Narindath Maraj Architectural Portfolio & CV

NARINDATH MARAJ A R C HITE C TUR A L P OR TF OL IO C UR R IC UL UM V ITA E

09/2021 ACADEMIC | WORK 1

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Graduation Project | The Global Theatre and inside the machine landscape

TA BLE OF CON T EN TS

Curriculum Vitae 4 - 5 About me Educational and employment history Skills and technical skills

Letters of Recommendation 6 - 7 Hüsnü Yegenoglu | Academic supervisor during graduation studio Hayden Kublalsingh | Building designer for H-Development

Academic Projects The Global Theatre | A critique museum to explain the hypermodern period.

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Foreigners to the Public Space | The Architecture of Power

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Transformation | Church of the sacred heart of Jesus

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Addition and Regeneration | De Zonnehof Pavilion

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Model Making 36 - 47 Craftsmanship design Geometry and Form Tectonics and Materiality

Arts and Architecture 48 - 51

Previous Work Experience 52 - 57

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NARINDATH MARAJ

Address: Kloosterstraat 168 5688HT Oirschot Phone number:

+31683084806

Email address:

narindathmaraj@outlook.com

LinkedIn Profile:

www.linkedin.com/in/narindath-maraj

Issuu Profile:

issuu.com/narindath.maraj

About me:

I believe in the role of architecture as a voice to society that provokes, aids, or alters everyday life. Designing is a creative tool that enables a form of communication, which seeks to merge hypothetical space with physical space. In my view, designing is to be research-oriented, goal-driven, introspectively open, and team encouraging to learn and develop the architectural position for society. I support a collective design approach with interactive participation to develop a sharing arena of knowledge, experience, and ambitions.

ED U CATIO NAL BA C K GR O UN D Master Architecture, Building and Planning

Graduated from the Architecture, Architectural Urban Design and Engineering department with a focus on surveillance in the age of hypermodernity. The thesis is titled “The Global Theatre | A critique museum to explain the hypermodern period.” Graduation Project was awarded an invitation to participate in the Archirprix competition.

Bachelor Bouwkunde

Graduated with a focus on Architecture and Urban Architecture.

Creative and structural courses aided in cultivating a well-rounded knowledge and execution of architectural projects. Additionally, an insight of architecture on the urban fabric.

Architecture, Construction, Engineering, and Technology

Did not complete. However, gained the ability to produce detail and assembly drawings using computer-aided design software. In addition, the ability to solve design problems, communication of a design idea, and the recognition of the impact the built environment have on society.

GCE Advance Subsidiary Level Mathematics

Gained the ability to compute advance levels of Mathematics; Calculus, Trigonometry, and Integration.

Autodesk AutoCAD

Gained the ability to operate AutoCAD and AutoCAD Architecture professionally for the construction industry.

Caribbean Examinations Council Certification

Excelled in Mathematics, Technical Drawings, Information Technology, and Caribbean History. In addition, was awarded the most excellent student in Caribbean History.

Technische Universiteit Eindhoven 09/2019 – 06/2021

(Architecture, Urbanism & Building Sciences) Technische Universiteit Eindhoven 09/2016 – 06/2019

Conestoga College, Kitchener, Ontario, Canada 09/2009 – 04/2012

Upper-Level Education Institute, Chaguanas, Trinidad and Tobago 09/2008 – 06/2009 Central Technology Centre Ltd. Chaguanas, Trinidad and Tobago 09/2007 – 06/2009

Waterloo High School, Caroni, Trinidad and Tobago 09/2002 – 06/2007

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EMPLOYM ENT H I S TO R Y Architect Designer and Consultant

Responsible for Architectural designing and consultancy for residential and commercial projects. Completion of construction drawings according to Town and Country, Trinidad and Tobago specifications and ensuring all drawings were approved for construction.

Design Technologist

Operating AutoCAD to create detailed drawings for circuit breaker enclosures and CT cabinets, meter bases, meter centres, and load centres. Designed according to Trinidad and Tobago Electrical Company specifications.

Design Consultant | Architecture and Construction

Operating Revit and AutoCAD to create assembly drawings and renderings to aid in the client’s visualization for future land development. Creating detailed construction drawings for design ideas and AutoCAD drawings of existing properties. Additionally, exploring spatially existing land for community development.

Restaurant Team Member

Responsible for customer satisfaction in serving food and hot beverages promptly. Additionally, was promoted to baker and night team leader.

Resident Advisor Conestoga College Residence, Kitchener, Ontario, Canada 06/2010 – 06/2011

Responsible for promoting a sense of community on the floor and throughout the residence by actively assisting and encouraging residents to plan and participate in various programs. Exercising authority in crisis situations and as a mediator for residents.

SK I L LS

T E CHN ICA L ( D E SIG N ) SKIL L S

Presentation and Public speaking Active listening Teamwork | Leadership Creativity | Problem solving Hardworking | Loyal Driven Socially Engaged

Graphics Hand sketching and detailing Model making Autodesk AutoCAD and AutoCAD Architecture Adobe InDesign, Illustrator and Photoshop Enscape Rendering OpenShot video montage making

I N T ER ESTS

3d Modelling and BIM Autodesk Revit ArchiCAD (growing knowledge)

H-Development Limited, Chaguanas, Trinidad and Tobago 05/2014 – 01/2017

Electrical Industries Limited, Arima, Trinidad and Tobago 03/2014 – 08/2014

Blue Star Non-Profit Organization, Claxton Bay, Trinidad and Tobago 02/2013 – 02/2014

Tim Hortons, Kitchener, Ontario, Canada 02/2012 – 08-2012

Philosophy Sociology Religions Psychology Music Cooking Hiking

L A N GUAG ES English (Native) Netherlands (Basic with a desire to grow)

Platforms Windows Microsoft Office

P e r s o n al P r o j e ct s Archiprix Competition | Exhibition in Eindhoven Community development in Sweden | Living off the Land Consequences of Technology | Awareness of EMF

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Return address: 6 Vertigo, VRT 7.19, P.O.Box 513, 5600 MB Eindhoven, NL

To whom it may concern

Date 8 september 2021

Our reference BWK/2021

Department of the Built Enviroment / Unit AUDE

Your reference

T +31 (0)40 247 4666 h.h.yegenoglu@tue.nl www.tue.nl

I have known Narindath Maraj for over two years now. He has taken part in my master design class 'The Architecture of Power; Once Upon a Time in Bucharest' in the academic year of 2020. The elaboration of the implicit and explicit relationships between power and architecture, or in more general terms, the representation of political ideologies in architectural types, shapes and aesthetics, were the most relevant subjects of the master class. Currently Mr. Maraj participated in my graduation studio 'The Architecture of Liquid Surveillance'. This studio was meant to investigate the complex and varied interactions between surveillance, space and architecture in late 20th/early 21st century. I have come to know Mr. Maraj as a very passionate and dedicated student, an excellent designer and most of all as a critical, autonomous and questioning thinker in the field of conceptual and theoretical aspects of architecture and urbanism. Furthermore, Mr. Maraj showed his ability to combine the key principles of spatial design as function, form and aesthetics in a very convincing way. Last but not least, he has excellent communication skills. I can confidently recommend Narindath Maraj for a suitable position in your architecture firm. In case of any questions please do not hesitate to contact me.

Sincerely,

Dr. Dipl.Ing. Hüsnü Yegenoglu Assistant Professor of Urbanism & Urban Architecture Eindhoven University of Technology +31-650262036 h.h.yegenoglu@bwk.tue.nl

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THE GLOBAL T HEAT RE

A critique museum to explain the hypermodern period.

The contemporary period is the hypermodern context that is an added wave to the pre-existing modern and postmodern views. These terms along with the hypermodern reflect an age, which is dominating and influencing everyday life. Viewing the contemporary as ‘hyper’ means to view the present as moving beyond its modern boundaries in a state of overflowing. This being the outcome of radicalised economic drivers, technological efficiencies, and the individual. In merging this social-spatial topic with architecture derives a situation of using architecture to spatially and critically explain, and exhibit the hypermodern period.

Graduation Project | Research and Design

Thus, THE GLOBAL THEATRE | A critique museum to explain the hypermodern is the amalgamation of research and design to produce evocative architectural imagery.

The position taken in the graduation project is the evolution of the Panopticon as a social apparatus.

Viewed as a post-structural metaphor for surveillance, the research argues that the Panopticon, in the hypermodern, is more than a metaphor, rather it is better understood as a virtual theatre. The Panopticon was viewed as an instrument to manage the emerging modern period with the scientific perspective from the Enlightenment period. An instrument to manage the immense space that modernity positioned society towards, as a period of progression and rational thought. The Panopticon system, according to the Benthamite state, fulfilled a requirement to promote good behaviour and future happiness for society. It also fulfilled the requirement to manage the ongoing capitalist trends for production.

But with the evolving times, and the evolving economic trends equally resulted in an evolving Panopticon, which developed new meanings and mechanisms. Thus, the contemporary Panopticon is a new state of operation at the core of the modernising period. Erected at the threshold of modernity, the Panopticon persists today as a post-structural, socio-economic apparatus. An apparatus that is fuelling hypermodern conditions of excess, knowledge, and virtual impulses. The virtual Panopticon collects excess personal data, which is then registered as knowledge, and then applied as virtual impulses upon the human’s impulses as cajole or suggestion for consumption (and more consumption). All in all, the summation is a digitised world, with an accelerated speed of operation that uses the virtual Panopticon as an apparatus to ensure efficiency, effectivity, and progression.

The architectural design concluded with the ancient intention of the Musaeum and positions the museum building at the threshold of the hypermodern to stimulate experiential awareness, reflection, and transformation. The architecture is using historic architectonic language, symbolic language, and a new layer of language to render the virtual Panopticon and its virtual behaviours. Altogether, the architectural design engages the notion of space and the museum building is more than a metaphor. It is a system of space, time, and bodies to gather the world in a critique museum as a position to move forward.

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The virtual Panopticon is situated in the real and holds virtual behaviours of surveillance.

Architectural intervention

The Entrepreneurial City Technological Surveillance

Virtual World, a conclusion of the research and urban mapping

The Panoptic City Surveillance of Cameras

The Animated City Surveillance of Gazes

Physical World concluded as the hypermodern context, based on literature research

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The Global Theatre | Explaining the hypermodern period

The social condition EXCESS

The social condition KNOWLEDGE

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The social condition VIRTUAL IMPULSES

With the use of data centres and machine intelligence, only through technical mediation meaning can be derived.

The virtual Panopticon is a virtual theatre that needs physical infrastructures.

Spatial gap demonstrating that the Panopticon has leaped into the virtual.

The spatial Panopticon is designed using principles of surveillance. The central node watches the periphery. Control and order.

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The Virtual Panopticon | Inside the real and virtual infrastructure

Evocative architectural imagery | The public space with the hovering Panopticon above.

Evocative architectural imagery | The symbolic ‘EYE’ representing the virtual Panopticon on the urban fabric.

Evocative architectural imagery | Inside the data space and the ‘Data Doubles’ connected to the individual.

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Machine Intelligence | The virtual domain

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FO REIGN ERS T O T HE P UB L IC S P A C E The Architecture of Power, Bucharest

Master’s Studio Project | Research and Design

The design studio “The Architecture of Power” dealt with the Palace of the Parliament located in Bucharest, Romania. The title of the studio is “Once upon a time in Bucharest”, as a reference to the historical narrative of the parliament building. The narrative of the building is deeply associated with power. The parliament building formed a new centre in the city with its megastructure and the establishing of a new axis corridor in the east-west direction. This was formed by demolishing the highest topographical point of the city, The Uranus Hill. Severing a unique landscape to construct a dominating building that financially depleted the people, is the utmost conclusion in the tale of the location.

In the design approach, literature research gave rise to Hannah Arendt’s view of the public space as a space where public actions lead toward democracy. Her views regard a ‘space of appearance’ that is directly aimed to encourage individualism in public matters. Her main criticism was on the political forces that impede public life through estrangement and conflict between citizen’s private and public life. This conflict can be created in many forms, both of a physical force and a subtle political policy disturbing the democratic civic society. Bearing in mind Arendt’s views, the topic of power and architecture leads to an understanding of a structure being part of a conflict in public life.

The case of Bucharest is the lacking integration of the past. For Bucharest, The Palace of the Parliament is traumatic because of the troubled history attached to the building. The dissociation of the past through trying to make the building an icon for the city is also troublesome. People and their trauma is preventing healing. Therefore, the need to deal with old wounds is necessary for healthy relationships.

The design uses the notion of temporary architecture to shelter the dominating building to create a spatial difference. People would experience a new form to the building than previously experienced. Sheltering the building is used to create reflective spaces to encourage critical experiences to aid in healing past traumas. The use of sheets would create a visual stimulus that would make the building easier to process.

All in all, using fabric sheets, intermingled with a light steel structure would create a light juxtaposition structure to the building.

This gives rise to the last design consideration in this project. Ambiguity in art has long been used to create uncertain and uncomfortable situations. This capacity to create multiple experiences can lead to an ambiguous state that is not precisely bad, but positive to reflect. Ambiguity and art can be used positively to aid emotions in difficult feelings. But, exposing someone to ambiguous art may not mean anything.

Tolerance to ambiguity is an important factor to consider in this. Different styles of art also have a higher and lower tolerance to ambiguity.

Among the different styles of art, surrealism holds a higher tolerance for ambiguity. The philosophical exploration of surrealism by authors, painters, sculptures, and filmmakers all play with ambiguity to create uncertain feelings from familiar states. Dealing with dream-like spaces to express reality in an unreal way, makes a person feel surreal. Using elements, such as dislocation, juxtaposition, disorientation can all lead to a transformation, which is experienced as surreal.

To enhance the notion of surrealism in the sheet design, the incorporation of mirrors is used to reflect the environment. As architecture is very static and creating surreal architecture needs to be more dynamic.

Illusionary architectural methods are used. Mirrors and stainless-steel forms are used to create large concave spaces.

Foreigners to the public space refer to both the temporary architecture but also the citizens that are being encouraged to experience the building. Not only for tourism, but a part of everyday day life.

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Foreigners to the Public Space | Design concept

Parliament building is dominating the site.

Dislocate building corners by temporarily sheltering the façade.

Corners are sheltered.

The symmetrical axis is also a dominating character of the building. Sheets in the centre are used to dislocate the symmetry.

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Schematic of Design | Interior platforms allow visitors to be close to the building

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Surreal in the Temporary | Braking the old trauma, integration of the past

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TR A NSFORMATION

Church of the sacred heart of Jesus, Eindhoven The Church of the sacred heart of Jesus is located in Eindhoven and is an abandoned church due to a lack of interest from the religious community. Industrial giants in Eindhoven select employees from all over the world and require a centre of culture for activities for the highly educated employees. Thus, the transformation project of the church was selected for elaboration and conceptual designing to present an approach for the site.

Bachelor’s Studio Project | Research and Design

In the transformation process, a keen approach was to respect the existing design with its integrity and subtle beauty. The design worked towards a form, which created a regeneration to the existing site.

Merging with the existing church, a space equivalent to the dynamic church proceeded to capture the location. Interaction of the new form plays a role in a new experience. Additionally, the interior space is rejuvenated by creating circulation spaces for encounters that enhance the experience of the church.

The contemporary form of the new addition is the main approach to transform the existing church.

Contesting a form with rich tectonics gives rise to the material expression of the new and the old.

Respecting the craftsmanship and unique quality of the building by relating a contemporary expression with its spatial properties. It works as an assemble, both with an own self, in a relationship as a crafted space.

The design utilised modeling programs to craft the unique form for the addition. Constructed from timber uniform panels that are structurally strong due to their triangular shape. The addition works as a wing to the existing church. To balance this, the opposite side also holds an addition. But, explicitly calmer than the fluid form. This works along the existing lines of the non-symmetrical church and the counterbalance of the building.

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Transformation Project | Both interior and exterior

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Entrance Hall 2.

Circulation spaces 3.

Interior Market platform 4.

Café / Restaurant 5.

Open exhibition hall 6.

Workshop space 7. Administrative 8. Auditorium 9.

Changing rooms 10. Backstage 11. Stage

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Transformation Project | Exterior expressions

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ADDITION AN D REGE NE R A TI ON

De Zonnehof, Amersfoort, designed by Gerrit Rietveld The Bachelor studio project looked into designing an extension to De Zonnehof, located in Amersfoort.

Gerrit Rietveld designed De Zonnehof in 1958 at the time from the request of the mayor of Amersfoort.

The building designed came from the intention to create a modern museum. Rietveld desired to design an open pavilion. However, the initial design was not approved and consequently, Rietveld designed a modest and sober pavilion.

Bachelor’s Studio Project | Research and Design

The design established an internal space existing in the cuboid form. The building form is 20m x 20m x 6.5m on a strict grid. De Zonnehof is not an introverted building but is open to the exterior and has floor-to-ceiling glazing on the northeast elevation, the southeast elevation, and the northwest elevation.

Skylights allow natural light to shower onto the exhibition space creating an emphasis on the spatial experience within the enclosed form.

Throughout the years, the functional services of De Zonnehof to the urban environment of Amersfoort have decreased. This is due to its relatively small size, ageing conditions, and the new development in Amersfoort: de Kunstkade. De Zonnehof is now a monument in the urban fabric and an intervention is required to uplift this iconic building.

The design brief is the addition and regeneration of the existing building. With new functions like a study house (ateliers, seminar spaces, etc), guesthouses (research rooms, community kitchen, etc), office house, and a café/restaurant.

The design approach aimed to keep the initial impact of light within De Zonnehof. In addition, to enhance the original design and to keep the sequential order of the project. The design aimed to be honest with the existing building and to enhance the clear geometry in the design. An approach in this project also utilised a description conversation with the building in its context through short poems to express the initial feeling while visiting the building.

The space, after removing the streets and pavements, I see to be an open area boarded by the outer lines of buildings. Around me, De Zonnehof, I have seen development. I came as a young building, fresh and modern, ready to live in a time with my environment. I existed as a statement of youth to come, my contemporary nature excited to meet the urban structure.

As time went by, my environment changed. I see concrete pavements enclosing green nature. I see buildings around me, higher and stronger in its shell. I see life! Am I still a part of it?

The concept of the design considered an extension to the main entrance and repositioning the office to utilise the interior for modern-day facilities, such as an elevator and wheelchair-accessible washrooms. The main exhibition space remains the same because the spatial quality achieved is the gem of De Zonnehof.

The extension to the monument is subtle and enhances the youthful quality of the building.

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Subtle Intervention | Elongating the horizontal lines of the building

North East Elevation De 1 Zonnehof 1 : 100

South East Elevation De 1 Zonnehof 1 : 100

South West Elevation De

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Addition | Using corridor spaces to frame the existing building

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C R A FT SMAN SH IP

Making and the approach to designing architecture Kenneth Frampton in his book “Reflection on the Scope of the Tectonic” presented a historic and advancing language in architecture. Frampton discusses the new emerging term of “space” in architectural theory by August Schmasow. Space, now an inseparable attribute when thinking about architecture, must equally be achieved through construction. Frampton reasons that space, form, and the making of form all lead to an expressive potential of a thing. This he concludes is “tectonic”, which is a natural and inescapable character of making.

Model Making | Architecture and material expression

Making and architecture are synonymous when understanding the expressive potential of design. Thus, this portion of the portfolio demonstrates an array of materials and expressive designing illustrating the creative approach taken to facilitate making and architecture. Sculptural and design, are also demonstrated through rope artifacts, furniture designing, and timber model making.

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Rope Artefacts | Twisting and turn material to form

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Rope, Resin, and Papier-mâché Artefacts | Material expression and the pursuit of architecture

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The Hunter’s Cabin | Master’s studio project, 1:20 model making design

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The Hunter’s Cabin | Model making design, 1:20 scale. At an exhibition in Eindhoven

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Expression and Design | Furniture project, influencing interior space

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AR T AN D ARCH ITECT UR E

Drawing and capturing space in a narrative Scripts, dialogues, and spatial narration all play a role in investigating architecture. The tradition of architecture is always seeking to find new ways to portray the individual and the space in which time is essential. Recognising the influence of writing in designing, thus leads to an understanding that drawings must also capture the space of poetry. A space of narrative and dialogue, which capture words as expressions of form, space, and atmosphere.

Capturing Narratives | Image-making to illustrate spatial poetry

The following images show a mixture of computer-aided drawings and hand drawings to demonstrate the capturing of narratives through image-making. Spatial analysis is more than the traditional approach, it is also the subjective approach that seeks to illustrate the body in space. The emotional, subjective side to viewing the environment is an interesting aspect to capture and show without words.

The following images demonstrate a space of anxiety and confusion. The first image gives an impression of the Panoptic city mode. The structures represent the rage of the camera in the city as physical structures.

Here the wall and the darkness of the rear space is representing a narrative meaning. A meaning based on the hidden surveillance structures. The last three images show an interior world of the data doubles and the unformed identities of individuals in cyberspace. These drawings were made as a type of spatial subject analysis based on literature research. Additionally, it was a basis of the design atmosphere that followed the research.

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Inside the Data Space | Fear, anxiety, and the unknown

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P REVIOU S W ORK EXPE R I E NC E

Design collaboration with H-Development In collaboration with H-Development, Mr. Hayden Kublalsingh and I worked together to complete various residential projects based in Trinidad and Tobago. The architectural style of these residential projects is Caribbean colonial style. The projects involve craftsmanship, large verandas, and expressive timber detailing. The projects were constructed with exotic timber from Guyana, greenheart, and purpleheart.

Work experience | Architectural design and approval

My role in these projects was to work alongside Mr. Kublalsingh to complete these projects from initial designing to complete assembly and detail drawings. In addition, the projects were followed up by the Planning Department of Trinidad and Tobago to ensure approvals for construction.

The architectural contribution in these projects is the spatial designing according to an initial design. Floor plans, the spatial flow of the residential projects, and window placements were among the contributors to this collaboration. Also, column placements, exterior façade design, and construction advice were carried out for these projects.

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TRACK SECTION ATTACHED TO JOIST THROUGH TOP & BOTTOM FLANGES

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6" TIMBER WALLS DOOR LINTEL SET INTO TRIMMING STUD DWANG/NOGS AND STUDS. INTERNAL WALL x 8"TIMBER COLUMN BOLTED BRACING PROVIDED BY8"WALL 8" x 8"TIMBER COLUMN BOLTED TO METAL PLATE LININGS. WALL FRAME TO METAL PLATE BRACING METAL ANGLE METAL 45-55 PLATES TO ANCHOR TIMBER COLUMN METAL PLATES TO ANCHOR TIMBER COLUMN DEG CUT INTO FRAME. BASE PLATE BOLTED TO STUB COLUMN

1 S-1

STUB COLUMN

CONTINUOUS 4" PERFORATED DRAIN FREE DRAINING TILE COVER WITH 6" GRANULARMIN. TYPE CLEAR STONE BACKFILL

1 S-2

T16 @ 8"c/c B. T16 @ 8"c/c B.

3 S-1

BASE PLATE BOLTED TO STUB COLUMN STUB COLUMN

CONTINUOUS 4" PERFORATED DRAIN TILE COVER WITH 6" MIN. CLEAR STONE

12" dia. Auger Pile x 15'-0" deep (min.)

54

JOIST

SCREWS AS REQUIRED JOIST HANGER AS REQUIRED

20'-0"

28'-0"

31'-1"

17'-4"

17'-4"

Sample of Work Experience | Residential design with various drawings for construction

BATHROOM 117 SQ.FT.

NORTH DECK 40 SQ.FT.

4

3'-1"

13'-6"

42'-2"

1

2

3

28'-0"

E

1

2

N

E

13'-6" 8'-6"

42'-2"

1

D

41'-6"

T16 @ 8"c/c B. T16 @ 8"c/c B.

12" dia. Auger Pile x 15'-0" deep (min.)

WOOD COLUMN TO CONCRETE WOOD COLUMN TO CONCRETE 3

S-1

1

2

3

N

4

5

6

7

45'-4" 8'-0"

4'-2"

7'-6"

11'-8"

5'-0"

9'-0"

2"X10" TIMBER RIDGING

1"X6" TIMBER CLOSE BOARD GT SET ON RAFTERS

2"X8" TIMBER RAFTER

3/8" STEEL BRACKETS BOLTED TO RING BEAM/ WALL STUDS

28'-0"

1

4"X6" TIMBER RING BEAM

E-2

10'-8"

2"X6" WALL STUDS

3 S-1

1 2"X6" TIMBER SOLE PLATE BOLTED TO CONCRETE FOUNDATION

CONTINUOUS 4" PERFORATED DRAIN TILE COVER WITH 6" MIN. CLEAR STONE

1 S-2

FREE DRAINING GRANULAR TYPE BACKFILL

1/2" STEEL BRACKETS BOLTED TO CONCRETE FLOOR AND 8"X8" TIMBER COLUMN

CONTINUOUS 4" PERFORATED DRAIN TILE COVER WITH 6" MIN. CLEAR STONE

1 S-2

1 S-2

E

B

A

FREE DRAINING GRANULAR TYPE BACKFILL

1 S-3

CONTINUOUS 4" PERFORATED DRAIN TILE COVER WITH 6" MIN. CLEAR STONE

C

D

E

41'-6" 6'-0"

13'-6"

8'-6"

13'-6"

42'-2"

1

8'-0"

1

LAUNDRY 47 SQ.FT.

BATHROOM 67 SQ.FT.

2 4'-2"

6

3

GAMES AREA 162 SQ.FT.

7'-6"

2

7

5 4 3 2 1

NORTH DECK 40 SQ.FT.

8 9 10 11 12 13 14 15

UP.

KITCHEN 166 SQ.FT.

4 46'-1" SITTING AREA 178 SQ.FT.

11'-8"

N

DINING AREA 178 SQ.FT.

46'-1"

45'-4"

4

S

5

5 5'-0"

E-2

1 S-3

WEST DECK 40 SQ.FT.

6

6 FRONT PORCH 320 SQ.FT.

9'-0"

1'-1"

29'-1"

17'-4"

1"X2" TIMBER LATHS TO TAKE ROOF SHEETING

B1

B2

7 UP.

2'-8"

7'-6"

3'-4"

7

3 2 1

8'-6"

5'-0"

13'-6"

A

B

8'-6" 13'-6"

W

C

55

D

D1

E

B

C

D

E

F

56'-0" 14'-0"

4

3

14'-0"

14'-0"

10'-0"

14'-0"

9'-0"

28'-0"

LOFT FLOOR LEVEL

9'-0"

Sample of Work Experience | Residential design with various drawings for construction

FIRST FLOOR LEVEL

GROUND FLOOR LEVEL

2

1

38'-0" 14'-0"

14'-0"

9'-0"

LOFT FLOOR LEVEL

9'-0"

GROUND FLOOR LEVEL

10'-0"

28'-0"

FIRST FLOOR LEVEL

BASEMENT FLOOR LEVEL

56

10'-0"

1

2

3

4

38'-0" 14'-0"

14'-0"

10'-0"

10'-0"

9'-0"

38'-0"

28'-0"

LOFT FLOOR LEVEL

9'-0"

FIRST FLOOR LEVEL

10'-0"

GROUND FLOOR LEVEL

BASEMENT FLOOR LEVEL

F

E

D

C

A

B

66'-0" 14'-0"

14'-0"

10'-0"

14'-0"

9'-0"

LOFT FLOOR LEVEL

9'-0"

38'-0"

FIRST FLOOR LEVEL

10'-0"

GROUND FLOOR LEVEL

BASEMENT FLOOR LEVEL

57

14'-0"

10'-0"

58

Architectural Portfolio and CV | Narindath Maraj sample collection