2022 : Top Scorer in Design Thesis (CMRUSOA) Thesis top scorer with Grade Point 9
2022 : The Great Portfolio (Portfolio of year Contest) Submitted Entry (Portfolio)
2021 : Highest marks in Design Studio (CMRUSOA) Semester 9, Highest scorer in university exams
2020 : London Call (Archicontest)
2018 : Modular House - Future House
Workshops and Additional Work
2021 : Forms in Cement Workshop
2020 : Pandemic Personal Pod Design
2019 : WoodCut and Block Printing Workshop
2019 : GRIHA Green Buildings and Services Workshop
2018 : Mural Art and Interior Design of StartUp
2018 : Bamboo Pavillion Workshop
2017 : Tensile Structure Installation Skills
Software
Revit, Vectorworks, Autodesk AutoCad, Sketchup, Lumion, Twinmotion, Adobe Photoshop, Rhinoceros, Grasshopper, Adobe Illustartor, Model Making
SELECTED PROJECTS 2022-2025
Architecture Portfolio
RE:ELEVATE
Masters 1 02
TAPESTRY
Assistant Architect
Total Environment Building Systems
03
OLFACTION MUSEUM
Masters 1
04
INTEGRATED HANDLOOM CENTRE
Bachelors Thesis
05
CHURCHILLSINLE
Architectural Intern
STATS Architecten 05 12 17 23
30
RE:ELEVATE
Mixed Use Residential, Offices and Hotel Design
LOCATION : UTRECHT I THE NETHERLANDS
TEAM PROJECT I APRL 2024 - JUNE 2024
MASTERS PROJECT I DELFT UNIVERSITY OF TECHNOLOGY
Situated in Utrecht’s station area, the site traces back to the 1968 De Hoog Catharijne Masterplan, which introduced complexes like Gildenkwartier and Radboudtoren. Originally built in the 1970s and later adapted for 21st-century needs, the area prioritized commercial expansion, neglecting the upper floors and disconnecting the historic city center from the station.
The design challenge was of integrating a hotel, distribution center, offices, an urban mining lab, and residences onto a dense plot. Rather than merely topping up the Radboudtoren, the choice was to repurpose the larger Gildenkwartier complex, focusing on retrofitting the existing structures to meet contemporary needs.
The design reactivates the ground floor plinth, introduces new urban connections, and integrates green spaces to enhance public life. Guided by a respect for the site’s existing fabric, the proposal offers a sustainable and socially grounded response to the future of Utrecht’s station area.
After conducting the site analysis collaboratively, we managed to get an overview of what the pre-existing conditions for our design were. We realized that regarding urban connections, there was an opportunity to improve them with our design. We therefore propose an alternative route from the train station to the city centre and improve the quality of the public space, a priority for our group. By connecting to the ground floor, we integrate the plinth into our design and create a hedonistic space that allows people to enjoy the city of Utrecht. We also focus on adding green spaces to our project, since we noticed the lack of it around our plot.
Each group member looked at the site according to their discipline. The Gildenkwartier and the Radboudtoren complexes were analysed.
02 DESIGN PROCESS & DEVELOPMENT
But for all these intentions to work as a whole, we came up with a main idea that would help us guide our design throughout the whole process. All disciplines saw potential in making use of what was already on site and therefore, the concept of retrofitting seemed to us the most appropriate. However, this decision meant that our design would have more restrictions since it is all about finding value in the existing situation and respecting it. On the one hand, our design is humble whilst on the other, we believe it is closer to the reality it is inserted in, both physically and socially.
02 DESIGN PROCESS & DEVELOPMENT
DESIGN PROCESS & DEVELOPMENT
After our initial design phase, we further developed a design which included a high-rise and a base for it. We analysed with each discipline and agreed upon a massing idea and on how exactly we were retrofitting the Gildenkwar-
After our initial design phase, we further developed a design which included and a base for it. We analysed with each discipline and agreed upon a massing idea and on how exactly we were retrofitting the Gildenkwar-
Existing complexes of Gildenkwartier and Radboutoren closer to the Utrecht central station
RETROFIT
After our initial design phase, we further developed a design which included a high-rise and a base for it. We analysed with each discipline and agreed upon a massing idea and on how exactly we were retrofitting the Gildenkwar-
In order to exlpain how we got to our final design, we have done step-by-step diagrams. These helped us clarify our design and clearly explain each design intention made throughout the design process.
We used this grid to begin massing. At the same time, our structural designer gave us advice on the feasibilty of our ideas.
A New High Rise
Location of the high rise in a recent development of the plot for structural safety
Since the building we are removing was a later addition to the plot, placing the new high-rise there allows us more freedom for placing new structure that connects to the ground.
5. TOPPING UP OF PRE-EXISTING STRUCTURE
Since the building we are removing was a later addition to the plot, placing the new high-rise there allows us more freedom for placing new structure that connects to the ground.
Development on Existing
Although we use the structural grid, whatever volume added contrasts to the pre-exisitng structure.
7. TRANSFORMATION OF THE PLINTH.
Additional residences added over existing structure within same language
ARCHITECTURE 1.
2.
In order to exlpain how we got to our final design, we have done step-by-step diagrams. These helped us clarify our design and clearly explain each design intention made throughout the design process.
In order to exlpain how we got to our final design, we have done step-by-step diagrams. These helped us clarify our design and clearly explain each design intention made throughout the design process.
Providing an alternative access from the train station to the city centre & adding greenery to the site.
ARCHITECTURE
3. REMOVED BUILDINGS.
We
According to our architectural and technical approach, this modification allows us to improve circulation and to place our high-rise adequately on site.
1. ANALYSIS OF THE PRE-EXISTING ELEMENTS.
1. ANALYSIS OF THE PRE-EXISTING ELEMENTS.
1. ANALYSIS OF THE PRE-EXISTING ELEMENTS.
ARCHITECTURE
Pre-Existing Elements
3.
Each group member looked at the site according to their discipline. The Gildenkwartier and the Radboudtoren complexes were analysed.
According to our architectural and technical approach, this modification allows us to improve circulation and to place our high-rise adequately on site.
Link in Geometry
4.
3.
Each group member looked at the site according to their discipline. The Gildenkwartier and the Radboudtoren complexes were analysed.
Each group member looked at the site according to their discipline. The Gildenkwartier and the Radboudtoren complexes were analysed.
The Gildenkwartier and the Radboudtoren complexes were analysed.
According to our architectural and technical approach, this modification allows us to improve circulation and to place our high-rise adequately on site.
The gap in geometry is liked with focus on structure and redevelopment
Instead of modifying the plinth for our new design, we intregrate it as it is, with the exception of puncutal interventions that are align with our architectural and technical approach.
6. GEOMETRY REACTING TO SUNLIGHT.
Although we use the structural grid, whatever volume added contrasts to the pre-exisitng structure.
To unite the volumes, we link them by adding volumes in between. It is worth noting that these element’s height are restricted since it lays above pre-existing structural components.
Transformation of Plinth
Instead of modifying the plinth for our new design, we intregrate it as it is, with the exception of puncutal interventions that are align with our architectural and technical approach.
2. ANALYSIS OF THE STRUCTURAL GRID.
Existing Structural Grid
We used this grid to begin massing. At the same time, our structural designer gave us advice on the feasibilty of our ideas.
8. NEGATIVE SPACE - GROUND FLOOR CIRCULATION
Existing plinth is redeveloped to create entrances and walkways
Since the building we are removing was a later addition to the plot, placing the new high-rise there allows us more freedom for placing new structure that connects to the ground.
6. GEOMETRY REACTING TO SUNLIGHT.
5.
Negative Space
Since the building we are removing was a later addition to the plot, placing the new high-rise there allows us more freedom for placing new structure that connects to the ground.
Since the building we are removing was a later addition to the plot, placing the new high-rise there allows us more freedom for placing new structure that connects to the ground.
To unite the volumes, we link them by adding volumes in between. It is worth noting that these element’s height are restricted since it lays above pre-existing structural components.
12
9. NEGATIVE SPACE - ELEVATED PUBLIC SPACE.
Designing the negative space that gives access to the main entrances to our buildings affected the shape of the base building. We can see the interaction between the old and new structures in this space.
Elevated Public Edge
We used this grid to begin massing. At the same time, our structural designer gave us advice on the feasibilty of our ideas.
We used this grid to begin massing. At the same time, our structural designer gave us advice on the feasibilty of our ideas.
2. ANALYSIS OF THE STRUCTURAL GRID. 3.
The structural grid was important analysis in retrofitting the project
The space between the old and new structure is utilized to create an urban link
Designing the negative space that gives access to the main entrances to our buildings affected the shape of the base building. We can see the interaction between the old and new structures in this space. A new elevated outdoor space is created. We believe this space to be the binding element of the whole project since it unites what was once divided into two plots.
Removed Elements
According to our architectural and technical approach, this modification allows us to improve circulation and to place our high-rise adequately on site.
According to our architectural and technical approach, this modification allows us to improve circulation and to place our high-rise adequately on site.
According to our architectural and technical approach, this modification allows us to improve circulation and to place our high-rise adequately on site.
Possibility of entrance and urban connect was developed in removing the existing components
Buffer Zones
Although we use the structural grid, whatever volume added contrasts to the pre-exisitng structure.
Although we use the structural grid, whatever volume added contrasts to the pre-exisitng structure.
Although we use the structural grid, whatever volume added contrasts to the pre-exisitng structure.
With an urban link in existing space another outdoor elevated space is created
Additionally the high rise is designed to have buffer zones with no columns
7. TRANSFORMATION OF THE PLINTH. 8. NEGATIVE SPACE - GROUND FLOOR CIRCULATION 9. NEGATIVE SPACE - ELEVATED PUBLIC SPACE.
10. BUFFER ZONES IN THE
A new elevated outdoor space is created. We believe this space to be the binding element of the whole project since it unites what was once divided into two plots.
In discussion with our structural designer, these spaces are where trusses are placed and where no columns exist. This provides a lot of spatial quality to place our entrances for the multiple fucntions.
To unite the volumes, we link them by adding volumes in between. It is worth noting that these element’s height are restricted since it lays above pre-existing structural components.
Facade Integration
To unite the volumes, we link them by adding volumes in between. It is worth noting that these element’s height are restricted since it lays above pre-existing structural components.
To unite the volumes, we link them by adding volumes in between. It is worth noting that these element’s height are restricted since it lays above pre-existing structural components.
The facade is designed to accommodate a contrast between the old and new
In discussion with our structural designer, these spaces are where trusses are placed and where no columns exist. This provides a lot ARCHITECTURE
of spatial multiple fucntions.
2. ANALYSIS OF THE STRUCTURAL GRID.
REMOVED BUILDINGS.
ADDITION OF BUILDINGS: A NEW HIGH-RISE.
TOPPING UP OF PRE-EXISTING STRUCTURE
6. GEOMETRY REACTING TO SUNLIGHT.
Source Beatriz Landau
Figure 1.8. 3D Massing Diagrams.
Source Beatriz Landau
REMOVED BUILDINGS.
4. ADDITION OF BUILDINGS: A NEW HIGH-RISE.
5. TOPPING UP OF PRE-EXISTING STRUCTURE
6. GEOMETRY REACTING TO SUNLIGHT.
Figure 1.8. 3D Massing Diagrams.
Source Beatriz Landau
Figure 1.8. 3D Massing Diagrams.
Source Beatriz Landau
3. REMOVED BUILDINGS.
4. ADDITION OF BUILDINGS: A NEW HIGH-RISE.
5. TOPPING UP OF PRE-EXISTING STRUCTURE
6. GEOMETRY REACTING TO SUNLIGHT.
Figure 1.8. 3D Massing Diagrams.
Source : Beatriz Landau
Figure 1.8. 3D Massing Diagrams.
Source Beatriz Landau
structure.
2. ANALYSIS OF THE STRUCTURAL GRID.
3. REMOVED BUILDINGS.
TOPPING
GEOMETRY
Figure 1.8. 3D Massing Diagrams.
Source Beatriz Landau
Figure 1.8. 3D Massing Diagrams.
Source Beatriz Landau
ANALYSIS OF THE STRUCTURAL GRID.
REMOVED BUILDINGS. 4. ADDITION OF BUILDINGS: A NEW HIGH-RISE. 5. TOPPING UP OF PRE-EXISTING STRUCTURE
Figure 1.8. 3D Massing Diagrams. Source Beatriz Landau
Figure 1.8. 3D Massing Diagrams. Source Beatriz Landau 11
Figure 1.8. 3D Massing Diagrams. Source Beatriz Landau
BUFFER Instead new design, ception of with our architectural Designing access to affected the see the interaction structures
We believe of the whole divided into In ner, these and where of spatial multiple fucntions.
Figure 1.8. 3D Massing Diagrams. Source Beatriz Landau 7. TRANSFORMATION
BUFFER
new design, ception of with our architectural
access to affected the see the interaction structures
10. BUFFER ZONES IN THE HIGH-RISE COMPLEX.
Figure 1.8. 3D Massing Diagrams. Source Beatriz Landau
SECTION A
SECTION B
LANDSCAPE PLAZA PLAN
RESIDENCES PLAN OFFICES PLAN
The spatial organization is inspired by the Assembly Line, establishing a seamless flow between production, distribution, and public interaction. The existing ground plane was transformed into a distribution center, utilizing underground parking and existing truck access to minimize demolition.
Adjacent to it, the urban mining area houses production, workshops, and exhibitions, activating the ground floor and connecting directly to a new central urban access. Products from the urban mining lab feed into the nearby shopping center, enhancing commercial vibrancy.
The preserved Gildenkwartier block was adapted into new residential apartments. Offices were placed above the urban mining lab, while a hotel crowns the structure, with intermediate activity zones for restaurants and fitness centers offering public amenities.
An urban link weaves through the site, connecting old and new, creating a landscape flow that improves movement and strengthens the site’s urban fabric.
3.3. CLIMATE INTEGRATION
3.3.3. FIRE SAFETY CONCEPT
PLAN
03 FINAL DESIGN
3.3. CLIMATE INTEGRATION
3.3.3. FIRE SAFETY CONCEPT
Offices
Residences
Distribution Centre
To create the walkway, it was essential to have a structure that could span a large area and accommodate a landscaped top. Double columns were placed at 15.9-meter intervals to provide a spacious, open area underneath for users.
To support the weight of the landscape, a corrugated roof with 810mm castellated beams was used.
The details of wooden rafters on the railings, which extend to the floor of the walkway. To enhance public movement , seating was provided to invite recreation.
Figure 1.35. Overview of the Structural Components - the topping-up and the new high-rise.
Figure 1.36. Overview of Structural Components - the walkway, the distribution centre and the urban mining lab. Source Structural Designer.
Figure 1.21. Central Walkway
ARCHITECTURE
Figure 1.35. Overview of the Structural Components - the topping-up and the new high-rise.
Structural Designer.
Figure 1.36. Overview of Structural Components - the walkway, the distribution centre and the urban mining lab. Source Structural Designer.
Source : Facade Designers
-vaporfront membrane
-bolts for fastening concrete panels (not clear from archive drawings)
-reinforced concrete slab
-thermal insulation 140mm - mineral wool
-waterproof barrier, EPDM membrane
-heating screed with support system and heating pipes 30mm
-flooring 10mm - wooden panel parquet
-red sealing partition between concrete panels facade greenery - European mountain ash
(sorbus aucuparia)
-titanium-zinc irrigation pipes - up to 30mm
-aluminum cladding with supports and drip edge for greenery beds
FIRM :TOTAL ENVIRONMENT BUILDING SYSTEMS (total-environment.com)
LOCATION : FRISCO I TEXAS I USA
PROFESSIONAL PROJECT I JUN 2022 - PRESENT
TEAM PROJECT I PRINCIPAL ARCHITECTS KAMAL AND SHIBANEE
TEAM LEAD AR.MANIK GUPTA
Located in one of the fastest growing cities in United States, Frisco, TX, Tapestry celebrates the idea of connection with nature. The site is set against a stunning landscape with Rowlett Creek flowing through the community, the area is landscaped with native trees and sidewalks to enjoy walks around ponds and green.
The homes feature roof tops with native Texas grasses and large glass panel doors allowing the outside to always feel close at hand. Natural materials like bricks and marbles blend with the landscape providing the users a sense of harmony while creating a balance between sustainability and livability. Each house is customized to meet the needs of the users with central courtyards and green terraces.
ROLE :
Design development of Multiple homes based on client customization with Construction drawings, Structural drawings, Interior drawings, 3D modeling, Detail drawings.
Each space within the home embraces a harmonious blend of earthy tones, allowing the architecture to seamlessly merge with the natural tapestry of the surrounding landscape. Carefully oriented, the living areas open up to serene courtyards, lush terrace gardens, or expansive views of the outdoors, drawing users into a continual dialogue with nature and making them feel deeply rooted in their environment.
The design features generous double-height volumes and gently curved ceilings, crafting a spatial rhythm that flows effortlessly from one area to the next. This intentional play of scale and openness offers a layered experience—inviting moments of awe and intimacy alike—while enhancing the connection between the built and natural realms.
V40 VILLA GROUND FLOOR PLAN
V40 VILLA STREET SECTION
V40
Bedroom and Walk-in Closet
STRUCTURAL MODEL (in progress)
Concrete Beams
Open Web Truss
Metal Deck with foam for insulation
Curved Wooden Truss
Glulam Wooden Beam
PSL (Parallel Standard Lumber)
Wooden Framing
VLEUGJE VERLEDEN
Industrial Museum Of Smells
LOCATION : DELFT I THE NETHERLANDS
INDIVIDUAL PROJECT I OLFACTION MUSEUM I SEP 2023 - JAN 2024
MASTERS PROJECT I DELFT UNIVERSITY OF TECHNOLOGY
Adjacent to Agneta’s historic perfume factory, the Olfaction Museum is a sensory and architectural homage to Delft’s perfumery heritage. The design frames the historic structure as its focal point while weaving a spatial narrative that allows visitors to experience scent in profound ways.
Shaped by wind and light, the museum unfolds through fluid spaces that open into courtyard sanctuaries, ensuring a continuous dialogue between indoors and nature. A towering entry—echoing the factory’s original landmark—stands as a portal into a world where scent, memory, and history converge. This is more than a museum; it is an immersive passage through time, where the ephemeral nature of fragrance finds permanence in architecture.
Exploration of User Experience for Sense of Smell Transition zone as a Buffer from Smells
A sectional exploration of volumes materials and structural elements, orchestrating a composition of light and wind, navigation between indoor and outdoor, contrasts of light and shadow, and moments of focus and openness, creating a cohesive yet varied spatial experience.
Sunpath diagram indicates sunlight comes from southern direction, therefore aligning building to restrict harsh sunlight
The roof direction is aligned facing E-W direction with roof preventing harsh overhead sunlight.
The Wind rose diagram indicates winds blowing largely from South West to North East directions through the year in Delft.
1. Site divided in Public Private and Semi public zones based on Program
2. Marking the Tower as entrance and breaking of Mass for better ventilation and circulation
3. Placing Courtyards and outdoor spaces withing the massing
4. Combining the broken massing to create a rhythmic flow
The direction of the sloped roof helps allow the passage of both the winds.
The site sits next to the historically significant Van Marken Yeast and Perfume factory.
The projects sits within the industrial context of Delft in an location edged by factories on two ends..
The design is anchored by a playful composition of volumes, beginning with a bold entrance marked by a tall tower—an abstract nod to the adjacent historic perfume factory and a striking visual landmark.
Visitors move into intimate, enclosed spaces that immerse them in scentbased installations. A gradual ascent via staircase leads to an elevated walkway overlooking the active scent labs below, where aromas are tested and released, adding a fleeting, sensory dimension to the journey.
This walkway transitions into a double-height educational space exploring the science and history of olfaction, while offering glimpses back into earlier museum zones. The journey culminates in the tower—an experiential high point—before flowing into the café and store to complete the loop.
Courtyards interspersed throughout provide daylight, spatial relief, and moments to pause. The final exit opens to a calm outdoor space facing the old perfume factory—offering a quiet close to the sensory experience.
FIRST FLOOR PLAN
Counter Roof Support Members
External insulation of 200mm
12mm Roof sheathing
Perforated Reused Steel Sections at every 2mm
16mm Roof Sheathing
Internal insulation of 100mm
200mm*200mm Metal box gutter
Prefab Roof Flashing
Self Adhered membrane
Steel angle
Filler Block
I section beams of 100*63mm at at every 2m
Steel plates connecting Beam to roof
Brick end cap screwed to roof
200mm wall insulation
200*130mm I section beam
I section support
20mm Sheathing board
Screws holding board and insulation
12mm board holding mortar
23mm Mortar on ceiling
Brick tie
Transition Member
Flashing membrane
Weep Hole
Loose Lintel
Rod and Sealant
55*67mm steel window frame with thermal break
Transparent double glazing with18mm air gap
Prefabricated Structural Reused Steel Members
Prefabricated Double Glazing windows
Prefabricated Reused steel Structural flexible angular members
Prefabricated Polycarbonate screens
Recycled Bricks Placed as facade members
Double Glazing Glass Panels with Metal Framework
WALL SECTION THROUGH TRANSITION SPACE
ROOF
Vapor membrane
Transparent double glazing with18mm air gap
55*67mm steel window frame with thermal break
Reused Steel member 75 x150mm thk @4000mm c/c
Reused Steel member 75 x30 mm thk*2
Steel member extended and bolted on the inside
Extended insulated steel section
200mm Insulated steel section b/w wall and window
Angled Reused Steel member 75 x150mm thk
Steel member connected with metal plate to beam
Lead sheet capping to wall head cover
Transition insulation
200*130mm I section beam
End capping
Steel section connecting members
Prefab Roof Flashing
200mm*200mm Metal box gutter
Metal plate connecting member to Beam
Cavity closer
Reused Steel member 75 x30 mm thk*2
Reused Steel member 75 x150mm thk @4000mm c/c
Barrel screw connecting member to wall
Recycled Brick wall
WALL
110mm recycled brick cladding with 23mm mortar
Barrel Screw anchored at every 600mm to board
45mm air space
200mm Insulation
Vapour membrane
20mm Sheathing board
Steel I section supporting board
Spacing for 150*200 Steel Column
10mm air space
50mm internal brick cladding
Internal Brick screwed at every 800mm to sheathing board
Drip edge in end
200*130mm steel I section column and beam
Full collar joint and perimeter insulation in end
Mortar dropping holding device
100mm rammed earth floor, 3mm steel L section as edge
finish
60mm stone and grass filling near U glass installation
70mm screed with underfloor heating pipe
200mm cork-clay-trass-lime mixture
Below grade vapour barrier
200mm crushed stone filling
400+900mm footing
FLOOR
The transitional spaces are conceived as layered thresholds, compelling users to experience a sequence of spatial and sensory expressions. Emerging from the exhibition space—rich with aromatic experiences that guide the journey— visitors encounter a polycarbonate screen that softly filters light, marking the shift into a narrow passage. This semitransparent alley draws users inward, offering framed glimpses through clear glazing into the adjacent courtyard, where lower ceiling heights and exposed projecting trusses define a moment of quiet pause and spatial compression.
Lined with an indoor garden aisle, the passage evokes the atmosphere of a plant nursery. Pebble-strewn paths and dappled light enhance the tactile experience, while curated elements continue the museum’s exhibition narrative, maintaining a sense of continuity within the transitional zone. Here, the sensory tempo slows—inviting users to unwind, reflect, and engage with the olfactory elements on a deeper, more personal level. The tactile richness of exposed brick walls and a rammed earth floor anchors the space in an earthy, grounded materiality, tying the natural elements together into a cohesive, immersive experience.
VIEW OF ENTRANCE COURTYARD
VIEW OF EXHIBITION SPACE
INTEGRATED HANDLOOM CENTRE
Case of indigeneous craftsman communities of Karnataka
LOCATION : BANGALORE I INDIA
INDIVIDUAL PROJECT I 10th SEMESTER(thesis) I JAN 2022 - MAY 2022
ACADEMIC PROJECT I ADVISED BY AR. AKSHARA VERMA (akshara.v@cmr.edu.in)
The tradition of weaving in the state of Karnataka dates back in the 8th century. The traditional handloom sarees such as Ilkal, Gaddi Dadhi and Hubli, blouse material known as Khana and other handloom products like dhotra (dhoti) and durries are known to be woven in the state. At present Karnataka has over 40000 handloom weavers spread across different regions. But the state of its primary stakeholders - the weavers is at risk. The handloom industry is heavily suffering from globalization and lack of upgradation. All the present weaving facilities are cramped, disorganized and spread in fragments throughout the state.
The craft centre revolves around the idea of regenerating and reviving the practices, the way of life of weavers and keeping the age old tradition thriving. The intention is to create an experiential architecture promoting a community as representation of fashion that will establish a dynamic environment staying within the spirit of the community while uplifting the face of the industry. The proposal aims at providing a platform for collaboration of weavers and designers to form a worldclass textile destination. It also aims at providing weavers from various regions an opportunity, to work, learn , teach and form a new form of supply chain where fast fashion has failed. It gives the weavers and designers opportunity to form a network to market and sell their produce to reach the global need for sustainable clothing today.
Yelahanka Lake Way to Airport
Railway Station
Industrial/Institutional
The residential zones are more dense compared to commercial and industrial.
NH 44 connects the site directly with multiple teritiary roads running into the town.
WIND
The wind in Bangalore changes throughout the year. Mostly it flows from North East direction.
NOISE
The site is mostly effected by the noise from vehicular traffic and some amount from trains.
VIEWS
The site has view points towards the lake and vegetation around.
SUN PATH
While the northern side of the site has residential buildings , the south side is completely exposed to the sun , thereby requiring shading devices.
The Site is sloping towards the lake, with 14m level difference along the length of the site.
WATER BODY
The site slopes down towards the lake, providing possibility of creating catchment area.
VEGETATION
The site has coconut tree plantation with shrubs and bushes aligned along the edge of the lake.
1. East West Elongated to minimize low angled sunlight.
2. Breaking of mass for better ventilation
3. Raising blocks to minimize heat gain from ground.
4.Internal and external courtyards to maximize cross ventilation
5.Roofs Closing towards South and opening towards North to prevent harsh sunlight.
Yashwanthpur
FIGURE GROUND ROAD NETWORK
LAND USE CONTOUR MAP
Connect between neighbourhood and site
Embellishment/Craft Retail/ Public Active
Changing Grid to respond to Function and Structure BORDER
Centre more Cohesive
Production and Institution
MAIN BODY
FLUIDITY OF THREAD
Chanel Part of Embellishment all the way
Power of Fluidity, Soft / Sensual / Interactive
Ecological Connect with topography Inner Connect Bring in View of Lake
Direct Rainwater into the Lake, following topography Water Chanel
Flow of thread
Wraps the structure
Fluidity in Landscape
Multiple Possible Spatial Arrangements
The axis is in response to the urban context and the contours.
The public edge is closer to the main road, following the semi-public spaces. The private spaces are closer to the lake edge.
Sense of Connect
Interactive
Movement in Section Participatory Spaces
Movement IN-UP-OUT-DOWN
Explore Weaving in Volume
Border Drapes along the Pallu
Water Edge acts as a Border
BORDER AND ACTIVE EDGE ACTIVE BORDER
The spaces are connected to create a flow of activities. With retail and production connectin skill development and finally education.
The obvious view towards the lake is enhanced with the canal throughout the site.
PVC Membrane
Double revetment zinc
OSB 30mm
Galvanised steel members
Wood batten
PVC membrane
Wood framework
RCC Lintel +3650 mm
Plinth LVL +500mm
Ground LVL
0.00mm
Foundation -700mm
WALL SECTION
1.Mangalore Tiles Placed on a wooden framework
2. Mud rolls 100mm dia
3. Reused Teak Wood Rafter 75X120 mm thk @1100mm c/c
4. RCC Lintel 50mm thk
5. Stone wall 300mm thk
6. Mud Plaster 12mm thk
7.Rammed Earth layer 50mm thk
8. RCC Plinth Band 150 mm thk
9.Uncoarsed Random Masonry with 1:6 Mortar 500mm thk
10. PCC 1:3:6
11.Uncoarsed Random Masonry Foundation
All the materials used are locally sourced like reused teak wood, mud rolls made on site, mangalore tiles and Sadarhalli Bangalore stone, to provide the weavers a sense of their traditional living. The units are incremental that can be constructed in multiple modules.
VIEW OF PRODUCTION UNIT
VIEW OF PRODUCTION UNIT CENTRAL AXIS
diverse gathering space, lined with seating with trellis and floral walkways looking into water body.
RESTING CORNER
The resting area for the weavers tree seating, cultivating sophisticated traditional village setting.
PLAZA
Central Plaza marks as multiple entry point with different circulation routes lined with seating along water edge.
INSTITUTION ENTRY PLAZA
Large afforested area to stepped pathway leading to breakponts, seatings and bridges.
DRY SEASON
RAINY SEASON
ENTRANCE PLAZA
CENTRAL
GREEN WATER CANAL
Approach towards redefining Market Space
FIRM : STATS ARCHITECTEN
LOCATION : SCHIEDAM I THE NETHERLANDS I
INTERNSHIP PROJECT I SEP 2024 - JAN 2025
TEAM PROJECT : PRINCIPAL ARCHITECT RALPH VAN DE DONK
The ambition is to create a nature-inclusive living environment where the building and its surroundings function as a single ecosystem. Existing ecological qualities will be strengthened by integrating flora and fauna into the design.
Energy efficiency is a key focus, with plans to utilize both roof surfaces for solar panels alongside green roofs. The building will also rely on sustainable systems for heat generation and energy use. Circular, biobased, and renewable materials will be prioritized, and attention will be given to detachability to enable future reuse. A material passport will document components and support recycling at the end of their lifespan.
ontwikkellocatie
Two Volumes of Building mass
Wrapping the central Gallery in both the volumes
Locating Balconies and open spaces facing the Landscape
Holy Noord
Holy Zuid
Apartment Typologies
The intention was to offer diverse range of apartment typologies designed to accommodate varying lifestyles, household sizes, and spatial needs — all while ensuring a strong connection to the surrounding environment. Each layout is thoughtfully crafted to balance functionality, daylight access, and living comfort.
The Gallery Apartments prioritize smart use of space, with clear zoning between private and shared areas, direct garden connections, and ample natural light through large windows. The Tower Apartments introduce a sense of openness and panoramic living, making the most of their corner positions. These units offer generous floor plans with expansive living and dining zones, multiple bedrooms, and large openings that strengthen the visual and spatial link between interior spaces and the surrounding landscape.
Definition in facade with different materials
Combination for different bricks to create more playful facade
Rhythm in windows and balconies
Two level plinth for scale
FACADE 2 TO ADD FINESSE AND RELIEF TO BUILDING MASS
