Experiments in design - Malhar Chawada Portfolio 2017

EXPERIMENTS IN DESIGN 2017

PORTFOLIO

M A L H A R. C H A W A D A

Work Experience

Education

2016

Studio Amita Vikrant

Malhar Chawada +91 9975 448822 malhar.chawada@gmail.com Mumbai.India Indian

Goa.IND

2011 - 2016

Intern Assemble Workshop: Design + Drawings + Client document + Lumion video Siolim Villas: 3d print models + Photography + Lumion video Residential Apartments: Photography SAV website: Designed webpages Flying House: Working drawing + Landscape design + Lumion video + Interior Unilab Office: Furniture design + Feature wall design summer 2015

Studio for Environment, Architecture and Design

Mumbai.IND

Summer Intern Poetry in Parametrics: Design of a parametric installation Trupti Apartments: Designed and detailed balcony section

NMIMS University

Mumbai.IND Balwant Sheth School of Architecture Bachelor of Architecture Certificate of Honor - 1st Rank (Graduating batch 2016) 2008 - 2010

Mengo Senior School

A - Levels Awarded Academic Achievers Certificate (2010) Ranked 12th Nationwide for National Mathematics Contest (2010) 2004 - 2007

Old Kampala Senior Secondary School

Freelance Visualizer

Curriculum Vitae

Lumion 6.0 video renders

Travel.India.Uganda.Bhutan.

Spain.Sri lanka.Holland.

Sketch.Abstract.Doodles.

Read.Radical.Theory.

Write.Radical.Ideology.

Listen.Classical.Fusion.

Photograph.Architecture.

Abstract.Details.

Speak.English.Hindi.Gujarati

Publications + Exhibitions Author Co-author Co-author Co-author Co-author Finalist for 1:1 model Co-author Co-author

DETONATION, Towards a newer architecture. Thesis manifesto (2016) Thesis Bazaar. Exhibition of student design dissertation concepts Ramayana & Mahabharata. Compiled student short stories (2015) Vasai, a sub-urbanism. Urban theory analysis (2014) Bhutan, Frozen in time. Bhutan study tour documentation (2013) (2 Volumes) Hive Minds, Installation exhibition (2012) Ahmedabad Travelogue. Ahmedabad study tour drawing documentation (2012) Jaisalmer, the city within. Drawing exhibition (2011)

Competitions “(Mo)Tility” Global Schindler Award (2015) “Moksha” 120 Hours (2015)

Group participant Group participant

Kampala.UGANDA

Secondary education

Kampala.UGANDA

Skills Advanced Virtual Advanced Real Rhinoceros Autodesk 3ds Max Google SketchUp Lumion Autodesk Autocad Adobe Suite Microsoft Office Vray

Sketching Hand drafting Model making Photography Wood workshop Laser cutting 3d Printing CNC cutting

Basic Virtual Basic Real Grasshopper Videography Autodesk Revit Corel Draw

Index of Works 11

Unilab Pharma Office Furniture design

2016

Flying House Khandala

Siolim villas

01

Assemble workshop

2015

09

Poerty in Parametrics

Parametric installation

2014

SAV website

Goa

Goa

Content management

02

Residential apartment

Radical Anti-Architecture of the Information Age Design Dissertation

03

Generative Institute Re-Designing a fisheries institute

04 07 12

06

Adaptive-Transit Market

Mechanized Retail space

Photography

14

Pin Architecture

Hybrid highrise

Detonation: Towards a newer Architecture

2012

10

Arch(ed)

13

Experimental Preservation Svalbard

05

Architecture School magazine Logo design

Hybrid Systems

Design in Bhutan

Moksha

Dissertation poster

Alternate Ramayana

Educational

08

Thesis Bazaar

Dissertation manifesto

A Place for “Happiness�

2013

The inverted corner

Vasai

Farm + House

Professional

Global Schindler Award (Mo)Tility Shenzhen

Emotions through a Market Juhu

An Urban Fringe

Hive minds

Art institute

Behavioral Installation

Rustic Sewri

2012

Experimental design Group Initiatives

Interior

Architecture

Urban

Research

Graphic

Competition

01 Assemble Workshop architecture

An educational and industrial “skills” workshop which shall cater for both the mechanical production and hand crafted production requirements of Studio Amita Vikrant.

CNC routers, laser cutters and 3d printers sit amidst a traditional wood and metal workshop, enhancing both technical skills and hand craftsmanship of workers and students that experience the space during seminars or exchange programs.

Exploration of “the splitting column” and their joinery with the deformed roof diagrid system

The splitting column has been explored as the major design element with a supporting parametrically deformed diagrid roof structure to express the evolution of a new typology of the “factory building.”

Once complete, the facility shall produce industry quality furniture, products and innovative hand crafted products.

Studio Amita Vikrant 450 sq.mt Under construction (Khopoli, Khandala, India)

Evolution of finalized roof structure system professional

architecture

The roof structure is a deformed diagrid system based on certain parameters and design logic.

Initial roof structure experiments professional

architecture

0

4

8

professional

2

3

5

6

7

9

10

11

architecture

1

Growth of a workshop

professional

GROUND FLOOR PLAN - 1:100

30000 7500

PAINTBOOTH 130SQM +00.60 +00.60

5000

RM M2 FSL FFL

RM M2 FSL FFL

RM M2 FSL FFL

METALWORKSHOP 170SQM +00.60 +00.60

C4

C5

PAINTROOM 50SQM +00.60 +00.60

STAFF TOILET

VISITOR TOILET

SUPERVISORSROOM 10SQM +00.60 +00.60

RM M2 FSL FFL

+0.3M

302 C

C3

C2

RM M2 FSL FFL

+0.6M

301 B

C1

RM M2 FSL FFL

DIGITALPROTOTYPING 37SQM +00.60 +00.60

CNCROOM 50SQM +00.60 +00.60

STAFF LOCKER AND CHANGING ROOM

SMALL STORE

C11

STAFF TOILET

C12 RM M2 FSL FFL

15000

RM M2 FSL FFL

STAFF ENTRANCE

PANTRY 10SQM +00.60 +00.60

WOODWORKSHOP 200SQM +00.60 +00.60

A' 300

A 300

6

C13

5

C14

4

RM M2 FSL FFL

MATERIALLIBRARY 15SQM +00.60 +00.60

3 2 1

RM M2 FSL FFL

STORAGE 270SQM +00.60 +00.60

RECEPTION

OFFLOADING

RM M2 FSL FFL

C7

LOADING

+1.05M C8

C6

C9

C10

+0.6M

301 B'

STAFFDINING 15SQM +00.45 +00.45

302 C'

RAMP UP

+0.45M

N

architecture

+0.3M

RM M2 FSL FFL

Ground level plan

PARKING 40SQM +00.00 +00.00

C5A

C4A

C1A

C3A C2A

C4B

C2B C3B C1B

C5B

C11A C12A

C11B

C12B

C13A C14A

C14B

C13B

C7B C6B

C9B

C10B

C8B

C10A

C8A

C9A

C7A C6A

Exploded axonometric view

Reflected ceiling plan professional

SECTION A-A' - 1:100

TOP ROOF LEVEL

9000

BOTTOM ROOF LEVEL

3400

6000

FIRST FLOOR LEVEL

Section A-A’

SECTION B-B' - 1:100

450

2000

SECTION C-C' - 1:100

Section C-C’ professional

architecture

600

450

PLINTH LEVEL

NORTH EAST ELEVATION - 1:100

NORTH WEST ELEVATION - 1:100

TOP ROOF LEVEL

TOP ROOF LEVEL

TOP ROOF LEVEL

BOTTOM ROOF LEVEL

BOTTOM ROOF LEVEL

PLINTH LEVEL

PLINTH LEVEL

6000

6000

6000

FIRST FLOOR LEVEL

9000

9000

9000

BOTTOM ROOF LEVEL

3400 PLINTH LEVEL

Scale model

SOUTH WEST ELEVATION - 1:100

SOUTH EAST ELEVATION - 1:100

BOTTOM ROOF LEVEL

FIRST FLOOR LEVEL

FIRST FLOOR LEVEL

PLINTH LEVEL

PLINTH LEVEL

South-West elevation professional

9000 6000

BOTTOM ROOF LEVEL

3400

TOP ROOF LEVEL

9000

TOP ROOF LEVEL

6000

SOUTH EAST ELEVATION - 1:100

3400

architecture

NORTH WEST ELEVATION - 1:100

South-East elevation

architecture NORTH EAST ELEVATION - 1:100

NORTH NORTHWEST WESTELEVATION ELEVATION- 1:100 - 1:100

NORTH WEST ELEVATION - 1:100

TOP ROOF LEVEL

TOP TOP ROOF ROOF LEVEL LEVEL

BOTTOM ROOF LEVEL

9000

9000 9000

9000

BOTTOM BOTTOM ROOF ROOF LEVEL LEVEL

6000

3400

6000 6000

6000

FIRST FLOOR LEVEL

PLINTH LEVEL

PLINTH PLINTH LEVEL LEVEL

North-East elevation SOUTH WEST ELEVATION - 1:100

professional

SOUTH SOUTHEAST EASTELEVATION ELEVATION- 1:100 - 1:100

SOUTH EAST ELEVATION - 1:100

North-West elevation

architecture

02

A Radical Situationist Anti-Architecture of the Information age

The information age is going to be the basis of the next revolution in architecture, design and theory. The dissertation therefore looks forward to re-imagining the institute building typology since it is most likely to become obsolete.

The basis of an institute is information transfer, which previously was physical. With the availability of virtual information transfer, the institute as a physical piece of architecture loses meaning, thus it has to be re-designed theoretically, physically and virtually in order to cope with the upcoming revolutionary change.

Design Dissertation Year 5 1.5 sq.km JVPD, Mumbai, India

From Retrospect to Prospect

Classical Architecture

What issues should architecture of this era address in terms of its obligation to the properties of a city and to what extent is it free of these obligations? Therefore questioning the relevance of systems today (political, cultural, social etc) in prospect.

Radical Industrial Revolution

1 (especially of change or action) relating to or affecting the fundamental nature of something; far-reaching or thorough.

2 Characterized by departure from tradition; innovative or progressive.

Situationism is a theory in psychology that began Modernism and other related Movements

in 1968 when a Person-situation debate was triggered by the publication of a monograph by Walter Mischel.

It refers to an approach to behavior which holds that general traits do not exist (perhaps apart from Intelligence).

The Information Age (also known as the World Wide Web (Information age)

Computer Age, Digital Age, or new media Age) is a period in human history characterized by the shift from traditional industry that the Industrial Revolution brought through industrialization, to an economy based on information computerization.

Masterpiece, which eith ruin, with a very regiona

Ruins that get disjointed because of changes in culture end up having a negligible impact.

Anti architecture.

What will Architecture of this era be?

(What should it be)?

academic

1. An unplanned situation which has come up due to the coming together of multiple introvertly planned “architectures,� for example the street spaces of organic cities.

2. A parallel discipline that tends to defy all the rules that govern the other parallel-architecture.

3.An architectural quality that cannot be defined by the tools used to understand architecture.

Monuments that don’t ser the present demands of various fields end up as anti-monuments.

Evolu

From Chrono order to Everything is global, Work, the blackmail We demand the true Chrono chaos and Architecture as Everything is local. architecture of the spectacle of of survival. back.

Detonate everything!!

21st century. society.

Individualistic physical perception of these “masterpieces.”

Change in world view based on contemorary realities (Induced solely by the Situationists)

The physical model loses value due to the importance gained by the middle-men.

Industrialization allows perceptions to be communicated worldwide through the media such as books, journals, magazines.

A revolution from an industrial age to an information age

Ruins that reflect important cultural aspects end up becoming major attractors for learning.

Consumerism Mass consumerism gave rise a group that was completely against the drab way of looking at things(art, culture, universities etc).

This led to the creation of anit-monuments, aimed at changing the entire world perception.

The physical model further loses value.

To parking lots.

rve Monuments embedded with historical values end up shaping urban identity and memory.

ution of a “masterpiece.”

As architecture breaks barriers of the systems it abides to, it creates a spectacle, a masterpiece which like a gunshot produces a sound that resonates far beyond the immediate surrounding, but these gunshots attract attention of the multi-layered systems of the world (economics, politics, society etc) which respond in ways completely opposite(non radical) leading to a certain kind of exaggerated naive response_the parking lot effect. (The bilbao effect, Vancouverism, Sydney etc)

Global connectivity has led to zones in cities which are disjointed from the city because of the way they function.

With the coming up of the internet, the process of conveyance of information was made infinitely quicker and more complex in that almost anyone could write about something and this text was available to everyone on the globe. academic

architecture

her turns monument or al impact

From gunshots

architecture

Word map decrypting “masterpiece text� and creating a basis of the concept by generating links between these visionary pieces of architectural theory.

academic

architecture

Research aspects culminating into a concise narrative.

The narrative “Detonation, towards a newer architecture� then forms the basis for design principles and ideology. academic

The becoming event of the image.

The becoming image of the event. le Sca

Library

age

he im

up t

Th

Democratic park

The becoming anti-image of the image.

age

le im

mb e hu

High art

The world

Lofts

Real art

The world on groundd

architecture

An archive of the world

Museum The Circus.

The perception of the image.

The becoming image of the process.

Theatre

Auditorium

academic

13

Road 13

03

02

10

05

04

16 06 11

07

11

architecture

01

15 08

10

12

17

09 Pond 10 14

13

15 18

01 - Amphitheatre 02 - Sculpture deck 03 - Maker’s asylum 04 - Virtual reality 05 - Metal workshop 06 - Cybernetic loft 07 - Sculpture loft 08 - Experimental gallery 09 - Audio visual room 10 - Display gallery

11 - Sculpture gallery 12 - Museum deck 13 - Elevated cycle track 14 - Skateboarding deck 15 - Lobby 16 - Private gallery 17 - Flexible gallery 18 - Discussive space

Road

13

13

Ground level plan 0

academic

1

3

5

5

10

architecture

Section B-B’

academic

Section D-D’

Section A-A’ academic

architecture

Section C-C’

03 Generative Institute architecture

Re-designing a Fisheries institute

Re-designing the Central Institute of Fisheries Education (C.I.F.E) Institutes for higher learning in India are confronted with economic difficulties, affecting the way they work, the facilities they are provided to conduct research, hence affecting overall performance.

C.I.F.E conducts research crucial enough to change national systems of water usage, the fishing industry etc, which is limited due to economic factors and lack of collaboration among individual learning institutes of different faculties. This leads to a very controlled level of research that does not reach a level of finesse it would have had it been provided the missing facilities mentioned above.

Public vs Private programmatic response (Yearly)

Space vs Program (Daily)

The design creates a self-sufficient institute by making some of the programs public so as to create awareness among general citizens, activate the region, and increase revenue (which shall be used for research purposes). The layout abolishes the compound wall thus making a truly public urban park connecting the city dweller to the mangroves and in-formalizing the process of live-work-play. The in-formalization is based on a study of how programs are used at different times (of a day and throughout the year) thus making the new model much more efficient in terms of usage of time and space. Programs have been interconnected so as to increase the efficiency.

(Library + Aquarium, Auditorium + Amphitheater, etc.)

Existing Fisheries institute with stark programmatic segregation and minimum public involvement.

(Disconnected institute)

Architectural design studio Year 4 20,000 sq.mt Versova, Mumbai, India academic

Design to cater for previous shortcomings and reinforce national and public importance of the institute.

architecture

The institute acts as a platform for interaction amidst socially varied users staying on campus.

It opens up to the city by way of its spacial hierarchies

Programmatic response to conditions present within the functioning of the institute

Different users navigate the massing differently based on spacial hierarchy, route and time of year. (Experience driven)

Multiple programmatic requirements generate multiple volumes of space, enhancing and controlling the type and intensity of activity generated within. academic

Basement plan Ground level plan

architecture

Roof plan

Section A-A’

Section B-B’ academic

Second level plan

architecture

First level plan

The elements of circulation have been designed in relation to the spaces and functions adjacent to them so as to function as valves that control the accessibility of spaces by different user groups, hence evoking a constantly varying dialogue between the institute and the diverse hierarchical users.

Hand drafted drawings

academic

04 Farm + House Hybrid Highrise

architecture

The project is based on a “hybrid,” which indicates a third typology between two already existing categories. In this case, Farming and Housing come together in an urban context.

Varying module sizes and relation between houses

The challenge was to efficiently design relations between the workings of the house and farm so that the efficiency of the outcome is exponentially larger than the sum of the individual programs.

The design exploits overlapping parameters of the two functions in order to inform design, logic and practical queries.

The studio aimed to address a very contemporary issue relating design on all scales and responses to unforeseen but predictable urban conditions created by “city creation” and vertical growth.

Architectural design studio Year 4 4000 sq.mt Green field project.

Applying scale to the housing units and farms, on the basis of the previous diagram.

The primary circulation is created by a loop of the “Farm belt,” whereas the secondary circulation is by a service core.

Farms punctuate the space between units. academic

The loop is re-arranged into a vertical organization due to space constraints. (horizontally)

The farm support systems.

(Recycle belt)

Facade (Moss fins)

The Hybrid

Farms + secondary circulation

Services + Structural core

academic

architecture

Structure

architecture

The houses, at all times have at least three sides open, thus they receive ample light and ventilation throughout the year, the intensity of which can be controlled by changing the angle of the moss fins.

academic

architecture

Dynamic moss facade, angles governed by user preference within a unit.

Secondary circulation

Section B-B’ academic

Section A-A’

05

Global Global Schindler Schindler Award Award {Mo}Tility

urban

{Mo}Tility

The urgency of reform to mobility.

Urban regions are dense and complex overlays of very The urgency of reform to mobility. distinct programs, spaces, arrangements of economies, Urban regions are dense and complex overlays of very distinct cultures etc, thus the kind of fabric that evolves is very programs, spaces, arrangements of economies, cultures etc. multi layered in terms of the linkages that are formed, both Thus the kind of fabric that evolves is very multi layered in terms planned and unplanned, physical and invisible. This creates of the linkages that are formed, both planned and unplanned, urgency with respect to the mobility of the individual in physical and invisible. This creates urgency with respect to the these regions, both along the vast horizontal expanse of mobility of the individual in these regions, both along the vast the region as well as across the dense fabric with respect horizontal expanse of the region as well as across the dense to vertical overlay of spaces. The core purpose underlying fabric with respect to vertical overlay of spaces. The core purpose the design decisions made was to better link these underlying the design decisions made was to better link these connectivity disjoints in terms of physical, economic, connectivity disjoints in terms of physical, economic, cultural and cultural and social aspects of urban life. social aspects of urban life.

Nodes have been created at centers of localities where an Nodes have been created at centers of localities where an overlap of the different modes of mobility is designed, for overlap of the different modes of mobility is designed, for example example a cyclist lane, metro station, vehicular road come a cyclist lane, metro station, vehicular road come together so as together so as to avail a variety of options of mobility to the to avail a variety of options of mobility to the individual, enhancing individual, enhancing mobility within the locality.( By means mobility within the locality.( By means of slow traffic, cyclists of slow traffic, cyclists and pedestrians) These Nodes are and pedestrians) These Nodes are both visually and physically both visually and physically connected to themselves so connected to themselves so as to increase the permeability of as to increase the permeability of the suburb and to better the suburb and to better interlink the whole suburb in a weave of interlink the whole suburb in a weave of penetrable penetrable urban space. mobility by means of vehicular and cyclist modes of Global Schindler competitionholistic appraisal of the region as movement,ensuring Year 4 whole and increase in the real estate value evenly (so that 2.5 sq.km economic divides are not created over time).

Shenzhen, China competition

urban

It is unrealistic to create a drastic large scale change in the built fabric at once, thus the development has been centered on phases, which have been planned as per their practicality and urgency, keeping in mind the traditional predictions of city growth and development.

1; the major nodes have been identified and the modification of the immediate areas around these has been undertaken, new main nodes are also created, the disjointed nodes and zones are better connected. Amenities have been provided so as to create an incentive for people to settle and work in this region 2; the region around the major nodes are developed into commercial zones, mixed use urban super blocks, residential complexes for the various income groups is created, the connection between the two development zones is made stronger by enhancing street connection, more amenities are provided.

3; the areas at the periphery are developed in a similar mixed use fashion maintaining a strong physical connectivity among them through all the modes of mobility, thus creating a homogenous yet varying model for development. Homogeneous in a way that the basic methodology is the same, varying in a way that what is developed on the new sites is with respect to what programs are most urgently required.

4; the areas which may have turned unstable over the development of the previously mentioned zones are identified and a plan for development is proposed based on the market trends then. Strategic mixed use

Visual connect between zones maintained for fluid movement

develeopment throughout the urban fabric for a much more safer environment to dwell in

Better connect between urban zones

Mixed use architectural typologies strategically developed to make the site more porous and socially rich.

New development pattern designed to support the current dynamism and further enchance it.

Various mobility options within each urban zone

Fringe between dwelling and nature blurred

SECTION HH’

competition

urban

Sections competition

urban 3 Students 1 Mentor 2.5 sq.Kms

competition

urban

Markets all over the world are constantly changing in either a more complex inter relationship or into drab monotonous events that eventually fade out, thus the understanding of this character and evolution into a future model became the core aspect of the design brief since these systems form an important part of the “Urbanscapes.” The challenge is to predict, based on history, trends and assumptions, the nature of markets of the future, their behavior and functioning in relation to the parameters that directly or indirectly affect their functioning.

The design process borrowed from the nodal aspect of the site both in the present situation and the future scenario which plans to connect various modes of rapid transit through the site. The core parameter taken into consideration is the informal character currently available at site and the dynamic adaptive quality that the market has (which we believe is a factor that protects a market from the changes in user trends). The design also looks forward to a response to the urban fabric in which it is situated both programmatically and spatially, despite the various pressures from different urban issues. The ability of this design to act as a model for deployment in various contexts has been thoroughly considered.

Urban design studio Year 4 25,000 sq.mt Andheri station, Mumbai, India

Site analysis

Adaptive-Transit_Market

Market nature

The formal shops on the site have grown temporary spill out spaces allowing commuters to filter through. The commuter is always on the move, hence an informal interface facilities the travel.

Concept development

06

Market density

Andheri station witnesses a complex density change influenced by pedestrian movement and transit popu changes leading to congestion zones and heavy traffi

Trends

Technology

Driving Force Trends are a response to many influences and start shaping the character of everything they feed information to. In the future, there will be global connectivity leading to global trends instead of regional trends.

Varying levels of trends Due to the increase in population density and economic equality, the market will meet varied classes of people requiring it to constantly update its “system.”

Efficiency Availability Due to the characte Technology shall affect more people in the future networks, logistics (reduced costs and higher disposable incomes). They have ample te Simplification capacity and distrib The basis of the “market” is about to change efficiency, logistics because of improved technology and exploration of markets. the VR marketing area.

Automation Autonomous responsive and dynamic sale units shall create an ever changing “adaptive-transit_market”

academic

Logistics

Program analysis

The requirement of a module that can serve the purpose of a market in its ever changing consumer trend fabric.

The shipping container was finalized as a module because it fits well at both international and domestic scales of exchange.

The shipping container is flexible in terms of its compatibility within all of the existing transport systems.

Economic equality

Factors affecting the growth, efficiency and death of markets.

Better public transport

Reduced number of personal vehicles

academic

3 new metro lines are under construction (93 stations total) compared to the current 1 metro line (13 stations). An elevated train corridor from Oval maidan to Virar is under discussion.

Higher education

Congession free public zones

Ease of commuting

Ease of technology

Reduced manual labour

Automated operations

Availability of information

Richer product

Higher Income

Small scale logistics

Systematic operations

Customer satisfaction

Transit Market

Adaptable design

Continuos production

Non-stop “on the go“ activity

urban

Due to the low disposable income and large economic gap, the economic classes are divided in their modes of transport which creates markets for specific groups at their varied paths of travel.

Module

Economic status (National)

Incomes shall be larger and thus the economy shall be more equal leading to increased interaction between the varied classes.

Design strategy

e throughout the day, months and year, heavily ulation. Market systems fail to adapt to these ffic accumulation.

er of these bigger and more complex is a must for their operation. echnology, man force, production bution but if the future promises such s will become an integral component of

Future scenario

Economic status (Site)

Ground level plan

First level plan

Third level plan

urban

Second level plan

Mechanism

The shipping container and the advanced technology were combined to create the core adaptive unit.

This system is used because of the multifaceted use it offers in catering for an ever changing pattern.

The mechanism almost immediately caters The shipping containers move vertically serving as a market when on the ground level. The containers are reloaded with commodi- to changes in patterns of markets, thus ties through the logistics level,(sandwiched between two mechanized slabs) which is connected to the goods train offloading region. generating that buffer which markets often The mechanized slab holds pulleys that pull up the containers, and rollers which push up the containers. end up lacking.

academic

urban

Transverse Section

A section showing connections between the elevated rail corridor, the ground rail system, the bus depot and the new business hubs.

Longitudinal Section academic

07 A Place for happiness architecture

Designing an experience

Different navigation paths through the co-related spaces end up as different experiences.

Abstract space building based on permeability and axis.

A process of understanding happiness as a feeling, hinting its identification, interpreting its meaning and conveying it through architecture.

Abstract section models

The design is a result of the relationship between spaces, the emotions they evoke and the collective emotion that one has when he experiences the space in a particular succession.

Density study

Architectural design studio Year 3 1,500 sq.mt Paro, Bhutan

People density

academic

Movement patterns

Possible intervention

Important nodes

Conceptual massing Site analysis

architecture

The traditional prayer hall is taken and its spacial character inverted so as to have an open space with a fixed focus rather than an enclosed space with an axis oriented character.

The design houses multiple public functions such as; The triple height library at the heart of the layout with a direct entry on the ground level and an indirect entry from below ground. An Amphitheatre abutting the existing houses so that the fringe isn’t solid but instead, a permeable front.

academic

architecture

Co-published: “Bhutan Frozen in time”

A documentation on Bhutan through drawings, images, sketches and text.

Team: hiral.ahir malhar.chawada karun.asrani sweedel.d’cunha sridiya.chintapali

The design creates a planned urban park which makes use of the space that was otherwise barren. It also activates the riverfront which was inactive due to the busy commercial main road.

Section B-B’

academic

Section D-D’

A walk to another world: An inverted meditation space.

Performances with nature as a backdrop and pre-stage.

Section A-A’

academic

architecture

Section C-C’

preservation

08

Moksh(A) Experimental Preservation Moksha

You can’t get any further away tillExperimental you start coming Preservation back.

HowYou do can't you preserve not only physical space but the essence of space, character, soul, like get any further away till you start coming back. How do youitspreserve notitsonly physical legends bodies haveoflong beenitsgone, only their liveslike andlegends ideas still inspiring teaching spacewhose but the essence space, character, its soul, whose bodiesus,have long us, been guiding thustheir the lives approach is notstill to forcibly life into something it into pointless gone,us.only and ideas inspiringinstill us, teaching us, guidingand us, resurrect thus the approach is not to pieces of mediocre properties, less,itcharacterless, void of of contextual to forcibly instill lifephysical into something andspace resurrect into pointless pieces mediocrerespect physicalbutproperties, enhance experience that there once a livelihood thattoflourished region, preserving only spacetheless, characterless, void was of contextual respect but enhanceinthetheexperience that thereit was as past itself, letting it go into the hands of natural preservation or decay, experiencing natural erosion once a livelihood that flourished in the region, preserving it only as past itself, letting it go into the of what man oncepreservation imposed, momentarily understanding lifelong processes, hands of had natural or decay, experiencing natural erosion of what getting man hadinspired, once imposed, questioning ourselves as to whylifelong we holdprocesses, on to thingsgetting that should bequestioning let gone off,ourselves like a soulasthat momentarily understanding inspired, to has whyleft we a physical entity, making it blissful in its sense of absence. hold on to things that should be let gone off, like a soul that has left a physical entity, making it blissful in its sense of absence. the region is under threat from what man has done, the built mass, the global The pollution region is acts underthat threat manlevels has of done, mass,which the global actsupthatflooding are the are from raisingwhat water seastheandbuilt oceans shall pollution one day end raising levelswith of seas oceansofwhich shallthat oneflourished day end upamidst flooding site,covered drowning with it site,water drowning it theand essence livelihood the the snow wooden the essence of livelihood thattoflourished amidst theofsnow covered wooden houses.the Wespaces thus choose to houses. we thus choose restrict one aspect nature(water) from engulfing while on restrict one aspect of nature(water) from engulfing the spaces while on the other hand we let nature the other hand we let nature itself (snow, wind, erosion etc.) fade the physical leaving behind a itselfscenario (snow, wind, erosion fade the physical leaving behind a scenario depicting thephysical dynamic depicting theetc.) dynamic balance between time, space, nature and man. the balance between time, space, nature and man. manifestation of the program shall not only restrict water but instill an emotion so strong that it challenges the relevance of the built itself, engaging with the site in a hypothetical marriage of The conservative physical manifestation the program shall not only restrict water but instillthe ancore emotion so of strong design andofdesign for conservation, exponentially enhancing reason travel to thatthis it challenges the relevance of the built itself, engaging with the site in a hypothetical marriage of thus no longer void interpretation. the program is an embankment impregnated with a graveyard, conservative andofdesign foressence conservation, enhancing to try creating adesign dialogue only the of life, exponentially for the diseased, the sitethe andcore the reason mindsetofoftravel we who this to nopreserve longer void interpretation.

The program is an embankment impregnated with a graveyard, thus almost everything that we come across, overly attached to our pricey hollow possescreating a dialogue of only the essence of life, for the diseased, the site and the mindset of we who try sions, let it go, enough of man. to preserve almost everything that we come across, overly attached to our pricey hollow possessions, let it go, enough of man.

120 hours design competition Year 4 Svalbard, Norway

Design for Long term Preservation

Challenge

Preservation of “Character of Space�

Preservation

Preservation from human induced Climate change.

Intervention Embankment.

Current Scenario

The Physical aspect of the region is Static but has a strong mysterious life

Program

Spiritual Burial Embankment.

Instilling a pulse that reaches out to a specific set of users

competition

Hypothesis

Borrowing from the Character of the region, the program reflects a direct intangible connection to it.

preservation 2 Students 120 hours

competition

09 Cellular parametric 3d paneling

Cellular parametric 3d paneling

Cellular parametric 3d paneling

Cellular parametric 3d paneling

interior

Edge curves

Poetry in Parametrics

Modular surface mapping

Parametric paper installation pushing limits of the renewable “everyday� material.

The attempt is to collate origami and parametric modelling with paper as a pivotal medium.

SEAD Consultants Summer internship Irla, Mumbai, India

Surfaces

Extruded modules

Installation process professional

interior

Final Installation 2 People 800 modules 1 Installation

professional

10 Leaf growth and position variation

Hive Minds

installation

Behavioral Mimicry

Based on Kevin Kelly’s “Out of Control,” the design workshop investigates into the phenomenon of collective intelligence in nature. Species demonstrate the ‘hive mind” through simple interactions between individual organisms at a local scale to perform complex global operations. Specific collective behaviors (such as defense, propagation, foraging, locomotion etc.) were documented through diagrams based on the parameters (such as sight, structure, communication, linkages etc.) that define the interaction between the individual organisms.

Patterns of interactions were evolved through process of generative models analyzing the parameter. Selected projects were built at an experimental scale.

Shadow growth and interference mapping

Leaves The collective intelligence of leaves as efficient light receivers was studied, giving rise to patterns of growth, overlap and re-positioning based on proximity of different leaves, sun paths and inherent growth patterns of the respective species. The installation is an iteration responding to a light source at an angle, thus the system creates hollow spaces and leaves(t he modules) of various scales based on the constrains.

Scaled down process models

Foundation workshop Year 2 BSSA corridor, Mumbai, India

Building process (Heat bending acrylic sheets, riveting metal sheets) academic

installation

Module variants

Final installation academic

3 Students Design selected in Top 10 1 Installation

11 interior

Unilab Pharma Office The proposal is to create an open plan interior, bringing natural light, transparency and a contemporary fresh feel.

Inspired with the form of chemical composition, the lighting and furniture will create a layered pattern showcasing the different formulas used, making the pharmaceuticals as pieces of art.

Workdesk design

The work-spaces are arranged centrally within the space on long desks that will allow for an expansive and flexible feel. Using mix of textures and lights the design will bring a tactility and softness to the space.

Furniture and door panels have been machine cut and pre-fabricated.

Studio Amita Vikrant 150 sq.mt Under construction (Andheri, Mumbai, India)

Workdesk under construction professional

interior

File storage panels

Door into pantry

Office back wall

Wall elevation showing different types of CNC routed elements

Each panel conceals storage spaces behind itself. professional

Wall panels as built

12

N

N

architecture

An Urban Fringe An experiment with indirect opening up of spaces derived from the area of study (A 500m stretch between Marine drive railway station and Masjid bunder railway station).

The design is situated on the “fringe” between the British era Fort wall that defined the old town and local settlements of the mill workers.

The design employs indirect axes that bleed into each other, derived from the character of space available on site, as a key aspect such that there is no strict definition of “space” within the project.

Ground level plan

First level plan

Such architecture lends itself well to an art institute that vocationally enhances local as well as advanced skills in related fields. (Photography, Theatre, Gallery, Workshop among others)

Architectural design studio Year 2 400 sq.mt Wellington street, Mumbai, India

Scale model made by coating wire mesh with Plaster of Paris academic

All drawings for this project are made by hand.

Section B-B’

A set of working drawings has been created for this project for academic exploration. Though there is a change in the built architecture, there has been maximum effort to make minimum changes to the concept design.

Section C-C’

Section A-A’

academic

architecture

The language of the architecture breaks edges and makes flow from one space to the other seamless.

NOTES:

INTERNAL STREET

G+3 EXISTING STRUCTURE ELEVATOR SHAFT 2000 X 2000

C2

2

1

-0.45 ELECTRICAL ROOM -0.15

2 1 C13

WORKSHOP -0.90

3250

W C S F C12

C16

2150

TOILET

TOILET

-0.92

-0.92

W1 C S1 F1

W C S F

1

2

3

3 4

5

6

C

D7

EXISTING STRUCTURE ABOVE

DN

W1 C S1 F1

V1

4

5

6

V1

C17

1150

D5

G+1 EXISTING STRUCTURE

DUCT D8

LARGER DUCT ON UPPER LEVEL

VOID OPEN TO SKY

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

G+3 EXISTING STRUCTURE

STAIRCASE SCHEDULE STAIRCASE 1 TREAD TREAD 300X1000 APPROX RISER RISER 150 NO. OF RISERS NO. OF RISERS 22 F.F. F.F. 3300 TREAD RISER NO. OF RISERS F.F.

11. ALL BRICK WORK IS IN ENGLIS BOND.

Z

D6

09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS

10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE RELEVANT SERVICE DRAWINGS.PROVISION TO BE MAD FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.

D4

C15

D6

1000

W C S F C11

GREEN ROOM -0.90

GREEN ROOM -0.90

-0.45

STEP 4

3

-0.90

DN

D8 D8

08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.

+0.00

W C S F

06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

B

PERFORMANCE AREA -1.35

DN

05. THIS DRAWING IS TO BE READ CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.

EXECUTION NOTES

D3

C10

2 C14

INTERNAL STREET

2190

2580

C7

DW1

Y

OP2

UP C9

A

RAMP

04. DO NOT SCALE THE DRAWING ONLY WRITTEN DIMENSIONS TO B FOLLOWED.

C4

CHAJJA ABOVE

STEP 2

+0.00

3

W C S F

-0.30

12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDIN UNLESS UNTIL SPECIFIED. 13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND AL LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.

PROJECT NAME

SITE + X

1

TREAD RISER NO. OF RISERS F.F.

RAMP 1:10

C3

4

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT NOTICE BEFORE COMMENCING TH WORK.

6720

11370

HOP ENTRANCE TO WORKS

5

C8

C6

3

C5

B

6

STEP 3

2

7

OHT +0.1

13

-0.15

STEP 1 1

9 8

1

-0.45

10

11 12

STAIR

+0.00

MAIN ENTRANCE

B2 D1

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND METERS UNLESS OTHERWISE SPECIFIED

INTERNAL STREET

+0.00

1280

OP1

3850

architecture

W C S F

B1

DN

VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT

01. ALL EXISTING GROUND LEVEL TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

INTERNAL STREET

600

RECEPTION

GENERAL NOTES:

+0.00

C1

STEP 1 300X3400 APPROX 150 3 450 STEP 2

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETE AUTHORITIES.

G+2 EXISTING STRUCTURE

U

X

4

2000

EXISTING STRUCTURE ABOVE

C

3

VOID OPEN TO SKYLIGHT

5400

420

A

A1

1

1. THIS DRAWING IS A PROPERTY MALHAR CHAWADA AND SHALL NO BE REPRODUCED WITHOUT WRITTEN PERMISSION.

2 STEP 3 300X900 APPROX 150 6 900 STEP 4 300X1700 APPROX 150 3 450

3

W = WINDOW

V = VENTILATOR D = DOOR

TYPE NO SIZE(W X L) SILL DESCRIPTION POLISHED TEAK WOOD FRAME D1 1 2600X3000 00 WITH VENEER FINISHED TEAK WOOD PIVOTED PANEL DOOR

ANODIZED ALUMINIUM SLIDING FRAME SHUTTER WITH TRANSPARENT GLASS PANEL 1 900 X 2200 150 POLISHED TEAK WOOD FRAME WITH POLISHED TEAK WOOD HINGED DOOR ENCASING GLASS PANELS

DW1 1 5000X3500 00

D3

W = WINDOW

V = VENTILATOR D = DOOR

TYPE NO SIZE(W X L) SILL DESCRIPTION POLISHED TEAK WOOD FRAME D5 1 900X2500 00 WITH HINGED POLISHED TEAK WOOD PANELS D6 2 750X2200 00 POLISHED TEAK WOOD FRAME WITH HINGED POLISHED TEAK WOOD PANELS D7

1200X2500 00

POLISHED TEAK WOOD FRAME WITH VENEER FINISHED TEAK WOOD PIVOTED PANEL DOOR

academic D8

1800X2200 00

POLISHED TEAK WOOD FRAME

4

MARINE LINES

NOTE Construction drawing (Ground level plan)

TABLE OF FINISHES

DOOR WINDOW SCHEDULE D = DOOR

MEDIA INSTITUTE

W = WINDOW

V = VENTILATOR

TYPE NO SIZE(W X L) SILL DESCRIPTION OP2 1 VARIES 1300 ORGANIC OPENING IN THE R.C.C WALL 2000 VENTILATOR AS PER MANUFACTURER'S SPECIFICATIONS

V1

2

300X300

WI

1

600X1000 1500 ANODIZED ALUMINIUM FRAME WITH GLASS LOUVERS

W C S F W1 S1 F1 W2 C1

NEERU FINISHED PLASTER. NEERU FINISHED PLASTER. CURVED TERRAZO TILE SKIRTING. ROUGH BRUSHED PLASTER FINISH. FULL HEIGHT DADO. 150MM-MATCHING THE FLOOR FINISH. SLIP-PROOF FLAMED KOTA STONE. PLASTERED AND PAINTED. PLASTERED AND PAINTED.

CO-ORDINATE SYSTEM IS ADOPTED FOR CURVED STRUCTURE WITH RESPECT TO X AND Y BENCHMARK OF A PERMANENT LOCATION AT SITE WHERE X = 0.0 , Y = 0.0

NOTE

BRICKWORK RCC SIPOREX WALL

WORKING DRAWING

NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04

CENTERLINE DIMENTIONES SCALE: 1: 50 BETWEEN R.C.C WALL SHOULD BE GROUND LEVEL PLAN THE PURPOSE OF WALLS WITH VARYING FOLLOWED AS PER THE THICKNESS IS TO HIDE COLUMNS AND TO GIVE THE CO-ORDINATE SYSTEM FROM

NOTE

STRUCTURE A FLOW AESTHETICALLY

N

NOTES:

3

VOID OPEN TO SKYLIGHT

4

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETE AUTHORITIES.

2000

5400

G+2 EXISTING STRUCTURE

GENERAL NOTES:

01. ALL EXISTING GROUND LEVEL TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

U FC3

FC2

D9

FC1

PHOTOGRAPHY DARK ROOM +3.6

+3.6

VOID OPEN TO SKYLIGHT

W C S F

ELEVATOR SHAFT 2000*2000

OP1

W2 C1 S F

G+3 EXISTING STRUCTURE

+3.6

FC4

9

UP

8 7

6

C3

5

FC6

15

VOID

1400

17

RAILING

20

19 18

17

STEP 7 UP

2

+2.55

C7

FC8

2 D9

D10 V1

D10

STEP 6

X

1130

FC9

C15

GENTS TOIlLET +4.85

06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

EXECUTION NOTES

B

C16A

C

C16B

08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.

10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE RELEVANT SERVICE DRAWINGS.PROVISION TO BE MAD FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.

11. ALL BRICK WORK IS IN ENGLIS BOND.

D10

C17

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS

Z

G+1 EXISTING STRUCTURE

FC10

14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND AL LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.

VOID OPEN TO SKYLIGHT

2

12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDIN UNLESS UNTIL SPECIFIED. 13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

D9

G+3 EXISTING STRUCTURE

1

1410

DUCT

LADIES TOILET +3.75

D10

1510

C12

V1

1040

W1 C S1 F1

1 2 3

C11

W C S F

3

C14

W1 C S1 F1

C

CLASSROOM +4.5

1

+3.3

EXHIBITION HALL ON RAMP +3.3 W C S F

D11

4.4 W C S F

VOID

UP STEP 5

21

AT 1:10

EXHIBITION HALL ON RAMP +4.00

2 22

RAMP UP

16

FC7

4.5

VOID

14

W C S F

RAILING

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT NOTICE BEFORE COMMENCING TH WORK.

05. THIS DRAWING IS TO BE READ CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.

C4

EXISTING CORRIDOR

10

11 12 13

CORRIDOR +3.6

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND METERS UNLESS OTHERWISE SPECIFIED

04. DO NOT SCALE THE DRAWING ONLY WRITTEN DIMENSIONS TO B FOLLOWED.

B2

C1

1

Y

C2

FC5

EXISTING CORRIDOR

VERTICAL LADDER TO TERRACE

architecture

1

1. THIS DRAWING IS A PROPERTY MALHAR CHAWADA AND SHALL NO BE REPRODUCED WITHOUT WRITTEN PERMISSION.

3

4

PROJECT NAME

SITE + X

MEDIA INSTITUTE MARINE LINES

NOTE

DOOR WINDOW SCHEDULE D = DOOR

W = WINDOW

V = VENTILATOR D = DOOR

TYPE NO SIZE(W X L) SILL DESCRIPTION POLISHED TEAK WOOD FRAME D9 3 1000X2200 00 WITH HINGED POLISHED TEAK WOOD PANELS D10 4 750X2200

00

D11 1 1000 X 2200 00

POLISHED TEAK WOOD FRAME WITH HINGED POLISHED TEAK WOOD PANELS POLISHED TEAK WOOD FRAME WITH HINGED POLISHED TEAK WOOD PANELS

W = WINDOW

V = VENTILATOR

TYPE NO SIZE(W X L) SILL DESCRIPTION VENTILATOR AS PER V1 2 300X300 00 MANUFACTURER'S SPECIFICATIONS TABLE OF FINISHES W C S F W1 S1

NEERU FINISHED PLASTER. NEERU FINISHED PLASTER. CURVED TERRAZO TILE SKIRTING. ROUGH BRUSHED PLASTER FINISH. FULL HEIGHT DADO. 150MM-MATCHING THE FLOOR FINISH.

STAIRCASE SCHEDULE STEP 5 TREAD 300X1000 APPROX RISER 150 NO. OF RISERS 2 F.F. 300 STEP 6 TREAD 300X1400 APPROX RISER 150 NO. OF RISERS 3 F.F. 450

THE PURPOSE OF WALLS WITH VARYING THICKNESS IS TO HIDE COLUMNS AND TO GIVE THE STRUCTURE A FLOW AESTHETICALLY

NOTE

ALL OPENING SIZES TO BE REFERRED FROM THE CO-ORDINATE SYSTEM DRAWING SPECIFIED TO THIS PURPOSE

a c NOTE ademic CO-ORDINATE SYSTEM IS

NOTE

CENTERLINE DIMENTIONES BETWEEN R.C.C WALL SHOULD BE FOLLOWED AS PER THE CO-ORDINATE SYSTEM FROM SETTING OUT PLAN

NOTE

FLOATING COLUMNS HAVE BEEN ADOPTED BECAUSE OF THE FLUIDITY OF THE STRUCTURE. THEY REST ON THE FLAT SLAB

NOTE

Construction drawing (First level plan)

BRICKWORK RCC SIPOREX WALL

WORKING DRAWING

NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04 SCALE: 1: 50 FIRST LEVEL PLAN

N

NOTES:

C

B U

INTERNAL STREET

STEP 6

1

4

Z

G+1 EXISTING STRUCTURE

2

+7.7

3

4

1:200

CLASSROOM

STEP 5

+3.3

EXHIBITION HALL ON RAMP 1:10 22

+3.6 21

20

19

12130

12920

3

350

+4.85

2000

800

X-3460 Y10060

INTERNAL STREET 540

60

LEGEND

IMAGE

ICON

FUNCTION

MATERIAL DESCRIPTION

MULTI COLOURED LIGHTS TO BE USED DURING DIFFERENT KINDS OF PERFORMANCES IN THE PERFORMANCE AREA

L1

FUNCTION CEILING LIGHT

Edison Chandelier Light Pendant Lamp Ceiling Hanging - 7 Bulbs

T5 8W/4X54W FLUORESCENT SUSPENDED LIGHTING FIXTURES Opal PMMA diffuser Aluminium alloy(6063)end caps Luminaires are fitted with GPT electronic ballasts.

SUSPENDED CASE LIGHTING FOR PRIVATE FUNCTIONS SUCH A WORKSHOPS.

9W LED 3X3W Recessed Ceiling Light Cabinet Downlight Spot Lamp Bulb cool white

CONCEALED MOVABLE LED LIGHTS TO HIGHLIGHT COUNTERS.

L4

3

Output Power: 9W(3*3W), High Brightness and Low Heat.

HUGEWIN 3W Surface Mounted LED Spotlight AC85V-265V lighting Spot Lamp Hot Sale HSD403 SUMSUNG CHIPS

CEILING LIGHT BEHIND SLIDING ROLLING FINS

16x27mm Standard Led Neon Flex Light, 220V/240V high voltage

LED LIGHT INSTALLATION IN LOBBY

PLACEMENT ALONG CENTER LINE OF COUNTER TOP OF SNACK BAR

L3

ALIGNMENT OF LIGHTS EITHER PARALLEL OR PERPENDICULAR TO CENTERLINE X-X AS INDICATED ON DRAWING

L4

LIGHTS ABOVE PERFORMANCE AREA ARE 790MM AWAY AND PARALLEL TO CENTERLINE 3-3

L2

4

Model: NF-S80x-220V/240V

X-230 Y9920

X760 Y9680

X1470 Y9460

B2

X1400 Y9400

G+3 EXISTING STRUCTURE

X6700 Y11830

X4700 Y11830

ELEVATOR SHAFT TO BE CLEARLY 2000 X 2000

C2

X1230 Y9880

X4700 Y9830

X6700 Y9830

X7630 Y9580

X4100 Y9470

B' 02. ALL DIMENSIONS ARE

X2760 Y8360

X780 X500 Y7170 X1450 Y7090 Y6970

X1600 X-2470 X-1990 Y6360 X-3250 X-2880 Y6270 Y6320 Y6190 Y6230

X-1090 Y6400

X170 Y6770

X-410 Y6520

X3410 Y6910

A

X2050 Y5810

B.S.S.A

C7

X3650 Y4870

REFERENCE POINT 1

X6580 Y7910

X7210 Y4190

REFERENCE POINT 2

X7900 Y4400

C14

X8530 Y4520

X2790 Y800

X0 Y0

X6300 Y2500

X4400 Y860

X11090 Y7160

X12840 X13290 X13750 Y7580 Y7620 Y7640

X6000 Y1800

X5600 Y1300 X5300 X4880 Y1130 Y920

X9740 Y4480

X14720 Y7700

X015390 Y7800

X17550 Y8690 X17600 Y8290

X17110 Y8630 X16780 Y8390

Y

X17670 Y7960

X17890 Y7350

C10

X19030 Y6380

X20630 Y6320

X19560 X20020 Y6310 Y6310

B

X21830 Y6390

X21240 Y6350

X10530 Y4420 X11360 Y4120

X6830 Y3790 X6640 Y3600 X6470 Y3180 X6400 Y2900

C12

X1160 Y840

X10330 Y7070

X12300 X11840 Y7510 X11460Y7380 Y7260

X16250 Y8100

X9100 Y4600

SHEET NO:08 X540 Y890

X9590 Y7110

C9 X10620 Y8040

2

X4980 Y5790

C13

B.M FOR THEODOLITE OR TOTAL STATION

X8670 Y7410 X9100 Y7420

X17460 Y8780

C4

X10120 Y8320

X18380 Y6650

DATE: 29.03.14

X0 Y900

X8090 Y7660

X4270 Y5120

C11

X-530 Y1000

X5970 Y7800 X5610 Y7480

X4690 Y5420 X3000 Y4970

X9690 Y8570

C8 X7210 Y7930 X7630 Y7830

X5350 Y6850

X2420 Y5350

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S SIGN: NOTICE BEFORE COMMENCING THE R.C.C RETAINING WALL ON EDGE OF STREET WORK.

X5170 Y7570

POINT WHERE WALL ENDS

X1640 Y6720

N

X8710 Y9040 X9130 Y8850 X4840 Y8450

X3110 Y7800

X1240 Y7510

C3

X8170 Y9350

X4570 Y8800

X2400 Y8790

WORKING DRAWING

C15 X12090 Y3680

C16

C

ST2

X12710 Y3340 X13110 Y3190 X13530 X13960 X14380 Y3080 Y3000 Y2950 X14810 X15240 X18810 X15700 Y2890 Y2640 Y2820 Y2740 X16190 X16680 X17180 X17660 X18120 X18560 Y2660 Y2590 Y2570 Y2600 Y2620 Y2630

X21840 Y2770

C17

(REFER SHEET 01)

G+1 EXISTING STRUCTURE

R.C.C EDGE RETAINING WALL ON EDGE OF EXISTING STRUCTURE

G+3 EXISTING STRUCTURE

4

3 A1

1 W0

Z

3

4

G+2 EXISTING STRUCTURE

S

E

3

2

+0.00

2

1

1

STEP 2

PERFORMANCE AREA

WATERPROOFING CEMENT MIX

-1.35

BRICK WALL 500 THICK RAFT SLAB

SECTION B-B'

150 THICK P.C.C LEVELING BED RUBBLE PACKING COMPACTED EARTH

3

academic

4

G+3 EXISTING STRUCTURE ELEVATOR SHAFT TO BE CLEARLY 2000 X 2000

C2

B2 B

B'

C

C3

B'

C4

Y

C9 C8

C6 C5

C10

A

B

2

C7

Setting out plan C14

C13

C15

C16

C

ST2

R.C.C RETAINING WALL ON EDGE OF STREET

ST1

C11

C12

Z

C17

(REFER SHEET 01)

G+1 EXISTING STRUCTURE

R.C.C EDGE RETAINING WALL ON EDGE OF EXISTING STRUCTURE

X

G+3 EXISTING STRUCTURE

REFERENCE POINT 1 N0, W0 X0, Y0

Section B-B’

N E

:2

C1

S

TIERS

N1

08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.

SETTING OUT PLAN 1:50

B1

A U

W

INTERNAL STREET

2

6720

M.S GRATING OVER GUTTER GUTTER TO PREVENT WATER INFLOW 3

1

EXECUTION NOTES

2500

+0.00

1

X-1330 Y10030

07. ALL STRUCTURAL W0 DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

D4

-0.90

L1

X1960 Y9150

X

OP2

WORKSHOP

X-2190 Y10040

N0, W0 PLASTER 15mm , 06. INTERNAL X0, Y0 EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, NUNLESS OTHERWISE SPECIFIED.

300

ED

INTERNAL STREET

OP

GENERAL NOTES:

05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL 3000 & SERVICES DRAWINGS. +2.5

DW1

OP

MATERIAL DESCRIPTION Euro Lite LED THA-100F COB 3200K Color Temperature: 3200K Beam angle: 10 ° - 50 ° Number of LEDs: 1 LED Type: COB LED 100 W, white DMX Connector: 3-pin and 5-pin XLR DMX channels: 1, 3 channels (2 modes) Dimensions: 38.7 x 30.5 x 37.0 cm

L3

X-3020 Y1290

+2.55

3300

SL

IMAGE

L5

4

Plan showing lighting layout

LEGEND ICON

B1

01. ALL EXISTING GROUND LEVELS WATERPROOF SHEET PEDESTAL ROD TO BE VERIFIED BY THE ON EDGE OF WALL BRICK BAT COBA CONTRACTOR BEFORE B COMMENCING THE WORK. B'

04. DO NOT SCALE THE DRAWING. CWRITTEN DIMENSIONS ST1 ONLY TO BE FOLLOWED.

+4.5

CORRIDOR OF EXISTING STRUCTURE

1000

3 1:50

W

17 STAIR 1

4

+4.5

M.S GRATING OVER GUTTER GUTTER TO PREVENT WATER INFLOW

INTERNAL STREET

2

NAME C6 UNFINISHED AND ARE IN MM : MALHAR CHAWADA C5 UNLESS OTHERWISE SPECIFIED. CLASS: YR.3 ROLL NO:04 ALL DIMENSIONS SHOULD BE Z 450VERIFIED SCALE: 1: 50 B' AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SECTION A-A' SPECIFIED

SKYLIGHT 5

ROOF PLAN 1:200

+3.9

300 THICK FLAT SLAB 18

LARGER DUCT ON UPPER LEVEL

STRUCTURE

X1040 Y10540

C

+9.2

G+1 EXISTING STRUCTURE

+7.6

G+3 EXISTING STRUCTURE

TERRAZZO TILE CURVED SKIRTING

+4.85

1690

L3

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

D8

BY-LANE

2 1

0

BY-LANE

SKYLIGHT 3

SKYLIGHT 4

+3.3

VALLEY

W3 _ S1 F2

A

TERRAZZO TILE CURVED SKIRTING 1:10

+8.45

3950

+7.7

X

450

D11

FIRST LEVEL PLAN

HALL ON RAMP

+7.6

Ø100MM RAIN WATER DOWNTAKE PIPE

VOID OPEN TO SKYLIGHT

1

EXHIBITION

W3 _ S1 F2

+7.6

A

GROUND LEVEL PLAN 1:200

CORRIDOR OF EXISTING STRUCTURE

+6.7

C

FC9

C17

+3.75 FC10

EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER

VALLEY

+7.6

W3 _ S1 F2

Z

G+1 EXISTING STRUCTURE

DUCT

97

BY-LANE

EXISTING CORRIDOR

UP

D10

LADIES TOILET

D9

G+3 EXISTING STRUCTURE

A 3400

DUCT

W1 C S1 F1

C12

1 2 3

C11

X

+7.65 BUND WALL 300MM HIGH

+7.6

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO RCC APPROVALS FROM ALL COMPETENT A 580 AUTHORITIES. C1 SIPOREX WALLS

U

BUND WALL 300MM HIGH

+7.7

DN 6

5

BY-LANE

3

VOID

EXISTING CORRIDOR

1

INTERNAL STREET

INTERNAL STREET

DN

STEP 3

+0.00

STEP 2

2

INTERNAL STREET

STEP 1

STAIR

MAIN ENTRANCE

+0.00

VOID OPEN TO SKY

1

C

INTERNAL STREET

15050

ENTRANCE TO WORKSHOP

STEP 4 50MM GAP LEFT DUE TO ABANDONED SHUTTERING

VOID OPEN TO SKY

D10

BUND WALL 300MM HIGH

W3 _ S1 F2

+8.8

+7.7

BUND WALL 300MM HIGH

TRANSLUCENT POLY CARBONATE +7.7 +7.7 SHEET IN ALUMINUM FRAME

+7.7

C

L2

2810

4

6720

INTERNAL STREET

G+1 EXISTING STRUCTURE LARGER DUCT ON UPPER LEVEL

OP

SKYLIGHT 2

EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER

B

C

C16B

12

1400

9880 C17

DUCT

D8

V1

C16A

C15

6720

+6.7

G+3 EXISTING STRUCTURE

D10

EXHIBITION HALL ON RAMP +3.3 W C S F

GENTS TOIlLET +4.85

2100

0

Z

W1 C S1 F1 D10 V1

B'

50

31

6 L4

L3

80

6

+3.3

W C S F

5

3 4

L3

2160

5

+7.6

D9

00 12

4

C14

50

D5

B

DN

W1 C S1 F1

C7

17

C EXISTING STRUCTURE ABOVE

17

540

6

19 18

530

5

20

2 3

620

3 4

21

CLASSROOM +4.5

1

FC8

2110

3

D6

V1

2380

V1

2

2

3590

W1 C S1 F1

1

D7

EXHIBITION HALL ON RAMP +4.00 +2.55

B

1000

-0.92

+7.7

UP STEP 5

22

STEP 7 UP

VOID

FC7

W C S F

SKYLIGHT 6

C4

D11

4.4

AT 1:10

00

W C S F

TOILET

-0.92

FC6

RAMP UP

2 1

+8.8

C3

6 5

21

C12

C11

D6

TOILET

8 7

17

L3

W C S F

C16

B'

9

16

SKYLIGHT 6

SKYLIGHT 3

W C S F

-0.45 D4

C15

50

GREEN ROOM -0.90

GREEN ROOM -0.90

16

WORKSHOP -0.90

-0.90

10

TRANSLUCENT POLY CARBONATE 4.5 SHEET IN ALUMINUMVOID FRAME

15

L5 2 3

1

2000

D7

REFLECTED GROUND FLOOR PLAN SHOWING LIGHT FIXTURES

X1020 Y11560

SKYLIGHT 4

1 C13

DW1

L3

2

11

12

13

14

W C S F

B +0.00

L2

V1

X1000 Y11160

Y

9880

3

6720

11370

D8

C2

B2

C1

CORRIDOR +3.6

L2

3970 L5

W1 C S1 F1

1150

D5

L3

MARINE LINES

9740

+7.7

W3 _ S1 F2

1600

MEDIA INSTITUTE

4

G+3 EXISTING STRUCTURE

OVER HEAD TANK W3 _ S1 F2

+6.7

FC4

15050

B +0.00

1400

3850

D8

W2 C1 S F FC5

D3

C10

PERFORMANCE AREA -1.35

3

SKYLIGHT 1

Y

ELECTRICAL ROOM -0.15

D3

L1 L1

SITE + X

1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.

A'

+6.7

G+3 EXISTING STRUCTURE

-0.92

V1

NAMEG+2 EXISTING STRUCTURE

NOTES: PROJECT

G+2 EXISTING STRUCTURE

VOID OPEN TO SKYLIGHT

+3.6

TOILET

-0.92

L1

L2

L1

D6

780

NOTES:

GENERAL NOTES:

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.

1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.

01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.

04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.

EXECUTION NOTES

05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.

09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS

10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.

11. ALL BRICK WORK IS IN ENGLISH BOND.

12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED.

13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.

SITE + X

RCC

PROJECT NAME

SIPOREX WALLS

MEDIA INSTITUTE

WATERPROOF SHEET

MARINE LINES

N

BRICK BAT COBA

WORKING DRAWING

SCALE: 1: 50

NAME : MALHAR CHAWADA

CLASS: YR.3 ROLL NO:04

ELECTRICAL ROOM -0.15

C9

DN

OP1

+3.6

4

10210

1

U

VERTICAL LADDER TO TERRACE

W C S F

ELEVATOR SHAFT 2000*2000

2150

W1 C S1 F1

70

B' C7

PHOTOGRAPHY DARK ROOM +3.6

3

4

SKYLIGHT 4

GREEN ROOM -0.90 D6

TOILET L3

+6.7

+3.6

+0.0

4

Y

Z

450

C

-0.45

SKYLIGHT 2

FC3

FC2

D9

FC1

Y

OP2

UP

C14

3

VOID OPEN TO SKYLIGHT G+2 EXISTING STRUCTURE

CHAJJA ABOVE

1

1

11

3

SKYLIGHT 6

EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER

+7.7

SKYLIGHT 5

+9.2

W3 _ S1 F2

+8.45

1

U

1 W0

GLAZED TILE TABLE TOP

A'

C4

TRANSLUCENT POLY CARBONATE W C S F SHEET IN ALUMINUM FRAME

GUNITED ROUGHT CEMENT PLASTER

L1

L5

PERFORMANCE AREA -1.35

400

3 2

810

3100

3600

BUND WALL 300MM HIGH

9740

+7.65

W3 _ S1 F2

VALLEY

2

1050

+7.7

+7.6

G+1 EXISTING STRUCTURE

+7.6

G+3 EXISTING STRUCTURE

BUND WALL 300MM HIGH

+7.6

BUND WALL 300MM HIGH

+7.7

W3 _ S1 F2

3

2

D8 D8

GREEN ROOM -0.90

1310

SKYLIGHT 1

G+2 EXISTING STRUCTURE

OP

A'

+6.7

+7.6

+7.7

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

+7.6

SKYLIGHT 2

OVER HEAD TANK W3 _ S1 F2

+7.7

10210

SKYLIGHT 1

VALLEY

W3 _ S1 F2

BUND WALL 300MM HIGH

W3 _ S1 F2

+7.7

G+2 EXISTING STRUCTURE

+7.7

TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME

850

1

+6.7

EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER

+7.7

+6.7

4

C8

A

1310

+6.7

+0.00

U

C

5

OHT +0.1

-0.30

RAMP

W C S F

1310

+3.6

11370

O.H.T

UTILITY

PASSAGE

B

WATERPROOFING CEMENT MIX

BRICK WALL

150 THICK P.C.C LEVELING BED RUBBLE PACKING COMPACTED EARTH

B'

RAMP 1:10

C3

630

B2

B2

4

Y

B

Z

C

6

WOODEN FLOOR

290

C16B

12 13

-0.15

7

0 90

U.G.T

3

C4

W C S F

CLASSROOM +4.5

SHEET NO:08

DATE: 29.03.14

9 8

C6

3

C5

C

X

2

10

11

D1

-0.45

DN

1

1000

C2

B2

1860

3850

B

D11

4.5

C16A

SKYLIGHT 2

+4.00

FC6

B

FC4

1

4.4

2

3

C15

G+3 EXISTING STRUCTURE

VOID

UP

D9

STEP 7

G+1 EXISTING STRUCTURE

VOID OPEN TO SKYLIGHT

FC8

W1 C S1 F1

GENTS TOIlLET +4.85

W C S F

D10

D10

VERTICAL LADDER TO TERRACE

AT 1:10

B.S.S.A

SECTION A-A'

SIGN:

U

B

ELEVATOR SHAFT 2000*2000

OP1

C1

+0.00

+7.7

4

G+3 EXISTING STRUCTURE

B1

EXISTING STRUCTURE ABOVE

A

B

3

VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT

+0.00

600

1060

C3

-0.90

A'

+3.6

6 5

W C S F

V1

FC9

RAMP UP

2

C17

TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME

8 7

C14

4

VOID OPEN TO SKYLIGHT

W C S F

Section A-A’

L1680

L1640

L4

L3

WORKSHOP -0.90

14. THE PURPOSE LEGEND OF THE CENTER LINE IS TO IDENTIFY THE ICON MATERIAL DESCRIPTION LOCATIONS OF COLUMNS AND ALSO ROUGH FINISHED IPS FLOOR LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND SMOOTH FINISHED IPS FLOOR TRANSFERRING THE LOAD OF THE FURNITURE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL. GROUND MOUNTED SPOTLIGHT A1

MATERIAL DESCRIPTION HIGH STREGTH IPS FLOOR

DN

3000

13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

SECTION A-A'

G+2 EXISTING STRUCTURE

RECEPTION

2

12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING 1 UNTIL SPECIFIED. UNLESS

ICON

610 L4

0

+7.7

9

FC3

V1

EXHIBITION HALL ON RAMP +4.00

EXHIBITION HALL ON RAMP 1:10

10

D10

D10

300 THICK FLAT SLAB

11

W1 C S1 F1

+3.75

ELEVATOR SHAFT 2000*2000

12

13

14

+2.55

WORKSHOP

OP1

17

16

15

C12

VOID OPEN TO SKYLIGHT

C2

+3.6

B2

C7

LADIES TOILET

G+2 EXISTING STRUCTURE

17

3

A1

1

A

11. ALL BRICK WORK IS IN ENGLISH BOND. G+3 EXISTING

B2

650

STEP 4

FC2

W C S F

D9

19 18

12130

1

B

900

L5

10. ALL MECHANICAL CUT-OUTS & 3000 SLEEVES TO BE IN L3 CONJUNCTION WITH RESPECTIVE & 70 15 L4 RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS 2900 IN ALL DUCT 3000 SHAFTS & CUTOUTS ON ALL L3 FLOORS.

150 THICK P.C.C LEVELING BED RUBBLE PACKING COMPACTED EARTH

C

A'

L4

Y

L5

UP 400

3310

09. FOR DOORS AND WINDOWS 330 REFERL4 THE RESPECTIVE DOOR/WINDOW SCHEDULE L3 DW1 DRAWINGS

L1

780

1

2390

C1

20

VOID

1 2 3

0

W2 C1 S F

PHOTOGRAPHY DARK ROOM +3.6

21

+3.3

22

EXHIBITION HALL ON RAMP +3.3

W C S F

CORRIDOR +3.6

FC7

A

BRICK WALL

2

L4

L3 08. FOR ALL CIVIL DETAILS REFER L4 RAMP RESPECTIVE DRAWINGS.

X

WATERPROOFING CEMENT MIX

U.G.T

500 THICK RAFT SLAB

3

2690

C

-0.90

C

FC1

FC5

C11

UP STEP 5

2

1

-0.90

4

DN

D10

LADIES TOILET +3.73

GREEN ROOM

1

500 THICK RAFT SLAB

SECTION A-A'

U

C

12920

ROOF PLAN 1:200

G+3 EXISTING STRUCTURE

architecture

+7.6

-0.92

D6

LADIES TOILET +3.73

D10

TOILET

B

92

6720

B'

LADIES TOILET +3.75

Y

Z

PASSAGE -0.90

CHAJJA ABOVE

B

C

+0.00

EXISTING STRUCTURE ABOVE

1

INTERNAL STREET

WORKSHOP

5

67

4

D3

D4

Ø100MM RAIN WATER DOWNTAKE PIPE

-0.90

GREEN ROOM

-0.92

TOILET

C

L4

6

OHT +0.1

13

L1

500

DN

X

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

7

12

1300

700

33

9 8

370

6

450

PASSAGE -0.90

B2

EXECUTION NOTES DN

+0.00

5

C10

4

900

-0.90

+0.0 +0.00

PASSAGE

780

00

10

11

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE 1 2 3 STRUCTURAL DRAWINGS.

MARINE THIRD STREET

4

ELECTRICAL ROOM -0.15

-0.45

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

3

VOID OPEN TO SKYLIGHT

INTERNAL STREET

D6

1050 L2 L1

06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

B

INTERNAL STREET

6

1:200

3600

ELEVATOR SHAFT 2000 X 2000

STEP 3

5

-0.45

3 4

-0.90

300 THICK FLAT SLAB

3750

OP1

500

3

U

+3.6 +3.6

UTILITY

G+3 EXISTING STRUCTURE

B1

MARINE THIRD STREET

2

2

+0.0

+6.7

+4.00

EXHIBITION HALL ON RAMP 1:10

05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & +0.00 SERVICES DRAWINGS.

EXISTING STRUCTURE ABOVE

A

STEP 2

3

C4

1

VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT

C16

A

EXISTING CORRIDOR

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

LADIES TOILET +3.73

LADIES TOILET +3.73

1

OP2

W C S F

FC10

VOID

LADIES TOILET +3.75

STAIR

W C S F

D7

VOID OPEN TO SKY

PERFORMANCE AREA -1.35

D9

FIRST LEVEL PLAN

G+3 EXISTING STRUCTURE

DUCT

850

+3.75

VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT

04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.

16 40

C15

G+3 EXISTING STRUCTURE

C9

1

G+3 EXISTING STRUCTURE

RAMP 1:10

2

W C S F

G+1 EXISTING STRUCTURE

1 UP

3100

4

G+2 EXISTING STRUCTURE

2300

UP

3

X

EXISTING CORRIDOR

STEP 6

D10

D10

3

VOID OPEN TO SKYLIGHT

BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.

1900

1

C3

DN

3850

A1 103. DISCREPANCY IF ANY SHOULD

+6.7

4860

2

W1 C S1 F1

D8

G+2 EXISTING STRUCTURE +6.7

1900

3

D6

GREEN ROOM -0.90

-0.92

TOILET

INTERNAL STREET

2100

4

V1

LARGER DUCT ON UPPER LEVEL

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

5

C8

A'

6

2

C17

DUCT

4

INTERNAL STREET

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED

O.H.T

+7.7

+7.6

1200

7

D8

C14

TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME

STEP 1

9 8

V1

-0.92

W1 C S1 F1

TOILET

+7.6

01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

SKYLIGHT 1 TRANSLUCENT POLY CARBONATE SHEET IN ALUMINUM FRAME

INTERNAL STREET

10

+0.00

OHT +0.1

D8

3

STEP 4

SKYLIGHT 2

2660

3850

11

D6

GREEN ROOM -0.90

W C S F

DN

GENERAL NOTES:

3750

900

12

13

ELEVATOR SHAFT 2000*2000

C13

D5

VOID OPEN TO SKYLIGHT

G+2 EXISTING STRUCTURE

OP1

600

-0.15

C2

B1

B2

W C S F

-0.30

+0.00

C12

STEP 3

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.

A1

C1

C7

2

1

B2

+0.00

11370

3850 C6

RECEPTION

A

W C S F

WORKSHOP -0.90

A

GROUND LEVEL PLAN 1:200

VOID OPEN TO SKY

G+3 EXISTING STRUCTURE

STAIR

STEP 2

B

+7.6

C11

D1

-0.45

G+3 EXISTING STRUCTURE +3.75

3

STEP 1

+0.0

2

C5

-0.90

1

RAMP

DN

+0.00

1

MAIN ENTRANCE

DW1

1

EXISTING STRUCTURE ABOVE

+0.00

MAIN ENTRANCE

A

B

C

ENTRANCE TO WORKSHOP

ENTRANCE TO WORKSH

X

INTERNAL STREET

1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.

09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS 10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS. 11. ALL BRICK WORK IS IN ENGLISH BOND. 12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED. 13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

1

2

3

W0

KEY PLAN SHOWING EXTENT OF RAFT SLAB

1:200

4

4

B

L

SCREEDING

2

G+3 EXISTING STRUCTURE

A230 THK BRICK WALL

TEAK WOOD BRIDGING JOIST

FC4

RAMP UP

16 17

21

20

W C S F

EXHIBITION HALL ON RAMP +4.00

19 18

17

2

+2.55

C7

STEP 7

2

W C S F

3 D9

V1

C16B

B

B G+1 EXISTING STRUCTURE

INTERNAL STREET

12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED. D4

B

13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

+0.00

STEP 1

CHAJJA ABOVE

-0.45 ELECTRICAL ROOM -0.15

NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS

D3

C10

2

PERFORMANCE AREA -1.35

DN

D8

D8

3 2 1

C13

WORKSHOP -0.90

GREEN ROOM -0.90

GREEN ROOM -0.90

W C S F

W C S F C12

C11

+0.00

W C S F

C14 C7

INTERNAL STREET

BRICK WALL BELOW

C4

OP2

UP C9

A

RAMP

DW1

M.S SHOE TO RECEIVE TEAK WOOD JOIST

A

W C S F

1

-0.30

C5

ENTRANCE TO WORKSHOP

3 2

STAIR

MAIN ENTRANCE

+0.00

-0.90

C16

W C S F

TOILET

-0.92

-0.92

W1 C S1 F1

1

2

3

3 4

C17

DUCT

B

6

B EXISTING STRUCTURE ABOVE

DN 4

5

B

6

G+1 EXISTING STRUCTURE

D8

VOID OPEN TO SKY 2 1

LARGER DUCT ON UPPER LEVEL

G+3 EXISTING STRUCTURE

5

D7

W1 C

V1

V1

-0.45 D4

C15

D6

TOILET

D6

D5

50MM GAP LEFT DUE TO ABANDONED SHUTTERING

VOID OPEN TO SKY

ANGLE PLATE WELDED TO M.S FLANGE TO RECEIVE BOARDING

M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS

100

B

1

3170

PROJECT NAME

2

1:50 G+3 EXISTING STRUCTURE

R.C.C LINTEL

SCALE: 1: 50 SETTING OUT PLAN

N

B.S.S.A SIGN:

DATE:30.11.13

SHEET NO:02

100

M.S SHOE

M.S ANGLE WELDED TO FLANGE (TO SUPPORT BOARDING ABOVE)

CORRIDOR -0.90

CORRIDOR -0.90 M.S PACKING

+4.5

TEAK WOOD BATTENS

13. ALL FULL HEIGHT WALLS 230 THICK UNLESS SPECIFIED.

1350

W2

POLISHED KOTA STONE SKIRTING POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 1:3:6 PCC LEVELING BEDX2

PERFORMANCE AREA

-1.35

TEAK WOOD BLOCK

M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS

100

BENT M.S SECTION (GIRDER)

DAMP PROOF COURSE SANDWICHED BETWEEN 2 LAYERS OF 150 THICK P.C.C BED

M.S SECTION GIRDER

TEAK WOOD BLOCK

M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS

14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.

PROJECT NAME

SITE + X

M.S GIRDER

MEDIA INSTITUTE BRICKWORK

SCREEDING POLISHED KOTA STONE SKIRTING POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 WORKING DRAWING P.C.C BED BLOCK 1:3:6TEMPLATE PCC LEVELING BEDX2 NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04

N

SCALE: 1: 50, 1:10 LOAD BEARING

-1.35 PERFORMANCE AREA B.S.S.A

FLITCH BEAM DETAIL (DETAIL AT "H") 1:10

P.C.C LEVELING BED IN C:M 1:2:4 DRY RUBBLE PADDING

RAMMED EARTH

SECTION L-L'

B

M.S SECTION SANDWICHED BETWEEN 2 TEAK WOOD BLOCKS

1:50

SIGN:

DATE: 29.03.14

SHEET NO:10

DAMP PROOF COURSE SANDWICHED BETWEEN 2 LAYERS OF 150 THICK P.C.C BED

M.S SECTION GIRDER

BRICK FOOTING

POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 TEAK WOOD BOARDING TEAK WOOD BRIDGING JOIST

L'

F

BOND

M.S ANGLE TO HOLD JOIST

CLASSROOM

+4.5

RAMMED EARTH

SECTION L-L'

1:50

Construction drawing for a load bearing design (Schematic section)

W2

09. FO REFER DOOR DRAW

12.

AL LOA DISTA EXTER UNLES B.

P.C.C TEMPLATE BED BLOCK RESTING ON 460 THK BRICK PIER

R.C.C LINTEL

MED

SCALE

100 HIGH POLISHED KOTA STONE SKIRTING H

P.C.C LEVELING BED IN C:M 1:2:4 DRY RUBBLE PADDING

Construction drawing for a load bearing design (Schematic plan)

academic

G

S

08. FO RESPE

CLASS 11. AL

MASS CONCRETE

BENT M.S SECTION (GIRDER)

PRO

10. AL SLEEV CONJU RELEV DRAW WOR FOR D SHAFT NAME FLOOR

BRICK FOOTING

MASS CONCRETE

FLITCH BEAM DETAIL (DETAIL AT "F") 1:10 P.C.C TEMPLATE BED BLOCK

FLITCH FIRSTBEAM FLOORDETAIL PLAN 1:50 FLITCH BEAM DETAIL (DETAIL AT "F") 1:10 (DETAIL AT "H") 1:10

25 EXTERNAL PLASTER

CLASSROOM

OP2

M.S FLANGE TO SUPPORT BRICK WALL ABOVE

M.S FLANGE TO SUPPORT BRICK WALL ABOVE

STRUCTURE

WORKING DRAWING NAME : MALHAR CHAWADA CLASS: YR.3 ROLL NO:04

100 HIGH POLISHED KOTA STONE SKIRTING H

POLISHED KOTA STONE SKIRTING

BITUMIN WATERPROOFING TEAK WOOD BOARDING

KADAPA STONE GUTTER

CHINA MOSAIC TILING SCREEDING IN C:M 1:4

12. ALL CENTER LINES ARE AT A SEASONED AND TREATED DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING TEAK WOOD UNLESS BOARDING UNTIL SPECIFIED.

M.S ANGLE TO HOLD JOIST

NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS

MEDIA INSTITUTE

RCC

OP2

1:50

BOND.

POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 TEAK WOOD BOARDING TEAK WOOD BRIDGING JOIST

G

P.C.C TEMPLATE BED BLOCK RESTING ON 460 THK BRICK PIER

SITE + X RAFT SLAB

BITUMIN WATERPROOFING 11. ALL BRICK WORK IS IN ENGLISH

BENT M.S SECTION (GIRDER)

F

TEAK WOOD BRIDGING JOIST

M.S PACKING

230 THK BRICK WALL

G+1 EXISTING STRUCTURE

09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS

10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.

2

L'

POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4

M.S ANGLE WELDED TO FLANGE (TO SUPPORT BOARDING ABOVE)

TEAK WOOD BLOCK 100

W2

P.C.C TEMPLATE BED BLOCK 230 THK BRICK WALL

3170

100

EXECUTION NOTES

P.C.C TEMPLATE BED BLOCK

G+1 EXISTING STRUCTURE 1

550 C\C X 9

06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.

TEAK WOOD BATTENS

KADAPA STONE GUTTER BENT M.S SECTION (GIRDER)

NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS

05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

STONE COPING

M.S GIRDER P.C.C TEMPLATE BED BLOCK ON BRICK PIER

04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.

PART ROOF PLAN

SEASONED AND TREATED TEAK WOOD BOARDING

POLISHED KOTA STONE TILING

230 THICK BRICK WALL

100

CHINA MOSAIC TILING SCREEDING IN C:M 1:4

BITUMIN WATERPROOFING

R.C.C LINTEL

BITUMIN WATERPROOFING SCREEDING

FIRST FLOOR PLAN

GROUND LEVEL PLAN 1:200

550 C\C X 9

TONGUE AND GROOVE JOINT TEAK WOOD BOARDING

100

100

100

ANGLE PLATE WELDED TO M.S FLANGE TO RECEIVE BOARDING

TEAK WOOD BLOCK

B

RAMP 1:10

C3

4

M.S FLANGE TO SUPPORT BRICK WALL ABOVE

TEAK WOOD BRIDGING JOIST

11. ALL BRICK WORK IS IN ENGLISH BOND. +0.00

INTERNAL STREET

P.C.C TEMPLATE BED BLOCK ON BRICK PIER

1130

M.S FLANGE TO SUPPORT

BRICK WALL ABOVE NO BRIDGING JOIST IN THIS SPACE BECAUSE M.S THE SPAN IS LESS THAN 2 SHOE METERS

5

C8

SCREEDING IN C:M 1:4 BITUMIN WATERPROOFING SEASONED AND TREATED TEAK WOOD BOARDING

50X100 TEAK WOOD BATTEN PART ROOF PLAN 1:50

50X100 TEAK WOOD BATTEN

230 THICK BRICK WALL

1370

CHAJJA ABOVE 09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS

6

CHINA MOSAIC TILING

25 EXTERNAL PLASTER

BITUMIN WATERPROOFING TEAK WOOD BOARDING

10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN D3 CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.

7

STONE COPING

DRIP MOULD

100

A

9 8

OHT +0.1

STEP 2

600 X 5

INTERNAL STREET

EXECUTION NOTES

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

2

10

11 12 13

-0.15

C6

3

M.S SHOE DETAIL (DETAIL AT "G") 1:10

POLISHED KOTA STONE TILING

POLISHED KOTA STONE TILING SCREEDING BRICK WALL BELOW IN C:M 1:4

08. FOR ALL CIVIL DETAILS REFER RESPECTIVE DRAWINGS.

1

VOID OPEN TO LEVEL 1 VOID OPEN TO SKYLIGHT G+3 EXISTING STRUCTURE

ELEVATOR SHAFT 2000*2000

OP1

C2

B2 D1

-0.45

DN

M.S SECTION GIRDER BENT TO SPECIFIC SHAPE

1370

05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS. 06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

2

+0.00

600

B1 +0.00

M.S SHOE TO RECEIVE TEAK WOOD JOIST POLISHED KOTA STONE SKIRTING

04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.

1

A

W C S F

C1

SCREEDING

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.

14. THE PURPOSE OF THE CENTER LINE ISEXISTING TO IDENTIFY THE STRUCTURE ABOVE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.

4

G+2 EXISTING STRUCTURE

RECEPTION

EXISTING STRUCTURE ABOVE

BITUMIN WATERPROOFING

3170

2

1

1:200

VOID OPEN TO SKYLIGHT

230 THICK BRICK WALL

TONGUE AND GROOVE JOINT TEAK WOOD BOARDING

M.S PACKING TO CATER FOR THE VARYING ANGLES OF THE BRIDGING JOISTS

C16A

C15

D10

FC9

C17

+3.75 D9 FC10

P.C.C TEMPLATE BED BLOCK ON BRICK PIER

9880

W1 C S1 F1

GENTS TOIlLET +4.85

D10 V1

D10

W1 C S1 F1

C12

1 2 3 STEP 6

CLASSROOM +4.5

1

FC8

C14

+3.3

EXHIBITION HALL ON RAMP +3.3

CURVED PROFILE OF WALL ACHIEVED BY USING CARVED SIPOREX BLOCKS

600 X 5

22

AT 1:10

UP

VOID

FC7

UP STEP 5

D11

4.4

350 X 4

FC6

2 1

SIPOREX WALL BELOW

C4

4.5

VOID

1130

5

G+1 EXISTING STRUCTURE

A

C3

6

EXISTING CORRIDOR

8 7

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.

G+1 EXISTING STRUCTURE

G+3 EXISTING STRUCTURE

+3.6

9

G+3 EXISTING STRUCTURE

W C S F

10

15

100

11

12

13

14

W C S F

TEAK WOOD BRIDGING JOIST

G

600X4

C2

B2

C1

9880

25 EXTERNAL PLASTER

TEAK WOOD BRIDGING JOIST

2

5950

FC3

ELEVATOR SHAFT 2000*2000

OP1

+3.6

W2 C1 S F

CORRIDOR +3.6

P.C.C TEMPLATE BED BLOCK RESTING ON 460 THK BRICK PIER

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED

TONGUE AND GROOVE JOINT BETWEEN BOARDING

A

G+2 EXISTING STRUCTURE

FC2

PHOTOGRAPHY DARK ROOM +3.6

01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 BITUMIN WATERPROOFING TEAK WOOD BOARDING

M.S SHOE TO HOLD BRIDGING JOIST ONTO M.S GIRDER

FLITCH BEAM WELDED TO M.S GIRDER FLITCH BEAM

FIRST LEVEL PLAN

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE SPECIFIED

2

1

1

A

G+3 EXISTING STRUCTURE

GENERAL NOTES:

POLISHED KOTA STONE SKIRTING

AIR GAP FOR EXPANSION

P.C.C BED BLOCK ON BRICK PIER BELOW STONE COPING

D9

FC1

FC5

NOTES:

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.

450

M.S FLANGE TO SUPPORT BRICK WALL ABOVE

12.04.

ALL C DO DISTANC ONLY EXTERN FOLLO UNLESS 05. TH SCREEDING IN C:M 1:4 13.CONJU ALL F BITUMIN WATERPROOFING THICK U ARCH SERVI SEASONED AND TREATED 1350 TEAK WOOD BOARDING 14. THE P 230 THICK BRICK WALL LINE T 06.IS INT LOCATIO EXTER LOCATE AS PE TYING T OTHER TRANSF WALLS W EX GROUND 07. AL TO BE STONE COPING STRUC CHINA MOSAIC TILING

GENERAL NOTES:

230 THICK BRICK WALL

2

+4.5

CLASSROOM

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.

NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS

1350

TURE

B

B

ROOF PLAN 1:200 VOID OPEN TO SKYLIGHT

D10

01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

INTERNAL STREET

SKYLIGHT 5

G+3 EXISTING STRUCTURE

LADIES TOILET

07

25 EXTERNAL PLASTER

L

G+3 EXISTING STRUCTURE

+9.2

G+1 EXISTING STRUCTURE

+7.6

5950 2600

1

A

W3 _ S1 F2

EXISTING CORRIDOR

VALLEY

+7.7

B.S.S.A

O ING

+7.6

+7.7

W C S F

1. THIS DRAWING IS A PROPERTY OF DATE: 27.04.15 MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT SHEET NO: WRITTEN PERMISSION.

0

+8.45

+7.6

C11

SIGN:

EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER VALLEY

+7.6

BUND WALL 300MM HIGH

W3 _ S1 F2

+7.6

Ø100MM RAIN WATER DOWNTAKE PIPE

NB

SCALE: 1: 50

BUND WALL 300MM HIGH

+7.7

+7.7

+7.7 W3 _ S1 F2

1400

NAME : MALHAR CHAWADA

BUND WALL 300MM HIGH

+6.7

+7.7

CLASS: YR.4 ROLL NO:04 R/F CEILING PLAN

+7.65

EXISTING CORRUGATED ROOF SLOPING TOWARDS STREET INTO GUTTER

9880

RCC

A

100

BRICKWORK SIPOREX WALL

WORKING DRAWING

SKYLIGHT 2

+7.7

BUND WALL 300MM HIGH

W3 _ S1 F2

100 HIGH POLISHED KOTA STONE SKIRTING DRIP MOULD H

M.S ANGLE TO HOLD JOIST

NOTES:

1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.

SKYLIGHT 6

+7.7

310 X3

MARINE LINES

G

F

STONE COPING

G+3 EXISTING STRUCTURE

OP

100

M.S PACKING TO CATER FOR THE VARYING ANGLES OF THE BRIDGING JOISTS

MEDIA INSTITUTE

BENT M.S SECTION (GIRDER) POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 TEAK WOOD BOARDING TEAK WOOD BRIDGING JOIST

+6.7 OVER HEAD TANK W3 _ S1 F2

SKYLIGHT 3

SITE + X

350 X 4

9880

PROJECT NAME

1:50

2

SKYLIGHT 1

W3 _ S1 F2

INTERNAL STREET

FIRST FLOOR PLAN

CURVED PROFILE OF WALL ACHIEVED BY USING CARVED SIPOREX BLOCKS

1

A G+2 EXISTING STRUCTURE

+6.7

SKYLIGHT 4

14. THE PURPOSE OF THE CENTER LINE IS TO IDENTIFY THE LOCATIONS OF COLUMNS AND ALSO LOCATES THE PLINTH BEAMS FOR TYING THE STRUCTURE AND TRANSFERRING THE LOAD OF THE WALLS WHICH ARE PROPOSED AT GROUND FLOOR LEVEL.

M.S SECTION GIRDER BENT TO SPECIFIC SHAPE

INTERNAL STREET

SIPOREX WALL BELOW

THICK UNLESS SPECIFIED.

100

12. ALL CENTER LINES ARE AT A DISTANCE OF 115mm FROM THE EXTERNAL EDGE OF THE BUILDING UNLESS UNTIL SPECIFIED.

M.S SHOE DETAIL (DETAIL AT "G") 1:10

VOID

100

L'

11. ALL BRICK WORK IS IN ENGLISH BOND.

600X4

INTERNAL STREET

P.C.C TEMPLATE BED BLOCK ON BRICK PIER

100

2

3170

10. ALL MECHANICAL CUT-OUTS & SLEEVES TO BE IN CONJUNCTION WITH RESPECTIVE & RELEVANT SERVICE DRAWINGS.PROVISION TO BE MADE FOR DAMPER SLABS IN ALL DUCT SHAFTS & CUTOUTS ON ALL FLOORS.

A13. ALL FULL HEIGHT WALLS 230

B

DN

1

B

09. FOR DOORS AND WINDOWS REFER THE RESPECTIVE DOOR/WINDOW SCHEDULE DRAWINGS

TEAK WOOD BRIDGING JOIST

G

STEP 3

08. FOR ALL CIVIL DETAILS REFER EXISTING STRUCTURE ABOVE RESPECTIVE DRAWINGS.

P.C.CJOINT TEMPLATE BED BOARDING BLOCK TONGUE AND GROOVE BETWEEN

G+1 EXISTING STRUCTURE 100

07. ALL STRUCTURAL DIMENSIONS TO BE REFERRED FROM THE STRUCTURAL DRAWINGS.

M.S GIRDER

P.C.C TEMPLATE BED BLOCK

INTERNAL STREET

B

G 08. FOR RESPEC 01. AL TO BE 09.CONT FOR REFER T COMM DOOR/W DRAWIN 02. AL UNFIN 10.UNLES ALL M SLEEVES ALL D CONJUN VERIF RELEVAN ALL LE DRAWIN METER FOR DAM SPECI SHAFTS FLOORS 03. DIS BE BR 11.NOTIC ALL B BOND. WORK

AIR GAP FOR EXPANSION

BENT M.S SECTION (GIRDER) M.S SHOE TO HOLD BRIDGING JOIST ONTO M.S GIRDER

ANGLE PLATE WELDED TO M.S FLANGE TO RECEIVE BOARDING

+0.00

EXECUTION NOTES

FLITCH BEAM

STONE COPING

TEAK WOOD BOARDING

KADAPA STONE GUTTER

EXISTING CORRIDOR

05. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH RELEVANT ARCHITECTURAL, STRUCTURAL & SERVICES DRAWINGS.

FLITCH BEAM WELDED TO M.S GIRDER

310 X3

NO BRIDGING JOIST IN THIS SPACE BECAUSE THE SPAN IS LESS THAN 2 METERS

04. DO NOT SCALE THE DRAWING. ONLY WRITTEN DIMENSIONS TO BE FOLLOWED.

06. INTERNAL PLASTER 15mm , EXTERNAL PLASTER 25mm.

AS PER DRAWINGS, UNLESS OTHERWISE SPECIFIED.

P.C.C TEMPLATE BED BLOCK ON BRICK PIER

1370

P.C.C BED BLOCK ON BRICK PIER BELOW STONE COPING

03. DISCREPANCY IF ANY SHOULD BE BROUGHT TO THE ARCHITECT'S NOTICE BEFORE COMMENCING THE WORK.

POLISHED KOTA STONE TILING SCREEDING IN C:M 1:4 BITUMIN WATERPROOFING

STEP 4

BRICK WALL BELOW

B

EXISTING CORRIDOR

450

A

EXE

2. THE 07. ALL S CONS TO BE R APPRO STRUCT AUTHO

TEAK WOOD BATTENS

M.S FLANGE TO SUPPORT BRICK WALL ABOVE

1130

02. ALL DIMENSIONS ARE UNFINISHED AND ARE IN MM UNLESS OTHERWISE SPECIFIED. ALL DIMENSIONS SHOULD BE VERIFIED AT SITE. ALL LEVELS ARE UNFINISHED AND IN METERS UNLESS OTHERWISE HAJJA ABOVE SPECIFIED

1:50

SEASONED AND TREATED TEAK WOOD BOARDING

POLISHED KOTA STONE SKIRTING

UP

GENERAL NOTES:

100

CHINA MOSAIC TILING SCREEDING IN C:M 1:4

BITUMIN WATERPROOFING

230 THICK BRICK WALL

POLISHED KOTA STONE TILING

2. THE COMMENCEMENT OF CONSTRUCTION SUBJECT TO APPROVALS FROM ALL COMPETENT AUTHORITIES.

01. ALL EXISTING GROUND LEVELS TO BE VERIFIED BY THE CONTRACTOR BEFORE COMMENCING THE WORK.

100

25 EXTERNAL PLASTER

BITUMIN WATERPROOFING

1

INTERNAL STREET

TONGUE AND GROOVE JOINT TEAK WOOD BOARDING

5950 2600

1

A

M.S SHOE TO RECEIVE TEAK WOOD JOIST

NOTES:

1. THIS DRAWING IS A PROPERTY OF MALHAR CHAWADA AND SHALL NOT BE REPRODUCED WITHOUT WRITTEN PERMISSION.

550 C\C X 9

PART ROOF PLAN

600 X 5

INTERNAL STREET

A

06. INTE 1. THIS EXTERN ASMALHA PER BE RE OTHERW WRITT

230 THICK BRICK WALL 50X100 TEAK WOOD BATTEN

CONJUN ARCHITE SERVICE

architecture

9880

EXISTI

BITUMIN WATERPROOFING SEASONED AND TREATED TEAK WOOD BOARDING

DUCT

80

M.S PACKING TO CATER FOR THE VARYING ANGLES OF THE BRIDGING JOISTS

13. AL SIGN:

THICK

14. TH LINE IS LOCAT LOCAT TYING TRANS WALLS

13 graphic

Emotions through a Market A Graphical representation of a sensory experience through Juhu Market represented through: Ink on paper, Pastel on paper, Hand drafted plans, Water color, Deconstructivist drawings and Pencil sketches.

The Studio aimed at mapping sensory stimulus from a machine like organization taken over by overspill, typological requirements, commodity behavior, display logic and juxtaposition of unrelateds.

Graphic design studio Year 3 Juhu market, Mumbai, India academic

Em graphic

A Grap repres color,

The S organ behav

6 Students 6 techniques 1 Graphic

academic

video - graphic

Dissertation walkthrough video. (Freelance work)

“Assemble workshop” walkthrough video for Studio Amita Vikrant.

https://www.youtube.com/watch?v=cHXs_aeDf8k&spfreload=10

https://www.youtube.com/watch?v=nA7OftrF9B8

“Flying villa” walkthrough video for Studio Amita Vikrant.

Design walkthrough video. (Freelance work)

https://www.youtube.com/watch?v=Tp54S8P55-o

https://www.youtube.com/watch?v=NuJdkHtV3QI&t=7s academic + professional

Rustic Highlands, Pune, India Rustic Highlands, On Pune,forIndia SAV On Assignment assignment

Central Station, Rotterdam Central Central Station, Station, Rotterdam Rotterdam

Market Hall, Rotterdam Market Hall, Rotterdam Markethall,

On Assignment for SAV

On Assignment for SAV

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Rustic Rustic Highlands, Highlands, Pune, Pune, India India Rustic Highlands, On Assignment Pune, SAV On assignmentfor forIndia SAV

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When architecture is created, it resonates around within the lives of the people that it affects by the impact of its physical presence, locally of course, if this resonance is good, the word is accepted and spread canonically over a larger fabric, attaining more resonance and attention, the impact is then again further highlighted by scholars and their written material so as to give a masterpiece status. (A status that a built mass achieves due to a whole populace showing its belief in it), thus the world develops an impression of that architecture.

Rigidity being in the DNA of architecture, the impressions are extremely slow paced and almost permanent in the sense of the built mass itself but their

interpretations remain dynamic given a longer period of time in the minds of the generations to come. What this impact does is, to give rise to a whole parallel system born out of a very rigorously elaborate architecture but based on everything except the basis of the architecture creating a scenario of “gunshots leading to parking lots.�

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As architecture breaks barriers of the systems it abides to, it creates a spectacle, a masterpiece which like a gunshot produces a sound that resonates far beyond the immediate surroundings. But these gunshots attract attention of the multi-layered systems of the world (economics, politics, society etc.) which respond in ways completely opposite (non-radical) leading to a certain kind of exaggerated naive response_the parking lot. (The Bilbao effect, Vancouverism, Sydney etc). -author

Detonation

Towards a newer Architecture

Dissertation manifesto Year 5

When this system of transformation evolves into a more quicker setting due to shifts in lifestyles, the impressions of the architecture is easily widespread affecting even more intellectual minds, reducing the value of a masterpiece through multiple channels of perception of the very architecture which initially stood in theoretical, special and interpretational isolation. With the rise in plurality of perceptions by even more plural scholars, the attention has equally shifted from architecture itself to its theorists and critiques, since they are more easily available and dynamic like the life of the users and provide multiple fresh views based on the architecture, which is difficult to imagine by everyone, thus the architecture gives way to its impression, creating an anti-impression, an anti-architectural setting. What led to this impressionist movement over a period of innovative times is a parallel development alongside exciting life-drab monotonous industrialization and the dark times it gave rise to.

This revolutionary transformation came as both a blessing and a curse to society, culture, commune, policy and architecture. It made observations on architecture even more plural and easily available to the whole world to decipher, understand, accept or reject. Students who spend entire learning periods generating personal mantras based on these opinions and studies of other persons views on architecture (extreme layered perspectives), it did put forward the presence of certain architecture to the world, but it did this through a secondary source meant for consumption and all the positive and negative aspects affected how and what was circulated(consumerism sets in), it quickened the process of building, the method of building and the restrictions of building, the language, the system and complexity of building, creating a practical ground for utopian believers to experiment through the emergence of prototypical design, pop up towns, moving cities etc.(industrialization put to good use which later died) while at the same time swift transfer of perceptions created lab rat cities, monotonous drab un humane living cities meant for mental dualist lives of subjects-un catered labor vs. praised consumers; policy, economy and culture playing their tricks on the dwellers who felt a need to have an identity to hold on to in this ever changing fabric-the city.

But then this quick tool helped a lot, refugee camps, government interventions to eradicate poor housing, innovation in all fields of the industry due to booms, wars etc. It gave us Vila Savoye. It opened up the initially untouchable field of architecture (in terms of professional hierarchy) to multiple perceptions, debates, criticisms, categorizations and secondary perceptions. The crux of this new system, the literary matter was canonical in terms of both perceptions and new eye opening observations not only in architecture but in all fields exuberating these forces through existence. The genius was not only in the writing but also in the ability of the writing to transcend physical boundaries.

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A RADICAL ANTI-ARCHITECTURE THAT ENCOURAGES ENDLESS PARALLELS TO REVOLT THROGH REFORM THUS CREATING ASYMETRY. A new non evolutionary form of architecture based on everything else apart from architecture itself encouraging new systems to flux chaotically within themselves mutating into asymmetric realms of thought incapable of being achieved by evolution or isolation.

UNATTAINABLE RURAL OR URBAN ORDER LEADING TO CHRONO-CHAOS. The acceptance that our ways of living have gone beyond understanding through the methods that we are trying to use in order to categorize these urban and rural settings sadly ending into a perception of chrono chaos whereas it seemingly just might be the exact opposite-extreme order like the urbanism in Lagos, Nigeria.

PROPERTIES OF A REAL SOCIETY WHOSE SOCIAL STRUCTURE IS BASED ON EXISTANCE OF BELIEF ON CULTURE AND SUBSTANCE. The derive and belief in our very real society in which we believe so much so that entire sprawls are based on it, which is itself based on something so manipulative and masked such as the illogical evolution of culture and substance as cores of civilizations. A belief in this creates a basis of the properties of our civilizations.

DOMINANCE OF A CAPITALIST SYSTEM UNDER CONTROL OF A POWERFUL DIPLOMATIC POLITICAL GOVERNANCE EXUBERATING COST ONLY TO SATISFY AN IMAGE. INFORMATION AND CONTENT UNDER A VIRTUAL FEEDBACK LOOP WITH REALITY AS A TOOL OF TRANSFORMATION. A shift for the tools of transformation from ancient times where the impact was first, then the transformation occurs which is risky, to current times where the quantum of information and content available on aspects of life form tools which are virtual but end up affecting the real through a loop system ending up transforming everything. These aspects are a result of a physical involvement and thus affect the real in a much simulated, almost self-organizing.

THE SPECTACLE OF PHENOMENON IN A GAME SITUATION. Events elevated to such an extent through momentary play in order to form scenarios for the populace to look up to/live up to/die upon/ swear upon, manifesting our lives based on the events that we see shaping eras.

IMPORTANCE OF SYSTEMS AS A CHANGE FROM PERMANANCE SUCH AS THE CAPABILITY OF THE THIRD WORLD TO ATTAIN QUICK PROSPERITY. THE VIOLATION OF PUBLIC-PRIVATE BOUNDARIES THROUGH THE REJECTION AND DENIAL OF DIVIDE. The information age and its continued infiltration into our lives, ways of living and our bodies which end up creating a blur between what we perceive as public and private.

Our societies and lifestyles became more dynamic, volatile and temporal hinting to the next revolution. Top down systems like governments, economies, cultures etc. used this new system to create an unknown secret system in order to manifest greed and selfish wants for the good of select few hindering direct development of our civilizations into efficient and optimum innovators regarding the new technique available at our disposal-the internet. With the publicizing of the internet, all aspects of the world that made it a vast space crumbled down to sheer junk. Distant corners were connected almost instantaneously for trade, communication, leisure, war, gathering etc. whatever remote meant was mostly irrelevant now. The basic reason for cities to come up-interaction between different people from various realms, is instantaneously vanished since almost all of the former physical strongholds are capable of being performed over the internet, thus the basis of the city needs to change-be redefined into something else completely different from the parent city, which the situationists predicted quiet early.

The information age affected and is still affecting almost all aspects of life apart from architecture (on a broader scale of course) where it has managed only to filter through into its elements and not through the crux or the language of the field. What this has done is created a disjoint in the lifestyle of the dwellers and the physical fabric that houses these dwellers in terms of working ways, globalization and its effects such as outsourcing (creating multiple disjointed cities within a larger city), bit coins (which governments strongly oppose but can do nothing about), and the basic way in which a hierarchy of information is transferred including the quantum that is generated due to the ease of creation. The manipulative falsely created hierarchy of information travel has been toppled briefly by “human icons” such as Julian Assagne and Snowden, who set an example of the power of the smallest unit of a bottom up system to create havoc in even the most concrete system. (it no longer mattered whether the icon was a human, a robot, a group, a building, what mattered was the information-the idea) These events set an example of how this new system is on the verge of a revolution into a truly bottom up system so as to cater for greater good and homogenize the whole world in terms of its ability to connect, understand, evolve, destroy, innovate: a global commune_be it virtual, it has the strength of almost all of the human populace.

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URBANIZED METROPOLIS UNDER OBLIGATION OF A UNITARY SYSTEM THAT UNDERGOES SUBSTANTIAL OVERLOAD INTO A DISASTROUS END ONLY EMERGING OUT OF IT THROUGH IMPACTFUL BATTLE. Unquantifiable architecture at a scale beyond our understanding, a metropolis, an organism controlled by systems that defy our social livelihoods (evolutionary form of social behavior) thus oppressing the very basis of the extended commune leading to non-human, non- measurable outcomes like the megalopolis which work towards the end of the glitch thus attempting to overthrow the non-accepted system through straight forward rejection and battle.

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Architecture has to step up and revolutionize in order to cope up with the current way of living. Change is something that already built architecture doesn’t easily accept only going into drab restoration or uncontrollable anti-city ruins.

Not that architecture isn’t stepping up, there are hints and conceptual settings that have developed slowly that take extreme advantage of this new tool, Meta City Data Town, Mood City, Gameplay etc. that show a belief in a city as a point of departure for new activity through anti architecture, since the opposite is tied down by its own ability to physically transcend generations without undergoing major changes.

What the information age has brought forward is the relevance and importance of the event in the lives of the dwellers, both private and public for a collection of these decides what a lifestyle is which in turn shapes cultures and societies (the basis of everything we believe in now). Thus an architecture catering to this event is a must for we forget that this too is a field that needs a revolutionary turn in order to be at least considered something worthy of the news.

The event has become the describing factor of our lives and a collection of these creates the pattern generator of our civilization. A study of both of the above leads to a basis of predictions of the behavior of this organism, it also forms a new tool deployable at any scale to map and understand architecture and the metropolis in new ways so as to try and understand what is important, relevant, being affected, usage etc.

The conveyance of these events is on a stronghold as the way in which it is conveyed affects the overall reaction of new events in the short run and of architectural change in the long run. This creates a new window into the realm of city planning, systems designing, city data diagramming (it becomes responsive) eventually leading to powerful observations and breakthroughs in the way this un-describable, un-understandable megalopolis functions hence bringing chrono chaos down to order and eventually to chrono order and maybe this helps us in understanding why cities fail or why systems are inefficient and why is anti-architecture so much that it is almost overpowering architecture, all of this based on the understanding of an event and its relationship with other events.

Events and co-relation of events govern everything, bringing down anything chaotic to a defined set of rules, taking randomness out of the equation. Why is architecture still only reflecting singular events? Should it not cater to the complexity of multiple events, interplaying over a span of time of occurring simultaneously, without downsizing itself to hollow expressive lofts and sheds?

How can we architects learn from the impact of the event, many events, and the way of communication between these and create a new breed that truly transcends the boundaries of what its ancestors stood strongly for, for the sake of the life of the user.

The multiplicity of the event has expanded exponentially leading to a logistic situation similar to what history is based on, but why negate any event, why choose, why defy bottom up. Hence the mode of transfer of information of events gains importance for it is fixed, evolving though it is not minutely as plural as the events it conveys. It possesses the ability to radicalize conveyance – from letter postings to almost an instantaneous existence of multiple events and their impact on all ways of life.

Thus the point of departure is not the event anymore but the conveyance of the event, the event forms . . . . .

In this age where identities, places, spaces and cultures are based on such contemporary ways of living – the virtual age, we question the relevance of physical monuments and masterpieces which still advocate permanence and the relevance on a top down system be it through sheer mass or a form of advertisement known less by the general public or through mere rigidity and contextualessness of their very existence.

Why do we look up to these bulky fixed in time examples of inefficiency as a basis of entire governments, systems, economies, histories when they convey to us too little in relation to what we demand of them, why do we, city dwellers, build an image based on these events carved in stone when they have already passed, why do they end up becoming a basis of measurement of how well our civilization is doing.

What becomes of architecture that is not a bi-product or that doesn’t arise out of this new understanding, this new direction which is promising to bring together even the most distant groups of people? Should such architecture continue, should we repeat what we have been doing for an eon and let go of the most pressing requirements?

To answer this question, we shall look at the most basic form of information, how it is conveyed and the typologies it gave rise to, then we shall vaporize what the civilization holds most dear to itself in order to awaken, reveal, shock and change that typology into something relevant and worthy of the footprint it spans over.

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To decipher this evolution of information, we understood the library and the institute as a monument on which civilizations were based, a space for transfer of information and of communication, play, evolution, discussion etc. It is one typology responsible for holding together people – youth in order to prepare them, make an army for the real world, be it through monotonous biased mediums or through extremely creative almost riot like outbreaks, it did have a physical presence and a monumental impact, thus what happens when in today’s lifestyle we start to remove the dead spaces that have accumulated in this age old typology-the classroom, the auditoriums, the libraries, the studios etc. and replace them with spaces that cities most require-for leisure to turn fruitful, democratic spaces capable of bringing youth together to evolve and put forward ideas of extreme creativity and potency to change even the strongest of top down forces and systems, replacing the monument and its political, historical, religious values and baggage with an anti-monument only to reflect the crux of livelihood.

Detonation may be a biased process but it is the only one promising enough of visible change and revolution for it puts forward a bare event for a

It shall reflect a change in belief, from 30 years of belief in a consumer economy to a belief in data, cities and megalopolises driven by sheer data that they create for a solution or an improvement of

existing conditions only capable of being deduced through data itself, the complexity is too great to remain rudimental and provide logical solutions.

Architecture here gets super critical, critical to a point of absolute vanishing. It fights between form and function, user and used space, language and gibberish, event and permanence, end and beginning, day and night, for us and by us. It gets critical to the point of breaking but it does this only to show a new belief, a new faith in itself trying to overcome its own weakness disguised as requirements ever since its conception.

This architecture, unlike all other architecture around the world, shall not decay, it shall exist and only exist because decay occurs when architecture forgets that time is a stronger factor than any other.

It makes architectures dream bubble of permanence burst.

The systems and processes shall decay in case they illogically attempt to disrupt the new unitary system. The architecture shall not decay; it shall instantaneously vanish, leaving behind an example, a legend as to what needs to be done.

This new anti-architecture is an attempt to pierce the endless dark cloud cover bringing forth a ray of light, fresh, weightless and momentary, shining over the tired eyes of the dead and weary humans who have almost forgotten how to look up, hope, dream, create utopias. It is an attempt to glorify everything that architecture has ever stood for except itself.

Only after the last brick wall has been demolished by the last concrete ball shall we realize that this was never what we wanted, and we will have worked towards the end of the world of the spectacle.

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society, a commune that exposes and rectifies what is wrong, not under a thousand layers of gibberish but in broad daylight in front of a fabric that is supposed to matter most – we the people.

This new vaporized institute shall be the epitome of information transfer and urban space with great seriousness where games shall be played, manifestoes written, systems changed, all of this through a bottom up system that owes it strength to the smallest unit of creation-an individual, who will be taking himself through this ocean of information with the ark being only his body and the interface being this anti-monumental monument.

We shall look at architecture not as only skeletal but as only muscular – only what is required for certain aspects is retained keeping in mind that the muscles don’t function in isolation, their functioning and growth or reduction up to a point of failure.

STANCE Design here gets super critical, critical to a point of absolute vanishing. It fights between form and function, user and used space, language and gibberish, event and permanence, end and beginning, day and night, for us and by us. It gets critical to the point of breaking but it does this only to show a new belief, a new faith in itself trying to overcome its own weakness disguised as requirements ever since its conception.

This new process is an attempt to pierce the endless dark cloud cover of banality, bringing forth a ray of light, fresh, weightless and momentary, shining over the tired eyes of the dead and weary humans who have almost forgotten how to hope, dream and create utopias. It is an attempt to glorify everything that design has ever stood for except itself.

2017