Email Semester Subject Student Name Ruchi Pathak Tech Design V ruchi1@aoamumbai.in Studio Conductors Ar. Saurabh Mhatre, Ar. Harshada Shintre : : : : : : : : : Illustration 1: the form created for this illustration was created by Arithmetic Addition. The best angle of the volume arrangement was where multiple surfaces were covered. The representation was in the style of Yakov Chernikhov. Each face is represented in distinct lines and curves with fenestration in different textures. Illustration 2: the form created for this illustration was created by Arithmetic Division. The angle of the arrangement was similar to that selected by Alberto Sartoris in his representation. This angle covered different facades as well as the central void. Each façade was represented with colours concerning the direction they were facing. More focus was created on the roof by the eye view of the illustration. Previous Next Arithmetic Modes Representation 7

Ground Towering Previous Next Email Guide Semester Subject Student Name Krishnendu Nair Theory of Structures + Architectural Building Construction and Materials II Ar. Hardik Dedhia krishnendun20@aoamumbai.in Studio Conductors Ar. K. V. Parmeshwar, Ar. Rohit Karekar, Ar. Hardik Dedhia, Ar. Kanak Kashayp, Ar. Pranay Bhavsar. Ar. Rajesh Shelke : : : : : : : : : : : This model is an example of a design that could take up a load of more than 1 kg without failing. This model is inspired by origami art, an art of paper folding. After many trials and errors, a suitable proportion was obtained in which the design was most stable and could bear load without failing. The height to the base proportion stabled the structure, whereas the folds helped in the proper load transfer. The material used was an A3 size cartridge sheet, where half-cuts, made on the sheets, helped to fold the paper. The design is made by interlocking three different parts where two of the three parts were of the same module, which were repeated twice. The top two modules were made by folding, while the base was a hexagonal structure, where two hexagons were interlocked internally to provide a strong base. While in the top two modules, the folds were interlocked to create a strong core. The interlocking of the three modules was obtained by just making cuts and placing them on top of each other.

Email Guide Semester Subject Student Name Shrutee Patil Architectural Design Semester 6 Saurabh Jain shruteep19@aoamumbai.in Studio Conductors shruteep19@aoamumbai.in : : : : : : : : : : : Understanding Micromegas The Micromegas series of 10 drawings is named after a satirical story by Voltaire. “An architectural drawing is as much a prospective unfolding of future possibilities as it is a recovery of a particular history to whose intentions it testifies and whose limits it always challenges. In any case, a drawing is more than the shadow of an object, more than a pile of lines, more than a resignation to the inertia of convention.” These drawings will be the basis of the form exploration exercise for the students. The given one drawing is divided into 42 parts and all models will come together to make one whole. The students followed the following steps : 1. Recognize planes, shapes, forms of the given (part) drawing by studying it. 2. Identify elements/ parts of the drawing for exploration. 3. Hands on development of the form. 3-Dimensional Exploration Of Drawings Process Sketches Exploring microcosms within the ‘Micromega’ constructed i.e. the model built in stage 1, based on the various narratives from the book Invisible Cities by Italo Calvino. Each student is assigned a chapter from the book which will be the basis of their visual exploration of the Microcosm documented through the medium of videography and photography. The perceived scale of the Microcosm will be left to the imagination of the individual student, and so will be the act of the microcosm. Finding Invisible cities Formwork We live in the world of forms and shapes, and all the creatures in the universe, natural and man-made objects are made up of infinite number of forms and shapes. Everything possesses a form in one way or another. Form in architecture not just plays a very crucial role but it is probably the most debated subject as well. It is not just simply the shape or configuration of a building or object but it comprises of lot many elements be it a point, line, plane or a volume. The focus of the orientation workshop is to make the students explore and understand the basic elements like line, shape, form and texture and to work on creating new forms using elements in 2dimension (2D) and 3dimension (3D). This will help students gain a hand-on experience in developing forms, explore process and form finding. These activities are the basis for systematic, open-ended explorations of form. Using a specific material, the students have to make a model/ 3D form by interpreting the given 2D drawings. The objective of the workshop is to focus on exploring form and learning basic techniques for form making. Students are expected to try new methods and, when appropriate, build on previous studies. They also have to work through the inevitable ebb and flow of the creative process. The main takeaways will be the ability to imagine form and use alternative methods of visualizing concepts. And there is the added layer of materiality and tactile experimentation that directly translates into working in spatial environments and 3d design. FORMWORK Email Guide Semester Subject Student Name Shrutee Patil Architectural Design Semester 6 Saurabh Jain shruteep19@aoamumbai.in Studio Conductors shruteep19@aoamumbai.in : : : : : : : : : : : The Team Faculty Co-ordinators Ar. Juhi Prasad Ar. Harshada Bapat Shintre Ar. Saurabh Mahtre Miss Teja Gavankar Ar. Rohit Shinkre Ar. Shripad Bhalerao Ar. Karan Danda Ar. Shruti Barve First year section B Aaliya Shaikh Aarchi Jain Amogh Patange Anjali Satardekar Anurag Shetty Anushree Mahajan Arya Gaikwad Atharv Mhatre Bhoomi Tawari Devang Redekar Manan Agrawal Mandar Atkare Mishree Kothari Namrata Sawardekar Nandini Agrawal Palak Nawal Raj Kothari Rituraj Kumar Sakshi Chavan Devanshi Shrivastava Hardik Purohit Harshada Oza Harsita Baruah Janhavi Navare Kaveri Agone Khushi Hathiram Khushi Kumath Khushi Muley Komal kewat Samruddhi Patil Sayali Sarfare Shreeya Desai Sneh Dikshit Tanvi jadhav Tushar Shetty Twisha Rambhiya Vidhi Kothari Vidhi Rajda Vinaya Sonawane Fifth year Teaching Assistants Adish Rathod Akanksha Singh Ansh Gala Ganesh Beniwal Harshil Jain Jayesh Sharma Manan Hingoo Mansi Kothari Pradyumna Vikharankar Prajwal Pembarti Ritika Mehta Shruti Sahasrabudhe Soham Tulaskar Vedant Khedekar

Computation Previous Next Email Guide Semester Subject Student Name Kaankshi Shah Technical Design IV Ar. Rohit Shintre kaankshi19@aoamumbai.in Studio Conductors Ar. Harshada Shintre Ar. Karan Danda Ar. Amey Ghosalkar Ar. Saurabh Mhatre Ar. Rohit Shintre : : : : : : : : : : : Designing a community centre with an atypical expression, visually and spatially with the same function and common arithmetic modes of addition, subtraction, multiplication and division so developed arrangement and formation of basic shapes. ADDITION: An additive form is derived by addition of one volume over another via spatial tension, edge to edge contact, face to face contact or interlocking volumes to develop a visual trait. MULTIPLICATION: Multiplicity as a function to repeat units in various orientations and surfaces with the same module to develop a collective form from a unit. SUBTRACTION: Subtractive form is a transformation by taking away a volume depending upon the identity to be retained and portion of subtraction. DIVISION: Division as an operation to develop flow and organization with partitions with a dedicated sequence and journey along the spaces.

Margins Previous Next Email Guide Semester Subject Student Name Mahir Mody Technical Design IV Ar. Shripad Bhalerao, Ar. Karan Danda, Ar. Amey Ghosalkar mahir19@aoamumbai.in Studio Conductors Ar. Shripad Bhalerao, Ar. Karan Danda, Ar. Amey Ghosalkar : : : : : : : : : : : The intent of the exercise is to focus on logic building to generate forms using RCC as a material. And to understand the strengths, weaknesses and failure of using such a material. Also we try to understand how the material along with technology has allowed us to move from the conventional forms to more advanced forms, through examples and the described exercise. We were able to design 2 types of structures. One which showcased verticality and the other compression. The said designs were then identified for reinforcement patterns and then a mould created to pour the concrete and place said reinforcement wherever necessary. The final outcome, showcases the shortcomings, when adequate amount of reinforcement is not provided, due to which the structure would have fracture points. Hence, it is imperative to make sure, the correct proportion and grade of concrete is mixed with reinforcement, to make sure the desired form is achieved.

Email Semester Subject Student Name Bhavya Mewada Tech Design V bhavya19@aoamumbai.in Studio Conductors Ar. Saurabh Mhatre, Ar. Harshada Shintre : : : : : : : : : The First Illustration Shows The Representation Of Arata Isozaki’s Style For The Form Which Is Generated Through Addition Mode Of Elements. The Character Of The Facade And The Overall Form Gets Highlighted At Such An Angle. The Textures And Colors Used Brings Out The Connection Of The Spaces And Interlocking Surfaces, And Creates A Common Identity For The Form. The Sciography Creates A Sense Of Volume And Adds A Layer Of Dimension That Otherwise Would Not Be Grasped. The Second Illustration Shows The Representation Of Bernard Tschumi’s Style For The Form Which Is Generated Through Multiplication Mode Of Elements. The Structural System And Planning Is Focused In Foreground And The Lines Moving Creates An Illusion Of Continuity And Sense Of Curiosity In Space. The Color Red Is Focusing The Viewers Perspective To The Form And The Exterior Of The Structure. Previous Next Arithmetic Modes Representation 2

Email Semester Subject Student Name Kaankshi Shah Tech Design V kaankshi19@aoamumbai.in Studio Conductors Ar. Saurabh Mhatre, Ar. Harshada Shintre : : : : : : : : : ILLUSTRATION 1: It is a representation in the style of OM Ungers, characterized by a strict geometric grid with simple design elements. The building is depicted as a miniature city by simplifying the surrounding context and highlighting each plane with a typical set of lines developing a pattern within. ILLUSTRATION 2: It is a representation in the style of Arata Isozaki, strongly shaped by the destruction and possibilities of industrial society. It illustrates the tension between ambition and trauma for transformation by hiding the actual size and shape, arrangement of rooms, and circulation routes inside the building. All this is concealed under the dominant layer of sciography in the backdrop Previous Next Arithmetic Modes Representation 5

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Stability Previous Next Email Guide Semester Subject Student Name Prathamesh Panchal Technical Design IV Ar. Shripad Bhalerao, Ar. Karan Danda, Ar. Amey Ghosalkar prathamesh19@aoamumbai.in Studio Conductors Ar. Shripad Bhalerao, Ar. Karan Danda, Ar. Amey Ghosalkar : : : : : : : : : : : The agenda of the assignment was to understand concrete as a material and to test its capacity of withstanding long spans and cantilevers by form development. 1. The first step was to design 2-forms, one spanning horizontally and the other standing vertically. The material distribution and thickness of the form is crucial at this stage. 2. The second step was to erect a formwork to achieve the desired shape of the form. The formwork needs to be made accurately without any gaps between surface or else concrete may leak from that spot and lead to damage of the form. 3. Third step was placing reinforcement on the tension side of the form. This step also includes the analysis of form by identifying the tension points in the form. 4. The fourth step was mixing concrete, sand and water in the ratio of 1:2. The slurry must be such that it reaches all corners of the formwork. After pouring slurry into the formwork tapping was done to release trapped air bubbles. 5. After a day, the formwork was removed and curing of concrete was done for 2 days. The form achieved was of desired shape without any cracks and deflection in the material.

Email Semester Subject Student Name Himanshi Mittal Tech Design V himanshi19@aoamumbai.in Studio Conductors Ar. Saurabh Mhatre, Ar. Harshada Shintre : : : : : : : : : The first illustration is visual representation of quality of space achieved by simple boolean operation of subtraction of volumes. The style of representation is of peter cook. The first illustration is showcasing the planning achieved by dividing the spaces into smaller segments adapted to the respective functions. The style of representation is of James Stirling. Previous Next Arithmetic Modes Representation 3

Operational Forms Previous Next Email Guide Semester Subject Student Name Jayraj Mistry Technical Design IV Ar. Karan Danda jayraj19@aoamumbai.in Studio Conductors Ar. Harshada Shintre Ar. Karan Danda Ar. Amey Ghosalkar Ar. Saurabh Mhatre Ar. Rohit Shintre : : : : : : : : : : : Designing the spaces through the arithmetic modes like addition , subtraction, division and multiplication adds to the different values of the spaces which can be portrayed through the formation and arrangement of the space according to the arithmetic modes. Addition aims at the addition of the space edge to edge , side by side or face to face thus creating the harmony of space linked with each other. Subtraction aims at subtracting the spaces from one whole entity thus creating a thought of something lost or being carved out of the same volume. Multiplication aims at multiplying a similar volume or an object edge to edge , side by side thus creating a sense of repetition in the overall sense . Division aims at thoughtfully adding the planes according to the activities, movement and sequencing of the spaces thus creating a detailed path of journey across the entire design. This exercise explored the same community centre into four different modes , thus creating different experience and spatial qualities at the same time considering the same function. Thus, different qualities and senses of the building can be achieved.