Spring 2022
Course Name Contact Equivalent Credits Course No.
Hours Credit Hours
ARCH 0009
Form and Structure Atelier 135 9 9 INTD 0009
BEAS 0009
BMC- Form and Structure 45 3 3 ARCH 0010

Course Information
Course Duration: 15 Weeks
Credit Hours: 9 (+ 3 BMC credits for architecture students)
Meetings: Section 2:
Wednesday 2:00 pm – 6:00 pm and
Friday 9:00 am-1:00 pm
Location: JSAA Studio 2A
Prerequisites: None
Equivalent Courses: None
Exclusive Courses: None

Instructor Information

Name Email Telephone Office Office Hours

Wed:
Walk in
12:00 pm to 1:00
Czaee Malpani cmalpani@jgu.edu.in +91-8396907410 pm
Fri:
By appointment
2:00 – 3:00 pm

 
 
 
 
 
 
 
 
Course Manual –

1. Course Description
The Form and Structure Atelier trains students how to develop and make form and structure of any
object or entity. By form and structure, we mean both the look and feel of objects and how this look
and feel is sustained /put together/ held together. Students learn how form emerges through
negotiations with making & material, style, use, taste, memories, aspirations, fashion, etc. making it.

Of all questions that concern architects and designers, perhaps the central one is regarding the
production and generation of form of the built environment. Where does it come from? does it
follow function? Or fiction? Or feeling? Does form arise from habits? Or from economic and
political exigencies? Does form follow culture? Does it come from construction practices? Or
material? Or even aspiration? These are some of the questions that this atelier shall explore through
multiple exercises and projects of building.

Often the making of built environments or buildings seem to align themselves to the narrative that
the designer “creates” form, and herein lies their own “creativity.” Yet, we come back to the
question that we begin studies at the JSAA with: can we make anything that we haven’t already seen
before? Is there ever such a thing as an “original” idea? Is anybody re-inventing the wheel? Indeed,
should they? Take for example, the Rashtrapati Bhawan – is it an original building in terms of how it
looks and feels? By merely clubbing it with others under the rubric of style, do we obfuscate both
the lineages and design processes that have actually allowed for that building (or any building) to
happen? Thus, for our purposes we will adhere to Form Follows Form.

In this vein, we use this atelier to study how form and structure, or more accurately, the look and
feel of anything – be it an object or a building- emerges out of many such similar incidents or
precedents. We therefore think of this exercise of making environments, as derivative and not
generative. By following a series of steps and strategies, we will learn to understand the look and feel
of buildings or built environments as “stagings” which will involve studies of scenes, mise-en-scene,
and sets. The following steps will inform our method

 Found Images: precedents of form and structure that correspond to the problem at hand
 Analysis: understanding found images for look and feel through construction assemblies
 Mise-en-scene through Placing/Staging: composition that address the problem at hand
 Set Derivation: modelling the mise-en-scene into a 3-dimensional composition
 Reverse Engineering to presentation and construction drawings

Simultaneously, we will foreground how this method of design takes into account not only the
Vitruvian triad of firmitas, utilitas and venustas (that is, how is something made, how does it work
and how does it look) but importantly, its intersection with the programmatic requirements, various
legalities of bye-laws and project-associated budgets. As always, the clients’ narratives will be
paramount to these exercised, whether the client is fictional or real. Thus, working over three
projects, we will cover all stages of production from schematic designs to good for construction sets.

Page 2 of 24
Course Manual –

Over the course of 15 weeks, we will take up 3 projects which will vary in size.
 Project 1 – Kawaguchi’s Café – You will read Before the Coffee gets Cold and derive the café
described (3 weeks): 15%
 Project 2 – Sitting in Style – You will rework an existing piece of furniture, likely a sofa, by
understanding its form and its required style (2 weeks): 15%
 Project 3 – Community Toilet – You work to re-develop the look and feel of Community
toilet in Sonipat, Haryana. This project will foreground issues of Menstrual Hygiene
Management, amongst other issues of sanitation and gender. (10 weeks): 40 %

While we will look at services and space layouts, these aspects will not be foregrounded, but will
emerge out of a negotiation with the derived look and feel of the various environments. Further, the
atelier is designed in such a manner that the learning outcomes are syncretic and repetitive.

2. Course Intended Learning Objectives (Aim)

Aims:
 Investigate the production of form through various techniques
 Understand the production of form through negotiation with multiple stakeholders; human
and non-human
 Understand and assess forms of the built environment.
 Develop an understanding of how space layouts emerge through negotiations of the
exigencies of different non-human and human actors
 Understand different forms of spatial relationships

Learning Outcomes:
 LO1: Develop the ability to recognize and identify keywords/ descriptors in relation to
different forms and structures.
 LO2: Demonstrate the ability to mediate between narratives and related images to identify
precedents for the project at hand. (found images)
 LO3: Demonstrate an understanding of and the ability to assess forms of the built
environment: through the ability to select, identify and analyse appropriate precedents in
order to understand how their 'look and feel' has been generated through their formal
assembly (scale, size, axes, symmetries, balance, order, arrangement) and materials (materials,
assemblies and economies). Additionally, develop the vocabulary to do so. (analysis)
 LO4: Demonstrate the ability to investigate the production of form through various
techniques through the ability to make several such iterations of the LOOK AND FEEL for
a project with a short span of time, thus, also critically questioning the basis of "one ideal
form." (mise-en-scene)
 LO5: Demonstrate the ability to simultaneously reverse engineer a selected form-collage
through the use of drawings and other media for representation; in order to resolve potential
conflicts and tensions across different aspects of the building. (set derivation)
 LO6: Demonstrate the ability to communicate the making of the project through GFCs
and BOQs (reverse engineering)
 LO7: Demonstrate the ability to negotiate the production of form and structure with
multiple stakeholders and agents.
Page 3 of 24
Course Manual –

Course Intended Learning Teaching and Learning Assessments/Activiti

Outcomes Activities es
1. Develop the ability to recognize Reading and writing Presentations,
and identify keywords/ narratives, Identifying Individual and group
descriptors in relation to keywords, reverse crits, reviews.
different forms and structures. ‘Pictionary.’
2. Demonstrate the ability to Moodboards / collages / mise Presentations,
mediate between narratives and en scenes / reels Individual and group
related images to identify crits, reviews.
precedents for the project at
hand.
3. Demonstrate the ability to Image analyses, image Presentations,
select, identify and analyse studies, digital collages and Individual and group
appropriate precedents in order studies, price tagging crits, reviews.
to understand how their 'look
and feel' has been generated
through their formal assembly
(scale, size, axes, symmetries,
balance, order, arrangement)
and materials (materials and
economies). Additionally,
develop the vocabulary to do
so.
4. Develop the ability to make Quick digital models and Presentations,
several such iterations of the collages, price tagging. Individual and group
LOOK AND FEEL for a crits, reviews.
project with a short span of
time, thus, also critically
questioning the basis of "one
ideal form."
5. Demonstrate the ability to Schematic and Design
simultaneously reverse engineer Development drawings, Presentations,
and assemble a selected form- broad estimates Individual and group
collage through the use of crits, reviews.
drawings and other media for
representation; in order to
resolve potential conflicts and
tensions across different aspects
of the building.
6. Demonstrate the ability to GFC sets with BOQS
communicate the making of the Presentations,
Individual and group
project through GFCs and crits, reviews.
BOQs

7. Demonstrate the ability to Translations, client

negotiate the production of interviews
form and structure with
multiple stakeholders and
agents.

Page 4 of 24
Course Manual –

3. Scheme of Evaluation and Grading

The course uses multiple assessment strategies to evaluate student progress. These range from
presentation reviews, debates, group discussions, and researched papers, among others. You are
expected to improve and refine work as appropriate in response to critique and formative feedback/
feed forward throughout the semester. All major assignments will be given through briefs that you are
supposed to engage with and interpret.

All assignments will be due as per the session plan (section 10 of manual). For each assignment and/or
review you will be graded across four categories: 1. Iterations/Learning, 2. Research and Analysis, 3.
Presentation, and 4. Professionalism. The aggregate of these, will constitute your grade for the
assignment/ review.

Iteration: means an evaluation of the numbers of times you have discussed and revised your work based
on input received from your instructors

Research and Analysis: means an evaluation of the rigor of the study and investigation you have
undertaken towards your work, which includes but not limited to citing your sources, developing
bibliographies, analysing articles that you have read, projects you have looked at, materials you have worked
with, surveys you have undertaken, data you have collected etc.

Presentation: means an evaluation of the effectiveness with which you have communicated your work
through any media written, oral, visual, etc.

Professionalism: means an evaluation of the regularity of your attendance and participation in class,
meeting deadlines, contributing to class discussions and groupwork, and abiding by ethical and fair
practices.

Late Submissions will only be accepted till 24 to 48 hours from when the assignment was due but
will incur an automatic one-step grade loss for each 24-hour period. Failure to submit within 48
hours of the deadline will be an automatic F/ cancelling of the grade for that assignment. Any
changes to assignments and assessments, will only be allowed upon written permission from the
instructor. In case of any medical emergencies the section 5, Participation and Attendance
Policy, in this course manual comes into effect.

Evaluation Components & Distribution of Marks

Components Internal External
(Continuous) (End Term)

(A) Project 1- Kawaguchi’s Cafe 15 0

(B) Project 2- Furniture Refurbished 15 0

(C) Project 3- Community Toilet Facilities 40 0

(D) External Review 0 30

Page 5 of 24
Course Manual –

Further Evaluation Components & Distribution of Marks

A. Kawaguchi’s Café
a. Found Images and Analysis 5%
b. Mise-en-scene and Placing 5%
c. Set Derivation 5%
B. Furniture Refurbished
a. Found Image and Analysis 5%
b. Mise-en-scene and Set Derivation 5%
c. Presentation Drawings 5%
C. Community Toilet Facilities
a. Found Image and Analysis 5%
b. Mise-en-Scene and Set Derivation 10%
c. Presentation Drawing 5%
d. GFC Drawings 15%
e. BOQ 5%
NOTE: For architecture students, the GFC and BOQ component will carry over to their
grades for the BMC component as well.

Over the course of 15-weeks you will undertake 3 projects as mentioned above. All projects have
been divided into a series of syncretic steps in order for you to follow a method. It is mandatory to
come prepared to class with all project steps in the forms of deliverables mentioned in the brief/s
shared, as well as the session plan. You are expected to productively utilize class time as per the
session plan to further develop your work. Failure to do this, would result in an F for that step. Two
Fs in any project, would result in an automatic F for the entire project. Additionally, there may be a
series of small non-graded warm-up time problems that you will be expected to complete.

In order to successfully understand and work in this studio, you will be working in analogue as well
as digitally. Please ensure that at any given time all your stationery and other peripherals are available
with you before class starts. If you have to expend class time to gather your materials, you will be
marked absent for that class. (Please see section 5 of the course manual.)

Grade Definitions
Letter Percentage of Grade Grade Definitions
Grade Marks Value
Outstanding: Exceptional knowledge of the subject matter,
O 80% and above 8 thorough understanding of issues; ability to synthesize ideas, rules
and principles and extraordinary critical and analytical ability
Excellent: Sound knowledge of the subject matter, thorough
A+ 75% – 79% 7.5 understanding of issues; ability to synthesize ideas, rules and
principles and critical and analytical ability
Very Good: Sound knowledge of the subject matter, excellent
organizational capacity, ability to synthesize ideas, rules and
A 70% – 74% 7
principles, critically analyse existing materials and originality in
thinking and presentation
Good: Good understanding of the subject matter, ability to
A– 65% – 69% 6 identify issues and provide balanced solutions to problems and
good critical and analytical skills

Page 6 of 24
Course Manual –

Fair: Average understanding of the subject matter, limited ability

B+ 60% – 64% 5 to identify issues and provide solutions to problems and
reasonable critical and analytical skills
Acceptable: Adequate knowledge of the subject matter to go to
B 55% – 59% 4
the next level of study and reasonable critical and analytical skills
Marginal: Limited knowledge of the subject matter and irrelevant
B– 50% – 54% 3 use of materials and, poor critical and analytical skills

P1 45% - 49% 2 Pass 1: Pass with Basic understanding of the subject matter.
Pass 2: Pass with Rudimentary understanding of the subject
P2 40% - 44% 1
matter
Fail: Poor comprehension of the subject matter; poor critical and
F Below 50% 0 analytical skills and marginal use of the relevant materials. Will
require repeating the course

4. Academic Integrity
Academic integrity entails absolute honesty in one’s intellectual efforts. The JGU Student
Handbook details the facets and ramifications of academic integrity violations, but you should be
especially aware of the policies on cheating and plagiarism. Cheating is any action that violates
University norms or an instructor’s guidelines for the preparation and submission of assignments.
Such actions may include using or providing unauthorized assistance or materials on course
assignments, or possessing unauthorized materials during an examination. Plagiarism involves the
representation of another’s work as your own. For example:
a. submitting as one’s own any material that is copied from published or unpublished sources such
as the internet, print, computer files, audio disks, video programs or musical scores without
proper acknowledgement that it is someone else’s;
b. paraphrasing another’s views, opinions or insights without proper acknowledgement or copying
of any source in whole or in part with only minor changes in wording or syntax even with
acknowledgement;
c. submitting as one’s own work a report, examination, paper, computer file, lab report or other
assignment which has been prepared by someone else.
If you are unsure about what constitutes unauthorized help on an exam or assignment, or what
information requires citation and/or attribution, please ask your instructor.

Violations may result in the failure of the assignment, failure of the course, and
additional disciplinary actions.

5. Participation/Attendance Policy
Each one of you is expected to be an active participant in class activities and class discussions. Your
marks on the internal assessment will reflect your class participation.
A minimum attendance of 75% is required as per university regulations.
1. If you are over ten minutes late to class, you will be marked absent for the session.
2. If you are missing for over 15 minutes of class-time, without instructor permission,
you will be marked absent.
3. If you do not utilize class time adequately towards completing the work assigned,
you will be marked absent for the session, as well as be given an F (for iterations
and professionalism) for that stage of the project.

Page 7 of 24
Course Manual –

A student who misses 2 or more classes or any assessment in any course must inform the Program
Manager of JSAA and the pertinent Course Instructor in writing at the earliest opportunity and by a
certificate from registered medical practitioner within one week of their return if they do not wish to
be marked absent for the missed classes.
A student who, during a semester, desires leave of absence for more than two full consecutive days
for non-medical reasons shall apply to the Dean concerned in writing at the earliest opportunity,
stating the reasons for the intended leave of absence.
A student who is suspended shall not be permitted to attend classes during the period of suspension.
A student who has been absent, whether leave has been granted under these regulations or not, for a
period of such length as to make it impossible, in the opinion of the Dean concerned for the student
to complete the semester’s work satisfactorily, shall not resume attendance in the same semester except
with the permission of JSAA’s Academic Affairs Committee.
A student who is not permitted to resume attendance in the same semester shall be regarded as having
withdrawn from the studies with effect from the first day of absence but may be re- admitted at the
commencement of the next semester unless in the opinion of the Dean concerned it is inappropriate
to do so. The student may be required, before being re- admitted, to submit a certificate signed by a
registered medical practitioner to the effect that the student’s state of health will permit the student
to resume and to complete the studies.
A student who is unable for reasons of health to attend classes for a period of more than twelve
continuous months shall be regarded as having withdrawn from studies but may apply again for
admission to the same or to another course or programme of study provided that the student submits
a certificate signed by a registered medical practitioner to the effect that the student’s state of health
will permit the student to resume and to complete the studies. In case a student submits a certificate
signed by a registered medical practitioner, the University may seek a second opinion from another
medical practitioner

6. Use of phone/ texting/ laptop

Use of any electronic device during class, including the time you are engaged in fieldwork, is
prohibited unless explicitly authorized by a faculty instructor.

7. Keyword Syllabus
Form; structure; assembly; collage; venustasis; firmitasis; utilitasis; material; styles; taste; aesthetics; 
memories; associations; aspiration; narratives; construction; economies; ecologies; negotiations; mise‐
en scene, staging, scene, set, visualization, materiality  

8. Specials Needs

Disability Support and Accommodation Requirements:

All students can access support from the Centre for Wellness and Counselling CWCS 24X7
Helpline Number: +918396907312 or with prior appointment at the Email ID: cwcs@jgu.edu.in.

The students who want support for mental health difficulties may be referred to access
YourDost Support: Students can opt for chats, telephonic and video-based sessions at
yourdost.com. Online chat counselling 24x7 from the Experts, they can
use bit.ly/YDatJGUChat and to book an appointment for Telephonic or Video (Skype) sessions
with Experts they can use: bit.ly/YDatJGUBookAppointment.

Page 8 of 24
Course Manual –

The students can also reach out to The JGU Health Centre Helpline is 8930110722.

The Disability Support Committee aims to provide an inclusive learning environment for all
students. We have adopted the best international practices to achieve a fine-balance between
institutional goals and student well-being. The Committee provides a range of accommodations to
the conditions identified by The Rights of Persons with Disabilities Act, 2016, the Mental Health Care Act
2017 and the University Grants Commission and well-beyond. The RPWD Act, 2016, includes 21
conditions: cerebral palsy, dwarfism, muscular dystrophy, acid attack victims, hard of hearing,
speech and language disability, specific learning disabilities, autism spectrum disorders, chronic
neurological disorders such as multiple sclerosis and Parkinson's disease, blood disorders such as
hemophilia, thalassemia, and sickle cell anemia, and multiple disabilities. The Act also recognises
intellectual disabilities and mental illness. The University Grants Commission has addressed the
Rights of Persons with Disabilities Act 2016 within the Higher Education Institutions to make
learning an inclusive experience.

DSC registration is open throughout the year. We prefer that students with long-standing
conditions should register at the beginning of the semester so that we can make the necessary
arrangements. The DSC will take at least 14 business days to make arrangements with the respective
departments. All students with any known disability needing academic accommodation are required
to register with the Disability Support Committee dsc@jgu.edu.in. The Disability Support Committee
maintains strict confidentiality on the matters under its purview. The registration details are available
on our website https://jgu.edu.in/disability-support-committee/

9. Course Material
•  Arantes, Pedro Fiori, Adriana Kauffmann, Reinhold Martin, and Pedro Fiori Arantes. 2019. The 
rent of form: architecture and labor in the digital age. 
•  Barthes, Roland. 2003. The responsibility of forms: critical essays on music, art, and 
representation. Berkeley: Univ. of California Press. 
•  Robertson, Duncan. “The Dichotomy of Form and Content.” College English 28, no. 4 (1967): 
273–79. https://doi.org/10.2307/374579. 

Page 9 of 24
10. Session Plan (Please always refer to the uploaded excel session plan to track changes, if any)
 
WEEK WEDNESDAY FRIDAY
1 01 February 2023 03 February 2023
LEARNING  LO1: Develop the ability to recognize and identify keywords/ descriptors 
OUTCOME in relation to different forms and structures.

CONTENT How do we know of form ?  FOUND SCENES/ SEEN

All things have a form, and many forms may belong to families,  Not only do stories have form, they often describe forms in order to 
irrespective of functions. These are often collapsed with types. Forms  allow someone to inhabit this textual space. Descriptions are grounded 
are accessed through language, or the way in which we describe them.  in familiarity. 
This session is intended to get you to learn to describe existing forms  Having identified the various elements and their descriptions/ 
through their profiles and materials, in order to develop the ability to  characteristics that structure Kawaguchi's story, we now find "scenes"  
seek further precedents. That is we understand form as the look and  and images that could bring the look and feel of the story to life. For 
feel of an object.  each "element" used, attach the price tag. For example, if you find a 
chair that matches Kawaguchi's description, also put a price tag on it. 
(Look at IKEA).

BRIEF 1A

BRING Descriptive Map, with keywords, to develop the mise‐en‐scene

IN‐CLASS Warm‐up Exercise 1: Describing Form Work in class to translate story through keywords and descriptors by 

Warm‐up Exercise 2: Generating Form finding images within 3 hours. 

TAKE‐ Read Assigned chapters from Kawaguchi's Before the Coffee gets Cold.  Translate scenes through creating a collage: includes both exterior and 

HOME Create a descriptive map, using the worksheet to identify the look and  interior of the café.
feel of the Café
REF
 
 

Page 10 of 24
 WEEK WEDNESDAY FRIDAY
2 08 February 2023 10 February 2023
LEARNING  LO2: Demonstrate the ability to mediate between narratives and  LO4: Demonstrate the ability to investigate the production of form 
OUTCOME related images to identify precedents for the project at hand AND LO3:  through various techniques
Demonstrate an understanding of ability to assess forms of the built 
environment
CONTENT TRANSLATION AND ANALYSIS:  STAGING the MISE‐EN‐SCENE: How does staging structure SCENES ?
How do you understand your found images ?
How are the different aspects of the look and feel of the café structured 
You have found (and revised) your set of images that allow you to re‐ or arranged ? What does it look  like front or the outside? What is the 
create the café. But, how do each of these images work ? What do they  shape of the space inside? What is its volume? How does one enter it? 
show? What is the look and feel created by them? Is the image of a  What are the stairs like? Where do the stairs bring you too? what 
place, an object, or something else? What are you using from them?  elements do you see? Where are elements placed? What are the 
You will use this session to break down your images for each  connections or flows between different elements? What role do the 
component within them, to identify what is pertinent to your scheme  actors play with respect to the look and feel and vice versa? What do 
and how. You will identify its look and feel, through its materiality, its  they see and perceieve? How are categories such as style and context 
construction and its connection to other elements. This will be done in  implicated? How does this borrow from types?
analogue using trace paper. Further, you will assemble these to create a  You will now use your analysed images to create your mise‐en‐scene. 
map dO NOTE that the mise‐en‐scene also informs the viewer of the kind of 
spatial assemblies at a multiplicity of scales between different 
elements.
BRIEF 1B 1C
BRING Print outs of all the images you found appropriate, trace paper, pencils  Scene Maps
and markers. 

IN‐CLASS Reverse engineering of found images to understand assemblies or scene  Rework the Mise‐en‐scene into a place‐specific one which demonstrates 

maps the placement of different assemblies against their constituent 
components ‐ 3hours
TAKE‐ Mise‐en‐scene first iteration Digital Model ‐ first iteration
HOME

REF

 
 
 

Page 11 of 24
 WEEK WEDNESDAY FRIDAY
3 15 February 2023 17 February 2023
LEARNING 
OUTCOME  LO5:  Demonstrate the ability to simultaneously reverse engineer a 
selected form‐collage through the use of drawings and other media for 
representation
CONTENT SET DERIVATION

Having placed scenes, work to generate a  digital model (SKETCHUP  REVIEW 1
AND PHOTOSHOP) which captures both the formal, structural and 
material aspects, while also responding to all existing constraints and 
parameters. If form is experienced visually and haptically, how do you 
generate this experience? How does this take into account function and 
making? Where do different elements go? what do they look like? what  KAWAGUCHI'S CAFÉ ‐ 20 minute presentations per team
are they made off? how do they work? how does this contribute to the 
overall ambience? 
How do you test this set against the narrative, the scene maps, and the 
mise‐en‐scene?
Introduction to Project 2: Sitting in Style
Use this session to complete yur set, while taking feed‐forward

BRIEF 1D

BRING Set iteration 1 All work done towards project 1, as specified in the brief

IN‐CLASS Revise and Complete your set, with feedforward Final Review (First 2.5 hours)

Object Study and Discussion for Project 2. 

TAKE‐ Final Iteration of Set Find Images for Project 2, alongside creating your own descriptive map 

HOME through keywords. Find precedent images based on the same. 

REF
 
 
 

Page 12 of 24
 WEEK WEDNESDAY FRIDAY
4 22 February 2023 24 February 2023
LEARNING  LO1, LO2 AND LO3 LO4: Demonstrate the ability to investigate the production of form 
OUTCOME through various techniques

CONTENT TRANSLATION: FOUND SCENES and ANALYSIS MISE‐EN‐SCENE AND PLACING

What does the translated Client's narrative tell us about the expected  The furniture assembly you are renovating is already placed in a 
look and feel? How does this intersect with other constraints? What  particular space (images shared). How do you refurbish the existing 
kind of precedents may help us to respond to the formal programme?  furniture to not only give it a new life, but also add to this space. What 
What is the look and feel composed of?  do you add, what do you subtract? Where does this go? What forms of 
making will have to enable this? 
ANALYSING the Look and Feel :Understanding Formal vocabularies and  Work across the analysed images to now derive a composite look and 
expressions that inform an object feel that responds to all project requirements using Photoshop (or 
equivalent) to arrive at atleast 3 possible response from the group of 
1. Identifying profile and elements found images .  What are the multiple "look and feels" possible through 
2. Analysing composition for balance, contrast, emphasis, proportion,  this assemblage ? We will use this to parse out further scenes. 
hierarchy, repetion, rhythm, pattern, white space, movement, variety,  At this stage, you also have to tag the costs of the materials and items/ 
scale, axes, arrangment through digital overlays and studies. objects you are employing in the scene. 
3. Identifying materials, details, and cost

BRIEF 2A 2B

BRING Narrative, found scenes, initial image analysis 3 mise‐en‐scene alternatices

IN‐CLASS Complete work to finalize images Finalize one of the 3 alternatives with reviews by end of class ‐ 3 hours. 

TAKE‐ First Mise‐en‐scene iteration ‐ 3 laternatives Set Derivation ‐ create 3 alternatives from finalized mise‐en‐scene

HOME

REF
 
 
 

Page 13 of 24
 WEEK WEDNESDAY FRIDAY
5 01 March 2023 03 March 2023
LEARNING  LO5: Demonstrate the ability to simultaneously reverse engineer a  LO5: Demonstrate the ability to simultaneously reverse engineer a 
OUTCOME selected form‐collage through the use of drawings and other media for  selected form‐collage through the use of drawings and other media for 
representation (SET DERIVATION) representation (SET REPRESENTATION THROUGH DRAWINGS)

CONTENT SET DERIVATION PRESENTATION DRAWINGS

The same materials and styles may give rise to an infinite number of  How do you communicate your design to the client, in a manner that 
forms/structures, or look and feels, as you would have realized in  evidences all aspects of the proposed refurbishment, while also 
creating 3 iterations of the set. Use this class session to identify one of  including aspects of its construction and making ?
these sets for development and to understand how it would be made. 
You will use this session, while taking feed forward, to translate your 
design into a set of presentation drawings which would be a composite 
between placing, sizes, materials, changes etc. 

BRIEF 2C 2D

BRING 3 set alternatives Set and intitial presentation drawings/ dcouments

IN‐CLASS Finalize one set through digital development, generate presentation  Presentation set finalization

drawins for the same

TAKE‐ Presentation documents Presentation set development

HOME

REF
 
 
 

Page 14 of 24
 WEEK WEDNESDAY FRIDAY
6 08 March 2023 10 March 2023
LEARNING 
OUTCOME

CONTENT
REVIEW 2

SITTING IN STYLE ‐ 20 minute presentations per INDIVIDUAL
HOLIDAY ON ACCOUNT OF HOLI

Introduction to Project 3: Designing a Community Toilet
NOTE: Precedent Site Study at Nizammudin Basti for Community 
Toilets designed under the AKT Nizammuddin Renewal Scheme

BRIEF 2

BRING All work done towards Project 2 in order to present. Work to be pinned 
up prior to class. 

IN‐CLASS Review

TAKE‐ Study Srinagar Bye‐law, find precedents, find all information relevant to 
HOME the project 3. Bring atleast 10 precedent studies to next class. 

REF
 
 
 

Page 15 of 24
 WEEK WEDNESDAY FRIDAY
7 15 March 2023 17 March 2023
LEARNING  LO1, LO2 AND LO3, Lo8 LO3 (analysis) AND LO4 (mise‐en‐scene)
OUTCOME

CONTENT UNDERSTANDING THE CONTEXT ANALYSIS AND FIRST MISE‐EN‐SCENE

Guest Talk ‐ Prof. Mohit Dhingra Based on the feed‐forward from the previous session, revise and update 
your mise‐en‐scene to arrive at the one you will be developing as the 
Before we begin the project, we use this class session in two ways. We  final intervention. Evidence this against your initial analysis.
will use the first half to discuss what you have understood of the 
project requirements, its broader social and legal parameters (bye‐ Prior to that, attempt to create atleast 3 different alternatives from 
laws), the existing design which was executed, your areas of  your set of found images. Each alternative must evidence an 
intervention, and where one may go looking for appropriate  understanding of building assemblies.
precedents. Based on this, you will use the some part of class time to 
create for yourself a design road‐map of sorts. 

Based on this discussion, you will begin to identify precedents for your 
project ‐whether local or global. 

BRIEF 3A

BRING Notes from Study of Project Docket, Srinagar Bye‐Laws, precedent  Mise‐en‐scene

images

IN‐CLASS Re‐work precedent images based on discussion and your own road‐map  Generate 3 alternatives from reworking the same mise‐en‐scene. You 

within 2 hours may add/ subtract images at this stage. 

TAKE‐ Image analysis and initial Mise‐en‐scene Finalize Mise‐en‐scene

HOME

REF
 
 
 

Page 16 of 24
 WEEK WEDNESDAY FRIDAY
8 22 March 2023 24 March 2023
LEARNING  LO3 (Analysis) AND LO4 (mise‐en‐scene) LO3 (analysis) AND LO4 (mise‐en‐scene)
OUTCOME

CONTENT PRE‐SET DERIVATION: ANALYSIS PRE‐SET DERIVATION CONTINUED

You will employ this class session to analyse, through drawings and  Finalize intervention components and assemblies by overlaying them on 
sketches done through overlays, the making and construction  existing drawings using trace paper. 
assemblies of your proposed mise‐en‐scene.
Use this session to update the base model to reflect your intervention. 
This means that you will thoroughly analyse all the images you have 
placed together to understand what elements you are using, what are 
the materials, how are they put together, what components do they 
inform in your building. These will have to be shown as architectural 
drawings and sections, including wall sections. For example: Let us say 
you propose an extension which cantilevers, where does this go, how 
does it cantilever, what will it look like, how will it be made, etc. You 
will now proceed to also do placements against "scenes" identified by 
you.   

BRIEF 3B 3B

BRING Finalized mise‐en‐scene Revisions

IN‐CLASS reverseengineering of mise‐en‐scene to derive spatial and construction  As specified above

assemblies within 3 hours. 

TAKE‐ Begin Initial set derivation using the above Finalize Mise‐en‐scene, update set derivation. 

HOME

REF
 
 
 

Page 17 of 24
 WEEK WEDNESDAY FRIDAY
9 29 March 2023 31 March 2023
LEARNING  LO5: Demonstrate the ability to simultaneously reverse engineer a  LO5: Demonstrate the ability to simultaneously reverse engineer a 
OUTCOME selected form‐collage through the use of drawings and other media for  selected form‐collage through the use of drawings and other media for 
representation (SET DERIVATION) representation PRESENTATION DRAWINGS)

CONTENT SET DERIVATION INVITED GUEST TALK ‐ Bashabi Dasgupta 

Present derived SET showing interior and exterior assemblies that 
generate the look and feel for your project PRESENTATION DRAWINGS

Present your presentation set at one A1 image‐board .

Important: we close the "design" at this stage. 

BRIEF 3b 3C

BRING Finalized set (digital model + key views) 1 image‐board

IN‐CLASS Reviews, start and continue work on presentation drawings Reviews, finish presentation drawing set 

TAKE‐ Presentation documents GFC Elevations

HOME

REF
 
 
 

Page 18 of 24
 WEEK WEDNESDAY FRIDAY
10 05 April 2023 07 April 2023
LEARNING  LO6: Demonstrate the ability to communicate the making of the project  LO6: Demonstrate the ability to communicate the making of the project 
OUTCOME through GFCs and BOQs through GFCs and BOQs

CONTENT REVERSE ENGINEERING ‐ ELEVATIONS (INTERNAL AND EXTERNAL) AS  GOOD FRIDAY HOLIDAY

GFC DRAWINGS

Work on All elevations and sections : Internal (unique and typical) and 
External (all faces) with grids, levels, material assignations, and relevant 
details. 

Simultaneously, work on making the BOQ as well as updating the digital 
model to reflect changes due to drawings

BRIEF 3D

BRING Elevations

IN‐CLASS Finish revisions to elevations, updating making/ assemblies as shown in 
elevations

TAKE‐ Sections and Plans
HOME

REF
 
 
 

Page 19 of 24
 WEEK WEDNESDAY FRIDAY
11 12 April 2023 14 April 2023
LEARNING  LO6: Demonstrate the ability to communicate the making of the project  LO6: Demonstrate the ability to communicate the making of the project 
OUTCOME through GFCs and BOQs through GFCs and BOQs

CONTENT REVERSE ENGINEERING ‐ SECTIONS AS GFC DRAWINGS REVERSE ENGINEERING ‐ PLANS AS GFC DRAWINGS

Work on making all layouts including (but not limited to) setting out, 
Work on all sections that inform your look and feel: building level  site, demolition, landscape,  structural, floors, flooring, RCPs, MEP and 
sections, site level sections, wall sections, sections through service  Roof including all grids, levels, materials and materials schedule, 
cores, and others. including all grids, levels, materials and materials  annotations and details.
schedule, and annotations
Simultaneously, work on making the BOQ as well as updating the digital 
model to reflect changes due to drawings

BRIEF 3D 3D

BRING sections and plans elevations, sections, and plans

IN‐CLASS Reviews, and update as required Reviews and updating of plans as required. Identify detail drawings that 

are needed. 

TAKE‐ GFC Plans GFC details drawings

HOME

REF
 
 
 

Page 20 of 24
 WEEK WEDNESDAY FRIDAY
12 19 April 2023 21 April 2023
LEARNING  LO6: Demonstrate the ability to communicate the making of the project  LO6: Demonstrate the ability to communicate the making of the project 
OUTCOME through GFCs and BOQs through GFCs and BOQs

CONTENT REVERSE ENGINEERING ‐ DETAILS REVERSE ENGINEERING ‐ DETAILS

Work on details : Door and Window Schedules and details,  Work on details : Door and Window Schedules and details, 
Staircase/Ramp schedule and details, Lighting Schedules and details,  Staircase/Ramp schedule and details, Lighting Schedules and details, 
Furniture and Furnishing Schedule and Details. Furniture and Furnishing Schedule and Details.

Simultaneously, work on making the BOQ as well as updating the digital  Simultaneously, work on making the BOQ as well as updating the digital 
model to reflect changes due to drawings model to reflect changes due to drawings

BRIEF 3D 3D

BRING All drawings so far All drawings so far

IN‐CLASS Review and Revise Details Review and Revise Details

TAKE‐ Details, incomplete drawings BOQ

HOME

REF
 
 
 

Page 21 of 24
 WEEK WEDNESDAY FRIDAY
13 26 April 2023 28 April 2023
LEARNING  LO6: Demonstrate the ability to communicate the making of the project  LO6: Demonstrate the ability to communicate the making of the project 
OUTCOME through GFCs and BOQs through GFCs and BOQs

CONTENT WORK ON GFC SET AND BOQ ITEMS

POSSIBLE WORKSHOP WITH SANITATION CONSULTANT/S

BRIEF 3D AND 3E 3D AND 3E

BRING All drawings so far AND boq TEMPLATE All drawings and BOQ with quantities

IN‐CLASS Complete work to finalize construction document set Complete work to finalize construction document set

TAKE‐ Completeq Work Complete work to finalize construction document set

HOME

REF
 
 
 

Page 22 of 24
 WEEK WEDNESDAY FRIDAY
14 03 May 2023 05 May 2023
LEARNING  LO6: Demonstrate the ability to communicate the making of the project  LO6: Demonstrate the ability to communicate the making of the project 
OUTCOME through GFCs and BOQs through GFCs and BOQs

CONTENT WORK ON GFC SET AND BOQ ITEMS WORK ON GFC SET AND BOQ ITEMS

BRIEF 3D AND 3E 3D AND 3E

BRING All drawings so far AND boq  All drawings and BOQ 

IN‐CLASS Complete work to finalize construction document set Complete work to finalize construction document set

TAKE‐ Completeq Work Complete work to finalize construction document set

HOME

REF
 
 
 

Page 23 of 24
 WEEK WEDNESDAY FRIDAY
15 10 May 2023 12 May 2023
LEARNING  LO6: Demonstrate the ability to communicate the making of the project 
OUTCOME through GFCs and BOQs

CONTENT WORK ON GFC SET AND BOQ ITEMS

REVIEW 3

INOX MULTIPLEX, SRINAGAR ‐ 1 HOUR PRESENTATION PER TEAM

BRIEF 3D AND 3E

BRING All drawings so far AND boq 

IN‐CLASS Complete work to finalize construction document set

TAKE‐ Completeq Work
HOME

REF

EXTERNAL REVIEW TO BE HELD ANYTIME BETWEEN 1ST AND 3RD OF JUNE, 2023.  

Page 24 of 24