Selected Works 2016-2019

Selected Works 2016-2019 Divya Vaidya

About Me Workshops 2019 2018 2018 2017 2017 2016 Experience 2018

Divya Vaidya a16divya@sea.edu.in vaidya.divya14@gmail.com Contact: +91 9967144990 Instagram: @thegirllostindarkcircles Date of Birth: 18.06.1998 3/54,55, Anand Bhuvan, Mangalwadi, Girgaum Mumbai - 400004 Fluent in English,Hindi, Marathi, Gujarati Well versed with Sketching AutoCAD Photoshop Indesign Illustrator Rhino SketchUp

Lino Printing with Tamal Mitra Explorations in Body and Space with Sanjukta Wagh Architectural Photography with Dinesh Mehta Cyano Printing with Cona Foundation Cement Hands-on with Samir Raut, Milind Mahale Brick Arch Hands-on with Malak Singh Gill Volunteer for ongoing research called ‘Decoding Urban Form’ with sP+a, Mumbai.

2018

Leadership Programme at Godrej India Culture Lab

Publications 2019 2019 2019 2018 2018 2017

South Asian Architecture I Vol 2 Post-Intensive Landscapes of Goa Resource Audit : Light and Acoustics Tectonics of Auroville Jaipur Portfolio Mumbai Neighbourhood Studies I Vol 3 Inner City

Education Ongoing

School of Environment and Architecture Currently in the Fourth year of B.Arch

2014 - 2016

Kishinchand Chellaram College Education till grade 12

2000 - 2014

Walsingham House School Education till grade 10

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Goa Documentation 01. Untaming the landscape sem6 design 02. Urban Forest sem5 design Jaipur Documentation 03. Archive of speculations as ruins. sem4 design Borivali Station Documentation 04. High Rise Thakkar Mall Resource Audit 05. Facade ReDesign Research + Documentation 06. Svaram 07. Shreepati Arcade Working Drawing Performing Arts Center Material Sense Miscellaneous Works

Section through Borivali Station

Pre-Mining Landscape

During Mining Landscape

Post-Mining Landscape

Post-Intensive Landscapes of Goa Sonshi | Goa

Collective Documentation

The landscapes of resource extraction are in constant flux . Thus the agglomerations situated in close These drawings made enquiries in the contested mining region of Sonshi, a settlement located in the Pissurlem district of North Goa. It questions the need to extract intensively and how the mines should be reclaimed restoring biodiversity and communal engagement.

Overtime, Intensive mining attracted migrant truck drivers and changed the landscape of sonshi from an agrarian- forest type to a gated community of truck drivers and networks. It further questions the economic dependency of the community on mining that led the male residents to go out in search of newer sources of income and the village only left with females and their children.

When and where does one stop extracting resource?

Does such Intensive insensitive practice of extraction benefit us ?

Once done how does one go about reclaiming it by equal engagement from the communities affected by it ?

Un-Taming The Landscape Museum of Mangroves | Bandra

Encroached land till 2019

2019

1969

The area shaded in blue marks the area of the original estuary that we have encroached on over time. In the efforts of urbanisation, growth, development we reclaimed more land that was otherwise submerged in sea and occasionally exposed during low tides.

These lands were filled with dense mangroves. Mumbai lost 40% of it’s mangroves over 1995-2005, where maximum encroachment took place.The Mithi River tried finding different ways to unfold and escape the clutches of urbanisation, but it was walled, narrowed and deepened. The mangroves around it too were restricted and manicured by the roads built around them. Thus, in this manner human intervention has always tried to ‘tame’ the landscape.

The design thus looks at processes in which this landscape can be ‘un-tamed’ in the process of reviving the ecological cycle that once was the nature of the landscape.

The site is surrounded by a spectrum of activties that are conflicting in nature. Some of these activities are either illegal or ‘unethical’.

Even the act of calling it unethical hides and tames the awareness of these activities to the other half of the city.

The knowledge center will thus look at acknowledging these existing activity cycles in a way that they co-exist by providing various degrees of liesure spaces.

How can the knowledge centre be a manifestation of urban life where all cycles can co-exist and cob verge into a larger system cycle ?

Museum of Mangroves The knowledge center acts as a museum of mangroves by not only giving textbook knowledge via records, but also by experiancing what a mangrove is like.

1947-60

1933

1827

Letting the ground Flood, the intervention can be a series of lightweight ramps raised above ground

The built form has courtyards where the mangroves infiltrate the built space. skylights and courtyards let light touch the ground even on the inside

How does the form not restrict the wild?

How can the build form let the mangroves be wild and un-tamed ?

Museum of Mangroves Restoration of Mangroves - scattered pockets - labyrinth of bridges and ramps - skylights - cane mesh roof

Acanthus Illeifolius - reclining mangrove shrub 50-200cm tall - adventitious aerial roots - in open conditions- leaves grow spiny, in shaded spaces leaves grow spineless - forms a dense undergrowth of roots

1. Regrading Topolography 2. Re-establish Hydrography 3. Natural Regeneration 4. Planting Pioneer species 5. Minimum intervention on the ground

Avicennia Marina - grey mangroves - height- 3-12M depending on the salinity - slightly grey flaky trunks - vertical pneumatophores - lateral root system - small orange flowers in clusters - light green ovoid fruit

Sonneratia Apetala - grey mangroves - grow fast even on newly accreted soil - vertical pneumatophores 15-20 cm - lateral root system - tolerates strong salinity - aromatic flowers in clusters

The knowledge center is dispersed over the site like the labyrinth of roots of mangroves to achieve a experience the variety of species, light, smell and sound associated with the mangroves. The courtyards bring the same inside the built form.

The edge of the nala is cleaned of all waste and sloped towards the estuary. This allows water to penetrate the soil.

Pioneer species like Sonneratia Apetala and shrub like Acanthus Illeifolius planted on newly accreted land to help stabilize the soil.

Avicennia Marina another pioneer species grown in patches to counter-balance the growth of other pioneer species.

In 20 years...

The edge of the estuary has turned into a Riparian Edge. Ocassional flooding takes place. An ecosystem is established with species like Mud Skippers and Fiddler Crabs colonizing the ground. The entire area becomes dense with mangroves

Mangrove Museum Overview

Site section / in 2019

Site section / in 10 years

Site section / in 20 years

Urban Forest

Design School | Borivali

Concept Sketch 1

The Urban Forest is a design school developed by studying the vegetation and ecosystem present on the site. The strategy was to use vegetation as a resource. The building envelope in then characterized by vertical pivoted fins on the exteriors and foldable panels in the interiors. The design school tends to incorporate the same vegetation within giving nature the possibility to take over the built form over time.

SARACA ASOCA + Yellowish orange flowers + Flowering season starts from February to April + Evergreen tree + Attracts asian koel and bats like the flying foxes

Saraca Asoka

POLYALTHIA LONGIFOLIA + Light green flowers + Pyramidal growth + Does not shed leaves + Alleviates noise + Attracts tailed jay and kite swallow butterflies

Polyalthia Longifolia

Vegetation on site

Concept Sketch 2

East View

East West Section facing North

South View

South Elevation

North View

Gaitore ki Chhatriyan Gaitore | Jaipur

Collective Documentation

The city of Jaipur was established in the 18th century both as a royal capital and a center of trade in the present day north Indian state of Rajasthan and is one of the first planned cities of India. At the outskirts of this city, ‘Gaitore ki Chhatriyan’ or the Royal Cenotaphs of Gaitore was a growing necropolis - a cremation site for the Kachhwaha Rajput kings and other members of the royal family of Jaipur.

Located on an undulating terrain, the overall complex is divided into three major segments. The earliest segment contains six cenotaphs, the second segment consists of a singular plinth housing fourteen smaller cenotaphs with cupolas dedicated to the 14 sons of Maharaja Maan Singh and the third segment consists of five cenotaphs, among which two were under construction during the period of visit in 2018.

The architectural typology of the complex responds to the programmatic need for a memorial for the deceased that doubles up as a resting place for traders and other passersby along this route.

Archive of Speculations, Archive as Ruins Gaitore, Jaipur

Curious is man, that makes him dig layers and layers of soil. Is it in search of his past? Is it his imagination that makes him wonder if there is something beyond what he knows? He digs and digs further.

Finds a stone. He speculates, rationalizes, theorizes its existence.

But little does he know if it really was what he thinks it to be.

In the act of observing and measuring the distances, locations of the celestial bodies, one lays a structure in the sky and speculates a relationship among them. To speculate the location of these celestial bodies and map them, their apparatus was of key importance. These heuristic devices were attuned to focus on different relations. Thus, the archive is a speculative attempt to arrive at an overall conception of the nature of the universe and human capabilities.

When you look at a ruin, it has a very secretive nature. Only a part of it is visible o you from a distance. You start speculating about the other half, about its past, its purpose, its future right from the time you see it. Thus, the Archive would be like a ruin, an excavation site. a certain degree of incompleteness exists in a ruin that makes it so speculative.

How can an archive be complete and incomplete at the same time?

Can the archive make someone speculate its past?

Will the archive speculate its own future?

How will its’ own speculative nature add to the archive?

The Folly

Upper Level Plan

Lower Level Plan

Section A

Section B

Section C

Archive of Speculations

The structures, like an excavated ruin, at times submerge in the ground and disguises itself in the landscape. Whereas some stand out evidently above the ground but don’t seem to have any portals of access.

A three-meter-wide bridge takes one across the canal, where lies a folly.

Archive as Ruins

High Rise + Station Concourse Borivali Station

Can the solution to descongestion be congestion ?

The comercial concourse looks at diverting the crowd from the platforms by providing functions like performance theatre and food stalls. The High Rise too provides commercial programs on the lower levels.

The structural load is primarily taken care of by the central service cores and the alternaing girders counter deflection forces.

Alternating floors provide terraces for liesure thus decongesting workspaces.

Model

External Wall Section

Facade Detail

Junction Detail

Expoded

PTFE Membrane

Bamboo Roof

Bamboo Facade

Detail @ 1:5 Bamboo: Guadua Angustifolia ( Dia 60MM ) Box Frame ( 100 x 50 MM) C-section ( 75 x 50 MM) Welding

660.0000

L-Angle (flange:50MM )

Facade Re-Design

2070.0000

2032.9113

Detail @ 1:5

Terrace Bamboo: Guadua Angustifolia ( Dia 60MM )

White China Mosaic Tiles ( 12 mm thick)

Thakkar mall | Borivali

Box Frame ( 100 x 50 MM) C-section ( 75 x 50 MM) Welding

Damp Proof Course ( 50 mm thick)

L-Angle (flange:50MM ) Bamboo: Guadua Angustifolia ( Dia 60MM )

Bamboo: Guadua Angustifolia ( Dia 60MM )

FACADE The facade is made up of repititive panels made of bamboo. These panels are hyperbolic parabolas made of alternate bamboo stems. This arrangement lets in fresh air and keeps the space ventilated.

The panel rows are placed in a way that part of the panels that potrude, shade the lower row panel that is recessed. Thus reducing the overall heat gained by the facade. The alternating bamboo panels form triangular voids that are covered by white translucent multi-walled polycarbonate sheets(30mm).

Liqour Station at 4th floor 2590.0000

2737.9090

Bamboo: Guadua Angustifolia ( Dia 100MM )

R.C.C. Beam Sreeding ( 25 mm thick)

External Wall Section

Bamboo Facade

Bamboo Roof

Light filtering through the bamboo facade

Diffused Light entering through the roof

ROOF The roof too is made using the same panels but care is taken that the part of the panel that potrudes is aligned with the same part of the next column, thus blocking big openings.

This frame of bamboo panels is covered by a tensile translucent white membrane thus letting in diffused light. The bamboo panels too filter the light coming in. The white translucent tensile membrane reflects much of the heat thus reducing the overall heat gained by the roof.

Svaram

Auroille | Research + Documentation Svaram’s adventure started in 2003, when it began as a vocational training opportunity for unemployed village youth of Tamil Nadu.

Svaram has a cluster of building blocks which are the main museum of instruments, the warehouse and the studio. A resident block, office and storage with the shop space and an open place where instruments are placed to be tried and tested by the visitors. Quite interestingly the various spaces are on the either side of the road. Here, the street has also has been considered a very important part of svaram itself for engagement and attracting people. The instrument acts as an attracting force which is at the gateway of both the entrance

Shreepati Arcade

Mumbai | Research + Documentation Volunteer work at an on going reasearch called ‘Decoding Urban Form’ in Mumbai at sP+a

Performing Arts Center Bandra | Working Drawing

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ROLL NO | A16 - 36 THIRD YEAR B.ARCH CHECKED BY 2018 - 2019

SCHOOL OF ENVIRONMEN AND ARCHITECTURE

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GENERAL NOTES

KEY PLAN ALL DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO BE FOLLOWED. DRAWINGS TO BE SEEN WITH RESPECT TO ALL OTHER DRAWINGS. P.C.C. IS IN THE RATIO OF 1:3:6 (CEMENT : SAND : COARSE AGGREGATE).

ALL LEVELS SPECIFIED IN METERS. N ALL DECISIONS REINFORCEMENT CALCULATIONS NEED TO BE TAKEN BY STRUCTURAL ENGINEER. DO NOT SCALE THE DRAWING. ALL DISCREPANCIES SHALL BE BROUGHT TO NOTICE TO THE ARCHITECT BEFORE THE COMMENCEMENT OF ANY WORK. RICHER CONCRETE MIX TO BE USED FOR THE FOUNDATION AND M:30 MIX TO BE USED FOR THE SUPER STRUCTURE, ALL MIXES SHALL BE SUGGESTED, EXAMINED AND APPROVED BY O THE STRUCTURAL ENGINEER. THE COLUMNS ARE STEEL REINFORCED CONCRETE AND THE WALLS ARE MADE OF A.A.C AUTOMATED AERATED CONCRETE. VERIFY FIELD CONDITIONS AND COORDINATION STAMP & SIGN WITH THE PROJECT DOCUMENTS PRIOR TO PROCEEDING WITH THE WORK. WORK WITHIN THE FIELD BOUNDARIES AS SPECIFIED IN THE PROJECT DOCUMENT AND COMPLY WITH P ALL THE APPLICABLE BUILDING CODES, REGULATIONS AND ORDINANCE REQUIREMENTS. OCCUPANTS ON THE ADJACENCIES TO THE PROJECT AREA SHALL CONTINUE UNINTERRUPTED/UNDISTURBED OCCUPANCY DURING THE CONSTRUCTION OF THE PROJECT.

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GENERAL NOTES

ALL DIMENSIONS ARE IN MILLIMETERS OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO DRAWINGS TO BE SEEN WITH RESPECT DRAWINGS. P.C.C. IS IN THE RATIO OF 1:3:6 (CEME COARSE AGGREGATE).

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300

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3600

3070

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900

3600

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3470

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300

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CHANNEL FIXING GFRC PANEL TO T- ANGLE HOLLOW STEEL ROD Ø 2OMM 300

300

3600

3470

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3070

3600

3470

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3070

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DETAIL B @1:20

HOLLOW STEEL ROD Ø 2OMM

SILICONE FILLING 10MM THK

300

300

300

SILICONE FILLING 10MM THK

300

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3600

3470

GFRC PRECAST HOLLOW PANE 830

GFRC PRECAST HOLLOW PANELS

CHANNEL FIXING GFRC PANEL

CHANNEL FIXING GFRC PANEL TO BEAM

830

ART GALLERY

3070

3600

3470

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3070

300

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270 324

270

3600

3470

3600

3470

DIRECTOR GENERAL'S CABIN 3070

DIRECTOR GENERAL'S CABIN

3070

324

DETAIL C @1:20

DETAIL C @1:20

BASEMENT BASEMENT

1200

1200

B

B

PLINTH PLINTH

RANDOM RUBBLE 250MM THK RANDOM RUBBLE 250MM THK

SHAHABAD TILE 25MM THK SCREEDING 15MM THK SHAHABAD TILE 25MM THK SCREEDING 15MM THK

SHAHABAD TILE 25MM THK SCREEDING 15MM THK SHAHABAD TILE 25MM THK SCREEDING 15MM THK

2400

2400

SHAHABAD TILE 25MM THK SCREEDING 15MM THK

SHAHABAD TILE 25MM THK SCREEDING 15MM THK

BASEMENT RAFT FOUNDATION 700

RAFT FOUNDATION 700

P.C.C 250MM THK

500

500

P.C.C 250MM THK RANDOM RUBBLE 250MM THK SOLING 250 250

C

BASEMENT

RANDOM RUBBLE 250MM THK SOLING

TYPICAL FLOOR PLAN @1:50

2500

2225

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4750 300

5000

2175

250

2425 500

TERRACE +19.40M

200

4000 2500

1050 1180 1300

300 300 300 300 300 300 300 300 300 300 300

MIDLANDING +17.60M

2225

FS

FOURTH FLOOR +15.8M

1050 1180 1300

DETAIL @1:20

300

MIDLANDING +14.00M

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15

15

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150 THIRD FLOOR +12.20M

1050 1180 1300 1050 1180 1300

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SECOND FLOOR +8.60M

1050 1180 1300

MIDLANDING +6.80M

DETAIL @1:20 FIRST FLOOR +5.00M

1050 1180 1300

1047

MIDLANDING +3.20M

R.C.C. SHEAR WALL 250 THK

GROUND FLOOR +1.40M

300

1200

150 MIDLANDING -0.40M

150 300

BASEMENT -2.20M

R.C.C RIBBON STAIRCASE

MICRO CONCRETE FLOOR FINISH 150MM THK

HANDRAIL

S T T A A V W P W I A A O P U T

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3600

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3600

FOURTH FLOOR +15.8M

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3600

3600

3470

3600

SECOND FLOOR +8.60M

SEA SIDE

2550

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3070

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DIRECTOR GENERAL'S CABIN

FIRST FLOOR +5.00M

3600

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3600

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SR.N

3600

TERRACE +17.6M

3600

FOURTH FLOOR +15.8M

3600

SECOND FLOOR +8.60M

SEA SIDE

3600

THIRD FLOOR +12.20M

3600

FIRST FLOOR +5.00M

1200

GROUND FLOOR +1.40M GROUND +0.20M

PE AT

DIV A

B

C

D

E

F

G

H

I

RO THIR 201

SC

Material Sense

Subtraction | Concrete Material is what produces and allows, a form to be shaped, and a space to be perceived.

Sense is what emerges when meaning is excavated out of material. The method used for casting the architectural space designed was subtarction by dissolving.

The idea was to interpret the space by designing the negative and using different methods to eliminate it to obtain an interactive experiance of the then formed positive.v The negative was designed neatly, with different vantage points using grid geometry and 8 sections.

Styrofoam is made from polystyrene, which is readily soluble in acetone. Thus, when acetone was poured on styrofoam casted in concrete it melted and dissolved in acetone leaving the carved concrete behind.

Material Sense

AESS | Concrete | Brick A deeper understanding of material and its properties and potentialities can sensitize one towards its use in Architecture which then, becomes a craft of sculpting spaces.

The cafe designed is an AESS- Architecturally Exposed Steel Structure that looks at load distributed on a tiled spine.

The structure designed tests a shell structure who’s volumes rests on four surface points only.

The last image showcases the base formwork for a 1:1 mud and brick bucket handle arch that we built as a part of the Brick Arch hands-on workshop.

Kala Academy, Goa

Logo prototype for India Culture Lab’s event, Urdu Culture Now

The Giel that smiled

Field of Chimes Installation at SEA

Illustration for ‘The Viper and the File’ Aesop Fable

Onsite sktech from Mill Owner’s building, Ahemdabad

Miscellaneous Works

Drawing from Gaiwadi, Inner City, Mumbai