Pallav Kapoor(Professional portfolio)- 2023

PALLAV KAPOOR

Phone +44 7442103707

Email

pallavkapoor123@gmail.com

Address

Mile End, London, E3 4HS Web

https://www.linkedin.com/in/kapoor-jpg/

ABOUT ME: EDUCATION

I used to like playing with LEGOs and solving puzzles as a kid. That was the driving force behind my decision to pursue a career as an architect. I think that the built environment and human behaviour are inextricably linked, and I utilise this philosphopy to create a better society.

I’m a certified professional with two years of work experience as an aspiring architect. I discovered my interest for interior design after completing my bachelor’s degree in architecture. I’ve had the pleasure to work on a variety of projects, including high-end homes, hotels, and retail establishments, among others. We are who we are because of our ability to learn. I’m always excited to try something new that takes me out of my comfort zone.

MA INTERIOR ARCHITECTURE

University of Westminster, London

BACHELOR OF ARCHITECTURE

Bharati Vidhyapeeth Deemed University, Pune

EXPERIENCE

PROJECT ARCHITECT

STUDIO 0522

2023 2019

SEPT 2019 - AUG 2022

Schematic design and development

Site analysis and supervision

Construction drawings and detailing 3D visualization and rendering

Leading client meetings

Team coordination and job scheduling

INTERN ARCHITECT

GDMSPL JAN 2018 - SEPT 2018

Schematic design and development

Site analysis and supervision

Construction drawings and detailing 3D visualization and rendering

Leading client meetings

Team coordination and job scheduling

NOORJAHAN CLOTHING

ENTREPRENEURSHIP JAN 2018 - NOV 2021

Started a clothing brand

Designing and fabrication

Website design and branding

PROJECTS

MIXED USED/COMMERCIAL

JM Mall

BFC Commercial building

RESIDENTIAL

Singh residence, Lucknow

Nigam residence, Lucknow

Shahbaaz Villa, Unnao

Ravindra Singh’s residence, Lucknow

King’s court residence, Lucknow

The garden repose, Kanpur

RETAIL

Plyzone, Lucknow

Samsonite store, Fun republic mall

Bluepill, Lucknow

Hettich showroom, Lucknow

HOSPITALITY

Eatsure, Lucknow

Kahlon Emporium, Lucknow

Eco resort, Dudhwa

Rollarappa franschise, Lucknow

HEALTHCARE

Awadh Hospital, Hardoi

Ayushman Hospital, Shahjahanpur

Heramb Agnihotri’s clinic, Lucknow

CULTURAL

Natural History Museum, Zoo, Lucknow

Bauddha Museum, Gorakhpur

Signage System, Ayodhya

Kala Kaksh, Lucknow

EDUCATIONAL

Delhi Public School, Gomti Nagar, Lucknow

AIT, Rooma, Kanpur

ACTIVITIES

VOLUNTEERING 2021

Working in the NGO “Antaryami Tandon“ for education of underprivileged kids.

IGBC Accredited Professional 2019

Projects would achieve one credit point under ‘Innovation and design’ category, If an IGBC AP is part of the project team

PUNE BIENNALE 2015 + 2017

Core organising team member, managed exhibitions for artists from India and neighbouring nations

SMART HERITAGE 2017

Participated in Smart Heritage Workshop by INTACH, New Delhi

SKILLS

Schematic design and development

+Autodesk AutoCAD

+Google Sketchup

+Lumion

Design detailing and construction

+Autodesk Revit

+Illustrator

+V-Ray

Research analysis and site planning

+Sefaira

+Design Builder

Documentation and presentation

+Photoshop

+InDesign

+Miro

+Model making

Soft skills

+Project Management

+Adability

+Team leader

+Detail oriented

+Problem solving

Hobbies

+Piano

+Basketball

+Table tennis

+Swimming

+Reading(Non-fiction)

Schematic design and development

Design detailing and construction

Site execution and client interactions

“I can tell you that the effect you have on others is the most valuable currency there is.”

- Jim Carrey

NOBODY’S SECRET 01

LACANIAN PYSCHOANAYLSIS IN RETAIL

Lacanian psychoanalysis is a theoretical framework that has been used to analyze and understand various aspects of human experience. According to Lacanian theory, the psyche is structured by language and the unconscious, and our experience of the world is shaped by symbolic systems and our relationship to them. User’s personal histories, unconsious desires, and symbolic associations can become the guidelines to understand how user experience and relate to different spaces.

Paintings revolving around the concepts of “gaze,” “acceptance,” and “fluidity” served as the store’s primary source of creative inspiration.

The three keywords eventually evolved into the store’s guiding principles, and Lacanian psychoanalysis evolved into the store’s narrative for circulation. Those fleeting moments of gaze and the fluidity of the user’s sexuality were highlighted by the forms and the materiality. The program evolved into an exploration of narratives and providing direction to customers as they shopped in the store. Detailing the experience of shopping in the store required a thoughtful approach to the store’s tangible goods and the way in which customers interacted with those goods.

The next thing that needed to be done in order to develop the store was to experiment with various forms and produce visual vistas that encourage the customer to explore the various sections of the store. The concept of internal landscaping was developed through the process of ideation as well as through the various iterations of the scale model.

The chosen paintings served as a guide for both the physicality and the feeling that the space hopes to evoke in its visitors. As part of the design process, sketching the function alongside the artwork became a prerequisite. The atmosphere was influenced in various ways by the artwork, including its hues and patterns as well as the story it told. The artwork created by Rene Magritte and Raja Ravma Verma served as the impetus for creating a place for a workshop. The contrast between the function and the emotion that was intended resulted in the conception of a functionality that was more sensitive and had a deeper comprehension of the space.

The functionality and location of the TILL guided the circulation of the ground floor level. The user’s first contact is with the accessories, after which they can choose to proceed to the till or continue their purchasing experience. Subtle cues and thresholds defined the moment for the user, causing him to cover all the various zones with an organic sense of circulation rather than a forced utilitarian experience.

STAIRCASE (THE IMAGINERY)

GROUND FLOOR PLAN (THE REAL)

BASEMENT FLOOR PLAN (THE SYMBOLIC)

The Lacanian concept of the imaginary, the real and the symbolic guided our vertical circulation

The Freudian comprehension of the super-ego serves as the conceptual foundation for the Lacanian interpretation of the symbolic. The materiality of the floor and ceiling is based on those surrealist interpretations of the symbolic, and the colors have been kept towards white and neutral space in order to provide the user with a calming presence through the experience of using this space.

The ground level and the basement floor were differentiated from one another by recurring forms that were made of different materials. The overall scheme was given a theatrical output by the use of fabric with lighter hues, along with a continuing linear light and spotlights oriented towards the products, which resonated with the overall storyline of the store. As you read through the section, you’ll gain an understanding of the differences in the experiences you’ll have on each level; however, the mirror arch that connects the ground floor and the basement floor will help you see how these floors are ultimately united.

The paintings, along with various design principles such as framing, reflection, affordance, and ambiguity, helped to create zones that elicited particular feelings and experiences, which added to the overall enjoyment of the shopping experience. The shopping zone, the workshop, and the speakeasy all worked together to initiate a conversation between various people, to move beyond the raw feelings of the id, and to comprehend the values and principles that lie behind the super-ego.

BASEMENT FLOOR PLAN ZONE-03

SINGH RESIDENCE 02

THE INDIAN LEGACY OF MADHUBANI

Madhubani art is a style of Indian painting, practiced in the Northern region of the Indian subcontinent. The paintings depict people and their association with nature and scenes and deities from the ancient epics. Natural objects like the sun, the moon, and religious plants like tulsi are also painted, along with scenes from the royal court and social events like weddings. The use of colors also had strong connections with the religious beliefs and hope of their well-being

The client had always desired for a home that was reminiscent of his childhood home. A place where a large group of people can congregate and start a chat. A place where they may reminisce and create new memories. The project is a three-story high-end house that can accommodate a family of ten. The middle floor becomes a gathering space for the entire family. The perfume of the kitchen pervades the dining and living areas, echoing laughter and memories in the warm tones of the wood.

A modernist approach to Indian vernacular architecture that does not devalue the value of a Indian houselhold.

The celebration of wood and its richness was one of the criteria for the interior design of this home. We continued forward with identifying materials that interacted well with each other and brought out the best in them after defining the warm tones of the house.

Portals to other zones were established using elements such as the wooden glass partition in the drawing room and another in the lounge. A somewhat jarring transition to emphasise the infinite between the two spaces, forcing the viewer to pause and consider their actions as they move from one to the other. The use of solid teak, polished to bring out the natural grains, adds to the house’s timeless appeal. It may be maintained and repolished every few years to preserve the house’s underlying tone.

To complement the warm tones, dedicated areas and places were developed to bring nature inside the house.

The sleeping and private zones are relegated to the back of the home, whereas the public and communal spaces are moved to the front. The backyard becomes a private zone for the family, while the formal spaces, such as the drawing room and dining room, encourage interaction with bigger groups and guests. The drawing room connects to the lobby and porch, allowing for a bigger gathering without jeopardising the zone’s character.

The staircase is one of the house’s most prominent design elements. The lobby’s cantilevered staircase serves as the house’s spinal cord, linking the communal areas. Polished veneer is used for the golden detailing of the railing bending to the bottom of the tread, and white corian is used for the top. The solidwood railing provides weight to the staircase, which runs constantly throughout all stories and adds to the overall design.

To bring out the grandeur in the interiors, we envisioned the area with warm and deep colour tones. Consistency was achieved throughout the house by using minimal lines and limited colour palettes. The interiors are ageless thanks to the use of wood and Madhubani works of art. Madhubani’s application in modern houses helps in promoting artists and craftspeople.

Certain aspects of the master bedroom can shine thanks to the dark colour tones on the walls. The golden profiles and light work throughout the bedroom gives it a regal feel. The furniture and soft furnishings have the same design characteristics. To accentuate the material palette, the furniture legs were given a golden polish.

The solid wooden teak member that runs through the ceiling adds layers to the bedroom heights, signalling the start of the art work, which wraps from the ceiling to the walls, linking multiple planes and bringing the concept together.

GATHERING SPACES

MASTER BEDROOM

PLYZONE 03

TIMELESS EXPERIENCE

As customers wander away from personal contacts and toward online purchases, spatial experiences in retail establishments have become vital to draw the customer and his attention back to reality. Entering a new area and allowing it to fill you with fresh experiences and data while not hindering essential operations and providing value to both the owner and the user. Creating an engaging, timeless experience for designers and customers.

A three-generation family business located in the city’s commercial district. The store is in an extremely competitive market, therefore it’s important to stand out. The client wanted the facility to be more than just a place to do business; it needed to be an unforgettable experience. A platform for designers to celebrate materials, as well as a space that serves as an extension of the material library and a visual mood board for customers.

For the client, a modular design approach was used so that he could replace materials and hardware as needed over time, preventing hoarding and disorder of the store. (As shown in the picture.) The store is now in disarray due to a lack of overall vision of defined zones. Proper allocation of hardware, claddings, and laminates offers the client with a long-lasting system.

If hardware stores want designers and architects to return with their clients to debate and consider other options, they must rebrand themselves as experience centres. They’re rebranding themselves as creative businesses rather than merely B2C businesses.

At break points with a visual relationship to charcoal sheets, veneers, and kitchen finishes, such areas have been established. One such space has been developed around the stairs, with MS apartments hidden in the flooring and clad in pine wood spiralling from the bottom floor and moving to become the staircase, eventually becoming the staircase railing. The space between the two battens serves as a display panel for the charcoal sheets, which may be swapped out and changed as needed.

The circulation of the space was greatly aided by the establishment of a retail axis. The administration being on both the front and back of the area connected the space without being invasive to the consumer. To give the circulation an organic movement, the display spiralled around the central axis. The customer could take a breather during the pauses (which were marked in green). To take a breath, consider your options, and make a well-informed decision. Rather than pressuring customers to make snap decisions, the facility offers zones where they may take their time. On both floors, formal and informal zones have been developed to accommodate various gathering sizes.

BUBBLE DIAGRAM

The reception table serves as the customer’s first point of contact with the personnel. As a three-generation family business, the proprietors wanted the initial connection with the customer to be as authentically Indian as possible, rather than corporate and mechanical. In terms of spatial functionality, the Indian tradition should be preserved.

Materials like veneer and charcoal laminates were used in the reception desk and back drop to show what the combination of materials can produce. Perforated metal sheets painted with PU paint were used throughout the area to provide a sequential experience from one zone to the next. The same perforated sheet is screwed into the wooden batten as a ceiling element, maintaining the space’s design language. Solid blocking has been added, coupled with perforated metal sheet, to enhance the sequential experience. The solid blocks also serve as catalogue shelves, while the backdrop serves as a laminate sample.

Handleless drawers and a cove beneath the panelling to emphasise the brand emblem add to the design language. The contrast between the backdrop and the welcome desk helps to unify the space without becoming too monotonous. The reception desk serves as both a welcoming desk and a billing counter, which has been separated behind the counter to form an L-shaped counter.

RECEPTION

BREAKS

Front elevation

Section aa’

Plan: Back counter

Plan: Cove detail

Plan: Ceiling Section aa’: Drawer detail

EATSURE 04

FOOD EXPERIENCE CENTER

The distinction between online and physical is becoming increasingly blurred. Amazon began by dominating the online market, and now it is using that data to dominate physical locations as well. In the food industry, the vision is similar. Cloud kitchens that have been working behind the scenes and producing incredible cuisine are looking for a physical identity since they have controlled the online arena and now want to occupy the food courts by becoming a food court on an app.

EatSure is a food delivery app, which brings you popular restaurants that serve delicious food while abiding by the best-in-class safety measures. This enables you to trust the food that you relish so much.However, EatSure is not just a food delivery app, but also a promise, assuring 100% safety and hygiene in every bite you take. It stands true whenever you order from our sure choice of restaurants, through any channel - EatSure, their own respective websites or apps, or even Zomato or Swiggy. We belive good food is your right. And if you are what you eat, then why not eat only good?

The brand that bold wanted transparency, no artificial flavoring in there brand and there design philosophy.

For EatSure, the brand identity was crucial, and the colours and attitude had to be mirrored in the design as well. The business wanted the secondary colours purple and green to stand out, which was echoed in the space’s interior design. The design language has to be linked to the brand colours since the sub brands are already well-known and successful, and any disorder would jeopardise the parent brand’s identity.

The bold fonts and lines were derived from the logo and the videogame-like typefaces and colour palette guided the design concept.

Pixels have been fundamental constituents of the world of digital technology since the early twentieth century. They hardly attract attention as individuals, since the essential point of a pixelated medium is to make people perceive the “big picture”. Apart from the technological sense, pixels become a focal point by expanding to art and architectural praxis in both micro and macro scales

In the case of surface, pixels now propose a second and temporary skin for buildings, and in the case of spatiality, they produce new layers of space, various affects and sensations. As a result of this superimposition of art and architecture, the boundaries between digital – analog, virtual – real, and temporary – permanent are blurred. Thus, the ambiguousness leads to the development of new possibilities and viewpoints of experiencing and producing art and architecture.

Our main goal was to develop a design language that could be translated into a variety of formats. The design had to be appropriate for both a kiosk and an experience centre. We were able to create several spaces using pixelation as our medium while keeping the brand’s identity and harmony.

The food court was created with two goals in mind: to introduce visitors to a new type of hospitality experience and to get them to sign up for and use the EatSure app. When people approach the area, they are greeted by an orientation zone that takes them via the app, after which they are offered the option to place a takeout order or sit and dine in. In the same manner that the EatSure app works for the digital platform, the use of static and dynamic displays communicates the brand idea.

The space was built such that the pixels from the ceiling may be detached and fall to the ground. The negatives have been separated, with some forming light fixtures and others dropping on the tables and flooring, creating an infinity between the floor and ceiling. The use of flora and wooden veneers to create balance to the space contrasts the coldness and mechanical character of a tech company. Wooden veneers accentuate the space’s horizontality, and the brands are displayed on an L-shaped counter that runs the length of the open kitchen, making the cooking and assembly process as transparent as possible.

50 mm ø MS round-pipe + finished with PU-paint (Asian paint CS198 -Canna Di

25 mm th WPC +Printed vinyl film application(as per artwork) +Edge finished with PU-paint (Asian paint CS007 Blanco Alpho)

BAUDDHA MUSEUM 05

SPATIAL EXPERIENCE

Where art, industry, technology, and aesthetics collide, the Bauhaus movement came from a desire to marry functionality and aesthetics. It was not only a design movement but a cultural movement. Ideas and theory were essential parts of the movement and set the tone for the designs that followed these ideas. The Bauhaus style tends to feature simple geometric shapes like rectangles and spheres, without elaborate decorations. Buildings, furniture, and fonts often feature rounded corners and sometimes rounded walls.

The Government Bauddha Museum in Gorakphur, India, is an existing structure with relics and galleries that has been closed for some years. The government launched a smart city initiative and desired a more distinct identity for the area. They requested that the site be memorable and simple in design in order to reduce operating and maintenance costs.

The preexisting galleries and exhibits directed the flow of the area, but they lacked the technical support that today’s museums do. To guide the user, we prepared for NFC tags, audio guides, and sensory cues. The use of projection mapping and interactive projections lead the way forward for the present generation to experience the space

EXHIBITS: FORM DEVELOPMENT

Each gallery’s colour blocking creates a memorable experience for the user. Giving each gallery its own character contributes to the museum’s overall branding. Color blocking creates a simple backdrop for the artwork to stand out. The text and information about the artefacts are highlighted by the colorblock.

The Bauhaus influenced the initial development of the form. The geometric shapes were used as a backdrop for the artefacts and for placing information during form development, but they eventually became part of the exhibitions. Horse and elephant forms were derived from these geometric forms, which were also used to create seating for different galleries.

The museum is significant in terms of iconographical research. This gallery also includes Uma Maheshwar, Varahi, Standing Vishnu, eight-handed dancing Ganesh, Saptamatrika, and Navgraha. Stone-age tools, earthenware, and terracotta from Buddhist sites in Banarsia, Rajdhani, Kopia, and elsewhere have also been featured in the gallery. Animal sculptures, pots, seals, Suka-sarika, Dakini (a baby eater), and human figurines from the Mauryan to the Gupta periods all deserve to be appreciated by tourists. Small objects that were previously unnoticed are now recognised at the appropriate heights and with proximity sensors.

Because the space allows visitors to examine things, experience new sights, and react to the surrounding environment, lighting is a key component in a museum atmosphere. The role of light at a museum is critical in establishing an atmosphere conducive to discovery while also protecting artefacts. Incandescent, fluorescent, HID, fibre optics, cold cathode, and LEDs are examples of common indoor artificial light sources. With track luminaires, incandescent bulbs are typically utilised for ambient and accent lighting. In museums, the most popular light sources are incandescent, fiber-optic, and HID.

To produce a great lighting design, lighting designers must consider particular aspects that effect lighting on space, objects, and purpose. All of the variables that go into the entire picture include colour rendered, colour temperature, texture, form, viewing angles, layered light, and upkeep. The lighting designer can mix lighting elements with an architecturally built environment to create an effective and helpful design for people to be interested in and experience if they are aware of these factors. We employed cove and profile lights on the placeholders with proximity sensors, as well as direct luminaries that shine light downwards directly on the artefacts and diffuse luminaries for consistent illumination. We used an exposed ceiling with lights that was evenly distributed in a grid, balancing the ceiling and lowering maintenance costs.

GALLERY- 01

GALLERY- 06

ELECTRICAL LAYOUT:

CRAFT BAZAAR 06

BRING THE ARTISANS AND ARTISTS CLOSER

Craft bazaar is a specialised marketplace that allows artists and craftspeople to display their abilities and knowledge. A craft bazaar benefits artisans while also emulating the atmosphere of a typical rural haat or village market. An urban haat is formed when crafts, cuisine, and cultural activities all come together to make an urban haat.

To provide a location that encourages artists and craftspeople to start their own businesses, therefore boosting the community’s economic and social progress. Because they lack the literacy and technology to sell their skill, online purchasing has become a key issue affecting local craftsmen and hawkers. Higher literacy encourages the use of internet shopping, which reduces the amount of buying done by shops and hawkers and lowers sales. Because the ease of internet purchasing provides customers with a variety of alternatives, and artisans’ restricted options are affecting their businesses, a common ground of numerous craftspeople addresses the issue of quantity.

PPS’s approach to placemaking can serve as a springboard for neighbourhood revival. The 11 principles of placemaking are based on forty years of experience and provide guidance to assist communities 1) combine varied perspectives into a unified vision, 2) translate that vision into a plan and programme of uses, and 3) assure the plan’s long-term execution. Finding the patience to take modest steps, to actually listen, and to understand what works best in a specific situation is key to turning a shared vision into a reality—into a truly terrific place.

A bazaar’s relationship with food is nuanced; visitors to the bazaar often wind up eating the local cuisine served by merchants and hawkers. The community’s support of the craft through the appeal of food allows for innovation in both genres and the creation of a community-driven environment.

Feasibility criteria give recommendations for designing a place that supports and enforces community-driven public spaces, such as evening usage and volunteers. Different activities create pockets of action in a public place, bringing vitality to the area and allowing others to exhibit their skills.

SCAN QR FOR WALKTHROUGH

The bazaar was designed with the primary goal of offering what e-commerce lacks: a physical experience. As a result, the bazaar was built to enrich the spatial experience and present customers with fresh and diverse experiences. The bazaar’s hierarchy is modelled after one of India’s traditional melas, but with a more modern and longterm vision. Critical regionalism is a method of dealing with a scarcity of resources. International style is characterised by a lack of identity and feeling of location, as well as a rejection of postmodernism’s decorative approach. Critical regionalism is more than merely reenacting vernacular or traditional architecture; it seeks a solution. in modern architecture, using a traditional or vernacular architectural setting. Critical regionalism is a forward-thinking method to collecting solutions from both global and local sources in the language of architecture.

Charles Correa has provided a great deal of inspiration. On a cognitive level, he was not following the concept of “critical regionalism,” but on a subconscious level, he was. From the start, he was naturally drawn to historic, vernacular, and traditional architecture, but he also grasped the current context of structures, as well as the needs and ambitions of people. He spent the most of his time attempting to connect the past with the present in order to establish the lost or new identity of Independent India via architecture.

SITE-PLAN

KUND

AMPHITHEATRE:

MISCELLANEOUS 07 CURATED COLLECTION OF MY WORK

The following work consists of my day-to-day interests that keep me motivated and inspired. My process of layering over the perceived reality and building over it through different permutations and combinations gradually achieves the desired result. A desire to learn new skills and experiment with different genres and materials intrigues me going forward.

Architecture is art. I don’t think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it’s polluted by life, and by the complexity of things.

- Renzo Piano

True wisdome comes to each of us when we realize how little we understand about life, ourselves, and the world around us.

-Socrates

The truly unique trait of ‘Sapiens’ is our ability to create and believe fiction. All other animals use their communication system to describe reality. ... Of course, not all fictions are shared by all humans, but at least one has become universal in our world, and this is money.

- Sapiens by Yuval Noah Harari

There’s the whole Buddhist thing about the essence of a bowl being its emptiness—that’s why it’s useful. Its emptiness allows it to hold something. I guess that means that design must talk about something else. If you make design about design, you’re just stacking bowls, and that’s not what bowls are for.

–Frank Chimero

“Waste no more time arguing about what a good man should be. Be one.”

You are going to pay a price for everything you do and everything you do not do. You do not get to choose to not pay a price. You get to choose which poison you are going to take. That’s it.

- Jordon Peterson

-Marcus Aurelius, Meditations