropriate to its location.

Design Description

Avian Arc is a seating element designed for the Kamla Nehru zoological park in Ahmedabad. The design is inspired from the flight of a bird. The process of designing the product started with the manipulation of simple forms using radii manipulation and other laws and principles of design. The final design is the culmination of all our learnings during the semester.

Honourable Mention

KANKARIA LAKE

Selected zone for study

The zone is 1.5 km long

The zone has adequate sunlight & shade

Plenty of trees and shrubs are present

Visitors tend to throng in the middle zone Colourful birds are the main attraction

An old bench— The only formal place to sit Paver blocks are used for resting high footfall on weekends

Visitors consist of mainly of young couples & childrens

Fig. 3 Site Analysis showing the study of how visitors

SITE STUDY—

— Visitors— Bench

Fig. 1 Site context

Fig. 2 Photos depicting the different conditions on the site

Initial Ideations

Final design development process

Conceptual Sketches

Front

Side

Isometric Views

MATERIAL USED:

GFRC—Glass Fiber Reinforced Concrete. It is a composite comprised of Portland cement, fine aggregate, water, acrylic co—polymer, alkali resistant glass fiber reinforcement and additives.

ADVANTAGES OF GFRC: Lightweight Durable Easy to cast Higher flexural & tensile strength

8 Seating arranged in the form of birds flocking on the site plan

Fig. 9 Final render of seating with visitors on site

Linear Delineation: Between Lines And Silhouettes

Aarunima Singh

Hybrid Work(place)

Subin Jameel

Visualizing and Communicating

Jury Citation

This project explores the potential of inverting traditional relationships between interior architecture and objects they contain such as furniture. The design of a studio for a music company takes its inspiration for form generation from profiles found in the extruded metal sections commonly fond in window structures. These forms, manipulated at changed scales, provide the inspiration for plan layouts, wall and ceiling profiles, staircase handrails etc. The manipulation and changes of scale and source of inspiration for form generation results in an entirely original interior design proposal drawn in a vividly compelling and engaging way.

Design Description

A boundary does not define the interior ; It is the order, array and number of objects which reside within a space that truly defines the character of the interior. Through this studio, my project— Linear Delineation, questioned how the innate qualities of objects help define the architectural and interior compositions of a hybrid work place.

In the studio we developed an inside—out approach towards spatial design by questioning the part to whole relationships between objects, structure, envelope and site. This research manifested into the proposal for a place of work for a music record label company. The design builds on the concept and idea of using contemporary aspects along with antiquities, and blending this concept with the idea of perception and silhouettes as explored through 2D and 3D hybrids and hybrid spaces. An element of space—making that has existed throughout the history of architecture and still continues is a window. The project uses window sections as plans to create its space and silhouettes of cornices to bring out linearity resembling fluting on columns.

The project disrupts the conventional relationship of objects towards architectural compositions, establishing new ones. It takes an object like window sections and explores its effects when placed in an architectural context. It adds layers of details through the application of concepts of silhouettes, and antiquites with modernity on a spatial level.

Honourable Mention

Fig. 2 Object Catalog Curated from the Set Design

Fig. 1 The Set Design—depicts constantly changing states, activities and roles.

Fig. 3 2D Hybrids— Made with Objects from the Catalog and Antiquites

Fig. 4 3D Hybrids— Explore Concepts of Silhouettes and are Direct Interpretation of the 2D Hybrids.

Fig. 5 Hybrid Spaces— Utilise Window Sections as Plans to Explore Characteristics within a Space.

Fig. 6 The Design— (clockwise) Isometric views, Sliding floor blocks, Sectional Perspective

7 The Design— Interior Views

Level 3

Mehta Naomi Nishit

Nostalgia Della Natura

Establishing The Lost Relationships Of An Iconic Section Omya Sharma

‘The Lantern’ Aayushi Bhatt Tughlaq : By Girish Karnad

Dhruv Patel

Ananda Krishnan Aarudhih

Establishing The Lost Relationships Of An Iconic Section

Mehta Naomi Nishit

Towards a critical project and a project of critique

Shubhra Raje, Kevin Low

Jury Citation

WINNER CEPT GUJRAL FOUNDATION EXCELLENCE AWARD

The project beings with a highly perceptive forensic analysis and critique of the form, function and environmental performance of the internationally famous Kanchanjunga Tower in Mumbai by architect Charles Correa. The tower design is widely regarded as having redefined the idea of high—rise luxury living. The quality of the analysis and sensitivity of the proposed modifications and improvements suggested in this design are transformative, reinventing an iconic work of great architecture for a new era. This is a highly accomplished achievement by Mehta Naomi Nishit.

Design Description

The city views , the terraces and the volumes, the multiple unit types, the kanchanjunga apartments; Correa’s icon of vertical luxury living. The idea of luxury and the “iconic section” of the kanchanjunga apartments fails to carry through and translate itself in its making. To achieve formal milestones, the modularity generated in its design does not facilitate the comfort, customization and flexibility required for human habitation. The design intentions within the building remain expressions of form while lacking contextualization to place and climate. The building is designed as an object,disjunct from the ground with a formal presence in the city from a distant view. There is a lack of continuity in articulating quality spaces for multiple user groups and across different functions of service and transition. The lack in articulation of thresholds both at unit and ground level cause inefficient functioning of these spaces, lacking the idea of “luxury”.

The intervention tries to rexamine the relationships discovered across multiple scales to create an experience of luxury that is centred around creating quality spaces for multiple user groups and programs. Taking from the dense nature of the context, courtyards have been used as interfaces on ground that also enable it to breathe. Redefining and contextualizing of multiple relationships have led to the transformation of the building in parts and as a whole; to meet the ground and the sky, bringing the iconic section to reality.

Fig. 1 Critical Analysis of the parking and servant spaces at ground level.

Fig. 2 Critical Analysis of the circulation and arrival zones at ground level.

Fig. 3 The iconic section does not extend to the ground floor.

Fig. 4 Critical Analysis of a typical floor plan— Zones of Arrival.

Fig. 5 Critical Analysis of a typical floor plan— Servant quarters, Kitchen and bedrooms.

Fig. 6 Critical Analysis of the various sections and attitudes toward design detailing.

Fig. 7 Intervention: Reimagining the unit plan.

Fig. 8 Intervention: Reimagining Verandas and terraces.

Fig. 9 Section across arrival courts.

Fig. 10The new street front of Kanchanjunga.

Fig. 11 The iconic section extending from the ground to the sky.

Fig. 12The reimagined ground floor plan.

Fig. 13The reimagined ground floor plan.

Nostalgia Della Natura

Omya Sharma

Between the Fracture and the Fold

Percy Pithawala

Jury Citation

The project explores the idea of architectural transition from solid opaque enclosure to open transparent frames and all stages in between in the design of a cemetery complex on the island of Poveglia, Venice. All aspects of the ‘transition’ of architecture between solid and frame are deployed in the layout of public buildings and spaces gardens and a pier and tower arranged in response to some retained historic structures on the island. This is a powerful work of the imagination and the architectural composition is beautifully drawn and communicated.

Design Description

The covid19 pandemic had significant psychological and social effects on all. The prolonged isolation from our daily routine, the restrictions from meeting other people and of our connect with the nature, heightened the stress experienced. This disconnect cast a dull and gloomy atmosphere everywhere. Viewing the green from the confines of the house, though refreshing, made me even more nostalgic for the nature outside and amplified my craving to be amidst the nature. The gradual lifting of restrictions had us slowly re—connecting and re—building our connection with the outside world.

Deriving from the experience of the lockdown during the pandemic and the restrictions placed then, the concept of changing degrees of transparency and degrees of enclosure is used. The slow lifting of restrictions is expressed by the disintegrating structure, as we journey from a space of less transparency to a space of more transparency. The simultaneous takeover of the green reinforces the connect with the nature, as the lockdown lifts.

This idea is utilized to build a columbarium which then transitions into the funerary chapel transitioning into the congregation hall, the structure disintegrating and vegetation taking over. The disintegrating structure is at the end only left as an insert in the landscape at the waterfront plaza.

The Memorial to the Pandemic uses the same concept vertically, taking the existing bell tower as an inspiration.

Fig. 1 Exploded axonometric showing the different levels of the Columbarium, Funerary Chapel and the Congregation Hall. Top two boxes show the rigid and disintegrated courtyards, respectively.

Fig. 2 Concept The diagrams reflect the experience of the sequential events of the pandemic and lockdown.

Fig. 3 Plan The disintegration of the rigid grid from the Columbarium, to Funerary Chapel, to Congregation Hall, to the Multifaith Chapel to finally the waterfront plaza

Fig. 4 Section through the Columbarium, Funerary Chapel, Congregation Hall. The disintegration of the structure and its changing levels, till it goes underground, can be observed.

FUNERARY CHAPEL

COLUMBARIUM CONGREGATION HALL MULTIFAITH CHAPEL

Fig. 5 The Intersection Sectional perspective showing the gradual transition between the rigid concrete Columbarium and the Funerary Chapel.

Fig. 6 The Intersection Sectional perspective showing the gradual transition between the Funerary Chapel and metal grid structure of the Congregation Hall with vegetation taking over.

Fig. 7 The Intersection The gradual disintegration of the Congregation Hall.

Fig. 8 The Disintegration The gradual disintegration of the structure with simultaneous take—over of the green can be observed.

Fig. 11 The Pause Between the end of the Congregation Hall and the Multifaith Chapel is a small pause point, where the structure has completely disintegrated and the vegetation has completely take over.

Fig. 10 The Multifaith Chapel The disintegrating structure now enters underground with the vegetation now running over the roof, forming an accessible landscape.

Fig. 9 The Journey The disintegration journey from beginning to end can be observed (right). The Waterfront Plaza with the gird only left as an insert in the landscape.

The Bell Tower — a prominent structure on the site was taken.

A grid was made around the positive space of the bell tower.

This grid was divided and sub—divided into smaller units as it went higher up.

The grid extends higher and gets pixelated, disintegrating as it gets further away.

The positive space of the bell tower becomes a negative space. Presence is shown by the pixelation of the scaffolding while the void is the silhouette of the bell tower.

Fig. 13 The Axis The main axis of circulation connects the Columbarium to the Memorial. The axis continues as a bridge to lead to the Memorial.

Fig. 12 Memorial to the Pandemic Following the concept of disintergation along with using the Bell Tower for the concept of Presence of the Absence, the experiential memorial was designed.

Dhruv Patel

Architectural Salvage: Reviving a Floating Shelter

‘The Lantern’ Arijit Chatterjee, Shilpa Mevada

Jury Citation

WINNER CEPT GUJRAL FOUNDATION EXCELLENCE AWARD

The proposal is to locate an enclosed floating dry–dock close to the Gateway To India in Mumbai as the location for the restoration of the Louise Catherine Barge— a less well known work by architect Le Corbusier. The project envisages making the process of restoration and making visible within a living cultural museum. On completion the barge will float free allowing for a further stage of reinvention of the floating dry dock. This is a beautifully drawn and modelled proposal of a highly sophisticated architectural proposition.

Design Description

The project focuses on designing a living museum for the Louis Catherine which is a 70m long ferrocement barge that is a lesser—known work of Le Corbusier. The project looks at two different scenarios the barge under construction in a drydock and the barge as a completed urban artefact.

The idea is grounded within the dual theoretical frameworks of Modernism and waterbased architecture. Connecting to the powerful legacy of Modernist Architecture, in particular the work of Le Corbusier, the roof, not only in volume but also in structure, is entirely influenced by barge elements and conforms to the proportions of the barge fins. This ensures that the barge continues to maintain its impression while floating on the sea. This project houses the construction of the barge and supporting facilities near the gateway of India. The intervention is imagined as a series of props that sit within or atop a floating dry dock on the Arabian sea both a temporary boatyard and living museum.

Following the completion of the Barge, the project expands over time, eventually transforming the dry dock into a floating forest. Post—construction of the Barge, the Louise Catherine is modified to accommodate climate research through enacting Ecologically Controlled Environments studying climate in relation to human adaptation. With the imagination of Louise Catherine used as a greenhouse that grows several botanical species of cacti, an arid flowerbed from Sub—Saharan Africa. The memories of a sinking barge in Paris could find refuge in the rough waters of the Arabain sea.

Fig. 1 Roof plan of the arrangement of the reconstruction of Louise Catherine inside drydock ‘KIRAN’

Fig. 2 Exploded planar axonometric drawing of the drydock and Louis Catherine, freely moored in Colaba bay

Fig. 4 Longitudinal section of Louis Catherine under construction inside drydock ‘KIRAN’

Fig. 3 Model @ 1:25 of the Louis Catherine within the drydock ‘KIRAN’

Fig. 5 Below deck plan of the arrangement of the reconstruction of Louise Catherine inside drydock ‘KIRAN’

Fig. 6 Cross—section of Louis Catherine under construction inside drydock ‘KIRAN’

Fig. 7 Roof plan of the arrangement of the reused drydock ‘KIRAN’ as a floating forest

Fig. 8 A place of isolation: creating an interwoven relationship between the built and nature

Fig. 9 Section of drydock ‘KIRAN’ used as a floating forest

Fig. 11 Photo montage showing the seascape of grater Bombay from the drydock ‘KIRAN’

Fig. 10Section of Louis Catherine used as a green house that grows several botanical species of cacti

Tughlaq : By Girish Karnad

Aayushi Bhatt

Sunita Dalvi Theatre Stage Design

Jury Citation

Theatre stage design is a specialist area of expertise for interior designers and architects explored in this project with great invention and imagination. Settings for thirteen scenes of a play by Girish Karnad are vividly described utilising a ‘kit of parts’ set where hinged and rotating elements are used to create contrasting spaces and backdrops for the drama. The setting for the temporary theatre is within the historic Sarkhej Roza, elements of which are incorporated into the drama setting. Lighting and transformation of dramatic space and the needs of the audience are all well considered. Aayushi Bhatt dramatically visualises this very imaginative and compelling design.

Design Description

The way In which the theater is performed follows conventions and sets boundaries within which explorations are limited. In the interior design discipline, theater stage design could be perceived as expansion of its boundaries by generating a system within which theater can be performed by involving various other disciplines such as history, architecture, urban design, planning, landscape.

The play Tughlaq by Girish Karnad is imagined to be stationed in the historical setting of Sarkhej Roza Ahmedabad, for a continuous viewing for a period. The stage is designed by engaging interior design elements which respond to the co—existing situations occurring in the play as well as on the site which is Sarkhej Roza. The set of rules devised forms a system to bring out different meanings structured through fixed and alternating arrangements.

The reading of the play indicates the co—existence of situations where each character is hiding their own truth to make something unrecognizable or concealing true intentions, emotions, thoughts and feelings. What appears to be, is not what it actually is. This unfolds a sense of ‘disguise’.

Taken as a concept, ‘disguise’ here, simply means that boundaries aren’t only maintained within space making, which is an everyday space but also to coexisting situations such as the space in play as well as the context in which it is presented. Putting it simply, the concept allows a wide range of variations through an act of assembly especially when superimposed with the otherwise mundane facade— by adding effects and at the same time offering a system for alternating set arrangements. A site visit to Tughlaqabad, Adilabad and city of Jahapanah brings observations in the form, proportions, scales and motifs of the time period where the play was set.

Concluding, what Theatre stage design can offer to Interior design in terms of its imagination and performance set in different time and place offers challenges to how interior design can contribute. On the other hand, knowledge and skill of Interior design discipline makes one apply the studied proportions and scales, incorporate materials, and unfold the play of any complex settings to the simple deliverables. The ones explored here are of space—making elements with a take on a systematic assembly, theoretical approach and added value of characterization which the play demands.

1 Scene from the play

Fig. 3 Deciphering rules and principles

Fig. 2 Decoding the 13 scenes, narration and historical refrencing Scenes from the play

Fig. 4 Inventory for the system — props and kit of parts

Assembly of the stage

6 Scene from the play

Play description

Aarudhih

Ananda Krishnan

Cross—programming

Aparajita Basu

Jury Citation

WINNER CEPT GUJRAL FOUNDATION EXCELLENCE AWARD

The project is for the repair and reuse of a 250-year-old traditional warehouse building on the waterfront of the island town of Fort Kochi. The warehouse is in an advanced decayed and derelict condition. The proposals suggest a three-part strategy of interventions: 1 pragmatic repair; 2 insertion of new exhibition structures and 3 reopening of connections with the waterfront to create new museum and workshop centre celebrating traditional life and crafts. The result is a remarkably evocative design that speaks to every age of the building and its history including to its current romantically beautiful derelict condition. This is excellent work by Ananda Krishnan expertly communicated.

Design Description

The project repurposes a 250 year—old warehouse built by the Dutch on the banks of Vembanad Lake, Fort Kochi, into a contemporary museum space. The warehouse is located at the banks of Vembanad Lake in the island town of Fort kochi. The building typology is a vernacular structure of Kerala built in laterite stone with lime plaster, roofed with mangalore tiles. It was originally a square shaped building with a courtyard in the center. The site still preserves remnants and traces of architecture, some significant traditional material junctions. But many parts are in disarray: In some places, the roof has been damaged, walls are chipped, windows are broken and trees and natural vegetation has been thriving on the building skin. However, its prime location at the edge of the lake, its heritage value, and locals’ affection for it, calls for new usages and extension of the building life.

The blend of two programs ; A museum depicting the untold, unheard lives myths and legends of the ‘fort kochikkar’ and ‘thoni’ (boat) workshop for the local artisans in and around Fort Kochi. Thereby, providing a fitting crossprogram to nurture a dying local craft and showcasing the stories of people, as well appealing to different groups of visitors.

Therefore the project aims to revive the structure by fusion of three systemic interventions:

~ Basic repair of the building skin and structure. This necessitates the completion of structure and form in a conyemporary context while retaining the beauty of ruins.

~ Design of the main museum depicting the history of the Fort ‘kochi—kkar’. This is incorporated in the three bays through a series of light infrastructure systems that unfolds into a variety of functions.

~ Remaking the Embankment by extending it into the building courtyard that can bring people from other parts of the city by boat, right into the building.

The architectural and cultural importance of the decadent warehouse will be conserved through this project. The symbiotic insert of the two programs will deliver a live experience of the workshop to the visitors of the museum. Thereby enabling exposure of the traditional craft to a wider audience. Thus this project will also give a new and extended life to the building by opening up to a set of varying possibilities.

1 3d Visualization for the project

Fig. 2 Site and context study to understand its characteristics.

Fig. 3 A conceptual hotomontage created as an initial instinct from the studies conducted.

Fig. 4 Three main systemic interventions introduced to the site for its revival.

Fig. 7 Views from different areas of the site.

Fig. 8 The view of the project from the vembanad lake as the visitors approach.v

Plans

Studio Units

Space Kinematics

Resurgence

Raj

Low

Theatre Stage Design

and Structure

Steel

Anuj Anjaria, Muntaha Rushnaiwala

Focus: Constructing and Specifying

Space Kinematics Unit Assistant: Darshil Trivedi

Jury Citation

In the Space Kinematics studio students explore elements of architecture that move though opening, folding, raising and lowering etc. This element of detailed component design concludes a design process that also explores the abstract relationships between music and architectural space thorough model making and the design of proposals in response to an evocative historic setting analysed both pragmatically and through imaginative drawing in various media. Students are compelled to use diverse skills of imagination, calculation, artistic response, analytical interpretation and craft making in response to this broadly based and challenging studio.

Unit Brief

In the discipline of architecture, there are two kinds of spaces: one, which is static whose spatial quality shifts with the changes in the activities that take place in it, with the changing nature of light, with a change in its furniture layout, with the presence of various movement patterns and so on. Here the user, along with other natural external forces is in motion and the built form is stationary; two, which is dynamic in nature and transforms its spatial quality by moving/ shifting/transforming itself through its envelope and/or the elements that make that very space. Here, the user is stationary while the built form is in motion.

This studio primarily focused on the designing of the latter kind of spaces. Space Kinematics is at the intersection of space composition, space— making elements, spatial experience, mechanical understanding, and movements in nature as well as objects. The primary intention of this design studio was to design and develop space—making elements that move, slide, rotate, pivot, or display a combination of all to serve a specific purpose.

The studio focused on developing logic of assembly processes for the designed elements and sequential understanding of construction techniques for the students

Students

2nd Year

Adreja Dey

Aishwarya Rishitha Nagireddy Yashraj Nayak

Aastha Parmar Manasvini Suthar

Mayank Thacker Netri Jivani

3rd Year Aashka Vala Bhavana Vishwanathan Jahnvi Jogi Malvika S Nainsi Chaudhari Shravya M

Sivatmika J Sreelekshmi L A

sent

2

Fig. 1 Bhavana V. Plan and sections of a place to stay

Fig 1 Bhavana V. Plan and sections of a place to stay Fig 2 Bhavana V. Details of the kinetic element

Fig. 2 Bhavana V. Details of the kinetic element

Fig 3 Bhavana V. Isometric and exploded isometric views of kinetic element

Fig. 3 Bhavana V. Isometric and exploded isometric views of kinetic element

Fig 4 Manasvini Suthar Cross section of a place to contemplate Fig 5 Manasvini Suthar Plan of a place to contemplate

Fig. 4 Manasvini Suthar Cross section of a place to contemplate

Fig 6 Manasvini Suthar 1:50 scale model of the project

Fig. 2

Fig.

Fig. 5 Manasvini Suthar Plan of a place to contemplate

Fig. 6 Manasvini Suthar 1:50 scale model of the project

Fig 7 Shravya M. Plan and sections of a place to contemplate Fig 8 Sivatmika J Sections of a place to contemplate Fig 9 Sivatmika J Plan of a place to contemplate

Fig. 7 Shravya M. Plan and sections of a place to contemplate Fig. 8 Sivatmika J Sections of a place to contemplate

Fig. 9 Sivatmika J Plan of a place to contemplate

Vernacular Resurgence

Hamid Raj

Focus: Constructing and Specifying

Unit Assistant: Fateh Singh

Jury Citation

Vernacular Resurgence Studio introduces students to deeply rewarding study of historic architecture through an exploration of the architecture of the ‘Pols’ in the Ahmedabad old city. After many weeks of detailed study of the architecture, urbanism and lifestyles of the people in the area students face the challenge of designing a new home on a vacant site. The proposal is required to take account of modern ways of living that must be accommodated if these historic places are to have a viable future. The studio provides students with valuable skills in analysing and understanding historic settings of all types and to confront the wide range of fundamental questions that arise in tying to conserve these beautiful and valuable cultural treasures for future generations.

Unit Brief

Ahmedabad is 610 years old, famed for its architecture and has been recently declared as a ‘World Heritage City’ by UNESCO. Over the past century, and especially the last five decades the city has witnessed a major decline and massive loss to its priceless heritage.

The studio proposes to design in this context which is laden with a rich history. The focus and challenges weretobeabletopersonalizeandcustomizespaces for individual needs and aspirations of a family, by designing a residence at an actual site in the walled city. Before working on the design, understanding andsensitizingourselvestothiscontextwithinwhich we propose to build is extremely crucial. In order to acclimatizewiththiscontext,athoroughstudyofthe planning and organization of the pols and the pol houses was conducted.

To be able to truly appreciate the vernacular designs, one has to also study the use of materials, constructiontechniquesandstructuralsystems.These designs were made for a people of a bygone era and one needs to understand the impact of the dramatic shift in lifestyle of the current day user living in these homes in order to cater to their needs and aspirations

Students

2nd Year

Shreeya Luharuka Jhenee Mehta Mihir Ramani Pratham Chothani Ruzeb vadgama Divija Patel

3rd Year Ayushi Gupta Bhoomika Patel Devika A Diya Benny

Hiteshree Panchal Krishna Kodati

sent

UG

Fig. 1 Devika Anil | Ayushi Gupta | Bhoomika Patel Mapping Old City Ahmedabad

Fig 1 Devika Anil | Ayushi Gupta | Bhoomika Patel : Mapping Old City Ahmedabad

Fig. 2 : Shreeya Luharuka : Proposed design model

Fig 2 : Shreeya Luharuka : Proposed design model

Fig 3 Ayushi Gupta : Proposed residence section

Fig. 3 Ayushi Gupta Proposed residence section

Fig 4 Ayushi Gupta : Proposed residence ground level plan

Fig. 4 Ayushi Gupta Proposed residence ground level plan

Fig 5 Group Work : Site Model with design proposals

Fig 6 Diya Benny : Propsed residece section

Fig. 5 Diya Benny Proposed residence section

Fig 6 Diya Benny : Propsed residece ground level plan

Fig. 6 Diya Benny Proposed residence ground level plan

Fig. 7 Group Work Site Model with design proposals

Fig. 5

Fig. 2

Towards A Critical Project And A Project Of Critique, Situation: The Favourites

Shubhra Raje, Kevin Low

Unit Assistant: Nikhil Makhijani

Jury Citation

For skilled architects, every building in every street is of interest, providing potential lessons that may be applied in the creative process. At least that is the case for architects equipped with the great skill of using dispassionate critical analysis of what they see and experience. This studio equips students with these critical and analytical skills that will provide prospective architects with a lifetime of fruitful learning and inspiration as their careers develop. The studio teaches that even the most revered works, by our most eminent practitioners, can be subject to critical analysis and, however good the work may be, will yield to critical examination revealing flaws and suggesting ideas for improvements. This is a very worthwhile studio for all aspiring architects. .

Unit Brief

The prevalent discourse on architecture positions the architectural project as a singular act, made separate from the continuity and collective condition of the environment which we are (still) in obligation to share. The studio challenges this tendency to iconize the architectural project within our disciplinary discourse by a persistent curiosity to understand it as a part of the built environment, assessing its viability and limitations through a systematic inquiry into the conditions and consequences of its design.

This semester, through the discovery of relevant questions, The studio investigated a favored modernecturalicon, familiar to us through its reputation and the established narratives of its successes. Students will identify problems inherent in the existing design by way of vital relationships it fails toconsider. Subtle,yet profound intervention/s that resolvetheproblemsidentifiedfollowed,shiftingthe emphasisfromdesignsolutionsderivedprimarilyfrom the expression of form to that of solving problems ofrelevance, we rekindled the potential of program, the meaning of use and continuity of the built environmentasanunderstandingofwhatconstitutes critical architecture in service of responsibility over mere reputation.

Students

4th Year

Karan Gandhi Naomi Mehta Prasit Gandhi Priyanka Salunkhe Swarnavalli N Vishnu V

5th Year

Aashumi Shah Hamsika Gummadavelly Pooja Mistry Rupal Singh Twisha Vaghasia

Fig. 1 Priyanka Sankhule Reclaiming the ground as communion at the Golconde

Fig 1 Name Name Caption

Fig 1 Priyanka Sankhule Reclaiming the ground as communion at the Golconde

Fig 2 Name Name Caption

Fig. 2 Vishnu Vasudevan Inhabiting the picturesquare at No.11 33rd Lane

Fig 2 Vishnu Vasudevan Inhabiting the picturesque at No.11 33rd Lane

Fig 3 Name Name Caption

Fig. 3 N Swarnavalli Re—membering the sense of community ar La Tourette

Fig 3 N Swarnavalli Re-membering the sense of community at La Tourette

Fig 4 Pooja Mistry The portal to the Park: the re-purposing of CEE

Fig. 4 Pooja Mistry The portal to the Park: the re—purposing of CEE

Fig 2

Fig 4 Name Name Caption

Fig 5 Name Name Caption Caption Caption Caption

Fig. 5 Aashumi Shah Introducing a Front Porch to the city at the Llyod’s Building Fig. 6 Rupal Singh Eroding the Citadel: re—considering enclosures at the India Habitat Centre

Fig 5 Aashumi Shah Introducing a Front Porch to the city at the Llyod’s Building Fig 6 Rupal Singh Eroding the Citadel: reconsidering enclosures at the India Habitat Centre

Fig. 7 Naomi Mehta Examining luxury through contextualizing typology at Kanchenjunga

Fig 7 Naomi Mehta Examining luxury through contextualizing typology at Kanchenjunga

Existing New

Theatre Stage Design

Sunita Dalvi

Unit Assistant: Gaurav Mewara

Jury Citation

Scenography is a frequently neglected specialist aspect of interior and architectural design that this studio seeks to rectify. Although the studio is focussed on the staging of a theatre production the lessons the students will learn from it are readily transferable to other aspects of interior design practice. The studio exposes students to many challenging topics for consideration including: the framing of space for action in theatrical space; response to a highly evocative location; spatial expression of a formal narrative; the dynamics and logistics of audience and performer; the use of colour and lighting – in short students have to create a coherent imaginative world for the audience. This studio will continue to inspire students long after it is formally completed.

Unit Brief

With the concept of materiality, the sense of interiority or exteriority can give meaningful experiences to the interior spaces, especially when set in the process based design thinking.

To explore how appropriate are materials to the construction of interior space, here, the proposed design is taken as temporary constructions in space, i.e. design of a performance space for actors and audience—‘TheatreStageDesign’for a historical play— ‘Tughlaq’ by Girish Karnad, assumed to be stationed in the setting of Sarkhej Roza at Ahmedabad and constructed as an event. The play is a historical play based on two central ideas of existentialism and symbolism. The site context offers a challenge for excitingthematicexpressionstoconnectinteriorityof the enclosure to its exteriority, of the site and the play.

The expected studio outcome demands characterization of performance space foractors and audience using design elements of Interior Space Design—suchasmaterials,sound,lighting,acoustics, colour,costumes,drapery,typography while exploring programmatically the historical imagination of the event. Because it’s a performance space and constructed temporarily, the process and system of construction in assembly and dis—assembly is required to be considered.

Students

5th Year

Aayushi Bhatt Karnav Mistry Naman Jain Prajapati Janam Shraddha Udhwani Vedica Kedia

Fig. 1 Naman Jain Decoding of the play

Fig. 2 Karnav Mistry Conceptual Sketches.

Fig. 3 Karnav Mistry Design Explorations.

Fig. 4 Karnav Mistry Conceptual Model

Fig. 5 Aayushi Bhatt assembly of props on stage.

Fig. 6 Vedica Kedia assembly of props on stage.

Fig. 7 Aayushi Bhatt visual.

Fig. 8 Naman Jain Story Board for scenes.

Fig. 9 Aayushi Bhatt Exploded Isometric of design with details.

I. Wall along and perpendicular to the steps.

II. Column and frame structure on the steps.

III. Wall on the platform.

IV. Plaform on the steps

IV. Enclouse on the steps

Vault on the walls

mobile

The height and form of the steps are arranged in such a way that appearance of Sarkhej starts reducing as the sets unfold giving enough time for the audience to be prepared as well as getting accustomed to the idea that the spaces are occuring within the complex of Sarkhej Roza thus giving — the disguise of gigantic monumental facade opening out to the series of enclosures and movement paths as if extension to the Sarkhej and to the tank area.

From the parking, they pass through an entrance of an archway entering into a small exhibition space for Sarkhej Roza, followed by a few small arches and niches, they reach the jeti from where the boat takes them to the seating arrangment near the stage.

Entrance is planned such that the audience can experience the gigantic facade and the water tank through boats.

The audience is situated facing the mosuqe wall where the stage is planned between the audience and the wall.

The selected facade is projected as a stage background to the audience.

The location of background as facade walls of mosque and tomb in right angle with each other is selected as it creates enclosure of a monumental scale.

Key plan and the intervention. The plan indicates the entrance and emergency exit points.

Regular intervals are provided within the path equipped with services such as refreshments and mobile toilet units.

Additional staircases are provided as exits in case of emergency from these intervals.

The front and back of the stage is planned in such a way that they form one cohesive unit.

In the assembly every individual set is connected to the bakcstage assembly of contiuous wall aligned parralled to the mosque facade.

The openings in the facade and the steps outside the facade create a disguise of what is inside and what is outside.

The appearance of continuation from interior space to exterior space is achieved by planting sets of props which gives the sense of changing exteriority to the interior space of Sarkhej.

The series of openings from mosque side gives continuity of interior space with the exterior space which remians — unique feature of the deisgn.

The mosque facade has articulation of series of Jharokhas at two storyes giving central focus and cascading stairs unifying the vertical and the horizontal plains.

The tomb facade gives gigantic scale to the background and helps to keep the focus on the central wall as mosque wall.

The fixed and mobile sets are positioned perpendicular to the mosque wall.

Section through the audience seating and the stage.

Backstage assembly of continuous wall.

Audio and orchestra.

washrooms for backstage

Set showing the entrance gate and the mosque setting.

Scafolding with the surfaces

Stage

Continuation of column grid from Sarkhej Roza.

Form and Structure: Steel

Dhara Shah, Vasav Bhatt

Unit Assistant: Anubhav Lakra

Jury Citation

Structural calculation and theory provide only a limited understanding of the skills of a structural engineer who must make the theoretical manifest when it meets the hard reality of the material world. This studio energetically engages student engineers in facing up to this challenge by combining theoretical structural and environmental modelling with laboratory testing. Additionally students make full size models of parts of their designed structure where they encounter the additional challenge presented by their rudimentary craft and tool using skills. Students work both individually and in groups in a studio that provides learning experiences that go beyond consideration of issue of standards and compliance to the (joyous) heart of engineering practice.

Unit Brief

Form inspires architects and engineers to accomplish elegance in structures. Creating an astonishing structure demands an impressive expression with structural efficiency. In context of design, structure is the underlying framework and form is the visible outcome of the creative process.

This studio provides a unique blend of form and structure in design to explore the spatial potential of steel space frames. Students cultivate a critical understanding of unifying spatial ambitions with structural solutions to achieve architectural potentials entrenched in a well—performing structure. The meandering walk travels through a variation of spatial forms and conFig.urations, showcasing the architectural opportunities of the structural morphology.

The basis of structural design – structural system and load transfer mechanism with load estimation, analysis and optimization are accomplished through an iterative process of refining the structure in several steps to integrate architectural intentions with the structural solutions. The design skills were translated into drawings including prototypes of form and joinery with documentation report.

Students

3rd Year

Aman Patel Dhruvi Bhatt Harsh Agarwal Kinchit Khandelwal Preyas Shah Priyam Bhatt

Renny Somani

Hundlani

Shah

Harsora

Kabra

Patel

Fig. 1 Group Work Understanding Mechanical Properties of Steel and Aluminium through tensile test on Universal Tesing Machine (UTM)

Fig. 2 Harsh Agarwal Case study, plan, elevation, deflection behaviour and joinery drawings

Fig. 3 Preyas Shah Case study, plan, elevation, load Application and joinery drawings

Fig. 4 Uddant Patel Site Photos

Fig. 5 Aman Patel and Dhruvi Bhatt Sun Path and Wind diagrams

Fig. 6 Rohit Hundlani, Amand Patel, Uddant Patel Conceptual Diagrams

Fig. 7 Preyas Shah, Renny Somani, Rohit Hundlani, Main Project Rendered plan, elevation

Fig. 8 Priyam Bhatt, Sagar Shah, Siddhartha Kabra, Renny Somani Rendered Images, Joineries, 1:50 scale model

Fig. 9 Individual work 1:50 Scale Model

Fig. 2

Fig. 3

Jury Profile

Jury Profile

Steven Smith

Steven Smith is an architect with over 30 years’ professional experience as an practicing architect and urbanist, working on a diverse, international portfolio of projects. His career has developed through his work on projects across Europe, Asia and Australia, and includes some of the most challenging, large—scale development projects. Steven founded urban narrative in 2010, which works with clients to create the language for new urban places through research, interactive design, events and enriched conversation.

Suranjana Satwalekar

Suranjana Satwalekar is an exhibit designer based in Mumbai, primarily engaged with the design of museums, themed environments, and interpretative multimedia experiences. She is a graduate of St. Stephen’s College, Delhi University and National Institute of Design, Ahmedabad. As a member of NID’s faculty for almost two decades, she was instrumental in re—starting its Exhibition Design Programme besides heading creative teams for large scale professional NID projects for exhibitions, museums, photography and branding for television networks.

Sameep Padora

Sameep Padora, an architect, has established his studio, sP+a (Sameep Padora & Associates) in Mumbai. The practice has received the Award for Best Public Building, Building of The Year 2019, Award for House of the Year, as well as Emerging Architecture and the AR Library Commendation Awards. Sameep is also the Director of sPare, a not—for— profit initiative that researches issues of urbanization in India. This research led to a book on forms of affordable housing entitled ‘In the Name of Housing. Sameep is also one of the founding members of the Bandra Collective, a group of 6 architects engaged with the design of public spaces in Mumbai. He has completed his undergraduate studies in Mumbai, followed by a post—graduation at the Graduate School of Design, Harvard University.

Walter D’Souza is a renowned artist and print—maker. Besides printmaking, his work also includes glass paintings, water colors and sculpture. He has worked closely with architects to explore new definitions in design and has famously executed several mural—like installations within architectural art. His works, especially prints, have been a part of numerous shows nationally and internationally, including at the International Print Triennale in Finland. He has also taught at CEPT, National Institute of Fashion Technology, Gandhinagar and NID, Ahmedabad and conducts print making workshops across country. He studied painting and printmaking at the Faculty of Fine Arts, M. S. University.

Walter D’Souza

Copyrights Page ©

Excellence Exhibition Catalog— Spring 2022 Teaching and Learning Center, CEPT University

First Published in August 2022, in conjunction with the CEPT Excellence Awards Exhibition Spring 2022, 10th September

Editors: Tridip Suhrud Chirayu Bhatt Anjali Kadam

Editorial Coordination & Layout: Devna Vyas Ishaq Faheem Hitesh Pipaliya Parth Patel

Cover Design by: Parth Patel

Cover Page Image Credit: Aayushi Bhatt IR3019, Theatre Stage Design

Published by: CEPT University Press Kasturbhai Lalbhai Campus University Road, Navrangpura Ahmedabad—380009 Gujarat, India

ISBN: 978—93—83184—54—5

Copyright © 2022 CEPT University Press Individual contributions are copyright of respective authors. Images are copyright of respective creators, unless otherwise noted.

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner, whatsoever without the prior written permission of the publisher.

TEACHING AND LEARNING CENTER