My Portfolio

Hi ! I’m an avid listener of music, appreciate art and culture in any form and i’ve always been intrigued of the thoughts behind anything out-ofthe-box, be it films, books, art or buildings.

I collect random things regarding pop culture, can spend an entire Mumbai local ride eavesdropping an arguement, and can find things to observe even in an empty field.

I see myself exploring and discovering new things on my own- skills, knowledge and even places. Makes it a lot more exciting that way!

Being a keen student of architecture, the interaction between builtform and life intrigues me- the nuances of the smaller details and the effects they have in the everyday of the people fascinates me. The curation of space is a powerful tool.

Education

LKG - Grade 7 | 2006 - 2015

PSBB-LLA, Bangalore

Grade 8 - 10 | 2015 - 2018

AECS Magnolia, Bangalore

Grade 11-12 | 2018 - 2020

Bangalore International Academy (NSV), Bangalore

B.Arch | 2021 onwards

School of Environment and Architecture, Mumbai

Workshops

2021| Useful and Unuseful Objects by Milind Mahale

2021| Inside the Haveli by Anubhav Pradhan

2022 | Illustrations and Storytelling by Sadhana P

2022 | The Self and The Structure by Dipti B

2022 |Disobedient Subjects by Aastha Deshpande

2023 |Printmaking by Sanjana Shelat

Languages

English, Kannada & Hindi (Basic)

Contact Number - +91 7619447773 E-mail - pranavskadambi@gmail.com

Participations

2015 |Represented school in Table Tennis

AECS Magnolia, Interschool tournaments

2016 - 2017 | Represented school in Basketball

AECS Magnolia, Interschool tournaments

2016 - 2018 |Taught Spoken English

At a local NGO, taking 1 class per week

2022 - 2023 | Content Committee

Head of Reflective Blogs

2023 - Present | Council Member

Class representative of the batch and Assembly

Coordinator

Skillsets

Planet of Creases

1 2 5

Patience

3

Threshold of Twin Identities

Daily Wage Workers

Planet of Creases

Form and Space

Semester 2

The first year involved us exploring various mediumsthese included narratives, visual methods of representation, and finally, a physical method of interaction which aims at intertwining both.

Based on reading extracts, I created hand painted visual mediums which represented some of the first thoughts that came to my mind while reading- these being highly free flowing, and in some cases a monotonous texture.

The character sketch is derived from the visual medium created, and what thoughts it induces which further reflects the idea of motion, movement, and self consciousness. This in the form of the narrative.

The physical space is then further derived from the character sketch- what space does the character seem to inhabit? This was derived to be a modulated space with multiple planes.

These initial exercises allowed me to think through various lenses- how to convert perception into a visual form, and further convert that into a physical space.

What feelings do visuals, and physical space induce ?

“Take it behind and follow through” “down to up, down to up- do it in a sweeping motion”

“focus, come on, focus” “quick, punch it downwards, put some force into it”

“towards the other side” “move your shoulders, do it one motion- in a flow” “run back!”

“bend your knee, be in form” “run front!” “quick, in position” “ move sideways, keep the consistency going” “ah!, I could’ve done that better”

“how can i make my movement refined?”

“don’t get your form wrong”

“i can do this” “you have to place it perfectly- the accuracy is key” “push yourself, you can do better” “Keep practising, no errors”

“okay, one more time, the same routine”

“judge it quickly, analyse its movement”

“how can i improve?” “think one step ahead”

“take it smooth and easy, you know the technique!” “predict the placement, make your move” “do it gradually, don’t rush it”

Allied Design | Useful & Unuseful Objects

Semester 3

Given the task of identifying any object or tool in our daily lives that held a memory or recalled certain events over the years, I had chosen a hex key used to tighten bolts in a cycle.

Working on the concept of inducing patience, a quality using a hex key requires, I identified other objects in our daily lives that induced a very similar feeling- the urge to do something quickly but at the same required patience to accomplish.

This quality of patience would then be the prompt to design a product, which was to induce the quality of the same.

I Looked at the idea of dismantling the bicycle in a convenient manner such that it can be portable in small spaces.

Later, taking the idea of Legos and Mechanix kits, which use the same blocks and pieces to create varied products, brought out the idea of converting the basic frame of a cycle into temporary shelters or tent frames,

I further worked on my design idea by working with its form, thinking about its ergonomic aspects, with which the final concept was made.

This module brought out the aspect that even small tools when observed through its form, function and practical use can lead to interesting design ideas that sometimes might not be related to its initial field of use.

Analysing various methods of holdng a hex key, depending on its usage

The

Identifying limitations of a hex key

various components of a bicycle, opening the possibily of multiple uses of such components

The Manual

Standardising components along with its specifications

Identifying various joineries and its assembly

Identifying various joineries and its assembly

Identifying various joineries and its assembly

The cycle in its final form, with standardised sizes and components

The conceptual tent that can be created using the frame components of the cycle

Threshold of Twin Identities

Genealogy Studio | What is a museum? Semester 4

Hudson Circle, Bangalore

The studio approached the understanding of genealogy through the question- What is a museum? What is the role of a museum in representing culture and community?

The site lies in between what was the old city of Bangalore, and the cantonment which was later set up by the British after the annexation of the city. The Cubbon Park, and Chickpēte are located within a 300 metre radius.

The old city, with its market and organic growth has a very distinct identity compared to the more colonially planned cantonment.

The museum is to blur the threshold between the two areas - with a strategy to create an interface between them by reproducing the inner city streets and in its context, creating an interactive art and museum space.

This studio was the first to help grasp the process of designing a structure, as well as formulating programmes and intents.

Ground floor plan,

The design follows the language of a grid, creating social spaces in the form of courtyards, terraces and balconies. Alcoves, niches become smaller spaces of gatherings,

First floor plan, Mezzanines , along with large volumes of spaces within, allows to host exhibitions of larger scales, house artefacts and other installations.

Second floor plan,

The higher floors give a sense of the varying size of buildings present within the older city, which rise above the balconies of those around it

Section through amphitheatre, restrooms and the old city

Section through the larger, street facing museum block, showing

View from balcony

house, showing the mezzanines and double-heighted spaces within

showing narrow entrances to the inner courtyards, and steps toward balconies

View of the street and courtyard

Gradualities

Environmental Flows

Semester 5

Jampore, Daman

The studio aims to address the environment as a set of interconnected networks.

How does architecture participate in these interconnections that alter, interrupt, break, prolong, hinder, stunt certain cycles that privilege or suppress life forms?

Jampore beach, Daman has a very distinct gradualness in its approach to the waters, with the Saru trees providing shade and instilling activities that extend up to the water, in contrast to the newer promenade that strictly limits certain activities for the locals and tourists alike.

The changing landscape due to tides provides uniqueness in the experience while approaching the water. The newer promenade, however, creates an abrupt change in materiality in the flow of texture and shade one experiences on the beach. How can we create a perforated intervention to blur the abruptness of change? What can be the potential in allowing a conducive environment for people to live and inhabit?

The design explores a language which opens up the existing shacks by rearranging them along the walls within the shade of the trees, and allowing the approach to the beach to be unobstructed.

The curved spaces act as spaces of pause around the trees, and also provide a safer space for the activities of the existing school to spill out beyond its premises as well, while allowing for activities of play.

Partnered with Lohitha Rao

It is one of the last beaches here that still allows for hawkers and shacks on the beachfront, with the coastal road not built to its fulllength. The built promenade here is largely uninhabited during the day, while the unbuilt provides a very porous edge to the beach with the setup of shacks and the movement of hawkers under the Saru trees. The unbuilt is occupied by people hroughout the day, however, this dynamic will change as the road’s construction will eventually lead to the systematic removal of the ecosystem over here.

Conceptual Axos, Canteen spaces and shelter

Conceptual Axos, walls wrapping around trees, steps

Concepts

of elevated walkways

Daily wage workers

Allied Design | Self and the Structure

Semester 5

Borivali West, Mumbai

What is an organisational structure? What does it mean? How does it allow people to hold and design their form of life?

In the ‘informal’ professions we studied we observed how their everyday is structured, their connections within various circles, their method of working, and finally, the inefficiencies noticed in their method of working.

The idea of a narrative to provide context of the everyday for each practice was taken up, and along with it would be illustrations to provide a more visual understanding.

The narrative follows the routines of those needing workers, the routines of these daily wage workers along with their backgrounds, and methods of working.

“You know what? I’ll just ask my dad, he’ll know where they sit ‘’

‘’I think they’re usually at that gully near Krishna Sweets. I’m not really sure though, it’s better to ask someone else”.

I’ve been needing a painter, not very urgent but it would be nice to have someone finishing the job. I asked my neighbours and some colleagues at work and they seem to have second thoughts about really knowing where they are.

“They usually sit near that big tree a little ahead from the junction where the skywalk starts”

I’m pretty sure I know where that is, but it’s better that I check the map to be sure. I got off at the junction and started walking down the street. I went past the big red banner Anish was talking about, and saw a decent crowd sitting by the shed under the Peepal tree. About 8 of them were gathered in a line and talking amongst themselves. With all of them being tightly involved in conversations, it almost felt like I was intruding on their own small corner.

Partnered with Keerat Kaur Gill

“Bhaiya, painter kidhar milega?”

They were plumbers.

“Usse apna ghar banane me bahut saari thakleefe aayi”

Talking about some gossip from their village back in Bihar. They kindly directed me down the road. As I went a little ahead by about 50 metres, I looked to my right just as I came to the bus stop. Sure enough, I saw a small group of 5 gathered in a circle conversing amongst themselves.

“Aap painter ho?”

“Haan”

We very briefly discussed what work was to be done, and what the problem was, with a quick 2 minute conversation they agreed.

“Hum shaam ke 6 baje ke baad kaam nahi karenge”

The work timings vary with the group, and the work they do. I gave them my number, and told them what time I'd be home in the evening.

“Rakesh ko puch”

They spoke amongst themselves as I left, probably discussing who's doing the job. They usually delegate tasks to each one in the group, generally on the location and duration of work.

There were a few food carts nearby where they sat. The vendors set up shop by 7AM as the workers usually have their breakfasts here in the mornings. I packed up a few samosas and pavs and headed back to the bus stop. As I walked past, a few young workers were gathering around their van heading to work, loading their carpentry tools and bags in the back while having a chit chat. A few others sat on the side waiting for other work. There are a few days in the month where they lose out and do not receive work. Overhearing their conversation,

“Kal ka din badi mushkil se nikala, kal kaam nahi mila toh mera nuksan hogaya. Agar yaha kuch suvidhaye hoti taki pure din me kaam mil sake toh bohot accha hota humare liye. Agle mahine apne gaon jane ka soch raha hu, ek do mahino me aa jaunga.”

They usually go back to their hometowns for about 1 and a half to 2 months every year. The months in which they go back home generally varies from the region and community they’re in. Their groups are largely formed by bringing in family and hometown members who are looking for work in the city.

“Accha you found them there? I always thought they were near the jewellers junction”

“Told you they would be near the station area”

I told my neighbours and colleagues I got someone to do the work by going around in the morning, and thanked them.

The painter came as expected in the evening, bringing in a large bag, which contained every painting equipment needed- from tiny brushes, to plasters.

“Kidhar?”

Straight to the point, with no unnecessary conversations. I directed him to where and what the problem was, and he immediately got working. 15 minutes into his work, he called a co-worker asking for some fixings he didn't have.

“Me idhar kaam ke liye aaya hun, uske liye thoda saman leke aa”

Not even 10 minutes later, he arrived with what was required, and the work resumed. The worker who brought in the materials seemed to be new in the profession, the more experienced worker gave him small directions for every other step.

“Chai bana sakte ho?”

About halfway through the work, I gave them some biscuits and tea.

“Aaj kal koi ek dusre ko janta hi nahi hai, kon kaha se aaya hai, kidhar rehta hai ..agar hum subhe jab kaam dhunde ke liye rukhte hai tabhi sab naye mazduro ko kaam sikha de toh accha hoga, humari dosti bhi badegi.”

They had their own chit chat during that time, unbothered by me. They finished the work by the evening, after which they cleaned up the material and waste. They pointed out what the problems were, and told me what I had to get changed and Wreplaced to prevent further issues.

“Kitna hua?”

“Aapko jitna lage, utna dedo. ”

“Nahi, jitna har jagah lete ho, utna bata do”

We discussed the cost of materials, and had a few back and forth about how much I needed to pay him. He demanded I pay for the transport he and his co-worker had taken to come home. They usually get 1500 rupees on a good day of work, usually working in 2 or more places.

“Thik he, 1200 de do”

We eventually settled on 1000, and they headed to their next place of work after promptly packing up their tools into the bag.

“Hum idhar aas-paas mein rehte hain, aur kuch kaam hoga toh, humko call karo”

They gave me their contact as they left.

“Hey, do you know where I can find a plumber? I know they’re near the station somewhere, i was hoping you’d know better”

A friend called me up, he needed some touching up in some parts of the house. However, I had the contact of a painter though, so I couldn't help him there.

“No, I'm not sure about plumbers, you can find some workers by the bus stop a little ahead from where the skywalk starts. You can ask them, they’ll know”

A while later he came back to me,

“Turns out they usually gather near that post office building on Mahant Road, there was a bit of asking around to do”

Disobedient Subjects

Electives

Semester 5

What is ‘disobedience’? Is disobedience understood as a site of protests and revolutions? Where and why do they emerge? What is disobedient to society? Is it a subject of what is right or what is wrong, or a subject of taboo?

The discussion of ‘Disobedient Subjects’ started with mind mapping a concept or topic which we felt is disobedient, it could be either disobedient to society, a particular person, or oneself.

We then created a mind map on each of these topics and looked at disobedience through the lens of why, when and how.

Each individual mind map was then interlinked with common anchoring points of others’ mind map, to see how each individual idea of disobedience overlaps with one-another.

Taking my ‘disobedient’ practice of procrastination, I further asked- What is productivity? What is time? What is the need for time management?

Overall, the course helped us articulate & introspect our own biases. Words can be used as a powerful medium to change our perspectives and are a tool to make communities and individuals feel included or excluded.

Visible and Invisible Spaces

Building Making | Working Drawings

Semester 6

Trombay, Mumbai

Due to the existing school’s incremental nature, various spaces in the school have opportunities in being used for various purposes thanks to its materiality and temporality. Spaces with more defined intents and fewer affordances for multiple activities tend to be disused, and ends up being used as storage

The incremental built-form has resulted in certain spaces being less visible, and as a result changed the way it has been used and maintained. The library being a recent addition, has covered up the washroom behind it, causing more pile up of trash and items for storage purely because the clutter is not visible to the eye. This has caused highly unhygienic spaces for the students to use.

How do niches, jaalis, columns, plinths and shade form segration of genders and also allows affordances of certain activities, while demarcating spaces for the same. What forms allow for gaze? A sense of security? Conversations? Play? Loitering?

The incremental growth of builtform in the school has resulted in some spaces neglected due to newer structures being built, hiding those spaces behind it

Concepts

Concepts of plinths, and semi open spaces

Creating spaces of play, intimacy and conversation through the creation of semi-open spaces, plinths and modulations

Designing the plan using a grid, demarcating spaces based on purpose and programme

Physical models, experimenting with form and tensile materials

Sketched sections

The school is used by the local community for larger events such as festivities or weddings, as it is one of the few spaces with a large open ground.

This provides an oppurtunity for a multi-purpose space which can hold classes, as well as events depending on the requirement, with collapsible, modular walls.

This multi-purpose space in the centre allows for larger gathering to happen around it, taking the typology of stage.

The school also provides niches for community spaces and washing in the gullies behind by having setbacks. This also allows for more light and ventilation to enter, while allowing for a backyard garden space for some indiviual classrooms.

The classrooms follow a typology which has multiple entrances, and keeping the corners open, so as to not provide the feeling of a compartmentalised space, something more open than enclosed.

As a classroom

As a wedding stage

Working Drawings

Ground Floor Plan

Section

Staircase Detail

External wall section with details

Claims of Water

Settlement Studies

Semester 6

Kumbalangi, Kochi

How can we map the changing relationship between human and other-than-human relationships, in the context of ‘climate change’ in tropical monsoonal grounds?

How can we map a ‘settlement’ and its built forms as manifestations of changing relationships - monsoons, water, ground, canals, backwaters, vegetation, marine, humans, crops- and revise the notion of ‘built form’, ‘settlements’ and ‘climate change’?

The module took us to the edges of the city of Kochi, Kerala with its backwaters, coasts and fishing harbours. The sites of Kumbalangi and Chellanam are along the confluence of the Arabian sea with the Vembanad lake and the terrain is majorly composed of brackish water. The fabric of builtform in Kerala as a whole is interesting as there are few cues to differentiate what is truly ‘Urban’ and ‘Rural’.

The site is a thin strip of land built up by various bund segregating ponds and other smaller water bodies, all being surrounded by the large, vast backwaters.

Groupwork with Anika Pugalia, Chetasvi Patel, Gauri Shinde and Hrishikesh Chhaparwal

The Derive explains the various anchoring points in orienting our site, and the observations of various elements we made along the way.

The Rhythm shows the routine and close relationship between the water bodies, their entities as well as the landscape and its influence on the people who rely on them with their multiple interdependencies

The Spatial affordance documents the built-form and its relationship with the water, and its changing patterns with its immediate environment

The built form of the site has been changing over the years in a constant effort to withstand evolving environmental conditions; this change and development of the built form are quite evident in the settlements. It is not only the environmental aspect that changes the characteristics of local built form, but also the economics of each settlement and its dependencies on its fishing industries.

The module gave a great perspective on the seemingly unrelated factors on livelihood, produce, economy, culture and community- and allowed us to move a step deeper into sensitising ourselves with climatic conditions, with its ever changing patterns, along with which we evolve our practices, routines and built environments.

Haji Ali Park & Market

Specialisation | Landscape Design Semester 7

Haji Ali, Mumbai

Mumbai’s new coastal road has resulted in the reclamation of about 274 acres of land, where new transport hubs, parks and other public infrastructure is planned to be built. This project has provided an opportunity to rethink the urban landscape while being more sensitive to the environment around us as the massive infrastructure created by the coastal road project is highly desensitised to its immediate surroundings.

The Haji Ali Dargah, along with its market has seen a stark change with construction of the interchange.

The reclaimed land provides an opportunity where the market can be revitalised, along with the creation of public parks and other infrastructure while incorporating smaller nuances to allow for a more sustainable ecosystem that has been affected by the coastal road. The project is 9.2 acres, or 400.000 sq. ft. in area and incorporates spaces for the market, a transit hub, viewing decks and revitalising a stormwater drain to sustain its immediate ecosystem.

The market takes a radial form around the central event space where cultural activities may spill out beyond the dargah, while the park has meandering spaces with spaces for seating scattered around.

Landscape projects like these helped familiarise myself with dealing with larger scales, and understand the nuances in designing such projects.

Multi-level Deck

Gazebos Naala and Reedbeds

Miscellaneous

Model Making

Rhino Sketchup

Tactical Interventions and Light Structures - Street Design Repair and

Laser-cut Models

The face of the city varies with every passing moment, the busy junction by day, becomes a haven for the chai-walas on their cycles at night, selling cigarettes

That railway overbridge, by the market, is home to about 4 families, who eat, sleep and bathe there. crazy right?

Some complain about the conditions in the city, some wonder what the solutions are, some wonder why it is so, and some perhaps, wonder if there’s an issue at all?

Architecture shapes all lives and form