Center for Creative Professionals

CENTRE FOR CREATIVE PROFESSIONALS Jayesh Chauhan Enrollment No. 12EBGAR009 Guided by Ar. Jaideep Vyas Bachelor of Architecture

Buddha Institute of Architecture and Town Planning, Udaipur June, 2017

Dedicated to:My Grandfather , Lt. Kanhaiya Lal Chauhan (Kalarthi) & My Father, Ravindra Kumar Chauhan

D E C L A R AT I O N I JAYESH CHAUHAN, hereby declare that the Thesis Project report on, “CENTER FOR CREATIVE PROFESSIONALS, UDAIPUR, RAJASTHAN” for the fulfillment for the X Semester of Bachelor of Architecture course of Buddha College of Architecture & Town Planning is a record of my own work. It is the original work done by me and the information provided in the study is authenticated to the best of my knowledge. The matter embodied in this report has not been submitted for the award of any other degree or diploma.

___________________________

Jayesh Chauhan

V year B.Arch

(Batch : 2012-17) Date: 30/06/2017 Place: Udaipur, Rajasthan

C E R T I F I C AT E This is to certify that Mr. Jayesh Chauhan has been allotted the Thesis topic, “CENTER FOR CREATIVE PROFESSIONALS, UDAIPUR, RAJASTHAN” for the fulfillment for the Tenth Semester of Bachelor of Architecture course of Buddha College of Architecture & Town Planning is a record of his own work. This is further certified that he has completed this project work in one semester under my guidance and supervision.

THESIS GUIDE:

____________________ (AR. JAIDEEP VYAS)

SUBMITTED BY: JAYESH CHAUHAN B.Arch-10th Semester Enrollment No. 12EBGAR009 Date: 22/06/2017

A B S T R AC T A ‘creative professional’ or ‘centre for creative professionals’ is also known as a ‘creative specialist’ is a person or group who is employed for the extraction of skills in creative endeavors. Creative professionals include graphic designers, architects, interior designers, sculptors, ceramic artists, photographers & the carpenters, etc. Also eligible for some types of teaching and curriculum design, and more for the visitors, guests, and especially the youth to encourage and inspire them to be a part of such design. The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries.

The primary objective of this design is to quantify the workers - for example it can be used to count the number of firms, and the number of workers, creatively employed in any given location, and hence to identify places with particularly high concentrations of creative activities. Also it will be easy and convenient for people to find different kind of artists at a common place with so much of skills, labours, technologies. My design project also includes few mutual sharing work space along with recreational space like Exhibition Halls/ Centres, Gallery, Material Stockyards, Experiment Spaces, Tool Labs, Food court, Sports and recreation, Library, Amphitheatre, Information/ Administration, Auditorium/ seminar hall and so on. The idea behind providing them common space in such a building was to maintain brotherhood, humanity, feeling of respecting each other’s profession, understanding & learning skills from others too.

The Zoning of the site is done perfectly on the basis of Inter & Intra Spaces in Inter zoning there are four separate blocks as named Administration Block, Recreational Block, and Designer’s Block & Maker’s Block. Then comes the sub zoning of each block which include their work-space, offices, and lavatories. In these blocks placing of Exhibition halls, galleries, material labs or tool labs are placed at a common meeting point keeping the connectivity & vicinity with all the areas.

The architecture style undertaken is Brutalist. The idea to break the heritage building and introduce something new with the invention of such a project. Also to go high-rise as per the requirements was another challenge to be fulfilled in the project.

‘Sky-walk’ was introduced above the ground level for the common path to walk also used as fire-exit at time of fire. This idea behind placing sky-walk above ground level was that as my site is surrounded by lake from north side so to have a view while walking on heights and a giving my users a feeling so good of the lake surrounding their site.

While studying project’s merits & demerits I found that the one demerit of my design will be that “mass participation of people at same place, increasing the economy of a single unit in the city”; but then when I jot down the potentials of project although it would lead to mass participation but the exposure of learning, marketing, exhibiting works at a common place will be a great scope for designers to design such things in future. Centre for Creative Professionals will add in the city’s economic growth and a new invention of Architecture, which will be not just a building but a livelihood source for a lot of people.

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AC K N OW L E D G M E N T I wish to express my hearty appreciation towards all the teachers and my colleagues who have given me a helping hand in the completion of this project. I would like to express my sincere gratitude towards my guide Ar. Jaideep Vyas (H.O.D) for his generous guidance, support and sincere advice. I would like to express my special thanks to Ar. Sanjeev Gupte (Dean) for providing me with all the possible help. Also I am thankful to Mr. Bhargava Mistry for guiding me on each & every step.

I am thankful to the registrar Mr. Hemant Choubisa and my teachers, Ar.Javed Ali, Ar. Abida Banu, Ar. Jasminder Vyas & Ar. Videesha Karanpuriya for their timely discussion and encouragement.

I would like to thank all seniors, Varun Kavadiya, Harshit Choubisa, Harsh Jain & countless people for the spirit and commitment with which they helped with me on this report.

I am also thankful to my wonderful juniors Chandni, Vishal, Rajendra, Himanshu, Narendra, Sanjay, Brijesh, Kishan, Jeevan, Madhur, Lokesh and Dushyant, and all for their kind cooperation and support. I would like to express my special thanks to my parents who have played an important role of a silent motivator behind the completion of this project and inspiring me.

And finally, as always, one must thank those who are close and who put up with having someone around who is writing a thesis. In my case these long-suffering people are, my mother Hansa Ravindra Chauhan, Brother Charudut Chauhan and my dearest friends Chandni, Himanshu and Utsav.

This project is dedicated to my grandfather Lt. Kanhaiya Lal Ji Chauhan (Kalarthi) & My Father, Ravindra Kumar Chauhan thus I would like to thank them for keeping his hand always on me and most importantly the almighty whose blessings have made all this possible.

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ABSTRACT .............................................................................................................5 ACKNOWLEDGMENT.............................................................................................6 UNIT I : PRELUDE

CHAPTER 1 Introduction....................................................................9

1.2 Motivation....................................................................10 1.3 Objectives and Scope ..................................................11 1.4 Limitation.....................................................................12 UNIT II : INTERLUDE

CHAPTER 2 Description of Research work......................................14 2.2 Methodology................................................................15 2.3 Salient Features............................................................17 2.4 Literature /Web Studies ................................................18 2.5 Live Case Studies .........................................................35 UNIT III : CONCLUDE

CHAPTER 3 Comparative Analysis .................................................76

3.2 Site Selection and Analysis..........................................78 3.3 Climatic Analysis.........................................................81 3.4 Topography and Vegetation ........................................82 3.5 Contextual Analysis ....................................................83 3.6 Concept ........................................................................85

3.7 Final Drawings and Views ..........................................86 3.8 Physical Model ............................................................87 LIST OF FIGURES .................................................................................................88 BIBLIOGRAPHY....................................................................................................91

contents

UNIT I : PRELUDE

C1.1 INTRODUCTION A ‘creative profession’ is also known as a ‘creative specialist’ person who is employed for the extraction of skills in creative endeavors. Creative professions include writing, art, design, theatre, related crafts, as well as marketing, strategy, scientific research and development, product development, engineering, some types of teaching and curriculum design, and more. The Centre for Creative Professionals is designed where members of a community tend to gather for work, group activities, social support, public information, and other purposes. They may sometimes be open for the whole community or for a specialized group within the greater community.

As we say, Sangath: laxFk = COMPANY (Noun) where you live, share, believe and learn.

• This project will include research of professional’s work places, analyzing their mutual facilities.

• Research about technical requirements of individual professional.

• They can be united among their community and maintain the market rules, bye laws, charges, etc.

• They learn from each other and improve their practices • It will encourage completion which will deliver the better quality work.

A chart describing the professions Centre for Creative Professionals have.

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1 . 2 M O T I VAT I O N •

The basic idea is to design space where people can innovate their dreams, a platform to present and show by invention of something, not just creation but an ‘innovation’.

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Auroville: is an experimental township in Viluppuram District in the state of Tamil Nadu, India.

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This project will give chance to focus on how creative professions can work together in harmonious way.

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What would be the major issues to be resolved if they work together.

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Present day Drawbacks of not knowing the competition and related field professionals can be deliberately be resolved by this project.

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Technical challenges of this project may include: their studio environment, external environment, designing its micro climate, acoustics of places, daylighting and its light play.

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This project allows me to study the value and importance of art and culture in a society or a place in today’s context.

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Also it motivates me to develop and promote the rich diversity and uniqueness of various professions and upgrade and enrich consciousness to the people about their cultural heritage.

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1.3 OBJECIVES AND SCOPE OBJECTIVES It can contribute: • As the place for all-different creative community to work together.

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As the place for public meetings of the different categories of professionals.

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As a place where community members meet each other socially.

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As a place where events, seminars, concerts cam be held together for all of the public working there.

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As a place where people find all kinds of creative careers can accommodate and share a common platform.

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To lay special emphasis in its activities on the linkage among various areas through evolution of style and their contribution to the larger composite identity.

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To pursue such other activities and programmes as would strengthen and promote the interlinkage amongst different people of different fields.

SCOPE •

This place will deliver world facilities of innovative solutions worked together at one place

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Preservation of prominent works of artists, architects, designers.

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Provide platform or workplace for budding creative professionals, in which they work with their experienced professionals skilled labors etc.

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To deliver the transparency for learning the working techniques of different professions not by just analyzing their product but by analyzing journey of the creation.

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1 . 4 L I M I TAT I O N •

Limited to related professions at certain grounds of working together.

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Progression of new community of creative profession is entirely a new study to add up with this community at this place. (Film makers, Writers, Musicians.)

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Survey of the project’s information from the desired professionals will lead to commencement, development and limitation of the project.

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Mass participation of people at same place, increasing the economy of a single unit in the City.

Limitation of the project affecting market’s economy & promoting economy of a single

Source: http://www.ikeamadi.org/wp-content/uploads/2015/01/limitations.jpg

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UNIT II : INTERLUDE

C2.1 : DESCRIPTION OF THE R E S E A RC H WO R K Research work will include the study of work places of following Professions to design a space according to each of them comfort & requirement. For example-

Also in addition there were some mutual sharing spaces, which will be commonly used by all the professionals working there-

• Architects

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Landscape Architects

• Gallery

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Urban Designers

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Material Stockyards

• Artists

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Experiment Spaces

• Sculptors

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Tool Labs

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Interior Designers

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Food court

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Product Designers

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Sports and recreation.

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Furniture Designers

• Library

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Graphic Designers

• Auditorium

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Masons/ Labors

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Structural Engineers

Exhibition Halls/ Centers

Information/ Administration

• Photographers These case studies will help analyzing the surrounding environment and the microclimate of that place will help understand the reason of the orientation of the structure, the kind of roof chosen and the materials used in its construction. Also understanding and analyzing the structural details is also important. For example, large span structures such as Auditoriums use trusses or heavy I-section steel beams and sometimes shellroofing that involve construction of Ring beams whereas in small span structures, R.C.C construction is used. It might also be important to find out the socio-economic profile of the people using the services so as to determine their requirements and available resources.

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2.2 METHODOLOGY Methodology to develop and resolve the design will include: •

Case study of elements of the project

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Interviews with professionals

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Resolving and including technical requirements of professional

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Implementing dissertation conclusion: Design for senses

Factors that will help in resolving the topic: • Coming from a background of artistic family, I have a opportunity to work for what I was surrounded and guided by in years .

• Having a benefit of this it will be helpful to gather information and study these Fields included in this project • Having guidance of experienced faculties would help to make out this project more fruitful, completed and to aim it was started for.

Stepwise evolution of the topic

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•

At least one Live case study of each studio and elements individually.

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Web study of each studio and elements individually.

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Literature study of each studio and elements individually.

Live Case study studying grounds: •

Studying of plans if available (limitation).

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Connection of spaces

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Activities throughout the day

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Requirements of the professionals

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Views of Professionals about the project, their contribution and sharing. (Interview)

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Technical requirements of the spaces.

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Sketches of details.

Interview for this project after presenting this synopsis to the professionals. Answers in one line.

Q. How feasible do you think is the idea of keeping creative professionals under one roof?

Q. What according to you are the main Advantages/Disadvantages of this project?

Would you like to work here? If yes what are your advantages? If know what are its disadvantages?

Q. According to you what can be done to make it more innovative and welcoming or to rectify its disadvantage(if any)?

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2 . 3 S A L I E N T F E AT U R E S •

Places may be designed for every professionals, but some can be half designed or frame provided, so that if any architect wants to design his own office he is free to experiment it.

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Interior Designers can take over their site by designing the interiors of their own offices.

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Structural Engineers, Skilled: Masons, carpenters, or the workforce can be lead by every professional working here.

• Themed offices of Legendary Architects can also be designed and provided

• Administration manages and governs the center and also regulates

information, news, publications , meetings, presentation etc.

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Developing or modifying the places of center will allow to learn and explore different materials and techniques.

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2 . 4 LITERATURE/ WEB STUDY The Centre for Creative Professionals is a facility designed to teach different professionals like architects, landscape architects, sculptors, interior designers, product & furniture designers and related subject matter to artists, design professionals, photographers, and graphic designers. It is a place that is rich in talent and highly attractive to entrepreneurs, creative professionals and innovative The Centre is designed for Creativity as a part of a network of engaged organizations and professionals working to energize the city’s economy and the cultural vibrancy of Udaipur’s communities. For that reason I studied different professionals working space, their studios, comfortable space required, also the standards were covered while studying the literature case studies. Part literature surveys were done as this project is a new invention by me, Centre for Creative Professionals, something which is not made earlier, which is not

1. Artist’s Studio / Chan Architecture [Artist Studio] Thornbury , Australia 2. Architects HCMA [Graphics Office] Vancouver, Canada 3. Anish Kapoor Studio I [Sculptor Studio] London, U.K 4. Clarks Originals Design Studio [Product Designer] Somerset, U.K

World Map SOURCE: http://www.vectorworldmap.com/

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Rear elevation of architect’s studio

CASE 1

Artist’s Studio / Chan Architecture Architects: Category: Location: Project Year:

Chan Architecture Artist Studio Thornbury VIC, Australia 2014

INTRODUCTION: This project is an artist’s studio in the backyard of an existing house in Thornbury, which was done in collaboration with Phillip Johnson Landscaping.

The brief was to create a beautifully detailed, creative space for painting and sculpturing that would encourage and inspire creativity.

SPACES: The studio was to sit comfortably within an organic landscape design which included a natural pool that did not require chlorine, a waterfall and creek, which was to provide a recreational space for the children.

The roof of the studio was used to warm the water of the pool in the colder months, whilst the water from the roof ran down the decorative rain chain into the pool to replace the water that was lost through evaporation.

The overflow of the pool was connected to a creek that run through the backyard, connecting the different areas of the landscape.

SOURCE: http://www.archdaily.com/553370/artist-s-studio-chan-architecture

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MATERIALS: The external materials chosen for the studio were all natural materials with an emphasis on timber that would silver over time, making it blend in with the timbers, water and rocks of the landscape.

Internally, the black butt flooring and plywood were used on the floors, walls and ceiling not only as a robust surface for artwork, but to blur the traditional boundaries of floors, walls and ceiling so that it did not feel like a conventional residential space. Instead, the result is a unique, sculptured space that is warm and textured, designed for indirect light ideal for painting and sculpture.

IMG 6- Ground Floor Plan of Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de197c07a80548f0004b0-artist-s-studio-chan-architecture-ground-floor-plan

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IMG 7- First Floor Plan of studio

IMG 8- View of gallery

IMG 9- Kitchen view with the intake of natural sunlight

IMG 10- Balcony view with outdoor stairs to ground floor

Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de18fc07a80c9ea000444-artist-s-studio-chan-architecture-first-floor-plan Source:http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de139c07a80c9ea000443-artist-s-studio-chan-architecture-photo

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IMG 11 -Wash area with attached balcony

IMG 12- Front elevation of studio

Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de0e4c07a80548f0004ad-artist-s-studio-chan-architecture-photo Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de158c07a809a0e00045e-artist-s-studio-chan-architecture-photo

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IMG 13- A view of office

CASE 2

Architects HCMA Location: Architect: Category: Area: Project Year:

1508 West 2nd Avenue, Vancouver, BC V6J 1H2, Canada Hughes Condon Marler Architects (HCMA) Graphic Designer’s Studio 300.0 sqm 2005

INTRODUCTION: This LEED Silver project is the Vancouver office of Hughes Condon Marler Architects (HCMA).

SPACES: Natural light and outside views for every worker in the open-plan studio provides psychological benefit, while natural ventilation decreases costly dependence on HVAC equipment.

The double-height studio with clerestory windows fills the space with a warm glow of sunlight, while a filter-coating added to the windows reduces glare on computer monitors.

If staff feel a little warm at their desks in HCMA’s renovated light-filled

SOURCE: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma

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MATERIALS: Construction and interior materials such as carpeting, paint, wood products and fixtures do not contain high levels of volatile organic compounds

The new carpet itself is manufactured from 20% post-consumer recycled products such as pop bottles.

Work stations are made from almost entirely recovered and recycled wood fibre and include such design features as retractable workspaces, wire management, and custom-designed cubby holes and storage for architectural drawings.

IMG 14- Graphic designer’s working in office - Source: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma/5013c16628ba0d3963000e23-hcma-vancouver-offices-hcma-photo

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IMG 15- Entrance to the office

IMG 16- Meeting room in the office Source: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma/5013c16128ba0d3963000e22-hcma-vancouver-offices-hcma-photo - Source: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma/5013c15128ba0d3963000e1f-hcma-vancouver-offices-hcma-photo

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- IMG 17- Entrance to the Studio

CASE 3

Anish Kapoor Studio I Architects: Location: Category: Area: Project Year:

Caseyfierro Architects London, United Kingdom Sculptor Studio 850 sqm 2011

INTRODUCTION: Sir Anish Kapoor’s studio has been present on a South London street for 20 years. Since 2010 the artist with CFA have collaborated on the transformation of a series of industrial buildings into new flexible studio spaces for making art using a variety of materials and processes.

SPACES: The project consists of six separate spaces incrementally transformed to allow the continuous use of the site by the artist during the period of the build. The project creates a total of 3,100msq for art making.

The new building comprises of 900msq of floor area spread over two floors with three distinct types of interior. A 9 m high north lit ground floor volume created by removing a significant area of the first floor A upper level painting studio together with a ground floor 4meter high volume that retained the fabric and material of the original.

SOURCE: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects

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The architectural interventions provided an internal world free from external distraction and maintaining a discrete presence on the street. The collage of brickwork of the redundant diary building reflected the history of the site through brick textures and colours.

IMG 19- Rear Elevation

IMG 18- Exposed Black Brick Facade Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea464e58ece48d400009f-anish-kapoor-studio-i-caseyfierro-architects-photo

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EXISTING PLAN

IMG 20- Existing Plan of studio

IMG 21- Ground floor plan

MG 22- Mezzanine floor plan SOURCE: IMG 23- Section XX’ https://www.google.co.in/search?q=anish+kapoor+gallery+plans&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjbxLje1ufUAhXMrY8KHUmIBhgQsAQIIg&biw=1366&bi-

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A 9 m high north lit ground floor volume created by removing a significant area of the first floor A upper level painting studio together with a ground floor 4meter high volume that retained the fabric and material of the original.

IMG 23- Section XX’

IMG 24- Section YY’

IMG 25- Longitudinal Section

- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea408e58ecef42e000075-anish-kapoor-studio-i-caseyfierro-architects-section

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IMG 26- Exhibiton

CFA edited openings making new diffuse glazed windows within retained openings and in filling others with low grade brickwork maintaining the discordant surface of previous interventions.

IMG 27- Paintings Display Area http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea3ede58ece48d400009c-anish-kapoor-studio-i-caseyfierro-architects-photo

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IMG 28- Front Elevation of Furniture & Product Arro Studio

CASE 4

Clarks Originals Design Studio / Arro Studio Architects: Location: Category: Area:

Arro Studio Street, Somerset, UK Furniture & Product 300 sqm

INTRODUCTION: The project integrates the conception of various zones and the design of furniture such as desks, meeting table, trolleys, shelves, shoe wall, closets. ARRO studio was given the opportunity of creating the new Clarks Originals design space, settled in a 300m2 warehouse.

SPACES: The project integrates the conception of various zones and the design of furniture such as desks, meeting table, trolleys, shelves, shoe wall, closets... The main idea for this workplace is to encourage creativity and optimize exchanges between the designers, developers and product managers of the Clarks Originals team - while addressing the challenges and respecting the flow of the footwear design process.

SOURCE: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio

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The ARRO project splits the space into 5 different zones, each defining a specific function, yet blending one into the other. Acting as a key element of the workplace, an 8-meter long floating table built around the existing INP beams creates a focal point for the team members to gather and connect.

Triangular roof tops of the old shoe factory, central brick chimney. Enclosing 3 rooms, the « Modern factory »encompasses the director’s office, a storage room and a large meeting room.

IMG 29- Floor Plan of studio

IMG 30- Long Section

IMG 31- Long Section http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3444e58ecead71000171-clarks-o riginals-design-studio-arro-studio-section

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IMG 32-Working Space

IMG 33-Storage wall is made out of translucent glass panels - Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3006e58ece9c1a000168-clarks-originals-design-studio-arro-studio-image Centre for Creative Professionals

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Finally, the Leather storage, created as a closed facility, is surrounded by a library which shelves induce continuity into the workspace and are facing the floating center table. Part of this storage wall is made out of translucent glass panels.

IMG 34- Shoe Display rack

IMG 35- Shoe wall, on which each shelf used to display the footwear designs double up as handles that open and turn the wall into a giant closet

IMG 36-Furniture designed in the studio

Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e311be58ecead71000163-clarks-originals-design-studio-arro-studio-image

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2 . 4 LIVE CASE STUDIES

The Centre for Creative Professionals is a facility designed to teach different professionals like architects, landscape architects, sculptors, interior designers, product & furniture designers and related subject matter to artists, design professionals, photographers, and graphic designers. It is a place that is rich in talent and highly attractive to entrepreneurs, creative professionals and innovative The Centre is designed for Creativity as a part of a network of engaged organizations and professionals working to energize the city’s economy and the cultural vibrancy of Udaipur’s communities. For that reason I studied different professionals working space, their studios, comfortable space required, also the standards were covered while studying the literature case studies. Part literature surveys were done as this project is a new invention by me, Centre for Creative Professionals, something which is not made earlier, which is not there in books or Internet itself. For the same reason I decided to pick up different departments to study about them completely.

Ahmedabad ODD, Ambli Sangath The Design Ship

[Architect Office] [Architect Office] [Graphic Des. Office]

Alibaugh Krishna Interior

[Carpentry Workshop]

Mumbai Chandrajeet Yadav [Sculptor Studio] Shari Academy [Photographer Studio] Jehangir [Art Gallery] Maker’s Asylum [Co-Working Space] J.J. School of Art

[Painting Studio] [Sculptor Studio] [Printing Studio] [Metal Studio] [Textile Studio] [Interior Des. Studio]

[Ceramic & pottery Studio]

- IMG 37-Map of India

SOURCE: http://www.georgemaps.com/india-map-of-cliparts-stock-vector-and-royalty-free-photo/

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CASE 1

ODD, OFFICE Architects: ODD Location: AMBLI, Ahmedabad, Gurat, India Category: Architect’s Office OFFICE of DESIGN & DEVELOPMENT Project Year: 2015 Site Area: 65.5 sqm Dimension: 11.7m X 4.2m INTRODUCTION: Old planned rural settlement house restored with modern material.

Orientation: Stacking of houses from west and east to minimize heat in house , due to hot climate

IMG 38- Site Plan of Office At Ambli, Bhopal

IMG 39-Office before restoration Centre for Creative Professionals

IMG 40-Office after restoration

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GROUND FLOOR PLAN

FIRST FLOOR PLAN

MEZZANINE PLAN

LONGITUDINAL SECTION Model Making

Workspace

Pantry

SOURCE: ODD ambli

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Terrace

Library

Meeting Room

Store

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Materials Used: Flooring: IPS cement flooring, Kota stone Building blocks: Vernacular stone wall, Repaired with bricks.

Doors Window: Teak Wood Roofing: Teak Wood, Cement Sheraboard Walls: Brick wall, Stone wall

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BEFORE INTERVENTION

AFTER INTERVENTION

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IMG 51- Meeting room 1. mezzanine floor resting on I section iron beam 2. First Floor Slab Re-casted 3. Load bearing structure 4. Sloping roof made of wooden ridge rafter and battens covered with cement boards from top and bottom.

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CASE 2 SANGATH

Architects: B.V DOSHI Location: Drive-in-Road, Ahmedabad Category: Architect’s Office Project Year: 2015 Site Area: 2346 sqm Built Up Area: 585 sqm INTRODUCTION: Sangath”, the name given to the complex, means “move together through participation” and its purpose goes beyond designing homes or offices.

Having been considered the building that fully describes himself, Sangath is a complete combination of Doshi’s architectural themes from his previous work including complex interiors and structures, ambiguous edges, vaults and terraces.

SOURCE: https://en.wikiarquitectura.com/building/sangath/

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Spaces: Balkrishna Doshi’s own studio, Sangath, features a series of sunken vaults sheathed in china mosaic as well as a small grassy terraced amphitheatre and flowing water details.

The dominant architectural forms in the complex are the vaulted, which are obtained from a combination of local traditions and materials.

Sangath buildings complex, a set of domes and flat roofs at different heights at different angles juxtaposed occupy an area of 473 sq.m within 2.425sq.m fully walled rectangular field.

Some of the buildings have sunk below ground level to certain ceilings domes rise only to eye level.

SOURCE: https://en.wikiarquitectura.com/building/sangath/

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SOURCE: https://en.wikiarquitectura.com/building/sangath/

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Upon entering the complex, one immediately sees the silhouette of a vault lingering behind an exterior wall and a slight view of the interior is present through a small break in the surface.

The path turns and forces the occupant off of the north-south axis and alongside the elevated garden walls. Now visible in perspective, the vaults begin to recede into the background above the grassy amphitheatre, water channels and gardens in the foreground. As one passes by the reflecting ponds that capture the vaults in still water the entrance is made apparent. It lies at the end of an angled approach to the vaults.

The main entry lowers the visitor a few steps into the vault and proposes the choice of ascending a flight of stairs in a three story height, or proceeding through small corridor by Doshi’s office and into the main drafting hall. Here the ceiling plane rises as the inhabitant experiences how Doshi interlocks multi height spaces and creates compression and release between them.

The underside of the vault in the main drafting room is finished with a textured concrete that dispersed natural light into the space. At the end of the hall lies the opening seen from the site entrance and one regains their sense of place along the main axis. Sangath also expresses Balkrishna Doshi’s desire for a connection between nature and the individual.

The overall form exaggerates the details of nature with its rolling mounds, cave-like spaces, terraced land, playful water channels, and reflective surfaces. Storm water in funnelled through the site by the slick, round vaults and water troughs.

The sunken interior spaces are insulated by clay within the structure.

Heat from the sun is reduced by grassy mounds and the white reflective china mosaic that covers each vault.

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Natural light is also filtered into the interior spaces during the day, while the moon is reflected in the ponds and across the china mosaics at night.

Along with natural connections, Sangath holds connections to India’s culture.

The layout resembles the way that a temple develops a series of stages into a final platform while the form loosely imitates the boldness of a stupa.

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CASE 3

The Design Ship Architects: Category: Location: Area:

Graphic Designer’s Office Paldi, Ahmedabad 69.32 sqm

INTRODUCTION: The Designship is a multidisciplinary studio, Along with its partner consultants, the studio works widely in the areas of Space design, Branding & Communication design and Design research. The team is a mix of visual communication designers and industrial designers with skills in graphic design, exhibition and experience design, space design, furniture design and lifestyle accessory design – with a substantial experience in the respective field.

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The criteria of working is they own Apartment Flats which are used as office space in which they inculcate their requirements suppose Conference Room, Entertainment Room/ Games, Informal Workspace, proper Natural Ventilation and Light along with a Food Court.

At The Designship, for any project, team works together with each crewmember bringing in a unique perspective from their arena of expertise. This makes sailing more fun, and the outcome even more interesting. Their process is versatile and custom-made for each project. The only constant is systems planning. They believe in organized and a channelled design process, providing due importance to each step of design intervention leading to a satisfactory and worthwhile outcome.

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CASE 4

Krishna Interior Workshop Architects: Studio Mumbai Workshop Category: Carpentry Workshop Location: Nandai fata, Alibaug Site Area: 2380 sqm Built Up Area: 302 sqm INTRODUCTION: Krishna Interior Workshop is led by the chief carpenter Jeevaram Suthar, of Studio Mumbai Workshop, he as worked for years for Ar. Bijoy Jain. It accommodates a large scale of products like furniture, building components as windows, doors, etc. The spaces are divided in four different parts- store, outdoor working space, indoor assembling of products & polishing of products in outdoor to keep it away with the saw dust inside the workshop. The workshop is managed by carpenters, labours, working there.

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C

D

B

A

SECTION A

SECTION B

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SECTION C

SECTION D

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The interior planning of workshop have centre area is workspace, left side is occupied with 3 separate rooms along with kitchen in it. Than it accommodates office area, laser machine room for cutting, two tool store room & an electrical room.

The outer planning : the front faรงade occupies parking, water tank& polish area. At the back side of building is cutting areas from where the wooden logs are cut into desired shapes and taken into the indoor area to avoid trash, dust and also providing more space to work.

The material used in the construction of the workshop is as follows that the roofing material for the truss is Asbestos Cement Sheets. The flooring is done with Green Kota stone and the Brick plastered walls. For partition in rooms Plywood is used. The structures other than workshop like guard rooms servant quarters, toilets are made of Iron pipes and Asbestos Cement Sheets.

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CASE 5

Chandrajeet Yadav Studio Architects: Category: Location: Area:

Sculptor workshop Charkop Sec. 3, Kandivali west 50 sqm

INTRODUCTION: Chandrajit Yadav a great Sculptor in Mumbai who owns a workspace at Charkop Sec. 3, Kandivali west, Mumbai. The workspace is sq.m. It is old building made in 1987 in minimal style & vulnerable materials.

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SECTION A

A

PLAN The walls are simply brick plastered. The space accommodates the workspace in the center of site, than toilet & pantry on either sides. The workspace has the truss for proving a maximum height for the sculptures to make and stand there which is made of Asbestos Cement Sheets.

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CASE 6

Shari Academy Architects: Category: Location: Area:

Photography Studio 2nd Pasta Lane, Colaba, Mumbai 230 sqm

INTRODUCTION: The Shari academy is an academy of Professional Photography and Digital Imaging which was founded in 1991 by the well-known Indian Photographer Girish Mistry. The academy conducts photography classes for beginners, professionals and fashion photographers.

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The structure is a G+1 unit in which the 230 sq.m total area is zoned likewise, a reception on right side at the entrance, with the 130 sq.m shoot space in the first floor of the building. Then at ground floor there is a classroom, equipment room, server room, pantry, male & female toilets and a director’s cabin at the horizontal end of site.

Vertically if we talk it accommodates a shoot space along with dressing/ makeup room and storage space too.

The material for roofing is Asbestos Cement Sheets for the truss. Flooring they have used tiles. And white plastered walls.

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CASE 7

Jehangir Art Gallery Architects: Category: Location: Area:

Rahul Mehrotra Associates RMA, Mumbai Art Gallery Mahatma Gandhi Road, Kala Ghoda, Mumbai 1113 sqm

INTRODUCTION: The Jehangir Art Gallery is an art gallery in Mumbai (India). It was founded by Sir Cowasji Jehangir at the urging of K. K. Hebbar and Homi Bhabha. It was built in 1952. This art gallery is the most prestigious and modern venue for Indian artistes in the city. There are four exhibition halls to exhibit the work of art here. artists in this gallery to show one’s works. Many of the artistes have to wait a couple of years to exhibit their works in this gallery.

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Auditorium gallery

Ground Floor Plan

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The gallery has been turned inwards due to a combined function of an auditorium and an art gallery. Although the concept of an introvert art gallery could be questioned today, the Jehangir is an example of an early modernist notion of the inward looking art galleries in the city. Moreover, the function of the auditorium left no scope for the gallery to be open to the street. The play with concrete can be easily seen with a large wavy cantilevered entrance which embraces the street. The otherwise bland facade is articulated with relief stone cladding.

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CASE 8

Maker’s Asylum Architects: Rahul Mehrotra Associates RMA, Mumbai Category: Co-Working Space Location: Marol Industrial, Area,, Andheri East, Mumbai Area: 180 sqm INTRODUCTION: Maker’s Asylum is a makerspace in Mumbai and New Delhi, inspired

by Artisan’s Asylum, Chaos Computer Club and other maker organizations. According to the Maker’s Asylum’s it is a community makerspace with two locations, Mumbai and Delhi, India. For hardware entrepreneurs, it’s easy access to tools, technology and talent so they can prototype their ideas. For problem solvers, it’s a space to bump ideas with other like and unlike-minded folks who share your passion.

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The zoning of the project is done as when we enter the administration department and the meeting room are there. Going ahead comes the display zone, the projector screen, library rack, and design laboratory with three design pods to work. Opposite to it is Digital MFG Lab. The center part occupied sitting accommodating coworking spaces. A wood work lab along with laser cutting machine room, CNC Machine area & a Fabrication Laboratory. The west part of the site inculcates toilet block, storage area & pantry.

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CASE 9

J.J School of Art Architects: Jamsetjee Jeejebhoy Category: Various art studios Location: Dhobi Talao, CST, Mumbai Area: 180 sqm INTRODUCTION: Sir J.J. School of Art is one of the pioneering institutes of fine art education in India, since its establishment in 1878 in the current Campus, with generous donation of Jamshetji Jijibhoy, under the British administration. The School today stands in the heritage building with departments of drawing and painting, sculpture and modelling, mural, portraiture, print making, arts and craftes including ceramics, interior decoration, metal work and textiles. The School had an important tradition in architecture.

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UNIT III : CONCLUDE

There are no levels in the site. Near Shvaji Terminus thus increasing the traffic.

Old building it is made in the Victorian Brutalist Architecture. style of architecture.

Modern and contemporary

Building was designed for the institute. Building is designed for the creative Depends on the usage of it. professionals. But some places are used as the gathering spaces.

No scope for future epansion as all the places are nicely used.

RCC and Basalt Stone are the basic materials. Wood is used for the doors and windows extensively because of large openings.

A separate space is provided for the parking accomodating nearly twowheelers & four-wheelers.

Road widht is 7meters here providing easy access to the site.

All kinds of visitors are welcomed here with different age groups.

Site

Architecture

Building design

Future expansion

Materials

Parking

Entrance to the Site

Visitors

Depends on the site context & users of the building.

All kinds of visitors are welcomed here with different age groups.

Road widht is 7meters here providing easy access to the site.

Basement area is designated to the sufficient parking of two- wheelers & four-wheelers at a time.

RCC & Brick are the basic materials. Stone, glass, steel in space frames, vitrified tiles on floor with colors on different block as per the usage of block.

Suitable for all.

A minimum of 6 meters to such kind of buildings.

Space is used completely at thesite, so future There should be scope of it. expansion is not possible.

Site is on the hill. So the land is very undulated.Away from traffic.

RCC & Raft framed structure, Columns & arches are visible only in the corridors.

Basalt framed structure, Columns & arches are visible only in the corridors.

Inferences

Building should attract a large no. of visitors.

Entrance to the building must be highlighted and easily accessible.

A separate parking area is preferable.

New materials and latest technologies shall be used and bright colours are recommended.

Future expansion must be kept in mind before locating building on site.

It should be designed for the purpose it is made.

It should reflect the content of the creative center.

Site must be planned such that the traffic noise is cut as much as possible.

The RCC framed structure is flexible and giving large unobstructed spaces can be adopted in galleries.

Located in and out the city, keeping in Selection of site in terms of connectivity & mind the connectivity of all other places. view shoul be looked after.

Structural System

Located near at the banks of lake Swaroop Sagar, Udaipur.

Located near Shivaji Terminus, in the Mumbai.

Standards

Location

Center for Creative Professionals, Udaipur

Sir J.J. School of Art, Mumbai

Description

C 3 . 1 C O M PA R AT I V E A N A LY S I S

Natural lighting should be maximum.

Road widht is 7meters here providing easy access to the site.

All kinds of visitors are welcomed here with different age groups.

Visitors

All kinds of visitors are welcomed here with different age groups.

Road widht is 7meters here providing easy access to the site.

Suitable for all.

A minimum of 6 meters to such kind of buildings.

British Standard 5306 has a formula for calculating the number of class A Depends on the site space context & users of extinguishers.

Floor calculator the building.

Floor area (m2) Building was designed for the institute. Building is designed for the creative Depends on the usage of it.

2000 professionals. But some places are used as the Calculation 2000 x 0.065 / 13 = 10 gathering spaces.

Result A total of 10 x 13A extinguishers are required.

No scope for future epansion as all the Space is used completely at thesite, so future There should be scope of it. places are nicely used. expansion is not possible.

Separate toilets for male and female.

Proper male, female & physically handicapped As per the standard 1 toilet seat and 1 No special provision for physically toilets keeping in mind the standards. urinal per 50 workers with comfortable RCC and Basalt Stone are the basic RCC & Brick are the basic materials. Stone, handicapped. usgee & circulation. materials. Wood is used for the doors glass, steel in space frames, vitrified tiles on and windows because of floor withwith colors on different Provided withextensively water coolers.

Provided water coolers block as per the Provided with water coolers. large openings. usage of block.

No air conditioning as it is an old Air conditioning is done in all blocks through Air conditioning should be provided for building block. centralized ac ducts. good ventilation.

A separate space is provided for the Basement area is designated to the sufficient parking accomodating nearly twoparking of two- wheelers & four-wheelers at a wheelers & four-wheelers. time.

Entrance to the Site

Parking

Air conditioning

Drinking water

Materials

Toilets

Future expansion

Building design

Architecture

Fire Fighting

Site

Basalt structure, & RCC & Raft framed structure, Columnsin&the Intake framed of natural lighting Columns is taken care.

Intake of natural lighting is maximum arches visibleclassrooms only in the for corridors. visibleheighted only in the corridors.

Doubleare heighted natural arches project.are Double spaces & placing of light & reduce artificial lighting. blocks as per the requirement of natural light & reduce artificial lighting.

There are no levels in the site. Near Site is on the hill. So the land is very Shvaji Terminus thus increasing the undulated.Away from traffic. traffic.

Fire fighting equipments were installed 10 Fire fighting extinguishers are installed on on each floor & proper fire exits. each floor at equal distance and appropriate Old building it is made in the Victorian Brutalist fire exits Architecture. are given at 30 meter distance. style of architecture.

Modern and contemporary

Structural Lighting System

Standards

Inferences

Building should attract a large no. of visitors.

Entrance to the building must be highlighted and easily accessible.

Air conditioning should beprovided for good ventilation.

A separate parking area is preferable.

Future expansion must be kept in mind before locating building on site.

Separate toilets for gents, ladies and physically handicapped should be provided New materials and latest technologies shall be used and bright colours are recommended.

Drinking water should be provided.

It should be designed for the purpose it is made.

Site must be planned such that the traffic noise is cut as much as possible.

Fire fighting equipments must be installed properly & also the proper fire exists at It should reflect the content of the the time of emergency. creative center.

The RCCnatural framedlight structure is flexible and Proper must be there, but giving largebeunobstructed candoes be care must taken to see spaces that light adopted galleries. not glarein exhibits.

Located near atare thethere. banksConnectivity of lake Swaroop in and out theentrance city, keeping in Selection site in connectivity Wide corridors of each Located Easy circulation from to exit.

Circulationofmust beterms takenofcare & easy & Sagar, Udaipur. mind the connectivity of all other places. view be looked after. block with the common blocks is perfectly accessshoul of spaces. planned out.

Located near Shivaji Terminus, in the Well connected spaces, with wide Mumbai. corridors.

Location Circulation

Center for Creative Professionals, Udaipur

Sir J.J. School of Art, Mumbai

Description

3 . 2 S I T E S E L E C T I O N & A N A LY S I S

Justification for Site Selection

1.

Udaipur, also known as City Of Lakes, is a major city, the historic capital of the kingdom of Mewar in the former Rajputana Agency. Udaipur is a very popular tourist destination, and known for its history, culture, scenic locations and the Rajputera palaces. It is popularly known as City of Lakes because of its sophisticated lake system. Five of its major lakes are, namely Fateh Sagar Lake, Pichola Lake, Swaroop Sagar Lake, Rangsagar and Doodh Talai Lake.

My design requirements and the ideology behind maintaining the historical context of Udaipur City made me found a site which fulfilled the first factor.

2.

Udaipur city has particularly a tropical climate. The three main seasons, summer, monsoon and winter respectively, dominate the city of Udaipur. Being located in the desert lands of Rajasthan, the climate and weather of Udaipur is usually hot.

Due to this reason the site required was to be enclosed with green trees, for natural ventilation, a view during monsoon, to let the visitors enjoy a complete isolated own building space within the nature.

3.

During my project site selection I wished to work on the building restoration process for recovering or representing the state of a historic building, as it appeared at a particular period in its history, while protecting its heritage value.

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The site I chose had an existing building block, which was historically the first hotel in Udaipur, named as Lake View Hotel. But was now in a state of dispute and is a ruin.

4.

Restoration inspired me to work on Modern Architecture by restoring the old building block but developing it with new modern style of architecture. As to break the monotony of heritage architecture style in Udaipur city.

5.

My design requirements demanded a high- rise building for the project. With this I worked on high- tech architecture. This category serves as a bridge between modernism and post-modernism; however, there remain gray areas as to where one category ends and the other begins.

Source: http://www.cgwb.gov.in/District_Profile/Rajasthan/Udaipur.pdf https://www.google.co.in/maps/@24.5859467,73.6961552,12.25z

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During selection of site for this ‘Centre for Creative Professionals’ the following points were considered.

1.

It should have security against any sort of mishap.

2.

The site should have provision for future expansion.

3.

The site should be fulfilled with levels for overall view of its surroundings.

4.

The site should be easily accessible through public transport and should be

within reach of local public needs.

5.

There should be clear access to the site from main road.

6.

A creative centre which is to be built in an isolated spot or reserved space needs

to be surrounded by an enclosure, especially if the site forms part of an extensive area.

7.

For the visitor this enclosure will provide a fore taste of the creative centre in

architecture and thus must not constitute a psychological barrier though the

fundamental aim of security which has to serve must not be sacrificed.

8.

Also the visitors should feel the ambience selected for such a project where they

can connect themselves with nature & surroundings.

9.

Maintaining the ecological system & hydrography, stream is connected to the

park & it’s connected to swaroop sagar, lake on west side.

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3 . 3 C L I M AT I C A N A LY S I S

Udaipur city has particularly a tropical climate.

The three main seasons, summer, monsoon and winter r e s p e c t i v e l y , dominate the city of Udaipur. Being located in the desert lands of Rajasthan, the climate and weather of Udaipur is usually hot.

Sources: 1. https://en.wikipedia.org/wiki/Udaipur#Climate 2. http://www.gaisma.com/en/location/udaipur.html https://weather-and-climate.com/average-monthly-Rainfall-Temperature-Sunshine,udaipur,India

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3 . 4 TO P O G R A PHY AND VE GE TAT IO N

Veget at ion The veget at ion is very sc anty, the n at ur a l v e g e t a t i o n h as alm os t disappeared du e t o in st an c e bioti c interference.

Th e over graz ed an d c omplet el y degraded a r ea h as n ow t rac e s of t rees, sh rubs a nd grass speci es .

Th e c omm on t rees availa b l e are Aa m , Roon jh , God a l , Dh ak, Kumt ha , M a h u w a , N eem, Babu l , Ber, An wa l a , Besharm, Dhamas an d Th or.

Sources: 1. https://en.wikipedia.org/wiki/Udaipur#Climate 3. Trees Of Delhi

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3 . 5 C O N TE XT UAL ANALYS IS

GEOGRAPHIC LOCATION Swaroop Sagar Rd Chamanpura, Udaipur, Rajasthan 313001 24.589766, 73.685841 HISTORICAL BACKGROUND It is said to be the First Hotel of Udaipur, which is under dispute.

ECOLOGICAL SYSTEM & HYDROGRAPHY STREAMS: IT IS CONNECTED TO THE PARK & IT’S CONNECTED TO SWAROOP SAGAR, LAKE ON WEST Natural Drainage and Water Bodies Udaipur is drained by Ahad River, which is the main river of the region which ranges from the north west towards south east. The river is seasonal river, which originates from a 991 meter high hill in the north eastern part of Gogunda plateau. The region is blessed with numerous water bodies. The major water bodies in the region are Lake Pichola, Lake Fatehsagar, Lake Govardhan Sagar and Badi Talab.

Elevated View of Site

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Existing G+1 Building

Site Lake

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3 . 6 C O N C EP T D es ig n P hi l o s o p hy• D is ti nctl y arti cu l ate d an d grouped t oget h er in t o a un if ied wh ol e.

• A n othe r co mmo n the me in design is t h e exposure of t h e buildi ng’s f un c tion s—rang i ng fro m the i r st ruc t ure an d serv ic es t o t h eir h uman u s e— in th e ex te ri o r o f the b u i l d i ng.  B r u tal i s t Styl e o f archi tec t ure – • A n gu l ar fo rms and ro u gh mat erials.

• H igh-ri s e ‘ce ntre fo r creat ive prof ession s’ t o c reat e an arc h it ec t u r a l ima g e th at co mmu ni cate d s t ren gt h , f un c t ion alit y, an d f ran k expres s i on of m a ter i al i ty.

• Re p e ate d mo d u l ar e l e men t s f ormin g masses.

• B l oc k s are d e s i gne d accordin g t o t h e c olour t h eory best sit uat ed f or ea c h b l oc k’s p u rp o s e .

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3 . 7 D R AWIN G S AND VIE W S

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3 . 8 P H Y S IC A L M O DE L

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LIST OF FIGURES

Pg 9- IMG 1: A chart describing the professions Centre for Creative Professionals have.

Pg 12- IMG 2: Limitation of the project affecting market’s economy & promoting economy of a single unit.

Pg 15- IMG 3- Stepwise evolution of the topic Pg 18- IMG 4- World Map/ Citation- Source: http://www.vectorworldmap.com/ Pg 19- IMG 5- Rear elevation of architect’s studio/ Citation- Source: http://www.archdaily. com/553370/artist-s-studio-chan-architecture Pg 20- IMG 6- Ground Floor Plan of Studio / Citation- Source: http://www.archdaily. com/553370/artist-s-studio-chan-architecture/542de197c07a80548f0004b0-artist-s-studio-chan-architecture-ground-floor-plan Pg 21- Top to bottom IMG 7- First Floor Plan of studio/ Citation- Source: http://www.archdaily.com/553370/artists-studio-chan-architecture/542de18fc07a80c9ea000444-artist-s-studio-chan-architecture-firstfloor-plan IMG 8- View of gallery/ Citation- Source:http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de139c07a80c9ea000443-artist-s-studio-chan-architecture-photo Left to Right IMG 9- Kitchen view with the intake of natural sunlight/ Citation- Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de139c07a80c9ea000443-artist-s-studio-chan-architecture-photo IMG 10- Balcony view with outdoor stairs to ground floor/ Citation- Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de130c07a809a0e00045d-artist-s-studio-chan-architecture-photo Pg 22- top to bottom IMG 11- Wash area with attached balcony / Citation- Source: http://www.archdaily.com/553370/ artist-s-studio-chan-architecture/542de158c07a809a0e00045e-artist-s-studio-chan-architecture-photo IMG 12- Front elevation of studio/ Citation- Source: http://www.archdaily.com/553370/artist-s-studio-chan-architecture/542de0e4c07a80548f0004ad-artist-s-studio-chan-architecture-photo Pg 23- IMG 13- A view of office/ Citation- Source: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma/5013c15728ba0d3963000e20-hcma-vancouver-offices-hcma-photo Pg 24- IMG 14- Graphic designer’s working in office/ Citation- Source: http://www. archdaily.com/121004/hcma-vancouver-offices-hcma/5013c16628ba0d3963000e23-hcma-vancouver-offices-hcma-photo Pg 25- Top to Bottom IMG 15- Entrance to the office/ Citation- Source: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma/5013c16128ba0d3963000e22-hcma-vancouver-offices-hcma-photo IMG 16- Meeting room in the office/ Citation- Source: http://www.archdaily.com/121004/hcma-vancouver-offices-hcma/5013c15128ba0d3963000e1f-hcma-vancouver-offices-hcma-photo Pg 26- IMG 17- Entrance to the Studio/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea3c9e58ece48d400009b-anish-kapoor-studio-i-caseyfierro-architects-photo Pg 27- Top to bottom IMG 18- Exposed Black Brick Facade/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea464e58ece48d400009f-anish-kapoor-studio-i-caseyfierro-architects-photo IMG 19- Rear Elevation/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea48fe58ece48d40000a0-anish-kapoor-studio-i-caseyfierro-architects-photo Centre for Creative Professionals

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Pg 28- Top to Bottom IMG 20- Existing Plan of studio/ Citation- Source: https://www.google.co.in/search?q=anish+kapoor+gallery+plans&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjbxLje1ufUAhXMrY8KHUmIBhgQsAQIIg&biw=1366&bih=662#imgrc=Xbq7p0MV83ZXfM: IMG 21- Ground floor plan/ Citation- Source: https://www.google.co.in/search?q=anish+kapoor+gallery+plans&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjbxLje1ufUAhXMrY8KHUmIBhgQsAQIIg&biw=1366&bih=662#imgrc=owYYbF6LKlXOtM: IMG 22- Mezzanine floor plan/ Citation- Source: https://www.google.co.in/search?q=anish+kapoor+gallery+plans&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjbxLje1ufUAhXMrY8KHUmIBhgQsAQIIg&biw=1366&bih=662#imgdii=w8gO8qTOl5f_YM:&imgrc=Xbq7p0MV83ZXfM: Pg. 29- Top to Bottom IMG 23- Section XX’/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea408e58ecef42e000075-anish-kapoor-studio-i-caseyfierro-architects-section IMG 24- Section YY’/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea423e58ece48d400009d-anish-kapoor-studio-i-caseyfierro-architects-section IMG 25- Long Section/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea47ee58ecef42e000078-anish-kapoor-studio-i-caseyfierro-architects-section Pg. 30- Top to Bottom IMG 26-Exhibiton Space / Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea3e1e58ecef42e000074-anish-kapoor-studio-i-caseyfierro-architects-photo IMG 27- Paintings Display Area/ Citation- Source: http://www.archdaily.com/786255/anish-kapoor-studio-i-caseyfierro-architects/571ea3ede58ece48d400009c-anish-kapoor-studio-i-caseyfierro-architects-photo Pg. 31-IMG 28- Front Elevation of Furniture & Product Arro Studio in UK/ Citation- Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3368e58ecead7 100016e-clarks-originals-design-studio-arro-studio-image Pg. 32- Top to Bottom IMG 29- Floor Plan of studio/ Citation- Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3405e58ece9c1a00017d-clarks-originals-design-studio-arrostudio-floor-plan IMG 30- Long Section/ Citation- Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3425e58ecead71000170-clarks-originals-design-studio-arro-studio-section IMG 31- Long Section/ Citation- Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3444e58ecead71000171-clarks-originals-design-studio-arro-studio-section Pg. 33- Top to Bottom IMG 32-Working Space / Citation- Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e2e69e58ecead71000153-clarks-originals-design-studio-arro-studioimage IMG 33-Storage wall is made out of translucent glass panels/ Citation- Source: http:// www.archdaily.com/778750/clarks-originals-design-studio-arro-studio/566e3006e58ece9c1a000168-clarks-originals-design-studio-arro-studio-image Pg. 34- Top to Bottom Centre for Creative Professionals

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IMG 34- Shoe Display rack/ Citation- Source: http://www.archdaily.com/778750/clarks-originalsdesign-studio-arro-studio/566e31f1e58ece9c1a000173-clarks-originals-design-studio-arrostudio-image Left to right IMG 35- Shoe wall, on which each shelf used to display the footwear designs double up as handles that open and turn the wall into a giant closet/ Citation- Source: IMG 36-/ Citation- Source: http://www.archdaily.com/778750/clarks-originals-design-studio-arrostudio/566e311be58ecead71000163-clarks-originals-design-studio-arro-studio-image IMG 36-Furniture designed in the studio/ Citation- Source: http://www.archdaily.com/778750/ clarks-originals-design-studio-arro-studio/566e3069e58ecead7100015e-clarks-originals-designstudio-arro-studio-image Pg. 35- IMG 37-Map of India Pg. 36- Top to Bottom IMG 38- Site Plan of Office At Ambli, Bhopal/ Citation- Source: https://www.google.co.in/maps/ place/Ambli+-+Bopal+Rd,+Bopal,+Ahmedabad,+Gujarat Left to right IMG 39-Office before restoration IMG 40- Building after intervention of old block Pg. 37- Top to Bottom IMG 41- Ground floor plan of office building IMG 42- First floor plan of office building IMG 43- Mezzanine floor plan of office building IMG 44- Longitudinal Section Pg. 38- Left to Right (A) IMG 45- Open working space IMG 46- Pivoted window designed for light & ventilation Left to Right (B) IMG 47- View from first floor IMG 48- Outside view Pg. 39- Top to Bottom IMG 49- Dead space before intervention IMG 50- Restored into a Mezzanine space after intervention Pg. 40- Top to Bottom IMG 51- Meeting room IMG 52- Foyer IMG 53- Pivoted doors IMG 54- I-section iron beam structure IMG 55- A pool created on terrace after intervention IMG 56- Book shelf and common sitting space for individual Pg. 41- Top to Bottom IMG 57- Sangath google map/ Citation- Source: https://www.google.co.in/maps/place/ Sangath/@23.0875928,72.5365727,13z/data=!4m8!1m2!2m1!1ssanagath++ahmedaabd IMG 58- View of Sangath at the entrance Pg. 42- Top to Bottom IMG 59- Site plan of Sangath IMG 60- Roof plan of Sangath Pg. 43- Top to Bottom IMG 61- Longitudinal section AA’ IMG 62- Longitudinal section BB’ Pg. 44- Top to Bottom IMG 63- Latitudinal section describing details IMG 64- Latitudinal section describing details Pg. 45- left to right (a) IMG 65- Landscaping at the entrance IMG 66- Gate to the office Left to right (b) IMG 67- Waiting lobby IMG 68- Staircase to first floor Pg. 46- left to right IMG 69- Reception counter IMG 70- A corridor connecting with other blocks IMG 71- Working space for the workers Pg. 47- left to right IMG 72- Studio accommodating architects IMG 73- Studio accommodating architects Centre for Creative Professionals

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IMG 74- Office accommodating two people IMG 75- Exhibition gallery IMG 76- Model making space Pg. 48- left to right IMG 77- Roof elements IMG 78- Skylight IMG 79- Drains used as landscape element IMG 80- Roof element IMG 81- Vault roof Pg. 49- Top to bottom IMG 82- Google map of design ship IMG 83- Working table Pg. 50- Floor plan of studio Pg. 51- left to right IMG 84- Library space IMG 85- Common hall with balcony IMG 86- Waiting area Pg. 52- Top to bottom IMG 87- Google map of Krishna Interior Workshop IMG 88- Entrance to the workshop Pg. 53- Top to bottom IMG 89- Ground floor plan of site IMG 90- Section AA’ IMG 91- Section BB’ Pg. 54- Top to bottom IMG 92- Section CC’ IMG 93- Section DD’ IMG 94- View of the workshop IMG 95- Rear view IMG 96- Front view Pg. 55- Top to bottom IMG 97- Cutting area IMG 98- Store & interior space IMG 99- Servant quarter Pg. 56- Top to bottom IMG 100- Wash area IMG 101- Polishing area IMG 102- Office space & waiting space IMG 103- Carpentry area Pg. 57IMG 104- Google map of Chandrajeet Yadav IMG 105- Front view of the studio Pg. 58IMG 106- Section AA’ IMG 107- Floor plan IMG 108- View of the site Pg. 59IMG 109- Workshop IMG 110- Workshop IMG 111- Rear view where sculptures are displayed Pg. 60IMG 112- Google map of Shari Academy IMG 113- Front view of Shari Academy Pg. 61IMG 114- Floor plan of studio IMG 115- Section IMG 116- View of the studio Pg. 62IMG 117- Photography area IMG 118- Store & Common spaceIMG 119- Staircase to first floor Pg. 63IMG 120- A lobby to separate rooms IMG 121- Tools storage area IMG 122- Office area IMG 123- Toilets Pg. 64IMG 124- Shooting space & store IMG 125- Stockyard IMG 126- Ground floor below Pg. 65IMG 127- Google map of Jehangir Art Gallery IMG 128- Front elevation of Jehangir Art Gallery pg. 67IMG 129- Night view of art gallery IMG 130- Art gallery IMG 131- Display area IMG 132- Visitors at Jehangir Art Gallery Centre for Creative Professionals

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Pg. 68IMG 133- Art gallery view IMG 134- View describing the display pg. 69IMG 135- Google map of maker’s asylum IMG 136- Reception area Pg. 70IMG 137- Floor plan of maker’s asylum IMG 138- A view of the maker’s asylum IMG 139- Entrance & display area Pg. 71IMG 140- Study table IMG 141- Workspaces IMG 142- Lounge Pg. 72IMG 143- Google map of Sir JJ School of Arts IMG 144- Entrance to Sir JJ School of Arts Pg. 73IMG 145- Typical floor plan explaining the zoning IMG 146- Longitudinal section Pg. 74IMG 147- Art classroom IMG 148- Ceramic classroom IMG 149- Corridor towards classroom IMG 150- Workshop IMG 151- Wash area near workshop Pg. 75IMG 152-

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BIBLIOGRAPHY

https://www.colorpsychology.org/purple/indigo/ https://www.scribd.com/doc/102828617/Illusion-Museum-B-arch-Design-Thesis-Report-Architecture https://en.wikipedia.org/wiki/Brutalist_architecture http://www.archdaily.com/search/all?q=HCMA%20Vancouver%20Offices https://www.colorpsychology.org/purple/indigo/ https://www.scribd.com/doc/102828617/Illusion-Museum-B-arch-Design-Thesis-Report-Architecture https://en.wikipedia.org/wiki/Brutalist_architecture http://www.archdaily.com/search/all?q=HCMA%20Vancouver%20Offices

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