ALEESHA ANTONY
P RO FE SSIONAL PROFIL E I am a detail-oriented professional with a background in the arts and sciences, dedicated to contributing creative and meaningful design solutions. Possessing strong organizational skills, I am able to manage multiple tasks with precision. My passion for fostering creativity and artistic expression is complemented by hands-on experience in translating abstract concepts into practical, visually compelling design solutions. My skills in research writing and systems thinking allow me to add value to research-based practices.
E D UCA TION Avani Institute of Design, Calicut University, India | 2018 - 2023 Bachelor’s Degree in Architecture
Email. : aleesha.a2000@gmail.com
The Milliennium School, Dubai Graduated in 2018
Phone Number.. :.. +971 58 570 5825 Date of Birth : Country of Citizenship :
10.05.2000 India
E XP E RIENCE Studio Matter - Architecture, Design and Publishing Studio | Feb 2022 - July 2022 Architect Intern Inspected sites and attended team meetings with clients to devise innovative design strategies. Refined conceptual designs into detailed plans by adding floor plans, elevations and section drawings.
Researched zoning laws and building codes to verify conformance with regulatory agencies.
Worked on data development, selection of drawings and organization of content for book publishing project.
Avani Annual Research Symposium - ‘Normal? Ecologies of Adaptation’ | 2021 Research Paper Contributor and Co-Presenter Collaborated with other writers and mentors to research and write original academic writing on metaverse architecture and proxemics in paper titled ‘Architectural Adaptations of the Virtual Social Space’. Presented, discussed and debated the paper during peer review in the Annual Research Symposium. Organized data, edited paper and created visually compelling diagrams for the print publication of symposium proceedings.
Avani ‘Beyond the Given:What?’ Conference Writing Workshop | 5th-7th Sep 2019 Workshop Co-Lead Facilitated dialogue between participants and coordinators to create an active learning environment.
Avani Student Council | 2019-2021 Member of the Editorial Board
TRAIN IN G AN D WORKSHOPS COMPL ET ED Kiln Making Workshop | as part of ‘Ururvam’ Community Art Project Chami Shomur ‘Play Clay’ | as part of ‘Ururvam’ Community Art Project Artists Abdul Haque, Chitra EG, Bhagath Singh E.K. and Hari Prasad. Wooden Furniture Building Workshop Ar. Alex de Rijke ‘Sitting, Projection and Representation’ - Diagramming Workshop Prof. Roger Connah ‘Advancing Optimistic Futures’ | as part of ‘Beyond the Given:What? Conference Ar. B.V Doshi Modernism and Feminist Spatial Practice | as part of History of Architecture IV Prof. Madhavi Desai, Ar. Rajashree Rajamohan and Ar. Thomas Oommen
TE CHN ICAL S KIL L S
SOFT SKIL L S
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SketchUp Pro
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Communication
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Autodesk AutoCAD
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Problem- Solving
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Rhino 3D
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Organization
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Enscape
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Cultural Sensitivity
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Adobe Illustrator
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Time Management
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Adobe Photoshop
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Attention to Detail
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Adobe InDesign
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Mentorship
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Microsoft Office
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Conflict Management
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Google Workspace
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Initiative
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Analytical and Critical Thinking
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Interpersonal Skills
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Technical English Writing
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Punctuality
IN TE RE S TS
REFERENCES
Digital Illustrations
Dr. Soumini Raja Ph.D
Architectural Sketching
Head of Department, Avani Institute of Design
Travel Documentation
hod@avani.edu.in | +91 808 6010 700
Art and Design Exhibitions Research Writing
Ar. Ruturaj Parikh
Architectural Journalism
Principal Architect at Studio Matter, Goa
Physical Model Making
ruturaj.parikh@gmail.com | +91 992 5025 458
THESIS
MUSEUM
DESIGNING FOR A SECOND LIFE:
CULTURAL INTERPRETATION CENTRE:
TEMPORARY HOUSING SOLUTIONS FOR MIGRANT CONSTRUCTION WORKERS
TRACING THE SPICE HISTORY OF KOZHIKODE
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INTERIOR DESIGN
OTHER WORKS
INTEGRATED VERTICAL STUDIO
DIGITAL ILLUSTRATIONS, ARCHITECTURAL WRITING AND PUBLISHING
INTERIOR REMODELLING OF COLLEGE CANTEEN
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Designing for a Second Life: Temporary Shelters for Migrant Construction Workers Year: 2023 Term: S10 Thesis Studio Type: Housing Prototype
In India, inequalities in development and urbanization post-independence have resulted in interstate migration from less affluent states to more affluent states like Kerala, Maharashtra, etc. The migrants who come to these states for work often work and live in poor conditions and face social isolation or discrimination. In Kerala, the construction sector provides employment to the largest proportion of workers from outside the state. The majority of the workers engaged in such work are young, single men from rural areas in Jharkhand, Bihar, Uttar Pradesh, Odisha, and West Bengal. Since their main objective is to save money and send it home, they often compromise on their living conditions by sharing a single rented room with 8-10 people or living in poorly maintained on-site temporary shelters. Government schemes do not cater to their temporary and transient housing needs. Most of these seasonal migrant workers, who visit their home state at least twice a year, do not imagine their shelters as permanent houses. As mobile populations, they require temporary, dignified, and affordable housing solutions in the city. The concept that could address this need for transformable and temporary tectonics could come from the larger concepts of Circular Economy and Reversible Architecture. Designing the building for disassembly while managing affordability could allow for multiple lives of the building. The thesis examines the living conditions of construction workers and their families in temporary building construction sites and identifies their challenges. The project attempts to meet the physical demands of the unpredictable work locations while also creating humane social environments for
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In this iteration, the cluster design features a central service core module, surrounded by unit-sized courtyards. The central service core module contains the sanitation facilities and is easily accessible to all occupants. The courtyards, placed between the built and semi-built modules, provide open spaces for social interaction.
In this iteration, the cluster design features a peripheral service core module. The built and semi-built modules surround a larger courtyard at the center of the cluster, which serves as a shared recreational space. The arrangement allows for better utilization of the open space, creating a larger communal area for different activities.
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PROTOTYPE 01 PROTOTYPE 01 aims to satisfy established criteria, including dismantlability, anthropometry, and adaptability. This is achieved by allowing for the separability of components and avoiding wet connections. Once assembled, the modules are fixed in place but can be completely dismantled and transported to a new location. 9
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ACTIVITY-BASED CLUSTER ITERATIONS FOR PROTOTYPE 02
The shared semi-built space formed in between built spaces act as common cooking and dining area with unbuilt courtayard space in the center of the cluster.
During the evenings after work, workers can reconfigure modules to have sit out spaces and can convert the adjacent sleeping units to recreational areas.
Open washing areas adjaent to the service core can be convinient for user to wash and dry clothes, this way plumbing can be minimized to the Service core.
For festivals and celabrations, modules can be configured to have a larger semi-built congregational area by moving a module along the x axis.
Each module is individually supplied with electricity from the source (grid, solar, battery, etc.). The electrical connection is established through c-channels, facilitating easy movement of the module. When the module is unlocked and moved to a new position, the electrical connection is momentarily interrupted until it reconnects to the next base and is locked in place.
ELECTRICAL CONNECTION
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KIT OF PARTS
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PROTOTYPE 02 To satisfy the established criteria of dismantlability, anthropometry, adaptability and portability, Prototype 02 incorporates three main principles: railing jointed floor system, hoistable roof and furniture mountable inner structural system. 11
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SANITATION AND SERVICES The sanitation and services aspect of the temporary shelters for migrant construction workers focuses on providing adequate facilities for hygiene and daily necessities. The design utilizes a bio-digester tank for the sanitary facilities within the shelter. This eco-friendly solution helps manage waste effectively and reduces the environmental impact. An Indian Orissa pan is chosen as the sanitary fitting, ensuring user comfort and familiarity. Sufficient ventilation is also incorporated into the design, both on top and below the floor.
ACTIVITY BASED CLUSTER ITERATIONS FOR PROTOTYPE 03 The sleeping units form compact arrangements during nighttime to allow maximum use of space. The built modules can be folded to allow for space for a shared cooking space in the middle of each cluster. The washing spaces requires absence of floor board for easy cleaning and access to service core for water supply. For occasion and festivals larger semi-open shared spaces can be formed in the middle by reconfiguring.
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PROTOTYPE 03 Iteration 03 attempts to utilize the concept of foldability to enhance the utilization potential of the cluster, making it viable for different types of user groups. The services and basic foundational system remain the same as the previous iteration, with a rail system for movement along both axes and a fixed sanitation module as in iteration 01.
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Cultural Interpretation Centre:
Tracing the Spice History of Kozhikode Year: 2020 Term: S5, Architecture Design Studio Type: Cultural Building
Kozhikode, also known as Calicut in English, is a city along the Malabar Coast in the state of Kerala, India. The port at Kozhikode served as the gateway to the medieval South Indian coast for centuries under the rule of the Zamorins. The history of Kozhikode is closely associated with the ‘spice’ culture and has attracted travelers with its prosperity. It has traded in spices like black pepper and cardamom with Jews, Arabs, Phoenicians, and Chinese for more than 500 years. As part of Semester 5 studio, we were required to decode the ‘spice’ culture and way of life associated with the city of Kozhikode, synthesize the oral histories, and develop a narrative based on these. We aimed to mediate the deciphering of the cultural expressions deeply associated with the ‘spice’ roots of the city and respond to the specific ‘public culture’ of Calicut by designing a Cultural Interpretation Center in the city of Kozhikode. The goal was to respond with an ‘open architecture’ to the use of ‘spice’ as a historical, urban, cultural, and spatial lens, and create a narrative that supports a variety of sensitive architectural solutions. From this conceptualized narrative, we envisioned a program of spatial and tectonic design that is inclusive of the urban realm. To achieve this tectonic translation of the city’s culture, we used diagramming as a tool to abstract the city’s parts and spaces and synthesize them into our design. Through workshops with guest faculty, Professor Roger Connah, acclaimed for his methodology of graphical thinking through diagramming, I was able to create a matrix and experiment with new styles of representing ideas in this studio.
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EVOLUTION OF THE CITY
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NARRATIVE The streets of Calicut are storytellers. They inevitably reflect the stories of today but also have sedimented layers of forgotten and distant stories from the past in them. There are streets in Calicut that have lived long but bear no sign of their past. Like the Silk Street, which now has restaurants old and new, residences, carpet, and antique shops but no reason to believe there was ever silk brought here. Then there are streets that grant trivia. Those that speak of its maritime glory and commercial significance in British times like Customs Road. Streets that have stayed the same in character, even after over 500 years - like Gunny Street, where to this day the narrow road is flanked by gowdons largely in white and blue, and one can still spot gunny bags lying in piles on the street.
DESIGN INTENT
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Through the design, I aim to abstract the ability of the streets of Calicut to tell stories like this of a past, allowing these historical narratives to unfold for citizens and visitors alike when they step into the interpretation center. By doing so, I hope to make them more conscious of the hidden histories of the streets they walk every day, forging a deeper connection with the city’s rich heritage. Simultaneously, it cannot be an imitation of character; rather, the design must serve as a canvas for citizens to inscribe new histories and interact freely. The site itself has a unique character as it already hosts occasional flea markets and cultural programs, adding an extra layer of familiarity to the people. This interpretation center is not just a mere architectural addition; it aspires to be a bridge between tradition and modernity, between what was and what could be, celebrating the essence of Calicut and its enduring stories.
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The Design Matrix
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Defining the Approach The interpretation center has three anchors - the performance space , the rainwater harvesting step well and the activity park. The performance space acts as a public front to make a flexible and accessible open space for everyone, as an extension of the beach itself for people to rest under the foliage or enjoy events performed. This anchor pulls the crowd into the building.
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AXONOMETRIC DRAWING
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Integrated Vertical Studio:
Interior Design Project Year: 2021 Term: S6, Interior Design Studio Type: Interior Remodelling
As part of my Interior Design Studio in Semester 6, I conceptualized the transformation for our college canteen into an Integrated Vertical Studio. This proposal aimed to create a dynamic space fostering collaboration and knowledge exchange within our closely-knit student community. While embracing the challenge of this project, I delved into extensive research, engaging with design methodologies and user-centric approaches to ensure the proposal aligned with the diverse needs of our student body. The envisioned design centered around a student lounge integrated with adaptable working zones and a pantry. It aimed to cater to both formal and informal interactions, featuring versatile elements like flexible tables for collaborative work, dedicated drafting spaces, and a relaxed seating area adjoining a pantry for social engagement and discourse. Additionally, the proposal incorporated provisions for formal gatherings, forums, and club meetings, underlining the importance of a flexible yet structured environment for student-led activities. Moreover, it included a dedicated section for material inventory and tools, encouraging hands-on learning and practical experimentation. In crafting this proposal, my aim was to reimagine our college canteen as a catalyst for dynamic interactions and shared experiences among students. By conceptualizing the Integrated Vertical Studio, the goal was to nurture an environment that transcends traditional boundaries, fostering collaboration, innovation, and a sense of belonging within our academic community.
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Provide opportunities for students to discuss and exchange their knowledge from different studios through a common studio.
EXCHA N G E
To use the space for interbatch club activities, open forums, debates, and other formal and informal gatherings.
ENG AG E
A free environment to collaboratively conduct any thought experiments, social experiments, or architectural experiments at any time.
EXPERIM E N T 24
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Other Works:
Digital Illustrations, Architectural Writing and Publishing Year: 2019 - 2023
Beyond the realms of conventional architectural academia, my professional journey has been a mosaic of diverse experiences that have honed my skills and broadened my horizons. At Studio Matter, an interdisciplinary architecture, design, and publishing studio, I expanded my role beyond architecture as an Architect Intern. One significant facet was my involvement in a book publishing endeavor named ‘Folio’. This experience equipped me with a nuanced understanding of curation, coordination, and management. My venture into architectural writing took me to the Avani Annual Research Symposium, where I delved into uncharted territories of metaverse architecture and proxemics as a Research Paper Contributor and CoPresenter. Collaborating closely with peers and mentors, our paper, ‘Architectural Adaptations of the Virtual Social Space,’ not only contributed novel insights but also underwent rigorous peer review and publication, where I played a pivotal role in organizing data, editing content, and crafting visually compelling diagrams for the Symposium proceedings. Beyond these academic pursuits, my engagements as a Master of Ceremonies in various college events have sharpened my communication and leadership acumen. These experiences allowed me to seamlessly steer diverse audiences through events, infusing them with vibrancy and coherence. These multifaceted experiences outside conventional school projects made me adaptable to new opportunities every day.
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ARCHITECTURAL ADAPTATIONS OF THE VIRTUAL SOCIAL SPACE Abstract for Avani Annual Research Symposium by Aleesha Antony and Vidya Ajith Menon
With the pandemic, public social space has been replaced by virtual social space as people are forced to retreat to their homes. Even though social media keeps connections alive during these times, the algorithms that are tailored to each individual are only designed to profit from our time. In this paper, we investigate how digital technology uses human psychology in design in order to generate behavioral change and understand how that impacts the average user and the physical space they occupy and interact with. Should we be designing these digital technologies more ethically to facilitate the healthy physical interaction of our virtual users with one another? In many ways, our devices are metaphorical slot machines, incentivizing us to continue coming back for the big payoff(Tristan, 2019). According to psychologist BF Skinner, the variability of rewards that one may be compelled to imagine from a single notification bell called ‘variable ratio schedule’ is what causes the highly addictive nature of social media (Burrhus, 1969). As work and social engagement become restricted to the virtual space, slipping over into each other becomes more common than ever. Compulsive checking and constant distraction have now been linked to feelings of unhappiness and, off the minds, being hijacked (Ezez, 2021). This also happens without a sufficient opportunity to allow one to take breaks leading to either less time to perform actual work or multitasking, both of which can degrade meeting quality and overall participation. As a result, the personal and social spaces within our homes have merged significantly, blurring the distinctions between private, social, formal, and casual areas. As work and social engagement become restricted to the virtual space, spilling over into each other becomes more common than ever. When it comes to the workspace, one may think that the idea of meeting and working virtually offers a variety of tools to adapt and innovate. Despite saving time on miscellaneous tasks such as travel and others, this in turn has created the idea of constant availability and the day usually becomes fully packed. Much is spoken, yet little is retained, and even less is accomplished during this time. This also happens without a sufficient opportunity to allow one to take breaks leading to either less time to perform actual work or multitasking, both of which can degrade meeting quality and overall participation. As a result, the personal and social spaces within our homes have merged significantly, blurring the distinctions between private, social, formal, and casual areas.
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A FEMINIST PERSPECTIVE ON MODERNISM AND WHAT IT MEANS TO US TODAY By Aleesha Antony
The word ‘modern’ is used as a liberator that allows a shift in culture and tradition after a period of fragmentation or foreign occupation. In many ways, modernism liberated women and architecture from what was to what could be a new Indian identity. Today, India is often seen as a land of contrasts where tradition and modernity coexist and where Indian women are often showcased as emblematic of this. The higher education that women receive today for example, is taken as proof of this. Taking architectural education institutions themselves, we see how the past three decades have seen a sharp increase in the number of women joining the course. The current percentage of women architecture students is 50 percent to 80 percent. But, women’s representation in professional practice drops substantially to 15 to 17 percent. The ground reality remains that even though higher education is socially accepted and taken for granted among the upper and middle strata in urban India, it is also viewed more as an investment in the daughters’ distant future rather than as an immediate goal. In a society where marriage ”eligibility” on arranged marriage websites fall along the lines of : “young woman with professional education but traditional values”, architectural education may be producing individuals that often don’t subdue and adhere to societal norms as it is intended as a form of socialisation aimed at producing a very specific type of person. Despite producing such intellectually awakened, socially responsible adults, why does the field not transition to a more equitable workforce?
References: - Curtis, William JR. “Modernism and the Search for Indian Identity.” Architectural Review, July 22, 2020. https://www.architectural-review.com/ places/india/modernism-and-the-search-for-indian-identity. - Chaudhuri, Maitrayee. (2019). Indian “Modernity” and “Tradition”: A Gender Perspective. - The percentage cited is largely based on the Royal Institute of British Architects’ (RIBA) research in 2003 into the dropout rate of women from architectural practice. - Chanana, Karuna, Subject Choices and Gender: Women in Higher Education in India, in Khullar, Mala (Ed) “Writing the Women’s Movement: A Reader”, Zubaan, New Delhi: 2005 - Evens, Garry, Struggle in the Studio: A Bourdivin Look at Architectural Pedagogy, Journal of Architectural Education (1984), Vol 49, No 2 (Nov, 1995), p 105 - Desai, Madhavi. Essay. In Women Architects and Modernism in INDIA Narratives and Contemporary Practices, 4–42. London: Routledge, Taylor & Francis Group, 2019. 29
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THANK YOU FOR YOUR TIME
Aleesha Antony Email. : aleesha.a2000@gmail.com Phone Number.. :.. +971 58 570 5825