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RIBA PART 1 PORTFOLIO

PARESH PARMAR


PARESH PARMAR RIBA PART 1 ARCHITECTURE GRADUATE AND DESIGNER 2013 PORTFOLIO

The following portfolio contains work from my RIBA Part 1 BA (Hons) Architecture degree over a three year period at the Canterbury School of Architecture, University for the Creative Arts from 2010 - 2013. Amongst this portfolio are also samples of project work from college. The work in this portfolio has been edited to provide an abridged volume, however original PDF files and full project work are available upon request should you wish to view more.


INTERIOR PERSPECTIVE OMA’S EDUCATORIUM, UTRECHT, NETHERLANDS


BIOGRAPHY - CV

PROFILE

4-5

RE - EXHIBIT

INSTALLATION

6-9

PARAMETRICISM

FLUX

10 - 15

CITY DWELLER

GRAFT

16 - 23

MOD - RFW

RESIDENTIAL

24 - 35

FEARLESS FREEDOM

DISSERTATION

36 - 37

AIA

COMPETITIONS

38 - 41

LITHUANIA

SUMMER SCHOOL

42 - 45

PRODUCT DESIGN

MODEL

46 - 47


PROJECTS 05 // FACTORY FOR LEARNING


BIOGRAPHY CV paresh_parmar7@hotmail.co.uk

STATEMENT

+44 (0) 7716200720

paresh-parmar7.wix.com/23

Having completed my BA (Hons) degree in Architecture at the Canterbury School of Architecture, I am eager to continue my journey in design by gaining employment to experience and learn from working in an architectural practice before studying and gaining RIBA Part 2 qualifications. I am a confident, enthusiastic and hard-working individual with a passion and appreciation for beauty in all areas of design. Whilst studying Architecture at university I have enjoyed success in both personal and collaborative project work developing a number of skills in the process. I aim to continue growing as a young designer and individual to hone qualities by working with and learning from professional architects and designers. When the opportunity arises I spend much of my time out traveling to various countries broadening my experience and knowledge of the cultures, environments and design. I would like to continue traveling in the future but with the intentions of using the abilities I have to help design architectural projects for the countries I visit.

EDUCATION

Canterbury School of Architecture // University for the Creative Arts: 2010 - 2013

Second Class - Higher Division BA (Hons) Architecture RIBA Part 1 American Institute of Architecture Student Charrette Participant, November 2012 Lithuania Summer School, June 2011 Final place in project competition, June 2010

Beauchamp College: 2006 - 2010

10 GCSE Level Awards obtained at grades A to C 3 A Level Awards in; A2 Product Design A2 Fine Art A2 English Language Insted - Faculty of Design Leader

Manor High School: 2002 - 2006 EMPLOYMENT

Leicester City Football Club: 2008 - 2010, 2013 - Present

Car Park Attendant at Leicester City Football Club supervising members and supporters around the stadium and car parks on match day events.

Devonshire Court Care Home RMBI: 2006 - 2008

Kitchen Assistant at Devonshire Court Care Home who specialise caring for patients suffering with Dementia and Alzheimer’s.

REFERENCE

Adam Hiles: Design Tutor

Duggan Morris Architects Ltd. Design Tutor - Canterbury School of Architecture // University for the Creative Arts


RE-EXHIBIT A recycled regenerated exhibition displayed through mirrored elemental facades using the exuding natural motion of sunlight and time.

G

6

01

02


Diagramatic sections demonstrating natural sunlight entering allowing the path of light to encounter reflective surfaces before highlighting the contemporary arts distributed in the cultural Wincheap Arts Holder centre.

7


PARAMETRICISM [ FLUX ]

200mm

The design intention was to create a 600mm pipe segment with 200mm end diameters. Using StructureSynth and MEL, two initial forms were created to allow the design capabilities of each program to be thoroughly investigated. By developing two forms simultaneously, the technical and aesthetic qualities of each design are analysed and a final product is selected.

200mm

600mm

An important attribute to design is the involvement of industrial production and manufacturing consideration. Manufacturing methods can range from the one-off production of bespoke items to the mass production of large quantities. A primary association to the production assimilates the value of cost, therefore in the latter stages of the design process these considerations will have to be taken into account.

10


11


Maya / Loft Structure Synth The first step to developing the design to fit our brief is to understand the basic commands of Structure Synth and MEL. This procedure involves exploring the geometric volumes and axis. Experiments with the axis by expanding and rotating the form of the shape help discover a range of intricate iterations. ‘rz 10’ - rotation on the z axis

12

set maxdepth 10 30 * { x 1 rz 10 }R2 30 * { x 1 rz 10 }R3 rule R2 { { x 1 y 0.5 z 1 } R2 box } rule R3 { { x 1 y 10 z 12 } R2 box }

After developing a form the final step is to create a loft based on the geometry of the final design to produce a form that is suitable for fabrication. The design is then scaled to fit between two NURBS circles of a diametre of 200mm. At every 100mm, an outline is traced to understand the form and the definition it holds. After all outlines are complete, the form is removed for it to be lofted giving a smoother surface.


X:8 X:7

X:9 X:4

X:3 X : 11

X:5 X:6

13


CITY DWELLERS [ GRAFT ] In recent years the nocturnal mammal of a bat has ventured from its usual habitat to urbanise in to a diverse span of habitats. The social animal has endeavored in to urban territory moving away from its norm of comfort, its habitual landscape of caves, rocks, and highland for shelter and roosting, to be found in cities, attics, and gardens. Many of their natural habitats elsewhere are being disturbed and disrupted, hence the provocative for bats having to inhabit a differing and disparate landscape. This would be ought to naturally be an inconvenience, however, the urban city dweller of a bat has adapted to this habitation and settled comfortably with the urban city landscape, despite the clear evident landscapes of ravines vacant.

16


21

17


CONTEXT // RAVINE MAPPING

19


INTERIOR PERSPECTIVE HAND DRAWING

21


ISOMETRIC PERSPECTIVE HAND DRAWING

22


4

1 6

5

3

7

10

8

SECTION DETAIL DRAWING

1 Existing wall structure 2 Existing window frame 3 Universal beams

2 9

4 Connecting beams 5 Steel cladding 6 Crevices 7 C-section purlin 8 Mesh screen wall 9 Mesh lining 10 Strap stiffeners

23


MOD - RFW [ Ministry Of Defence Recruitment for Women ]

There is incredible pride and appreciation towards the ministry of defence; the British army, Royal Navy and the Royal Air Force from the past and present. An act of support was shown during the worldwide opening and closing ceremony events of the Olympics with poppies, a minutes silence, and a member from each defence service holding the British flag. Of the past wars, the army has been led by men, however in today’s society more women are given the opportunity to show equal leadership qualities. Of the women to score a gold, two outstanding individuals were Helen Glover and Heather Stanning who are both members of the British Army. The lifestyle, commitment and physical attributes learnt from entering the service influenced their success. With the Barbican Estate comprising such variety of functions, an introduction of recruitment, support and awareness is to be proposed amongst the Barbican complex by the Ministry of Defence as a base camp strictly for women.

Memorabilia Office Mass Recruitment Mass Changing Rooms Medical Rooms Auditorium Open Space Open Platform Training Facilities


Site Analysis and Draft Plan Exploring the nature of the Barbican Estate. A draft sketch of an initial design plan to fit the desired programmes.

28


Identifying space, programs and materials through the section of the building

Section Precedent

Adolf Loos; American Bar, Vienna

d pa d eli e pa he h ssibl t o eli / H es to or p an rout sm f Pl ni of ible ha ent Ro oss mec vem p ts g mo in g i ys in al ud An incl

Interior and External Space

Analysing the spatial awareness to comfortably accommodate. Roofing details.

29


51.5192째 N, 0.0939째 W Ground Plan The ground plan of the building demonstrated with the surrounding context of the Barbican site.


51.5192° N, 0.0939° W Plans // Level 01 and Level 02 Level 01: Recruitment Space, Auditorium, Officers’ Mess, Officers’ Accommodation, Memorial Level 02: Officers’ Accommodation, Roof Top, Memorial

31


51.5192째 N, 0.0939째 W Roof Plan and Circulation A set technical drawings showing the roofplan and desired circulation of the building.

32


PROJECT 02 LEGACY: DIG }{ DISSEMINATE

PARESH PARMAR | STAGE 3

CANTERBURY SCHOOL OF ARCHITECTURE

PROJECT 02 LEGACY: DIG }{ DISSEMINATE

PARESH PARMAR | STAGE 3

CANTERBURY SCHOOL OF ARCHITECTURE

ELEVATION SCALE 1:200 A scaled drawing at 1:200 showing the facade of the building.

51.5192째 N, 0.0939째 W Elevation and Section A set of technical drawings showing interior programs and facade of copper cladding on the surface of the building SECTION SCALE 1:200 A scaled drawing at 1:200 cut through illustrating a variety of programmes.

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[5]

[1]

[6]

[7]

[3]

[9]

[10] [8]

34


[13]

[2]

[1] Light Well [2] Cladding

[4]

[3] Memorial [4] Balcony [5] Roof Garden [6] Skylight [7] Internal Circulation [11]

[8] External Circulation [9] Officers’ Mess [10] Recruitment Mess

[12]

[11] Officers’ Accommodation [12] Recruitment Accommodation [13] Helipad Platform [14]

[14] Steel Frame

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A transformation; A fearless freedom [ Dissertation ] “Globally acts of violence have permeated unfortunate cities causing disruption and disarray. Such chaos disassembles the integrity and distinctive elements to an environment. Its act of destruction dismisses collective humanity, an abundant culture, and an established architecture. The violence created pervades two substantial categories of disruption; the avoidable and unavoidable. Avoidable destruction, demonstrative of the outbreaks of enduring wars which have often been causable from a political manner ranging from civil war, revolutionary war and world war. Unavoidable destruction being indicative of natural disasters, especially to located vulnerable regions of the world. Despite the difference, both inevitably generate the same ramification consequential in lasting damage, particularly to an economic expense, culturally amongst societies representative of traditions and heritage and to the importance of architecture. The architecture is ultimately dismissed and only seen in the remnants of each devastated terrain as a practical and importantly a successful resolve is anticipated. It is amidst these remnants the philosophies and strategies of Lebbeus Woods’ involvement holds a great established significance to the recuperation of crisis.� Left; A drawing by Lebbeus Woods illustrating the compact context of Vienna and the energy he looked to employ towards it by experiments and investigations. Image source: Woods, Lebbeus. (2005). System Wien. Austria: MAK.

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COMPETITIONS [ American Institute of Architecture Charrette 2012 ] [ Roca London Gallery ] Johnny; “I can’t draw a straight line man! The f**king curve on the toilet seat...” Paresh; (Laughs) “Deal with it buddy! Adapt.”

Adaptability Alongside 7 architecture students I was selected by fellow university students to represent my school of architecture at the yearly American Institute of Architecture Student Charrette event 2012. The event took place at Zaha Hadid’s Roca London Gallery, London. On arrival, 90 other students filled the gallery as we were introduced to the brief of our project. We had located a space for our team to work. Each workspace was complimented with one table full of pencils, a mini notebook and an sheet announcing that we would receive reprographics every hour. In every corner was jewelry, bathtubs, toilets and beautiful lighting. With the total of the 8 of us in a team, the one table was not enough for us all to work on, therefore this was another task we had to unravel to ensure we made the most from the limited space available. Improvisation was needed to adapt to the surroundings. I immediately took a sheet of A2 foam board and rest it upon my lap as my table to work on. Without the comforts of a studio, we were already playing away from home, which is always a tougher challenge. Our only choice was to make the most of the materials, equipment and space around us. This proved difficult considering warnings were made about damaging any of the display items and products.

38


51.4752째 N

[ Presentation ]

AIA COMPETITION // CHARRETTE 2012

Roca London Gallery Imperial Wharf, London

0.1828째 W

39


51.4752째 N

0.1828째 W

AIA COMPETITION // CHARRETTE 2012

Roca London Gallery Imperial Wharf, London

[ Presentation ]

40


Amongst the 8 of us, we decided as a group to select 4 confident speakers to present covering the main aspects of our design. I was one of the four chosen to present. Our presentation was applauded by the judges for being a perfect, concise presentation which others should look to learn from. Unfortunately we did not end up winners of the competition, however the experience we learnt was invaluable. We learnt how to adapt and improvise working as a team with students who all have their unique styles of working. AIA COMPETITION // CHARRETTE 2012

41


LITHUANIA [ Summer Camp ] Improvisation On our arrival to the ranch in Lithuania we discovered how we would be living in such rural terrain with the main source of water coming from the two wells on site. The two wells were distinguished clearly with the particular awareness that clean water had to be used sparingly (as we needed enough water to last the 14 people on site for one whole week). Despite this concern, the group was fond of having practical products to help benefit our living experience. Therefore, we set out on renovating a shower with water being pumped from the wells. Water was pumped through hosepipes allowing the water to be stored in a large box. This box was placed above the shower on a near by tree to allow the natural sunshine warm the water providing us with a refreshing shower. Alongside this shower, we constructed a sink with a large surface area near by our barn. This was positioned carefully near the toilet, barn and shower. Working on the site encouraged

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us to work with existing materials which surrounded us all. We used long circular wooden beams to construct a triangular support where one end was tied carefully together and the other was loose to be positioned sturdily. Whilst searching around the open site we found a basin in need of a clean. This was used as the focal point of the design, with the only exception being the handle for the sink bought by local neighbours. An old wooden door was the platform for the sink which was secured on the triangular beams at a height to allow people of various heights to use the sink comfortably. A connector was placed to the water box feeding the shower for it to flow towards the sink. The hosepipe was carefully secured at a slope around the barn which fed to the sink working perfectly. The sink proved a success as it allowed all of us water to wash our hands, brush our teeth, including other benefits to living in the rural and beautiful lifestyle of Vilnius, Lithuania.


54.6833째 N

25.2833째 E

VILNIUS, LITHUANIA // JUNE 2012

43


44


45


PARESH PARMAR RIBA PART 1 ARCHITECTURE GRADUATE AND DESIGNER paresh_parmar7@hotmail.co.uk paresh-parmar7.wix.com/23

Paresh Parmar - RIBA Part 1 Architecture Portfolio  

An abridged volume of design work throughout my undergraduate degree in BA Hons Architecture.

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