Architectural Portfolio_Parita Babu

PORTFOLIO PA R I TA B A B U

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ABOUT ME Hello, I am Parita Babu. My interest in design lies in material expression, dynamic spaces, and their impact on people and the environment. babuparita@gmail.com

346 (917) 9318

01 02 03

Glass Pavilion l 2021 Venice, Italy

04

23, Chestnut Street l 2020 Boston, USA

05

Briging the gap l 2017 Bharuch, India

06

Ephemeral Installation l 2015 Ahmedabad, India

07 08

Working Drawing set l 2015 Ahmedabad, India

Art District Theatre l 2021 Los Angeles , California Deviation l 2020 London, England

Miscellaneous l 2017-2019 India

Glass Pavilion

Subject in Diploma: Integrative Design Studio - I FALL 2021 Type: Academic, Pavilion Location: Venice, Italy

The glass pavilion aims to serve as one of the exhibition spaces for the 59th International Art Exhibition of La Biennale di Venezia. Due to the site’s proximity to Biennale sites and great connectivity, it receives maximum footfall. It becomes an open “door” to the Biennale. It is situated such that indoor-outdoor spaces frame the view of the Venetian lagoon, as well as San Giorgio, tying it back to the Venetian context.

The Glass pavilion pushes the limit of glass’ flexibility by its use of ‘S’ curved modules which becomes operable on the first floor. The whole building from its structure to its exhibition becomes a celebration of the Glass. The idea is to make people aware of the problems this art form is facing in current times and also celebrate its long history.

4 l Glass Pavilion

The glass pavilion aims to serve as one of the

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MODULE A

MODULE A/2

01-B l JOINERY SKETCHES 01

6 l Glass Pavilion STEP : 4

01-C l TECTONIC PATH

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3D VIEW

assembly would work or not.

FOLD+OPAQUE+MODULAR BUILDING STRUCTURE BUILDING STRUCTURE

3D VIEW

FOLD+OPAQUE+MODUL

S PROFILE GLASS

3D VIEW

3D VIEW

PLAN

PLAN

TAKEAWAY Assembly lacks the scale of the elements that come together. the joinery needs to be more seamless with a clear indication of how much of a structure is visible to the viewer.

LEWOD HCNI 4L/E1WOD HCNI 4/1

PLAN STEEL COLUMN BOLTED TO THE BASE PLATE

A/2

MODULE A

ELEVATION

MODULE A

STEEL COLUMN 6"X4" @5' 1

FOLD+OPAQUE+MODULAR

S PROFILE GLASS

MODULE A/2 MODULE A/2

EDGE CLIP WHICH SEALS THE JOINT

TOP AND BOTTOM CLIP HOLDS THE GLASS

PLAN

BUILDING STRUCTURE BUILDING STRUCTURE

STEEL COLUMN 6"X4" @5' C.C.

ARMATURE HOLDING ARMATURE UP HOLDING UP STEEL COLUMN 6"X4" @5' THE GLASS

1

WALL ASSEMBLY EXPLODED C.C. SCALE: 3/4" = 1'-0"

THE GLASS

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EDGE CLIP WHICH TOP AND BOTTOM SEALS THE JOINT CLIP HOLDS THE ELEVATION ARMATURE HOLDING ARMATURE UP HOLDING UP ‘S’ PROFILED GLASS ‘S’ PROFILED GLASS GLASS WRAPPING ITSELF WRAPPING ITSELF THE GLASS THE GLASS AROUND THE JOINERY AROUND THE JOINERY 01-B l JOINERY 01-B l SKETCHES JOINERY SKETCHES 02 02

BUILDING STRUCTURE

WALL ASSEMBLY EXPLODED C.C. SCALE: 3/4" = 1'-0"

2

WALL ASSEMBLY SCALE: 3/4" = 1'-0"

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EDGE CLIP WHICH SEALS THE JOINT

STEEL COLUMN BOLTED TO THE BASE PLATE

BUILDING STRUCTURE

ELEVATION

PROCESS

ELEVATION ARMATURE HOLDING UP 1/4 INCH DOWEL 1/4 INCH DOWEL THE GLASS

STEEL COLUMN BOLTED TO THE BASE PLATE

01-B l JOINERY 01-B l SKETCHES JOINERY SKETCHES 02 02

‘S’ PROFILED GLASS ‘S’ PROFILED GLASS WRAPPING ITSELF WRAPPING ITSELF A-04 AROUND THE JOINERY AROUND THE JOINERY

1/4 inch wooden dowel inserted at the joinery to p stability and also becom armature for the modules.

FINAL JOINERY ASSIGNMENT

ARMATURE HOLDING UP THE GLASS

GLASS PAVILION, 01-B l JOINERY SKETCHES 03 VENICE, ITALY

‘S’ PROFILED GLASS WRAPPING ITSELF AROUND THE JOINERY

1

WALL ASSEMBLY EXPLODED SCALE: 3/4" = ARCH 1'-0" 5671

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J l B-10

GSPublisherVersion 0.95.100.100 WALL ASSEMBLY SCALE: 3/4" = 1'-0"

PARITA BABU

01-C l TECTONIC PATH

01-B l JOINERY SKETCHES 03

‘S’ PROFILED GLASS WRAPPING ITSELF AROUND THE JOINERY

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01-C l TECTONIC PATH

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TAKEAWAY

01-B l JOINERY 01-B l SKETCHES JOINERY SKETCHES 03 03

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This assembly resulted providing a building structu gets embedded between th curved glass' that hugs it junction.

Dowels give opportunity to multiply ass vertically and horizontally.

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7 l Glass Pavilion

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N.

KEY PLAN

4

W.

Sec tion C

3

2

5 6 4 7 E.

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9 10

Sec tion B

1

G-01 #LayID

SCALE: 1" = 30'

FIRST FLOOR PLAN

N

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8 l Glass Pavilion

Sec tion A

FIRST FLOOR PLAN #Layout Name S.

LEGEND 1 ENTRANCE RAMP 2 FOYER 3 SITTING AREA 4 STAIRS 5. TICKET BOOTH 6. RESTROOMS

750 SQFT 445 SQFT 1000 SQFT 170 SQFT 210 SQFT

7. ELEVATOR 8. KITCHEN 9. CAFE (ENCLOSED+SEMI-OPEN) 10. OUTDOOR SITTING AREA 11. SCULPTURE COURT TOTAL ENCLOSED AREA TOTAL AREA

230 SQFT 760 SQFT 1350 SQFT 1685 SQFT 4200 SQFT 7970 SQFT

GLASS SCALE: PAVILION, 1" = 30' VENICE, ITALY N

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SECOND FLOOR PLAN

K

'S' CURVED OPERABLE GLASS WITH PIVOTS

COLUMNS AT 5'-00" O.C.

KEY PLAN

12

#

EXPLODED #Lay

FIRST FLOOR OPERABLE GLASS: CLOSED CONDITION

13

SCALE: 1" = 20'

FIRST FLOOR OPERABLE GLASS: OPEN CONDITION 'S' CURVED OPERABLE GLASS SCALE: 1" WITH = 20'PIVOTS

GLASS VENI

14 COLUMNS AT 5'-00" O.C.

AR ARC 15

PARI

A corner site gives the opportunity to break the corners into undulating curves and create a sinuous mass that snakes around the existing context without overpowering it. ‘S’ curved glass in the façade reflects the surrounding context and weather during the day and offers views into the building’s structure and exhibits in the evening. Natural light plays an GLASS PAVILION, important role in the architecture of the building.

VENICE, ITALY The pavilion on the ground floor can become a completely open space ARCH 5671 because of the operable glass modules on the first floor. The building shifts its mass on the second floor to frame the view of San Giorgio from the PARITA BABU gallery, also providing shade with the cantilever on over the entrance ramp.

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G-02 #LayID

SECOND FLOOR #Layout NamePLAN

LEGEND 12 SITTING AREA 13 AUDITORIUM 14 ELEVATOR 15 GALLERY 16 BALCONY TOTAL ENCLOSED AREA TOTAL AREA

1350 SQFT 1685 SQFT 2300 SQFT 450 SQFT 4365 SQFT 4700 SQFT

9 l Glass Pavilion

33. ROOF 6" INSULATION 34. ROOF MEMBRANE

35

KEY PLAN KEY PLAN

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16

17

18

19

12 11 15 B 10 9 8 7

SCALE: 1/8" =

4 A502

1'-0"

SECTION SCALE: 1/8" =

2 A502

1'-0"

DETAIL ELE. SCALE: 1/8" =

1'-0"

1'-0"

KEY 1. WOODEN PILES 2. CONCRETE FOUNDATION 3. SOIL 4. GRAVEL 5. INSULATION 2" 6. CONCRETE GROUND SLAB 4" 7. FLOOR FINISH 7/8" 8. BOX SECTION HOLDING UP THE DOOR PIVOT HINGE 9. DOOR PIVOT HINGE HOLDING UP THE CURVED GLASS ON BOTH ENDS. 1 THRESHOLD PLAN 10. STEEL SECTION A502 SCALE: 3/16" =GLASS 1'-0" 11. CURVED LAMINATED 12. STEEL COLUMNS 6" X 5" 1 PLAN A502 13. L SECTION ATTACHED TO THE COLUMN SCALE: 3/16" = 1'-0" 14. GLASS FRAME MEETING STILE 15. STEEL STUD WALL WITH WALL FINISH 6-6/8" 16. PRIMARY STEEL I BEAM 17. METAL CHANNEL SECTION HOLDING UP THE CEILING 6" DEEP 18. CEILING FINISH 19. SECONDARY STEEL I BEAM 20. SOFFIT 21. WHITE PAINTED ALUMINIUM SHEET FASCIA 22. METAL PLATES ATTACHED TO BEAM HOLDING UP FASCIA 23. SUB FASCIA 24. FASCIA PROFILE FRAME 25. STEEL PLATES HOLDING UP THE FASCIA PROFILE CONNECTED TO THE SUBFASCIA 26. GUTTER GRATE 27. SHEET METAL GUTTER 28. DOUBLEPANE LAMINATED GLASS FOR BETTER THERMAL INSULATION 29. FLOOR SUPPORT 30. FLOOR 31. CONCRETE SLAB OVER METAL DECK 6" 32. CONCRETE ROOF SLAB OVER METAL DECK 6" 33. ROOF 6" INSULATION 34. ROOF MEMBRANE 35. CONTROL JOINT AT COLUMN

K

2'-0"

1'-0"

SCALE: 1/8" =

8 9 1 1 1 1 1

5'-0"

DETAIL ELE.

KEY PLAN

1 A502

PLAN SCALE: 3/16" =

1'-0"

5'-0"

SCALE: 1/8" =

2 A502

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27'-0"

SECTION

2 A502

DETAIL ELE.

1'-0"

5'-0"

4 A502

SCALE: 1/8" =

5'-0"

SECTION

5'-0"

KEY 1. WOODEN PILES 2.

CONCRETE FOUNDATION KEY 7.34 FLOOR FINISH 1.

WOODEN PILES7/8" 33 8.

BOX SECTION HOLDING UP THE 2.32 CONCRETE FOUNDATION DOOR PIVOT HINGE 7. FLOOR FINISH 7/8" 9. DOOR PIVOT HINGE HOLDING UP 8.

BOX SECTION HOLDING UP THE THE CURVED DOOR PIVOT GLASS HINGE ON BOTH ENDS. 10.

STEEL THRESHOLD 9. DOOR PIVOT HINGE SECTION HOLDING UP 11. CURVED GLASSENDS. THE CURVEDLAMINATED GLASS ON BOTH 12. STEEL STEEL THRESHOLD COLUMNS 6"SECTION X 5" 10.

13.

L SECTION ATTACHEDGLASS TO THE 11. CURVED LAMINATED COLUMN 12. STEEL COLUMNS 6" X 5" 14. GLASS FRAME MEETING 13.

L SECTION ATTACHED TOSTILE THE 16.

PRIMARY STEEL I BEAM COLUMN A 20.

28 SOFFIT 31 14.

GLASS FRAME MEETING STILE 21.

PAINTED 30 16. WHITE PRIMARY STEEL IALUMINIUM BEAM SHEET FASCIA 29 20.

27SOFFIT 22.

METAL PLATES ATTACHED TO 21.

26 WHITE PAINTED ALUMINIUM BEAM HOLDING SHEET FASCIA UP FASCIA 23.

SUB FASCIA 22.

25 METAL PLATES ATTACHED TO 24.

FASCIA PROFILE FRAME BEAM 24 HOLDING UP FASCIA 25.

PLATES HOLDING UP THE 23 STEEL 22 23.

SUB FASCIA FASCIA PROFILE TO 21 CONNECTED 24. FASCIA PROFILE FRAME 20 THE SUBFASCIA 25. STEEL PLATES HOLDING UP THE 26. GUTTER GRATE FASCIA PROFILE CONNECTED TO 27.

METAL GUTTER THESHEET SUBFASCIA 28. GUTTER DOUBLEPANE 26.

GRATELAMINATED GLASS FORSHEET BETTER THERMAL INSULATION 27.

METAL GUTTER 11 29.

FLOOR SUPPORT 28. DOUBLEPANE LAMINATED GLASS 14 30.

FORFLOOR BETTER THERMAL INSULATION 13 31.

CONCRETE SLAB OVER METAL 29. FLOOR SUPPORT DECK 6" 30. FLOOR 32.

CONCRETE ROOF SLAB OVER 31. CONCRETE SLAB OVER METAL METAL DECK 6" DECK 6" 33.

ROOF 6" INSULATION 32. CONCRETE ROOF SLAB OVER 34.

ROOF MEMBRANE METAL DECK 6"

4 A502

H-02

H-01 2

1

6 5

4 3

DETAIL-ELEVATION

DETAIL-SECTION

H-02 DETAIL-ELEVATION 2'-8 1/8"

ELEVATION

SECTION

SCALE: 1/4" =

1'-0"

SCALE: 1/4" =

SCALE: 1/4" =

1'-0"

ELEVATION

1'-0"

PLAN SCALE: 1/4" =

ARCH 5671 PARITA BABU

5'-0"

GLASS PAVILION, VENICE, ITALY 1'-0"

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PARITA BABU GSPublisherVersion 0.95.100.100

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10 l Glass Pavilion

5'-0"

2'-3 7/8"

15'-0"

GLASS PAVILION, VENICE, ITALY GLASS PAVILION, VENICE, ITALY ARCH 5671

D

S

4 A502 4 A502

SECTION SCALE: 1/8" =

2 A502

1'-0"

10

KEY

9

8. BOX SECTION HOLDING UP THE DOOR PIVOT HINGE 9. DOOR PIVOT HINGE HOLDING UP THE CURVED GLASS ON BOTH ENDS. 11. CURVED LAMINATED GLASS 12. STEEL COLUMNS 6" X 5" 13. L SECTION ATTACHED TO THE COLUMN 14. GLASS FRAME MEETING STILE 16. PRIMARY STEEL I BEAM

8

7

8

KEY PLAN

SECTION SCALE: 1/8" =

1'-0"

2 A502

DETAIL ELE.

1 A502

PLAN

SCALE: 1/8" =

1'-0"

DETAIL ELE. SCALE: 1/8" =

1'-0"

KEY 7. FLOOR FINISH 7/8" 8. BOX SECTION HOLDING UP THE DOOR PIVOT HINGE 9. DOOR PIVOT HINGE HOLDING UP THE CURVED GLASS ON BOTH ENDS. 10. STEEL THRESHOLD SECTION 20. SOFFIT 21. WHITE PAINTED ALUMINIUM SHEET FASCIA 22. METAL PLATES ATTACHED TO BEAM HOLDING UP FASCIA 23. SUB FASCIA 24. FASCIA PROFILE FRAME 25. STEEL PLATES HOLDING UP THE FASCIA PROFILE CONNECTED TO THE SUBFASCIA 26. GUTTER GRATE 27. SHEET METAL GUTTER 28. DOUBLEPANE GLASS FOR BETTER THERMAL INSULATION 1 LAMINATED PLAN A502 29. FLOOR SUPPORT SCALE: 3/16" = 1'-0" 30. FLOOR FINISH 31. CONCRETE SLAB OVER METAL DECK 6"

KEY PLAN

SCALE: 3/16" =

1'-0"

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28 16

31 9

8

11 12 13 14

16

27 26

30 29

8

11

25 24 H-02,03

23

H-03

22 21

DETAIL C

SCALE: 1"

DETAIL-ENLARGED

DETAIL-PLAN

=

1'-0"

DETAIL A SCALE: 1"

=

1'-0"

GLASS PAVILION, 20 VENICE, ITALY

GLASS PAVILION, VENICE, ITALY

ARCH 5671

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LARGE SCALE AXONOMETRIC

PARITA BABU

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11 l Glass Pavilion

TECTONIC SECTION MODEL

12 l Glass Pavilion

CONTEXTUAL MODEL

13 l Glass Pavilion

Art District Theatre Subject in Diploma: Integrative Design Studio - I Spring 2021 Type: Academic, Theatre Location: Los Angeles, California

The project addresses site and context by providing the artists and people of art district a stage to perform and engage in the different enclosure.

The experimental theatre on the ground level is oriented to the street, where scaffolding veil with cantilevered café covers the theatre space below.

Participative nature of the experimental theatre is expressed through completely open to public making it easily accessible.

14 l Art District Theatre

MODULE FORMATION

SCAFFOLDING FORMATION

METAL PIPE

METAL PLATES WELDED ON THE PIPE CONNECTOR PLATES

METAL PLATES WELDED ON THE PIPE

VERTICAL CONNECTIONS

HORIZONTAL CONNECTIONS

METAL PLATES WELDED ON THE PIPE

METAL PLATES CONNECTED WITH NUT AND BOLT

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15 l Art District Theatre

ARMATURE FOR THE INTERIOR WALL ARMATURE FOR THE CURTAIN WALL

C SECTION PLATES BOLTED ON THE PIPE

CURTAIN WALL FRAME ATTACHED TO THE C SECTION PLATE

PANEL SUPPORT BRACKET

ACOUSTIC PANELS OR WALL PANELS

6'

GLASS PANELS (BASED ON THE TRANSPARENCY REQUIRED BY THE PROGRAMME)

6'

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The interlocked metal pipe elements form a tetrahedron shaped modules which are held in place by welded metal connector plates, which provides the planes, scale and dimensions for other modules. The scaffolding and armature create a cogent system which is used to create different building elements like floor, walls, columns, beams, truss on to which the panels with varying transparency gets mounted on.

16 l Art District Theatre

TYPICAL WALL MODULE

ARMATURE FOR THE FLOOR

ARMATURE FOR THE CEILING FLOORING FURRING

MODULE

MODULE

ANGLE BRACKET CEILING GRID SUSPENDED CABLE

SUSPENDED LIGHT

ACOUSTIC PANELS (FOR REFLECTION)

CARPET / FINISH FLOORING

OPAQUE MATERIALS

ACOUSTIC UNDERLAYMENT ACOUSTIC MAT FLOORBOARD

METAL FURRING

MODULES

CEILING GRID

MODULES ANGLE BRACKET ACOUSTIC PANELS (FOR REFLECTION) SUSPENDED CABLE

TRANSPARENT MATERIALS SUSPENDED LIGHT

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The scaffolding gives opportunity to carve out volume of the theatre spaces at the same time provides a zigzag geometric plane onto which recital hall shell and gets its formation. In some areas (gathering space and experimental theatre) the building reveals its complexity with the scaffolding and armature, allowing the public to peep/look into and out through scaffolding.

17 l Art District Theatre

LVL 00

18 l Art District Theatre

LVL 01

19 l Art District Theatre

SECTION 01

20 l Art District Theatre

SECTION 02

CUTAWAY AXONOMETRIC

SECTION - POCHE - FRAME - VOLUME

21 l Art District Theatre

Deviation Subject in Diploma: Design Studio + SWITCH competition, Fall 2020 Type: Academic, Pavilion Location: Hyde Park, London Recognition: TOP 30

The design of the winter pavilion focuses on deviating from the prescribed existing order to form a more interactive and flexible space.

The pavilion is strategically placed between two parallel trails allowing visitors to deviate from multiple directions and discover the pavilion space. Experiential deviated paths lead the visitors to nouveau activities through the creation of positive and negative spaces on the curved path allowing visitors to pause and be immersed in the moment as well as acting as a place for gathering. Central spaces strive to create a sense of community, becoming the node for normative activities, through programs such as a Christmas tree grove, amphitheater, pop-up shops, a viewing

deck, and a local artist sculpture court.

In collaboration with Tuyen Lemai

22 l Deviation

23 l Glass Pavilion

Site Justification The reason behind the choice of this site was to have a site which overlooks serpentine lake as well as has public amenities nearby.

All the public amenities like car park, cycle park, water fountain n public toilets are within 5 min radius. And there are vehicular and cycle routes nearby which makes the site easily accessible.

There are different entrances to the site like from the Parking, from Lookout at the Hyde and from the serpentine trail.

While parking and look out at Hyde park entry is more covered with foliage. The entry from the serpentine trail has more opened up view, which was later incorporated into the design.

24 l Glass Pavilion

25 l Glass Pavilion

FORM INTERVENTION Circular form deviates from the rigid trails.

EXPERIENTIAL PATHS Organic pathways formed through tangential circles.

DEVIATION from the existing trails.

INFORMAL GATHERING A spatial composition for social interaction/gathering.

1. CHRISTMAS TREE GROVE DECORATED BY COMMUNITY

2. AMPHITHEATER

INCLUDES POP-UP SHOPS

2 NORMATIVE ACTIVITIES

4 1

OVERLOOKS SERPENTINE LAKE

4. SCULPTURE COURT

EXHIBITION BY LOCAL ARTISTS

PAUSES

3

26 l Glass Pavilion

3. VIEWING DECK

27 l Glass Pavilion

Elevation

28 l Deviation

Section

29 l Deviation

Amphitheatre

While sitting and watching performances in the amphitheatre one can still be connected with nature, with a direct view of the serpentine lake or upwards towards the sky through the oculus. It creates opportunities to star gaze at night.

Visitors can stay in the amphitheatre or continue their journey upwards towards the viewing deck through ramp.

Amphitheatre

30 l Glass Pavilion

Viewing Deck

Sculpture Court

From the viewing deck, the front of the pavilion is an ideal place that overlooks the serpentine lake and other side of Hyde park with the cityscape of London in the background. A perfect place for pictures.

The sculpture court hosts local London artist who are less known, becoming a place for hidden talent to be showcased. With multiple ramps at different levels, the experiential journey of the visitor is different each time.

31 l Deviation

23, Chestnut Street Subject in Diploma: Design Studio, Fall 2020 Type: Academic, Housing Location: Boston, USA

The design of the housing project 23, Chestnut Street is located in the historical neighborhood of Beacon Hill, Boston.

Reflective Panels in the facade was used to allude to the idea of borrowing from the landscape.

The structure creates its own identity in the historical neighborhood at the same time gets immersed into it. Reflective Panel soaks in the brick from the adjacent wall and the opposite building letting the building blend in the neighborhood.

32 l 23, Chestnut Street

33 l Glass Pavilion

SITE SITE PLAN PLAN

User Group: User Group:

SUN SUN PATH PATH

N N

SUN STUDY SUN STUDY

N N

SUN SUN STUDY STUDY

Higher End Single family and Bachelors Higher End Single family and Bachelors

SITE SITE

User User Group: Group:

APRIL

JULY

OCTOBER

JANUARY

APRIL

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APRIL APRIL

JULY JULY

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JAN 10:00 AM

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JAN JAN 10:00 10:00 AM AM

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JAN 01:00 PM

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Higher Higher End End Single Single family family and and Bachelors Bachelors

N N

SITE SITE

JANUARY

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Design development: The challenge was to design typologies between narrow patch of 25ft x 80 ft. with enough daylight intake and livable spaces.

Building form was majorly influenced by a year-around sun study. Built mass around axis was explored but keeping the space at the left - front facade open to let sunlight in.

Mirrored continuous form, with pushed top edge and a lift at the ground level helps to let light in at the second right void. Later, the whole form gets developed through gradual vertical shift away from the street. Street noise into the units is reduced because of the gradual buffer created through vertical shift on levels.

The main reason to choose mirrored continuous form is to

give the structure characteristic of weaving between the two adjacent walls.

34 l 23, Chestnut Street

35 l Glass Pavilion

Groundfloor plan

36 l 23, Chestnut Street

Firstfloor plan

Secondfloor plan

Thirdfloor plan

37 l 23, Chestnut Street

Section

38 l 23, Chestnut Street

Lift in the front facade to let sunlight in at the ground level

Vertical gradual shift

Weaving the structure between the two adjacent walls

39 l 23, Chestnut Street

Bridging the gap Subject in Diploma: Design Studio - Dissertation, 2017 Type: Academic - Urban design Location: Bharuch, India

Human society, a city grid forms near River, always present in all stages of the human journey. Water is symbol of regeneration, fertility, purification, and transformation. In India scriptures there’s been lot of importance given to river, comparing them to goddess, and many Indian rituals revolve around river.

Cities separated generated by a river and bridges are the vital part that connects and integrate ends. More often, a bridge is used as a method of crossing from point A to point B. Rarely, a bridge is thought of a bit individually. It is built for more than its connective properties. They receive a dual purpose beyond the role of transport and become not the only connection of both the edge physically but also the cultural and social link, binds places in ingenious way. It can be classified in two ways.

1.The bridge as a way to get from point A to point B. (function-oriented) 2.The bridge as a destination in its own right that happens to span the river. (placemaking).

Perhaps the greatest criteria in the bridge as a public space that should be evaluated on are how it ties into the city to draw the public in. An important question becomes: what does the bridge rely on to attract people to it? Is it just a crossing that happens to have a secondary program attached? Or is it something more cohesive?

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direction of the growth

Bharuch city : Site Justification Bharuch, previously known as Broach, is a city at the mouth of the river Narmada in Gujarat in western India. Bharuch city and its surroundings have settlements since times of antiquity.

direction of the growth

BHARUCH CITY

SARDAR BRIDGE

PROPOSED BRIDGE GOLDEN GATE BRIDGE

NARMADA RIVER

NARMADA RIVER

direction of the growth

ANKLESHWAR CITY

Current framework Inadequate area for Public and Recreational activity.

The function burdens the street in the evicinity with its inherent traffic.Its dense fabric makes the site unsuitable for any large commercial or any programmatic establishment.

City is growing on the other side (northward) totally neglecting river. On the other hand, Ankleshwar (Heavily industralized) is extending towards river.

direction of the growth

Urban fabric The situation offers little scope of creating large open space (which the city lacks) within the existing fabric.

To ease congestion in the particular area of the city, by developing open spaces along the riverfront and creating balance between grain distribution by introducing larger blocks in the cluster of small ones.

Linkages Creating porosity in the existing fabric, and proposing the new linkage and making it more accessible to the city.

Landuse Finding solution for landuse on the river front. The river bed becomes dividing line in the city fabric, an area lacking of any activity or purpose and area without character.

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Cap ste act ach tha wh for

Obje A ge mak An a the c touri expl

Scop A pla givin the n Prop vehic grid acco gree Iden edge only Prop the e

pitalize on this otherwise erile land and generating tivity on it in the hope of hieving the larger objective at of “Weaving the city”, hile releasing the bottle neck

“Weaving the city” Mood board for elevation structure and the spatial arrangement over the River chasm.

the leap frogging of the city.

ective: esture to direct the growth of the city and ke it aware of the natural element river. archetypical programme that magnifies connectivity of the residential, commerce, ism, and cultural with the space to lore and celebrate the Narmada river.

pe of project: ace that attracts a crowd to the site ng the opportunity to relax, gather, play at new edge of the city. posing a pedestrian way as well as cular linkage extending from street across the river on a raised level ompanied by recreational activities and en space. ntifying a potential site along the river es and transforming the active nodes into y ‘points of entry’ to the riverfront. posing linkage and connections on both edges of the river, reworking the riverfront

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RIVERWALK LOOP RAISED DECK LOOP TOWARDS BRIDE

View from the raised deck

Connections

1. Raised Lawn

2. Viewing deck

3. Towards viewing deck/Promenade

4. Stepped Seating

5. Promenade

6. Slopping Garden

7. Boardwalk Plaza

8. Seating near Boardwalkplaza

9. Public Toilet

10. Narmada Ghat

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RIVERWALK LOOP TOWARDS BRIDE

View from the lawn

Connections

1. Pond

2. Riverfront Morning Bazaar

3. Amphitheater/Gathering Space

4. Stepped Seating

5. Promenade

6. Stepped Seating under the Bridge

7. Riverwalk Park

8. Pocket Park

9. Gazebo Seating

10. Walkways around the Park

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RIVERWALK LOOP PROMENADE LOOP TOWARDS BRIDE

View from the lawn

Connections

1. Bridgewalk

2. Seating

3. Seating

4. Bridgewalk

5.Bridge Bazaar

6. Food Park

7. Stepped Seating

8. Bridgewalk

9. Stepped Seating

10. Bridgewalk

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“A place you want to go to, a way of getting t

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there, and a way of going somewhere else.”

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Ephemeral Installation Subject in Diploma: Type: Location: Recognition:

Professional Practice, 2015 Installation Ahmedabad, India GIHED : Best Stall design Award 2015

The location of the installation was at one of the biggest real-estate exhibitions in Gujarat, the GIHED Property Show 2015. The challenging part was to design an installation within the duration of 2 week.

Design process incorporating parametric elements was done in grasshopper and converted to small scaled 3D model. I got the opportunity to work on execution and detailing in great depth.

The idea was to put a levitating screen to frame viewer’s field of vision and to create curiosity to enter the space. As the viewer enters space, they get taken a back with extruding surface which was screened earlier. The table and seating coming out of the wall planes alludes to the idea of flowing nature.

It garnered lot of positive reviews from the visitors and was awarded by the organizers as the “GIHED Best stall design - 2015”.

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SAANVI NIRMAN

SECTION AA'

FRONT ELEVATION

C

D'

RECEPTION

SCREEN 4

LOUNGE

A

B'

A'

B

SCREEN 1

EXIT

SCREEN 2

SCREEN 3

C'

ENTRY D

SCREEN 1

SCREEN 2

SECTION BB'

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SCREEN 3

SCREEN 4

SECTION CC'

SECTION DD'

FLXBL DESIGN CONSULTANCY PVT. LTD. 304+305 GALA MART NEAR SOBO CENTER OFF S.P. RING ROAD SOUTH BOPAL (SOBO) AHMEDABAD 380 058. INDIA

WWW.FLXBL.IN T +91 982 442 3333 E studio@flxbl.in

GIHED STALL No. 10 AHMEDABAD . INDIA

REVISIONS

DRAWN BY DATE

PB 01.10.2015

NOT TO SCALE

N

A 1 0 .

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Working drawing set Subject in Diploma: Type: Location:

Professional Practice, 2015 Housing Ahmedabad, India

During the professional practice, I worked primarily on preparing construction drawing sets for ongoing Housing Projects. Task involved preparing a complete set of construction drawing including base layout, working floor plans, furniture layout, to electrical layout.

Tasks also involved making study renderings to test material combinations and site visits to verify as-built specifications.

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Miscellaneous Type: Photography, Murals, Painting, Sketches Duration: 2017-2019

A collection of places, moods, and thought processes articulated through different art forms and media.

Mural designed and executed on 13ft. long wall

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THANK YOU