Aadhwanik2.0 - Architectural Portfolio_deep varma

On a Journey

Architecture Portfolio

Curriculum Vitae

Exploring the possibilities of designing spaces that go beyond the physical built environment of architecture is my key interest.

For me Architecture is just a foundation step towards art and design.

A person with passion for Traveling, Exploring, meeting new people and experiencing different journeys i have always thrived on building experiences that involve and enhance all of our senses.

My passion for gaming keeps me on a competitive edge that makes me strategically question my every move while designing. Being a strategic planner along with thinking on my feet is what creates my intuitive designs that are backed up with possibilities on all sides.

SOFTWARE SKILLS

MANUAL SKILLS

Educational Synopsis Deep Ravi Varma D.O.B. - 14 August 1995 Institute of Design, Environment & Architecture Indus University, Ahmedabad, Gujarat deep.varma.140895@gmail.com +91 87 58 50 3609

LANGUAGES

TECHNICAL/ MEASURE DRAWINGS

ENGLISH

SKETCHING AND PAINTING

HINDI

MODEL MAKING

GUJARATI

WOOD / METAL WORKSHOP SKILLS

PUNJABI

PHOTOGRAPHY CONCRETE CASTED MODELS RESEARCH AND WRITING CONTENT WRITER

EXTRA CIRRICULAR

Bachelors in Architecture : Institute of Design, Environment and Architecture, Indus University, Ahmedabad, Gujarat Higher Secondary : School Certificate

Delhi Public School (C.B.S.E) Bopal, Ahmedabad, Gujarat

Secondary School Certificate

: Delhi Public School (C.B.S.E) Bopal, Ahmedabad, Gujarat

Acadamic Work

Design studios Thesis : A Manual to READ Architecture in Literature A study of Spaces as Protagonists in Literary Fiction: (Studio 10) Case Study: House of Leaves by Mark Z. Danielewski Studio 9: Taking it to next level

Further develping and refining the project done in Studio 8 to come up

with a well comprehensive projejct that takes everything to a next

level from designing to constructing every minor detail Studio 8: Urban Insert

Designing an Instituion that develops, exhibits and teaches local art

trades and supports the artisans of the nearby locality Studio 6: Working drawings

Working drawings for Institute for developing material in studio 5.

Studio 5: Material studio

Institution on an urban site with exploration of material.

Studio 4: Re-Source Housing Studio

Housing community that is based on the concept of producing

resources such as Food, Electricity and Water Studio 3: Institution Design

Pre-primary and primary school.

Studio 2: Residence Design

A house for an artist and his family based on the architectural language.

Studio 1: Artist residence-De stijl style. Residence for an artist based on mondrain’s paintings

Work Experience 2017 June 2018 January 2019 March 2020 February Curriculum Vitae

Curriculum Vitae

to to to to

2017 December 2018 December 2020 January 2020 July

- - - -

Workshops and Collaborations A. Construction:

1. Building a Model based on the concept of tensegrity using Bamboo and

Cables in Bali, Indonesia B. Measured drawings and documentation of the following:

1. Vernacular techniques, Himachal Pradesh Documented a vernacular

architecture in naddi and Bal village.

2. Ludiya village, Kutch, Gujarat Documented a cluster of houses in the village.

3. Jaipur, Documented six water structrues and developed the understanding

of collection and treatment of water without the use of modern technology.

C. Workshops

1. Material exploration - Explored materials such as plaster of paris and

acrelyc. Made models using the same materials.

2. Photography - Understood the basic concepts of using a DSLR camera.

Made photographs of Birds, Animals and objects.

3. Bamboo Construction - Constructed a Bamboo shed for sitting area by

understanding and using Bamboo Joineries.

4. Architecture Photography - taking the photography skills to another level.

Composing and capturing photos that express a built’s form and shape and emotions.

5. Narratives - Read various works of literature, summurized them and further

created our own story using keywords form the piece of literature given.

Internship at banduksmithstudio, Architecture Designer at Varsh Design Consultant, Architecture Studio Interior and Product Designer at andteak, Furniture Design Studio Internship at Hariom Conbuildd LLP, Hariom Infrasturcture

CONTENTS 01

STUDIO I

02

STUDIO II

03

STUDIO III

04

STUDIO IV

05

Studio I

STUDIO V-VI

Crafting Spaces Nature of Spaces 01 - 04

Functions and Spaces Understanding the User 05 - 08

Crafting Spaces Nature of Spaces 09 - 12

Community Spaces Resource Mnagement 13 - 18

Material and Details Construction Sequence 19 - 22

06

07

08

Work Experience

Annexures

Crafting Spaces :

Understanding how to carve out spaces in a chunk of mass by introducing Vertical and Horizontal Planes

Nature of Spaces

Understanding the Nature of spaces such as Public Spaces, SemiPublic Spaces and Private Spaces and the functuions they host

:

A Manual to READ: Architecture in Literature

“The end is the beginning, and the beginning is the end�

- Deep Ravi Varma

Deep Varma IU1343000038 Guided by:

STUDIO VIII Urban Context Urban Insert 23 - 30

STUDIO IX

Comprehensive Design Construction and Details 31 - 34

THESIS

Architecture and Beyond Labyrinth 35 - 40

Ishita Jain Naitik Vakharia

banduksmithstudio varsha design studio andteak Hariom Infrastructure 41 - 44

Supplementary Workshops Collaborations 45 - 57

Contents

Studio I

01

Nature of Spaces

Studio I

Crafting Spaces

Studio House

Outward Skin Floor Plates

Part to Whole Isometric View Roof

Designing a Studio House.

A Studio House that confines the basic necessary spaces.

Further keeping in mind the Public and Private nature of the spaces.

The Studio House is a module that can be repeated in all directions of a tower.

Deriving its language from Neoplasticism, consisting of white ground, upon which he painted a grid of vertical and horizontal black lines and the three primary colors, developed by an Artist: Piet Mondrian.

Public Spaces

Outward Skin

Program Public Spaces

Semi-Public Spaces

Private Spaces

Vestibule Collaboration Space

Work Station Pantry

Sleeping Space Storage

Facade C

Facade B

Mezzanine Floor

Semi-Public Spaces Mezzanine Floor

Views Private Spaces

Isometric View 1

Base Floor

Isometric View 2

Private Spaces

Base Floor

Isometric View 1

02

Facade A

Isometric View 2

Studio I

Studio I

Facade D

The Tower

03

Studio I Annexure

Studio II

04

Studio I

Studio II

Functions and : Spaces

Understsnding different functions and how different quality of spaces are required to house each one.

Understanding the User :

Understanding the User, their routine patterns and spaces they inhabit throughout their routine and thus prioritizing and psitioning them accordingly

05

Studio II

An Artist’s House

The Task at hand was to design a residence for an artist.

Being a self-employed person an artist’s daily routine patterns of using spaces in his house are very different to that of any mundane person.

LEGEND

Open spaces are strategically composed to open towards the rich outdoor nature.

8

8

10

Overall Isometric View

7

9

7

First Floor Plan

Terrace Level Plan

1

1

Section at First Floor Level

2

3 10 4

8

Artist House View 1

06

Ground Floor Plan

Studio II

Studio II

9

1 - Entrance Porch 2 - Formal Living 3 - Informal Living 4 - Dinning 5 - Kitchen 6 - Bedroom 7 - Studio 8 - Outdoor Sitting 9 - Open Terrace 10 - Toilets 11 - Parking

10 6

5

8

Artist House View 2

07

Studio II Annexure

Manglore Tiles

RCC Beam Wall Plate

RCC Lintel

Internal Plaster

Ground Floor Plan

First Floor Plan

External Plaster 100mm PCC 65mm Thick Flooring Brick Bat Concrete 15mm Water Proofing

Chajja Ventilation Window Aluminum Frame

Studio III

65mm Floor 65mm Thick Flooring

08

RCC Slab

Studio II

Studio III

Modulation and : Repetition

Understanding how to carve out spaces in a chunk of mass by introducing Vertical and Horizontal Planes

Nature of Spaces

Understanding the Nature of spaces such as Public Spaces, Semi-Public Spaces and Private Spaces and the functuions they host

:

09

Studio III

LEGEND

Kindergarten

6

A place where new journeys begin and minds are shaped. A place where an individual who is highly volatile in terms of mind and body is moulded for the coming future.

6

The design started keeping in mind the honeycomb structure that induces a bond of togetherness and how a system of individuals come together and work collectively for the greater good. An easy free flowing circulation is also kept in mind to minimalize restrictions on a child’s mind.

From the very campus as a whole to each and every fenestration designed to achieve maximum visual and aural connections, this is done to make sure that the user is niether restricted nor insulated at any point of time to maximize individual as well as peer to peer learning.

1 2 3 4 5 6 7

-

Administration Staff Room Classroom Audio Visual Room Multipurpose Hall Jungle Gym Toilet

5

Section at Terrace Floor Level 7

3

3

3

3

First Floor Level Plan

Terrace Level Plan

6 Section through Multipurpose Hall Section at First Floor Level

5 4

2 7

Overall Isometric View

10

3

3

3

1

Ground FLoor Level Plan

Section at Ground Floor Level

Studio III

3

Studio III

A view towards classroom from Multipurpose Hall

11

Studio III Annexure

Studio IV Community Spaces

:

Resource : Management (Water)

12

Studio III

Studio IV

Understanding how the nature and scale of spaces changes when moving through spaces Individual - Cluster - Community Deriving the amount of water required for all the daily chores and further optimizing the use of Portable and Grey Water as well as Black Water

13

Studio IV

Re-Source Housing

In an attempt to create a housing community that works together as one single unit in managing a particular resouce, in this case water.A programme for low cost housing community was set up.The community collects rain water, harvests it and further optimises its use.

The Site: Anhilwad Patan

With an annual average rainfall of 500mm. The daily needs of water are met by digging bore-wells that is decreasing the water table of the whole area. This Community focuses on Rainwater Harvesting methods and even optimal use of water by treating and recycling and reusing both Grey and Black water.

The site has a strong historic context of Rani-Ki-Vav and The Sahastralinga Talav.

They are nationally renowned water structures built in the ages of the kings for the purpose of storing and treating water and further using it for daily use by the people.

The Site

14

Site Plan

Rani Ki Vav

Sahastralinga Talav

Rani Ki Vav

Sahastralinga Talav

Studio IV

Studio IV

Cluster First Floor Plan

Cluster Roof Plan

Cluster Ground Floor Plan

Cluster Basement Plan

15

Section AA’

Section BB’ Overall First Floor Plan

Overall Roof Plan

Section CC’

Section DD’

Overall Ground Floor Plan

16

Overall Water System Level Plan

Studio IV

Studio IV

17

Studio IV Annexure

Site Section

Calculations

Studio V-VI

Model

Being the wettest place in the world with having an annual average rainfall of 11,500mm. Still struggling with the requirement of portable water.

This Designed community self sustains in terms of portable water and electricity.

Requirement for water per person a day =135l 135 x 365days x 20people = 9,85,500l is the annual requirement.

Area of site = 500sqm.

Average rainfall = 11,000mm rainwater harvested = 500 x 11,000 x (0.52 x 0.8)coefficient = 22,88,000l Total consumption = 25kwh per house x 365 days = 9125units energy produced = 22,88,000l x 14.4l water generating 1kwh = 15,888units

Material and Details

:

Understanding different material properties and further developing joineries and details to support the overall form as well as intricate details whose marriage completes a Built Form

Construction Sequence

:

Understanding the Constructuion Sequence from scratch.

Hence generating a set of working drawings needed to construct the Built Form

Model

18

Studio IV

Studio V - VI

19

Studio V-VI

Precast Concrete Spanning Member Notch for Second or Crossing Spanning Member to sit Notch for Spanning Member to sit on the Inclined Member

Wooden Planks with Water Poofing Layer

Precast Concrete Inclined Member 50mm x 50mm Solid Wood Section Bolted on Inclined Member 50mm x 50mm Solid Wood Section between Two Inclined Member Precast Column Cap500mm x 500mm (Outer to Outer Dimension) 300mm x 100mm Notch for the Inclined Member to sit on the Column Cap

PRE CON

In an urge to design an institute that would home the development of a particular material, in this case, it being Precast Concrete. The institute itself is a dominating structure made of precast concrete modules that are assembled using its unique joineries and methodology.

With a single module evolving in scale and at times in volume to get in different kind of light and to house different sets of activities throughout the day.

24mm DGU Toughened 50mm x 50mm Solid Wood Section bolted on Precast Concrete Wall Infill Precast Concrete U Section for Rain Water Channel Mild Steel Section Bolted on Infill Wall

300mm x 300mm Precast Column

24mm Double Glazed Unit Toughened Glass Wooden Window Frame

The program is about how the institute works in the development and understanding of the material. Not so formal in its character yet a discipline that governs the relationship between the architects and the artisans and sometimes even students.

Precast Concrete Wall Infill 10mm Skirting of 25mm Thick Kota Stone

2,5mm Diameter Drip Edge

40mm Dry Mortar Bed 600mm Plinth

Backfill of River Sand

Column

Tie Beam

Inclined Member

Roof Memeber

Creating a skeleton

Roof Wood Panels

Glass Infill

Plinth and Walls

Positioning and Potential mapping

100mm x 200mm Notch of Key for Precast Concrete Foundation to sit

Natural Earth

Creating a Journey a way of flowing through spaces

Deriving Hierarchy

Studio - Institution CONTACT NUMBER KEY PLAN

CLIENT NAME

Studio - Institution

10MM Cement Slurry 40MM Mortar Bed

25MM Thick Polished Kota Stone Flooring

695 695

10MM Cement Slurry 40MM Mortar Bed

DOOR AND WINDOW SCHEDULE

Concrete Plinth

600

2MM Thick Micro-Concrete Joint

150

100MM Skirting of 10MM Vitrified Tiles

STRUCTURAL-

PLUMBING-

CONTACT NO.-

CONTACT NO.-

ADDRESS-

ADDRESS-

MECHANICAL-

ELECTRICAL-

CONTACT NO.-

CONTACT NO.-

ADDRESS-

ADDRESS-

SR.NO

REVISION NO.

DRAWING NO.

10MM Thick Vitrified Tiles Flooring Matt Finished 10MM Cement Slurry 47MM Mortar Bed

Flooring Detail

Studio V - VI

ELECTRICALCONTACT NO.-

ADDRESS-

ADDRESS-

OUT REVISION TABLE

DRAWING NO.

DATE OF ISSUE

CONSULTANTS STRUCTURAL-

PLUMBING-

CONTACT NO.-

CONTACT NO.-

ADDRESS-

ADDRESS-

MECHANICAL-

ELECTRICAL-

CONTACT NO.-

CONTACT NO.-

ADDRESS-

ARCHITECT'S NAME REVISION TABLE

ADDRESS-

DRAWING NO.

DATE OF ISSUE

DRAWING NO.- A233

SCALE - Various

Flooring Detail

DRAWN BY-

ARCHITECT'S NAME

CHECKED ADDRESS BY-

04 DETAIL 04 A231 SCALE 1:2 Concrete Plinth

REVISION NO.

25MM Thick Kota Stone Flooring 10

IN

CONTACT NO.-

DRAWING NAME- FLOORING DETAILS

10MM Cement Slurry 47MM Mortar Bed

EMAIL ID

DRAWING NO.- A501

ADDRESS-

CONTACT NUMBER

10MM Thick Vitrified Tiles Flooring Matt Finished

CONTACT NUMBER

DRAWING NAME- PRECAST CONCRETE STEPS

CONTACT NO.-

ADDRESS-

10MM Cement Slurry

ADDRESS

Studio V - VI

PLUMBING-

CONTACT NO.-

EMAIL ID

Concrete Plinth 100MM Skirting of 10MM Vitrified Tiles Concrete Plinth

Steps Detail

STRUCTURAL-

MECHANICAL-

SR.NO ADDRESSREVISION NO.

Natural Earth

ARCHITECT'S NAME

20

03 DETAIL 03 A231 SCALE 1:2

10MM Cement Slurry

DATE OF ISSUE

CONSULTANTS

SR.NO

15MM Thick Dry Mortar Bed

REVISION TABLE

Overall Design

10MM Cement Slurry

Flooring Detail

CONSULTANTS

Concrete Plinth

DOOR AND WINDOW SCHEDULE

03 DETAIL 03 A231 SCALE 1:2

25MM Thick Kota Stone Flooring

Precast Concrete Steps of 150MM riser and 300MM Tread

300

GENERAL NOTES

10MM Cement Slurry

GENERAL NOTES

50MM x 50MM Notch for Aluminum Section to Sit 10MM x 5MM Anti-Slip Groove

ADDRESS EMAIL ID CONTACT NUMBER

Concrete Plinth 100MM Skirting of 25MM Thick Kota Stone

ADDRESS EMAIL ID CONTACT NUMBER

50MM x 50MM Notch for Aluminum Section to Sit

different ways of repetition

DOOR AND WINDOW SCHEDULE

CLIENT NAME

CLIENT NAME

10MM Thick Cement Slurry 15MM Thick Dry Mortar Bed

scaling modules

CONTACT NUMBER KEY PLAN

25MM Thick Polished Kota Stone Flooring

15MM x 10MM Notch for the Handrail to Sit 4MM Thick and 80MM Wide Aluminum Section as Handrail

Bringing in activities that induce the need of different quality of spaces and hence controlling the same using the infill walls and fenestrations within

Studio - Institution

GENERAL NOTES

10MM Cement Slurry

CONTACT NUMBER KEY PLAN

Marking the Points of Entry

4MM Thick Aluminium Box Section for Baluster 5MM Thick Notch to Fix the Kota Stone 25MM Thick Kota Stone

the play of mass and void

ADDRESS EMAIL ID CONTACT NUMBER

100MM Skirting of 25MM Thick Kota Stone

600

Foundation

300mm x 300mm Notch for the Precast Concrete Column to sit 100mm x 100mm Notch or Key for Column to sit 100mm Plain Cement Concrete

EMAIL ID STAMP

01 DETAIL 01 A231 SCALE 1:5

CONTACT NUMBER

DRAWING NAME- FLOORING DETAILS DRAWING NO.- A233

SCALE - Various

21

Studio V - VI Annexure

Joinery Details

22

Studio VIII

Orientation and Layout

Studio V-VI

Studio VIII

Urban Context :

Studying and further developing an understanding of all the built and natural features along with social and environmental factors of a designated area

Urban Insert

Observing and Inferencing from the Urban Context leading to a Proposal born out of the very area of study.

The Proposal being a refelection of understanding the Urban Context

:

23

Studio VIII

Site Selection and Analysis

Urban Insert

Jodhpur is the second largest city in the Indian state of Rajasthan and officially the second metropolitan city of the state.

The idea was to study the settlement of the walled city and to understand the topograpy, climate and cultural aspects of the same . The old walled city circles around the Mehrangarh Fort, from where you can see the city sprawl out beneath, smearing its blue tint into the horizon. Jodhpur’s most notable attractions are Mehrangarh Fort, Umaid Bhawan Palace, Jaswant Thada, and the Ghanta Ghar. To reach Jodhpur one can have a flight from anywhere as it has its own airport and then can be reached to old city through a cab.

View 1

Reading

Verbal Communication

gathering space

lectures

Learning

presentations

Attractors

public speaking

Hands on working developing and learning skills

Information

References humans

presentations

Base Map with SIte Demarcation

workshops

library records

Real time forums

View 2

Most of the buildings in the immediate context are shops and stores selling products View related to leather, cloth and other wooden or stone artifacts.

Most of the plinths above 500mm either belong to a commercial or mixed used type of building for interactove space.

3

View 4

The above are important attractors for the program as due to these building types there is a lot of tourist as well as residential movement along the primary streets. This also ristricts much of vehicular movement around the site.

The Site is situated next to a primary node that leads to the pedestrian pathway to walk upwards to the Mehrangarh Fort.

Most of the buildings in the immediate context are shops and stores selling products related to leather, cloth and other wooden or stone artifacts. The site is even surrounded my Guest houses, Hotels and Haveli.

The above are important attractors for the program as due to these building types there is a lot of tourist as well as residential movement along the primary streets. This also ristricts much of vehicular movement around the site.

LEGEND PARKING COMMUNITY OPEN SPACE CLUSTER OPEN SPACE HISTORIC OPEN SPACE OPEN MARKET/HAWKERS

LEGEND PRIMARY STREET SECONDARY STREET TERTIARY STREET INTERSECTIONS

GOL NADI

0mm - 500mm 500mm - 1000mm 1000mm - 1700mm

Leather Products Store Cloth Products Store

GOL NADI

Artifacts

documentation of work

Guest House

Nala

Hathi Nohra

Mahavir Temple

Nala

Rd

Sagar

dedicated studio space

Hotels and Haveli

MEHRANGARH FORT

Neher

Gulab

girls Raj

school

Mahal Miyon

ki gali

UMAID CHOWK

UMAID CHOWK

Public Buildings

Rd i Gate Nagor

RAAS HOTEL

RAAS HOTEL

1) 2)

TURJI KA JHALARA

NO OF STREETS - 540 NO OF INTERSECTIONS -365

TURJI KA JHALARA

GULABSAGAR LAKE

Retail Shops

GULABSAGAR LAKE

Ganesh Temple

MAHILA BAUG KA JHALARA

MAHILA BAUG KA JHALARA

SITE : JODHPUR

STUDIO - 8

BUILDING USE MAP

STREETS AND INTERSECTIONS

04

SITE : JODHPUR

STUDIO - 8

OPEN SPACE USAGE

03.1

150M

N

0 10M

50M

0 10M

150M

GHANTAGHAR

Storage

05

BATCH 2014

BATCH 2014

50M

STUDIO - 8

FACULTY NAME:- MANAN SINGAL

FACULTY NAME:- MANAN SINGAL

BATCH 2014

GHANTAGHAR

E:\map plan\Screen Shot 2018-03-04 at 12.45.45 PM.png

SITE : JODHPUR

FACULTY NAME:- MANAN SINGAL

0 10M

50M

150M

N

N

N C:\sem 8\BASE PLAN\IDEA - LOGO-PNG2.png D:\Indus logo\IDEA - LOGO-PNG2.png

Building Use

24

View Key

Gol Nadi Cricket Ground

ki

Discussion Room DiscussionBoards one-to-one one-to-many

Evening

LEGEND LEGEND COMMERCIAL PRIVATE AREA OFFICES RETAIL RESIDENTIAL FORMAL INFORMAL MIXED USED HOUSE+HOTEL HOUSE+SHOP RELIGIOUS BUILDING SCHOOLS INDUSTRIAL BUILDINGS/WAREHOUSE INSTITUTIONS HOSPITAL PUBLIC AMENITIES PUBLIC BUILDING LANDMARKS WATERBODIES PUBLIC OPEN SPACE BUILDING UNDER CONSTRUCTION

MEHRANGARH FORT

Book clubs

Afternoon

The site is even surrounded my Guest houses, Hotels and Haveli.

Human Library human based learning process

2

The Site is situated next to a primary node that leads to the pedestrian pathway to walk upwards to the Mehrangarh Fort.

Connection to Open space to adjecent streets

People/Human

4

1

Morning

Human Library

Book

3

Connection of Open space to selected primary streets

This studio was all about understanding the topography, climate and the cultural aspects. To intervene a project in the walled city by understanding its grains, generating activity maps , tourist movements and to relate to the overall context of the city.

Library

Plinth Heights

The Urban Open Space

Connections

Open Space Usage

Scale 1:500

Studio VIII

Studio VIII

Longer side of grain

Deep Varma IU1343000038 Shorter side

of grain

Increasing degree of node Primary Connection Secondary Connection

Residual Spaces Open Space Open Space Enclosuring Builts

25

Program

NART- Native Arts - Fabric Arts The program is a Human Library that Teaches, makes and developes, and exhibits native arts of Jodhpur particularly realted to Fabrics and namely Extra-Weft Weaving and Block Printing

Program Interdependency

Weaving Studio

Design Process W ov

en

Wooden Blocks Carving

fa

IDEA Intuitive Designs and Enquring Architecture

Level 1

Level 2

Level 3

Overall

br

ics

Dye Room

Library

d fa

dye

9 2

9 6

1

2

4 3

8

4

3

7 5

s

ks loc

bric

nb

ode

wo

Exhibition Space

The Core Idea here was to create a set of fragmented courtyards that would act as light wells.

These light wells will keep the core spaces well lit. The semi-open spaces next to these will be used as drying zone and display spaces as well.

Admin

Rules

dyed and dried fabrics block printed fabric

Drying Zone Scanned with CamScanner

Block Printing Studio

The Core Idea here was to create a thoroughfare from and to the adjacent primary streets.

The thoroughfare behaved as a corridor on all the levels, its semi-open character was utilized for display.

9

Creation of Matrix 26

Studio VIII

Studio VIII

4

2

3

4

5

6 9

6 9

6 9 5

1 Weaving Studio 2 Block Printing Studio 3.

Dye Room 4.

Drying Zone 5.

Exhibition Space 6.

Wood Carving Studio 7. Admin 8. Library 9. Toilet

2 6

The Core Idea here was to create a plinth in such a way that it invites the people inside the building.

The entrance plinth becomes a pause point and an interaction space for people.

2

8

9

7

LEGEND

2

9

1

2

1 8 7

2

3 4

27

Design Floor Plates

Design Views

The core idea here was to create a courtyard adjecent to the dead walls so as it get in light and venntilation throughout the built form.

This allowed to have a sense of curiosity for the people walking down the buzy primary street and in turn create a pause point that serve as an attractor for the people.

9

9

9

9

2 4

5

4

7

2

8

Sectional Ground Floor

Sectional First Floor

Sectional Second Floor

Isometric View

View from Street

View from Street

Second Floor Level

Ground Floor Level

9

9

1

4

Elevation A

Elevation B

3

LEGEND

1 Weaving Studio

2 Block Printing Studio

3.

Dye Room

4.

Drying Zone

5.

Exhibition Space

6.

Wood Carving Studio 7. Admin 8. Library 9. Toilet 28

6

N

First Floor Level

Terrace Floor Level

Section AA’

Studio VIII

Studio VIII

Section BB’

29

Studio VIII Annexure

Studio IX

30

Studio VIII

Studio IX

Comprehensive : Design

Designing a complete project in the very sense of complete. Responding to the Site + Climate + Program + User

Construction and Details

Staying true to context and technology and generating methods to use a certain degree of marriage between basic materials to overcome the construction process yet simple details

:

31

Studio IX

A Comprehensive Intervention

The proposed intervention is an Institute that teaches, develops, exhibits and sells Dabu Printed Fabrics. The purpose of this institution is to promote educational tourism which is beyond just sightseeing. As the average timespan of the stay of foreign tourists is around a week, the institute is a teaching centre during the peak tourist season and a production house during the off season.

This way it supports the local artisan and keeps the native art of Dabu Mud Block Printing alive.

Responding to Context

Isometric View

Sections

Massing

Details

Zoning

B C D

Responding to street edge

Plaza - Extention of public open space

Program

Process Driven

50sqm 4-5 people

Shared walls A courtyard on the corner

A direct connection street to courtyard

E

200sqm 12-14 people

- rolling tables - support desks - rack for blocks - mud mixture BLOCK PRINT- and dye ING STUDIO vessels

- direct storage for all the raw STORAGE materials

F 100sqm 8-10 people - residentail cells for upto two poeple sharing in each room

50sqm 5-7 people

DYE ROOM

RESIDENTIAL CELLS

F

- stoves - dyeing trays - vessel for dyes - storage vessels

INTERACTION ZONE 30sqm 2-4 people - a small pantry for the students and tutors for refreshments

DRYING ZONE

ADMIN - admin office / reception 20sqm 2- 4 people

32

A

50sqm 7-8 people PANTRY

EXHIBITION + SHOP 200sqm 12-14 people

E

- display racks - display rods - mannequins for display

G

F H

- drying stands - drying wires/ rods - sawdust storage

Site Area 306.6SqM

B

A B C D E F G H

12mm 12mm 05mm 04mm 50mm 6mm 25mm 6mm

thick SHS - 200 x 200mm thick RHS - 100 x 200mm thick L angle - 60 x 60mm thick L angle - 55 x 55mm stone wall infill thick C section - 63 x 32mm stone flooring thick T section - 24 x 31mm

Floor Plates

Studio IX

Studio IX

33

A Manual to READ: Architecture in Literature

Studio IX Annexure

Architecture and : Beyond

Core idea was to pick a topic that goes beyond the physical built part of architecture

Labyrinth

Taking a Labyrinth in the form of textual space as a case study and further developing a Designed - Research Thesis in the form of a Labyrinth

:

Overall 1:100 Model

Second Floor 1:100 Model

First Floor 1:100 Model

“The end is the beginning, and the beginning is the end�

Isometric View 1:20 Model

34

Left View 1:20 Model

Front View 1:20 Model

Back View 1:20 Model

Right View 1:20 Model

- Deep Ravi Varma

Ground Floor 1:100 Model

Studio IX

Studio X

35

Aim

Conclusion

Research Question

A study of Spaces as Protagonists in Literary Fiction: Case Study: House of Leaves by Mark Z. Danielewski

How spaces of the book and within the book manifested to create an Architectural Experience?

-

What are the different worlds in the book of House of Leaves?

Objective

- What are the different elements and gestures that create an

experience of the Explorations?

-

-

What is a Textual Space?

-

How is the creation of Field and Frame of Space taking place?

-

How is reading facilitated to create character of a space?

Understanding the use of Space - Time relationship to create an Architectural experience in The Navidson Records.

- Understanding the use of Space - Sound relationship to create an

Architectural experience in The Navidson Records.

- Understanding how writing and reading is facilitated in the book House of Leaves to create an overall experience of the story arc.

-

To Identify the Elements and Gestures that bring out the character of the spaces and facilitate an experience for the reader.

- Understanding the nature of multi-mediated narratives that reside within House of Leaves

House of Leaves resides within its pages a Labyrinth (1), the House. The way in which this Labyrinth (1) is mediated to the reader is yet another Labyrinth (2) comprising of the fragmented Explorations and the further fragmented and overlapping nature of the overall story arc. All of this is mediated to the reader through yet another layer of Labyrinth (3) which is the textual deformations that generate the textual space. The book has three layers of Labyrinths that reside within one another and hence the spaces of the book and within the content of the book become the protagonists of the Narratives of House of Leaves.

- How the way of Mediation of the narratives effects the understanding of a space and create Singular experiences?

PREDATOR ?

Scope and Limitation The study here is focused on understanding of space - time - sound relationship and how spaces are created through gestures, elements and textual representation in and within the book House of Leaves by Mark Z. Danielewski.

The Study of spaces is limited to The Navidson Records.

What is a protagonist?

Protagonist is the leading character of any story. People confuse the leading character with the lead character. One needs to understand that protagonist is like a mantle which is either shared, passed on to or even modified from time to time.

It is a character without whom the story would not have been able to move forward or the story won’t be the same at all.

36

Three inter-connected stories reside in the pages of the novel House of Leaves. Most of the book is focused on The Navidson Record which is the supposedly shot documentary of a House which bigger on the inside than on the outside. Several characters of this documentary capture their experiences of exploring the House on a Hi-8 camera..

Studio X

The Thesis, a Labyrinth (4), begins with making its reader understand what the overall study is about. Further it fragments its content in the middle of the overall study to bring in the Explorations of House of Leaves. These Explorations are then further decoded in terms of their textual space, Labyrinth (3), and the Elements and gestures and the descriptions obtained from the content regarding the House, Labyrinth (1) is given form in the Field. The Field is then divided into multiple Frames of Space that contain the manifested forms of the obscure built of the fragmented nature of the Labyrinth which is the House along with the activities that reside within the spaces of the House.

The Field is divided into three chapters that are complete in themselves in relation to the frames of space. The then created new textual space is also decoded to add yet another layer of Labyrinth (4) All these layers are given a diagrammatic form which is further fragmented in its activities.

Studio X

The result is a Thesis, Labyrinth (5),that talks about how spaces are protagonists in the narratives of House of Leaves and is mediated to the reader as a Labyrinth itself. The spaces of the Thesis are created using the experiences of the Spaces within the content of the Thesis which is generated due to the content of the book and the book House of Leaves.

The experiences of the Space then manifested are singular in nature.

These experiences, here, are generated due to the unique content of the Narratives residing in the House of Leaves and the positioning of the Narrative on the Frame of Space of the Field, House of Leaves. Making Spaces as the leading Character, rather protagonists of the Narratives of House of Leaves by Mark Z. Danielewski.

37

eht morf pu denwaps smoor ehT gnitnemgarf ,rodirroc eht fo slellarap gnikam dna ytivitca fo aera eht detnemgarf eht fo sretnec elpitlum elbissopmi ti gnikam ecneh ecaps ,ytivitca fo aera enoyna no sucof ot .soahc a gnitaerc

The rooms spawned up from the parallels of the corridor, fragmenting the area of activity and making multiple centers of the fragmented space hence making it impossible to focus on anyone area of activity, creating a chaos.

28

22

36

AL

34

AL

T

T

P

38

T

AL

27

Just as a new corridor emerged branching off to the left of the figure it stopped and cautiously entered this new Hallway using its guiding light to explore the serpentine corridors.

no flesti delaever yawrooD wen A teef ytneves eht fo egde thgir eht derevuenam erugfi a sa yawllaH maeb gnidnilb a gnisu ti hguorht yawrooD ehT .dnah sti ni thgil fo yawllaH rehtona tey ot gnidael ehT .teef derdnuh a revo gninway derdnuh siht ot stfihs ereh ytivitca sdnoces fo elpuoc a rof yawllaH teef

26

25

AL

AL

P

T

24

OR

T

Studio X

A new Doorway revealed itself on the right edge of the seventy feet Hallway as a figure maneuvered through it using a blinding beam of light in its hand. The Doorway leading to yet another Hallway yawning over a hundred feet. The activity here shifts to this hundred feet Hallway for a couple of seconds

wef a gnilaever ,flesti senfied yllaudarg neht ecaps ehT gninethgil a yb dewollof rednuht ekil ,tsrfi ta stnemele .yawhtap enitnepres a eb ot sucof fo aera eht tfihs taht

eht tahw dnatsrednu redaer sti gnikam htiw snigeb ,)4( htnirybaL a ,sisehT ehT llarevo eht fo elddim eht ni tnetnoc sti stnemgarf ti rehtruF .tuoba si yduts llarevo snoitarolpxE esehT .sevaeL fo esuoH fo snoitarolpxE eht ni gnirb ot yduts dna ,)3( htnirybaL ,ecaps lautxet rieht fo smret ni dedoced rehtruf neht era tnetnoc eht morf deniatbo snoitpircsed eht dna serutseg dna stnemelE eht si dleiF ehT .dleiF eht ni mrof nevig si )1( htnirybaL ,esuoH eht gnidrager smrof detsefinam eht niatnoc taht ecapS fo semarF elpitlum otni dedivid neht eht si hcihw htnirybaL eht fo erutan detnemgarf eht fo tliub erucsbo eht fo .esuoH eht fo secaps eht nihtiw ediser taht seitivitca eht htiw gnola esuoH sevlesmeht ni etelpmoc era taht sretpahc eerht otni dedivid si dleiF ehT si ecaps lautxet wen detaerc neht ehT .ecaps fo semarf eht ot noitaler ni era sreyal eseht llA )4( htnirybaL fo reyal rehtona tey dda ot dedoced osla .seitivitca sti ni detnemgarf rehtruf si hcihw mrof citammargaid a nevig

The space then gradually defines itself, revealing a few elements at first, like thunder followed by a lightening that shift the area of focus to be a serpentine pathway.

T

P

35

P

OR

? ROTADERP knarhs dna dehsinimid yawllaH ehT taht seohce eht did ti htiw gnola dna aera eht sknirhs sihT .nihtiw dediser nihtiw ecalp gnikat ytivitca eht fo senil dehsaD .ecapS fo emarF eht fo retnec eht fo tesffo eht noitisop deirc serugfi eht fo enO .ytivitca siht yawllaH eht emit siht tub pley a tuo dnopser ton did

32

ytivitca fo aera eht sA elbaviecrepnu eb ot snigeb strats ytivitca eht erutan ni sucof eht gnisol gnihsinimid redaer eht fo

OR

38

33

As the area of activity begins to be unperceivable in nature the activity starts diminishing losing the focus of the reader

P

OR

eht ot eud detareneg era ,ereh ,secneirepxe esehT fo esuoH eht ni gnidiser sevitarraN eht fo tnetnoc euqinu emarF eht no evitarraN eht fo gninoitisop eht dna sevaeL secapS gnikaM .sevaeL fo esuoH ,dleiF eht fo ecapS fo eht fo stsinogatorp rehtar ,retcarahC gnidael eht sa .iksweleinaD .Z kraM yb sevaeL fo esuoH fo sevitarraN

AL 30

The rooms were the anchor points of distracting the reader from a continuous experiences to a series of fragmented ones.

The Hallway diminished and shrank and along with it did the echoes that resided within. This shrinks the area of the activity taking place within the Frame of Space. Dashed lines position the offset of the center of this activity. One of the figures cried out a yelp but this time the Hallway did not respond

ytivitca eht tfihs niaga ecno ot ylnO eht nihtiw gnidiser aera egral a ot eno gnidrabmoB .ecapS fo emarF .ecaps eht fo ssentsav eht htiw thgil gnidiug fo maeb eht erehW tnelis tub gnihtyna hctarcs tonnac .ssenkrad

OR

htnirybaL ,sisehT a si tluser ehT era secaps woh tuoba sklat taht,)5( fo sevitarran eht ni stsinogatorp ot detaidem si dna sevaeL fo esuoH ehT .flesti htnirybaL a sa redaer eht detaerc era sisehT eht fo secaps secapS eht fo secneirepxe eht gnisu hcihw sisehT eht fo tnetnoc eht nihtiw eht fo tnetnoc eht ot eud detareneg si .sevaeL fo esuoH koob eht dna koob neht ecapS eht fo secneirepxe ehT .erutan ni ralugnis era detsefinam

29

AL

AL

P

23

21 20

tsew eht no degreme yawllaH ehT tsael ta gninnaps moor gnivil eht fo seohce setareneg siht teef ytneves ehT .moor eht ni nerdlihc eht fo gnikat ytivitca eht skram stneidarg retnec esohw moor gnivil eht ni ecalp fo noitcesretni eht yb dekram si gniyalp nerdlihc namuH .senil dettod gnimaercs dna

OR

The Hallway emerged on the west of the living room spanning at least seventy feet this generates echoes of the children in the room. The gradients marks the activity taking place in the living room whose center is marked by the intersection of dotted lines. Human children playing and screaming

T

egde eht no decalp ti moor gnivil ehT speek sihT .ecapS fo emarF eht fo sevig renroc ehT .egde no redaer eht ecnatropmi niatrec a moor gnivil eht emas eht ta htworg senfied osla tub .emit

T

19

The living room it placed on the edge of the Frame of Space. This keeps the reader on edge. The corner gives the living room a certain importance but also defines growth at the same time.

Activity

OR

18

-

P

stniop rohcna eht erew smoor ehT a morf redaer eht gnitcartsid fo seires a ot secneirepxe suounitnoc .seno detnemgarf fo

2.4 Frame of Space

P

OR

rehtona tey si redaer eht ot detaidem si )1( htnirybaL siht hcihw ni yaw ehT .esuoH eht ,)1( htnirybaL a segap sti nihtiw sediser sevaeL fo esuoH si siht fo llA .cra yrots llarevo eht fo erutan gnippalrevo dna detnemgarf rehtruf eht dna snoitarolpxE detnemgarf eht fo gnisirpmoc )2( htnirybaL eerht sah koob ehT .ecaps lautxet eht etareneg taht snoitamrofed lautxet eht si hcihw )3( htnirybaL fo reyal rehtona tey hguorht redaer eht ot detaidem fo stsinogatorp eht emoceb koob eht fo tnetnoc eht nihtiw dna koob eht fo secaps eht ecneh dna rehtona eno nihtiw ediser taht shtnirybaL fo sreyal .sevaeL fo esuoH fo sevitarraN eht

Annexure

eht fo tfel eht ot ffo gnihcnarb degreme rodirroc wen a sa tsuJ sti gnisu yawllaH wen siht deretne ylsuoituac dna deppots ti erugfi .srodirroc enitnepres eht erolpxe ot thgil gnidiug

Annexure

31

Only to once again shift the activity to a large area residing within the Frame of Space. Bombarding one with the vastness of the space.

Where the beam of guiding light cannot scratch anything but silent darkness.

37

A path way that leads one back to the comforts of the living room. The warmth of a space which is neither domination nor unperceivable.

Studio X

39

The rooms spawned up from the parallels of the corridor, fragmenting the area of activity and making multiple centers of the fragmented space hence making it impossible to focus on anyone area of activity, creating a chaos.

eht morf pu denwaps smoor ehT gnitnemgarf ,rodirroc eht fo slellarap gnikam dna ytivitca fo aera eht detnemgarf eht fo sretnec elpitlum elbissopmi ti gnikam ecneh ecaps ,ytivitca fo aera enoyna no sucof ot .soahc a gnitaerc

82

03

Just as a new corridor emerged branching off to the left of the figure it stopped and cautiously entered this new Hallway using its guiding light to explore the serpentine corridors.

RO

T

stniop rohcna eht erew smoor ehT a morf redaer eht gnitcartsid fo seires a ot secneirepxe suounitnoc .seno detnemgarf fo

The rooms were the anchor points of distracting the reader from a continuous experiences to a series of fragmented ones.

eruxennA

P

LA

T

92

P

LA

23

RO

13

ytivitca eht tfihs niaga ecno ot ylnO eht nihtiw gnidiser aera egral a ot eno gnidrabmoB .ecapS fo emarF .ecaps eht fo ssentsav eht htiw thgil gnidiug fo maeb eht erehW tnelis tub gnihtyna hctarcs tonnac .ssenkrad

The Hallway emerged on the west of the living room spanning at least seventy feet this generates echoes of the children in the room. The gradients marks the activity taking place in the living room whose center is marked by the intersection of dotted lines. Human children playing and screaming

P

T

33

-

ecapS fo emarF 4.2

tsew eht no degreme yawllaH ehT tsael ta gninnaps moor gnivil eht fo seohce setareneg siht teef ytneves ehT .moor eht ni nerdlihc eht fo gnikat ytivitca eht skram stneidarg retnec esohw moor gnivil eht ni ecalp fo noitcesretni eht yb dekram si gniyalp nerdlihc namuH .senil dettod gnimaercs dna

02

P

T

LA

43

T

81

ytivitcA

Abhishree Orchard

Only to once again shift the activity to a large area residing within the Frame of Space. Bombarding one with the vastness of the space.

Where the beam of guiding light cannot scratch anything but silent darkness.

RO

P

LA

53

RO

63

wef a gnilaever ,flesti senfied yllaudarg neht ecaps ehT gninethgil a yb dewollof rednuht ekil ,tsrfi ta stnemele .yawhtap enitnepres a eb ot sucof fo aera eht tfihs taht

ytivitca fo aera eht sA elbaviecrepnu eb ot snigeb strats ytivitca eht erutan ni sucof eht gnisol gnihsinimid redaer eht fo

LA

RO

22

egde eht no decalp ti moor gnivil ehT speek sihT .ecapS fo emarF eht fo sevig renroc ehT .egde no redaer eht ecnatropmi niatrec a moor gnivil eht emas eht ta htworg senfied osla tub .emit

Saini House Deesa

12

32

knarhs dna dehsinimid yawllaH ehT taht seohce eht did ti htiw gnola dna aera eht sknirhs sihT .nihtiw dediser nihtiw ecalp gnikat ytivitca eht fo senil dehsaD .ecapS fo emarF eht fo retnec eht fo tesffo eht noitisop deirc serugfi eht fo enO .ytivitca siht yawllaH eht emit siht tub pley a tuo dnopser ton did

As the area of activity begins to be unperceivable in nature the activity starts diminishing losing the focus of the reader

91

The living room it placed on the edge of the Frame of Space. This keeps the reader on edge. The corner gives the living room a certain importance but also defines growth at the same time.

Work Experience banduksmithstudio - Intern - Full Time

saini house, deesa 08.09.2017

banduksmithstudio design@banduksmithstudio.in

The space then gradually defines itself, revealing a few elements at first, like thunder followed by a lightening that shift the area of focus to be a serpentine pathway.

RO

T

LA

62

P

no flesti delaever yawrooD wen A teef ytneves eht fo egde thgir eht derevuenam erugfi a sa yawllaH maeb gnidnilb a gnisu ti hguorht yawrooD ehT .dnah sti ni thgil fo yawllaH rehtona tey ot gnidael ehT .teef derdnuh a revo gninway derdnuh siht ot stfihs ereh ytivitca sdnoces fo elpuoc a rof yawllaH teef

42

72

T

eht fo tfel eht ot ffo gnihcnarb degreme rodirroc wen a sa tsuJ sti gnisu yawllaH wen siht deretne ylsuoituac dna deppots ti erugfi .srodirroc enitnepres eht erolpxe ot thgil gnidiug

P

A new Doorway revealed itself on the right edge of the seventy feet Hallway as a figure maneuvered through it using a blinding beam of light in its hand. The Doorway leading to yet another Hallway yawning over a hundred feet. The activity here shifts to this hundred feet Hallway for a couple of seconds

LA

83

RO

52

The Hallway diminished and shrank and along with it did the echoes that resided within. This shrinks the area of the activity taking place within the Frame of Space. Dashed lines position the offset of the center of this activity. One of the figures cried out a yelp but this time the Hallway did not respond

saini house, deesa 08.09.2017

banduksmithstudio design@banduksmithstudio.in

73

sdael taht yaw htap A strofmoc eht ot kcab eno ehT .moor gnivil eht fo hcihw ecaps a fo htmraw ron noitanimod rehtien si .elbaviecrepnu

saini house, deesa 08.09.2017

40

Studio X

Work Experience

banduksmithstudio design@banduksmithstudio.in

41

planter

520 635

1800

615

990

1800

600mm wd.& 750 mm thick ex. br. work as per ele

578

585

643

643

1800 868

PARKING

1720

3425

115

1800

750

3050

115

2083

115

615

SD

1800

635

W

635

2140

750

2140

115

A

1800

1713

3050

115

1800

1400

3425

115

115

1713

3425

115

750

3050

115

1345

1800

232 900

750

903

150

SUNK SLAB

230

1705

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

4385

1105

1070

900

635

775

2715

600

1705

230

150 930

230

115

500

1800

635

635

1800

500

1800

235

1960 230

775

965 750

WASH 1565

1070 1105

750 230 900

635

1500

3050

BED ROOM

2035

4385

600

KITCHEN

1220

2150

3050

615

230

900

3500

4360

DRAWING

600

660

2715

2150

BED ROOM

600 MM WIDE PROJ. @ BEAM BOTTOM LVL. 600mm wd.& 750 mm thick ex. br. work as per ele

1450

2050

D

1630

615

3050

BED ROOM

3050

1365

1800

3460

900

1850

1070

D2

2235

TOILET

355 750

1220

3050

3050

600

1065

v

O.T.S.

1365

DRAWING 3050

4385

4385 535

1850

2285

v

900

2235

WASH 1450

2150

KITCHEN

TOILET

600 310 310

355 750

D2

310 310 600

1065

1070

900 930 150

2000

1960 230

DINING

3460

BED ROOM 3500

660

1070

TOILET 750

1500

3050

2235

D2

900

TOILET

1065

435 600

965

230

2150

900

v

O.T.S.

1850

750 355

v

1065

1220

2285

600 310 310

TOILET

310 310 600

1850

1565

WASH

600

DUCT

600

300 470 750

2035

235

KITCHEN

1220

900 230

3050

DRAWING

900 750 355

D2

1070

635

4385

3050

1800

325

2150

120

TOILET 435 600

230

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

600mm wd.& 1385 mm thick ex. br. work as per ele

535 230

900

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

600mm wd.& 750 mm thick ex. br. work as per ele

300mm wd.& 230mm thick ex. br. work as per ele 3800

1650

115

1565

2035

1800

BED ROOM

3050

3050

4385

635

3050

635

BED ROOM

3050

2035

2150

4385

2235

4245

2035

610

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

150

2050 230

600mm wd.& 750 mm thick ex. br. work as per ele

300

600

470

1220

750

DINING

600

750

TOILET

495 600

150

1800

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

1800

308

138

3050

DRAWING

750

965

D2 W1 WASH

2140

1800

2150

2035

300 300

3500

1070

2140

635

4245

BED ROOM

LIFT

2000

230

1800

760

2195

600mm wd.& 750 mm thick ex. br. work as per ele

1800

3830

1385

600mm wd.& 1385 mm thick ex. br. work as per ele

7860

LIFT DOOR

1650

790

900

KITCHEN

900

2715

1735 750

1800

300mm wd.& 230mm thick ex. br. work as per ele

2030

LIFT

KITCHEN

1345

1630 WIDE PASSAGE

LIFT DOOR

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

600mm wd.& 1400 mm thick ex. br. work as per ele

3500

300mm wd.& 230mm thick ex. br. work as per ele

2083

230

BED ROOM

585

600

1800

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

490

600

300

300

DN

2600

1000 3050

300mm wd.& 230mm thick ex. br. work as per ele 1800

UP

2140

DRAWING

940

D1

2115

300 1955

705 1245

900

3185

585

375

750

310 600 310

3050

3425

SD

W

BED ROOM

D

1070

D2

1365

2265

2265

900

D2

900 3050

3425

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

600mm wd.& 750 mm thick ex. br. work as per ele

750

W.C.

4385

1105

925

1125

750

470

2140

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900

WASH

230

BV

785

W1

905

310 600 195

750

925

1185

TOI.

760

300

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310 310 600

470

1245 1000

4385

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D1 DRAWING 3050

750 600

v

1450

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750

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635

750

D2 KITCHEN

790

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1085 115

520 600

W

1675

BV TOI.

12775 900

230

610

TOILET

965

300

1800

790

1125

785

615

1120

W.C. D2

940

D2

990

D

900

2150

2150

600 750

1085

1800

KITCHEN

940

3050

300

4385

1000

900

DRAWING

SD

1030

310 600 310

2140

D2

3050

2265

600115

2140

790

1220

2000

2140

ELECTRICAL MAIN LINE WIDE PASSAGE

1085

1190

2115

600

1070

300 470

1980

D

490

600mm wd.& 750 mm thick ex. br. work as per ele

1200

1070

615

940

D2

KITCHEN

4915 685

300

W.C. 1125

DUCT 610

W1 790

300 100

BV

1675

D2

750

1245

TOI.

230

300

115 1085

2150

3050

DRAWING

585

v

750

310 600 310

v

D2

925

1220

1675

600 310 310

BV TOI.

905

3830 115 1450 230

1705

300mm wd.& 230mm thick ex. br. work as per ele

WASH

600

3425

900

585

1125

925

310 310 600

750

310 310 600

D2 W.C.

1070

D

750

2050 230

2140

635

D1 D2

1980

1800

1000 3185

BED ROOM

3050

BED ROOM 3425

DRAWING

615

983

4385

4385

1800

D1

1245

2140

643

635

W

SD

643

400

750 115 900

3050

2150

1085

1800

3050

940

KITCHEN

1000

3185

3185

990

465

2000

C 600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

600 MM WIDE PROJ. @ BEAM BOTTOM LVL. 643

SD

1800

2935

115

300

W

785

600

600

1070

D2

150

1650

600mm wd.& 750 mm thick ex. br. work as per ele

300mm wd.& 230mm thick ex. br. work as per ele 715

750

1800

1345

1800

1385

3830

1800

1345

1800

750

900 233

903

12775

230

1565

115

1705

3830

230

2050

A

5TH & 8TH FLOOR PLAN

6 PERSON

planter

5' WIDE PASSAGE

SHOP- 05

LIFT 2.60 x 1.65

PRE CAST CURBING

UP

CE

D2

750

2140

115

1630

900

3050

3880

planter

1245

1980

150

930

230

2150

2140

planter

SLIDE

'-0 20

5' WIDE PASSAGE

"W

20'-0" WIDE ROAD

ENTRANCE

RA NC

E

RO AD

EN T

DN

AN

635

2140

WASH W1 790

1245

W.C.

3425

LIFT 2.60 x 1.65

SHOP- 06

WITH MS. GRILL

CAR PARKING

TOI.

R.C.C. WORK TOP COVERED TO ACP PANEL

PLANTER

ENTRANCE

25'-0" WIDE ROAD

MAIN ENTRANCE RESIDENC

25'-0" WIDE ROAD

CONS.

DATE

4'-3"

4'-6"

DRN. BY : CHINTAN / SUNIL

3"x1" MS SEC. PIPE

9'-0"

9'-9"

CHK. BY : KANUBHAI

5'-421"Ø MS SHEET 1" 5'-42

BRICK MASONRY WALL

6"

9"

R.C.C.SLAB

1'-6"

SIDE ELEVATION

6"x6" MS SEC. PIPE 12mm THK. TOUGHEN GLASS

+1'-6" LVL.

23'-6"

±0'-0"LVL.

10'-0"

±0'-0"LVL. 20'-0"

56'-6"

ELEVATION

6"x6" MS SEC. PIPE 12mm THK. TOUGHEN GLASS

BRICK MASONRY WALL

+1'-6" LVL. 9"

8'-6"

9"

1'-6"

SECTION-1

IN SIDE

TOP COVERED TO ACP PANEL

SHOP- 27

SHOP- 26

SHOP- 25

SHOP- 24

eq

SHOP- 28

TOI.

TOI.

TOI.

TOI.

TOI.

WITH MS. GRILL

SHOP- 21

SHOP- 18

SHOP- 17

SHOP- 16

SHOP- 15

SHOP- 14

SHOP- 13

SHOP- 19

3"

9"

SECURITY CABIN 8'-6"x8'-6"

3'-9"

2'-0"

1'-0"

1'-0"

PRE CAST CURBING

LIFT

+1'-6" LVL.

Ø1'-0"

6"

R.C.C.SLAB

1'-6"

10'-0"

TOI.

2'-0"

CUT IN SLAB

20'-0"

1'-8" 2'-0" 1'-8" 2'-0" 1'-8" 2'-0" 1'-8" 2'-0" 1'-8" 2'-0" 1'-8" 1'-3" Ø1 '-0" 9"

8'-6"

TOI.

6'-0"

6'-9"

D

5'-6"

LIFT

2'-0"

9" 2'-6"

8'-6"

eq

SHOP- 20

banduksmith studio

5' WIDE PASSAGE

2mm brass rods layer 2

3"

5' WIDE PASSAGE

5' WIDE PASSAGE

CAR PARKING

eq

ENTRANCE

4'-0"

53'-0" 61'-0"

5' WIDE PASSAGE

SECTION-2

eq 405 [1'-4"]

eq

905 supath tower, opp rasranjan, vijay char rasta navrangpura, ahmedabad 380009 I N D I A design@banduksmithstudio.in

PLAN

OUT SIDE

ENTRANCE

6"x6" MS SEC. PIPE

ENTRANCE

eq

eq

banduk smith studio

eq

eq

eq 331 [1'-1"]

eq

eq

eq

eq

AT PALDI-KAKAJ

10'-6"

eq

E.100

PROJECT NAME : MAIN GATE DETAIL

6 0 '- 0" W I D E R O A D

2mm brass rods layer 1

BRICK MASONRY WALL

R.C.C.SLAB

eq eq

electrical layout

3"

CUT IN SLAB 61'-6"

1:25

4'-0"

12mm THK. TOUGHEN GLASS

1 SEC

CAR PARKING

CAR PARKING

±0'-0"LVL.

12" Ø R.C.C. COLUMN

Ø1'-0"

6"

3"

SHOP- 29

B

TOI. SHOP- 22

CAR PARKING

20'-0" Ø1'-0"

6'-0"

TOI.

TOI. SHOP- 23

1'-6"

9"

TOI.

10'-0"

3"

6"

TOI.

10'-0"

3"

6"

TOI.

U.G.W.T.

3"

BRICK MASONRY WALL

2'-0"

TOI.

DN

PAVER PARKING

1'-0"

eq

TOI.

UP

10'-6"

PARKING

6'-0"

TOI.

1'-0"

20'-0" WIDE RAMP SLOPE 1:7

DN

3"

FIRE TANK planter

eq

mother shell layer 1

NORTH LOCATION DATE

CHK. BY : KANUBHAI

VARSHA DESIGN CONSULTANT

PLAN OF ABOVE R.C.C. TOP SLAB LVL.

notes

- all dimensions are in millimeters/feet inches.

- any discrepancy on the site should be referred to the architect.

- dimensions on the drawing are to be read and not measured.

- all dimensions are from the unfinished surfaces.

- all centerlines are through walls and column centers unless indicated.

- all RCC work indicated on the drawing is for reference only.

- all levels are with reference to the benchmark as established on the site.

the drawings are the sole property of banduksmithstudio. the drawings may not be copied in whole or in part without prior permission of the architect.

date of issue 13 october 2017

revisions

Khurana

drawn deep checked sachin date 13 october 2017 scale

1:5

A.409

mother shell light fixture

905 supath tower, opp rasranjan, vijay char rasta navrangpura, ahmedabad 380009 I N D I A design@banduksmithstudio.in

banduk smithstudio

for construction

isometric view 1:5

: 28-12-2018

DRN. BY : AJAYBHAI

FIRST FLOOR

step 1

Work Experience

Work Experience

RAILWAY LINE

6"x6" MS SEC. PIPE 3"x1" MS SEC. PIPE R.C.C.SLAB

DATE

B 508 & 509 Gopal Place Opp.ocean Park ,satellite Road, nehrunagar,ahmedabad Ph. 079-740500843,92272 26644 E-mail: varshadesign@yahoo.com

12" Ø R.C.C. COLUMN

CUT OUT IN WALL

MAIN ENTRANCE RESIDENC

CONTRACTOR NO.

VARSHA DESIGN CONSULTANT R.C.C.SLAB

9"

9"

: 29-07-2020

1'-0"

9'-0"

61 4"

CONSULTANT NO.

3"

3"

4'-3"

1'-0"

2'-3" 2'-0"

4'-6"

WORKING PLAN BLCOK -B 6"x6" MS SEC. PIPE

6'-0"

8. BASEMENT R.C.C. WALL AS PER STRUCTURAL DRAWING

NOT TO SCALE 3"x1" MS SEC. PIPE

DATE

5'-6"

S.CABIN

CLIENT DATE

1'-6" 2'-6"

SEATING AREA SEAT

SEAT

2 SEC

REMARKS

ISSUE OF PRINTS

10'-0"

6"

PRE CAST CURBING

10'-6" 3"

8'-0" 10'-0"

ENTRANCE

5. DETAILS AND SPECIFICATIONS OF ALL R.C.C. WORK SHALL BE CONSIDERED AS PER STRUCTURAL DRAWINGS.

8'-0"

SHOP- 11

2150

600 X 900

DRG. SCALE

2'-6" 1'-6" 2'-0" 1'-6" 2'-6"

4. ALL LEVELS ARE FINISHED LEVEL.

12" Ø 6. THE ARCHITESCTS IS NOT RESPONSIBLE FOR ANY STRUCTURAL FAILURE. 12mm THK R.C.C. COLUMN 7. ALL DIMENSIONS ARE FROM CLEAR R.C.C. AND MASONARY WORK. PLASTER PATTA

1'-6"

TOI.

V

-----

0"SILL 6'- 1250 Ø

5'-6"

PARKING

LINTEL

2'-6"

+4

2150

6'-0"2150

SIZE

3. ANY AMBIGUTY IF FOUND SHALL BE BROUGHT TO THE NOTICE OF THE ARCHITECTS IMMEDIATELY.

22'-0"

E L. UR LV G PT 50 VIN UL SC PA

GAZEBO SEATING AREA

750 X 2150 900 X 2150

SILL

10'-6"

SEAT

PAVER PARKING

D2 D3

WINDOW TYPE

LINTEL

HARI OM CRYSTAL

1'-0"

2. ALL DIMENSIONS ARE IN MM

1'-0" SIZE

TYPE

DATE

NO.

R.C.C. WORK

HARIOM INDUSTRIAL PARK

20'-6"

SHOP- 10

NOTES: -

1. ALL DIMENSIONS ARE TO BE READ AND NOT TO BE MEASURED.

23'-0"

TOI.

planter

LAWN

3"

DOORS

3"

SHOP- 09 TOI. WOMEN'S SEATING AREA SEAT

3"

10'-0"

2'-0"

3"

LAWN

SEAT

3"

SCHEDULE FOR OPENING

23'-0"

LAWN

AD IDE RO

5' WIDE PASSAGE

SHOP- 08

planter

SEAT

TOI.

REVISIONS

TOP COVERED TO ACP PANEL

61'-6"

10'-6"

20'-6"

SEAT

2'-0" HT. M S SHEET CUTING LETTER

39'-4"

planter

EN

ENTRANCE

TR

6 PERSON

TOI.

eq eq

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

230

W1 790

115

2140

750

3050

1800

3050

115

3050

1713

1220

1800

300

115

3425

1400

150 MM SUNK SLAB

SHOP- 07

eq

eq 405 [1'-4"]

600

900 750

D

470

1125

TOI. BV

BED ROOM

520

PRE CAST CURBING NO GRILL

SHOP- 04

TOI.

mother shell layer 2

2mm brass rods layer 3

1070

D

750

925

750

TOI.

SEAT

TOI.

E.100

905 supath tower, opp rasranjan, vijay char rasta navrangpura, ahmedabad 380009 I N D I A design@banduksmithstudio.in

TOI.

PAVING

PATH

3mm thick beads layer 1

D2

750

W.C. 1125

600mm wd.& 750 mm thick ex. br. work as per ele

SHOP- 03

CLUB HOUSE

2mm brass rods layer 4

KITCHEN

PAVER

SHOP- 12

electrical layout

drawn deep checked sachin date 14 december 2017 scale

1800

WIDE PASSAGE

635

CAR PARKING

UP

LIFT

step 2

1:25

mehta house

115

3425

600mm wd.& 1400 mm thick ex. br. work as per ele

R.C.C. WORK

drawn deep checked sachin date 14 december 2017 scale

revisions

mehta house

LIFT

eq

mehta house

date of issue 14 december 2017

1713

eq

the drawings are the sole property of banduksmithstudio. the drawings may not be copied in whole or in part without prior permission of the architect.

115

1800

300mm wd.& 230mm thick ex. br. work as per ele

2140

1630

DUCT

510

SHOP- 02

6 0 '- 0" W

notes

42

2mm brass rods layer 5

step 3

- all dimensions are in millimeters/feet inches.

- any discrepancy on the site should be referred to the architect.

- dimensions on the drawing are to be read and not measured.

- all dimensions are from the unfinished surfaces.

- all centerlines are through walls and column centers unless indicated.

- all RCC work indicated on the drawing is for reference only.

- all levels are with reference to the benchmark as established on the site.

3050

2140

585

DUCT

TOI. BV 1675

310 600 195

v

PAVER

COMMON PLOT

905 supath tower, opp rasranjan, vijay char rasta navrangpura, ahmedabad 380009 I N D I A design@banduksmithstudio.in

section A scale 1:25

IDE

eq eq eq eq eq

1:25, 1:5 bathroom layout

750

3030

SEAT

eq

drawn deep checked sachin date 14 december 2017 scale

banduk smith studio

1889 [6'-2 1/2"]

SERVICE COURT YARD PARTY KITCHEN

eq 405 [1'-4"] eq

mehta house

1085

3050

115

10860 115 115

1220

planter

L.TOI.

H.TOI.

G.TOI.

750

D2

750

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

5' WIDE PASSAGE

117 [4 1/2"]

3mm thick beads layer 2

DN

revisions

115

600mm wd.& 750 mm thick ex. br. work as per ele

2140

DRAWING

D2

310 600 310

310 600 310

510

PRE CAST CURBING WITH MS. GRILL

TOI.

5' WIDE PASSAGE

717 [2'-4 1/4"]

date of issue 14 december 2017

P.100

D1 P.100 117 [4 1/2"]

2083

WASH

600

D1

GATE

revisions

2140

230

940

3425

600 310 310

115 1220

v

115

115

310 600 310

eq eq

date of issue 14 december 2017

115

635

1800

4385

BED ROOM

465

2150

3050

2935

840

1000

115 600 3880

3050

W

SD

925

GATE

D2 P.100

2 10

RUBBER FLOOR

TOI.

PLANTER

1

the drawings are the sole property of banduksmithstudio. the drawings may not be copied in whole or in part without prior permission of the architect.

AD

SB 2

CHILDREN PLAY AREA

SEE SAW

eq

1200 [3'-11 1/4"]

SB 2

2140 2083

600mm wd.& 750 mm thick ex. br. work as per ele

1800

SHOP- 01

ENTRANCE

bathroom layout scale 1:25

5

the drawings are the sole property of banduksmithstudio. the drawings may not be copied in whole or in part without prior permission of the architect.

2mm brass rods layer 6

RO

960 [3'-1 3/4"]

3

step 4

DE

860 [2'-9 3/4"]

light source

WI

25 mm 1020 [3'-4 1/4"]

635

510mm wd.& 115 mm thick ex. br. work as per ele

0"

slope

409 [1'-4"]

7

2 4

B

20 '-

slope

P.100

slope

500 [1'-7 3/4"] 640 [2'-1 1/4"] 769 [2'-6 1/4"] 900 [2'-11 1/2"] 1175 [3'-10 1/4"]

C

750

D1

eq

150 [6"] B

335 150 [1'-1 1/4"] [6"]

10 mm

2170 [7'-1 1/2"]

A D

675 [2'-2 1/2"]

slope

2225 [7'-3 1/2"]

1200mm x 600mm vitrified tiles 3mm groove

- all dimensions are in millimeters/feet inches.

- any discrepancy on the site should be referred to the architect.

- dimensions on the drawing are to be read and not measured.

- all dimensions are from the unfinished surfaces.

- all centerlines are through walls and column centers unless indicated.

- all RCC work indicated on the drawing is for reference only.

- all levels are with reference to the benchmark as established on the site.

6 1200mm x 750mm white marble

3

2075 [6'-9 3/4"]

2

875 [2'-10 1/2"]

1

notes

starting point

- all dimensions are in millimeters/feet inches.

- any discrepancy on the site should be referred to the architect.

- dimensions on the drawing are to be read and not measured.

- all dimensions are from the unfinished surfaces.

- all centerlines are through walls and column centers unless indicated.

- all RCC work indicated on the drawing is for reference only.

- all levels are with reference to the benchmark as established on the site.

eq

852 [2'-9 1/2"]

225 [8 3/4"]

starting point

A

eq

notes

134 [5 1/4"]

1276 [4'-2 1/4"]

NT

200 [7 3/4"]

OTT

wooden support structure

eq

391 [1'-3 1/2"]

1800

600 MM WIDE PROJ. @ BEAM BOTTOM LVL.

eq

818 [2'-8 1/4"]

1311 [4'-3 3/4"]

A

the drawings are the sole property of banduksmithstudio. the drawings may not be copied in whole or in part without prior permission of the architect.

115

3050

1720

600mm wd.& 750 mm thick ex. br. work as per ele

eq

150 335 [6"] [1'-1 1/4"]

section B scale 1:25

818 [2'-8 1/4"]

1800

300mm wd.& 230mm thick ex. br. work as per ele

B 508 & 509 Gopal Place Opp.ocean Park ,satellite Road, nehrunagar,ahmedabad Ph. 079-64500843,92272 26644 E-mail: varshadesign@yahoo.com

43 N

100 [4"]

115

3425

750

LAWN

1258 [4'-1 1/2"]

detail 2 scale 1:5 P.100

5,6

eq

115mm brick wall

2840 [9'-3 3/4"]

477 [1'-6 3/4"]

eq

10mm cement slurry

B

970 [3'-2 1/4"]

eq

430 [1'-5"]

8 9

255 136 [10"] [5 1/4"]

245 [9 3/4"]

2 4

415 [1'-4 1/4"]

text style

56446 115

eq

revisions

401 [1'-3 3/4"]

LAUFEN drop in bathtub white finish

331 [1'-1"] eq

N

1 - angular valve (hot) 2 - angular valve (cold) 3 - wash basin faucet 4 - health faucet 5 - smart control mixture 6 - shower head 7 - 5 hole bath combination 8 - water supply tap 9 - soil waste outlet 10- waste water outlet

eq

date of issue 14 december 2017

3

368 131 [1'-2 1/2"] [5 1/4"]

750mm x 1200mm white marble 16mm 18mm internal plaster

eq

eq

detail 1 scale 1:5

eq

310 600 310

2475 [8'-1 1/2"]

10mm vitrified tile flooring bed laid to slope

eq

eq

1200mm x 750mm white marble

10mm vitrified tile

- all dimensions are in millimeters/feet inches.

- any discrepancy on the site should be referred to the architect.

- dimensions on the drawing are to be read and not measured.

- all dimensions are from the unfinished surfaces.

- all centerlines are through walls and column centers unless indicated.

- all RCC work indicated on the drawing is for reference only.

- all levels are with reference to the benchmark as established on the site.

eq 405 [1'-4"]

115mm brick wall

130 150 [5"] [6"]

starting point

cement slurry

230 [9"]

notes

16mm thick white marble

LEGEND

Khurana Residence - Light Design Mother of Pearl

115

Mehta House

Work Experience Varsha Design Consultants - Intern - Part Time

3" 1'-0"

Work Experience banduksmithstudio

NO.

Work Experience &teak - Junior Designer - Full Time

Annexures

44

Work Experience

Annexures

45

Technical Drawings

This model shows all the layers in the sequence of construction.

This is a 1:1 Scale model of a Bathroom Ventilation Window. All the details and process of construction are covered as it is made of actual material.

This model consists all the layers of sequences of construction from structure to finishes.

This sheet contains the details for the 1:1 Scale model of a Bathroom Ventilation Window.

This sheet consists of a plan and its subsequent section.

46

Annexures

Annexures

47

Basic Design

Understanding the scale and proportion of different elements and how they respond to our human body in terms of dominance.

To develop the basic skill set of design, expression, the thinking process and model making. These are the following exercises done to up bring those skill sets.

Further making a 1:10 scale model of our own body to understand the human proportion system.

Playing with the volume on a strict interconnected geometry.

Designing a kiosk. to accomodate 10 people. The context chosen is that of a beach hence the kiosk is open, semi-open and closed at the same time

Interactive Cube Design Abstraction using cubes and prisms. Further, using gelatin paper to give it a meaning.

48

Annexures

Annexures

49

Basic Design

Workshop

Bamboo Workshop

This is a collective workshop where we learn basics of Bamboo as a material. Further, the bamboo shed was constructed by us. understanding the sequence and process of construction in non-conventional mmaterial like bamboo.

Various Joineries were explored and created to understand the material and develop the hand skills before the actual construction of the shed.

Taking inspiration form M.C.Escher and developing our own interlocking tranformation painting.

Taking a Human Face and slicing it down vertically. to form layers such as contours.

Taking a cube and developing it as a single surface instead of its 6 conventional surfaces. This is done by drawing as well as puncturing on the cube

50

Annexures

Annexures

51

Poetics of Bamboo Tensegrity : Bali, Indonesia

Tensegrity is a design principle that applies when a discontinuous set of compression elements is opposed and balanced by a continuous tensile force, thereby creating an internal Pre-stress that stabilizes the entire structure.

Details

Timber Sections used

Mock up Model

Tensegrity Model

Detail

Tools used

52

Tensegrity Model 2

Tensegrity Bamboo Model

1:1 Scale Model

Process Photos

Annexures

Annexures

53

Narratives of Naddi and Bal

Naddi Village

Bal Village

This is a related study project that took place in Himachal Pradesh. Over 65 houses were documented that made three clusters of Naddi Village. Further, the village of Bal was also documented.

The key feature of documentation is that all the drawings are free hand.

House No. 7 Ground Floor Plan

Ground Floor Plan

Site Plan Ground Floor Site Plan

House No. 7 First Floor Plan First Floor Plan

Section 2

Roof Site Plan

54

House No. 7 Section

Annexures

Section 1

Annexures

Section 3

Roof Plan

55

Sketching

Photography I believe in making a photograpgh instead of taking one.

It is not about capturing it but composing it. To do so one must act fast and have the skill to anticipate not only a moving object but also a stationary one.

Architectural Photography

We know that a built structure communicates a lot of things such as power and technology. These are topped all over by aesthetics and the way of articulation of the building.

Architectural photography tries to capture not only the above mentioned but even the small details and joineries that have been worked out by fellow Architects.

Sometimes architectural photography also captures the essence and pure abstraction of a particular object.

It is the skill of the photographer that conveys not only the buildings form and design but also the emotions, patterns and its surrounding context.

56

Annexures

Annexures

57

Journey Continues...