undergraduate portfolio

about thesis

semester 10 | centre for sustainable fashion

interior

semester 7 | architect’s office cum residence

institution semester 5 | film institute

internship semester 8 | auroville

charutha rajeev

14 Aug, 2000 +91 6384990357

charutharajeev@gmail.com

Address.

Nandanam

N. Kidangoor, Angamaly-683572

Ernakulam, Kerala, India

Nationality. Indian Languages. Malayalam(native)

English, Tamil, Hindi

EDUCATION

Bachelor of Architecture(B Arch)

Vellore Institute of Technology,Tamil Nadu 2018-2023

CGPA of 8.03

Higher Secondary Education

Viswajyothi CMI Public School, Angamaly 2016-2018

CGPA of 9.4

In a world where the need for sustainable solutions has never been greater, I am committed to harnessing the power of architecture to create resilience and beauty through spaces that function beautifully and resonate on a profound emotional level, respecting the delicate balance of nature.

My keen interests lie in sustainability, psychology and fashion. In learning and unlearning, I have embraced the interplay between these disciplines that helped me create spaces that enrich the human experience through thoughtful designs. The relationship built by each individual with his surroundings creates a shared memory that is powerful in creating changes in the society that we live in. Architecture is formed by this memory, the fraction of information that is obtained by each individual senses. This observation has echoed in my mind and has been the footing of my creative exploration journey.

CERTIFICATES

ARCHITECTURAL

AutoCAD, Sketchup, Revit

RENDER

Lumion, V-Ray, Blender

GRAPHICS

Adobe Photoshop, Adobe Indesign,Adobe Illustrator

VIDEO

Adobe Premier Pro also, Sketching, Manual drafting, Photography, Styling

HANDS-ON WORKSHOPS

Vernacular construction techniques

CSEB,Brick bonding, Arches, Vaults, Domes

Auroville Earth Institute, Tamil Nadu

Bamboo construction

Ar. Subhash, Ar. Parisutha Rajan

Vellore Institute of Technology, Tamil Nadu

Indian natural construction techniques

Ar. Biju Bhaskar

Thannal Natural Homes, Thiruvannamalai

Fractals, Origami, Pleat pods, Ceramic and Pottery, POP

Vellore Institute of Technology, Tamil Nadu

ARCHDAIS

Online Competition

Interior Design 2020

MANGO ARCHITECTURE

Online Competition

Disaster Relief Shelter 2021

ENERGYDAP

Online Training Seminar

Building Energy Analysis using tools and techniques in BIM by NIT Calicut 2021

WORK EXPERIENCE

Architect Trainee

Samangal Studio

Auroville,Tamil Nadu,India Chief, Ar Dhruv Bhasker. January - June 2022

Assisted in the development of the designs through drafting, digital modeling, massing studies using laser cut models and prepared interior design drafts

Documented exisiting conditions and drafted measured drawings for project sites and other

Documented a detailed study of Dome Construction, Filler Slab, IPS Oxide mixing process and Rammed Earth sample block

Suggested design proposal for renovation of a cottage

mixed use

location : maradu, kochi, kerala

degrowth

It simply means to use less of world’s resources. We live in a world where consumerism and materialism have become indicators of happiness in our societies. However, our happiness comes at an extreme cost, especially to the environment.

Fashion on climate

In 2018, Fashion industry produced 2.1 billion tones of CO2. That equals to 4% of global carbon emissions and is responsible 10% of the global green house gases emission. If the fashion industry does not accelerate its response to climate change by 2030, it will produce around twice the volume of emissions.

COLLECTIVE MEMORY

One can say that the city itself is the collective memory of its people, objects and places. The relationship built by each individual will construct the information or memory and blend togther into a collective memory which is a notion or a thought that has been processed as collective thoughts by community or society.

This notion of change at the individual level, that re-design lifestyles was a key theme that emerged through the research journey, for hitting breaks on excessive production and mindless consumption, advocating manufacture that respects people, environment and animals

CIRCULAR DESIGN STRATEGIES

The circular economy contrasts with the traditional linear economy, where resources are extracted, used to make products, and then discarded as waste. The circular model is seen as a more sustainable and environmentally friendly approach, as it reduces the overall environmental impact and helps manage resources more efficiently. This concept has gained attention as a potential solution to address environmental challenges and create a more sustainable future.

1. Design for Longevity and Durability: Products are designed to have a longer lifespan, be easily repairable, and to minimize the use of materials that are difficult to recycle.

2.Reuse and Repair: Emphasis is placed on reusing products and components to extend their life. Repairability is also prioritized to reduce the need for replacement.

3. Recycling and Material Recovery: When products reach the end of their life, materials are recycled and reintegrated into the production process to create new products. This reduces the demand for virgin resources.

4. Resource Efficiency: Maximizing the efficiency of resource use, minimizing waste, and optimizing resource flows are essential aspects of a circular economy.

5.Circular Business Models: Businesses explore alternative business models such as product-as-a-service, leasing, or sharing to promote extended product use and responsibility for product end-of-life.

6. Collaboration and Stakeholder Engagement: Collaboration between businesses, governments, and consumers is crucial to create a circular economy. Engaging stakeholders helps in shaping policies, raising awareness, and fostering a culture of sustainability.

in house upcycling unit for repurposing waste fabric into objects of everyday and multi purpose studio for creative collaborations with artistic interventions to provide creative solutions in order for public to expand their awareness and practice upcycling for self.

community space for conducting events encourage public participation collaborating with sustainable fashion brands, workshops with artists,ramp shows

sustainable fabric collection one stop for procuring ecofriendly fabrics alternatives everything store customers can purchase handmade upcycled objects of everyday use made from waste fabric procured from the facility

interactive spaces

pause points connecting all the public areas of the fa overlooking Thevara canal which runs through Kochi connecting Kochi Biennale through water

inhouse production and hands-on training centre a sustainable livelihood for local workers that produces garments for small despatches as per demand

designer studios that act as a medium for customers to get their made to order timeless wears with the help of designers.

handloom sale and gallery what is sustainble fashion?

It is high time that we divert our attention and look into the highly automated, capital intensive, unsustainable contemporary norms of fashion and start thinking about an individual’s contribution towards sustainability and the need for collective collaboration.

reuse-rent-repair in order for the user to get accustomed to ways of contributing to a forever fashion lifetyle, they get to buy or donate used clothess, rent designer wears or repurpose waste fabric into objects of everyday

residential office

An architect’s studio and residence,a blend of industrial charm and artistic inspiration. The heart of both designed for multi-functionality and flexibility, bathed in natural light, featuring large windows and characterised by open spaces with high ceilings with levels, contribute to a sence of spaciousness. Here, creativity meets collaboration

institutional location : athirapally, thrissur, kerala

dhaancha

The main issue faced by the aspiring filmmakers and filmmaking students in India is the lack of practical or experiential knowledge gained by physically experiencing the process and lack of opportunities to get them involved. Another problem is the lack spaces with the infrastructure to equip advanced production technology that the entire production could take place under one single roof.

These problems could be tackled by giving them the opportunities to physically and visually experience the actual filmmaking by building a space which could act as a tool in teaching filmmaking rather than a box where learning happen within.

pre production set design studios + production offices + makeup rooms

academic blocks

screening classrooms + lecture halls + editing labs + video library + film archives

Athirapally, one of the favourite shooting locations of many Indian film makers, provides opportunity for students to work closely with outdoor shooting endeavours

post production offices + recording suites + audio editing suite

admin + conference halls + staffrooms

cafeteria

reception + work display

This pedestrian friendly development allows the public to walk through the entire complex and experience the movies, behind the scenes and in finished form. The film school will be tied together with film studios, allowing the students to work closely with actual filmmakers. By this close association students get better opportunities to work with well-known filmmakers and get the much needed practical experience and inspiration.

This whole development could be a destination for film lovers to experience the richness of Indian film Industry.

hostel blocks mens

ladies

construction documentation location : pulicat. chennai, tamil nadu

dome

WHAT?

Rotational domes (or hemispherical domes) are one half of a sphere, constructed on a circular ring beam.

FORCES ACTING IN DOMES

When a dome is created by the rotation of an arch around a vertical axis, another force is acting in it: the circular force (CF). Domes generated by the rotation of an arch are built with successive horizontal rings

The circular force in a circular dome is acting in a horizontal plan can be assimilated to the thrust which acts downwards in a vertical plan, in the case of arches or vaults. This force explains why it is possible to build circular domes without support. The dome is self supporting at every stage of its construction because the horizontal thrust of one half of the dome is transferred to the other half by the various rings. The force of gravity will obviously transfer vertically the circular force into the line of thrust. (The Auroville Earth Institute ‘Stability Notions’)

When, the above forces, i.e to press upward and pull downward, compacting the dome and increase compression and tension that stabilizes the curved structure, reaches equilibrium, the line of thrust ensures its stability.

MATERIALS REQUIRED

cement mortar mix, brick (230mmx100mmx80mm), mukkal jelly(course aggregate), thread, watertube leveller, compass

01. The ring is sectioned into 2 halves along the diameter of the circle and the centre point is marked by tying threads that are fixed on bricks at its ends.

02. A stationary vertical metal post (that acts as one hand of the compass) with a hook (to connect the other hand)that sits on a horizontal square metal platform is fixed and errected at the centre point.

A horizontal metal box section (that acts as the other hand of the compass) which rotates along the axis of revolution, with an adjustable screw at its end is connected to the hook.

compass section

03. A radius is set on the compass hand using the adjustable screw. This determines the circumference and angle of curvature of the dome at any given level. The compass is now installed.

Water is poured on top of the ring beam surface. Brick levellers (here; 6 bricks) are fixed in place at equal intervals.

04. A watertube leveller is used to ensure that same height is maintained everywhere.

This process is repeated after every 2-3 courses, whenever there is a change in slope angle, or when required. This is done to ensure that there are no irregularities and to acheive the perfect curvature of the dome.

05. Bricks are then layed with mortar, in level to the radius. It is cut in desirable sizes wherever necessary to acheive the stretcher bond.

The course aggregates, called mukkal jelly are filled in the large gaps of the mortar mix between 2 bricks to make the adhessive intact and to strengthen the bond.

06. After 5 days, the dome is completed with a total of 28 rings, leaving a square opening at the centre inscribing a circle of diameter, 30cm. From the next day, the dome is cured for 10 days.

The point where the dome meets the ring beam (springing) on the outside is curved? with a layer of cement mortar to avoid leakages.

07. After curing, the top opening or the apex is enclosed leaving a 20cm gap on all 4 sides using mesh for hot air to escape and an RCC slab of mortar ratio 1:2:2 is fixed above.

08. A layer of waterproofing chemical called SBR is coated on the surface. Once it gets dried, chicken mesh is wrapped above the dome, on top of which mortar of cement-sand ratio 1:3 and 1.5cm thickness is applied.

Another layer of mortar of cement-sand ratio 1:5 and 1.5cm thickness is applied upon which china mozaic tiles are spread.

sectional drawings for residential office location : chennai, tamil nadu

aranya

sectional details of a filler slab

West Elevation

East Elevation

Florence David

Vienna