Bindu Maringanti_Undergraduate Portfolio

PORTFOLIO. BINDU MARINGANTI

SPRING 2022

BINDU MARINGANTI PHONE: +919986576123 EMAIL ID: 2018_bindu.m@wcfa.ac.in D.O.B.: 10th MAY, 2000 ADDRESS: 3rd MAIN, PARAMAHAMSA ROAD, YADAVAGIRI, MYSURU KARNATAKA, INDIA 570002 ENGLISH TELUGU KANNADA HINDI

DRAFTING

EDUCATION BACHELOR IN ARCHITECTURE (B.ARCH)

WADIYAR CENTRE FOR ARCHITECTURE

2018- PRESENT

AutoCAD Revit

PRE UNIVERSITY

CITY P.U. COLLEGE, JAYANAGAR

2016- 2018

MODELLING

SCHOOL

NATIONAL PUBLIC SCHOOL, KORAMANGALA

2004- 2016

Sketchup Revit Rhino Maya

INVOLVEMENTS ASSISTANT EDITOR COURTYARD HEAD OF POETRY CLUB

WCFA NEWSLETTER, 2019-2021

WCFA, 2020-2021

ZONASA DESIGN TROPHY

RENDERING Enscape V-ray Lumion

PARTICIPANT,2020

POST PRODUCTION ZONASA JOURNALISM TROPHY

PARTICIPANT,2019

OTHERS ARCHITECTURAL WRITING AND JOURNALISM

PHOTOGRAPHY HAND DRAFTING AND SKETCHING+ MODEL MAKING

Adobe Photoshop Adobe InDesign Adobe Illustrator

WEBSITE MAKING Wix Google Workspace

My name is Bindu Maringanti.

At present a fourth year student at Wadiyar Centre for Architecture, Mysuru, I’ve always viewed the design process to be paradoxical.

Liberating, yet at the same time, binding.

Seemingly simple. yet at the same time, complex.

Through the four years I’ve spent in architecture school, I’ve tried to navigate through the paradox that the design process is, and found my passion and curiosity towards the profession to have grown.

This portfolio consists of selected projects I’ve worked on and explored through the course of four years.

co- working space.

01.

Semester 07 Sustainability

MUDA Layout, Mysore

music institute.

02.

03.

04.

Semester 06 Institutional design

VV Mohalla, Mysore

sarkari hiriya prathamika shaale.

Semester 05 Public building design

Kasargod

a house for an artist and author.

Semester 07 Sustainability

MUDA Layout, Mysuru

working drawings.

05.

06.

Semester 06

Working drawings

Mysuru

relative study program.

Semester 03

RSP

Lakkundi, Gadag District

a cafe by chamundi hills.

07.

Semester 02 Cafe

Mysuru

06

07

co- working space.

STUDIO BRIEF AND INTENT The studio focused on understanding sustainability and how it influences the way we build for the given context. After thorough studies, our aim was to be led by the principles of performative architecture and passive design strategies to help with sustainability.

The studio also focused on understanding certain parameters to aid the design process. The main parameters that were addressed include form, orientation, shading and thermal comfort.

MENTORS Kukke Subramanya Nelson Pais Anjali cheriyath Vidyashankar Suren Aalone Dyan Belliappa SITE LOCATION MUDA Layout, Mysuru

01

SITE AREA 3000 sqm.

DURATION 10 weeks

N

The site is located in MUDA Layout in Mysuru, which is a residential layout in Mysuru. The scale of the buildings surrounding the site and, are the most, double storeyed houses.

The design was initially approached diagrammatically in order to explore certain strategies (form, orientation, passive cooling, shading, thermal comfort). These explorations formed the basis for the design process.

MUDA Layout

12.2877° N, 76.6109° E

10

SECTIONAL IDEA- FUNNEL EFFECT

CASCADING FLOOR PLATES

WINDOW DETAIL co- working space. 11

EXPLODED ISOMETRIC VIEW 12

Meeting rooms Toilet 1 pax work space 2 pax work space 4 pax work space Discussion rooms

Along with the importance given to the passive design strategies, the main intent was to create a building that satisfies the requirements of what a co- working space should be along with creating a conducive work experience.

Meeting rooms Toilet 1 pax work space 2 pax work space 4 pax work space Discussion rooms

The co- working space so created allows for people to be connected to one other through the porous volume of the space so created and at the same time also creates personal pockets of spaces to work with no interruption.

Informal work spaces 1 pax work space 4 pax work space Library Conference room

The connect that the building has to the surroundings and to nature is strong, owing to the porosity that the volume and the skin offer.

There is also a combination of formal and informal spaces that have so been formed in order to cater to the needs of a larger user group.

Informal work space Toilet Admin space Informal discussion space Open to sky event space Dining+ kitchen 2 pax work spaces Informal meeting space

0

1

2

co- working space. 13

PLAN AT +1.5M

PLAN AT +4M 14

0

1

2

WOODEN LOUVERS

ADOBE MUD BRICK LIGHT WELL WOODEN LIGHT

SHELVES

+14.85M

ADOBE MUD BRICK PARALLEL WALLS

THIRD FLOOR +11.25M

25 MM FIXED GLASS TERRAZZO TILES CONCRETE SLAB

SECOND FLOOR

2300

750

+7.65M

FIRST FLOOR +4.05M

GROUND FLOOR +0.45M

600

-2.1M

0

1

2

WESTERN FACADE WALL DETAIL co- working space. 15

SECTION AA’

SECTION BB’ 16

0

1

2

View from road

On ground floor- beside event space

On lower ground floor- event space

On first floor- beside louvers on north facade

On second floor- beside cutout

On second floor- on bridge

EXPERIENTIAL QUALITY OF BUILDING co- working space. 17

music institute.

STUDIO BRIEF AND INTENT The semester intended to introduce students to the various aspects of designing a music institution by understanding an institution’s intent, philosophy and programmatic requirements, and to translate these into a functional building.

The design was meant to constitute relationships between courses, batches, between faculties and students and between public and the campus. The semester also aimed at delving into the process of understanding and design of a high rise building.

MENTORS Anand Krishnamurthy Asijit Khan SITE LOCATION VV Mohalla, Mysuru

02

SITE AREA 3864 sqm.

DURATION 14 weeks

N

The site is located in VV Mohalla in Mysuru, which is one of the busiest commercial areas in Mysuru. The buildings surrounding the site have a large built up area, owing to the presence of commercial buiildings and shops.

The design was initially approached diagrammatically in order to understand and explore the form, orientation and experiential quality of the space.

VV Mohalla

12.3251° N, 76.6312° E

ORIENTATION OF BUILDINGS SURROUNDING SITE 20

BREAKING MONOTONY OF ALIGNMENT

Single volume

Splitting of volume in order to separate accomodation space and institutional space

Volumetric deduction+ formation of courts

Further deductions keeping in mind area requirements of spaces+ connect between two volumes

Skin development

Bringing element of publicness into space through public plaza

Music connects people- it binds them. Thus, a space to learn music should be no different. Through diagrammatic explorations, it was attempted to create a space that connected the students learning music through courts and volumentric deductions.

The publicness involved in music itself as an element could not be ignored. It was, thus, also attempted to create a differentiated public gathering space in the form of a plaza in order to bring the public into the space, in the event of a music performance or a gathering, and to create a space that could also be used during the times the institution does not function.

music institute. 21

PLAN AT +1.5M 22

0

2

4

music institute. 23

PLAN AT +4.5M

PLAN AT +6.5M 24

0

2

4

SECTION AA’

0

2

4

music institute. 25

SECTION BB’ 26

The fact that VV Mohalla is a bustling commercial space with a high footfall makes it essential for the design proposal to respond to it. The boundary wall of the institution has been made porous at certain parts to make it easier to differntiate between spaces that can be accessed by the public and spaces that are specifically owned by the institution.

Since the building is a high rise building, the sectional connect between the different floors becomes crucial. The building has been sectionally crafted to create a connect in between the spaces in the form of courts and volumetric deductions in order to enhance the binding character that music posesses.

0

2

4

music institute. 27

sarkari hiriya prathamika shaale.

STUDIO BRIEF AND INTENT The main intent of the studio was to design a public building. The Kannada movie ‘Sarkari Hiriya Prathamika Shale’ formed the basis for the studio- the town in which the movie was based in led to the public building being designed to be placed in that environment. The movie gave a wonderful narrative of a community in Kasargod- apart from the depictions of the nature of life in the town, a large part of the movie followed the lives of the children living in the town and their time in school. The public building itself was an extension of the existing school building. As a starting point, the footprint upon which the building were to be designed was given to be 12m*50m.

MENTORS Kiran Kumar Shreyas Baindur SITE LOCATION Kasargod

03

SITE AREA 7000 sqm DURATION 16 weeks

Giving away space in front of the building

Usage of frontage of building

PUBLIC The design aims to create a space for the residents of the town. In the movie, it was shown that the space in front of publicly used buildings became as important as the building itself. The space in front of the building became a threshold before entering into the building- a space where one can be a part of the space without completely entering into the

30

The main idea carried forth from the movie was tbe presence of the public space and public building, and the relation between them.

In the movie, it was shown that the space in front of publicly used buildings, such as shops, became as important as the building itself. The space in front of the building became a threshold before entering into the building- a space where one can be a part of the space without completely entering into the building.

Kasargod Connect between public space and road

12.4996° N, 74.9869° E

STUDENTS OF SCHOOL Because the public building designed is an extension of the existing school building, the students of the school become important stakeholders.

S T A K E H O L D E R S

sarkari hiriya prathamika shaale. 31

Position of footprint on site Positioning of footprintReasons for positioning and orientation of public building• All of the public building could be seen from the street • To create scope for design of a public space. Public building becomes backdrop of the public space in front of it

The key questions that were grappled with this semester were1. What is the nature of a Public Building?

2. How does publicness find architectural expression?

3. Given the mixed use program, how does one organise this appropriately ? What frame do we use to bring them together in meaningful ways?

4. How do we critically respond to the particular conditions of a place (the town, its fabric, culture, character)?

32

A number of programs were introduced, all of which were to be integrated into the public building. The first step at approaching these programs was to categorise them on the basis of how ‘public’ they were perceived to be. This categorisation further aided in the positioning of these programs in the building.

Sectional ideas on relation between building and space

Elevation becoming porous sarkari hiriya prathamika shaale. 33

SECTION AA’

34

The main aspect that was looked into was the relationship in between a public space and a public building.

In the movie, it was shown that the space in front of publicly used buildings became as important as the building itself. The space in front of the building became a threshold before entering into the building- a space where one can be a part of the space without completely entering into the building.

The public space was created by plinth variations, and positioning of the open air theatre along the axis from the road to the building, while the public building was made porous through volumetric deductions and by making the skin porous.

0

1

2

sarkari hiriya prathamika shaale. 35

PLAN AT +0.5M 0

36

2

4

WALL SECTIONS Wall sections were worked on in order to detail the project to a larger extent. Three main materials were used in the proposaladobe mud bricks (for walls), bamboo (for porous stilts) and concrete (for slabs and foundation).

0

1

2

sarkari hiriya prathamika shaale. 37

38

The moviement of a user from the road into the public space and then into the public building leads them to encounter a series of possibilities, options and pause points, similar to the character of life and spaces seen in the movie.

The entire proposal aimed to respect and respond to this character.

sarkari hiriya prathamika shaale. 39

a house for an artist and an author.

STUDIO BRIEF AND INTENT The studio focused on understanding sustainability and how it influences the way we build for the given context. After thorough studies, our aim was to be led by the principles of performative architecture and passive design strategies to help with sustainability.

The studio also focused on understanding certain parameters to aid the design process. The main parameters that were addressed include form, orientation, shading and thermal comfort.

The intent was to incorporate vernacular building methods into the design while choosing to use either low-tech or high- tech solutions.

MENTORS Kukke Subramanya Nelson Pais Anjali cheriyath Vidyashankar Suren Aalone Dyan Belliappa SITE AREA 216 sqm.

SITE LOCATION MUDA Layout, Mysuru

04

SITE AREA 216 sqm.

DURATION 4 weeks

PLAN AT +1M

PLAN AT +4.5M 0

42

1

2

a house for an artist and an author. 43

working drawings.

STUDIO BRIEF AND INTENT The working drawing studio required us to design a house for a family of 4, taking into consideration their profession. This working drawings projects aims to detail out a house for a family of weavers, and provides for an additional space for them to carry out their profession.

One of the constraints put forth with respect to the site was that there were two 12m high blank walls around which the house had to be designed.

MENTORS Nagaraj Vastarey Gregory Anto SITE LOCATIONMysuru

05

SITE AREA 94.09 sqm.

DURATION 16 weeks

TERRACE

20 MM THICK WATERPROOFING LAYER

+8.61M

BATHROOM

WATER PASSAGE CHANNEL

BRICK RETAINING WALL

SECOND FLOOR 20 MM THICK WATERPROOFING LAYER

+5.89M BATHROOM

CONCRETE CHAJJA

FIRST FLOOR

20 MM THICK GRANITE TILE PCC SLAB 20MM WATERPROOFING LAYER RCC SLAB

+3.17M WOODEN FRAME

CEMENT FINISH RCC SLAB

IN

OUT

GROUND FLOOR +0.45M

CEMENT FINISH

WALL SECTION

0

0.5

1

A

B

C

5000

D

4500

1 2500*2000

2000

0M

CHANGING ROOM

450 V1

3700

SITE BOUNDARY

8500

1

D3

D2

2

2 800

1500

W4

FOYER

GARAGE 5000*2800

3

2

3

4

5

6

7

12

11

10

9

3

8

UP

9500

1800

W2

850

500

8300

1

D1

UP

FL+450

4 550

1000

1300

4

3000

STITCHING SPACE 2800

7600*2500

W1

650

5

5 2750

1200

3200 W3

SITE BOUNDARY 7600

A

PLAN AT +1.5M 46

B

C

D 0

0.5

1

A

B

C

3200

4500

1

1 700

UTILITY 3200*2000

1100

2000

SITE BOUNDARY

2

KITCHEN 4400*2000

SD2

2 STORAGE

DINING AREA

1700

1700

3200*1800

W5

FL+3170

3

18

19

20

21

22

15

14

13

27

26

25

24

3

23

1000

V2

DOWN

4

9500

1800

D4

17

UP

850

8300

TOILET

3200*1800

16

4

2800

W7

1500

2100

3200*3300

5

600

5

LIVING AREA

W6

6

1200

6

SITE BOUNDARY

A PLAN AT +4.5M

B

C 0

0.5

1

working drawings. 47

B

A 3000

C 1500

D 3000

E 900

F 900

ROOF

2720

+11.33M

TERRACE +8.61M

2720

BATHROOM

SECOND FLOOR +5.89M

2720

BATHROOM

FIRST FLOOR

2720

+3.17M

GROUND FLOOR +0.45M

SECTION THROUGH STAIRWELL AND BATHROOMS 48

0

0.5

1

The bathrooms were detailed out in an attempt to understand the usage of materials and method of construction. In the case of bathroom fittings such as the faucets and taps and wall tiles, the supplying company was also thought of in order to maintain the same measurements.

D4

V2

SHOWER

WATER CLOSET

WASH BASIN

TOILET DETAIL PLAN

RUBBLE FILLING

CONCRETE CHAJJA

GRANITE WALL TILES KAJARIA, 150*300

1350

BATHROOM SHOWER TAPS JAGUAR

BRICK RETAINING WALL FFL

GRANITE FLOOR TILES KAJARIA, 300*300

3000

TOILET DETAIL SECTION working drawings. 49

A

B

C

5000

D

4500

LEGEN

1

1 12

10

11

0M 1600

04

2000

03 V1

1100

D2

2

D3

S1 S2

SB8

3700

SITE BOUNDARY

950

13

SYMBO

09 SB7 S1

08

2 S2

Bell 350

03

1600

1000

W4

850

3

1350

07

SB1

S1 S2

SB3 S1 S2

8300

SB6 1

UP

W2

2

3

4

5

6

02

3

8

7

03 1650

500

1800

750

01 01

9500

S1

D1

UP

FL+450

12

11

10

9

06

01

1550

S1 S2

4

2000

SB4

1750

2800

450

4

1500

SB2

Bell

S1 S2 S3

02 W1

01

02

05 650

02

5

S1 S2 S3 S4

SB5

5

250

1170

1200

04

1170 W3

S1 S2

SB1

SITE BOUNDARY 7600

A

GROUND FLOOR ELECTRICAL LAYOUT 50

B

C

D 0

0.5

1

The ele ual room detailied underst nections electrica in a roo

The det gave ris about th that cou struction

ND

OL

DESCRIPTION SWITCHBOARD

1

2

3

4

5

6

7

12

11

10

9

8

UP

TELEPHONE POINT WALL POINT

DOWN

CEILING POINT CEILING FAN TUBE LIGHT DOOR BELL 15A POINT

SECTION AA’

ectrical details of individms in the house were d out in an attempt to tand the electrical cons and the number of al appliances required om.

PLAN AT +1.5M

HANDRAIL PCC BALUSTER KOTA TILE

tailing of the staircase se to an understanding he type of materials uld be used for conn.

25MM

CEMENT MORTAR 15MM

RISER 175MM

DETAIL

SECTION BB’

STAIIRCASE DETAILS working drawings. 51

relative study program.

STUDIO BRIEF AND INTENT The relative study program was conducted in the village of Lakkundi in order to understand the life and architecture of the village. Lakkundi, in Gadag district, is on the way to Hampi from Hubali. Through the course of the program, my group was involved in documenting a stretch of a street and a house.

06

MENTORS Anand Chalwadi Pallavi Tarang Pawar DURATION 6 weeks

MASTERPLAN- CONNECTIVITY TO THE VILLAGE

MASTERPLAN- VEGETATION AND WATER BODIES

PLAN OF BASAVAMMA’S HOUSE 0

54

1

2

ELEVATION

SECTION THROUGH KITCHEN

Our group had documented Basavamma’s house, one of the oldest houses in Lakkundi. The house had a huge tree that covered most of the facade, hence created an element of surprise for the viewers on the street. The house had a dedicated room for puja.

There were ten members in total- the house was split into two parts with two nuclear families residing in the two different parts of the house.

As a family, they were involved in three different occupationsfarming, dairy and small business.

SECTION THROUGH PUJA ROOM 0

1

2

relative study program. 55

a cafe by chamundi hills.

STUDIO BRIEF AND INTENT A cafe by Chamundi hills was a project which required us to conceptualise the form of a cafe, and work out basic functions. The site slopes down towards an existing lake. This was a model intensive exercise- translating ideas into models aided with the entire design process. One of the main aims of the design exercise was to familiarise us with working with contours.

MENTORS Toshi Singh

07

Site Location Chamundi Hills, Mysuru DURATION 1 week

Since the site slopes down toward the lake, it was attempted to create a sense of movement towards it- sectionally as well as through the orientation of the form itself.

The cafe is designed to respond to the site in a manner such that the height difference of the various contour levels are taken into consideration .

The slab that cuts through the volume of one component extends out to form the roof of the next component.

Movement towards lake

Frames to capture different views