1. Project Introduction The Resilient Habitat is envisioned as a scalable housing model that responds to India’s expanding urban peripheries. With increasing rural-to-urban migration, Indian cities face massive pressure on infrastructure, housing, and resources. This concept explores a flexible and low-cost housing prototype that is environmentally sustainable, socially inclusive, and architecturally contextual. 2. Project Objectives Provide dignified, affordable housing for low- and middle-income groups. Reduce environmental footprint through passive design and renewable systems. Encourage community-based living with shared courtyards and public spaces. Allow incremental expansion as family income or needs grow. Adapt to different climatic zones across India. 3. Site and Context 📍 Location: A semi-urban plot on the outskirts of Pune, Maharashtra. The area is characterized by: Moderate climate (tropical wet and dry) Proximity to industrial zones Strong rural migration and demand for affordable housing Available public infrastructure (transport, water) 📌 Site Conditions: Flat terrain with minimal slope Red soil, good drainage Access to groundwater and municipal services Potential for solar gain and wind movement 4. Design Concept 🧠 Design Strategy: The housing will follow a modular cluster system — each module being a unit that can stand alone or attach to others. The layout encourages: Cluster-based planning (5–10 homes per courtyard) Central shared green spaces Peripheral vehicular movement, pedestrian interior ♻️ Sustainability Approach: Orientation: Long facades face north–south for solar efficiency. Materials: Compressed earth blocks, bamboo, lime plaster — all locally sourced. Passive Cooling: Jaalis, ventilated roofs, shaded balconies. Energy: Solar panels, battery storage for night-time usage. Water: Rainwater harvesting + greywater reuse. Waste: On-site composting and decentralized waste treatment. 📦 Modularity & Adaptability: Units start as 1BHK (250 sq ft), expandable to 2 or 3BHK as needed. Core services (toilet, kitchen) remain fixed; rooms added horizontally or vertically. Modular structural grid ensures cost-effective repetition. 5. Architectural Expression Form: Earth-toned cuboidal forms, open-to-sky courtyards. Color Palette: Natural pigments (ochre, sienna, terracotta). Façade: Jaalis, overhangs, balconies — both climatic and aesthetic. Materials: Mud bricks, fly-ash concrete, exposed bamboo roofs. Texture: Rough plaster finish, perforated screens, living green walls. Sense of Place: Incorporation of local crafts, community wall paintings. 6. Community Design Shared kitchen gardens and open spaces. Community hall for gatherings and skill training. Integrated creche and play areas. Plinth levels allow informal shopfronts for home-based work. 7. Sociocultural Relevance Inspired by traditional Wada house typology (central courtyard, passive design). Modular flexibility aligns with Indian m

1. ARCHITECTURE CONCEPT
BASIC SPACE DESIGN STUDIO

2. SYMMETRY
• SYMMETRY HAS AN AESTHETIC THAT APPEALS TO PEOPLE DUE TO ITS BASIC
INSTINCTS. IT IS POSITIVE TO SEE THE SYMMETRY THAT ALREADY EXISTS IN THE
ORGANIC WORLD AND HUMAN BEINGS IN DESIGNS

3. ABSTRACT
• CONCEPTS CAN SOMETIMES GIVE AN IDEA BASED ON A SINGLE WORD IN ARCHITECTURE AS
WELL AS IN LITERATURE AND POETRY. THE IDEAS UNDERLYING THE CONCEPTS ARE OFTEN
PHILOSOPHICAL AND QUESTION THE REALITIES OF THE WORLD.

4. LIGHT
• LIGHT IS ONE OF THE BASIC CONCEPTS YOU CAN USE IN ARCHITECTURAL DESIGN. THERE ARE MANY
WAYS TO USE AND TAKE IN DAYLIGHT. SPATIAL DESIGN WITH SHADOW AND DAYLIGHT CAN BE YOUR
CONCEPT. IN ADDITION, YOU NEED TO CONSIDER NATURAL AND ARTIFICIAL LIGHTING’S QUALITY FOR
WORKING SPACES.

5. BIO-MIMICRY
• BIOMIMICRY ARE FORMS DERIVED INSPIRED BY NATURE FROM THE WORD “BIOS” WHICH MEANS LIFE
AND “MIMESIS” WHICH MEANS TO IMITATE. GENERALLY, BUILDINGS ARE REAL TRANSLATIONS OF
BIOLOGICAL ORGANISMS. THEY ARE ALSO INSPIRED BY THE WORK AND PROCESSES OF VARIOUS FLORA
OR FAUNA.

6. MOVEMENT
• MOVEMENTS OF USERS CAN BE A GOOD CONCEPT DEPENDING ON THE FUNCTION OF THE
ARCHITECTURAL PROJECT. FOR INSTANCE, IN BUILDINGS SUCH AS MUSEUMS AND CULTURAL
CENTERS, HOW THE USER WILL GUIDE, WHERE TO WALK AND WHERE TO STOP.

7. NATURAL FEATURES
• WHAT IS THE PLACE OF NATURAL ELEMENTS IN YOUR PROJECT SITE? THINK ABOUT SURROUNDING
TREES, RIVERS, ROCKY LANDSCAPES, VEGETATION, CLIFFS, VALLEYS, AND MORE. AFTER A GOOD
ENVIRONMENTAL ANALYSIS, NATURAL ELEMENTS CAN BE INCORPORATED INTO YOUR PROJECT AND THE
CONCEPT IDEA.

8. PUBLIC AND PRIVATE
• THE SPACES ARE DESIGNED PURELY BASED ON FUNCTION AND USER REQUIREMENTS.
MOSTLY THIS CONCEPT IS USED IN COMBINATION WITH A MORE ABSTRACT CONCEPT. IT
GIVES RISE TO ZONING DIAGRAMS WHICH IN TURN LEAD TO THE PROGRAM OF THE
BUILDING. THE SEGREGATION OF SPACES IS FOR THE DAILY AND OCCASIONAL ACTIVITIES.
THE PUBLIC SPACES CATER TO THE ROOMS FREQUENTED BY VISITORS AND OUTSIDERS,
WHILE THE PRIVATE ONES RELATE DIRECTLY TO THE CLIENTS.

9. SENSORY PERCEPTION
• THE FIVE SENSES OF HUMAN PERCEPTION ENABLE US TO EXPERIENCE THE SPACES AROUND US. OUR TACTILE
SENSES ARE MOST PROMINENTLY AFFECTED AS WE FEEL THE TEXTURES AND MATERIALS SURROUNDING US.
AN AESTHETICALLY PLEASING STRUCTURE WITH PLENTY OF NATURAL LIGHT BRINGS TRANQUILLITY WITHIN
US. COLORS PSYCHOLOGICALLY AFFECT OUR MOOD, AND CAN EVEN NURTURE MENTAL WELLBEING.
BRINGING NATURE INTO BUILT SPACES IS A CALMING INFLUENCE, AS THE GREENERY AND FRESHNESS REVIVE
OUR SPIRITS.

10. FORM AND VOLUME
• INSPIRED BY LEGO BLOCKS, IT INVOLVES THE VOLUMETRIC MASSING OF THE BUILT ENVIRONMENT. THE
THREE-DIMENSIONAL EXTRUSION OF THE BASIC PLAN IS MODIFIED TO THE CONTEXT. THIS
ADAPTATION OF BASIC GEOMETRIC FORMS GIVES RISE TO STRUCTURES. THE SINGULAR MASS IS
BROKEN INTO PARTS OR MODULES, EACH HAVING A DIFFERENT PURPOSE. THE FORM IS OFTEN A
COMBINATION OF BLOCKS WITH VARYING ORIENTATIONS, IN RESPONSE TO THE MICROCLIMATE.

11. ADDING & SUBTRACTING
• FOR THIS METHOD YOU NEED TO START OFF
WITH A SOLID VOLUME THAT EXCEEDS THE
REQUIREMENTS SET OUT BY THE DESIGN
BRIEF BUT ALSO SITS COMFORTABLY WITHIN
THE GIVEN SITE.
• ELEMENTS OF THIS MASS ARE THEN
REMOVED AND SHAPED ACCORDING TO SITE
FACTORS, DESIGN BRIEF REQUIREMENTS,
ACCOMMODATION PLACEMENTS ETC.

12. GRID
• SITE GRIDS CAN BE TAKEN AND CREATED
FROM ALMOST ANYTHING, AND FOR THIS
REASON THEY CAN BE INCREDIBLY DIVERSE
IN THEIR USE. THE PURPOSE OF SITE
GRIDS IS TO PROVIDE STRATEGIC AND
JUSTIFIED AREAS AND SEPARATIONS ON
WHAT COULD BE A COMPLETELY BLANK
CANVAS.
• MAPPING VIEWS THAT PASS THROUGH OR
OVERLOOK THE SITE, CAN HELP TO
LOCATED AREAS OF EXPOSURE OR DESIRE.

13. CULTURE & SOCIETY
• THIS IS LARGELY GENERATED FROM THE DESIGN BRIEF AND THE USE AND OCCUPANCY OF THE PROPOSED
BUILDING. TAKE A MONASTERY FOR EXAMPLE, WHERE THE MONKS LIVING WITHIN AND USING THE
BUILDING FOLLOW VERY STRICT RULES AND DAY TO DAY ACTIVITIES. THEY LIVE EXTREMELY SIMPLY WITH
LIMITED POSSESSIONS, AND THIS INSTANTLY STARTS TO MAP OUT AND DEFINE THE PROPOSED SPACES.

14. ORIENTATION
• AGAIN ESTABLISHED FROM YOUR SITE ANALYSIS, THE
ORIENTATION IS KEY FACTOR TO CONSIDER IN EVERY
ARCHITECTURE PROJECT AND USING IT TO HELP DEFINE
THE CONCEPTUAL DEVELOPMENT OF A DESIGN PROJECT,
CAN PROVIDE VITAL INFORMATION FOR THE SITING YOUR
BUILDING AND ACCOMMODATION WITHIN IT.
• MAPPING OUT HOW THE LIGHT ENTERS AND AFFECTS THE
SITE WILL PROVIDE KEY INFORMATION ON HOW THE
BUILDING CAN BE USED AND ARRANGED.

15. METAPHORS
• IT IS NOT UNUSUAL TO FIND METAPHORS AND SIMILES IN USE AS TYPES OF ARCHITECTURE CONCEPTS.
METAPHORS IN ARCHITECTURE REPRESENT SOMETHING TANGIBLE OF AN INTANGIBLE IDEA AND A CONNECTION
TO NEW FEATURES. THIS CONCEPT IS BEST EXPLAINED WITH AN EXAMPLE.
• A GOOD EXAMPLE OF AN ARCHITECTURAL CONCEPT COME TO LIFE IS THE STUNNING LOTUS TEMPLE IN NEW
DELHI, INDIA, WHICH RESEMBLES A LOTUS FLOWER WITH 27 MARBLE PETALS.

16. USE & NEED FOR SPACE
• IT IS EASIER TO VISUALISE THE SPACES BY MAPPING THEM OUT BASED ON HOW THE SPACES WILL BE USED.
THIS ARCHITECTURAL COMPOSITION OF SPACES ALLOWS US TO COMPREHEND AND EXPERIENCE THE FORM
AND THE DESIGN INTENTION. THAT WILL ALSO HELP YOU DETERMINE WHICH SPACES NEED TO BE IN CLOSE
PROXIMITY. REMEMBER, AT THIS STAGE, NOTHING IS OR SHOULD BE FIXED SO FEEL FREE TO PLAY AROUND
WITH DIFFERENT ITERATIONS. THE SPACE MAPPING CAN BE INFLUENCED BY OTHER FACTORS SUCH AS VIEWS,
PHYSICAL SITE FEATURES AND PUBLIC AND PRIVATE SPACES.