Aishwarya Sadanandan_Architecture Portfolio

P O R T F O L I O

Architecture

TECHNICAL SKILLS

AISHWARYA SADANANDAN

PROFILE

I’m a 4th year undergraduate at RV College Of Architecture, Bengaluru. To me, architecture is a journey rather than an end result. My design style is a consistent process of learning and re-learning and always trying to keep up with the changing world and its architecture.

CONTACT

E-mail: aishwarya.sadan21@gmail.com

Phone Number: 7760616319

Linkedln: https://www.linkedin.com/in/aishwarya-sadanandan-72a6b41ba

LANGUAGE

ACADEMIC PROJECTS

COMPETITIONS AND WORKSHOPS

CoA TRC Pune Heritage Documentation

EDUCATION HISTORY

CO-CURRICULAR ACTIVITIES

Installations committee, RVCA Exhibition 14

painting done as part of RVCA Exhibition

Member of Rotaract Club

Member of NSS Committee

is the very mirror of life. You only have to cast your eyes on buildings to feel the presence of the past, the spirit of a place; they are the reflection of society.

- I.M Pei

COVID CONTINUUM MUSEUM

STUDIO: ARCHITECTURAL DESIGN

SEMESTER 3 | B.U.A = 500SQM

LOCATION: M.G ROAD, BENGALURU.

FACULTY: Madhuri Rao, Deepa Suriyaprakash, Edgar Demello, Mansi S.

PROJECT BRIEF

How does the Covid-19 pandemic provide for an extra-mental museum without walls? And what are the significance of walls and a physical space for our understanding of art and hence our worlds?

The studio uses the background of the pandemic to redefine accepted notions of a museum. To spur the architectural process, exploration of the court, one of the architectural elements from the framework offered in ‘Thematic Space in Indian Architecture by Kulbhushan Jain’ is done and used as a governing element in design.

M.G

The Covid Continuum museum envisions to create a space that engages the viewers with an interlaced narrative that provides a glimpse of the exhaustion, isolation and pure agony the healthcare workers went through these past months.

In response to the site, that is the Mahatma Gandhi park, the museum begins to disguise itself as a park at certain parts with the help of the courtyard. The main concept includes a central spine - ‘the living pergolas’ that guidethe viewers through the transition of open and closed spaces.

The curved brick wall turns its back to the chaos (the city) – bringing in the landscape and creating a quietude. The Courtyards act as points of exile and reference points that help in organizing space.

Interviews and stories from healthcare workers are strategically placed at certain points of the museum.

1 - Entrance Plaza @ 450mm

2 – Information Kiosk –- 20SQM @ 450mm

3 – Administration + Waiting area – 30+50SQM @ 3000mm

4 – Behind The Mask (Audio visual gallery) – 70SQM @ - 2000mm underground

5 – Nature Vistas (Temporary Installation) @ 0mm

6 – Café + Kitchen – 60+20SQM @ 3000mm

7 – Museum library – 40SQM @ 3000mm

8 – The Predicament– (Gallery space) - 80SQM @ 4000mm

9 – Water court – open to sky @ - 1500mm underground

10 – Public Toilets - 50SQM @ 0mm

11

– 6 Feet Apart (Installation among trees) @ 0mm

12 - The Dialogue (Temporary Installation) @ 0mm

13 – Storage – 30SQM @ 3000mm

14 – Parking @ 0mm

Pergola acts as main spine along the different levels that connects the closed and open spaces thereby guiding viewers throughout.

Courts act as pause points/reference point and serves different purposes throughout the museum spreading awareness.

Information is suspended from the pergola at certainparts – represents the continuumhence will have ever evolving information.

THE WORK-PLAY ESCAPADE MIXED-USE BUILDING

STUDIO: ARCHITECTURAL DESIGN SEMESTER 5 | B.U.A = 4380SQM

LOCATION: BASAVA SAMITHI, BENGALURU

FACULTY: Pankaj Shivarama, Pramod Jaiswal, Prakash S, Abhinaya Ghana

PROJECT BRIEF

What are the spatial notions of work and play, and how do we position the idea of blurring their boundaries and look at the two typologies with a renewed interest?

Marie Ange Brayer, in “work and play in experimental architecture” looks at the once frozen, or static, work place as a thing of the past, noting that we are heading towards a more fluid environment. The Covid-19 pandemic has accelerated this process and propelled people into the idea of work from home and online businesses, further blurring the lines between work and play.

THE WORK-PLAY ESCAPADE

BASAVA SAMITHI, BENGALURU

In the wake of the current scenario of lockdowns and quarantines where the concept of “work from home” has become the norm, I envision to bring people back to the public realm by creating spaces that encourage social interaction and a sense of publicness in a way where work and play are no longer categorized as different.

In order to do so, the relationship between the built and the unbuilt will be more porous in nature suchWdea of ‘play’ that gets interspersed with the work aspect.

The edge of the site is activated due to the placement of the blocks that more public in nature thereby inviting people into the space. Moreover, it becomes vital to address the varied user groups around the given site and the duality of the given context in order to craft spaces that cater to them.

Idea of work and play merging through buffer spaces/ in-between spaces. The spaces are sheltered by existing canopies. A visual connect – promotes ‘play’ and interaction between the adjoining office spaces.

WESTERN ELEVATION

FLOOR PLAN @ LVL +6000mm

FLOOR PLAN @ LVL +10000mm

Façade is given more porous elements in order to stay connected to the landscape around. This will provide with a response to context of the site. The volumes are juxtaposed to allocate key vantage points throughout.

Spaces like OAT, tree courts and platforms encourage interaction and brings in the sense of publicness.

Edge of site and entrance of space are active spaces in order to welcome people into the site.

Platforms near and under the existing water tank acts as buffer for the built spaces around.

VRIKSHALAYA CAMPUS DESIGN

STUDIO: ARCHITECTURAL DESIGN

SEMESTER 6 | B.U.A = 6000SQM

LOCATION: Jnanabharathi, Bengaluru.

FACULTY: Dr. Mahalakshmi Karnad, Senthil Doss, Deepa Suryaprakash, Deepak Ramadasan

PROJECT BRIEF

Objective: To understand the role of built environments of increasing complexity by:

a) Intrensic factors: Size, Volume, levels, functional spaces

b) External forces: Site, Approach, traffic, ecology, services

c) Constraints: By-laws, Budget, ideology, attitudes

d) Create an Identity to the campus through integration of the above

BENGALURU, KARNATAKA.

Informally known as “Mahongany Vanna”, the site presents itself as a rich living ecosystem of numerous flora and fauna. The concept of the campus revolved designing along the various trees and the associated biodiversity not disturbing their peace.

The sequence of the spaces are carefully curated to cater to the students who will occupy the space. Numerous breakout spaces are provided between the built spaces to encourage the notion of learning among the trees. The experience revolves around the idea of “a walk in the park” where learning is seamlessly incorporated.

The notion of the typical arrangement of classrooms is questioned and a more non-hierarchical arrangement is adopted. The point of arrival is welcomed by the curve of the built that responds to the adjacent trees. Spill out spaces are visually and spatially connected to the classroom to keep the inside connected to the outside.

The OAT set amongst the line of gulmohar trees invites a sense of calmness and provides a platform for social interaction and activities.

The in-between spaces interspersed with the existing trees allows for learning beyond the 4 closed walls of a classroom

The sense of arrival is given through a vast plaza frames by trees and uplifted volumes. This is an emphasis on the idea of ‘a walk in the park.’

The food court is set against a line of tamarind trees that continue to attract the existing biodiversity as well as providing sufficient shade for students to enjoy their meals.

The entire campus is shaped through careful consideration of the existing trees and its associated biodiversity which allowed the volumes to be sensitive of its surroundings.

The first thing that an architect must do is to sense that every building you build is a world of its own, and that this world of its own serves an institution.

- Louis Kahn

IN-BETWEEN SPACES POROUS CORRIDOR

OAT INTERACTIVE FENESTRATIONS

PEOPLE’S BAZAAR MARKETPLACE

STUDIO: ARCHITECTURAL DESIGN SEMESTER 7 | B.U.A = 5000SQM LOCATION: Johnson Market, Bengaluru.

FACULTY: Dr. Salila Vanka, Shalini Prakash, Debashree Pal, Aziz Rajani

PROJECT BRIEF

The main objective of the studio was the design of an urban market building in Bangalore as an exercise in space-making in the public realm with emphasis on exploration of non-conventional building materials.

Key learnings: principles of meta architecture, design with non-conventional materials & systems. The interpretation of a marketplace is done using a varied palette of non-conventional materials. The existing context is seen as vital and studied carefully. The various typologies of market businesses were studied and used as a guide to the design.

PEOPLE’S BAZAAR

JOHNSON MARKET, BENGALURU.

The idea was the revival of Johnson Market by maintaing the core identity of the building and achieving an outcome of the interplay between the older principles and newer materials. Articulation of the building character through details will remain a primary motive. Although drawn from the traditional principles, the nature of the buildings remains current.

The problems identified were the many narrow spaces and corridors that were poorly ventilated. This provided a sense of discomfort and a feeling of unease. Waste disposal of the organic waste was also tackled by integrating dedicated spaces for the same. Hence, the goal became to open up the spaces more and elevate the building on the ground in order to achieve easily accessible and well ventilated spaces.

The idea of ‘market as a transition’ became the governing principle for design and allowed to cater to the various user groups of the existing market.

USER DEFINED NODES

CUSTOMERS & VENDORS - A landscaped path acts a spine for the vegetable and meat/ fish stalls and allows for easy access for the public especially people living in the residential areas towards the western end.

Integrated courts allow for ventialation and light.

COMMUTERS - In response to Hosur road and the upcoming metro station, exhibition areas and auto stand/waiting areas are incorporated.

STUDENTS - A student’s hub including cafes, stationary and xerox shops, pocket libraries, etc. are provided in order to indulge the young demographic from surrounding schools.

VISITORS OF MOSQUE - Sensitive use of spaces to respect the presence of the existing mosque.

Spillover spaces used differently at different times.

Porous corridors allowing easy trasition

Porous facade allows for abundant entry of light and ventilation.

The vaulted roof allows for a more spacious feel and brings in light.

The gathering space allows for various activities and is shaded by the vast rain tree.

The seats are placed alongside the dynamic facade providing views to the canopy

STUDIO: INTERIOR DESIGN

SEMESTER 7 | B.U.A = 400SQM

LOCATION: Ranthambore, Sawai Madhopur.

FACULTY: Pankaj Shivarama, Nandita Srinivas, Gowtham Nandakumar

PROJECT BRIEF

The first part of the design dealt with an understanding of

• the context and the character where the character is a memory, a craft, a culture.

• the needs of the user

• the idea of the aedicule

• exploration of material that would work ideally to respond to the idea of lightness, dynamic dismantlable form and the existing shell.

The Aedicule

The second part of the design details the working space for the user. This details out the experiential character of the interior space along with creating with an innovative program that aids the idea of the new space, thus exploring ideas interior skin vs. exterior skin. Further, this space is detailed out in terms of material and execution to aid the overall design intent. No structural changes are allowed to the existing structure.

RANTHAMBORE’S infoHUB

INFORMATION CENTER

SAWAI MADHOPUR, RAJASTHAN.

Sawai Madhopur was built by Maharaja Madhosingh as a planned city in 1763.

Character - wildlife

Ranthambore national park tiger reserve (1980) Area - 1334 sqkm

• Landscape - dry deciduous forests & open grassy meadows

• Jogi mahal - red sandstone

• Red sandy soil

Reasons to build the airstrip: To increase footfall at ranthambore tiger reserve.

Reasons for abandonment of air strip:

• Boundary wall broken

• Issues of safety

Ranthambore School Of Art - Wildlife Conservation through art

The artists are local people from the villages of Rajasthan, and they are driven by their love for art and a deep love for nature. Above all, a wish to make society a healthy place to live in.

The InfoHub provides people with a glimspe of the Rathambore National Park and aims to provide various infographics and audio-visual cues of the countless flora and fauna. The painting gallery raises awareness through art and introduces the people to the local artists. The spaces are designed to reveal openess and help with the transition of the built and the unbuilt.

WORKING DRAWINGS

STUDIO: WORKING DRAWING, MMBC SEMESTER 5,6,7

FACULTY: Ramya Krishna, Anupriya Saxena, B.S Girish, Phani Ram

PROJECT BRIEF

WD PROJECT – PROJECT REQUIREMENT

PROPOSED MIXED-USE BUILDING (33% MERCANTILE AND 67% BUSINESS, of Total Built-Up Area) –

• Retail Floors (One Anchor Shop on both floors combined)

• Business (Office) floors (Single-tenant)

• Maximum allowable FAR and allowable occupational efficiency to be achieved by Design.

• NBC and Region Specific Byelaws to be followed

MISCELLANEOUS Competition entry, Elective Work, Artworks and Models

Wall painting, RVCA Exhibition

The ardha mandapa has a raised platform which comprises of six intricately carved out stone pillars lined in 2 rows of three pillars each. The base of all pillars are square in shape. These monolithic pillars, all made of stone are chiseled in such a way that parts of the pillars would have 8 to 16 sides. These parts are sandwiched between two sqaure parts.

The square parts of the pillars mostly have carvings of Dashavathara, Ramayana and Mahabharatha. The bracket of the pillars is chiseled to form inverted lotus buds. The capital of the pillars remain uniform throughout and is around twice as wide as the base of the pillar suggesting a well thought out system of proportions.

As you walk from the gateway to the main temple, there is a stepped well to the left. It is below ground level and is enclosed by a 450MM thick wall. A dozen steps lead to the water. As one descends

MODELS