01
MEGHNA MAJUMDAR Interior Architecture and Design
DESIGN PORTFOLIO
MEGHNA Interior Architect MAJUMDAR
02
My name is Meghna Majumdar. I am a graduate from the Indian Institute of Art and Design, New Delhi, India with a BA (Hons.) in Interior Architecture and Design. I would describe myself as an extremely motivated and creative individual who constantly wants to develop her skills and attempt to grow professionally. I am willing to take up new and different opportunities as i believe that they would help me to do the same in the future. I am confident in my ability to come up with new ideas, work individually and in a group but most importantly I believe in my ability to work hard. Apart from Interior Design, my interest also lies in Photography, Interior Styling, Baking, Travelling and Pottery.
03
PROJECT
01
THE HEALTH TREE
INTERIOR ARCHITECTURE AND DESIGN PORTFOLIO
My aim with this project was to promote and highlight the importance of a healthy lifestyle and healthy eating habits by designing and conceptualising a space easily accessible to people to pursue a healthy routine in their existing and often busy schedules. The facility will give people options to exercise, to practice yoga, meditation, eat healthy and even buy related merchandise so that they live a life with the adage of a healthy mind and body with a focus on making the facility as eco friendly as possible.
04
The division of spaces was done keeping in mind the function that the particular space would be used for. I divided the spaces into Private, Public and Semi-Public zones which influenced where I placed each of these functions in the facility that I was designing. Visualising both the floors individually as 4 different bays dividing each of the floors vertically further helped me to organise the space according to its function.
PROGESSION OF SPACE
First Floor
•Private Spaces consist of spaces that are not meant for the general public and require privacy e.g. Admin Office, Dieticians Office and Services (Washrooms & Kitchen Store). •Semi Public Spaces consist of spaces that are open to the public but may not be used as often in comparison to the public spaces and the user may feel a sense of ownership over it. e.g. Cafeteria, Gym, Multipurpose, Hall, Balcony etc. Second Floor
INTERIOR ARCHITECTURE AND DESIGN PORTFOLIO
•Public Spaces consist of spaces that are easily accessible to the users as they are placed as soon as you enter the facility e.g. Reception and Retail space.
First Floor
Second Floor
INTERIOR ARCHITECTURE AND DESIGN PORTFOLIO
MOOD BOADS
05
06
Gym
Reception Area
3D VIEWS
First Floor
Ordering Counter
Cafeteria
Retail Area
INTERIOR ARCHITECTURE AND DESIGN PORTFOLIO
Dieticians Office
07
PROJECT
INTERIOR ARCHITECTURE AND DESIGN
RETAIL STORE
03
INDIAN JEWELLERY STORE IN CONNAUGHT PLACE. My aim is not to design a traditional jewelry store, by that I mean, A Tanishq or a Kalyaan jewelers where customers come, sit down and then jewelry is shown to them, withl ots of items to buy and to look at but I want to create an environment of a “designer store” where its minimal and feels luxurious at the same time as being affordable and not too over the top. I want this shop to have an environment that encourages the customer to walk around and explore. I have taken my inspiration from the case studies I did, namely, Vataanika (Santushti Complex) and Amrapali (Khan Market). Just like these brands, the brand identity and ethos that I’m trying to create is that of a brand that sells Indian tribal jewelry with a modern twist almost leaning towards costume jewelry and I want this overall approach of the brand itself to also reflect in the actual interiors of the shop.
08
INTERIOR ARCHITECTURE AND DESIGN PORTFOLIO
Mood Board
Model made using sun board and ivory sheets. Scale : 1:50
09
PROJECT
04
INTERIOR ARCHITECTURE AND DESIGN
REFURBISH AND RECYCLE
REFURBISH AND RECYLE : CURIO CABINET. This is a old wooden cabinet that I found in the Chhattarpur Mandir. It is more than 20 years old. It was used in the mandir to store books. Upon research I found that before it reached the mandir, this cabinet was used in a families residence where they used it as a stand for their television and the glass box was used to keep things for display.
Curio Cabinet to Vanity.
10
INTERIOR ARCHITECTURE AND DESIGN PORTFOLIO
Ply Board Compressed Laminates ( front of the door and drawer). Glass (on the 3 sides of the cupboard) Stainless steel rollers Plastic (Handle) Metal (Locks) Aluminum Indentation on the glass for grip Joinery : Nailed and Fevicol Sh Spirit Polish : “Lac Dana” resin secretion from a plant is mixed with a colour - Turkey Amber’ and added to spirit and then coated on the wood as a hardener
PROJECT
05
NAME PLATE
11
12
PROJECT
FURNITURE DESIGN Side Table - Just as its name suggests, a side table is placed beside a piece of furniture a person would sit on, such as a couch or a bed. Its main purpose is to ensure that essential items are within easy reach. When placing side tables beside chairs and sofas, it's important to get the height right.
INTERIOR ARCHITECTURE AND DESIGN
06
13
PROJECT BHUTANESE
07
INTERIOR ARCHITECTURE AND DESIGN
CULTURAL CENTER
I envisage the Bhutanese Cultural Center as an oasis of calm and serenity in the bustling and busy ring road (Lajpat Nagar) in the huge metropolitan city of Delhi. I wanted people to come into a space which would remind them of the tranquility we experienced in the Himalayan land of Bhutan. I wanted the space to reflect the rich cultural and art traditions of Bhutan, and create a space that would be unmistakably Bhutanese its inspiration even though it was to be housed in a modern contemporary straight-lined building in urban capital of India, New Delhi. Bhutanese art and architecture is replete with examples of symbolism and iconography. There are various symbols which appear repeatedly in their ornamentation, which have specific and deep meanings and is an integral part of their communal thinking while being representative of their traditional ethos.
One of the symbols which is very significant and makes its appearance repeatedly is the symbol of the lotus. The lotus as always been an important and revered symbol in many far east Asian cultures. The religions which sprung out of the Indian subcontinent give great importance to what the lotus represents and symbolizes. The lotus has been a symbol of purity since before the time of the Buddha, and it blooms profusely in Buddhist art and literature. Its roots are in muddy water, but the lotus flower rises above the mud to bloom clean and fragrant. Therefore, I chose this symbol of the lotus to represent Bhutan in this Cultural center. Moreover, the physical representation of the lotus conforms with the functional requirements of the center. Like the seed pod of a lotus or the fulcrum of the wheel, people enter at a central node and then move radially to directions of their choice. I wanted people to come to a space which is centrally located and makes the movement patterns easy and does not waste circulation space. There is also an easy access provided to the vertical circulation core hereby making the activities on the first floor also easily accessible. Moreover, the cut out right at the entrance gives a visual access to the upper level.
In Bhutanese buildings, the entrance is always given great importance usually the entrance is elevated by a few steps and is imposing. Similarly, I wanted to reflect this sensibility in my design. The double height can not only be experienced within the building but even from the outside, one can appreciate the grandeur of this space specially after sundown when it would be lit up and the representation of the lotus in the ceiling of this space becomes apparent even to the passer by., creating a relationship between the interior and exterior of the building. The double height always gives a glimpse of the activity happening on the upper level and connects the two physically separate floors into one cohesive whole. The color palette in Bhutan was largely inspired by nature which floors in harm hues of woods and grey slate. The walls had colors of burnt amber and yellow okra with hints of blue borrowed from the sky against the backdrop of pristine white with elements in black to highlight all the other colors. I’ve taken the center of the circle in such a way that it manifests itself partly inside and partly outside so that the distinction between the inside and outside blurs.
12
INTERIOR ARCHITECTURE AND DESIGN