Portfolio- Advaith Mani

2015-2021

ADVAITH MANI

Design is the rendition of life we see all around us and the greatest expression of all imagination. I strive to learn from everyday life and hope to apply my learnings towards the betterment of the environment.

A keen observer, a bibliophile, a nature lover, an amateur photographer & an avid sports enthusiast, I intend to use the power of design to make the world a better place.

advaithmani007@gmail.com | (+1) (647) 425­­—4650 Georgetown, Ontario

PROFESSIONAL EXPERIENCE

EDUCATION

Junior Architect at Collective-Project, Bangalore (Aug 20-April 21)

(2021-2022)

Graphic Design for Print and Web at Humber College, Toronto

Design development, infographics, presentation & details working drawings, 3d modelling, services, consultant co-ordination & overall management of an on-going residence at Hyderabad.

(2015-2020)

Bachelor of Architecture from L.S.Raheja School of Architecture, Mumbai (C.G.P.A.- 9.1) (College Topper, 11th in Mumbai University)

(COA No-CA/2021/133546)

Trainee Architect at Studio Matter, Goa (Dec 2018- May 2019)

AWARDS & HONORS

Architecture: Designed social-media visuals, conducted multiple site visits, prepared presentation & working drawings for a set of 6 conjoined villas at Anjuna, Goa. Designed infographics, documentation, presentation drawings, design development, on-site supervision, 3d modeling, design and working drawings of the adaptive reuse of a dilapidated bungalow into a retail store for Freedom Tree, Bangalore.

Attended a one day workshop led by Peter Rich in collaboration with Mette Lange Architects (Denmark), to design low-cost Moving Schools.

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Content:

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Research, listing and mapping of Modern Heritage (online portal on thinkmatter.in)

Co-ordination and outreach for The Merit List (2019) Graphic Design for waste compactor for Goa Waste Municipal Corporation. (G.W.M.C.) Frame Conclave-Modern Heritage (2019)

CO-CURRICULAR INVOLVEMENT Design Team Head (Student Council 19-20) Co-ordination, management and organization of “Hatching Mumbai 2020”, a four day workshop by Fernando Menis at LSRSOA, Mumbai.

Creation, design, curation, branding and outreach for the theme ‘Coalescence’ Aakar 2020 (college fest)

Co-ordinator, Nari Gandhi Trophy (2018) Headed a 14 member team at the Annual N.A.S.A. Convention 2018. (top 12)

Content Creator and Editor (2016) Curation, editing and design of a coffee table book, “Bhuj-Ahmedabad : A student’s memoir”

Click alongside to access link

NATIONAL LEVELAsia Young Designer Award (finalist-2020) ARCHRESOURCE Acad Awards (Honorable mention-2020) AR_Critique- Crit Room 2.0 (Outstanding thesis-2020) Ethos NASA Student of the Year Trophy (T.Y.B.Arch) (2019) The Berkley Essay Prize for Climate change (Top 20) (2018) Nari Gandhi Trophy 2017 (Special Jury citation) Wood is Good Furniture Design Competition F.O.A.I.D. (2016) Student of the Year at L.S.Raheja S.O.A. (Across all five years) Best Design Award at L.S.Raheja S.O.A. (2017, 2018, 2019)

SKILLS Drawing Web Design 3D Modeling Rendering Presentation Analysis Documents Analogous Languages

Adobe Illustrator, Autodesk Autocad HTML, CSS (Intermediate) Trimble Sketchup, Rhinoceros 3d, Blender V-Ray, Autodesk Lumion, Enscape Adobe Photoshop, Adobe Indesign Archidynamics, Grasshopper (Beginner) MS Outlook (Word, Power-point, Excel), Prezi Sketching, Model making, writing, photography English, Hindi, Tamil, Marathi, French (Beginner)

ADDITIONAL INFORMATION IELTS ACADEMIC- 8.0 (Reading- 8.5, Listening- 8.5, Writing- 6.5, Speaking- 8.5

INTERESTS Photography, calligraphy, reading, sports, travel

REFERENCES Roberto Rosenman (Professor, Humber College) (roberto.rosenman@humber.ca) Mridula Pillai Gudekar (Professor, L.S.R.S.O.A., Thesis Mentor) (mridula.pg@lsrsa.edu.in) Mandar Parab (Principal, L.S.R.S.O.A.) (mandar.p@lsrsa.edu.in) Instagram- advaithmani

LinkedIn- Advaith Mani

contents Undergraduate thesis

Transcending Physicality

Humber College

An endeavor in realizing the power of Architecture to Move

Graphic Design for Print and Web (Sept 2021- Aug 2022)

05

Undergraduate Thesis 2019-20

Revitalization of Dockyard Road Precinct

Academics & beyond

06

L.S.Raheja S.O.A. Bachelor of Architecture Mumbai University (Aug 2015- Oct 2020)

Architectural Design

07

Public Centre and Art Residency, Mumbai Architectural Design (2018)

08

Sensitized Hybrid Housing, Seawoods Architectural Design

(2018)

09

NASA, Berkeley Essay Competition (2017,2018)

03

CollectiveProject Bangalore

Junior Architect (Aug 2020- Mar 2021)

04

Studio Matter, Goa Trainee Architect

Internship (Dec 2018- May 2019)

Workshops & explorations

10

13

MSSIDC Pavilion

Aakar 19-20

India Int’l Trade Fair Competition

Design Head Branding

(2019)

11

Hatching Mumbai Menis Arquitectos Workshop (2020)

12

Wood is Good FOAID, Mumbai Furniture Design (2016)

(2019-2020)

14

Personal Projects

logo design

15

Everything else design

Education & professional experience

01 02

01

(Scale of project- 3,285 sq.m)

(Undergraduate Thesis)

TRANSCENDING PHYSICALITY An endeavor in realizing the power of Architecture to Move Mentor- Ar. Mridula Pillai Gudekar

RESEARCH ABSTRACT The core proof to Earth’s very existence, movement governs the reality of everything around us. This thesis looks to examine the different iterations of movement through its different forms in the environment and its effect on the user.

This dissertation aims to re-examine the idea of human movement through space and explore its possibilities beyond its literal connotation, as an emotional, sensory & contextual element in design.

The intent is to utilize the resulting inferences to realize the power of architecture to move human lives, thereby creating a positive difference.

(Issuu Iink of research book- Movement in Architecture)

DESIGN ABSTRACT Space has the innate capacity to move people.

This prospect is further reinforced by physical transition i.e. movement.

A subtle symphony between man, the built form and nature has compelling, positive impacts on the mind and body.

The ultimate intent is to realize a space that nullifies the stigma associated with mental health therapy using movement as a catalyst i.e. the power of architecture to move.

Selected in the Top 4 at Crit Room 2.1_AR Critique, Finalist at Asia Young Designer Awards 2020, Archresource ACAD award - Top 4 Best Research thesis (LSRSOA) PUBLISHED ON rethinkingthefuture.com

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The dissertation looks to apply the aforementioned statements under the umbrella of mental health well-being. It takes into consideration the growing implications of problems like stress, depression and anxiety on the present urban youth and their growing dis-association with self and their surroundings. It also looks to address the age-old societal taboo regarding the subject. The intervention is intended as an inherent part of the urban realm as an everyday space, rather than a specified treatment center.

Shakti Mills Compound

Railway Quarters

Mahalakshmi Station Phoenix Mills

Mahalakshmi Racecourse

THE CONTEXT

Raghuvanshi Mills

Residential area

Commercial enterprises

Pedestrian Route

Office spaces

THE PROPOSAL The proposal aims at utilizing the power of architecture to cure, aiding the process of mental health well-being. The design is comprised of everyday spaces, which create multiple opportunities for the user to re-connect with one’s senses, emote positively and stimulate rejuvenation, of the mind & body. Therapy and contemplation have been articulated through subtle nuances & expressions, allowing the user to make the most of an otherwise everyday walk from Mahalakshmi station to the offices of Phoenix and Raghuvanshi mills..

THE PORTAL

a gradual transition on to site

MULTIPLE PATHWAYS abstract yet certain

A PLAY OF PERCEPTIONS plinths at different levels

THE SYM

falling Wate

EVERYDAY ACTIVITIES (as part of the everyday commute)

7m wide Shakti Mills lane

MPHONY OF SOUND

er

(graphical scale for plan) 0

ALTERNATE ENTRY free Movement

2

4

6

AMIDST THE CANOPY OF TREES a path of solace

10

division

filter

focus

tranquil

pleasant

division

direction

dwarfed

multiplicity

(Volumes)

The Play of Perception

peek

free

canopy

hidden

Kinaesthetic Empathy (expression, emotion, meaning)

The walk along

so ffic es

10 6

The touch of space

M

5M

To wa rd

6 an

dr es

ide

nc es

Sh

ak

Sh

ak

ti M

ills

Co

mp

ou

ti M

ills

MATERIALITY

nd

La

ne

10

M

wi

de

Pe d

es

tria

nP ath wa y

Towards Mahalakshmi station

Roof of meditation space

workshop

workshop

cafeteria Garden of the Senses

stone paving with grass

(yellow IPS)

Art Gallery

-0.3M admin/info

kota stone (greyish brown)

Roof of workshop rough concrete (large blocks)

porcelain tiles (above plinth protection)

+0.15M rough concrete (large blocks)

kota stone (greyish brown)

Graphical scale for plan

SHAKTI MILLS LANE 0

5

10

15

25

GROUND LEVEL PLAN (+2.8M)

The play of levels unveils itself to the user as he moves through multiple access points. The design offers maximum horizontal and vertical flexibility, making the seemingly finite space, appear vast.

A gallery space around the 24m tall chimney, The experience emphasizes on a visual, auditory and tactile realm. The chimney acts as a beacon of hope, having stood the test of time .

Workshop courtyard

meditation space

workshop

art gallery

admin

cafeteria

reading lounge

deck

ZONING

SCHEMATIC PLAN SHOWING CONNECTIVITY

Multiple axes at every corner allowing the user to decide their own route and stumble upon opportunities to encounter something different at each interval.

The shortest route- allowing opportunities for the user to filter freely into spaces beyond

The journey to the levels above- discovering a view from atop the canopy of dense trees

The path going below- a journey away from noise & chaos- culminating onto the garden

Art Gallery

Garden

Cafeteria

SECTION A-A’

230mm x 450mm RCC Beam

100mm x 100mm Corten Steel fins (Parallelopiped)

MS Hollow box section channeling storm water into retaining pit for rainwater harvesting

450mm x 2100mm Engineered Glulam Wood Louvers (pivoted with metal frame) Green Roof Gutter for Rainwater Drainage (Concealed from the outside) 230mm x 450mm Upstand Beam (chamfered at the top) Retaining Pond 20mm Thk. Toughened Glass as clerestory window Channel Gutter with galvanized iron lid

300mm x 600mm Thk. Upstand Beam

concrete screed Laid to slope 2mm Thk. Punch metal sheet welded MS box sections Stone Cladding on RC Retaining Wall

230mm foundation PCC for Raft Slab

100mm Thk. Cantilever RCC treads from shear wall

RC Retaining Wall Weep holes

Stone paving PCC Bed Rubble Soling

Concrete partition for planter

Channel Gutter

Channel Gutter with with Galvanized iron lid Shahbad Tile Water Proofing (Double Layer Staggered) Raft Foundation

SECTION THROUGH WO

Hollow GI Water pipes easing pressure of underground water

100mm x 100mm Engineered Glulam Wood Members, spaced at different distances, as fins 300mm x 450mm Ring Beam to support circular cut-out in slab, open to sky, sloping outward 2M wide Light Well 230mm Thk. RC Shear Wall

Bed of pebbles (touch of stone) Stub Retaining Wall 1.5M diameter circular grass patch below skylight 150mm Layer of pebbles allowing excess water to drain into water harvesting channel 150mm Thk. RC Bed 120mm thk. seasoned Teakwood bench

DETAILED SECTION (Meditation Spaces)

Gutter for Rainwater Drainage (Concealed)

230mm Thk RC Shear Wall

Seasoned wood hand rail (Rounded at edges) 2mm Thk. Punch Metal Sheet welded over MS Box section 250mm Thk. Cantilever Slab (with Drip Mould) 230mm diameter Hollow Steel Section

300mm Thk. Shear Wall 150mm x 100mm Galvanized Steel Hollow Box section 3mm Thk. Galvanized Steel Rods

Compact Subgrade 100mm Thk. PCC Bed Stone-Basalt (Stub Retaiing Wall)

ORKSHOP (encountering positive change)

The courtyard- changing dynamics of space

The gallery space has been designed around the circumference of the chimney taking one on a journey of discovery.

The experience emphasizes on the visual, auditory and tactile realm. It is a path, from the ark into the glorious light.

The upper level of the gallery in itself, acts as a viewing and transitional deck into other entities, offering an opportunity for one to undertake newer journeys, enhancing the experience of a visitor each and every time.

25mm. Hollow Circular Steel Column Water Curtain from spout at +7.0M 5.4M x 5.4M Wide Light well surrounding Existing Chimney 2mm Thk. Punch Metal Sheet welded over MS Box section

Upstand Ring Beam to support cutout in slab

Hollow Steel Box frame 230mm x 600mm Upstand Beam 250mm Thk. Cantilever Slab (with Drip Mould)

230mm Thk. Shear wall Stub Retaining Wall Hollow GI pipes to ease water pressure

Selected Gabion (Basalt)

Seamless Concrete Flooring

DETAILED SECTION (Gallery space)

(pebbles) (kota)

(wood)

(wood)

(smooth kota)

(Yellow IPS)

workshop (smooth kota) (Yellow IPS)

Meditation Space

(rough concrete slabs)

PLAN AT LOWER LEVEL (-2.0M) The Garden of the Senses (kota stone)

workshop (Yellow IPS)

0

5

10

15

550mm x 1400mm Seasoned Wood Louvers (pivoted with metal frame)

25

Graphical scale for plan Green roof Bund wall channel gutter to drain excess water

Stone Coping with Drip mould 1M x 1M Wet Cladding over 20mm Mortar Diagonal Cable Grid wall mounted trellis as climbers for plants 300mm thk. Retaining wall as Compound w

The garden has been bermed below ground level in order to block the outside noise, allowing a moment of calm, away from the city. The intention is to allow nature to take over and make the user hyper-aware about his proximity to a natural environment, promoting solace.

300mm wide Trough with soil strata for wall planters Pipe connecting to Recharge Tank for rainwater harvesting Water body

The meditation space naturally aids rejuvenation of the mind and body. The ambient sound of flowing water, serenity of the paintings & landscape, play of light & materials allow one to immerse themselves in the drama between the nature and architecture.

Workshop Reading Lounge

Garden

wall

The meditation space- rejuvenation of the mind and body

Moving with seasons- native flowering trees adorning the descent

Garden of the senses- a dynamic play of elements

100mm Thk. RCC Roof Slab Gutter for Rainwater Drainage (Concealed from the outside) 230mm x 400mm upstand beam

100mm Thk. Slab with Deck sheet (from Vierendeel girder)

230mm thk. shear wall

Rigid Foam to fill Air Gap between Boards Cement board covering metal frame 30mm Gyproc Gypsum Board bolted to Metal Frame 200mm Hollow Boxed Steel Sections Vierendeel Girder supporting Ramp

2mm thk. Punched Metal Sheet (Welded to metal frame) 50mm thk Tactile Flooring

MS Hollow box section channeling storm water into retaining pit for rain water harvesting

3mm Thk. Frosted &Toughened Glasswith rubber sealing 200mm Hollow Boxed Steel Sections

Stub Shear Wall Supporting Vierendeel Girder

Percolation Pond

Brick Bat coba 100mm. thk PCC Bed

Stub Retaining Wall with raft foundation below

Smooth Kota Stone Flooring

DETAILED SECTION (Ramp from Gallery to Cafe- vierendeel girder)

Cafeteria

SECTION B-B’

Along the passage above, overlooking the green

MUSCLE MEMORY(same space, different journeys) Human activity is generally repetitive after one point of time. For eg, one takes a similar road to his or her workplace everyday. The design looks to eliminate these aspect of mundane repetition by creating spaces that move in time, thus breaking the regularity and promoting interest and anticipation.

Shakti Mills lane

Pathway

SECTION C-C’

Towards the courtyard- multiple vantages

At the

e roots, below shelter

Among the tree-crowns, a tactile transition

TOWARDS THERAPY and beyond...

The resolution of stigma begins with associating normalcy to the situation. The workshop spaces intend to spark that dialogue in society through activities like seminars, get-togethers, art initiatives, horticulture etc, which allow a free expression of thoughts. A platform which can re-inculcate positivity, where you never feel alone.

The ultimate intent was to create a space which provides the comfort of having been there before & yet is interesting enough to offer new possibilities.

The design oscillates between being introscpective and externally facing, governed by elements rather than functionality.

From being below the earth, to an architecture without walls, to meandering above the tree-crowns, the built form helps blur the lines between the mind and body, between man and nature, a space that transcends physicality, an ARCHITECTURE THAT CURES.

Garden of the senses

Meditation space

02

(2021-2022, ongoing)

GRAPHIC DESIGN for print & web HUMBER COLLEGE Toronto, ON Visual communication has always been a fascinating prospect to me as an architect. Any design needs to communicate with its user. Through my education, I actively tried to create effective media through the form of conceptuals or info-graphics to better depict the intended message.

The ultimate aim is to understand the overall process and develop the skill-sets to craft highly effective design solutions using composition, typography, web design, illustrations and interactive media.

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It was this innate interest which made me pursue Graphic design for Print and Web at Humber college, Toronto.

The experience so far, has been immensely fruitful. The course teaches industry-best practices & guides one towards establishing a professional frame of mind & work-routine.

AD CAMPAIGN for new balance Mentor- Roberto Rosenman

New Balance has been known as a shoe and sneaker company which is known for making extremely lightweight and durable footwear.

The new campaign for the “No.66” sneaker to be soon released was helmed by the headline of “wherever you go, we’ve got you covered”. The sneakers are designed such that it is suitable for multiple occasions, with the main target audience being the age group of 18-30.

The ads are intended to release in the months between May-July, right before Fall in SI magazine on Instagram and Twitter.

Through historical research, an attempt was also made to understand & adapt from the existing ad-campaigns of the brand chosen, studying the competitors approach & also generating a suitable marketing strategy through the proposal.

TYPEFACE DESIGN chancery neue Mentor- Roberto Rosenman Good type for me, is something that is minimal, unique, legible and which generates a sense of interest and discovery. Growing up in Bombay, one frequents travel by the BEST buses and local trains. The interesting part about such journeys for me was the unique broken text written on their surfaces to indicate destination, numbers etc. This was done solely with an intent to save paint and yet, it was completely legible.

Calligraphic text according to me, is an elegant and sophisticated form of type. Having learnt gothic and chancery cursive, I still find calligraphy enthralling as an art and form of type.

Taking cues from the above, I designed a typefaceChancery Neue, which is as minimal ass as a sans serif type like Raleway, bears a memory of the Bombay transport text in the form of the open apertures and has the flowy visual language of calligraphic text

ALBUM RELEASE tessellate Mentor- Roberto Rosenman, Milorad Eftoski, Felice Forte Tessellate is a hypothetical band which creates music that is a reflection of life in itself. Formed in 2017 by four college mates, the band was born out of the love for music and art. the songs are anecdotes towards life, its musings and expressions.

As the name suggests, the idea of naming the band ‘Tessellate’ was inspired by the idea of tessellations itself. The visuals in itself are inspired by the concept of Eschers tessellations. The visual content as well, is in itself, formed by patterns, much like the songs of the band. Its harmony as a whole, but when you look within, you find a more profound and deeper meaning.

The first album of the band is called ‘Binary’. Songs about soul, of everyday life, about everything and nothing. The songs are stories, which, like life, will make you laugh, cry, chuckle and smile.

The album release is comprised of a press kit, album record, merchandise and a website.

POSTER design Mentor- Milorad Eftoski A poster is usually the first impression that a viewer has about any media content. The intention was to maintain the overall message of the show/movie and create something unique.

The Turning Point is a 6 part documentary series about the aftermath of the 9/11 attacks on the World Trade Center in New York. It encapsulates the devastation and gruesome impact that the event had on all of America.

It also covers an unveiling of the operation to take down the culprits involved, thereby uncovering many secrets about the actions taken by USA and the other countries involved.

The visual is intended to re-create the grim nature of the event and give a sense of the overall mood which the series is based on.

BOOK COVER design Mentor- Milorad Eftoski Peaky Blinders is well known as a BBC series on Netflix, based on a real-life gang in the 1920’s. This attempt is a take on the lesser known book which was used by the writers for the BBC series.

The blade is an integral part of their identity and they are a family of brothers who run a betting house in old Birmingham, England. The younger brother Tom Shelby is the head of the gang and the entire story revolves around how he leads his troops & expands his criminal empire all over England.

POP CAN design Mentor- Sheila Pohle Refresh is a brand which makes fresh coconut water.

They are based out of Thailand and supply all across the world.

The design of the can is attempted to be kept minimal.

The elements intend to depict a feeling of freshness, of being by the beach and enjoying a cool drink under the shade. The greens are kept subtle to match the colors of the elements depicted and the pop of warm colors of the umbrella catches the viewers attention.

TRI-FOLD brochure Mentor- Roberto Rosenman Shobha enterprises is an existing small-scale company based in Mumbai, supplying pigments in India. Their clientele includes companies based in US, Germany and Dubai. They specialize in Amines, organic pigments and a wide range of performance based additives in the paint industry.

The design was kept simple and minimal, using spatulas of paint of varying intensities as the underlying element on a plain white background.

(in commercial use)

CORPORATE ICON gobble burgers Mentor- Sheila Pohle Gobble burgers is a satellite-kitchen delivery service located in Mumbai, India. A young company, just about 2 years old, started with the intention of providing very sumptuous, comfortable food to its customers. The logo has been designed taking into consideration this ideology of the company.

Burgers and fries are comfort food. One always wants to take a big bite of the burger to enjoy the flourish of flavors within. Fries are always great accompaniment to burgers.

Taking the above into consideration, as well as the name of the company, came the resultant usage of the letter ‘G’ as the core element in the design of the corporate icon for Gobble burgers.

rg ers Gobbl e Burg ers

PRELIMINARY SKETCHES AND PROCESS

MUSING WITH MONOCHROMES Gobbl e Burg ers Gobbl e Burg ers Gobbl e Burg ers

Gobblee Burg rgeers rs Gobbl Burgeers rs Gobbl e Burg ers Gobbl e Burg ers Gobbl e Burg ers Gobbl GobbleeBurg Burgee rsrs Gobbl e Burg ers Gob rg

03

(Aug 20 - Apr 21)

Junior Architect at COLLECTIVE PROJECT Bangalore THE PRACTICE: Collective Project is an architecture and design studio founded in Bangalore, India in 2013. Our investigations occur at multiple scales; from objects and interiors to residential and institutional buildings. Current work includes private residences, residential interiors, hospitality and institutional projects across South India.

As a studio, our work is process driven — combining spatial narratives, landscape, and materials to create projects that are responsive and carefully considered.

Our approach is open and fluid — drawing inspiration from site, culture, environment and technology.

Design development, presentation & detailed working drawings, 3d modelling, services drawings, coordinated the Bill of Quantities, consultant & vendor co-ordination and overall management of an on-going residential project at BNR Hills, Hyderabad

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INVOLVEMENT

B’

A’ A

Plan at MAIN HOUSE LEVEL (+0.0m)

View towards main entrance

B

1- entrance area 2- living room 3- prayer room 4- guest room 4a- guest toilet 5- family room 6- dining room 7- pantry 8- storage 9- wet kitchen 10- kitchen store 11- utility 12- generator yard 13- children’s bed 14- master bed 14a- master closet 14b- master toilet 15- veranda 16- parking

SECTION A-A’

SECTION B-B’

View towards site

View towards west

1- gym 2- lounge 3- bar 4- powder room 5- storage 6- store

Plan at GYM & BAR LEVEL (-2.2m)

view from south

ELEVATION-west

WALL SECTION- detailed drawings

04

(Dec 19- May 20)

Trainee Architect at

STUDIO MATTER Goa THE PRACTICE: Matter is an architecture, design and publishing studio, invested in chronicling contemporary architecture in India.

Matter contributes to the design discourse of India through a variety of architectural projects, curatorial practices, content initiatives, workshops, films &discussions.

INVOLVEMENT: Architecture: Designed elevations, conducted multiple site visits, prepared presentation and working drawings for a set of 6 conjoined villas at Anjuna, Goa. Documentation, measure drawings, design development, presentation drawings, on-site supervision of demolition, 3d modelling, design & working drawings of the adaptive reuse of a dilapidated bungalow into a retail store for Freedom Tree, Bangalore.

Attended a one day workshop led by Peter Rich in collaboration with Mette Lange Architects (Denmark), to design a low-cost Moving School. Kutch

Content: Listing and mapping of Modern Heritage Co-ordination, outreach and organization of The Merit List (2019) Graphic Design for waste compactor for Goa Waste Municipal Corporation. (G.W.M.C.) Volunteer at Frame Conclave on Modern Heritage (2019)

Click alongside to access link

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(online portal on thinkmatter.in)

(Architecture, Residential)

ANJUNA VILLAS, Goa A set of six conjoined villas in Anjuna, on a tight plot, set in a backdrop of lush green-scapes and pristine wilderness. The villas are of a G+2 typology, each with an attached swimming pool, multiple verandas & ample terraces overlooking the green.

STAGE OF PROJECT: Under Construction

CONTRIBUTION TO PROJECT: Design development drawings, 3d model explorations and renders, Working Drawings, Presentation Drawings/Brochure Drawings, Client meetings and discussions, Fenestration design, Architectural drawings, Submission drawings, multiple Site visits, Co-ordination with contractor on site.

Presentation Drawing

Site Plan

FAR Calculations- Villa AB (Similar process for Plot CD & EF)

Master Plan

3D Explorations

Line-Out & FaceLine Drawings (Villa AB)

Site Visits & supervision

Execution Drawings (Villa AB)

0

2

4

8

Ground Level

First Level

Second Level

Presentation Drawings

Villa ‘A’

Villa ‘B’

Villa ‘C’

Villa ‘D’

Villa ‘E’

Villa ‘F’

Elevations

Villa AB

Villa CD

Villa EF

(Architecture, Refurbishment & Reuse)

FREEDOM TREE Bangalore

On a corner plot in Indiranagar, lies an old 50 year old abandoned family home. This bungalow was originally designed on a system that was part concrete frame and part load-bearing in brick. The challenge was to convert this house into a contemporary, warm retail space without compromising its structural and built integrity with minimal intervention.

A simple strategy was employed in order to open up the otherwise constricted facade and to bring in light. A continuous circulation from the ground to the top floor was worked out and walls were demolished strategically to accommodate a new program of a retail store.

STAGE OF PROJECT: Completed (June 2019)

CONTRIBUTION TO PROJECT: Documentation of site, measure drawings, Demolition drawings, Client meetings, Conceptual to final design development, 3d design explorations, Client presentations, Site visit to Bangalore (1 month), Site supervision during demolition stage, design and demolition drawings, electrical and plumbing layouts, on-site co-ordination.

0

1

2

4

SCHEDULE TO BE RETAINED AT LEVEL AS PER SITE TO BE RETAINED AT MENTIONED LEVEL TO BE DEMOLISHED TILL BEAM BOTTOM

Existing Plan (Ground level)

3D Explorations

Demolition Plan (Ground level)

3D Explorations

0

1

2

4

Exploded Isometric (Design)

Design Plan (Ground Level)

Schematic Circulation Diagram Material Mapping (Flooring- Green & Grey IPS)

(Content, Organisation & Outreach)

THE MERIT LIST The Merit List [TML] is an initiative by Matter to recognize projects of critical relevance in terms of design and thought in the context of contemporary Indian architecture. TML process seeks to institute a line of inquiry to make place for exceptional ideas in irrespective of typology and scale.

Contemporary practices in India venture beyond the concern of form and space and engage with the potential of the rich landscape often curating projects that are complex and multidimensional that address issues that push the boundaries of programmatic frameworks. Recognizing a need to seek and chronicle such projects, TML aims to instigate critical discourse on the architecture of India.

THE JURY 2020 Brinda Somaya (SNK Consultants), Vijay Naranapatti (Maya Praxis), Riyaz Tayyibji (Anthill Design), Dean D’cruz (Mozaic), Rajiv Soni

CONTRIBUTION TO PROJECT: Outreach, co-ordination, organization of jury, follow-ups, social media updates, preparing databases and inventories.

Modern HeritageMapping across eras

1930-1949

1960-1969

1950-1959

1970-1979

(Content, Online Portal)

MAPPING MODERN HERITAGE The contribution of the history of modern architecture in India is unparalleled in terms of the many experiments that were embarked upon in search of spatial and structural innovations that were responsive to cultural, social, political and economic landscape of India. At a time when architecture in India needs a critical review, it is this history that serves as a reference and a foundation.

STAGE OF PROJECT:

Live on thinkmatter.in

CONTRIBUTION TO PROJECT: Creation of a digital mapping of India’s Modern Heritage by creating a customized Google Map marking the location of structures classified as Modern Heritage.

Along with the mapping, creating an informative postcard about the identified heritage structure. As of September 2019, approximately 142 structures were identified and updated on the portal.

(Content, Graphic Design)

(Content, Graphic Design

MATTER Brandbook

GWMC, Comp

Brandbook at Matter, is a studio initiated fortnightly exercise looking to initiate discussions, hone creativity, introspect and thereby capture and abstract the essence of the activities within the studio.

A collaboration of Matter with the Goa W Centre to design Waste Sorting Centres of the project involves designing and wagons and compactors

CONTRIBUTION TO PROJECT:

CONTRIBUTION TO PROJECT

An abstract rendition of the plan of Anjuna Villas, which came to light after much alteration and effort. An articulate depiction of finally fitting the pieces of the puzzle together.

Graphic Design of the new Waste Comp per the color schemes of the waste wag STAGE OF PROJECT: Prototype T

n)

(Workshop)

pactor Design

MOVING SCHOOL,Bhuj

Waste Management s across Goa, A part branding of waste

T:

pactors of GWMC as gons.

Testing

Moving School is an organization that runs independent charitable schools in Goa and Gujarat for communities that find access to education difficult for their children. This specific proposal is an outcome of a joint workshop for a prototype to be built cheaply and effectively in the desert-plains Kutch for the local pastoral communities.

The design employs a floating roof on a pyramidal spaceframe that enables the breeze to remove surplus hot air and the walls with fine-mesh openings serve as a screen for the dust while allowing air to pass. Designed as load-bearing structures the ‘classrooms’ are clustered around a community courtyard.

CONTRIBUTION TO PROJECT: Graphic Design of the new Waste Compactors of GWMC as per the color schemes of the waste wagons.

STAGE OF PROJECT:

Conceptual Proposal

05/06

(L.S.Raheja S.O.A.) (Scale of project- 14,268 sq.m)

(Semester V, Architectural Design)

REVITALIZATION OF DOCKYARD ROAD PRECINCT. Mentor- Ar. Krishnan V.

THE BRIEF To revitalize the precinct abutting the Dockyard Road Railway Station as a potential public hub. The intent of the project is in line with the vision of the proposed Eastern Waterfront Development of Mumbai.

It takes into consideration, the prevailing conditions of the precinct, potential user groups and the movement patterns of pedestrians. Mazagaon dock is at a close proximity to the proposed site, thus a maximum of the commuters are in the form of workers & laborers. The locals are composed of indigenous inhabitants, their families and daily wage workers.

The excessive & unplanned encroachments over the years has slowly degraded the living and working conditions, presenting a very dull and dilapidated state.

Activities such as manufacturing units, markets and retail stores, co-working spaces, a Railway-Locomotive museum, eateries, chummeries and a employability and Livelihood training center have been included as part of the design solution.

(Presented at the SOTY Award Jury at the Annual NASA Convention 2019)

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The aim of the project is to rejuvenate the lost public realm by reviving public identity, providing users an opportunity to re-define their way of everyday life. To re-instate the dwindling urban fabric and re-define its meaning to the city as a whole.

ACCESS LEVEL PLAN (cutting through all structures) 0

5

10

15

25

Chummeries

SECTION A-A’

Museum

The natural slope of the site posed a significant challenge in terms of achieving a barrier- free design. The design completely aligns itself with the contours on site, respecting the natural terrain. Effective cutting and filling at multiple levels adds onto a dimension of discovery for the user. This also ensures seamless visual access all through, promoting safety yet maintaining privacy.

Cafeteria

Museum Chummeries Training Centre Co-working Spaces

The Platform Market Zoned right along the railway platform, giving impetus to inclusive urbanism. It falls into the daily commute route of the locals, enabling maximum convenience for all.

Staggered Plinths The design allows a free setup of the market as per convenience of the sellers during peak hours. During the non-peak times, they serve as seating and resting spaces.

SECTION (Manufacturing Units) Being secluded from the other public activities ensures smooth working, minimum interference and maximum output.

Co-working Spaces Training Center

Dockyard Road

Museum from Station Exit

In the Museum (Level 2)

Overlooking the

Access towards the Railway-locomotive museum, eateries and the chummeries. The cantilevered level of the museum also serves as a shelter for the congregation and transit spaces below

Containing live-size locomotives from around the world, the journey within the museum is a tryst through time. The journey culminates at a gallery which offers an un-interrupted view of the precinct.

The open terrace o the docks and the s the zone marked un Development, thu vantage viewing po

Chummeries

SECTION A-A’

Museum

The prominent ‘V’ shaped structural members are symbolic to the identity of the precinct. It starkly resembles the shipping equipment at the nearby docks like Mazagaon. The form also allows more open spaces at the ground level, thereby creating multiple shaded spaces.

Pedestrian movement is the core challenge and consideration of the design. It has been addressed through adequate green buffers between functions, enhancing the user experience and ensuring convenience.

Cafeteria

e precinct

of the museum overlooks sea beyond. It also faces nder the Eastern Waterfront us establishing itself as a oint in the near future.

The Stepped Garden

Employability and Livelihood Centre

The transition between the training center and offices serves as an exhibition space.

The levels so created also help negotiate the steep slope in the natural terrain. In the times of non-use, the ample seating provided serve as sheltered space for resting and leisure.

A training centre for the less privileged and handicapped, as an attempt for them to acquire vocational skills (plumbing, mechanical repairs etc). It also provides an opportunity to promote the traditional arts (pottery, embroidery and block-printing) facilitating employability to the locals looking to improve their livelihood.

Co-working Spaces Training Center

Dockyard Road

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(L.S.Raheja S.O.A.) (Scale of project- 5,055 sq.m)

(Semester VI, Architectural Design)

PUBLIC CENTRE & ART RESIDENCY Kala Ghoda, Mumbai Mentor- Ar. Gauri Khanna

THE BRIEF Art is an integral part of the heritage precinct of Fort, Mumbai. The area around Kala Ghoda, is known for its festivals and its age-old culture of the arts. However, the present times have seen a dearth and disappearance of its very existence in this heritage precinct. What was once integral, is now almost forgotten.

The project envisions an urban insert, to elevate the lost identity of Kala Ghoda as a cultural hub. It hopes to re-establish the lost ‘sense of place’ of the precinct. The center aims at being a valuable civic resource that provides education, access, exchange of creative discourse, an opportunity for cultural expression and awareness & most importantly, a means of revitalizing a neighborhood.

The tight site of 50mx40m calls for a vertically stacked zoning.

The challenge of an un-interrupted spatial experience is met with a built form which naturally guides its user. The built form is perceived as a sculpture itself, carving out spaces organically, The structure engages in a witty play between inward and outward, providing its user ample opportunities to engage and introspect.

The design incorporates functions like a Public square, library, cafeterias, workshops & exhibition spaces, art galleries, experimental theaters and auditoriums and a residency for artists.

(Presented at the SOTY Award Jury at the Annual NASA Convention 2019)

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The brutal bare facade is symbolic of a blank canvas, on which true art can be created and appreciated.

Residences Auditorium & experiential theater

Art gallery, workshop & exhibition

FOR ONE, FOR ALL

Cafeteria & library

Where learning is promoted, ideas flourish and art gets new meaning

Cafeteria & public space

ZONING OF ACTIVITIES

ART, BARRIER FREE A space without any barriers, be it physical, visual, auditory or experiential.

SEAMLESS CONNECTS Verticality challenges the circulation, hence, multiple spatial inter-connections to promote interactions and learning.

SECTION Z-Z’ 0

5

10

THE WEST-SIDE VIEW

A PLAY OF SOLIDS & VOIDS

A bare facade, symbolic of a blank canvas, where art is truly born. The built form invites one to explore its depths & corners, insides & outsides

Multiple terraces among the Art Residency providing a truly un-interrupted 360° view of the pristine South Bombay precinct.

ELEVATORS TO RESIDENCES

+0.15M

CAFETERIA

ELEVATORS TO ART GALLERY, EXHIBITION & LIBRARY

+1.75M

ELEVATORS TO AUDITORIUM/ EXPERIMENTAL THEATER

GROUND FLOOR PLAN 15

25

The Public Plaza

The Central Atrium

Rediscovering Spaces

An opportunity for a passer-by to spend a few moments in shelter. Also serves as an ideal let-out for the nearby office employees during lunch hours and breaks. The plaza leads a person into the central atrium.

Transitions between functions are zoned towards the central atrium, providing an unhindered visual connect between spaces and to the central public plaza below.

The circulation creates an op to re-visit the spaces and exp a new perspective. Art is a pro after all, for the meaning cha each time one re-visit it.

EXPLODED VIEWArt Gallery The Art Gallery allows for a multilevel experience, providing different perspectives to the exhibits/artworks.

The peripheral ramp renders a breathtaking view of the surrounding heritage precinct of South Bombay.

Thus, the user experience is amplified as the city becomes part of the exhibit.

pportunity for a user perience them from ocess of rediscovery anges and deepens,

Continuity

The Workshop Spaces

The ramps guide a visitor through the gallery. Upon entering, a ramp leads the visitor to the level above, where the permanent exhibits are housed. This ramp circumnavigates a central double-height space which the user ultimately connects with, on his way back.

A visitor to the gallery gets a glimpse of the workshop spaces from the level above. A visual access to the visitor promotes a level of intrigue towards taking part in the on-going activities, thereby providing exposure for the artist.

No art is complete.....And is yet fulfilling

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(L.S.Raheja S.O.A.) (Scale of project- 23,700 sq.m)

(Semester VII, Architectural Design)

SENSITIZED HYBRID HOUSING Seawoods, Navi Mumbai Mentor- Ar. Hemal Biscuitwala

THE BRIEF The present scenario of mass housing in the current urban fabric has taken a turn for the worse. With an ever-growing influx of immigrants, houses have been reduced to mere sheltered spaces. The meaning of neighborhood and social interaction have lost their meaning in the physical world.

The project aims to resolve this present housing crisis by re-introducing the lost culture of living among others. It aims to re-discover ‘living environments’ as a prospect to revive the depleting sense of neighborhood.

The design has been conceptualized in light of creating neighborhoods, not just on the ground, but also the skies above,Walkability, interaction & oneness are core principles of consideration. Open terraces at multiple non-recurring levels help create a symphony between the inside and outside, allow for intrigue and discovery.

The housing units are divided as per user typologies, rather than class or living standard. The core ideology is creating a safe haven for a child, a secure neighborhood for the elderly & a convenient living for the working.

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A space where age has no barrier, where movement is free and where possibilities are nearly endless.

Massing and Zoning Diagram

site

podium (parking, amenities & commercial)

families & elders

Play of solids and voids

Voids at non-regular intervals, creating large terraces allowing for winds to penetrate,

Corridor as an interactive space

Bringing back the joy of chit-chat and conversations on the way to/from home

Vehicular movement at the periphery only

Towards garden & commercial spaces

View towards main entrance

Swimming pool above the podium

students & couples

GROUND FLOOR PLAN

PLAN @ +10M (podium level 2)

Most of the ground is utilized as green-scapes and spaces for leisure, exercise and play. Pedestrian movement is given utmost importance.

This level consists of parking and amenity spaces for residents. Facilities like gym, playrooms, walking-track & a swimming pool allow for a let-out for the residents.

PROPOSED SITE (Area- 12,000 sq.m)

Markets Auto-rickshaw stand Bus-stop

SITE- Seawoods, Navi Mumbai

ELEVATION- NORTH

Breaking away from the monotony

View towards the central space

Multiple experiences, same space

A let-out at every level

A play of light and shadow

An open and un-interrupted view

PLAN @ +14M (above podium)

FLOOR PLAN @ +26M

Serves as a quiet buffer space for the elderly, with pleasant views and green all around. Also a connect between the individual blocks. The aim is to uplift the transitional quality of spaces, rather than only focus on the dwelling units.

The distribution, scale & volume of terraces are variable across units to generate spaces which always have an element of intrigue for its user. The built form thereby, has multiple spaces to discover & appreciate.

SECTION B-B’

NARI GANDHI TROPHY 2018 (Spl. Jury Award)

(Cost-Effectiveness) (THEME- Reflection)

(Culture in Architecture) (THEME- Parallel Projections)

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NARI GANDHI TROPHY 2017 (Top 10)

ANDC TROPHY 2017 (Top 20)

(Re-imagining Alternative Urban Spaces) (THEME- Parallel Projections)

Berkeley Essay Prize 2018 (Top 25) THEME- (Climate Change- Learning from the Past)

INSPIRED BY YESTERDAY, ASPIRING FOR TOMORROW One October afternoon, Ritu sat in her city condo study, clearing the monthly bills. Her exorbitantly high electricity bill shocked her & she immediately called her AI gadget to switch off the air-conditioning. As the cool air ceased to blow and sweat-droplets lined her forehead, she realised she couldn’t sit without the cool air. The few hot minutes prompted her to recall the innumerable October afternoons she had spent at her parent’s old brick house where the simple act of opening windows would considerably alter the room’s atmosphere. What had changed?

Was it the climate or was it the space?

Man, by instinct, has been looking for shelter from climate conditions since the very beginning of his existence. Through experimentation and failure, techniques were devised to survive the moods of nature: igloos in the Arctic, the Bhunga houses in the desert, or the sloping roofs in the tropics. Climate, therefore was a fundamental concept for the design of spaces. But with the advent of technology, the philosophy of designing for climates diminished thus destroying the equilibrium that existed for centuries.

The two structures in consideration are the expression of simple climatic responses. Located in a region with heavy rainfall and hot summers, The Revdanda house, on the outskirts of Mumbai, India, built in 1953 and remodelled in 1980 by Nari Gandhi, is a soothing haven. Locally baked red-soil bricks, mud and timber are the only materials used. Retaining all vegetation on site, the lush green envelopes the structure. The transitioning arches act as pivotal structural members supporting the overhanging sloping roof. Porosity of the walling material and the intricate jaali openings cool the interior spaces, allowing them to breathe. Salvaged Mangalore tiles and laterite stone are used to create a permeable pavement around the house, reducing rainwater run-off in the monsoons. The house offers serene, well-lit spaces that blur all sensory boundaries.

The Brick House in Wada, Maharashtra, is a symbol of the new with an ode to the past. Built in 2014, it breaks stereotypes of modern architecture. With its sloping roofs, curvilinear form and slant walls, it is pleasantly surprising to experience the vernacular techniques used in this structure. The rustic unplastered walls are made using rat-trap brick bonding to provide insulation, pot filled slabs reduce structural weight and material usage, arches and wood sections as structural members and the water body in the semi-open courtyard constantly cooling the interiors.

Completely energy efficient and built using local labour, the architecture responds to the climate and aims for minimal carbon footprint. Moreover, it creates spaces that organically wrap around the occupant.

The basic strategies that one must take into consideration while designing are- A riddling problem that haunts the building industry is waste generated due to demolition and the construction process itself. To protect the future, we need to cease the production of any further waste -We must incorporate techniques that salvage old material & maximise utility of naturally available materials.

Climate change is imminent and must be considered a part of the design strategy. Learning from the past, we must understand that resisting nature only leads to destruction.

Architecture that coexists with nature, survives.

(Team members- Anushka Samant, Advaith Mani)

Towards the main entrance of the pavilion

The adjoining facade- an interactive transition

Isometric View

The connect with the built- a dynamic facade

The stall layouts

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(2019, Competition)

MSSIDC PAVILION India International Trade Fair, Delhi (Finalist) THE BRIEF The Hall of Nations in Delhi hosts the India International Trade Fare, where every state gets the opportunity to showcase their rich exhibits to the world.

Small scale industries form the backbone of progress for an economy & are an integral connect to the traditional art & craft forms which have taken birth in Maharashtra.

The facade gives a visitor a direct connect to the vibrant identity of the culture of Maharashtra. On the inside, it is a fusion of the native artistic & architectural elements like the Wada arch. The different weaves used in the various zones of the state culminate into a Virtual Reality space which gives one a complete view of what Maharashtra looks like today and makes one experience the true richness of this great land.

COLLABORATORS- Adhiraj Gorule, Shouvik Maiti

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The design of the pavilion is an attempt to pay homage & glorify the beautiful art forms, whether it be the rustic nature of the Warli painting, or the slenderness of the Ganjifa painting, the subtle handiwork of the Paithani weave or the toughness of the coir.

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(Workshop)

HATCHING MUMBAI 2020 THE BRIEF A travelling event curated and conducted by Fernando Menis (Menis Arquitectos-Spain). It is part of a research initiative under the pretext of ‘Reason and Emotion’. With the Venice Biennale being the origin of the initiative, the workshop has travelled to several countries, finally arriving to India in the form of a three day event called ‘Hatching Mumbai’.

The intention of the workshop was to study the effect of natural elements on form and of relationships that may be established between formal mutations and the functionality of architecture.

The process helped re-consider parameters adopted before design. The influence of context and adherence to natural elements to achieve sustainability, were the core take-aways from this experience

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Starting from basic geometric form of a cube, computer simulations aided the understanding of effects of the sun, rain and wind on it. In the next phase, the results of the virtual work were analysed and valued. Finally the virtual results were replicated in the form of a 3d model which feature materiality and marked expression.

Average Rainfall

Average Wind Speeds

Average Temperatures

Explorations

Simulations conducted on a cube gave an insight onto the impacts of natural elements. Considering their overall effects, niches were strategically carved out to generate an organically formed space, a process known as Hatching.

Simulations were run on the resultant form, generating a cohesive & workable structure, which was carved carefully out of a Siporex block.

Explorations

COMBINED ANALYSIS (Radiation, Wind, Precipitation)

Softwares usedClimate Consultant 6, Rhinoceros 3d, Grasshopper (Solar Analysis, Sketchup, Archidynamics

Wind Flow Analysis

Computer Simulations

Surface

Mid-level

Upper level

Solar & Wind Simulations

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(Furniture Design for Canadian wood)

WOOD IS GOOD FOAID 2016, Mumbai (Winner) THE BRIEF The competition was aimed at testing Western Hemlock wood, from the forests of British Columbia in Canada.

The dimension of the raw material was 11 x 2 x 1 cu.in.

The brief was simple, to create a prototype that could be affordable for a middle-class household, keeping in mind space constraints, convenience and usability.

The design approach was solely intended towards ease of utility and multi-functionality. The several knots in the wood rendered a stiff building material, hardly capable of carving or curvature.

The process also helped save wood to a large extent, is convenient to assemble & multi-purpose, saving costs to a large extent.

COLLABORATORSAnushka Samant, Manmeet Kaur, Bhavesh Satam, Rushikesh Gawade

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The execution process was kept simple. Every alternate member was reversed & bolted to each other at either end to generate a pivot mechanism which could help create joints for bending. Six such joints helped generate a product which could be bent at will and create a chair, coffee table, bench or even substitute for a temporary bed when stacked alongside.

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(Elected Design Team Head, 2019-2020) ANNUAL COLLEGE FESTIVAL

AAKAR 2021- BRANDING The theme for Aakar 19-20 was coalescence, which in science, means the joining or merging of elements to form a whole.

Similarly, the college festival is such an event where all the students, of different fields, classes and ages come together to become one. A time for celebration, learning and joy. Thus came about the logo of ‘coalescence’ which essentially is the amalgamation of the individual alphabets into a pattern.

We also designed invitations for all the dignitaries and guests for the event. The invite was designed in the form of a custom-made pocket folder with single sheets on the inside, giving one information about the entire event and tits happenings. About 250 of these were printed and sent to all other colleges and practicing architects in the city of Mumbai.

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The logo of AAKAR 19-20 was also addressed with a similar notion in mind. Minimal yet intruiging.

(Elected Design Team Head, 2019-2020) ANNUAL COLLEGE FESTIVAL

AAKAR 2021- BRANDING As lead for the Design Team as part of the Students Council, I got the opportunity to explore my love for the visual arts and communication design.

The job entailed co-ordinating the complete branding for all college events through the academic year, some of which includeAakar (Annual college festival)- A week long college festival, with multiple events and activities everyday.

The designing and curation of all the posters, invites, banners and College magazine cover page.

Hatching Mumbai- A four day workshop conducted by Spanish Architect, Fernando Menis (Co-ordination of event, designing of banners and posters) Instagram Handle- welsrite Click alongside to access link

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preliminary options

(personal project) (in commercial use)

MONEY MONITORS Ltd. logo Money Monitors is a financial company and trading community with the objective of making financial education accessible to all. They also offer services related to real estate investment & banking advise.

The blue background is enhance a sense of calm & peace. The yellow denotes a sense of progressive energy and enthusiasm Click alongside to access link

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The concept behind the logo is a simple overlap of the company’s initials. The top right corner has been chiseled in a manner to replicate an arrow moving forward and upwards. (which is ideally where one wants all their investments to move!)

(personal project)

TRADINGVIEW logo Tradingview is a social media network and market analysis platform, intended for traders and investors all over the world. It consits of over 100 million users all over.

As a personal user of the platform, I made an attempt to recreate the logo. The idea was to keep the logo minimal & simple. The color palette is monochromatic considering that the platform is used across different media platforms and devices.

(personal project)

RAY logo Ambiguous, smart, chilling, humorous and mesmerizing.

Ray is a four part series on Netflix adapted from the stories written by the Indian writer and filmmaker Satyajit Ray. The series has a modern take on the evergreen stories in the original books. Having watched this series, I was tremendously amazed by the great panache and subtle idiosyncrasies in Mr. Ray’s storytelling!

A small atempt to re-create the main title as an ambigram, which according to me, does justice to the overall visual narrative of the show. FOR YOU ALWAYS NEED TO LOOK AT IT THE OTHER WAY AS WELL. (left) The first logo is a two way ambigram (center) The second logo can be flipped in any direction, it will read the same (top) existing poster of Ray

PERSONAL EXPLORATIONS Instagram Handle- advaithmani Click alongside to access link

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EVERYTHING ELSE DESIGN A ‘word of the day’ series on Instagram in April 2021 Click alongside to access link

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advaithmani007@gmail.com +647-425-4650