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Table Of Contents

00 Curriculum Vitae 01 Residential Studio 02 Institutional Studio 03 Retail Studio 04 Basic Design 05 Furniture Design 06 Interior Construction Drawings 07 Some more...skills

Curriculum vitae

About Me I am--------------- Anshumi Naresh Dhingra Born on---------- 16th January, 1997 Nationality------ Indian Residing at------13, Subandhu Society, Navrangpura, Ahmedabad. Available on--- Phone : 9879202972 E-mail : I speak----------- English, Hindi, Basic understanding of Gujarati and French.


You have to think anyway, so why not think big. -- Unknown Reality can be beaten, with enough Imagination... --Mark Twain

Education Currently in 3rd year, 6th semester at Faculty of Design, CEPT 2014- Started school at CEPT, Faculty Of Design 2012-2014 HSC, A.G.High School, Ahmedabad 2011-2012 SSC, St.Kabir School, Ahmedabad.

Where I stand Proficient in AutoCad 2D-3D, Microsoft Office, Hand drafting, Hand rendering, Model making, Sketching.

Basic knowledge of 3ds Max, SketchUp, Adobe Photoshop, Adobe Indesign, Working with Clay & Wood.

Opportunities I adhered -Library Assistant at CEPT UNIVERSITY LIBRARY

2016-2017. -Performed as a Campus Guide for 2017 Archiprix Event at CEPT .

Interests Aspiring to think Out Of The Box. I am fascinated by Tectonics, Geometry/ Grids and Materiality. I entertain myself with Sketching, Reading, Writting and travelling around the World.

Design Tactics Research, Diagramming, Conceptualization, Detailing , Abstraction

Academic Exposures Institutional Studio Residential Studio Commercial Studio Space Planning Basic Design Furniture Design Interior Construction Drawing

Auxiliary Experiences Courses done at CEPT: Marbelling in Clay, Wood Workshop, Exploring Natural Dyes, Deployable Systems, Readings & Writtings in Design & Architecture , Narrating Stories through Crafts, Literary Sojourns, Exploring local crafts of KulluSpitti- Himachal, English Communication, Humanities, Narratives of Space & Time.

O1 Residential Studio This Space Planning Studio focused on designing a residence for a PARSI FAMILY , with the site being a Row House in Ahmedabad, India. Introduction of live--approachable clients and accessible sites simulated a real time experience. The core intention is to understand the transformation of spaces and the evolution of spatial theme while catering to the cultural, physical and emotional needs of the individuals as well as needs of the entire family .

-a living for PARSI CULTURE


Parsi Culture : Understanding Clients

Activity Mapping and Spatial Usage diagrams

The Medora’s are a Parsi family residing in Ahmedabad since 40 years. They are a family of 5 people and a Labrador named Simba. Our studio aims at designing a residence for them.



Jai Shefali Row House , Ahmedabad, Gujarat, India

Site Analysis. The typology of the our Row house site was very prominent due to the staggering modules. Interesting voids where formed in the front and back of the house.


Developing Concept

Combining client ‘s need and present site context. Correlational Membrane for Interiors. -Every interior space creates reponse which has the bearing of the outscape. These responses comes into existence as technological, visual, continuity and of contrast. - Correlational membrane in the residential interiors, establishes relationships among the element and space concept. - Hence a dialogue between exterior and interior or also between interior and interior is created -Ref. ...SID Thesis

My CONCEPT Comparing WABI-SABI and Correlational Membrane 1. Visual Correlation = bold character or impression in an inetrior space. 2. Contrast Correlation = colors or material pallatte or textures in wabi sabi. 3. Correlation through continuity = spaces creating similar languages. 4. Technical Correlation = redefining junctions.

d Conceptual Sketches, Material Pallatte

e Plans.

Site: Row House Client: Parsi Family

Ground Floor Plan.

Spaces on the Ground Floor are 1.The Office ( for family and outside staff ) 2. The main living areas in the house ( for the family ) 3. Kitchen & Dinning ( for the family ) 4. Vestibule and Recreational spaces ( for the family )

The design responded to the row house typology, by using the bays as the division for the functions of spaces.

First Floor Plan.

Spaces on the First Floor are 1. Main Bedroom ( For the main couple of the family ) 2. Kids Room ( for 2 kids ) 3. Grand Parents room ( for the old members ) 4. Guest Room 5. Personal Service Access from every spaces 6. Study area for kids.

The Row house typology was effective in maintaining enough physical and visual privacy between Guest Spaces and Spaces for the family.

f Sections. Site: Row House Client: Parsi Family

The row house site , reflected a great deal of Spatial Play, through double-single volumes, sloping roof, linear procession of bays & many more. The main aim was to maintain interconnectivity among the spaces. Hence, overhangs or balconies in the interiors , overlooking pockets from floor to floor, open to sky spaces housing plants inside & many openings connecting different spaces, were introduced into the design.

O2 Institutional Studio - a centre for children This Space Planning Studio focused on designing , a centre for children of 3-9 yrs of age. The site for this project was, Sharad Mehta Park, Ahmedabad, India. The aim of this Centre , is to enrich the learning environment and develope awareness for education. The spaces hence should reflect the character that engages the children who are going to come here. The centre houses Library, Science Room, Arts and Crafts Area & a Toy Library as the main functional zones. Pantry, Faculty room, Services & multi-purpose area are the additional spaces.

a Concept : EMERGENCE.

Diagrams and initial sketches.

‘Emergence’ means the process of coming into existence or prominence. I compared this phenomenon to a small child , who through passing ages shows its prominence to the world. I thought of directing this children centre, in creating Emergence into their education.

Bringing emergence into spaces, key characters Transformation of experience while moving through spaces—gradual change of height, volume, light & perspectives from spaces to spaces. All of these factors where tried out by initial sketches.

b Developing Concept

Later conceptual stage ---moving from abstract to real space building.

Apart from the abstract definition of emergence , it also is a phenomenon, where a definite grid is emerged out of modules following a certain parameter. The final grid was the SQUARE grid--that was taken further as the base for designing the centre.

The square grid followed a certain order. Hence I thought of using the same order for defining the levels in sections. I started with diagramming interaction between rotated lines. This diagram was then superimposed on the sqaure grid and the levels were emerged. Different colours in the above diagrams, show different levels.

Ground Floor Plan.

c Plans.

Site: Sharad Mehta Park, India Centre for children The design through those line diagrams , was taken forward into the architecture of the Children Centre. The form is as free as the mind of small child. Spaces reflect freedom due to dissolving junctions. The idea of learning being a bondage is shattered. Each level, houses different set of activities. There is an immense amount of perspectival dynamism , from spaces to spaces. This creates an idea of expanding vision and rejenuvating rules. The more architecture helps in responding to the needs, the better the lives of the people living through it. The centre would hence serve, in creating suitable environment for a child to learn, and EMERGE through it.

First Floor Plan.

Second Floor Plan.

d Sections.

Site: Sharad Mehta Park, India Centre for children Each Level was given an offset, with respect to the other levels. It helped create the built look visually light and independent of the other Levels. Disconnection along with connection. Each floor\level had its own support system, of I – Beams. The spatial transition , of going down , from the entrance and then transiting upwards, created a sense of a new beginning.

O3 Commercial StudioRajan Sir (Rajan Chaudhary) is a living legend. He is an internationally acclaimed multi- disciplinary artist whose interests lie in Art, Music and Design. He is best known for his works in Textile Design, Handloom and Weaving Art. He set up his workshop in Ahmedabad about 40years back in the heart of the old city near Raipur. The Studio/ Workshop is still functional today. Now he has his works stored and displayed at his residence near Ashram road. The task for this semester is to redesign the Studio/ Workshop at Raipur. It shall also be a place where his finished works are stored, displayed and sold.

Weaver’s Den

a SITE : Workshop at Raipur, OLD CITY, AHMEDABAD, INDIA

Site Analysis. The site being an old workshop in the old city, we started with mapping the surrounding context. The character of the surrounding houses was very prominent throughout. The site had a tree , which served immensely to the co-workers in the workshop. The design should hence evolve around it and making it serve even better.

b Understanding WEAVING— as a process.

Process of weaving, followed many stages. The stages from bringing the yarn, to dying, making threads , warping , till the final weaving , were studied spatially and sorted in an inventory. They had many sets of looms, varying in sizes. We drafted those looms, studying its space requirements and functional needs.

c Products to be


Carpets, Wall hangings, rugs etc. were the products , weaved by the co-workers, guided by Rajen Sir. They had a huge collection, of these products, varying in colors and sizes. This beautiful collection is being reached to public through their informal displays at their residence. The intention is to club the workshop space and retail, to create a smooth co-ordination between both.

d Ideating display-

methods and perception.

The wall hangings and carpets, were very long. Hence, the method to display them methodically, letting the clients experience the product became very important. Some weaved pieces were displayed as rolled up modules, and some were hanged, letting the clients see it as open pieces. A separate system of display and lighting , was ideated. The display & lighting structure, was done through , S.S metal round section.

Ground Floor Plan.

e Plans.

Site: Raipur, Old City, Ahmedabad Client: Master Weaver—Rajen Choudhary The program was simplified by zonning different activities on different levels. The Ground Floor housed the whole workshop space, the main part of the site. On the middle floor, a private zone of working designed for Rajen sir . His space overlooks the workshop space, maintaining visual connectivity with the co-workers. The Retail functions, from the second floor. The idea was to transit the visitor , from the workshop space—to the products\retail, creating a sense of awareness on the tactics of making it. The products should hence, be sold and owned with reverence. The second floor was at a good height, compared to the surrounding houses, hence the north light was effectivily used in the space to highlight the displays during morning time.

First Floor Plan.

Second Floor Plan.

f Spaces through section & model. Site: Raipur, Old City, Ahmedabad Client: Master Weaver –Rajen Choudhary

The looms were two meter high, hence I decided to give double volume for the workshop area, this helped the space not look heavy or filled with looms. On the second floor, a bridge connects Rajen sir’s space to the stairs. It acts as a gradual entry to his working area. Also, with the tree around , it becomes a good walking path.

Rajen sir is hence placed on the interstitial level, leading both the Retail and the Workshop.

Model showing the workshop ( on the ground level), Rajen Sir’s Studio --lead to by the bridge and The retail on the second floor

O4 BASIC DESIGN The intent was to study and learn, spatial & visual perception, form building, quality of spaces through various design principles. We started with sketching ‘Nature’-leaves, branches, or a part of any object from Nature. From those sketches , motifs were selected and modified. Organizational principles were tried, developing different orders from those designed motifs. The positives & negatives, were studied from the orders of the motifs\patterns. The 2D pattern was then transformed to a mathematical grid, that led its transition from 2D to a series of 3D perception of spaces.

a Creating a 2D grid of motifs-from sketching leaves, to figure

ground perception and concluding a 2-dimensional grid of designed motifs.

b Converting the 2D grid to a 3D perception. Exploring the grid in 3D, through models and space sketches.

O5 Furniture Design This studio, through exercises and design problems, attempts to understand the relationship of form, materials and development of dimensions in the design of furniture with reference to space. A critical understanding of the evolution of form in furniture involving these specifics further develops the critical appreciation of furniture pieces.

a Furniture Design I—learning from designed furniture.


This furniture studio aimed at learning from designed furnitures. We selected designed furniture pieces and made 1:1 prototype . This helped us decode the designer’s method of approaching a certain function and user.

b Furniture design II---designing for KNOLL


Beginning with research and analysis of one particular furniture brand’s aesthetic language and design principles, we imagined ourselves as a part of the brand’s design team and came up with a design to target specific user group within the Indian market. The brand that we studied was

KNOLL. We learned to

design a furniture , through pre set ideas & approach.

O6 Interior Construction ICD-2 deals with system drawings and their co-ordination with each other for a single project. The type of drawings includes: center-line and architectural intervention layout, Interior Elements layout, Ceiling and electrical layout, Flooring layout, Furniture element details and ‘shop’ drawings, Entrance or any other significant area details, etc With this holistic approach, I learned that each system within a designed interior environment needs to be well coordinated to function properly together. A great amount of importance is put on communicability of the drawing.


a KITCHEN Drawings

We designed Kitchen as a part of Interior Construction Drawing--1 course. Plans at different levels , interior folded elevations, wall sections and specifications were the final outcomes. Medium of drawing : HAND.

b Civil Drawing

As part of Interior Construction Drawing-2, we detailed our Residential Studio project. This Civil Drawing, shows all the architectural interventions done as per our design and concept, represented as Interior Construction Drawing. Site: Jai Shefali , Row House Porject 01 in portfolio. Medium of drawing : Digital.

c Furniture Layout

As part of Interior Construction Drawing-2, we detailed our Residential Studio project. This Furniture layout drawing, shows the functions of space, reflecting different furniture layout & furniture types, represented as Interior Construction Drawing. Site: Jai Shefali , Row House Porject 01 in portfolio. Medium of drawing : Digital.


a Sketches– Capturing

character through colors and blackwhite mediums.

b Deployable Systems

--a deployable screen designed as part of the course.

c Graphics

---Character through lines, became my method of showing the hair patterns on these animals\birds. The value contrast in the above graphics , through solid colour and textured lines created visual balance.

Available on--- Phone : 9879202972

E-mail :



Interior Design Portfolio 2017  
Interior Design Portfolio 2017  

Academics Works 2014-2017 , as an undergraduate student at C.E.P.T UNIVERSITY