आंगण is a contemporary wada — a luxury Indian duplex built, as wadas always were, around a courtyard open to the sky. The whole residence is a scroll-driven walkthrough in eighteen chapters, and every wall, jaali, pillar and leaf in it is generated in code: no model files, no texture images, the entire house under two megabytes.
.glb, no texture atlas — and ends on a private-viewing request rather than a brochure.01 — The Premise
The wada — the courtyard house of Maharashtra — is usually borrowed for its ornament: the carved columns, the cusped arches, the brass. But the thing that actually makes a wada is structural. Every room faces inward onto an open square of sky, so the house is organised around weather and light rather than around a view out.
AANGAN takes that plan seriously and builds a contemporary duplex on it. Which set the brief for the website too: if the courtyard is the idea, a gallery of stills cannot carry it. You have to arrive from the sky, see the plan from above, come down the approach, step through the entrance and find the courtyard at the centre — in that order, without a cut.
02 — The Plan
The scroll is a single continuous camera path with no cuts. Each chapter claims a slice of it and names its own camera, so the sequence is a plan rather than a slideshow — sky, approach, threshold, courtyard, then the rooms in the order you would actually walk them, and back out to the garden as the light goes.
Click any frame to open it full-size.
The plan reads in one frame: the roof, and the square of sky cut out of it.
The threshold does the work an establishing shot normally does.
The tulsi vrindavan at the centre — and because the courtyard is open, it rains into it.
The same geometry, four hours later. Nothing was re-rendered to get here.
03 — Light
A slider labelled दिवसाची वेळ sits in the corner for the entire journey. Sun angle and colour, hemisphere light, ambient level, fog colour and density, interior and architectural lighting, haze, sun glow and exposure are all interpolated between four presets — so any room can be seen at any hour, and the change is continuous rather than four fixed states.
The journey also drives it on its own — the last chapters are titled सोनेरी संध्याकाळ and रात्र — so a visitor who never touches the slider still ends the walkthrough at night. The control is there for the one who wants to go back and see the bedroom at dawn.
04 — Voice & Type
Every cue in the piece is a pair: the Marathi line carries the meaning and the English sits below it, smaller, spaced out, as gloss. Room names, statements, hints, the wordmark and both calls to action all follow the same rule. The page is lang="mr", and the English is the translation — not the other way round.
05 — Engineering
There is not a single .glb, .hdr or texture image in the build. Every wall, column, jaali screen, baluster, plant and bird is authored as geometry in code, and every surface material is generated at load. The entire residence — engine, application and all — is smaller than one photograph of it would be.
348 meshes and ~70 triangles a draw to one draw call per material. Nothing above that component has to know it happened.256², not 512. Each set is multi-octave noise three times over on the main thread, and 512 pushed first paint past nine seconds for detail nobody can resolve — at ~2.5m per tile, 256 still gives roughly 100 texels per metre.587 draw calls at the aerial chapters to refract panes two pixels wide. Past ~55 metres it drops to a plain tinted sheet, where the refraction offset is under a pixel anyway.base: './'), so the build runs unchanged from a domain root or any subdirectory — which is how it drops into this portfolio without a rebuild.06 — Outcomes
Choosing to author the building in code rather than model it was not an aesthetic preference. It is what makes a full real-time walkthrough openable from a text message on mobile data — which, for a property that sells by private viewing, is the entire funnel.
07 — Key Learnings