Krishi Jhaveri - Interior Architecture Portfolio

SUDHA

Illustrated by Krishi Jhaveri

PORTFOLIO Krishi Jhaveri

Interior Architecture CEPT, Ahmedabad Academic and other selected work (2018-2021)

FICTIONAL SPACES Studio type: Visualisation, Monsoon 2019 The epic of Mahabharata has been written and rewritten from many different perspectives. As a part of the final studio exercise, we reimagined a character from Mahbharata living in any one fictional film. I reimagined Draupadi’s life and her sangharshes (struggles) as a character travelling through the different scenes of a Spanish movie: Pan’s Labyrinth directed by Guillermo del Toro.

Analysing the movie: Pan’s Labyrinth

Captain’s house set up in a Spanish civil war era in Pan’s Labyrinth

Inside the captain’s house.

Storyboard of the movie Pan’s Labyrinth Next step: Reimagining Draupadi’s life in Mahabharata as a character in Pan’s Labyrinth.

Draupadi emerging out of fire

Draupadi married to the pandavas

Five major events which shaped Draupadi as a character in Mahabharata From her birth as a Yagnaseni to her after life

PROCESS OF MAKING A FILM POSTER FOR THE MOVIE SANGHARSHINI DRAUPADI: A REIMAGINATION OF DRAUPADI’S LIFE AS A CHARACTER IN PAN’S LABYRINTH

Draupadi’s Cheer Haran

Pen rendered visualisations on A1 sheets

Sangharsh 1: The Birth

Sangharsh 2: Swayamvar

Spiraling down through the staircase, you enter the womb of the earth where Draupadi, the daughter of the fire god was born. Yes, you might feel like you are enclosed within a cold, dark space at first but wait until the Yagna lights up this underworld. You’ll see this place as a beautifully carved out masterpiece from the rocks. In fact, every element in it is moulded either out of rocks or stones. The Yagna from which the Yagnaseni Draupadi emerged forms the centre of this space. Also, don’t miss out on the four doors that this womb hides. These doors will further lead Draupadi to her upcoming four Sangharsh (struggles) in her

Following the lotus fragrance, Draupa people eagerly waiting on those intric Pushpanjali. Everything is beautiful, t the lotus pond. The water in the pond beauty of Draupadi’s Swayamvar.

life

Sangharsh 4: Agyatvas

Draupadi enters the third door as a Sairandhri, the maid of the queen of Virata after they lost the Game of Dice.

You must be wondering of how a queen could manage to stay in the servant’s quarter right? But let me give you a sneak peek into her room. Do you see the ornamented furniture through the torn parts of the cloth draped upon it? The royalty is disguised as poverty here as a way to be anonymous. Unveil the cloth and you will find a queen’s room.

adi enters the first door, her Swayamvar. Thousands of cately carved marble petals crave for just a glance of the the creepers and the greens make the pillars which protects d cools the petals around and the fragrance adds up to the

Sangharsh 3: Cheer Haran The second door was the one where no woman would want to go, but Draupadi’s destiny took her there. She entered a diabolic world where on one side, she could sense the wit and wisdom of the Kauravas who had their uncle Shakuni with them and on the other side she could see the royalty of the Pandavas. The parts of chess and the gears on the left depict the wit of Shakuni and the ornamentation on the right depict the royalty of the Pandavas.

Sangharsh 5: The After-life The fourth door destined for Draupadi was the gate to her afterlife. You can feel the calm and tranquility of the space once you enter it. The space is always lit up on its own by the shine of the gold and jewels used in it. Thousands of people wait at the paradisical dome for someone to enter their afterlife waiting for them to enter the gates of heaven. Just like anyone, Draupadi went thorugh the canopy of golden trees, purified herself by dipping her legs into the sacred water and stepped into the magnificent golden gates of heaven.

EXPLORATION OF DESIGN: MATERIAL IN FOCUS Studio type: Working Drawing, Spring 2021 Everyday, thousands of papers, especially the newspapers end up being a waste lying around as pieces on roads or as a plates to eat in a local vendor’s shop or as a wrapping material for fruits and vegetables. But, what after that? That’s where Kaagaz comes in.

Kaagaz is a workshop based experience center which makes its users go through the process of making a handmade paper by reusing the waste newspapers or any other type of paper. This way it makes the user aware of the time and effort which goes into making a single sheet of paper.

But you might ask, what if the handmade paper goes to waste when not in use anymore?

Well, Kaagaz helps you make a plantable handmade paper (with seeds in the pulp of the paper itself). This way, even when the handmade paper is not in use anymore, you can just plant it and cherish the whole experience of making your own paper by looking at the plant grow.

“From the nature, to the nature” is thus the core objective of the brand.

The Site

• •

Site Name: Mondeal Square Located at a prime junction of two main roads; SG Highway and Prahladnagar road in Ahmedabad.

Site Inferences Enhanced in the Design

Kaagaz - A Handmade P

Programatic developement o DONATION AREA

Fluid

Welcoming The curvature of the glass facade makes the site welcoming and it is used to draw people into the experience center.

The curvature of the facade helps in a smoother and an organic flow of movement of the visitors.

The glass facade of the building increases the site’s visibility from the outside as well as inside, this way, the people passing by the experience center can get intrigued by the activities going on inside the experience center.

This attrubute in enhanced in the design by providing spaces which flows into one another and are thus

RECEPTION

WAITING AREA

DISPLAY INSTALLATI

interconnected.

Material Palette Developing a material pallete which enhances the experience of the users in KAAGAZ

Waste Paper tubes - Re-used for making partitions and furniture elements in the space - Enhances the experience of a paper making workshop

EXHIBIT AND DISPLA

Corrugated Boards - Used for making furniture elements in the space - Enhances the experience of a paper making workshop - Light weight and easy to use

Layout Iterations 1) Reception and Donation Area 2) Waiting and Exhibition Area 3) Display Installation 4) Adult’s Guided Workshop 5) Painting Room 6) Services 7) Refreshment Area 8) Kids’s Guided Workshop 9) AV Room

Ground Floor

ITERATION 5 - SALIENT FEATURES : - Donation area near the entry so that anyone who is interested in just donating waste papers can easily access that area - Workshops and restrooms (wet areas) placed near near the service duct so that the plumbing lines can be run easily.

- Refreshment area and painting room (informal activities) placed near the glass facade for a good view.

Plantable Paper Making Company

of the workshop based experience center

AY

SERVICES

ADULT’S WORKSHOP

ION

First Floor

KID’S WORKSHOP

PAINTING ROOM

Translucent Papers - Used as a material for false ceiling in the kid’s workshop -Playful, Inspiring, colourful - Enhances the experience of a paper making workshop.

REFRESHMENT AREA

AV ROOM

Brown Paper Sheets - Used as a material for partitions - Enhances the experience of a paper making workshop.

SPACE LAYOUTS

Section XX’

RECEPTION AND DONATION AREA

ADULT’S PAPER MAKING WORKSHOP

DRYING AND COMPRESSING ROOM WAITING AREA

DISPLAY INSTALLATION

DRYING AND COMPRESSING AREA

Ground Floor Plan

PAINTING ROOM

First Floor Plan

FIRST

FLOO

GROU

R

ND F

LOOR

SPACE VISUALS FOR : KAAGAZ - GF

DRY PANTRY

REFRESHMENT AREA

A/V ROOM

KID’S PAPER MAKING WORKSHOP

DISPLAY INSTALLATION

REFLECTED CEILING PLAN

Materials used in False

Consolidated Service Plan and False ceiling Details DESIGN INTENT: • The false ceiling in all the areas except the workshops are made of 10mm thick cement fibre board.

• The ducts of the concealed split unit governs the false ceiling height, the ducts are arranged in such a way that the false ceiling height is lower only in the circulation area (darker gray shows the false ceiling at lower level) • The false ceiling in the adult’s workshop replicates a deckle and mould : tool used for paper making • To make the kid’s workshop more playful, the false ceiling there is made of translucent papers suspended through a GI frame structure.

Kid’s workshop on FF: GI frames and translucent paper

Ground floor

Section AA’ : False Ceiling Detail Adult’s workshop - GF Scale - NTS

First floor

Adult’s workshop - GF False ceiling made of 100*100mm wood frame structure and 10mm dia MS rods to replicate deckle and mould.

Part section B Detail showing th Scale : NTS

e Ceiling

100*100mm wood

Legend

10mm cement fibre board

Translucent papers

rs

he transition in false ceiling on FF

100 * 100 mm Cross section

GI

SEATING ELEMENT

Designing a Chair by reusing waste paper tubes Nominated for patent and design registration

RECEPTION TABLE

Designing the reception table by reusing waste paper tubes

10

10

Icosahedron (physical model)

Subtracting an Icosahedron to get a new solid using grasshopper

Making an icosahedron and then contouring it in different ways using grasshopper scripting

Applying p plug-in, ka

Applying a grasshopper script for folding a net of an icosahedron.

Forming icosahedron through interlocking of solids and learning digital fabrication techniques.

3D-Printed Prototype of one of t fabrication

pressure on an icosahedron (using the angaroo)

the parts to understand digital

INDETAIL - OPEN MAKES Studio type: Make and Learn, Monsoon 2020 Imagine if you can download, print and assemble your own needs and necessities during the COVID lockdown period. Set in the COVID-19 crisis, in this studio, we had to make digital fabrication possible using grasshopper scripting. In this project, I have explored active bending of plywood using kerf cuts. Following the same language, three furniture elements i.e 1) A working desk, 2) A storage system and 3) A screen for a workspace were designed using different grasshopper scripts. Open Source files and manuals were also created so that the end user can digitally fabricate and assemble the furniture elements.

SYNCLASTIC AND ANTICLASTIC FORM

Learning, applying and making using grasshopper scripts

Scripting a mix of a synclastic and an anticlastic form on grasshopper

Contouring the form using gh scripts

Waffling the generated form using grasshopper and making a physical model using digital fabrication methods.

Weaving the gen

DESIGNING AND MAKING A BAR STOOL Ergonomic study and form developement

Context : A Bar

Form developement of the bar stool after studying the ergonomics

The final iteration of the stool that went in for production

nerated form using grasshopper scripting and making physical models accordingly.

Patterning the generated form using grasshopper and making models using paper strips such that the model can carry its self-load.

PROTOTYPING AND LOAD TESTING

Designing, fabricating, assembling and testing!

Learning outcomes: 1) The depth of the footrest should be more.

2) Here, the horizontal layers are used so that the bar stool does not loose its form but it has no function except the contour acting as a footrest, so waffling in x and y axis would make more sense structurally.

CNC routed legs and contours and 3D-Printed seat (Scale - 1:1)

Load-testing the 1:1 scale prototype

Joineries and details

3D-Printed Seating and CNC-Routed body.

CONCEPTUALISING A DESIGN LANGUAGE FOR THE FURNITURE ELEMENTS A working desk, Storage system and a Screen for a workspace

FINALISED DESIGN LANGUAGE : 1) Using the vertical components as structural members and the horizontal components as functional members (just like the stool) 2) Functional members made by bending plywood using kerf cuts.

Draft 1 of the working desk

3) Furniture which can easily be made and assembled by the user without the use of any adhesives or hardwares.

FRONT ELEVATION A

Manually done kerf cuts to check and bend the plywood and insert it into the vertical profile to keep it intact.

1:2 Prototype of the working desk

Finalised design for the working desk

The 1:2 prototype can be used as a laptop table or a storage element.

PLAN

SIDE ELEVATION B

Component 1 (table top) : 6 mm Plywood Component 2 (vertical stands) : 18 mm Plywood

Component 1 (foot rest) : 6 mm Plywood

Exploded view showing the 2 components and the assembly of a working desk.

COMPONENT 1: Table top and foot-rest (functional parts) is made by bending 6mm plywood using kerf cuts, it fits into the vertical profiles (component 2)

COMPONENT 2: The vertical stands are made of 18mm plywood and it acts as a structural member of the desk. It has profiles and notches cut in it which allows the horizontal members to fit in.

Method of bending: Kerf cuts to bend the plywood

MANUAL FOR MAKING THE FURNITURE ELEMENTS

Open source files and manuals for the end users to download, print and assemble.

STORAGE SYSTEM

ASSEMBLY PROCESS

Working desk

STEP 1: Get all the components cut in the CNC Router using the open nest file.

8 MATERIAL PROCUREMENT : 1 sheet (8*4 ft) of 6mm Plywood 1 sheet (8*4 ft) of 12mm Plywood STEP 2: Bend the table top and the foot-rest (component 1) in the areas of the kerf-cuts.

STEP 3: Fit the component 1 in the notches and profiles of the vertical stands.

OPEN NEST FILE Machine to be used : CNC Routing Machine Drill bits required : 1mm (for kerf cuts), 3mm, 6mm

STEP 4: Now, fit the second vertical stand to the horizontal members in the same way and VOILA! you’ve successfully made a working desk all by yourself.

OPEN NEST FILE Machine to be used : C Drill bits required : 1mm

WORKSPACE

ASSEMBLY PROCESS

Storage System

Component 1 (vertical stands) : 12 mm Plywood

STEP 1: Insert the first and the and the last (1 and 4) horizontal components into the profiles of the vertical stands for easier assembly.

Component 2 (horizontal racks) : 6 mm Plywood 3D-Printed stoppers : ABS plastic resin Exploded view showing the 3 components and the assembly of the storage system

CNC Routing Machine m (for kerf cuts), 3mm, 6mm

STEP 2: Now, insert the 3D-Printed stoppers into the grooves provided in the horizontal racks to prevent the vertical stand from moving.

STEP 3: Now insert the horizontal racks in the second vertical stand and lock it with the stoppers in the same way.

STEP 4: Now, you will easily be able to insert the central two horizontal racks (2 and 3) into the vertical profiles.

Fix them with the stoppers and VOILA! The storage system is ready.

DEPLOYABLE SYSTEMS : FORM, SPACE AND FUNCTION Studio type: Parametrics, Spring 2020 The studio explored the potential of deployable systems of origami and scissor mechanism to design, user defined multi-functional space/product, which facilitated and enhanced the existing activity or user experience, within the given context.

Chaaya is a shading deployable structure designed to be placed at the old canteen of the CEPT university. It provides different amount of shade when opened and closed. When opened, the structure also displays a play of light and shadow.

SITE ANALYSIS

Old Canteen at the CEPT University

Elevation of the old canteen facing the staionery, the print shop and the food stalls.

The existing site is used by the students and faculties as a sitting space while having their meals.

Elevation of the old canteen facing the south lawns and the library.

The canteen has plastic chairs and tables shaded with unstable umbrellas

Fig.3) The space sees the highest number of people (aprox.150)

Fig.4) The number of pe mornings and evenings comparatively less (app

DESIGN BRIEF

The existing site has temporary sets of plastic chairs and umbrellas (which is very unlikely o university) which keeps toppling during strong and also isn’t able to accomodate the student in during their lunch time.

Unstable umbrellas keep toppling

Plastic chairs and tables also keep falling as they are placed on a pebbled ground.

So this project firstly proposes the pebbled gr paved and provide plinths for people to sit. Se provides a sturdy shading system which gen play of light and shadow due to the surfaces

DEPLOYABLE SYSTEM EXPLORATIONS Exploring systems for the proposed design brief

Fig A) A scissor mechanism exploration where the base too was deploying to provide more surface area for people to sit inside it.

eople in s are prox. 40) Fig D) Hinges designed as a joinery for the structure shown in Fig C.

Fig C) The surface used on the top of the structure designed.

I went forward with the idea of the same inverted trapezium on the top acting as a shade, but changed the idea of people sitting inside the structure, as visually it looked robust and heavy. So now, instead of having huge scissors in the base, it would just be a shaft to decrease the footprint of the structure. nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn

c tables, of the CEPT g winds ts that rush

round to be econdly, it nerates a s used in it.

Fig B) The trapezium on the top acted as a good shading system, but the scissors used in the base were visually disturbing.

The origami surface when open.

The origami surface when closed.

Connection of the upper trapezium to the vertical shaft.

Model of the trapezium held onto the shaft

ANALYSING THE FORMS AND THE SYSTEMS

Difference in the inclination when angle of a single module is changed

x

x

5°

13

Fig A) Single module used in the structure.

Here, x = 60mm , angle = 135 0

x

5°

13

x

x

x

x

0°

11

THE FINAL STRUCTURE - CHAAYA Plans and Elevations

x

0°

11

Fig B) Single module used in the structure.

Here, x = 60mm , but angle = 110 0

ELEVATION OF THE CANOPY (WHEN CLOSED)

m’

m When, x = 60mm, a = 135 0 angle of inclination from the horizontal plane = 70 0 Thus, m = 190 shaded surface area = 190*190 =

When, x = 60mm, a = 110 0 angle of inclination from the horizontal plane = 50 0 Thus, m’ = 240 shaded surface area = 240*240 =

36100 mm2

57600 mm2

CONCLUSION Lower the angle of the single module used, lower the angle from the horizontal plane and higher the inclination and hence we get more shaded surface area. bhbjhn ,n kjbksjbfzfbvbhkbkhbkhbkhkb

PLAN OF THE CANOPY (WHEN CLOSED) When closed, the structure becomes a packed inverted trapezoid due to the surfaces designed.

ELEVATION OF THE CANOPY (WHEN OPEN)

PLAN OF THE CANOPY (WHEN OPEN) The surface is attached to the smaller end of the trapezium (here, on the lower side marked blue) because the ratio of its deployment is higher than the bigger end.

(The difference of one the length of the square when open and close : Outer square = 4000 - 3000 = 1000 mm Inner square = 2500 - 700 = 1800 mm )

JOINERIES AND DETAILS Elevation when open

A : THE CONNECTOR - CONNECTS THE FOUR SIDES OF THE TRAPEZIUM (THE FRAME) TOGETHER. bbbbbbb THE FRAME : THE BASIC MODULE WHICH WHEN REPEATED 4 TIMES FORMS THE TRAPEZIUM. A’ : THE CONNECTOR - CONNECTS THE FOUR SIDES OF THE TRAPEZIUM (THE FRAME) TOGETHER. (Note: It is just the mirror of detail A)

THE SHAFT : THE MAIN CENTRAL SHAFT CONNECTS THE SURFACE TO THE UPPER TRAPEZIUM AND ACTS AS THE MAIN CONTROL SYSTEM OF THE STRUCTURE.

ELEVATION (WHEN OPEN)

THE FRAME AND ITS DETAILS Frame and its details

0

110

18 MM DIAMETER MS PIPES WELDED TOGETHER.

85

0 150 0

B

A 11

0

85

16

00

B

750

0

750

A

DETAIL B: A PIVOT JOINERY BETWEEN THE 110 0 MEMBER AT THE BOTTOM AND THE FRAME ON TOP.

00

12

0

30

DIMENSIONS OF ONE FRAME

DETAIL A: A PIVOT JOINERY BETWEEN TWO 110 0 MEMBERS AND TWO STRAIGHT MEMBERS

FRAME DETAIL

E LA

THE CENTRAL SHAFT Exploded view and details

1

CONNECTOR A

FRAME DETAIL B

THE SHAFT DETAIL 1

MODEL MAKING These models were made as a part of the first year studio exercises.

HUNNARSHALA, BHUJ, 2021 Workshops on Earthern Construction, Wall and Flooring Finishes

WOMEN AS AN EPITOME OF STRENG

A series of graphics on a folded paper, which when opened tells a single story

GTH AND FIERCENESS

GOOD TIMES! Work that I had a lot of fun doing Work which has a part of me....

Designed and painted a 16’ * 8’ flex for the 29th foundation day of the Faculty of Design at the CEPT University

Designed and painted

Painted a kid’s wall. It is named Ghosla which means a nest (a warm space for a family) in Hindi.

Documentation of m

Graphical representation of Thomas Newman’s song Road to Perdition

Logo of my art account @_katipatang

d 60 leaf printed scarves for the 31st foundation day of FD to be sold as a merchandise with my friend, Nandini.

my trip to Kerela

From macro to micro

Illustrated by Krishi Jhaveri

SHUKRIYA :)

KRISHI JHAVERI krishi.ug180313@cept.ac.in krishijhaveri143@gmail.com +91-6351387498 @_katipatang