Food design Portfolio 2019

PORT/ FO LIO SELECTED WORKS 2012-2019

AKASH MURALIDHARAN

INFORMATION

Indian 24 Milan, Italy

Nationality Age Location

EDUCATION

Masters in Food Design B.ARCHITECTURE Certified course in Animation

Scuola Politecnica di Design MIDAS, Chennai Da Vinci Media College

WORKSHOPS

AA visiting school London Roberta Tassi Stefano Citi Marti Guixe Katja Gruijters Andrea Manfredi

Hyperthreads workshop Food Services workshop Food tools workshop Food objects workshop Food objects workshop Food places workshop

EXPERIENCE

June - Oct 2015 Jan - April 2016 Intern at Andagere Architects Bangalore PHD research assistant to Ar.Jaffer AA Khan July - Nov 2017 Studio assistant at Foundation design studio July - Nov 2017 Intern at Senscape Architects Bangalore

VIT(Vellore institute of technology) Editor of “Unlearn” VIT Student magazine SOFTWARE SKILLS Autocad

Nov 2017

Lumion

Sketchup

Microsoft office

Vray

Ecotect

Photoshop

Revit

Illustrator

Rhino

Indesign

3dsmax

Animate

Maya

After effects

Premiere pro

OTHER SKILLS

Photography,

LANGUAGES

Tamil : Native Language | English : Academic Language

Sketching,

Animation,

Model-making

AKASH MURALIDHARAN Growing up in India I have always had delightful memories and a strong relationship with food. As an Architect good design inspires me as much as good food.

The following is a display of few selected design projects, through the Master’s degree course in Food Design at Scuola Politecnica di Design, Milan. It also includes a few projects from my undergraduate course in Architecture in India.The list of projects displayed highlight the diverse scale and approaches adopted in the design education and career. One of the very important turning points through my journey was working on my undergraduate Thesis, leading to understanding the strong connection between Architecture and Food.From then its been a constant effort to find a balance between Food & design.

CONTENTS

06.

TWISTEAT - STREET FOOD DESIGN

Food objects Workshop Marti Guixe 2019

12.

GLOB - FOOD TOOLS

24.

Food objects Workshop Stefano Citi, Claudia Castaldi 2019

POTATO LAB - FOOD CAMPAIGN

Food objects Workshop Katja Gruijters 2019

30.

CULT - FOOD SERVICES

Service design Workshop Roberta Tassi, Chiara Albanesi 2019

36.

FORMAGGIAMO

48.

Places for food Workshop Marti Guixe, Andrea Manfredi 2019

HYPER | THREADS

52.

Digital computation and fabrication AA Visiting school Workshop 2014

KUDIL - AN AGRICULTURE FORUM

Reinterpretation of Agritourism Academic Project Thesis 2017

58.

STUDIO ASSISTANTSHIP

VIT School of Planning and Architecture Ar. Jaffer AA Khan Teaching Assistant 2017

STREET FOOD DESIGN

twist eat

#Workshop

TUTOR:

Design Brief

Martí Guixé

1.

Design Object

TEAM MEMBERS:

2.

Ergonomic and Aesthetic

Yanqi Huang Marie Bourbon

a.

Meaning ERGONOMIC, usability, consciousness of the context, materials quality and process, socio-political incidences, cultural and economic aspects.

INVOLVEMENT: Research Concept design Prototyping Presentation Photography

-

Food

b.

DESIGN also includes the aesthetical factor and is influenced by the manufacturing.

6

3. OBJECT - FOOD also has a second ergonomic area.

It needs to TASTE GOOD. Taste good means to please the senses, and it has to be healthy.

4. PACKAGING to be avoided as much as possible, design the food not the packaging 5. AS FINAL the object to be held in the had to eat, has to be Sexy, tasteful, functional, ergonomic, ecologic, usable and trendy as much as possible.

01

Gestuality

How can we use street food to create awareness on ingredients that are vanishing ?

7

STREET FOOD DESIGN

Bamboo Dragonfly

INGREDIENTS

#Avocados

#Chocolate

#Peanuts

#Chickpeas

#Choose

#Pay

#Pickup

#Fill

8

STEP BY STEP GUIDE

#Step1 -Put the soy bean mixture into the hot iron -Take the cooked hot soy bean sheet out

#Step2 -Quickly give the sheet an egg wash and make four cuts along the sides -Put the sheet in the mould when still hot and roll them into cylinders

#Step3 -Now be patient -Within a few minutes the dough cools down and hardens -Fresh and crispy TWISTEAT is ready to be filled

9

twist eat !

10

STREET FOOD DESIGN 11

PRODUCT DESIGN

glob TUTOR:

#Workshop

#Food tools

Stefano Citi Claudia Castaldi

The FOOD TOOLS - FUTURE RITUALS workshop asks students

Design as a practice which offers beautiful, elegant and

to look to the future and to imagine tomorrow’s food, table and society and consequently the culinary rituals and tools of the future.

useful products has a huge role to play in defining how and what we are going to eat in the future. As a designer we have the responsibility of tackling the complex relationship between man, our sustenance and our planet.

TEAM MEMBERS: Yanqi Huang Xiaoyu Zhao Marta Cattaneo

#Biodegradability INVOLVEMENT: Research Concept design Prototyping #d printing Food styling Photography Presentation

Plastic pollution is rapidly becoming a major global problem. We foresee a future of biodegradable tools, utensils and containers. The students ill be asked to explore Agar Agar, Kombucha and other biodegradable materials.

12

#Future rituals How can the design of tableware and dining furniture be employed in crafting new rituals around dining. Dining, after all, is not just eating. It’s social, cultural, personal, emotional and political.

It’s also multi sensory eating is the only thing we do, besides sex, that engages all of our senses.

02

PRODUCT DESIGN

How can the design of food tools using biodegradable materials be employed in crafting new rituals around dining ?

13

CARROT

BOK CHOI

POTATO

OKRA

CARROT

EGG

ZUCCHINI

SUNFLOWER SEED

EGG PLANT

GARLIC

ONION

BRUSSEL SPROUTS

The first set of trials included working with common food waste including banana, orange and potato peels, to check the material characteristics.

The initial trials helped understand the physical character of the materials and their reaction to temperature change, solubility, force etc.

The idea was to use the materials character to the advantage of desciding the tools purpose and characteristic.

14

SCENARIO A growing trend of buying less portions of food to explore more varities

USER

BELL PEPPER

Consumers who buy fresh products that have a shorter shelf life

BANANA

FUNCTION Packaging for fresh products like seafood, meat, fruits, vegetables

GESTURE

LETTUCE

Interaction with consumers through visual feedback Intuitive opening Easy and harmless disposal

ORANGE

INNOVATION

BRUSSEL SPROUTS

Biodegradable Flexible’ Active feedback Freshness and Moisture retaining

MUSHROOM

CONCEPT

Biodegradable packaging thats transparent, freshness retaining and intuitive to open 15

Agar-agar #Material Agar-agar, sometimes referred to as China grass, kanten, or just agar, is a gelatinous polysaccharide derived from red algae. Agar is used to gel many food products, such as puddings, desserts, jelly candy, soups, sauces, and more. #Culinary property Agar is a prized ingredient for more reasons than just being vegetarian. Unlike gelatin, which melts at around body temperature, agar will stay solid at warmer temperatures. In fact, agar solidifies at temperatures below 122 F (50 C), which means that refrigeration is not required to set an agar gel. #Sustainability The most important thing is that it is thermoreversible. The material is particularly notable for its lightweight despite its volume.

The products can be disposed in an environment-friendly way. In addition to decomposing naturally, these products can improve the water retention of the soil.

16

#brush-on

MOCK-UPS

#moulding

FOOD TOOLS

#imitation

#texture

#colors

17

#QUANTITY

OPENING TRIALS #pop-it

The product is designed to hold a quantity of meat, seafood or other products that amount toa single serving for one person

#MATERIAL The product is made of Agar agar, mixed with organic compounds which react with the food product inside and change color from yellow to blue to indicate the

#stamp-it

freshness of the product visually.

#DIMENSIONS Size of the product is 18 x 9 x 5 cm. The size chosen is in accordance with the common commercial packaging size for single servings that is 13.5 x 13.5 cm

#twist-it

#USABILITY The product is efficient for storage, opening and disposal

#break-it

agar -agar 18

glob

The product is made of molten Agar agar, which will be poured into the ready made moulds with the product inside. After drying agar agar solidifies and forms a protective layer around the product

Mounting hole

Product name

Product details

Opening wedge

Bar code

Freshness indicator

19

MOULD DESIGN FOR THE PACKAGING

20

21

POURING AGAR-AGAR INTO THE MOULD

SHOPPING SCENARIO

22

COLOR CHANGING INDICATION

OPENING RITUAL

23

CAMPAIGN DESIGN

potato lab TUTOR: Katja Gruijters

#Workshop

#Recipes

The aim of the workshop is to understand the usage of a chosen

In the potato lab, you have the possibility to taste different types

food ingredient as a part of a new fast food theme, campaign or dish innovatively

of potatoes used in different recipes, made in collaboration with professional chefs.

#Awareness

#Connection

The potato lab project is a campaign that intends to create awareness about the different indigenous potato types that can be found in Chiloe, by using them in experimental fast food labs located inside of big supermarkets in Santiago.

The potatoes used in the recipes are also available for purchase in this supermarket which provides the opportunity to small scale producers to expand their businesses.

TEAM MEMBERS: Augusta Montt Xiaoyu Zhao INVOLVEMENT: Research Photography Presentation Exhibition design

#Healthy This project aims to change the outdated view of fast food as unhealthy towards an innovative healthier direction.

24

03 C A M PA I G N D E S I G N

How can we use potatoes to create awareness about healthier ways of eating fast food ?

25

SAMPLE POTATOES

26

SAMPLE RECIPES

27

potato lab

#Exhibition

The exhibition is designed to be a part of grocery stores in Santiago, where people can taste the various recipes and choose to buy the potatoes used in the recipes from indigenous farmers.

This gives the opportunities to people to obtain knowledge on different varieties of potatoes and the best ways to cook them.

28

29

SERVICE DESIGN

cult TUTORS:

#Workshop

Roberta Tassi Chiara Albanesi

Service design is the activity of planning and organizing people, infrastructure, communication and material components of a service in order to improve its quality and the interaction between service provider and customers.

TEAM MEMBERS: Magdalena Weiss Agnese Pirazzi INVOLVEMENT: Research User Interview Synthesis Concept design Illustration Presentation

Service design is an interdisciplinary approach that combines methods and tools to create and orchestrate better experiences.

Food and Immobility services

30

In the last years new services and digital platforms have changed the relationship we have with food and food experiences in general.

Most of those services focus on convenience and efficiency.

Aiming at bringing food to people, while they continue their activities.

How can we design food Services that consider immobility and convenience, yet provide sustainable and valuable experiences ?

04 How can we bring future farms and their products closer to consumers ?

1.Research objective 2.Hypothesis 3.Research screener 4.Discussion guide 5.Interview 6.Archetypes 7.Synthesis

9.Value proposition 10.User scenario 11.Prototype

31

SERVICE DESIGN

8.Insights

HYPOTHESIS

RESEARCH SCREENER

“Urban farming is the future of agriculture”

20 – 70 Yrs : AGE Male / Female : SEX

“Adopting farms can bring transparency and closeness to farm products”

Interest in fresh food products and cooking : CRITERIA

“Consumers crave exotic products that they cannot find here in Milan”

Buying at from Markets : MOTIVATION

ARCHETYPES

TARGET USERS MARKET GOERS

Connection seeker “I always buy eggs from the old man and my fruits from Gianmarco”

SUPPORTING ACTORS SMALL SCALE FARMERS

ITALIAN - 28

DISCUSSION GUIDE

Worldly home-cook RESEARCH PARTICIPANTS Conscious Consumers/Small-scale Farmers

“I can’t find the ingredients for my favorite okra curry anywhere in Milan” INDIAN - 23

INTERVIEW FLOW Drivers of Choice Grocery Shopping Channels Farming Concepts

Satisfied consumer “I want local Italian products and I know where to buy them”

RESEARCH TOOLS Questionnaire Prompt cards Images

ITALIAN - 42 Convenient pragmatist “I want grocery shopping to be an efficient experience but I don’t want to compromise on quality” ITALIAN - 35 32

LOCATION Coldiretti Cascina cuccagna 2 markets at the centre of the city where the clients can get in direct contact with farmers

INSIGHTS

OUR IDEA

“Increase in demand for local fresh products”

Urban farm (run by bio gas made with compost) Delivery / markets

“Urban farming is the future of 0km farming in cities”

Education

“Using food waste to generate energy can help reduce waste and lower the carbon footprint”

App

OUR SERVICES Shopping experience Urban farming education Zero waste program

VALUE PROPOSITION Produce delivery Markets selling produce Watch your plants grow Volunteer opportunities Workshops Delivery in ecofriendly bikes Compost used to make biogas CULT is the only sustainable agriculture platform that connects environmentally conscious consumers to fresh products and their production by practicing transparent, zero waste urban farming.

The cult community is not just a sales platform but also an education center for urban farmers

33

USER SCENARIO

34

cult

PERSONALIZATION

FUTURE EXTENSIONS Bringing vertical farming to you Providing a cult design vertical farming system Cult cafe featuring vertical farming products grown on location 35

Screens by Magdalena Weiss

FOOD PLACES

for m a g g i a m o TUTOR:

#Workshop

MartĂ­ GuixĂŠ Andrea Manfredi

Retail design is primarily a specialized practice of architecture and interior design, however it also incorporates elements of interior decoration, industrial design, graphic design, ergonomics and advertising.

TEAM MEMBERS: Ketija Greta Sabule Augusta Montt Marta Cattaneo Marie Bourbon INVOLVEMENT: Research Concept design Drawings Renders Presentation

It is not the amount of design that makes a successful shopping environment, but knowing of the effect of it on the consumer.

A creative representation of the interplay of the rational and emotional elements of the brand and its formula.

Giuseppe

Zen

is

not

a

conventional chef. He has a rare background; he is devote to Organic, biological, healthy and tasty ingredients, being passionate in story telling as well as in food fetishism.

He has a restaurant called Mangiari di Strada which is currently closed.

Mangiari di Strada is located in a very particular construction; it is an isolated house built to be a restaurant and located in the suburbs of Milan.

This new concept of restaurant will happen in the space of the building of the closed restaurant Mangiari di Strada. The concept and the interior has to fit the principles of Zen.

36

05

IL PUBBLICO A MANGIARE BENE E A DOMANDARSI CHE COSA STA COMPRANDO” - GUISEPPE ZEN

How will we transport the personal interests and characteristics of the chef to the interiors of a restaurant serving cheese or cheese based products and wine ?

37

INTERIOR DESIGN

“DOBBIAMO RI-ABITUARE

EXISTING RESTAURANT

PROPOSED CONCEPT

This is a place where the value of artisanal cheese production combined with first level wine, is transmitted by a direct interaction between the chefs and their clients.

38

INTERIOR DESIGN

CONCEPT

The restaurant is designed as a performance space with the chef as the performer, at the centre and the diners as audience seated around, to witness the performance of cheese as the protagonist.

39

SECTION AA’

GROUND FLOOR PLAN

SECTION BB’ 40

Kitchen roof

Roof structure

Rear garden

Garden roof Neon wall decor Decorative arch Chandelier

Neon wall decor Workstations Community tables Cheese display

Entrance

Facade

ISOMETRIC VIEW OF INTERIORS 41

CHEESE DISPLAY NEAR THE ENTRY

42

The restaurant is designed to give a mood of excitement and interaction within the customers and the chefs. Bars are the best places for socialising, hence the concept of bar is deconstructed here to suit to the cheese and wine menu. The layout of the bar tables are desidned to face the workstations at the centre, where the chefs performance with the cheese happens. It arouses a theatrical effect within the diners, putting the entire focus on whats happening with the cheese.

The cheese display is the pinacle of the dining area, with the different types of cheese displayed in focus lights. As the customers enter the restaurant the cheese display is their first encounter and the display highlights the importance of cheese in the restaurant.

The material palette consists of mateials that are associated with memories of cheese, like wood, copper and concrete. The neon lights and icons give fresh and vibrant look to the atmophere. The private space is for groups of people who wish to have privacy.

43

44

MAIN DINING AREA

45

UNDERGRADUATE PROJECTS

Fractals / Basic design / Architecture

Kumta beach cottage, Internship Project, Andagere Architects

47

Image Courtesy / Chasing pixels | Architects / Andagere Architects

DIGITAL COMPUTATION AND FABRICATION

hyp e r -th re a d s TUTORS:

#Workshop 2014

Shajay Bhooshan Saman Saffarian Henry D Louth Vishu Bhooshan

6th International Design, Computation and Fabrication workshop

TEAM MEMBERS: Subham Jain Shree Sakthi Sundeep Babhu INVOLVEMENT: Concept design Drawings Modeling Presentation Photography Fabrication Construction

Briefly the workshop aimed at looking into form-finding techniques especially through curve folding and analyzing the structural and other aspects of curve folded material. Starting with a few physical explorations for basic understanding, one of them was chosen and digitized through Maya to study the functioning of the module and to learn the work-flow of Maya. As the next step using the knowledge acquired through the explorations a functional design was aspired to be built to scale.

48

AA Visiting school London As the next step using the knowledge acquired through the explorations a functional design was aspired to be built to scale.

Through some steps of exploration a stable column came into existence. Then as the final step the column structure was digitized and put to stability test using Grasshopper. The Weak and the strong points were noted and the structure was changed accordingly.

The workshop also involved the students in building a scaled prototype of a curve folded compression-only member.

FINAL INSTALLATION

49

2

1

2d layout of the final prototype divided and numbered for fabrication and assembly.This layout is then fed into the machine and engraved on Aluminium to be cut and curve folded eventually.

3

19

21 18 22

20 12

16 11

7

15 10

14

Once the panels are ready to be assembled, the numbers engraved on the panels are cross verified with the layout for correct placement to arrive at the desired prototype.

8

17 13 25 23

24

27 28

26

6

5 4

50

9

Form finding Manual explorations to find form through curve folding using paper, and other materials

51

ACADEMIC THESIS

kudil TUTOR:

#Thesis

Jayadev Nallari 2017

The primary design strategy is based on the two categories of users who shall visit the proposed expanse: visitors with an interest to learn- voluntary; visitors without interest and/ or basic awarenessinvoluntary; the design program is therefore defined based on the two contrasting user- experiences that need to arrive at a common impact/ solution.

The design program is clearly articulated for the ‘voluntary’ visitors who wish to experience ‘sustainable agriculture’. They shall begin with a home stay, followed by interaction with farmers on site and demonstration of the various agricultural practices, usage of equipment and additional food production processes. This forms the basis of a strong foundation in terms of awareness and understanding of agriculture as a way of life. The experience for the ‘involuntary’

52

visitors shall begin with a recreational aspect, gradually transitioning into a knowledge and experiential core that utilizes empirical experiences that conclude into a wholesome visual experience. This aids in achieving the necessary intent of user- experience by imparting a sense of curiosity and interest in the visitors’ minds, and encourages them to transform into a ‘voluntary’ visitor.

This experience therefore establishes the significance of the 6 pillars of agriculture soil, seed, water, climate, tools, farmer and ensures that the consumer is sensitive to the efforts behind the production of the food that he or she depends on for survival.

Such exposure to the toils of farmers builds conviction and aids transfer of knowledge, thereby eliminating the disconnect between the producers and consumers. This experience, as intended, forms to bridge the gap between rural and urban settlements functionally.

70% AGRARIAN

Agriculture in India has an extensive background which dates back to ten thousand years. Though more than 70 percent of the population is directly or indirectly dependent on Agriculture, within a span of 40 years, contribution of the agricultural industry to the country’s GDP had dropped down from 46% to 16% in the coming years.

When the consumers procure their food from the market, the goods are merely an exchange for their money, rendering the toil behind the production valueless.

Therefore, a lack of respect for the food is evident from the consumers’ end.

7 PILLARS OF AGRICULTURE

INVOLUNTARY

Agricultural Tourism is the concept of visiting a working farm or any agricultural, horticultural space as a leisure activity or for the purpose of education or active involvement in the activities of the farm

RECREATION

MUSEUM

EXPERIENCE

USERS VOLUNTARY

STAY

INTERACTION

DEMONSTRATION

TRANSFER BOOKS

53

KNOWLEDGE

20

19

A’

1

7 16

14

13

21

8 13

10

9 11

6

12

4

B

5

B’

A

3

CROPPING DURING THE 4 1. 4 wheeler parking 2. Bus parking 3. 2 wheeler parking 4. Staff parking 5. Visitors centre 6. Exhibition hall 7. Cafe 8. Barn 9. Expermient field 10. Pavilion 11. Processing unit

1 2

EXIT

MAIN ENTRY

54

12. Training and accomodation 13. Farmers accomodation 14. Farmstay 15. Kitchen and dining 16. Volley ball court 17. Amphitheatre 18. Storage 19. Vegetable garden 20. Gray water recycling taank and other services 21. Vermicompost

Sugarcane, Ragi , Gingely,

Rice, Cumbu, Sesame, Blac

Redgram, Blackgram, Rice,

Ground nut, Greengram, C Millets

SITE PLAN

20

19

A’ 15

7 16

14

13

21

17

8 13 18

10

SERVICE ENTRY/EXIT

9 11

15 6 OSR 12

4

B 5

B’

A

17

3 1. 4 wheeler parking 2. Bus parking 3. 2 wheeler parking 4. Staff parking 5. Visitors centre 6. Exhibition hall 7. Cafe 8. Barn 9. Expermient field 10. Pavilion 11. Processing unit

1 2

12. Training and accomodation 13. Farmers accomodation 14. Farmstay 15. Kitchen and dining 16. Volley ball court 17. Amphitheatre 18. Storage 19. Vegetable garden 20. Gray water recycling taank and other services 21. Vermicompost

18 EXIT

MAIN ENTRY

1

SERVICE ENTRY/EXIT

GROUND FLOOR PLAN

Site plan

The distribution of built forms throughout the site is such that open fields are located centrally; this allows for easy and quick access into the fields from the various blocks. A constant visual and physical connectivity with the same is maintained. The planning and location of each block within the site is based on a series of spatial programs and user- activities that conclude at a comprehensive learning experience.

OSR

An interlocking spatial relationship results from a overlapping of 2 spatial fields and the emergence of a zone of shared space.When the 2 spaces interlock their volumes in this manner, each retains its identity and definition as a space.

To endow itself with higher attention value the interlocked spaces are be oriented in a different manner. This creates a secondary grid and a set of dynamic residual spaces within the larger space.

SEASONS Blackgram.

ckgram.

, Redgram.

Cumbu, Ragi.

oÉëáÇì ~ä=ëé~ÅÉë

55

6 4 5

A

3

2

+0.9 mts

1

A’ UP ENTRY

1. Dining 2. Interactive kitchen 3. Preparation a rea 4. Wash area 5. Storage 6. Service area

CAFE PLAN

6

5

+0.00 mts

4 2

5

A

6 4

1

5

A

2

4

UP

3

+0.30 mts

3

3

UP SERVICE ENTRY

+0.9 mts

1

2

B

A’

UP

+0.00 mts

ENTRY

A’

1. Dining 2. Interactive kitchen 3. Preparation a rea 4. Wash area 5. Storage 6. Service area

UP ENTRY

PROCESSING UNIT PLAN

1. Dining 2. Interactive kitchen 3. Preparation a rea 4. Wash area 5. Storage 6. Service area

CAFE PLAN

5

+0.00 mts

2 4

UP

5

+0.00 mts

1

2

+0.30 mts

3

UP

B

4

UP SERVICE ENTRY

1

+0.30 mts

+0.00 mts

3 4

2

UP

B’ SERVICE ENTRY

6

B

4

6 1

CAFE PLAN

2

+0.9 mts

+0.00 mts

4

2

6

PROCESSING UNIT PLAN

PROCESSING UNIT PLAN

56

B’

B’

Museum / Section / Exploded view The design of the museum’s structure has been made evidently dynamic and dominating as a conscious effort to lay emphasis on its strong functionality as a learning space for the visitors.

A spatial differentiation for the functions is achieved through a simple structural variation: while the exhibition areas adorn flat roofs with wider floor area, the circulation paths have a sloped roof and comparatively narrow morphology.

57

STUDIO ASSISTANTSHIP

VIT

S ch o o l o f P la n n in g & A r c h ite c tur e

HEADED BY:

#Teaching assistant

Ar.Jaffer AA Khan 2017

The Foundation Design Course was achieved through a progressive coursework that began with an introduction to basic design elements such as dots, lines and planes, and creating simple yet meaningful compositions in the form of 3D models/ sculptures.

Design principles such as rhythm, hierarchy, symmetry and balance were provided as themes to articulate the compositions and provide substantiation.

The Foundation Design Studio was headed by Ar,Jaffer AA khan.

58

The studio Assistants role was to act as a bridge between the students and the studio heads. This involved keeping a constant touch with the students and providing them extensive guidance in both literal and practical exercises. The process helped get back to the roots of basic design and its principles with which design thinking began at first place. The role also include extensive documentation record and publication of students works.

At the end of semester “Unlearn� a student magazine comprising of their works was published.

The studio approach was highly flexible and also involved activities such as streetscape documentation and perception mapping, where students conducted heritage walks around the town of Vellore, documenting the streetscape through various digital and manual mediums, as an attempt to understand the cultural anthropology and it’s mutual conversation with the architectural character of the settlement.

The studio’s outcome, as intended, was an ingress into Architectural Design, through a pragmatic ‘unlearning’ process, thereby providing a smooth transition into Architecture and Design.

VSPARC 1st year student works FOUNDATION DESIGN STUDIO

59

Manual works / Tessellation

60

Manual works / Pencil sketch

61

akashms8195@gmail.com +39 3273859032