Received: 3 July 2020 Revised: 16 August 2020 Accepted: 13 September 2020

DOI: 10.1002/suco.202000399

TECHNICAL PAPER

Conceptual design of structures

Venkataramana N Heggade

STUP Consultants Pvt Ltd, Mumbai, India

Abstract
Correspondence The conceptual design hither to has been an individualistic approach
V N Heggade, C-401, Greenfields Tower
practiced over a long period of time and not taught in universities. However,
CHS, Kadamwadi, Vakola, Santacruz
(East), Mumbai 400055, Maharashtra, the conceptual design approach is very important to produce sound and sus-
India. tainable structures. Engineers like Robert Maillart, Alexandre Sarrasin,
Email: [email protected],
Eugéne Freyssinet, Joerg Schlaich and Christian Menn significantly contrib-
[email protected], vnheggade@
gmail.com uted to the evolution of today's international state-of-art technology and the
cultural value of modern engineering structures. Billington called efficiency,
economy, and elegance as common denominator for conceptualization of
bridge design to counter countless anonymous, frequent utility structures
based on mere technical and economic criteria. Many iterations of the design
process are required at this stage to refine the concept for design and con-
struction to adhere to functional, sustainability, financial and other con-
straints like right of way, etc. The tools used for analysis for investigations
and iterations of the options may not necessarily be refined ones during con-
ceptual design stage. The designer should have developed creative skills hav-
ing a bent of mind for architecture and an architect having a broad insight in
to structural engineering to render the best of the concept designs. While the
structural designer must have a profound knowledge of engineering and
available technologies, the architect can contribute in developing broad cul-
ture in many and important contextual aspects.

KEYWORDS
aesthetics, big data, conceptual design, creativity, inspiration, materialization, sustainability

1 | INTRODUCTION might be. The development of the idea is conceptual

design. It is that formative stage where basic concept and
In a creative engineering design applications unbounded form of the structure is conceived.
visual imagination, extensive scientific synthesis and Thus, the Conceptual design is the most important
cost-effective solutions, have to be carried out at the same aspect of the life cycle of the structure. At this stage, the
time holistically. It has to start with an idea as to what idiosyncrasy should be free from unwarranted assump-
tions and preconceived notions. The remaining including
the following, will depend on the quality of the concept
and form conceived.
Discussion on this paper must be submitted within two months of the
print publication. The discussion will then be published in print, along
with the authors’ closure, if any, approximately nine months after the • Functional requirements, related to the purpose of the
print publication. structure

Structural Concrete. 2020;21:2207–2219. wileyonlinelibrary.com/journal/suco © 2020 fib. International Federation for Structural Concrete 2207
2208 HEGGADE

• Structural requirements aimed at handling, with • The codes and standards should be written in such a
safety, the different external actions (gravity loads, cli- way that they are not restricting the innovations and
matic loads, etc.) liberal thinking.
• Environmental requirements, necessary for achieving • The computers should become the slave of engineers
sustainability, and in accordance with these, durability not the other way around, especially for conceptual
requirements, that is, satisfying the specified require- design. They should not imprison the minds of engi-
ments throughout the life of the structure neers from Imagineering getting bogged down by com-
puter modeling. Computers should be mere tools of
Some of the unwarranted assumptions1 and engineers to free them from the drudgery of computa-
preconceived notions that challenge the sound concep- tion. But they should not become the source of
tual design are: inspiration.

• Everybody knows that (steel plate girders, precast con-

crete girders, cast in place concrete) are the most eco- 2 | C O NC E P T UA L DE SI GN; A RT
nomical structure for this location. OR S CIENC E?
• Let us use the same design as we did for other struc-
ture earlier. It is fascinating to debate as to whether structural con-
• The enabling structures are readily available with the ception is an art or science. It has been argued that
contractor and contractor is conversant with technol- Roebling's Brooklyn, Maillart's Salginatobel, Christian
ogy as such repeat the form. Menn's Sunniberg bridge (Figure 1) are classical art and
• Regionally steel structure or concrete structure is pop- that too structural art in bridge engineering.
ular as such we will adopt the same. These structures when conceived and built were
• We have always done this way and it is time tested. “revolutionary,” “ground-breaking,” and “visionary” and
• We have not done in the past as such why take risks. indeed challenged commonly held views at that point of
• In any case, cost will differentiate and determine the time. The inherent characteristic of art is to challenge the
form, materials and technology as such why get in to existing ideas in meaningful ways. When the time-tested
so called conceptual design. ways are challenged in a meaning full way, the human
• Architects are nuisance in achieving constructability in sensibilities are emoted and lingers much beyond wear-
structures, they do not understand structural engineer- ing off instant “awe” value for the experience to be ter-
ing and their structures are not cost effective as such med as artistic.
avoid them in conceiving a structure. The conceptual design to achieve aesthetics are also
attributed to the principle called “Form Follows Forces”
We are at our disposal today, the most advanced which is a variation of “Form Follows Functions” of
codes that are the condensed extracts of highly updated famous architect Louis Henry Sullivan who was an archi-
knowledge available on Big Data, the powerful computa- tect of skyscrapers. Sullivan's idea of 'Form Follows Func-
tion and analysis ability for any conceivable form by tions' was from architectural point2 of view where the
advanced computers, very high strength, and light mate- utilities having identical functions should be consistent
rials with huge options and variety of powerful technolo- in tall multistory buildings. In case of bridges “Form Fol-
gies and equipment for construction. Despite these lows Forces” means the structural dimensioning of mem-
advancements, we see ugly looking, unsustainable and bers just to cater for internal forces where the force flow
ill-conceived structures all around. Some of the reasons is reflected in appearance or the form itself. Here we are
for ill conception are: dealing with statics, equilibrium, flexure, mechanical
properties of materials etc., which is a scientific process.
• Education system of structural engineers; presently there Science is a method of doing things. It “is the orga-
is no connect between university education and the pro- nized, systematic enterprise that gathers knowledge about
fessional structural engineers. There has to be system of the world and condenses the knowledge into testable laws
professional structural engineer mentoring the students and principles”3 There are five 'diagnostic features. The
at university so that they can succeed professionally. first is the repeatability of research results, preferably by
• Lot of research is going on in the world labs of univer- independent investigators. The second is a reporting of
sities and the knowledge is gathered. Again, there has research as simply and elegantly as possible. Third, scien-
to be system that the knowledge acquired in the uni- tific findings are subject to universally accepted and
versity laboratories are passed on to professional struc- unambiguous scales of measurement. Fourth, scientific
tural engineers, codes, and standards. research stimulates new learning and new knowledge.
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FIGURE 1 Roebling's Brooklyn, Maillart's Salignatobel and Menn's Sunniberg, Schlaich's Signature Bridge

Finally, science is consistent. Research results can be generation and idea validation. In artistic settings, the
connected and proved consoling with one another. first step is a value in itself and validation is not that
Thus, there seem to be merit in both the arguments essential. In contrast to Science, Art (like Beauty) is in
that conceptual design is an art as well as science. While the eye of the beholder and it is accepted that works of
the artistic and scientific activities are different, there seem art will receive subjective interpretation.
to be some commonalities4 in both the activities such as: Scientific creativity has to be in a system of domain
consisting of rules and procedures like mathematics, the-
• Both are creative process and have the element of syn- orems, and laws (for example Hooke's law) etc. and not
thetic thinking and generation of ideas in the process. influenced by personal feelings or opinions in consider-
• “Visual thinking” and “visualizing imagined worlds” ing and representing facts. It is very objective being
are the essential part of art as well as science. completely detached and impartial.
• Both share sensitivity to aesthetics, although their Gold's representation of the “four hats of creation”
criteria for “beauty” may be quite different. (redrawn in Figure 2 to Maillart's Salginatobel)6 is very
• Artists as well as scientists are generally averse to useful in understanding the conceptual design vis-à-vis sci-
social interactions; they prefer to toil in their laborato- ence and art. The upper half represents the “search for
ries or studios. truth” whereas lower half represents “problem solving”.
• The labor and inspiration of science as well as art Left half represents the strength of drawing skills, sketch-
depends largely on nature and natural world. ing and imagining visual world on the basis of strong
observation of nature. The right half represents the
It is not surprising that the notable figures like strength in mathematical ability. As we can see in the
Leonardo da Vinci, Galileo, and Michelangelo who con- Figure 2, Salginatobel Bridge follows the principle of
tributed during Renaissance period were artists as well as “Form Follows Forces” which gives the efficiency and
scientists. Throughout the Renaissance, art and science economy of the bridge. The design and construction of any
continued to develop and interact. In particular, the sev- bridge including engineering has to be a scientific process
enteenth century represented a time and place where sci- whether bad or good which is a truth (Reality). But the
entific inquiry became so pervasive that science and art other truth is that the design and engineering, efficiency of
were inseparable. the structure by “Form Follows Forces” alone cannot ren-
Art as well as science is a creative process5 culminat- der the artistic elegance to the bridge. There has to be
ing in truth (Reality) and the process involves idea some qualitative and subjective attributes to “take the
2210 HEGGADE

science to the level of structural art”. In addition, these days term “concepts” were being used loosely. Almost three
the sustainability aspects need to be incorporated in the decades ago, Billington7 introduced the terms effi-
conceptual design for the sake of posterity. ciency, economy ,and elegance as a theme of approach
to bridge design and promoted it as a conceptual
design approach to the numerous anonymous, too fre-
3 | P R O C E S S OF CO N C E P T U A L quent ugly utility structures based on mere technical
DESIGN and economic criteria.
Thus, there was a longstanding concern by profes-
3.1 | History of conceptual design sionals to address the issue of conceptual design. An
international symposium (Figure 3) on conceptual design
Historically, there is no evidence of scientific process organized at the University of Stuttgart by Prof. Jörg
being evolved for conceptual design. In general, the Schlaich in 1996 was probably the first event of this kind
to address the issue. The theme stated below in the pro-
logue summarizes the state of the art of conceptual
design at that time which is not very different even on
the day.

“The overall quality of many structures

today leaves much to be desired. The rapid
technological progress does not reflect ade-
quately in their variety, beauty and sensitiv-
ity. Too often, structural engineers neglect
the creative conceptual design phase by
repeating standard designs and not suffi-
ciently contributing with [their] own ideas to
the fruitful collaboration with architects.
F I G U R E 2 “Four hats of creation” by R Gold (redrawn with Engineers thus often waste the chance to
the conceptual design of Maillart's Salginatobel) create building culture.”

FIGURE 3 Symposium on conceptual design of structures

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Though the symposium was a great success with The fib has constituted a task group TG 10.1 for the
some of the renowned designers of the time, could not preparation of model code 2020 and the work is in pro-
come to a conclusion as to the definition of conceptual gress. In the task group meetings held in Tokyo on 13 to
design. 14th December 2019, Dr Hugo Corres and Dr Akio
Under the Design chapter, a section was introduced Kasuga made presentations proposing improvisation in
in fib model code for concrete structures 2010 on concep- the methodology flow chart for conceptual design imbib-
tual design. In the background paper Sound engineering ing some of the conclusions of fib symposium at Madrid
through conceptual design according to the fib Model including sustainability aspects.
Code 2010 by H. Corres-Peiretti, published in fib journal8
Structural Concrete 14 (2013), No. 2, it is explained that
Jean François Klein at a meeting of fib Special Activity 3.2 | Conceptual design process
Group 5, New Model Code, in Lausanne, proposed a flow
chart (Figure 4) as a basis for introducing the process of Dr Kasuga9 presented overall design flow chart (Figure 5)
conceptual design into the new Model Code 2010. with in through life management of structure in Tokyo
Recently in September 2019 an International fib sym- while deliberating on structural sustainability in concep-
posium on conceptual design (2019) of structures under tual design. The conceptual design is a part of overall
the scientific chair of Dr Hugo Corres Pieretti was orga- design process of a structure and ends by providing out-
nized in Madrid where some of the renowned structural put as the basis for detailed design. In fact, the design
engineers and architects delivered key note lectures and basis report (DBR) and departmental project report
brainstormed on the theme. (DPR) should logically be the output of conceptual design
that is meant to be used as an input for detailed design.
Structural sustainability is most important aspect of
conceptual design.Dr Kasuga goes on to define structural
sustainability as:

• Is the way of thinking to recall creativity.

• Is mostly considered to solve constraints in conceptual
design.
• Can deal with three aspects of sustainability.
• Solutions can be defined as performance requirements
and verified.
• Solutions derive optimized structures which lead to
sustainable performance of the object during its life
time including construction and demolition.
• Makes structure elegant.

Dr Hugo Corres10 presented an improvised model of

methodological flow chart (Figure 6) of conceptual design
in Tokyo on the basis of Madrid symposium where inspi-
ration, data collection, creativity and materialization got
incorporated in the model. After this incorporation, the
model has a striking resemblance to R Gold's creativity
model (Figure 2) of “Four hats of creation”.
The constraints like external input, service criteria
and performance requirements for conceptual design is
well understood and to a large extent practiced and also
specified and codified. The external input and service
criteria generally are:

• Accelerated construction
F I G U R E 4 Methodological flow chart for conceptual design • Low environmental impact
(Source: fib model code 2010) • Minimum cost
2212 HEGGADE

F I G U R E 5 Conceptual
design within overall design in
throuh-life management
(Source: fib TG 10.1 meeting at
Tokyo)

FIGURE 6 Modified flow chart for conceptual design (Source: fib TG 10.1 meeting at Tokyo)

• Minimum effect on social activities The performance requirements as enumerated below

• Light weight structure are normally specified and generally follow relevant stan-
• Minimum maintenance including easy inspection dards and codes.
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• Safety (strength, resilience, redundancy, and lives of the people, exploring the architecture of nearby
robustness) structures, etc.
• Serviceability (deflection and vibration) The site investigation should also generally cover the
• Fatigue following:
• Durability (to realize safety, serviceability, and fatigue)
• The availability of building materials nearby and
their cost,
3.3 | Implementation of conceptual • Embodied carbon footprint and embodied energy of
design building materials at the site to assess sustainability
impact,
However, there is a great need to address the inspira- • Availability of local craftsmanship, labor, and
tional, creative and materialization aspects of conceptual their cost,
design and give this the form of scientific process. • Availability of nearby areas for site establishment and
The owner and stakeholders' requirements and expec- casting yard,
tations given in the clauses of competition or reference • The studies required to be carried out for geotechnical
for proposal (RFP) have to be studied in great detail. data, met ocean data, topographical data, bathymetri-
Then the structure has to be inspired by local culture, tra- cal data, climatological data, environmental data
dition or surrounding structures and also must be in har- (earthquake, hurricanes),
mony with the surroundings. • Material properties, accessibility and transport
facilities,
• Availability of right of way and local construction
3.3.1 | Study of the site context rules,
• Availability of working seasons and working hours.
Thus it is imperative that the site investigation (Figure 7)
is carried out in detail by studying the site conditions, Apart from carrying out detailed site investigation as
talking to client for additional information, talking to the above, to get inspiration for conception, the discussions
local people and exploring their aspirations and expecta- with architects, urban planners and historians are
tions in terms of solving the problems and improving the warranted. The conceptual design is an integrated

FIGURE 7 Study of the existing structures and surroundings

2214 HEGGADE

approach. The structural engineer should have the ability Pune is considered as a cultural capital of Maharash-
to interact with the architects and the architects should tra. It is renowned for its rich Art & Culture. It is also a
broadly understand the flow of forces in the structures. major educational hub due to the presence of numerous
educational institutions. Sambaji park metro station is
near to Bala gandharva ranga mandir, an auditorium and
3.3.2 | Inspirational aspects an exhibition hall where cultural theater activities, musi-
cal concert, art exhibition, etc. regularly take place. This
The inspirational aspect is derived from: is also a place where famous Maharashtrian artist
Balgandharva used to conduct his musical performances
• History of structural engineering with string instrument “Tanpura”. Thus, the Sambaji
• Structural heritage park pedestrian bridge (Figure 8 top two slides) is
• Emerging technologies & materials inspired by Tanpura.
• Education The adjacent Deccan metro station on the eastern side
• Comprehension of structural phenomena connects N C Kelkar road and requires a pedestrian
bridge to cross over the river. The pedestrian bridge was
The aspect of inspiration for structural conceptualiza- to compliment the architecture of the proposed metro
tion is illustrated below by three outstanding footbridges station apart from reflecting the local character and the
(Figure 8) being designed and built currently. culture. Thus, the final form of the bridge (Figure 8, mid-
The currently on going Maha Metro project at Pune, dle views) was inspired by “Puneri Pagadi” or “Shinde
India intends to develop world class metro stations and Shahi Topi”. The concept development of the bridge by
surrounding areas featuring the rich cultural heritage. hand written interventions of the architect is depicted in
Integration facilities at Metro stations include approach the Figure 9.
roads to the stations, circulation facilities, pedestrian The third footbridge in Figure 8 is a unique pedes-
ways and circulation areas for various modes likely to trian bridge of length 300 m on Sabarmati river front
come to important stations, including feeder buses. where Prime minister Modi famously hosted president Xi
Among the metro stations two of them one Deccan and on his first visit to India.
the other Shambaji park metro stations were to be pro- Sabarmati Riverfront Development is developed in
vided with pedestrian bridges over the river called order to provide city with a meaningful waterfront envi-
Mutha. ronment along the banks of the river & redefine an

FIGURE 8 Inspirational aspects of three footbridges

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identity of the city around the river. It also promotes Sabarmati between Sardar Bridge and Ellis Bridge. The
rehabilitation and resettlement of riverbed dwellers and bridge is flanked by the flower garden and events ground
activities; creation of parks and public spaces; provision on the west promenade and the informal market and
of socio-cultural amenities for the city. exhibition center on the east side.
Sabarmati Pedestrian Bridge (Figure 10) joins the Ahmedabad is also known as the city of flying colors.
Promenades at two levels on either side of river The festival of Uttarayan is when the skies over most cities

F I G U R E 9 Inspiration for
conceptual design of deccan
pedestrian bridge

F I G U R E 1 0 Site context
for Sabarmati pedestrian bridge
2216 HEGGADE

of the state fill with kites. Since 1989, the city of Ahmedabad • General conception
has hosted the International Kite Festival as part of the offi- • Choice of materials (considering economy and energy
cial celebration of Uttarayan. Kites are known for its unique consumption for production and elimination)
shape and vibrant colors. Taking inspiration from this shape, • Structural concept (structural logico, dimensions)
the frame has been derived from this form. • Integration and aesthetics (legibility, simplicity, pro-
Dual level bridge merging in the central span, con- portions, equilibrium, shapes, detail philosophy)
nects both the upper and lower promenade people, mak- • Construction method (sequences)
ing it more flexible and more people friendly. The entire • Rough cost estimates
bridge (Figure 11) acts as a truss as the cross members • Comparison of alternatives
are inspired from the shape of kites. • Successive presentations, explanations and discussions
Shading is necessary to provide shelter to the pedes- with the owner(architect)
trians from the harsh climate of Ahmedabad. Colorful • After acceptance by the owner, preparation of the basis
fabric panels are introduced as shading features to add to for design (drawings, notes, reports)
the vibrancy, taking inspiration from the colors of Kites
once again. The above tasks are enabled variety of tools avail-
able these days. The options availability for represen-
tations of visualization is plenty in the digital era.
3.3.3 | Activities and tools Some of the tools as enumerated in fib model code
2010 are:
The structure integration into the landscape should be
compatible and harmonious with the general philosophy of • Experience, background, feedback, database
the structure itself and also and the landscape of the town. • Feeling, sensibility,
The structure should blend with the surroundings without • Creativity, imagination,
imposing on it. There will be many activities between vir- • Capacity of simultaneously analyzing and integrating
tual initial visualizations to intermediate renderings and all criteria and constraints with their respective
final solution as encapsulated in fib model code 2010. weights
• Quick predesign methods
• Constraints analysis and classification • Design by sketching (from rough free hand sketches to
• Environmental analysis (including local politics and accurate drawings)
local traditions) • Visualization tools

F I G U R E 1 1 Sabarmati
pedestrian bridge inspired by
Kites
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Normally at the stage of conceptual design, the study sustainability aspects of structural design are incorpo-
of alternatives are done by hand sketching. The tools rated in this phase.
used for analysis for investigations and iterations of the The designer has to be well conversant with the latest
potential options may not necessarily be refined ones. construction technologies and development in building
As illustrated in the Figure 12 by way of hand sketch- material science.
ing, for a long span bridge over a river which is at skew Once the structure is conceived on the basis of
to road alignment there could be various configuration of other principles of conceptual design explained hither
piers and abutments. There could be a single pier, multi- to, the next questions are how it is going to be built?
ple piers, the abutments being placed at skew or orthogo- what are the materials to be used for construction?
nal to roadway. The resisting superstructure could be whether those materials are sustainable from the point
below the formation level or above the formation level. of view of embodied energy and carbon footprint?
The structural forms could be single or multiple ribs solid Whether the structure is sustainable from the point of
or trussed arch. They could be extradosed, stay cable or view of maintenance and replaceability of those com-
suspension bridges either with single or multiple plan of ponents whose shelf life is lesser than structure life?
cables. Therefore, the options are plenty and the chal- Can the construction technology adopted employ local
lenge of conceptual design is to arrive at the most suited labor to improve the living standards of the local area?
one by iterations, renderings, multimedia visual repre- Can the structure be built without disturbing local life
sentations and finding the form to follow the flow of style? etc.
forces. There are three arch bridges in Figure 13 that were
designed to blend with the natural surroundings over riv-
ers which did not permit any kind of support from the
3.3.4 | Materialization aspects water body for construction. The engineers had to come
out with ingenious way of materializing these bridges.
In this phase of the conceptual design, the ambition to The first bridge, Martin Gil Railway bridge at the top
materialize creative ideas are well demonstrated. Also the of the Figure 13 was designed by Eduardo Torroja of

FIGURE 12 Study of alternatives for sub structure and superstructure (Source: fib TG 10.1 meeting at Tokyo)
2218 HEGGADE

FIGURE 13 Imagination and ambition to materialize ideas

Spain and was constructed during 1934–42. The arch rib material and construction sustainability are incorporated
was temporarily erected as steel truss rib with the sup- in to this.
ports of cables running from one abutment to another.
ORCID
These temporary steel truss acted as a formwork during
Venkataramana N Heggade https://orcid.org/0000-
the concreting of the arch and was left with in the con-
0003-4985-6208
crete arch rib contributing to structural resistance during
service stage.
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The second bridge in the Figure 13, Coronation 1. Gottemoeller F. Bridgescape: The art of designing bridges.
bridge in West Bengal was constructed during 1937–41. New York: John Wiley & Sons, 1998.
The construction of the RCC arch rib was carried out by 2. Sullivan L. Kindergarten Chats. New York: Wittenborn,
staying the formwork from already constructed abutting Schultz, Inc., 1947.
massive piers and carrying out the concreting in cast in 3. Peroff NC. Is management an art or a science? A clue in consil-
ience. Emergence. 1999;1(1):92–109. https://doi.org/10.1207/
situ segments.
s15327000em0101_6.
The third arch bridge in Figure 13 is a Ramshila
4. Garefield E. Essays of an information scientist: Creativity, delayed
Bridge at Himachal Pradesh whose RCC rib was con- recognitions, and other essays. Current contents. 1989;12:1–10.
structed using stay cable technology. The temporary 5. Gold R. The plenitude: Creativity, innovation, and making
towers were built at the location of abutments stuff. Cambridge, Mass: MIT Press, 2007.
through which form work for casting the segmental 6. Andrew J Tapping, The Salginatobel bridge, Bridge Engineering
RCC ribs were stayed and the stays were stressed dur- Conference 2007, May 4, 2007, University of Bath, Bath, UK.
ing the construction to adjust the stresses in the RCC 7. Kaufmann W, Meier B. Conceptual Bridge Design beyond Sig-
section. nature Structures. IABSE Conference – Structural Engineering:
Providing Solutions to Global Challenges. 2015:510–517.
8. Corres-Peiretti H. Sound engineering through conceptual
design according to the fib model code 2010. Structural Con-
4 | C ON C L U S I ON S
crete. 2013;14(2):89–98.
9. Akio Kasuga, Presentation on Japanese example of sustainabil-
The conceptual design of structures is not only science
ity in practice, fib task group 10.1-model code 2020 meeting,
but also a structural art as depicted in R Gold's model of 13-14 December 2019, Tokyo, Japan
“Four hats of creation”. 10. Hugo Corres-Peiretti, Presentation on conceptual design, fib
In the current context, the process of conceptual task group 10.1-model code 2020 meeting, 13-14 December
design is not complete unless the aspects of structural, 2019, Tokyo, Japan
HEGGADE 2219

AUTHOR BIOGRAPHY
How to cite this article: Heggade VN.
VN Heggade, CEO, STUP Consul- Conceptual design of structures. Structural
tants Pvt ltd 1004 & 5, Raheja Concrete. 2020;21:2207–2219. https://doi.org/10.
Chambers 213, Nariman point. 1002/suco.202000399
Mumbai-400021 India.