“Unscripted” begins as a provocation: what if architecture is not a fixed narrative but an open script, constantly rewritten by movement, encounter, and chance ?

Inspired by Bernard Tschumi’s Manhattan Transcripts, which revealed the disjunctions between space, movement, and event, the pavilion explores how architecture can embody similar tensions within the contemporary city.

Mumbai thrives in precisely this paradox, and the pavilion seeks to embody it. The pavilion is conceived as a spatial transcript — a stage where architecture becomes an unfolding narrative rather than a finished object.

The design begins with an intention of order — a grid, disciplined and precise, as though seeking to hold the city within lines of reason. Yet Mumbai does not move in straight lines. Life here bends, collides, improvises. The grid, too, cannot remain intact; it fractures, rotates, displaces.

A 45° shift disrupts orthogonality, carving diagonals that unsettle perception. This oblique turn is not merely geometric but philosophical. It speaks of how life in the city rarely unfolds head-on or in straight lines; instead, it bends, improvises, negotiates — always slightly askew, always inventing new alignments.

. Voids cut into the structure, not as absences but as porous thresholds. They frame air, light, and encounter offering release in the midst of density. In this, the pavilion mirrors Mumbai’s own logic: a metropolis that breathes through interruptions, through sudden courtyards, narrow passages, and fleeting intimacies amidst chaos. Here, voidism becomes not subtraction but presence — the reminder that absence carries meaning, that gaps hold as much weight as walls.