I am a RIBA Part 2 Architecture graduate, currently seeking opportunities to contribute meaningfully to thoughtful and context-driven design practices. I hold a bachelor’s degree in architecture from India and bring over 3 years of experience working as both an Assistant Architect and Team Leader.
My approach to architecture is rooted in a belief that design should be responsive, sustainable, and deeply connected to its social and cultural context. I value architecture not just as a built form, but as a catalyst for community, memory, and continuity. I’m eager to collaborate with studios that share a commitment to purposeful, human-centered design.
2023 -2025
2015 - 2020
2013 - 2015
EDUCATION
De Montfort University, Leicester, UK.
M.Arch RIBA part 2
Vaishnavi school of architecture & planning, Hyderabad. [First class]
Narayana jr college, Hyderabad. [First class with distinction]
The Nalgonda public school, Nalgonda. [Frist class]
PROFESSIONAL EXPERIENCE
2021 - 2022
2019 - 2020
Trayam Architect’s, Hyderabad. Architectural designer, Team leader.
Design Leadership: Steering the design direction of projects from concept to completion, ensuring that the work resonates with the project’s social, environmental, and cultural context.
Team Coordination: Mentoring junior architects and coordinating across disciplines to maintain workflow efficiency and design coherence.
Client & Stakeholder Communication: Acting as the primary point of contact for clients, consultants, and contractors to communicate design intent clearly and effectively.
Quality Control: Reviewing drawings, models, and presentations to ensure alignment with the firm’s design standards and philosophical vision.
Strategic Thinking: Integrating architectural narratives that support community engagement, memory, and sustainability in a project’s fabric.
SOFO designs, Hyderabad. Internship.
Support in Design Development : Assist the design team with conceptual drawings, diagrams, 3D models, and rendering presentations, contributing to early-stage ideation and design iterations.
Drafting & Documentation : Prepare and revise architectural drawings using CAD including plans, sections, elevations, and details under the supervision of senior architects.
Research & Analysis : Conduct research on materials, precedents, building codes, and site context to inform the design process and ensure compliance with regulatory requirements.
Model Making : Build physical or digital models to explore spatial ideas and communicate design intent during presentations or reviews.
Coordination & Communication : Attend project meetings and take notes; assist in coordinating with consultants, contractors, or clients when required, often shadowing senior architects to learn professional communication.
Presentation Preparation : Create high-quality presentation boards and documents for internal reviews or client meetings, learning how to visually communicate ideas clearly and effectively.
Office and Project Support : Support day-to-day operations of the studio, including printing, organizing files, managing material libraries, or preparing site visit documentation.
Learning and Development : Absorb mentorship from experienced architects, gain exposure to the design process, and develop an understanding of how theory translates into real-world practice
ACHIEVEMENTS
2017 - 2018
2017 - 2018
2002 - 2013 Manual
3d modeling
Rendering
Drafting
Sports secretary - Student council
Contested and won in elections.
Hosted SAHANAU 2K17 intraschool sports fest. Represented & lead college team and won runnerup position in KURUKSHETRA 2K17-18 interschool sports competition.
Won painting competition award. District level.
SKILLS
Drafting, Sketching, Painting, Model making.
Sketchup, Rhinoceros 3D, Revit.
VRay, Lumion, Twinmotion, Enscape
Autodesk autocad, Autodesk Revit
LANGUAGES
English Urdu
Telugu
Hindi
REMEDIATING POST INDUSTRIAL SITE WITH FUNGI Homeless people with integration of self-employment through farming
R E M E D I A T I N G P O S T
I N D U S T R I A L S I T E W I T H F U N G I
Housing for homeless people with integration of self-employment through farming
Why?
This project envisions a self-sustaining housing model designed specifically for homeless individuals, integrating shelter, livelihood, and sustainability into a holistic living environment. At its core, the model merges housing provision with self-employment opportunities through farming and ecological construction methods, promoting long-term independence rather than short-term aid.
Each individual or family is provided with a basic structural frame of a house, designed to be completed using mycelium bricks—a biodegradable and insulating material grown from agricultural waste and fungal spores. Residents are actively involved in the production and assembly of these bricks, fostering a strong sense of ownership and community pride while acquiring hands-on training in sustainable construction. The process not only reduces dependence on external resources but also nurtures practical skills that can be carried forward into future employment.
In addition to housing, each unit is paired with a plot of agricultural land, enabling residents to engage in urban farming for both subsistence and income generation. A central warehouse facility supports storage, processing, and distribution of harvested produce, while an on-site community marketplace allows residents to sell goods directly, encouraging entrepreneurship and social exchange.
Community spaces such as shared workshops, greenhouses, composting stations, water harvesting systems, and training centers are integrated into the layout to enhance self-reliance and collaboration. Educational programs in organic farming, mycelium cultivation, financial literacy, and cooperative management ensure residents are equipped with the knowledge to sustain themselves long-term.
This regenerative model goes beyond addressing homelessness; it creates a resilient, closed-loop ecosystem that redefines the relationship between people, place, and purpose. By combining shelter, skill-building, food security, and social infrastructure, the project aims to restore dignity, rebuild community, and regenerate lives, while also reducing environmental impact and reimagining the future of housing for vulnerable populations.
How?
Over the ages, construction techniques, materials, and technologies have changed. Soil, stone, raw wood, cement, and other materials are used to start the science and art of building. When these natural materials are manufactured and used in construction, hardly any energy is used. Since the beginning of human construction, issues with the longevity of natural materials such as earth, thatch/leaves, lumber, etc., have prompted the search for long-lasting building materials. One of the oldest and most widely used techniques for producing lasting building materials using thermal energy is burning bricks. Portland cement and steel contributed to the revolutionary transformations that occurred throughout the twentieth century. Thus, plastic and its derivatives found their way into the construction sector. As a result, pozzolonic materials—natural inorganic binders—were discovered.
The World Watch Institute estimates that our sector uses 25% of the world’s virgin timber annually and 40% of the world’s raw stone, gravel, and sand consumption. However, more noise complaints, water pollution, and particle air pollution are attributed to the building industry than to any other industry. According to research by Bimhow, the building industry is responsible for 50% of climate change, 40% of drinking water pollution, 50% of land fill trash, and 23% of air pollution.
I began by making a brick-sized mold using MDF boards in the university’s wood workshop. The mold was carefully measured and assembled to ensure clean, uniform shapes for the mycelium bricks.
I sourced a bag of mycelium through an online purchase, selecting a high-quality strain suitable for brick-making and material experimentation.
Wood chips and sawdust waste were collected directly from the university workshop, repurposing leftover materials as a sustainable substrate for the mycelium growth
I mixed the collected wood waste with the mycelium and filled the brick mold with this composition. The mold was then covered with a perforated plastic bag to allow airflow, creating optimal conditions for mycelium growth. It was left to grow undisturbed for one week.
After full growth, I carefully removed the bricks from the mold and heated them in an oven. This process halted further mycelium growth and hardened the bricks, making them more durable and structurally stable.
CONCEPT OF MAKING INTERLOCKING MYCELIUM BRICKS
Mycelium brick
Interlocking brick mould
Interlocking brick mould
Interlocking brick shape
Interlocking brick bond with OSB board forming a wall
Explodeed view ofInterlocking brick bond
OSB board
e T i m e S h e e t
This project is presented in a comic-style timeline, illustrating the journey from homelessness to self-reliance through sustainable building and farming. The story begins with a homeless individual receiving a basic frame structure for a home. They are introduced to the process of making mycelium bricks by mixing wood waste and mycelium, which is grown in molds and later baked to create strong, eco-friendly construction units. As the house takes shape, they gain not just shelter, but a sense of ownership. Simultaneously, agricultural land is provided, enabling them to grow their own food. A warehouse space is included for storing crops, and a community market is established where they can sell their produce. Each step—from learning to build to becoming a micro-entrepreneur—is illustrated in sequence across 12 comic panels, capturing the transformation over time in an engaging, accessible visual narrative. T
A homeless person sits alone on footpath in an urban setting.
Workshop setting. The person mixes wood waste and mycelium in a bucket.
Bricks in the oven, hardening.
The person watering crops and smiling at the green sprouts.
“I had nothing. No home. No future.”
“This mix will grow into solid bricks.”
“Heating stops growth and makes the bricks stronger.”
“I grew more than food.
“We’re offering you a fresh start — your own home and livelihood.”
“Let it grow for a week. It needs air — just enough.”
“It began with a simple structure... and a big opportunity.”
Homeless people building walls with the mycelium bricks.
Selling vegetables at a community market stall.
Farming land being prepared within the community.
The person stands proudly in front of their home, surrounded by plants and produce.
Filling the mold, covering it with a plastic bag with small holes. Opening the mold, revealing a grown mycelium brick.
A friendly social worker approaches and gestures to an open plot with house frames.
The person receives a house frame and stands in front of it, unsure but curious.
“This land is yours to cultivate.”
“It actually worked!”
“Brick by brick, my home came to life.”
These are amazing!
“Now I have a home, a purpose, and a future.”
Thank you — I grew them myself.
Where?
Site Location & Site Analysis
The site is a post-industrial brownfield in Leicester City, adjacent to the River Soar. Once active, it now sits partly reclaimed by nature. Around 50% is covered with dense vegetation, including self-seeded trees and wild mushrooms, while the rest features a weathered concrete slab with remnants of its industrial past. Accessed via Repton Street, the site offers rich potential for ecological regeneration, urban rewilding, and adaptive reuse. Its mix of natural and built elements, along with its riverside location, creates a unique setting for sustainable, landscape-integrated design.
Between 1910 and 1950, the area around Repton Street and the River Soar in Leicester thrived as an industrial hub, supporting textile, hosiery, and light engineering industries. Its riverside location enabled water-based processes and barge transport, prompting the construction of mills, warehouses, and robust infrastructure. During both World Wars, many sites shifted to wartime production. By the late 1940s, industrial decline began, leaving behind concrete foundations and structures now overtaken by natural growth.
The site features a total green space area of 20,428.67 sqm, accounting for approximately 72.6% of the total site, characterized by dense vegetation, self-seeded trees, and natural overgrowth. In contrast, the remaining 7,727.98 sqm or 27.4% consists of post-industrial concrete slabs and solid ground, remnants of former industrial activity. This contrast highlights the site’s potential for balancing ecological regeneration with adaptive reuse
Letting road into the site area
Alining residence to neighbourhood
Providing market space opposite to street
Providing warehouse near to farmland
Providing farmland away from street Cutting out solids and making voids for voids for courtyards.
“F
RIVER SORE
Interior view of bedroom,the residece is built with Mycelium walls.
Interior view of Market place, which is built with Mycelium walls.
View of a farming area or farm land provided for homeless people.
4b.
COMMUNITY KITCHEN
a Social hub
As a vital supporting element of the Self-Sustaining Housing for the Homeless project, the Community Kitchen serves as both a functional and social hub. Designed to foster communal living and support the residents' nutritional and social needs, the kitchen is accompanied by a dining area and a small library, creating a multi-purpose space that encourages interaction, learning, and shared responsibility. Residents can prepare meals together using their farmgrown produce, reinforcing the project's circular economy model and promoting a sense of collective ownership.
One of the key sustainable features of this project is its integrated water management system. Both rainwater and stormwater are harvested and stored, then filtered and redirected for use in farming activities. This not only reduces dependency on external water sources but also ensures that natural resources are used efficiently and responsibly within the community.
Built using the same eco-conscious principles as the housing units—potentially with mycelium bricks and reclaimed materials—the Community Kitchen reflects the broader goals of self-reliance, sustainability, and community empowerment. It becomes more than just a place for meals; it is a shared heart of the neighborhood where nourishment, knowledge, and connection come together.
Modified pitched roof suitable for solar panneling
Entry & Exit
Service entry
Ramps
Pick & Drop
Dinning
Kitchen
Laibrary
Toilets
Rainwater harwesting pool
Bridge
This community kitchen is envisioned as a social heart of the neighborhood — a space that nurtures both nourishment and togetherness.
Designed using mycelium bricks, a biodegradable and regenerative material, the project reflects a strong commitment to ecological construction and circular design practices.
The plan is organized around shared courtyards and rainwater harvesting pools, promoting sustainability through both material and spatial strategies.
Each functional block — from the kitchen and dining hall to the washrooms and utility zones — is carefully arranged to encourage seamless movement and inclusive participation, reinforcing the idea of cooking and eating as collective rituals.
The project serves as a living example of how innovation in materials can support sustainable, low-impact architecture rooted in community values.
The use of mycelium bricks is not just a sustainable choice but a statement of resilience and regeneration. Grown rather than manufactured, these bricks reduce construction waste and carbon footprint while offering excellent thermal insulation and compostability. The modular layout of the kitchen complex allows for future adaptability, encouraging community-led modifications and expansions over time. Open-to-sky courtyards, shaded bridges, and passive ventilation ensure thermal comfort while enhancing the sensory experience of the space. More than just a place to cook, this kitchen becomes a symbol of local empowerment — where food, design, and sustainability come together to foster self-reliance and social cohesion.
Provision of solar panneling on south east side
Mycelium interlocking brick wall
Recycled brick flooring
SECTION AA’
Rainwater harvesting for crop irrigation
Dinning room
Kitchen and store room
@ AA
+8100mm
LVL +2000mm
LVL +1300mm
LVL +400mm
Detail
Rooftiles fixed on horizontal battens
Mycelium brick wall
Rainwater harvesting pool
OSB board
Mycelium bricks
Rafters
Detail @ AA
S k i l l R e s u r r e c t i o n a n d
D e v e l o p m e n t C e n t e r
- Pottery making school
ADAPTIVE REUSE with RAMMED EARTH
ABSTRACT
This proposal reimagines an existing building as a School of Pottery within a Skill Resurrection and Development Center. It seeks to revive endangered British craft traditions through culturally rooted, sustainable design. Using stabilized rammed earth, the project honors heritage while promoting environmentally conscious construction.
BACKGROUND
An essential aspect of the UK’s cultural character is its traditional crafts, especially its ceramics. However, these skills have been gradually declining as a result of the pressures of urbanization and industrialization. The initiative was sparked by the pressing need to conserve and revitalize traditional crafts, especially pottery, which has long been an important element of British culture. The idea aims to unite the past and the future by creating a location that combines cultural preservation with sustainability.
OBJECTIVE
The main goal is to create a School of Pottery that is a cultural monument for resurrecting endangered crafts in addition to being a teaching and skill-development center. All age groups will be served by the facility, which will promote a community-driven approach to learning and skill sharing.
KEYFEATURES
Stabilized rammed earth will be included into the School of Pottery’s ecological and culturally rich design, emphasizing its durability, aesthetic appeal, and thermal efficiency. By skillfully combining traditional and modern components, adaptive reuse of existing structures will reduce environmental effect while maintaining historical relevance. In order to promote skill development and craft preservation, the facility will have specially designed sections such pottery studios, kilns, classrooms, and exhibition areas. Other indigenous British abilities will be celebrated through exhibitions, conferences, and activities held in multipurpose areas. A community-focused strategy will involve regional designers and craftspeople, encouraging cooperation and information exchange. These components work together to produce a setting that is practical, culturally significant, and environmentally sensitive while reviving and maintaining endangered talents.
OUTCOME
The project’s goal is to establish a living institution that promotes the resuscitation of endangered native skills and acts as an example for sustainable architecture. The School of Pottery will be a monument to the peaceful coexistence of tradition and modernity by fusing creative design methods with cultural preservation.
This thesis project serves as a rallying cry for protecting intangible cultural heritage while tackling the pressing issues of community development and environmental sustainability. It imagines a day when lost crafts can be revived and honored in settings that respect the past while also acknowledging the potential of the future.
RESEARCH & MATERIAL TESTINGS
SKETCHES OF RAMMED EARTH FORMWORK
(A) Traditional formwork With traditional formworks, the boards on boath sides are heald a part and kept together by spacers.
(B) Climbing formwork
Climbing formwork in rammed earth construction involves moving the formwork upward as each section of the wall is completed. The proces includes: Setting up, Compaction, Repeating. This method allows for efficient construction of taller walles while maintaining stability.
(C) Formwork without intermediary spaces
Formwork without intermediary spacers in rammed earth construction uses a strong, self-supporting frame that withstands presure without ties or spacers. This ensures even pressure distribution duringcompaction, preventing wall deformation and leaving a smooth, clean surface. it results in higher aesthetic and structural quality.
(D) Typical formwork with bracing used in China. In China , typical rammed earth formwork uses wooden or metal panels supported by vertical and horizontal braces. Externalsupports anchor the formwork to ground or previous wall section, ensuring stability during compaction. This simple yet sturdy setup maintains the desired wall thickness and prevents deformation.
(E) Sliding formwork - A new wall construction techniques. Sliding formwork for rammed earth construction is a method where the formwork moves horizontally or vertically as the wall is built. It is commonly used for efficient and seamless rammed earth construction in modern projects.
(F) Formwork for rounded and curved walls With a special formwork, rounded corners and curved walls can also be formed. A circular barn built in 1831 in Bollbrugge, Germany, with 90-cm-thick rammed earth walls.
MATERIAL TESTING - Process of making stabilized rammed earth wall.
01. Preparation of formwork.
02. Reusing of used bricks by breaking it to powder.
04 - 07 Ball droping tests. The mixture to be tested should be as dry as possible, but still moist enough to form a 4 cm diameter ball. When this ball is dropped from a height of 1.5 meters onto a flat surface, different outcomes may occur. If the ball flattens only slightly with few or no cracks, as in the sample on the left, it indicates a high clay content, giving it strong binding properties. In this case, the mixture typically needs more sand to reduce the clay content. If the ball looks like the sample on the right, it has very little clay, meaning its binding force is weak, making it unsuitable for construction. The third sample from the left shows a mixture with lower binding strength, but it’s still adequate for making mud bricks (adobes) or rammed earth.
Pouring mixture into formwork
Leicester, UK’s Frog Island is a former industrial district next to the River Soar. Especially during the Victorian era, it was a hive of industrial activity, with factories and warehouses sustaining Leicester’s thriving hosiery and textile industries.As industrial activity decreased over time, the region faced financial difficulties and its historic structures were not being used to their full potential.In order to revitalize the neighborhood and preserve its rich industrial legacy, Frog Island is currently undertaking regeneration operations.In order to create a lively mixed-use area for locals, businesses, and tourists, these initiatives include sustainable urban development, community projects, and the adaptive reuse of historic structures. Projects that aim to combine the preservation of cultural heritage with contemporary development objectives are interested in this area.
SpringSolstice
Frog Island is ideally situated for sustainable development and cultural innovation due to its central location and its proximity to Leicester’s waterways. Frog Island is a place of opportunity and legacy that represents the possibility of fusing the past with the present. It is the perfect place for innovative design interventions because of its industrial background, which offers a rich narrative for projects focused on sustainability, adaptive reuse, and the revival of traditional skills.
AutumnSolsticeWinterSolstice
CONCEPT
My design concept for the Pottery Making School is inspired by the works of Architect Louis I. Kahn, whose architectural ideology aligns seamlessly with the essence of institutional spaces. Kahn’s approach to design—marked by monumentality, material honesty, and the poetic use of light and shadow—creates environments that foster learning, creativity, and contemplation, making it an ideal reference for an educational institution.
Kahn believed that buildings should express their purpose and structure with clarity, which is particularly relevant for an institution focused on skill development and cultural preservation. His mastery in organizing spaces through served and servant spaces ensures functionality while maintaining a sense of hierarchy and order—key aspects for a school where workshops, classrooms, and communal areas must interact seamlessly.
Sections of LOUIS I KHAN works
Furthermore, Kahn’s emphasis on timeless materials like brick and concrete resonates with my choice of rammed earth construction, reinforcing the connection to traditional craftmanship while promoting sustainability. His iconic projects, such as the Indian Institute of Management (IIM Ahmedabad) and The Salk Institute, demonstrate how institutions can become sacred spaces of learning, where natural light and ventilation enhance user experience and create a profound spatial quality.
By drawing inspiration from Kahn, my design aspires to establish a harmonious balance between permanence and adaptability, providing an inspiring and enduring setting for the revival of pottery-making skills.
Design process diagrams
Site {Frog Island}
Splitting required Built-up area
Blending the form inspired from Khans project
Study of wind flow and Sun path
Openings of the building for access, light and air.
Sky walk for easy access
Final form
TYPE - A
In designing my project, I drew inspiration from Louis I. Kahn’s Phillips Exeter Academy Library, particularly his masterful use of materials to define spatial character. Kahn employed brick for the exterior façade, exposed concrete for the structural expression of the interior, and warm wood to enrich the reading spaces. Each material served not just a functional purpose, but also created a distinct atmosphere and hierarchy of space.
Similarly, I wanted to create a layered and diverse sensory experience in my project. I chose rammed earth for the exterior walls to reflect sustainability and connect the building to the ground and local context. On the ground floor, I introduced exposed brick vaults, emphasizing craftsmanship and grounding the space with a sense of permanence and tradition. Above this, the timber frame structure lightens the building visually and spatially, offering warmth, flexibility, and a tactile contrast to the earth and brick below.
There are 2 “Type-A” structures with two levels, Which serves as Basic and advance pottery making studios, Advanced Wheel-Throwing Studio, Hand-Building and Sculpting Studio , Slip Casting and Molding Studio
Structural Strategy
This exploded axonometric drawing illustrates the structural strategy of a two-storey Pottery Making Studio, designed to celebrate traditional craftsmanship through material expression and construction clarity. The building is grounded on a landscaped brickpaved base, evoking a sense of permanence and connection to the earth. The ground floor features exposed brick vaults, offering both structural integrity and a nod to historic masonry techniques. Above, a lightweight timber frame forms the first-floor structure, allowing for openness and flexibility while showcasing the skill of carpentry. The external walls are composed of stabilized rammed earth, chosen for its thermal performance, sustainability, and symbolic alignment with pottery—both formed from the earth through compression. Carefully detailed timber-framed windows punctuate the walls, enhancing natural light and ventilation while serving as subtle platforms for user interaction.
Clay tile Roof
Glass sun roof
Timber frame
Brick vault structure
Rammed earth wall
The roof is topped with clay tiles supported by expressive timber trusses, completing a material palette that reinforces the studio’s mission: reviving endangered British craft traditions through architecture that is both functional and narrative.
Before finalizing the design, I conducted material and form testing through scale models to explore the interplay of these materials and assess their structural and aesthetic behavior. These studies helped refine both construction strategies and spatial quality. Material
25x50mm Counter Battens & Tile Battens
tiles
proof breathable membrane
200mm Steico wood fiber insulation membrane
18mm T&G S/W diaphragm board
200x50mm Timber rafters
SUDS(Sustainable Urban Drinage System)
There are 3 “Type-B” structures with only ground level, Which serves as Gallery & ex-
TYPE - B
hibition, Toilets and Klin room.
Structural Strategy
25x50mm Counter Battens & Tile Battens
Timber frame
Rammed earth walls
MASTERPLAN
Pick up and drop off point.
Reception and waiting area
Lift
Raw materials and clay storage
Office and administration
studio space
Gallery & Exhibition
Restroom
Basic studio space
Raku firing space
Klin room
Amphitheatre
The left hand side images are the photograph of model making. The very first image from from right hand side shows the adaptive reuse of the semi demolished existing building in side, and the middle image is the advance pottery making studio, and the left hand side first image is gallery and exhibition.
Detail @BB
1. Angled ridge clay tile
2. 25x50 mm tile batten
3. 25x50mm counter batten
4. Horizontal timber studs
5. Breathing membrane
6. 200mm Steico wood fiber insulation board
7. Vapor control layer
8. 18mm T&G S/W timber diaphragm board
9. Vertical timber cladding on horizontal battens
10. 200x50mm timber rafters
11. Preformed metal flashing
12. Vapor control layer
13. 190mm Timber stud wall filled with insulation between studs
14. Cant strip
15. Metal flashing
1. Angled ridge clay tile
4. Horizontal timber studs
5. Breathing membrane
6.
7. Vapor control layer
8. 18mm T&G S/W timber diaphragm
9. Vertical timber cladding on horizontal
10.
11. Preformed metal flashing
12. Vapor control layer
13.
Detail @BB
2. 25x50 mm tile batten
3. 25x50mm counter batten
200mm Steico wood fiber insulation
200x50mm timber rafters
190mm Timber stud wall filled with 14. Cant strip 15. Metal flashing
Timber
Sand
Insulation
Ash
Lime concrete filling
Brick Vault
Detail @AA
1. Aluminum Coping cover
2. 200mm wide concealed splice plate at cover joints
3. Continues 20 GA. Galvanized cleat
4. Calcium silicate board
5. 254mm ULP Pancake head wood fastener at 152mm O.C
6. 200mm HWH Screw with washer at 304mm O.C
1. Aluminum Coping cover
2. 200mm wide concealed splice plate
3. Continues 20 GA. Galvanized cleat
4. Calcium silicate board
5. 254mm ULP Pancake head wood
6. 200mm HWH Screw with washer 7. Roofing membrane
7. Roofing membrane
Detail @ EE
SUDS (Sustainable Urban Detail @EE
1. Pebbles
2. Brick retaining wall
3. Native plants
4. Mulch
5. Amended planting
6. Coarse sand
7. Crushed gravel
8. Compacted native
9. Drain rock, OPT
10. Pipe directed to approved
11. Overflow drain
12. Perforated HDPE 13. Uniformly graded 14. Side slope 15. Beehive rim
SUDS (Sustainable Urban Drainage System)
1. Pebbles
2. Brick retaining wall
3. Native plants
4. Mulch
5. Amended planting soil
6. Coarse sand
7. Crushed gravel
8. Compacted native sub grade
9. Drain rock, OPT
10. Pipe directed to approved disposal point 11. Overflow drain 12. Perforated HDPE pipe 13. Uniformly graded storage rock
Side slope
Beehive rim
MODEL MAKING
This sectional model captures the spatial narrative of the Pottery Making School, emphasizing the interplay between historic preservation and contemporary skill revival. The right portion of the model showcases the adaptive reuse of an existing industrial building, symbolizing the continuity of heritage. Its exposed sectional interior reveals the vertical circulation, flexible studio spaces, and communal workshops layered across floors.
This section not only reveals how materiality and function are harmonized but also narrates the journey of a craftsperson — from raw material handling to collaborative making — all grounded within an architectural language of revival and resilience.
