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P R A S H A N T N A R A Y A N


PRASHANT NARAYAN The University of Texas at Austin

B. Arch / B.S. Architectural Engineering, 2018 RESUME

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DESIGN WORK Austin AMTRAK Station UT School of Architecture

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SPECULATIVE PROJECTS Amassing Fundamentals

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Cellular City

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Bosch’s Atlantis

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PROFESSIONAL WORK Sydney Fish Market

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Biennial Paintings

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Lyft HQ / Nickelodeon

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Living Wall Research

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P RASHANT NARAYAN 2 Cornerstone Way Livingston, NJ 07039 214-597-0058 prashant.narayan.9999@gmail.com

EDUCATION THE UNIVERSITY OF TEXAS AT AUSTIN / MAY 2018 Bachelor of Architecture Bachelor of Science in Architectural Engineering SKILLS / Digital Python, Rhinoceros with Grasshopper and VRay, Revit with Dynamo, 3DS Max with VRay, AutoCAD, SAP2000 Adobe Photoshop, Illustrator, InDesign, Premiere Pro Tactile Laser cutting, CNC milling, 3D printing, plastic welding and forming, model making, hand drafting and sketching, oil and watercolor painting WORK EXPERIENCE 3XN / GXN / COPENHAGEN, DENMARK / INTERN / AUGUST 2017 - JANUARY 2018 Interned in the research and development arm of an international firm focused on large scale cultural and civic projects Sydney Fish Market - schematic design for a large-scale open-air market near Wentworth Park helped develop sustainability strategies from a conceptual level into detailed design conducted various environmental analyses on the Sydney Fish Market including radiation, wind, and rainwater flow using Grasshopper created an entire retail density package that simulated population densities using visitor data from other open-air market typologies designed landscape elements to treat and filter stormwater in the surrounding context researched technical literature to generate data inputs for simulations and analysis Miscellaneous work for a residential tower, a children’s school, a pavilion, and a sports authority office, in various phases produced diagrams and graphic inputs for competitions, as well as renderings for publicity and social media digitally modeled and iterated material studies, including panelization OTA+ / AUSTIN, TX / INTERN / MAY - JUNE 2017 hand-painted digital renderings to be exhibited in the Malaysia Biennial: Medini Iskandar 100 Year City, eventually sent to the Venice Biennale created detailed digital models of a single-family residence

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STUDIOS ARCHITECTURE / SAN FRANCISCO, CA / INTERN / MAY - AUGUST 2016 Schematic design for an interior office renovation for a tech company in San Francisco, CA created multi-phase programming diagrams in Revit, allocating space to various internal teams Construction administration for an animation and media company in Burbank, CA catalogued and organized interior finish materials to be sent to the contractor and edited construction drawings Conceptual design for a large office complex for a tech company in Mountain View, CA developed and iterated a variety of programmatic arrangements and massing schemes in Rhino that were presented to city planners


WORK EXPERIENCE THE UNIVERSITY OF TEXAS AT AUSTIN / AUSTIN, TX (contd.) GREEN WALL RESEARCH ASSISTANT / SEPTEMBER 2015 - MAY 2016 fabricated and tested living wall design and technology systems to be installed on the Architecture Building as part of the Green Wall project, a collaboration with the Lady Bird Johnson Wildflower Center used advanced fabrication techniques such as CNC routing and plastic welding to make hexagonal planters sourced materials from local suppliers and fabricators created a script in Dynamo that corresponded bitmap patterns to hexagonal grids, linked to plant ecology and water consumption SKYSPACE ATTENDANT / SEPTEMBER 2014 – MAY 2015 maintained the condition of a work of public art by prominent Minimalist James Turrell educated visitors about the Landmarks Public Art Program as well as the work of art and its upkeep SOL LEWITT DRAWING DRAFTER / APRIL 2014 helped create a large scale wall drawing as visualized by conceptual artist Sol LeWitt the resultant piece was shown in the Blanton Museum of Art as part of the exhibition “Converging Lines: Eva Hesse and Sol LeWitt” NASHER SCULPTURE CENTER / DALLAS, TX / TEACHING ASSISTANT / JULY 2013 provided architectural design critique as well as admissions advice and mentorship to high school students educated students on architectural design process through the development of lesson plans and group activities PUBLICATIONS/ ISSUE: 010 / SPRING 2014 EXHIBITIONS “Patterned Wall” project included in an annual publication of architecture student work at the University of Texas at Austin UNTITLED 2014 / SPRING 2014 gouache paintings displayed in an exhibition by the Undergraduate Art History Association at the University of Texas at Austin VENICE BIENNALE / 2018 paintings of the “Cellular City” project for Medini Iskandar 100 Year City to be exhibited at the Venice Biennale LEADERSHIP AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS MEMBER / FALL 2012 – PRESENT AIA LIAISON / FALL 2014 – SPRING 2015 coordinated with the local AIA Austin chapter to organize an annual student art auction, including graphics, social media, and contacting over 100 local firms THE UNIVERSITY OF TEXAS SCHOOL OF ARCHITECTURE / STUDENT MENTOR / FALL 2013 – SPRING 2015 assigned first year dual-degree mentees to give advice on adapting to college, workload, and assignments; provided design critique as well as career and academic guidance AWARDS LANCE E. TATUM ENDOWED SCHOLARSHIP / FALL 2013 WAGNER SCHWING ENDOWED PRESIDENTIAL SCHOLARSHIP IN ENGINEERING / FALL 2017 - SPRING 2018

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DESIGNWORK

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AUSTIN AMTRAK STATION Spring 2015 Michael Hargens (Critic) Austin’s undersized AMTRAK station - on a compellingly narrow site - allowed for projects that considered urban growth, infrastructure, and speculative projections on the future of rapid transit. This rigorous “sound building” studio was a culmination of previous lower level studios; students were required to propel designs to a high level of resolution, including coordination between mechanical and structural systems. This project was concerned with creating walkable space along and across the tracks and providing supporting programs that could adequately claim the narrow site profile. The site was imagined not only as a transit hub between Austin and surrounding major metropolitan areas, but also as a retail destination that could service the greater Austin downtown area. A significant amount of the site was devoted to retail program. Schemes were developed through extensive hand modeling, then refined and detailed in Rhino and 3DS Max with support from Grasshopper.

left: the project is clad in a series of reflective panels that bounce light around the site opposite: the site rests at the edge of the emergent Seaholm District in downtown Austin 6


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Connectivity and safety issues involving crossing the track at grade were resolved by tunneling underneath the train tracks; retail and supporting programs were oriented along the south side of the tracks. The ground was manipulated to mediate between these tunnels and the existing level of the tracks and to facilitate circulation between programs. A skewed 17’ x 12’ grid allowed the design to mediate between conflicting angles of local context. This grid informed the curvilinear geometry of the roof above, the spacing of all structural elements, and the form and placement of all envelopes. The skewed grid lent itself well to dynamic, hexagonal volumes that emphasize movement through the site. Because of AMTRAK’s strict stipulations involving track coverage as well as climate considerations in Austin, a punctured roof was conceived as a way to protect passengers (and shoppers) from rain and sun. Variable fillets and curves allow this roof to mediate topographic changes, as well as contrasting programmatic needs. The size and number of roof apertures were determined by the programmatic needs under the roof; their shape was informed by the same skewed grid that pervaded the whole project. Because this roof required long spans and covered both indoor and outdoor spaces, a truss system was developed to minimize thermal bridging - these trusses thickened and thinned based on span length. The entire reflect light

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project around

was clad in aluminum panels to the underside of the large canopy.


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roof cladding / apertures

the south elevation has a commanding view over Lake Travis 12

roof truss structure


column placement

building envelopes and circulation / egress

ground manipulations

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insulated glass unit, 1” aluminum panels, 2” z-girts rigid insulation, 2” densglass, 5/8” plywood, 3/4” metal framing, 8” gypsum board, 5/8”

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truss detail

detail section


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UT SCHOOL OF ARCHITECTURE Fall 2016 Michael Benedikt with Craig Dykers (Critics) An addition to the existing School of Architecture campus at The University of Texas at Austin poses unique questions, including complex site parameters, projected futures of architectural education, and the relevance of libraries in the digital age. The disparity between the speed of ideas and the pace of architectural production led to an immense frustrated energy, an instinct to tear down all barriers that restrict students from producing whenever they please. An understanding of the increasing importance of digital fabrication technologies and tools preceded the desire for a dynamic, nonstandard formal solution, as well as a visual counterpoint to the formally rigid rules of existing Spanish Renaissance architecture. Because the existing West Mall Building covered Battle Hall’s façade, preventing the passage of light into the historic Reading Room, this project proposed demolishing the building to allow for greater ease of access to the library. The newly exposed façade of Battle Hall would then need to be shielded from western exposure, but kept free from complete obstruction. The space between Goldsmith Hall and Battle Hall is an important corridor of circulation for the greater campus - this motivated an interest in natural light and porosity, to prevent oppressive darkness under the project.

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left: the underside of the project maintains porosity


to Goldsmith, second floor

to Sutton Hall

to Goldsmith, second floor to Goldsmith, ground floor

to Battle Hall

to West Mall

above: the project maximizes programmatic connectivity right: massing model illustrates the project’s ribbonlike qualities

A series of connections established a grid that controlled and rationalized every formal gesture. The project emerged from this grid as a series of vectors that programmatically and spatially extend the existing buildings on the site, thickening and thinning based on adjacencies or overlaps. The resultant project is exceptionally porous, dynamic, and complex, as each floorplate is unique and all paths are streamlined. Existing resources, such as the historic Battle Hall library, the Visual Resources Collection, and the Materials Lab are linked and integrated together in one central connection. Studios, meeting spaces, and offices are oriented along circulation routes, lending an informal connectivity to the School of Architecture. Computer labs and laser cutters are distributed throughout the project for ease of access. A design/build studio is directly accessible from West Mall, putting the newly acquired robot arm directly on display, and signaling the School of Architecture as a forward-thinking center for technological innovation in the built environment.

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straight lines fillet and bend where they meet; details like floor patterns and furniture placement align with circulation paths 19


top, transverse section: the new extension is clad in a series of louvers, twisted to face north and optimize daylight for studio spaces, creating a moire effect bottom, longitudinal section: ribbons of space mediate between different levels, linking the entire campus 20


interior rendering of a studio space on the second floor depicts the alignment of program with circulation flows, situated within an undulating ribbon that links topographic changes between existing buildings 21


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SPECULATIVEPROJECTS

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AMASSING FUNDAMENTALS Fall 2014 Kory Bieg (Critic) This studio was focused on the creation of radically complex forms as well as well as their fabrication; constant evaluation of fabrication processes as well as the study of emergent theories such as “objectoriented ontology” led to an extremely nonlinear exploration of form, construction, and material. In the first form, considerable complexity was developed through multiple iterations of symmetry parameters. Subsequent forms responded to the first, exploiting or subverting geometric relationships. Softer, rounder forms settled into the harder, skeletal lines of the first. A pattern was developed by flattening and extruding the resultant voids.

left: rendering developed to test a reflective metallic material opposite: fabrication exercises; stacked masonite layers interspersed with plexiglass, and “butterfly” joints (developed in Grasshopper) of stitched together chipboard 26


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top: form generation in 3DS Max, developed through multiple iterations of symmetry from a twisted torus middle: unfolded pieces with “butterfly� joints bottom: stacked pieces axonometric with a cataloguing system 28


Experiments with fabrication involved unrolling a digital model into a series of unfolded surfaces, leading to the development of “stitching” patterns and “butterfly” joint shapes through Grasshopper scripting. Further exploration led to a series of section cuts of stacked material, through which more complexity was developed through materiality; randomly interspersed layers of plexiglass provided transparency through charred masonite layers. The structural instability of this approach led to the use of wire as compressive support. Renderings emerged from this process as a means to visualize alternative materials; these were developed in V-Ray for 3DS Max. 29


The finished model was constructed out of charred lasercut masonite, plexiglass, and folded chipboard, then supported by steel wires attached to a masonite board. A complex pattern was base which grounded the a purely symmetric form; voids of the model itself, 30

developed in Grasshopper for a model and provided orientation to the lines were derived from the then tweened and filleted together.


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MEDINI 2117: CELLULAR CITY for Malaysia Biennial: 100 YC, Spring 2017 Kory Bieg (Critic) Developed for the Malaysia Biennial: Medini Iskandar, 100 Year City, this studio was interested in projecting technologies to a hundred-year conclusion and speculating on their effects on the built environment - namely, the composition and organization of the city. A coherent field responds to external forces site geometry, transportation networks - while maintaining the autonomy of its constituent cells. A hexagonal grid, chosen for its ideal cellular structure and all-round connectivity, is warped to create an artificial landscape suspended over the true topography. Patterns developed from this grid create internal complexity while correlating to one another and the larger whole; this is a city of autonomous continuity. The city is stratified. The existing landscape occupies the lowest level, largely free of constructions and traversed by public transportation. The hexagonal grid, elevated a hundred feet in the air, forms a scaffold from which all buildings are built or suspended. Buildings and megastructure descend below the scaffolding to touch the landscape and connect to public transportation.

left: plan shows the variety of layers and their overlaps with one another - pedestrian networks slice through zoning envelopes to create non-standard parcels opposite: axonometric shows each layer of the city 32


zoning envelopes

Large hexagons are further subdivided into triangular land parcels to allow for more internal complexity within each cell. The city is extremely walkable, with public transportation terminals evenly interspersed throughout the grid and pedestrian traffic completely separated from other modes of transport. A second scaffold consisting of a network of elevated pathways traverses the entire city, allowing the city to be navigated on multiple levels and allowing for nonstandard connections in increasingly dense zones. Zoning clusters, formed by the intersection of high speed public transportation networks, bleed into one another to allow for programmatic complexity. “Hills” are occupied by hyperdense housing typologies, while “valleys” are inhabited by wider expanses filled with public and commercial buildings. Public space intersperses throughout these programs, while voids in the grid allow glimpses of public transportation networks and the natural landscape below.

elevated pedestrian pathways

hexagonal scaffold

public transportation

existing topography and water

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The artificial landscape slopes to meet the strait bordering Singapore. Rising sea levels allow for water to infiltrate into the natural grid, positioning the city as a major shipping hub. This masterplan was chosen as the strategy around which the whole studio was structured, and ultimately formed the basis of the submission to the Biennial.

left: various levels of occupation are possible in a vertically stratified city opposite: plan shows how zoning parcels expand and contract according to transportation networks 34


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Individual parcels were then populated with projected assumptions about future programs. New methods of form generation were explored in 3DS Max, with an interest in new composite structural systems dependent on continuity. Considering the majority of the Malaysian population is Muslim, a mosque and its attendant programs were selected to be speculated upon - a hundred years into the future. Extrapolating on the forms of “shells” and “minarets” led to the development of continuous shell structures, which morph between two opposed formal languages. A series of assembly spaces are arranged in a low-lying undulating shell, nested into various grottoes like a collection of cocoons. This is attached to a tower-like form, which now functions as a vestigial minaret; like the mosque complex in Mecca, various auxiliary and commercial programs are folded into the tower. These are joined by twisting atria that puncture through the envelope and allow for unenclosed space within the interior of the tower. Hand-painted digital renderings for this phase of the project were submitted to the Malaysia Biennial as part of the exhibition “Medini Iskandar 100 Year City.” The exhibition is now slated to be displayed at the Venice Biennale.

left: hand-painted digital renderings explore new methods of representation right: various complex programmatic adjacencies emerge in plan 37


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BOSCH’S ATLANTIS for Inside Utopia, Spring 2016 Nerea Feliz (Critic) Peter Cook’s “Veg House” explores the relationship between natural and manmade forms through the stage-by-stage growth of a house infiltrated with plant life. However, a more evolved examination of our relationship to nature yields a more nuanced outlook; rather than a manmade building constructed in opposition to nature, we have the capability to make our buildings of nature. Recent advancements in synthetic biology, materials science, additive manufacturing, and computational geometry have allowed “natural” materials to be utilized in architectural applications. Building construction is no longer conceived of as discrete assemblies of flat parts - rather, entire components can be grown as a single piece, performing in multiple ways through variations in material properties. Coral structures can exhibit architectural qualities through continuous variation and differentiation of surface textures with varying performative qualities. Because coral is calcium carbonate, it essentially performs like limestone. At one thickness, the coral can screen; at another, it can perform as pure thermal mass. A drawing imagining the interior of Peter Cook’s “Veg House” shows the various stages of coral growth through the house’s lifetime, as coral textures gradually take over the house and take on more performative characteristics. Over time, coral ornaments cover every surface and the house becomes a thick, encrusted grotto. 40


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PROFESSIONALWORK

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SYDNEY FISH MARKET for 3XN / GXN August 2017 - January 2018 3XN team: Audun Opdal, Fred Holt, Enlai Hooi, Andrew Le, Zi Shin Low, Laila Feldthaus, Tobias Gagner, Zvonko Vugreshek GXN team: Lasse Lind, Luca Breseghello (past), Piotr Zalewski (past), Prashant Narayan Slated to be the largest fish market in the world, the new Sydney Fish Market was commissioned to replace the existing Fish Market on the neighboring site while expanding facilities. With a prominent location near the Sydney harbor, the building has the capability to act as another landmark project in the city. Significant portions of the project were devoted to retail and dining space, as well as recreational activities in the surrounding landscape. 3XN’s competition entry was conceived as a “village,” where a series of separate volumes were unified in a singular composition. As the scheme progressed, this unifying gesture became a massive undulating roof, rising and falling to cover various “pixelated” rectilinear enclosures. Large, sweeping stair and landscape gestures allow for easy access from various parts of the site. The surrounding promenade is also subject to transformation, filled with recreational programs to knit the Fish Market into nearby Wentworth Park. left: conceptual section showcasing various sustainability initiatives within the Fish Market opposite, left: promenade studies at various stages opposite, center: conceptual exterior wind studies opposite, right: a more detailed design concept for promenade filtration systems 44


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GXN, 3XN’s research and development arm, acted as a sustainability consultant from the inception of the project. Unlike other 3XN projects, GXN provided significant conceptual input in the Fish Market competition entry, and was a major component of the 3XN team. Experiential qualities of the project connected to sustainability and human behavior were key contributions GXN made and undoubtedly helped 3XN secure the project. This led to GXN’s continued involvement and deep engagement with the project into future phases - also an unprecedented dynamic between the two firms. GXN was focused on further developing sustainability initiatives and their design implications. Several small-scale interventions and components were thus brought under GXN’s purview, provided they had a technically performative outcome. GXN was also responsible for specific technical performance metrics of the Fish Market, which led to significantly detailed environmental analysis. Analyses and simulations run on the Sydney Fish Market included radiation, rainwater flow, and wind exposure. Most of these simulations were run using definitions developed in Grasshopper for Rhinoceros. Retail density studies mapped population data from existing open-air market typologies around the world onto the new Fish Market design. This provided the design team with the means to visualize the scale and scope of the project.

opposite: radiation analysis shows the solar exposure of roof geometry at different times of the year right: retail density analysis shows various occupation levels within the Fish Market under different scenarios 47


BIENNIAL PAINTINGS for OTA+, Venice Biennale Submission May 2017 - June 2017 team: Kory Bieg (principal), Chin Daiyiqing, Xiwen Wei, Danae Klingspor OTA+, working with the University of Texas School of Architecture, submitted to the Malaysia Biennial: Medini Iskandar 100 Year CIty as part of a studio within the University. This submission eventually made its way to the Venice Biennale, where it was part of a symposium by the same name. The “Cellular City� masterplan, selected by the studio as the overarching masterplan for submission, was parceled and developed further into buildings at an individual scale. The resultant work, presented as a series of high-quality renderings, was then developed at OTA+ into digital paintings. Similar to traditional methods of painting, each rendering is hand-painted on a digital canvas in Adobe Photoshop using a stylus and digital tablet. Each project exhibited its own unique color palette and speculative vision, though unified by similar stylistic and graphical choices.

left: a vertical hospital scheme by Chin Daiyiqing opposite, left: a museum tower by Xiwen Wei opposite, right: a dense education facility by Danae Klingspor 48


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LYFT HQ / NICKELODEON for STUDIOS architecture June 2016 - August 2016 Lyft HQ team: Melissa Duffy, Kelly Walstrum, Enrique Sanchez, James Zhou Nickelodeon team: Melissa Duffy, Jose Cayrampoma Lyft’s new headquarters, built to correlate with their expanding business, was slated as an adaptive reuse of an existing quarter-mile long building in the China Basin region of San Francisco. STUDIOS was tasked not only with issues of wayfinding and identity, but also the raw accommodation of Lyft’s ever-growing team. A multi-phase construction process thus had to occur concurrently with the movement and coordination of workers in the space. These diagrams, developed entirely in Revit, were an integral component in understanding this complex coordination process. Interior lounges, based on Lyft’s existing quirky brand identity, were also developed to heighten corporate culture and atmosphere. STUDIOS architecture’s work for Nickelodeon in Burbank, CA represented a significant expansion to the existing Nickelodeon campus. Working in the construction phase, a series of change orders, developed entirely in Revit, were necessary to accommodate new data and electrical fixtures.

left: rendering displaying potential interior finishes and furniture arrangements for a lounge in the Lyft project opposite, left: team space allocation diagrams for various phases of the Lyft Headquarters project opposite, right: series of change orders on construction documents for the Nickelodeon project 50


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LIVING WALL RESEARCH for The University of Texas at Austin September 2015 - May 2016 team: Danelle Briscoe (professor), David Sharratt A living wall prototype for a University of Texas parking garage became a complex investigation into sustainable ecology, fabrication, visual programming tools and water consumption. While the team expanded and contracted over the years during this endeavor, the interdisciplinary and multi-dimensional approach dictated by Danelle Briscoe never changed. A series of hexagonal plastic planters were developed for their nesting capabilities, large soil capacity, modularity, and interchangeability. ABS plastic was waterproof, UV resistant, and easy to clean, leading to its selection as the material of choice. When plastic molding was determined a failure for this purpose, components were CNC routed, arranged to minimize waste, then heat folded and welded to a waterproof finish. Investigations into water consumption led to the development of a series of Dynamo and Grasshopper scripts that mapped bitmap patterns to planting configurations. These were then mapped to planting “types” and “families” in Revit, which measured water consumption and other ecological factors in a series of schedules.

opposite, left: an individual hexagonal planter and its arrangement on the living wall opposite, right: Dynamo and Grasshopper bitmap patterns, along with each type in Revit 52


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Prashant Narayan - Architecture Portfolio, Summer 2018  
Prashant Narayan - Architecture Portfolio, Summer 2018  
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