Ar. Mohammed Juned Shaikh Academic Portfolio

ARCHITECTURE AS

DREAMCATCHER

HISTORY - CONTEMPORARY - FUTURE ARCHITECTURE IS ABOUT IMPORTANCE, IMPORTNACE OF THE TANGIBLE (MATERIAL, USERS, FORMS, ACCESSORIES, FURNITURE, COMPUTER, ETC) AND INTANGIBLE (EMOTIONS, SPACE, ROUTINE, GEOMETRY, MATHS, ETC) ELEMENTS WHICH WHEN COMPOSED PRECISELY BASED ON CERTAIN PRINCIPLES (I.E. REQUIREMENTS FOR A SOLUTION) THEN WE GET A SHELTER. WHILE SEEING THROUGH THE FUSS ONE (ARCHITECT AS A CHIEF BUILDER) NEEDS TO KNOW THE HISTORY AND THE FUTURE TO MAKE THE PRESENT HABITABLE WHICH IS KNOWN AS DESIGN (I.E. FORM GIVING IN DANISH LANGUAGE).

IN ORDER TO DELIVER AN ARCHITECT NEEDS TO DREAM AND CATCH THE PRECISE FRAGMENTS OF KNOWLEDGE AND IMAGINATION TO BUILD. THE PORTFOLIO HOLDS AMALGAMATION OF EXCERPTS FROM ACADEMICS AND PROFESSIONAL WORK -MOHAMMED JUNED SHAIKH

1

C

00

CURRICULUM VITAE

02

PROFESSIONAL WORKS

04

ACADEMIC WORKS 17 - 19 -HOUSING

06

CURIOSITY

O

N

T

E

N

T

S

01

THESIS

4 - 11

12 - 13

03

ACADEMIC WORKS - MUSEUM

14 - 16

05

21 - 23 ACADEMIC WORK -TRANSIT COMPLEX

3

24 - 25

2

CENTRE HOUSING

Ÿ Ÿ Ÿ Ÿ Ÿ

Name : Mohammed Juned Shaikh Father's Name : Mohammed Irfan Shaikh Date Of Birth : 25th Feb 1995 Address : A / 08, Sheetal Classic, Sheetal Nagar, Mira Road (E), Dist-Thane-401107 Nationality : Indian Personal-9920645468 Res-9167989164 juned2502@gmail.com Ÿ

shaikhjuned_252

Ÿ

COMPANY NO. 1 - STUDIO KOLAM 2 month internship along with academics where works ranged from model making, preparing site drawings, 3d modelling, drafting of brochure, landscape and canopy design Ÿ COMPANY NO. 2 - PROGESSIVE ARCHITECTS & PLANNERS 3 month internship period which included site inspection and visits, design & drafting of shop drawings for interior, design and working drawings for architectural design, documentation and drafting for valuation work and proposing of landscape design for a residential project Ÿ COMPANY NO. 3 - SAHEC 3 months probation period which included branding, drafting, 3d modelling, working drawings & site visits Ÿ

Ÿ

Ÿ Ÿ Ÿ Ÿ Ÿ

MUSEUM

-

TRANSIT COMPLEX

Secondary School Examination Passed From Cosmopolitan High School Mira Road In 2011 Higher Secondary School Examination In Science, Passed From Royal College Of Arts, Science and Commerce In 2013 Graduated from Anjuman I Islam Kalsekar Technical Campus School Of Architecture Passed F.Y.B.ARCH In Year 2014 Passed S.Y.B.ARCH In Year 2015 Passed T.Y.B.ARCH In Year 2016 passed FR.Y.B.ARCH in year 2017 passed FINAL Y.B.ARCH in year 2018 as a topper in thesis with SGPI 9.75 and CGPI 7.81 out of 10

winner of kidc architecture design competition navi mumbai 3rd yr winner in intercollege cultural events – model making 3rd yr, t-shirt design 2nd and 3rd yrs winner in intercollege sport event – tug of war runner up in karnala annual sports event (panvel) – tug of war proem published in aiktc college magazine 'qaleen 2015-16' winner design quest 2016 school of architecture kalsekar participated in international design competition ( idc ) by aditya college dahisar proposed boys hostel design for anjuman-i-islam panvel shortlisted in top 15 design in edge design (product design) competition for 3 consecutive years 2nd yr 2014,3rd yr 2015,4th yr 2016 co-ordinator in annual quadrant event in anjuman-i-islam technical campus 2015-16 designed a conceptual college structure for upcoming panvel education trust society.(old panvel) proposed a logo for a contracting company max val infra thane, mmb infra and dj sohil participated in MAD ARCHITECTS fellowship 2017 participated in NDTV grohe design champion 2016 participated in Archumen 2018-19 and was selected in top 25 teams from western interface participated in NDTV grohe design champion 2017 participated in Vivek Punjabi vision awards freelance visualisation for a 3bhk interiors freelance visualisation for a bungalow got an opportunity in 4th year B.Arch in own college to take a lecture for rst yearites regarding Design And Architecture participated in MAD ARCHITECTS fellowship 2018 participated in Mimansa & Scholarchs thesis competition 2018

‘ AR C is ab HITECT URE o appr ut ecia tion resp an ec habi ting th d tats e w and oper e live in ate with in. as it .. been has alw ays a pa basi r c ne t of 3 eds hum of a an user being or a i.e.

F clot hing ood an SHE LTE d R...’

-MO H JUN AMMED ED S HAIK H

ARCHITECTURE DESIGN

GRAPHICS

PRODUCT DESIGN

THEORIES

3

THESIS What is generative design?

Generative design mimics nature’s evolutionary approach to design. Designers or engineers input design goals into generative design software, along with parameters such as materials, manufacturing methods, and cost constraints. Then, using cloud computing, the software explores all the possible permutations of a solution, quickly generating design alternatives. It tests and learns from each iteration what works and what doesn’t.

With generative design, there is no single solution; instead, there are potentially thousands of great solutions. You choose the design that best ts your needs.

• Benets of generative design Explore a wider range of design options In the time you can create one idea, a computer can generate thousands, along with the data to prove which designs perform best.

Make impossible designs possible Generative design lets you create optimized complex shapes and internal lattices. Some of these forms are impossible to make with traditional manufacturing methods. Instead, they're built using new additive manufacturing methods.

Optimize for materials, manufacturing methods, and cost Set goals and parameters, and the software will create high-performing design options based on those constraints. The software resolves conicting design constraints so you can focus on innovating.

•

TYPES OF GENERATIVE DESIGN • Lattice and surface

optimization This method applies internal lattices and optimized surface structures to an existing component to make it lighter and stronger.

• Topology optimization

This approach reduces the weight of an existing component by running analysis to remove unnecessary material, while meeting or exceeding performance criteria.

,

(PROPOSED DESIGN METHODOLOGY)

Passive design ideology is based on natural parameters, thought manually based on a context and need. Passive designs are the things which will do as we say and nothing else. We have to add meaning to such structure by moulding itself to our needs for example, in stone age man used stones to cut and hunt and even today the softwares which we use do as we say them or command them to do. The common practice of r.c.c. designs which is the international style of approach, will have a chajja for • Project Dreamcatcher protection from the exterior climate and also the openings or the elevation is not as per the context, it is as per the What if a CAD system could generate need to just provide a habitat for a particular function and thousands of design options that all meet that's it. your specied goals? It’s no longer what if: These are very forced design solutions towards a particular need, rather designing by such processes we it’s Project Dreamcatcher, the next can move towards the next step by a generative process. generation of CAD. Dreamcatcher is a The designs which we should look for should be based on generative design system that enables the natural parameters with the help of available designers to craft a denition of their geometrical solutions. One part as an architect we have design problem through goals and control by passive means ( functions/programme ) and the constraints. This information is used to other set natural rules to come up with promising solution synthesize alternative design solutions with the help of genrative or intuitive process, that is a that meet the objectives. Designers are symbiotic association of architecture and context. able to explore trade-offs between many The algorithms or codes used to design something are alternative approaches and select design connected with the present and past available elements of solutions for manufacture. nature for example, the voronoi geometry can be seen in surface of a leaf, wood grains of some trees, beehive, shells and scales of some animals, etc. The material what you can see is because of the context these things belong to. So the designed structure which will be proposed will reect the material and its form because of the context.

Therefore we can now generate contextual yet functional form with the help of natural and digital parameter and come up with a solution for our well dened problems.

As an architect we start from scratch every single time, but if we have these important 2 data or what I call them as दो we can come up with a best solution to a design problem.

• Trabecular structures

This method precisely scales and distributes tiny pores through solid materials, and creates surface roughness to mimic bone in medical implants to help patients heal.

• Form synthesis

With this approach, designers or engineers input their goals and constraints, and the software runs articial intelligence-based algorithms to produce a wide range of design alternatives.

The generative design methodology दो follows the form synthesis type of process thus giving various design alternatives The idea and intention is to revitalise and aid the past, present and future cultural legacy of mumbai by proposing a space where there is no restriction to the varied cultural followers, where they can express and present their piece of cultre and also become a part of the public realm and context supporting similar activities.

The proposed site intend to prove a boon for the architectural intervention as it comes under the eastern waterfront development which is been proposed by mumbai port trust ( mbpt ), by transforming a major part of the portland into public realm and thus making it a critical part of the pulsating social and cultural life of mumbai.

Inspired by generative design methodology and utilising the idea of form synthesis to create new possibilities of moulding spaces by considering natural 4 parameters.

SITE ANALYSIS - SEWRI ( M U M B A I ) PROPOSED CULTURAL CENTRE @ THE EASTERN WATERFRONT URBAN PROPOSAL

DESIGN INTERVENTION ZONE

Site selected considering the future development of its surrounding context where it will also play a vital part by serving as a public realm for the city

Longitudinal section

Schematic section through sewri fort considering it as the vantage point with respect to the site

View from the bastion of the sewri fort considering it as the vantage point

From the total site area of 27000 sq.m. Which is divided in to two parts by a 12 m wide road the best potential part or half of the site is selected for the primary design proposal and the other half can be used as a secondary source for future extension or proposing a commercial area for revenue generation.

5

6

ANALYSIS OF POSSIBLE FORM GIVING AS PER THE FINAL FUNCTION OF THE ARCHITECTURAL INTERVENTION TO PROVIDE EFFICIENT BUILT FORM SUPPORTING THE PAST PRESENT AND FUTURE ITERATION OF FORMS THROUGH LINES CONSIDERING THE AND PLANES OF NATURAL PARAMETERS FORM OF THE SITE AS AND CONTEXT INFERENCES SQUARE IN NATURE •

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

THE COMPLEX GEOMETRY WILL CREATE SPACES AT MULTIPLE LEVELS AND HENCE VERSATILE VIEWS SPACES WILL OPEN UP AT MULTIPLE ANGLES AND HENCE CONNECTING WITH THE SURROUNDING

THE REPETITION OF THE FORM GIVES OVERHANG SPACES THUS FORMING A SHADED PUBLIC PLAZA BELOW OFFSETS CREATES AREAS FOR GREEN PARKS LIKE THE BABYLONIAN HANGING GARDENS

A MINIMALISTIC APPROACH TOWARDS THE BUILT FORM WHERE THE WAVES RESEMBLE THE SEA IT CREATES POSSIBILITIES WHERE THE SUPER STRUCTURE IS SUBTLE WITH THE SURROUNDING AND MAJOR SPACES ARE BENEATH THE GROUND

FILTERING OF LINES AND PLANES AND REALISING SPACE MOLDED THROUGH NATURAL PARAMETERS AND THUS CREATING AN ARCHITECTURAL STYLE THROUGH LINES OF EXPRESSION

PROVIDING THE IMPORTANT ELEMENT OF DESIGN IN THE INDIAN CONTEXT THAT IS OPEN TO SKY COURTS WHICH FORMS AN IMPORTANT PART OF THE CULTURE THE FORM TRIES TO ESTABLISH A CONNECTION WITH REQUIRED PUBLIC SPACES AS BUILT AND UNBUILT FORM

CURVILINEAR FORMS DIVIDES THE SITE FLUIDLY WITH NO BREAKS IN VIEWS AND CREATES A HARMONY WITH THE MOVEMENT THE CANTILEVER SPACE INDULGES ITSELF WITH THE PUBLIC REALM AND SORT OF BECOMES A MORE INVITING FLOATING SPACE WITH A FUNCTION THE CUBIST GEOMETRY AND THE MODERNIST VOLUME OF THE FORM CREATES FLEXIBLE SPACES WHERE FUNCTIONS CAN WORK AS PER THE NEEDS OF THE CENTRE BOTH THE VOLUMES ARE CONNECTED WITH A FLOATING SPACE WHICH BRIDGES AND LINKS THE FUNCTIONS OF BOTH THE FORMS INTERSECTING PLANES CREATES SPILL OUT SPACES IN BETWEEN EVERY ALTERNATE PLANE HENCE SUPPORTING FUNCTIONS CAN WORK OUT SIMULTANEOUSLY A PRIMARY PLANE INTERSECTS THE SECONDARY PLANE LIKE A SPINE AND CONNECTS EVERY ACTIVITIES OF THE CENTRE THROUGH A COMMON CORE

INSERTING A PROGRAMME IN THE ACHIEVED FORM, AS PER THE LOCATION AND URBANISING IT IN THE CONTEXT WHICH WILL BECOME THE CONCEPTUALLY PERCEIVED SPACE OF THE PROPOSED DESIGN

WHEN FORM FOLLOWS FUNCTION BUT IT DOES NOT RESPOND TO THE CONTEXTUAL CONDITIONS THERE NEEDS TO BE SUBTRACTION, ADDITION, MULTIPLICATION, ETC TO MAKE THE EDIFICE FUNCTIONAL

WHEN FORM DOES NOT FOLLOW FUNCTION THERE IS N NUMBER OF POSSIBILITIES FOR MASSING OF THE EDIFICE BUT ALL THOSE ARE BASED ON FORCED PARAMETERS CONSIDERING AVAILABLE GEOMETRY AND ABSTRACT FORMS TO ACHIEVE A DIFFERENT EXPRESSION OF FORM

RANDOMLY ARRANGED FORMS AND SPACES AS PER THE REQUIRED VOLUME OF THE FUNCTIONS PROVIDES WITH UN PERCEIVED SPACES WHICH CANNOT BE ACHIEVED THROUGH A PERCEIVED METHODOLOGY THE BASE CONNECTS EVERY FORM AND FUNCTION ALONG WITH THE SITE BY DIVERGING THE MOVEMENT UPWARDS THE OBTAINED GEOMETRY ENABLED US TO PROVIDE SPACES WHICH ARE LEVITATING ABOVE THE GROUND STOREY AND THUS CREATING A HUGE VOID WHICH CAN BE ACCESSED THROUGH A CORE THE MOVEMENT AND THE SPACE ABOVE CONNECTS THE WHOLE CONTEXT ALONG WITH THE SITE

IF WE TAKE A LOOK AT SOME HISTORICAL BUILDINGS OR DEIGNS THE VERY SHAPE OF THE BUILDING DEALT WITH THE ENVIRONMENTAL ENERGY AS WELL AS FUNCTIONED AS PER THE USER NEEDS THIS IS WHERE THE FORM AND FUNCTION IS ONE AND SUCH RESPONSIVE EDIFICE CAN BE A BOON TO ENERGY EFFICIENCY ALONG WITH STYLE AND EXPRESSION OF ARCHITECTURE.

NOTE : THE SPACE PERCEIVED BELOW THROUGH THE DESIGN METHODOLOGY IS AN EXPERIMENTAL AND HYPOTHETICAL SPACE (THE HYPOTHETICAL SPACE BELOW ACHIEVED THROUGH THE METHODOLOGY WILL BE TRANSLATED INTO THE FINAL DESIGN SOLUTION AS A PRACTICAL AND FUNCTIONAL DESIGN ) AND FORM WHICH IS A PROTOTYPE TO EXPLAIN HOW THE METHODOLOGY CAN GIVE RISE TO DISTINCTIVE SPACES AND DESIGN SOLUTION.

USING THE MAJOR PART OF THE SITE FOR THE CENTRE FOOTPRINT IT CREATED SEMI OPEN COURTS WHICH CREATED MULTIPLE AXIS OF APPROACH TO WARDS THE STRUCTURE THE MAIN CORE APACE LIKE ATRIUM WILL BE AT THE CENTRE FROM WHERE PEOPLE CAN DISPERSE TO THE NEEDED SPACES ON THE SITE SIMPLE FORM WHERE THE BUILDING IS ELEVATED ON THE FRONT TO PROVIDE AC COURTYARD AND A PLAZA BELOW THE FORM IS NARROW AT THE START AND BECOMES WIDE AT THE END AS PER THE FUNCTIONS OF THE CENTRE

A DERIVATIVE ORGANIC FORM WHERE THE MAJOR PART OF THE BUILDING IS CONNECTED WITH THE OPEN COURT WHICH IS ALSO AN ATRIUM AS WELL AS THE FORM IS WELL CONNECTED WITH THE CONTEXT A FLOATING SPACE CONNECTS WITH THE EXISTING TANKS FOR ADAPTIVE REUSE

INTEGRATION OF THE ORGANIC FORM GIVES A HYBRID DESIGN WHERE THE PROTRUDING SPACES CONNECTS THE PRIMARY CONTEXTUAL SPACES AND ALSO THE CENTRE HAVES THE REQUIRED SPACES WHICH CREATES A RIPPLE OF FUNCTION AND CHOICES IN THE CENTRE

•

FORM RESPONDS TO THE CLIMATIC AS WELL AS TO THE CONTEXT, CREATING A LIGHT EFFECT OF SPACE ABOVE THE PUBLIC PLAZA IN THE TOP THE FORM ALSO GIVES A MOVEMENT TO THE SITE AND SCALE OF SPACES TO PERFECTLY WEAVE THE REQUIRED FUNCTIONS

•

INTERSECTING LINES AND PLANES OF WIND, SUNLIGHT, GRAVITY, ETC

INDIAN CONTEXT AND ARCHITECTURE OR BUILT OR UNBUILT SPACES ALWAYS HAD A CONNECTION WITH OPEN TO SKY SPACES WHICH IS SUPPORTED BY MANY THEORIES HENCE CONSIDERING THE NATURAL PARAMETERS WILL CARVE OUT OR DERIVE OR INTEGRATE A NEW PATH IN WHERE THE ARCHITECTURE IN ITS PURE FORM WILL BE DECIDED AND GUIDED BY THE NATURE WITH THE FUNCTIONS AS PER THE REQUIREMENTS AND DEMANDS OF THE USER.

ANGULAR GEOMETRY ENABLES TO PROVIDE TRANSITION OF VIEWS OF THE FORM AND SPACES WHERE EVERY PERSPECTIVE BREAKS BECAUSE OF THE EDGES THE GRADATION OF FLOOR PLATES HELPS TO CONTROL THE POSITIVE AND NEGATIVE IMPACT OF THE FORM AND ALSO GIVES THE DESIGN A SLENDER VIEW

•

•

PROTOTYPE SPACE DESIGN BASED ON THE दो METHODOLOGY

THE FINAL FORMS ARE DERIVED CONSIDERING THE MAJOR CONCTEXTUAL POINTS AS WELL AS THE DESIGN METHODOLOGY

BY GIVING A FORM WHICH WILL BECOME A PART OF THE UPCOMING PUBLIC REALM

-STATIC PARAMETERS OF DESIGN :

•

PASS THROUGH SPACES

•

SPACE COMPOSITION

•

SPACE PROGRAMME

• ,

•

•

GENERATIVE DESIGN PARAMETERS

FUNCTIONALITY AND RESPONSE TO UPCOMING CONTEXT AND PRESENT CONTEXT SITE INFERENCES

•

THE LINES OF EXPRESSION PERCEIVED THROUGH THE METHODOLOGY WILL TRANSFORM AS PER THE STATIC AND NATURAL PARAMETERS TO ACHIEVE THE FINAL PROPOSED SOLUTION OF THE CULTURAL HUB/CENTRE AT THE BOMBAY EASTERN WATERFRONT DEVELOPMENT

NOTE: THE GENERATIVE DESIGN METHODOLOGY USED IN THE DESIGN PROCESS HAVE RESULTED IN LIMITED NUMBER OF POSSIBLE SOLUTIONS AS THERE WAS LIMITED INVOLVEMENT OF COMPUTATIONAL POSSIBILITIES DURING THE PROCESS OF DESIGN, HENCE EVERY FORM, LINE AND PLANE ARE PERCEIVED MANUALLY RATHER THAN PURELY DEPENDENT ON USING ARTIFICIAL INTELLIGENCE OR ALGORITHMS OR SCRIPTS FOR THE SAME TO ACHIEVE UNIMAGINABLE FORMS THROUGH NATURAL PARAMETERS WHICH CAN GIVE N NUMBER OF OPTIONS FOR THE SAME.

7

DESIGN DEVELOPMENT AS PER ZONING AND ITS AXIS

•

N

•

Apart from the climatic parameters as per the methodology, the inferences from the site are also considered, but as it will be a part of the upcoming eastern waterfront development from the site context and its study the static parameters which are going to be there after the development of the waterfront have impacted on the architectural intervention to generate an edice.

•

the jetty road and the activities functioning at present & future

•

the view of the larger surface of the edice from the sewri fort

•

the sea breeze/wind impact on the oating space

•

the accommodating axis to connect the sides of the waterfront visually

•

• •

the axis of activities/entrance as well as partition of the site with diagonal orientation of the building due to all the parameters

SERVICES

PUBLIC REALM PARTITION OF SITE AS PER USABILITY

PARTITION OF SITE AS PER DEGREE OF VISUAL CONNECTIVITY ACCOMMODATING AXIS 2 • • •

CULTURAL STREETS DOCKS SUBURBS

• • • • •

K

E

Y

P

L

A

SEWRI FORT FLAMINGO POINT SEWRI MUDFLATS PUBLIC AMENITIES AND ACTIVITIES

• • • •

BOMBAY SKYLINE TRANSPORT AND SERVICES WESTERN SUBURBS ACCOMMODATING AXIS 1

NHAVA SHEVA SEA LINK FLAMINGO POINT KEROSENE JETTY SEWRI-ELEPHANTA ROPEWAY ELEPHANTA CAVES

N

•

• •

•

• •

•

• • •

• •

•

• •

•

•

• •

•

•

•

The proposed cultural centre at sewri which will be a part of eastern waterfront development comprises of functions and spaces will represent and support the existing and growing culture of Mumbai.

The architecture will also become a part of the present contemporary style of architecture practised in Mumbai.

There will be a convergence towards the centre from the eastern waterfront development as it is at the centre of the eastern belt and numerous proposal with respect to transport and amenities are proposed and available. The tourist attractions that is the sewri fort ( heritage architecture ) and the amingo point will also support the surrounding involvement of the user with the structure.

The proposed cultural centre will also represent spaces which reects Mumbai such as a cultural street like the kalaghoda fest on Rampart road a burst of different types of arts and culture.

The existing trees are considered to reuse for landscaping on the site.

Not only the function but the architecture will also represent Mumbai for eg Bombay was seven islands before so such ideas are converted into a built form The form of the proposed cultural centre is based on the the design methodology based on the natural parameters considering the context and the inferences of the site.

The centre will provide an extra stage for the growing talents of mumbai specially in the eld of performance arts. the centre will give space for mobs and paintings which we see in mumbai for eg the ash mobs on bandstand or the paintings on the sasoon docks The public plaza will add to the functions which happen at the present that is the people coming for jogging or exercising, the koli’s sh market or the kerosene jetty are near the amingo point etc The proposed centre is also close to many infrastructural development projects coming in the future near the site.

The design reects the complex network of bombay which is reected on the facade and also by supporting the upcoming public realms by connecting the interior spaces of the site with the exterior The proposed cultural centre on the eastern waterfront will add on to the existing culture and art centre on the western part of Bombay such as the Dadar Matunga cultural centre, Kinara cultural centre, ne arts society, Bombay arts centre,etc.

The centre will also support private cultural professionals to execute their works and also it can provide commercial space expansion in the future.

The spaces function as a part of the people at different levels where rst the main idea is connecting every side of the edice with the activities on the site as well as the context.

There is no boundary wall on the site but a series of repeating modules of iron railings which doesnt blocks the vision of the passer by so that the architecture is a part of the people and public relam visually The skylight over the connecting bridges over the public plaza and amphitheatre connects the activities happening at different layers which are contained in an atrium which acts like a courtyard which is an important element for indian context open to sky partially but accessible to all.

Form of the building enables a uid movement and a fresh perspective at any point on the site which becomes a transition for the users to experience.

Interiors of the space also responds to the context and activities of the site for example the library is visually linked with the sewri fort and is on the north of the building and the workshop area and entertainment areas face the atrium so that the interiors that is the private and public activities mingle with each other through the architectural design for the centre with different and multiple experiences at every level.

Idea was also to make the centre a daily part of the present and proposed activities that is architecture as a part of people and its functions like appreciating the built form while doing your activities The design have also focused on the public semi public and private functions as a collaboration functioning simultaneously without interfering with one other but are a part of one huge system which is a huge non living being also carrying the load of the green which is been taken back from the site is given back as architecture is always incomplete without nature which affects the micro as well the macro climate of the centre.

The space programme of the centre have also considered the proposed future activities on the eastern waterfront development for eg bicycle tracks to explore the public realm

8

N O R T H

-

E A S T

E L E V A T I O N

VIEW OF THE PUBLIC REALM BELOW THE FLOATING FUNCTIONS OF CENTRE

VIEW OF THE CULTURAL STREET FOR DISPLAY OF EXHIBITS IN THE OPEN FOR ALL SPACE

VIEW OF THE INTERIOR EXHIBITION SPACES OF THE CENTRE WITH ATRIUM FOR INTERACTION OF VOLUME

S E C T I O N

B

-

B

9

chimney / stack effect circulation of the cold and hot air strengthen natural ventilation and adjust temperature

air quality the greenery around the facades and spaces also improves the air quality

sun shade ptfe fabric which is 47% transluscent brings enough light and use of part acp to stop direct sunlight from entering

green roof the green roof captures the precipitation which helps to improve air quality acoustics

convected wind due to water body

S E C T I O N

A

-

A

S O U T H

storm water runoff through recharge pits

-

W E S T

layered absorption the transpiration and absorption of the green land helps absorb the excess rainwater run off

E L E V A T I O N

10

C

F

SIXTH FLOOR + 15.10 M LVL 1400 3200

4600

900 3400

300

1400 3200

4600

900 3400

300

FIFTH FLOOR + 15.10 M LVL

G

25

100

450

260

390 30

5 100

5 100 FOR GLASS CLADDING REFER THE DETAIL IMAGE NO - C1

30

100

580

25

30 100

50 75

170

25 275

620

50x100MM ALUMINUM FRAME & 50X50X5MM L ANGLE FIXED WITH SCREW

1400

4600

30MM THICK DESIRED SANDSTONE CLADDING FIXED WITH Z BRACKET

SECOND FLOOR + 10.50 M LVL

50X100X3MM MS HOLLOW SECTION FIXING FOR FALSE CEILING FRAMING

1400

300 900

20

8 28

100

6

320

200

STAINLESS STEEL Z CHANNEL FIXED BY STEEL SCREWS

3200

430

5

9

720

LED LIGHT FIXING BETWEEN 50MM GROOVES ALL EXTERNAL FACADE OF THE STRUTURE

LED LIGHT FITTINGS AS PER SPECIFICATION

H 450

0

14

95

STAINLESS STEEL Z CHANNEL FIXED BY STEEL SCREWS

20

4600 3200

3400 3400

300

1500

1

56

Z BRACKET FIXING BY BOLT WITH 'U' CHANNEL

5 100

DETAIL - C

1030

20 190

00

30MM THICK DESIRED SANDSTONE CLADDING FIXED WITH Z BRACKET

THIRD FLOOR + 15.10 M LVL

570

630

30 30

40

100

30MM THICK SANDWICH GLASS PANEL AS PER SPECIFICATION FIXED WITH ALUMINUM FRAME

57

6

65

150X450X30MM MS I SECTION MAIN STRUCTURAL BEAM RUNNING OVER ALL RCC COLUMN AND BEAMS

300

300

260 20

300

30

900

150

50

250 20 150

700

830

30

200

25

FLOORING AS PER SPECIFICATION

30 20 115

20 90

90

100X100X4MM MS HOLLOW SECTION FRAMING OVER MAIN I SECTION BEAMS

200X300X20MM I SECTION SECONDARY BEAM EXTENSION

BY METAL PLATE WITH NECESSARY FITTINGS

SOLID BLOCK BUND WALL

50

30

20

METAL SHEET COVERING

200X300X20MM I SECTION SECONDARY TIE BEAM CONNECTING BY NUT BOLTS WITH MAIN I SECTION BEAMS

230

5 100 100

880

1400

900

300

FOURTH FLOOR + 15.10 M LVL

1000

E

4600

3700

6000

900

ROOF TOP LEVEL + 15.10 M LVL

FOR PVC LAMINATED GYPSUM BOARD FALSE CEILING REFER DETAIL IMAGE NO - F3

230 FLOORING AS PER SPECIFICATION 250

SOLID BLOCK BUND WALL

DETAIL - H

1550

300

30

20 190

430

1030

570

630

20

300

30 260

300

300

620

ALUMINUM GLASS FASTENER 450

220

700

1200

30

30MM THICK SANDWICH GLASS PANEL AS PER SPECIFICATION FIXED WITH ALUMINUM FRAME 30MM THICK MS BOTTOM PLATE SUPPORT BELOW MAIN PERIPHERAL BEAM AS PER DETAIL IMAGE F1

600 540

150

20 150

4600

700

830

450X630X30MM STRUCTURAL I SECTION PRIMARY BEAM WITH NECESSARY NUT BOLT AND WELDED PLATE AS PER STRUCTURAL DESIGN REFER DETAIL IMAGE - F2

HANGING GALVANIZED IRON ROD TO SUPPORT T RUNNER

30

1030

1400

300

630 570 30

3200

3400

50

30 300

30

150

50 150

50

250 30 780

FIRST FLOOR + 5.90 M LVL

30 20 115

430

30 110

5600

GI HANGING ROD CONNECTING TO ' T ' RUNNER FROM TOP MEMBER

F1& D1

DETAIL - G

4050

450

200

100

750

60 50

30

220

30

4600

560

30MM THICK MS BOTTOM PLATE SUPPORT BELOW MAIN PERIPHERAL BEAM AS PER DETAIL IMAGE F1

GI METAL SHEET DECKING SLAB OVER ALL CANTILEVER PROPOSED PART OF THE STRUCTURE

FOR PVC LAMINATED GYPSUM BOARD FALSE CEILING REFER DETAIL IMAGE NO - F3

30

ALUMINUM GLASS FASTENER

410

ANCHOR BOLT FOR ADDITIONAL STRENGTH TO CANTILEVER MEMBER AS PER LOAD CALCULATION

65

40 100

FOR PVC LAMINATED GYPSUM BOARD FALSE CEILING REFER DETAIL IMAGE NO - F3

FOR PVC LAMINATED GYPSUM BOARD FALSE CEILING REFER DETAIL IMAGE NO - F3

300

30

6

30MM THICK DESIRED SANDSTONE CLADDING FIXED WITH Z BRACKET

20 190

0

13

30

30 30MM THICK SANDWICH GLASS PANEL AS PER SPECIFICATION FIXED WITH ALUMINUM FRAME

0

10 30

87 14

30 20 115

50

450X630X30MM STRUCTURAL I SECTION PRIMARY BEAM WITH NECESSARY NUT BOLT AND WELDED PLATE AS PER STRUCTURAL DESIGN REFER DETAIL IMAGE - F2

30

GI METAL SHEET DECKING SLAB OVER ALL CANTILEVER PROPOSED PART OF THE STRUCTURE

55

SOLID BLOCK BUND WALL

LED LIGHT FIXING BETWEEN 50MM GROOVES ALL EXTERNAL FACADE OF THE STRUTURE

REINFORCEMENT AS PER STRUCTURAL DESIGN

50

50

230

DETAIL - E

GROUND FLOOR + 0.30 M LVLEXTERNAL ROAD ± 0.00 M LVL

DETAIL - F

11

PROFESSIONAL WORKS SHOP DRAWINGS

INTERIORS B

N

CIRCULAR SECTION RODS WITH THE SHUTTER ARRANGEMENT FROM TOP

E

W

Y

O

R

50

280

360

50

690

3 MM THK WHITE ACRYLIC CIRCULAR COVERING

50

8 MM THK PLY CIRCULAR SANDWICH PANEL

K

150 X 70 MM M.S. SECTION FOR FRAMING

1578

50

500

STEPPED PROFILE

200 MM POPUT TOP OF THE SHUTTER AREA FOR DYNAMIC EFFECT

50

380

12 MM THK COMMERCIAL PLY FOR FIXING THE ACRYLIC PANEL

500

542

AE

170

NOTE: SCHEMATIC SECTION OF THE SHUTTER FROM OUR SIDE . THE DETAILS WILL BE DIFFERENT AS PER VENDORS QUOTE AND DESIGN AS PER SITE CONDITIONS

8 MM THK BLACK ACRYLIC PANELLING

145

50 MM THK WHITE GLOSS DUCO PAINTED WOODEN PEDESTAL TO FIX THE HOLLOW CIRCULAR PIPES

A AD

928

500

60 204

50

HARDWOOD OR M.S. FRAMING FOR FIXING SHUTTER

STEPPED PROFILE

60

210

26

R150

SCALE : 1: 8

6 MM THK WHITE GYPSUM PANELLING WITH BRANDING WINDOW AS PER CLIENTS REQUIREMENT

50

SCALE : 1: 20

A DETAIL @ B

3450

274 100 X 50 MM HARDWOOD BLOCK FOR FIXING THE CURVED ACRYLIC PANEL

268 250

1000 160

C

140

70

152

152 500

15

15

50 MM THK HARDWOOD PEDESTAL TO FIX THE S.S. HOLLOW CIRCULAR SECTION

25

DETAIL @ AC

HARDWOOD OR M.S. FRAMING FOR FIXING SHUTTER

639

8 MM THK BLACK ACRYLIC PANELLING

R2

HOLLOW CIRCULAR SECTION SCREW TO FIX THE SHELVE WITH THE S.S. PIPE

SCALE : 1: 10

SPOTLIGHT AS APPROVED

12 MM THK COMMERCIAL PLY FOR FIXING THE ACRYLIC PANEL

FFL

9

50

HARDWOOD BATTEN TO FIX INSIDE THE HOLE OF THE SHELVE

330

50

S.S. HOLLOW CIRCULAR SECTION

26

8

KEY PLAN

SECTION B - B

PEDESTAL DETAILS

DETAIL @ AD

SCALE : 1: 10

SCALE : 1: 5

9

SCALE : 1: 100

SCALE : 1: 0.5 60

COUPLING TO FIX THE

5

DETAIL @ AE

50

200

3 MM THK CURVED WHITE ACRYLIC OF

SHUTTER AREA

500 110

110

C

195

D

18 MM THK PLYWOOD CLADDING TO FIX THE GYPSUM PANEL

3

F4

3

F3

F2

8 X 8 MM HARDWOOD BATTEN

582

58

6 MM THK WHITE GYPSUM CLADDING AROUND COLUMN

R1

3

50

SCALE : 1: 20

3 MM THK CURVED 3 MM THK CURVED

174

F1

8

3

75

PLAN

POP OUT PROJECTION OF ABOVE

330

3 MM THK CURVED PLYWOOD

WHITE CIRCULAR SHELVES WITH SPOTLIGHTS TO DISPLAY PRODEUCTS

81

5751

R2

3 MM THK CURVED

HOLLOW CIRCULAR SECTION

STEPPED PROFILE 410

R3

3

50 X 50 MM HARDWOOD BLOCK FOR FIXING THE CURVED ACRYLIC PANEL

3 MM THK CURVED

AC

R4

SCALE : 1: 4 3 MM THK CURVED WHITE ACRYLIC OF

3

AS PER SITE CONDITIONS ALIGN THE WHITE GYPSUM PANELLING WITH THE COLUMN

R5

R176

DETAIL @ AB

B

FRONTAGE

70

SCREW AS PER REQUIREMENT TO FIX THE ACRYLIC AND PLYWOOD CIRCULAR SHELVES TO GYPSUM BACK PANEL

200

1000

420

FLUSH THE ACRYLIC BOX WITH THE DEMISE LINE FROME MALL

AB

FROM MALL LEASE LINE THE MAX PROJECTION IS 200 MM THEN THE PROFILE REDUCES 50 MM AT EACH STEP AND MERGES WITH THE LEASE LINE

152

SCALE : 1: 5

50

1000

3000

420

1000

3000

3450

376 330

500

50

1000

50

3 MM THK TRANSPARENT ACRYLIC PLATE TO BE FIXED BEFORE PLACING THE PRODUCT AS PER CLIENT REQUIREMENTS

138

SECTION A - A

454

410

58

B

900

1450

HOLLOW CIRCULAR SECTION

8

THE CIRCULAR SHELVES BACK COVERED WITH 3 MM THK WHITE ACRYLIC

1348

1006

WET BLUE

3 MM THK WHITE ACRYLIC RING COVERING

330

0

350

90 FLUSH AND FIX THE 60

450

145

900

170

SPOTLIGHT AS APPROVED

PLEASE REFER DETAILS AE AND AD

50

450

3004 204

TO FIX INSIDE THE HOLE OF THE SHELVE

154 MM BROAD M.S. FLATE PLATE

352

5770

300

RENDERS

27

SCALE : 1: 1

SHOP DRAWING FOR FRONTAGE (RETAIL)

8 W

W 7

W

4

W

W

9

5

W

6

CURVED SLIDING WINDOW DETAILS (RESIDENTIAL INTERIORS)

10

A

W

13

W2

W 12

810

W 3

W

11

W

W

1

DETAIL - E SCALE: 1: 5

E

ELEVATION OF WINDOW FROM INSIDE SCALE: 1: 30

DET

KEY PLAN SCALE: 1: 100

ARC LENGTH : 670 MM

F

OUT

DET B

ARC LENGTH : 670 MM DETAIL -D SCALE: 1: 5

DETAIL - A SCALE: 1: 5

IN

C 25

120

ARC LENGTH : 572 MM

20

130 530

30

100 600

10

D

DET

20

SECTION C SCALE: 1: 15

DETAIL -F SPACER DETAIL FOR GRILL SCALE: 1: 5

PLAN SCALE: 1: 15

DETAIL - B SCALE: 1: 5

12

SHOP DRAWING - ONE FACE OF COLUMN (PART 1) 137

EQ

317

BRANDING TO BE DONE AS PER APPROVAL OF THE CLIENT AND VENDOR

M

6 MM THK WHITE ACRYLIC FRONT

6 MM THK WHITE ACRYLIC FRONT

0

20

750

218 12

M

PROFILE OF 6 MM THK BLACK ACRYLIC BOX OF HEXAGON

SCREW AS PER REQUIREMENT AND LOCATION OF THE HEXAGON

82

200

150

150 200

6 MM THK ACRYLIC BOX OF HEXAGON PREPARED BY GLUING

6 MM THK BLACK ACRYLIC BOX OF HEXAGON PREPARED

BY GLUING

57

10 MM THK GOLDEN

96

EQ

10

96

57

5

75

106

100

12

K

162 161

193

75 37

12 MM ACRYLIC DISPLAY SHELF

SECTION K - K SCALE : 1: 5

3

K

136

142

EQ

6 MM THK BLACK ACRYLIC BOX OF HEXAGON PREPARED

BY GLUING

EQ

54

SPOTLIGHT FIXTURES AS PER REQUIRED ILLUMINATION

12 MM ACRYLIC DISPLAY SHELF

12

ALABASTER

250

EQ

COMMERCIAL PLYWOOD HARDWOOD

LAMINATE PANELING

L

L

6 MM THK BLACK ACRYLIC BOX OF HEXAGON PREPARED

BY GLUING

EQ

148

250

GROMMET FIXING TO BE MARKED AND CUT AS PER REQUIREMENT

200

12

248

200

18 MM THK GLACIER WHITE PAINTED EXPOSED MDF PANEL FOR SUPPORTING THE FLOATING HEXAGON

51

242

EQ

SCALE : 1: 10

18 MM THK GLACIER WHITE PAINTED EXPOSED MDF PANEL FOR SUPPORTING THE FLOATING HEXAGON

EXISTING COLUMN SPOTLIGHT FIXTURES AS PER REQUIRED ILLUMINATION

75

63

L

146

10 MM THK GOLDEN LAMINATE PANELING

10 MM THK GOLDEN LAMINATE PANELING

6 MM THK WHITE ACRYLIC FRONT

146

PROFILE OF 6 MM THK BLACK ACRYLIC BOX OF HEXAGON

EQ

ELEVATION 2

K

182

6 MM THK WHITE ACRYLIC FRONT

SCALE : 1: 5

29

12

218 300

500

L

6

SCALE : 1: 5

6 MM THK ACRYLIC BOX OF HEXAGON PREPARED BY GLUING

297

EQ

FFL

75

SECTION R - R

SCALE : 1: 5

ELE 2 FACE DIMENSIONS

84 9

84

DETAIL @ R

EQ

DETAIL OF MDF PANEL

18 MM THK GLACIER WHITE PAINTED MDF PANEL FOR SUPPORTING THE FLOATING HEXAGON WILL BE NAILED TO THE ALABASTER PANEL

3

2

12 MM ACRYLIC DISPLAY SHELF

29

K

1308

EQ

12 167

623

1

100

GROMMET FIXING TO BE MARKED AND CUT AS PER REQUIREMENT

218

234

60 118

G

167

291

173

200

EQ

R

12 MM ACRYLIC DISPLAY SHELF 10 MM THK GOLDEN LAMINATE PANELING

EQ

EQ

E

200

PROFILE OF 6 MM THK BLACK ACRYLIC BOX OF HEXAGON

96

6 MM THK BLACK ACRYLIC BOX OF HEXAGON PREPARED

BY GLUING

12

200

A

96

SPOTLIGHT FIXTURES AS PER REQUIRED ILLUMINATION

51

EXISTING COLUMN

162

100

ACRYLIC

75

63

181

200

6 MM THK WHITE ACRYLIC FRONT

80 EQ

430

285

247

100

60

F

218

25

2250

R

SCREW AS PER REQUIREMENT AND LOCATION OF THE HEXAGON

6 18

C

DETAIL OF MDF PANEL SCALE : 1: 5

0 20

B

6 MM THK WHITE ACRYLIC FRONT

EQ

SCALE : 1: 2

18 MM THK GLACIER WHITE PAINTED EXPOSED MDF PANEL FOR SUPPORTING THE FLOATING HEXAGON

12

90

R

JOINERY DETAIL AB

EQ

M

6 MM THK ACRYLIC BOX OF HEXAGON PREPARED BY GLUING

6 MM THK BLACK ACRYLIC BOX OF HEXAGON PREPARED

BY GLUING

110

EQ

18 MM THK GLACIER WHITE PAINTED MDF PANEL FOR SUPPORTING THE FLOATING HEXAGON WILL BE NAILED TO THE ALABASTER PANEL

SCALE : 1: 5

SCALE : 1: 5

A1

5

EQ

120

SECTION M - M

DETAIL @ E

200

320

EQ

162

M

150

GROMMET FIXING TO BE MARKED AND CUT AS PER REQUIREMENT 10 MM THK GOLDEN LAMINATE PANELING

EQ

EQ

EQ

199

B

126

AB

12

D

50

250

18 MM MDF PANEL AND 12 MM ACRYLIC DISPLAY SHELF GLUED JOINT

12 MM ACRYLIC DISPLAY SHELF

200

162

492

162

591

18 MM THK GLACIER WHITE PAINTED EXPOSED MDF PANEL FOR SUPPORTING THE FLOATING HEXAGON

200

61

12

70

EQ

162

110

EQ

199

18

SPOTLIGHT FIXTURES AS PER REQUIRED ILLUMINATION

12

150

50

27

65

1320

SECTION L - L SCALE : 1: 5

217

75

SCREW AS PER REQUIREMENT AND LOCATION OF THE HEXAGON

DETAIL OF INTERNAL PLY PANEL SCALE : 1: 5

13

S I T E L O C A T I O

- NO NEGATIVE POINTS FOR THE SITE EXCEPT FOR ITS ISOLATION WHICH MAKES IT APART FROM THE CITY

THE ENTRY TO THE SITE IS THROUGH THE COLABA FIRE STATION ROAD CONNECTING THE COLABA CAUSEWAY

+ ADVANTAGE OF THE VIEWS IN

AND AROUND THE SITE IS THE MAJOR PLUS POINT

M U K E S H M I L L S E X I S T I N G S I T E

+

THE LOCATION OF THE SITE IS SUCH THAT THERE IS A SOUND BUFFER BECAUSE OF WHICH THE CITY SOUND DEPLETES

+

+ +

WEXNER ART MUSEUM

Running through the core of the building is the wexner center’s most recognizable feature: a 540-foot long “scaffolding” structure that extrudes the planar grid systems into a three-dimensional matrix. Exposed and partially unenclosed, it is meant to look deliberately incomplete, repudiating preconceptions of solid and void as xed properties of architecture. While this seam in the building functions as an axis of circulation, it plays a more important spatial role by delineating and projecting organization throughout the site. The resulting interrelationships nd expression in the contours of the surrounding structures and landscaping, strikingly recalling the diagrammatic constructions of the contemporaneous getty center in los angeles by eisenman’s geometry-driven cousin, richard meier.

HOT AND COLD ( SALTY ) SEA BREEZE FLOWS THROUGH THE SITE

SUMMER AND WINTER WIND DIRECTION LOCATION : INDIA MAHARASHTRA MUMBAI COLABA

N

THE DESIGN LANGUAGE OF LINES ARE FOLLOWED TERMINATE IN A SPACE THE LOCATION OF THE SPACE ESTABLISH THE PATH. THE PATH SPACE RELATIONSHIP IS USED TO APPROACH AND ENTER FUNCTIONALITY OR IMPORTANT SPACES Ÿ

20

21

19 18

A

Y

M

U

S

E

U

M

Ÿ PASS THROUGH SPACES PATH MAY PASS THROUGH A SPACE AXIALLY OR OBLIQUELY IN CUTTING THROUGH A SPACE THE PATH BECOMES FLEXIBLE ROUTE FOR ENTRY AND EXIT AND IS CONNECTED WITH THE PRIME PATH

B

“TRANSMUTATION” Museum on mill land Mukesh mills located in colaba was cited as a redundant site looking for a intervention into an urban space.

Colaba or south bombay has a rich historical background as a portugese and british inuence over the urban fabric. Recently many attempts has been made by urban planners and designers to revive and retrospect these spaces, so that it suits todays context A transmutation journey of a mill land in such a prime location can only be apt for a transformation to a urban space in the form of a museum. A museum which documents and portrays the rich history of the city open to public to relish, inform, document and exhibit.

Which is given as a design brief below with the urban spaces required to be retained and modied for the purpose of mumbai museum.

A new approach to design thinking which goes through a process documented along with a thought which may be the rst of its kind has to be believed and worked upon to give a design solution which may be an attempt to break from routine.

CONSIDERING THE RETAIN STRUCTURE AS ARTIFACTS, THE FLEMISH/COLONIAL ARCHITECTURE NEEDS TO BE PRESERVED AND DISPLAYED, CREATING A LINK BETWEEN POST AND FUTURE. THE HOLD OF THE STRUCTURES VISUALLY AND THE HOLDING OR THE STRUCTURES INTERNAL VOLUME AND INFO WHICH GIVES THE IDEA OF GROWTH HAS TO BE DISPLAYED AND EXHIBITED

M

PASS BY SPACE THE INTEGRITY OF EACH SPACE IS MAINTAINED. THE CONFIGURATION OF THE PATH IS FLEXIBLE. MEDIATING SPACES CAN BE LINKED TO THE PATH WITH SPACES

THE WALK IN A STREET OF BOMBAY WITH CHANGING PERSPECTIVES DUE TO ARCHITECTURAL TRANSITION.

O

Ÿ

THE OVERLAPPING DEVELOPMENT OF THE CITY GIVING A MONOLITHIC URBAN / COMPLEX VIEW THE DEVELOPMENT HAPPENING IN AND AROUND THE EXISTING BUILT / UNBUILT

B

THE 24 X 7 ‘WORK MACHINE’ BOMBAY SUPPORTS A HUGE CAPITA INCOME FOR THE COUNTRY. THE FOLLOWING OR THE TIME REQUIRED / TAKEN BY / FOR THROUGH VARIOUS TRANSPORT SYSTEMS AN IMPORTANT ASPECT TO COMPLETE THE DESIGN AND BALANCE THE RETAINED.

14

The concept of exible space scenario to transform the function according to the requirements for the users to interact and experience dynamic changes in the same volume

The architecture of mumbai blends gothic, art deco, indo-saracenic and contemporary styles of which some of are remains from the colonial era.

The change in the styles with the change in art rise to spaces which breaks the monotony of the space with rhythmic offsets creating interiors of interest for the display of things of prime importance and also morphogeesis of the design styles.

S E C T I O N

B E T W E E N R E S T R O

T H E

S K Y

A

A

EXPLODED VIEW OF THE RETAINED ELEVATION BLOCKS

G R O U N D F L O O R P L A N

S E C T I O N

A

-

A

15

FRAMING FOR SKYLIGHT

STEEL RAFTERS

HOLLOW STEEL SECTIONS OF DIFFERENT SIZES

THE INTERSECTING MINGLED CHARACTERS OF MUMBAI, THE SUPER IMPOSED FUNCTIONS WHICH WALKS PARALLEL, UNDISTURBED AND CONTINUOUSLY WHICH IS ONE OF THE ICONICAL MARK OF THE CITY....GIVES NATIVITY TO AN EDIFICE WHICH OVERLAPS AND SUPERIMPOSES THE FUNCTIONS AND RUNS INDEPENDENTLY WITH FLEXIBLE SPACES FOR THE USERS TO EXPERIENCE WITH THE INTERACTION AND INTERSECTION OF THE CONTEXT OF THE SITE.

R O O F

P L A N

RETAINED ELEVATION

S E C T I O N A L

S E C T I O N A L

E L E V A T I O N

E L E V A T I O N

-

A

R E T A I N E D

-

D

TRANSITION SPACES ON THE WHOLE SITE INTERACTIONS WITH THE INTERIORS AS WELL AS THE EXTERIORS SUCH THAT THE PARASITE SPACES ACTS AS NATURAL CLIFFS AROUND THE EXISTING LAND GIVING IT A PARTICULAR AMBIENCE AND ESSENCE FOR THE USERS TO INTERACT

S E C T I O N A L

E L E V A T I O N

-

C

16

site analysis

THE FUNCTIONAL DEFORM ADAPTATION

LOCATION : Ÿ COUNTRY-INDIA Ÿ STATE-MAHARASHTRA Ÿ METRO-MUMBAI Ÿ CITY-COTTON GREEN Ÿ SITE CO-ORDIANTES : 18.983554,72.845686

WHY THERE IS A NEED FOR RESIDENTIAL DEVELOPMENT IN THE MBPT MUMBAI PRECINCT ? Ÿ

Ÿ Ÿ

IN THE EXISTING LAND USE OF THE MUMBAI PRECINCT AREA IT INDICATES THAT MOST OF THE LAND IS UNDER THE COMMERCIAL USE THERE ARE NO RECREATIONAL SPACES OR RESIDENTIAL ZONES IN THE AREA IF THE PROPOSED DEVELOPMENT POLICY WILL CONSISTS OF RECREATIONAL ZONES AND RESIDENTIAL ZONES IN THE AREA THEN IT WILL FACILITATE THE PEOPLE WORKING IN THE REGION FOR A BETTER LIVING AND INCREASE THE GREEN PLOT RATIO AND FURTHER CAN ALSO BECOME TOURIST ATTRACTION BECAUSE OF THE ARCHITECTURAL DEVELOPMENT

C

MULTIPURPOSE RESIDENTIAL PROJECT PROPOSED ON EASTERN WATERFRONT - MUMBAI Ÿ

1

Starting the design process with traditional blocks along with the site warehouses to retain, with various mixed use programmes on the site

C

Ÿ

Ÿ NEGATIVE VIEWS FROM THE SITE AT A PARTICULAR HEIGHT POSITIVE PANORAMIC VIEWS OF THE CITY, THE DOCKS AND THE SEA CAN BE SEEN FROM A PARTICULAR HEIGHT

Involving various programmes in the primary structures which will interconnect each other raising th 3 edices on a podium to connect the users with the context of panoramas

2

NORMAL WINDS

SEA BREEZE

DISTANT NOISES FROM THE CITY AND HIGHWAY

Ÿ DISTANT NOISES FROM FROM EASTERN EXPRESSWAY

Changing the composition of the towers based on symmetry and proximity which provides individual spill out areas with versatile activities for the users

3

EASTERN EXPRESSWAY WAREHOUSES AND COMMERCIAL SPACES

Ÿ

RAILWAY STATION

Incorporating double height spaces to get elevated functional spaces with a continue ow of wind between the structure and courtyard

Ÿ

SITE BLIND SCHOOL ACCESS ROADS HEAVY VEHICLES TRAFFIC MOVEMENT

4

Playing with the blocks by pinching it on the sides to get the desired balconies for each apartments with different experiences at each oor levels

5

TEMPORARY STORAGE STRUCTURE

Detailing out the pinched blocks to get the desired form relating to the concept Ÿ Connecting each towers with each other through sky streets to increase interaction

Ÿ

FUNCTIONAL LOOP BASED ON SCALE OF ACTIVITIES AND EXPERIENCES

Ÿ

PRIMARY ELEMENTS

6

STEPPED FORM

ZIGGURAT OF MESOPOTAMIA HANGING GARDENS OF BABYLONIANS

Ÿ

BISHAN CENTRAL SINGAPORE

unit location in the three towers

CONSTANT SERVICE CORE

Assuming the pinched part as fragments of the block and processing it to form separate commercial spaces which are not just for the users living in the apartments

3BHK A

7

3BHK B 2BHK A 2BHK B 1BHK A 1BHK B 1RK A 1RK B 1RK C

Ÿ

Increasing the green plot ration and user experience by creating interactive greenscape with leisure activities and a mixed use design where each spaces are interconnected

1BHK DUPLEX

8

17

UNIT

TYPOLOGIES

3BHK A

EXPLODED VIEW OF PENTHOUSE AND BRIDGE DECK

3BHK B

2BHK A

2BHK B

1BHK A

1BHK B

1RK A

1RK B

1RK C

Ÿ INTERACTIVE

1BHK DUPLEX

SPACES DESIGNED ON ALTERNATE LEVELS TO CREATE A SENSE OF COMMUNITY Ÿ EACH SPACE IS CONNECTED WITH THE CONTEXT WHERE THE USERS CAN EXPERIENCE THE SKYLINE OF THE CITY AND THE SEA HORIZON

EXPLODED VIEW OF REFUGE FLOOR AND SKY STREET

18

Ÿ

trying to achieve aesthetics, functionality and technics gave nativity to a new edice in the skyline of the city Ÿ the combined availability of versatile units on each oor indulges a sense of harmony of spaces Ÿ adaptive reuse of the warehouses with functions which allows the utilisation of the spaces regularly Ÿ the functions of the warehouses are decided on the needs and requirements of the residential and the visiting users Ÿ the structural system of the warehouses is improvised and additional leisure facilities are provided on top of it Ÿ a sewage treatment plant is provided for the same as well as the residential structure Ÿ the architecture of the warehouses is well connected with the context in such a way that it will act as subsistence to the residential complex Ÿ

19

REDESIGN OF PANVEL BUS DEPOT INTO TRANSIT CUM COMMERCIAL COMPLEX

SITE B

• • • • • • • • • • • • • • • •

EXISTING SPACES ARE CONSUMED BY FOLLOWING FUNCTIONS 1. BUS STOP FOR URAN 2. TEMPLE 3. POLICE CHOWKI 4. NEW PUBLIC TOILET 5. OLD PUBLIC TOILET 6. TRANSFORMER 7. RESERVATION OF TICKETS AND PARCEL COUNTER 8. BUS STOP FOR KONKAN, GHAT AND INTERSTATE BUSES 9. BUS STOP FOR KARJAT 10. BUS DEPOT MANAGERS HOUSE 11. OLD BUS STOP FOR KALYAN 12. INFORMAL FOOD STALLS AND VENDOR SHOPS 13. AUTO STAND 14. PUMP ROOM 15. HOARDINGS

56% REDESIGNING AREA

ACTIVITY MAPPING 37%

WORKSHOP AREA

6%

•

• •

• •

TOTAL REDESIGNING AREA : 21740.65 SQ.M. FSI : 2.5 THEREFORE TOTAL BUILT UP AREA : 54,351 SQ.M. STAFF QUARTER AREA : 1400 SQ.M. WORKSHOP AREA : 14000 SQ.M.

Ÿ

PEDESTRIAN MOVEMENT

Ÿ

GATHERING POINTS

Ÿ

TUM TUM PARKING

Ÿ

RICKSHAW PARKING

Ÿ

BIKE PARKING

Ÿ

STAFF AND DRIVERS MOVEMENT

A A

S.W.O.T. Ÿ Ÿ

Ÿ Ÿ

STRENGTH : LOCATION IS NEAR TO THE, STATION JUNCTION FOR THE INTERSTATE TRANSPORTATION, NEAR TO COMMERCIAL, INDUSTRIAL ZONES AND HOSPITALS WEAKNESS : DOES NOT FOLLOW ANY STANDARDS, NO LEISURE AREAS, NO LOADING AND UNLOADING AREA FOR GOODS AND SERVICES, INAPPROPRIATE LUMINOUS FLUX ON THE SITE DURING NIGHT, NO FIRST AID AREA INCASE OF AN ACCIDENT OPPORTUNITIES : SCOPE FOR ADVERTISEMENTS, JUNCTION OF NAVI MUMBAI, CAN INCREASE THE TRANSPORT QUALITY AND QUANTITY IF REDESIGNED THREATS : CHANCES OF ACCIDENTS AS THE DEIGN IS NOT COMPOSED, INCREASE CHANCES OF THEFT BECAUSE NO SECURITY

B

SECTION A-A

SECTION B-B

PROPOSAL

Panvel is a city in raigad district of maharashtra, in konkan division. Being the rst municipal corporation in raigad, the city is highly populated due its closeness to mumbai. Growing in the population, the transportation services are also growing on equal ends. Pmc (panvel municipal corporation) is bset to introduce buses in araes like kharghar, kamothe, kalamboli and panvel, on the lines of navi mumbai civic body, to ease transport woes of hapless commuters.

Central government has sanctioned funds for obtaining 140 buses in two phases under the extended project of jawaharlal nehru national urban renewal mission (jnnurm). Panvel st bus depot which receives huge commuters and around 400 buses pass through the depot was urgent need of makeover.

The much awaited demand for the redevelopment of panvel st depot nally got state government nod and the depot would be redeveloped by the maharashtra state road transport corporation (msrtc) in he next one and half year time frame.

The idea was further visualised as a design which will change the skyline of the town and also bring in new opportunities for employment and experience, based on the concept of utopian pragmatism. The edice is not treated as a structure designed for a single function but as a consolidation of functions which are orchestrating individually without affecting the other and working efciently for the users.

Panvel being the junction also needs an architectural landmark because of its location so the design consideration for a unique architecture in the context is also considered while redesigning as per the opportunity provided by the government. Along with the bus depot an additional public and semi public space that is, a commercial function is also added to the design which will eventually increase the revenue generation of the depot.

site designing process

•

interme diate entry and exit

SITE LIMITS

private

entry to the warehouse exit from warehouse

private

axis of interme diate entry and exit

public / semi public main exit for bus

main entry for bus site ( access )

MAIN ACCESS ROAD & GREENERY AROUND THE SITE

basic volume cover orientation

volume and visual buffer around the site

G

facade on facade on the north the south side will sides will have have sun openings for shading diffused strategies light all the roof design are responsive to the rain and they are designed in such a way that the rain water can be

G+2

G+3

G G+1

E

R

SE

CTION

E INT

parking and drop off point (no podium is introduced in design in order to take advantage of the whole site as public realm which connects architecture directly)

ascending oors in site as per standards

insertion of landscape to complete the incomplete

TH

ACCESS POINTS

context and climate affecting form and function

public / semi public

typology zoning

facade on the east side and west side should will have openings

circulation of bus impacting volume cover

public / semi public

20

ORGANISED CHAOS

adjacent space two spaces abut each other and share a common border

the design have foci on multiple functions happening simultaneously in harmony along with the consideration of user experience and also the automotive transportation on which they are dependent

spaces are linked by a common space two spaces may rely on an intermediary space for their relationship

FIGURE AND GROUND OF REDESIGNED AND EXISTING BUILT FORM

type of path is a network as it is a conguration of paths that connect established points in space

existing

within large spaces the path designed is random without form and denition and which is determined by the activities and arrangements of the furnishings in the space

N

redesigned in the project, freestanding walls together with open and enclosed space congurations of planes create interlocking series of spaces

G R O U N D

F L O O R

P L A N

composition of design resulting from the rotation and modication of the square

monolithic mixed use block

fragmenting blocks as per the functions primarily public, semi public and commercial

each spaces are designed differently but are dependent on each other for nal composed architecture and also there is path space relationship

harmonising the fragmented functions with porous open and semi open spaces connecting the whole complex

radial pattern of circulation is considered with intersecting circulation because of proximity

considering the line of sight the entire design is connected because of the porosity of the design / organised chaos

different types of volumes and height expresses and impacts versatile experiences on the users

connecting the disordered design ideas and coming up with a solution, in which the focal point is the bus station at start/end of a bus route, where vehicle stop, reverse and wait before departing on the return journey

nal composition for design the form is derived as a cluster, that is a collection of forms grouped together by proximity or the sharing of a common visual trait clustered organisation of forms is organised in the following ways : they are attached as appendages to a larger parent form or space. they can be related by proximity alone to articulate and express their volumes as individual entities. they can interlock their volumes and merge into a single form having a variety of faces.

commercial block c

dormitory bungalow for superintendent

commercial block b commercial block a

bus depot shed

primary health care centre

SE

CTION

TH

E INT

ER

core activities of the built structure

circulation cores in the structure

SECTION

A - A

the interiors captures the surrounding spaces through openings designed as frames to give interconnectivity indirectly with the design and the bus station

21

E

CTION

TH

E INT

R

SE

S E C T I O N

B - B

F I R S T F L O O R P L A N ( D O R M I T O R Y )

S E C T I O N

F I R S T

F L O O R

S E C T I O N

S O U T H W E S T E L E V A T I O N ( D O R M I T O R Y )

P L A N

When you have an open atrium inside you will be able to see what the other users are doing from the interior of the building, as people are connected to the exterior and also a better way to control light and also creating a stack effect.

A working space with right light and right air and a place for social contact among the users. For the upper oors such social spaces are extended and provided through observation decks where people can use those decks as elevated public square.

E - E

S O U T H

C - C

W E S T

E L E V A T I O N

(

B U S

D E P O T

A N D

C O M M E R C I A L

C O M P L E X

)

22

CURIOSITY

PROEMS

THEORIES

ARTICLES

GRAPHICS

The best example for the generative design methodology is through a snowake showing nature at it's best the process of it as follows : - Dust particles in the air goes through the natural parameters that is gravity sunlight wind water - The water vapour in the air forms around the dust particle forming a droplet - The resultant droplet frozes because of the temperature drop - The organic frozen grain so formed converts itself in a six face prism or hexagonal prism and cavity forms in the prism because ice grows fastest at the edges - Faster growth on the corner causes six branches to sprout these formed branched forms valleys and ridges at the edges and becomes a hexagon because because at atomic scale the molecular structure of water is a hexagon - And with a temperature drop new growth at the branch tip narrows and with every temperature drop branches develop and melts because the ake is also suspended to warm and cooler airs simultaneously because of which there are multiple branches forming and melting - Finally a unique and delicate structure falls on the earth with countless other snowakes - And further there are more classication of forms for the snowakes because of their molecular arrangements the latest report says that there are about 121 classication and hence 121 different forms of natural generative designs Now if we connect this example with the architectural approach of my thesis you will understand that the building is a dust with certain parameters or base of design to achieve a nal outcome in terms of planning and spaces but the form is decided by the nature as it will give you unimaginable solutions by designing an edice resistance to it and gravity and with the help of our human centric training of giving spaces so that the users can wear their spaces we have to chisel those shortcomings out of the nal solution and voila!! an architecture which is intuitive, contextual and functional as well as structural in terms of it's natural geometry which can be perceived by the designers through many means

‘ The choice among the numerous entries, Retaining the individuality and the axis yet functional and exible, Architecture that speaks and associates with the surrounding and full the requirements, Levitating space which connects the past, present and the future....’

23

ESSAY ARTICLE FOR APPLICATION OF ARCHDAILY INTERNSHIP 2016 'Form follows Fiction' - Ar. Ole Schereen We are in the world where diverse elds are no longer isolated, there are intersections and interceptions because of design innovations and interventions. The result is publicity of new authentic ideas through media and due to media architecture is everywhere. Analysing architecture and reading a design or understanding it have many ways which are much more intriguing than standard methods of documentation. The world of gaming is incomplete without architecture and architectural styles. Game designers need architects and architecture to express their fantasies and stories which the user experiences through games. Assassins creed, God of War, Mass effect, Uncharted, Grand Theft Auto, etc are a few to name. Talking about Assassins Creed the architectural setup is during The renaissance period between 14th to 17th century, the time during Leonardo Da Vinci. The architecture style shown in the game is brutalism and Renaissance. From the wrought iron railings to the massive edice you will experience and understand the layout to the ambience and the users. Continuing with a different game with an indulging plot is the God of War Based on Fictional Greek Mythologies and of course what will be the architecture style.......Greek with intricate detail and representation from the column orders with every detail from bottom to top of the capital, the huge ctional aqueducts to the characters clothing, there is no better way to learn about greek style.....And what do you need to do just buy a gaming console and start gaming...voila! Maybe we can create a game for our clients and hand them a controller..... Another angle to experience architecture is through movies, pay some bucks and you are into the thoughts and dreams of other. Animated movies in this part is the best way to relate with 3d walkthrough that we make. Disney's 'Big hero 6 'in which the world was a hybrid of San Francisco and Tokyo....San fransokyo. The architecture was a mingle of Victorian architecture, metabolism architecture, post modern architecture, etc just show the movie to the client for concepts.....Giving one more example before concluding is the movie 'Final Fantasy XV' in which the organised and beautiful city of insomnia gives you chills with Venetian Gothic style, a latin christian base with Byzantine and Moorish inuences and no need to go to Venice please see the movie or play the game. You will also get to see Romanesque style with an aristrocatic vibe which pre dates venetian Gothic.

'There are 360 degrees in architecture so why stick to one' - Zaha Hadid

THEORY - BAND AID TO GAIA Greek myth of giant creatures carrying sacred green cities on their backs

THE PENTAGROUNDS

THEORY OF COLLABORATION

The growth and development of civilisations have to increase in use of land by construction processes to meet the supply and demand for habitable and functional structures, but because of that more land of the earth (GAIA) is consumed and damaged thus hurting the Gaia or the earth as it is considered as a god or living organism which also have a life span.

• What we take from it we need to give it back for eg if we take the green from the environment we hurt the gaia and damage the ecosystem and environment hence we have to cure it by revitalising the lost part and inserting it in the developing context between the buildings we construct.

• The idea of the huge mythical creatures carrying green sacred cities can be abstracted and conceptualised as our buildings are like those giant monsters walking on earth through development and increase in the human population.

• In such giant massive structures we humans are like the cells utilising the energy to meet our demands in versatile ways, but if these goes on for a longer period it will be a genocide as all the greens will be lost and replaced by non living organisms with whom we cannot create a symbiotic association and thus gaia will be no more a living organism but a cyborg who will be dead within certain time.

• Hence to increase gaia’s health and cure it, the best way is to let these giant monster buildings serve their purpose by also carrying the load of gaia, let it be any typology or size of the building it will be mandatory for these creatures to carry these sacred green zones which will therefore be a band aid to gaia.

•

The idea of the theory focuses on design language through lines of expression as there needs to be an understanding for a designer about the possible solutions one can generate as the knowledge is always limited but one can always explore to cross those limits of expressitivity of design solutions to one particular problem.

• The lines of expression can be identied on the grounds where if understood can be incorporated to achieve n number of design possibilities to derive a user oriented space.

• As per the idea of the past, present and future architectural styles and expression there is identication of a total 5 lines of expression which can cover all the architectural styles and expression which the people have witnessed or experienced.

• These 5 typology of line expression can represent any architecture supporting and reecting any context or concept.

• These 5 types of lines of expression can be called as pentagrounds from lines to architecture • UNKNOWN-1,UNKNOWN-2,UNKNOWN-3,UNKNOWN-4,UNKNOWN-5 •

24