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PORT FOLIO RIDDHESH G H A D I


R I D D H E S H P R A D E E P G

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Architect (B-arch) Graphic Designer

Education: 2017-2018

Kamla Raheja Institute of Architecture and Environmental Studies. (KRVIA)

2011-2012

Patkar Varde College (Grade 11 and 12)

1997-2010

St. Xavier’s high school (Grade 1 to 10)

riddheshghadi@gmail.com riddheshghadi gammat_products +91 9820994725

Address: Plot no.15, Shraddha Building, Happy Home Society, Jaywant Sawant Road, Dahisar (West) Mumbai - 400 068. LanguagesEnglish | Hindi | Marathi

Other interestsSketching, Painting, Theatre, Acting, Writing, Mimicry, Movie Making, Standup Comedy, Reading, DIY Products, Card Desigin for various ocassions, Designing Souvenirs

Professional Expirience: 2017 - 2018 Releasing the new line of Customised products ‘GAMMAT’ with Parth Batavia and Karan Mehta. 2017 - 2018

Teaching assistant for First year at Kamla Raheja Vidhyanidhi Institute of Architecture.

Jan Feb 2018

Art work in collaboration with Karan Mehta for Nadkarni’s Apartment along with Ar. Tushar Mistry.

Feb Mar 2018

Art work with Karan for HAVAS Media Pvt. Ltd.

Nov 2017 March 2018

Worked for Pitch black designs (Set Designing) with Rahul Kurrup.

July - Oct 2017

Freelancing in Graphics beyond for Baarish Date.

July - Oct 2017

Design conceptualising for Mr. Bhadange’s Bungalow.

Jan - April 2016

Freelancing as a Graphic Designer for HALLMARK Engineering Pvt Ltd.


Jan - April 2016

Internship at Studio Eight Twenty Three | Samir Raut, Faizan Khatri and Siddhesh Kadam.

May 2015

Website designing at SAGA | Mayur Gujare & Deval Shah

May 2015

Promoting ‘Matheran Green fest’ held by Art Director Sukant Panighre as an Artist.

May 2015

Stop, Look Go - Dance Workshop

May 2015

Art workshop held by Artist Archana Hande.

May 2013

Summer internship with Ar. Arjun Rathi.

Publications & Exhibitions: 2016 Article SPRAWL to STACK | Published in Reflections 2016 ‘Production of home’with Parth Batavia. 2016

Designed Posters and Banners | for KRVIA Annual Exhibition ‘the production of home’

2016

Guiding First Year Students for the workshop ‘Drawing Narratives’

2015

‘Re-thinking Sewage Treatment Plant’| Published in KRVIA Newsletter 2015.

2014

Conducted Interviews for the book ‘People called Mumbai’

Skills:

Competition:

Autocad

2016

The City and Water’s Edge Participant | Krvia

2015

Sacred Spaces Participant | ACA

Photoshop Illustrator Indesign Model Making

Miscellaneous: Dec 2017

Auditioned for AIB Videos.

July 2017

Anupam Kher’s Actor Prepares.

Hand sketching SketchUp

June 2015

(Learning the process of Theatre Making)

Story telling theatre workshop | Sheena Khalid and Puja Sarup


C O N T E N T S

UNDERGRADUATE PROJECTS 01 Re-designing

07 Spaces within

02 Corridor as an

08 Porous

03 Raw

09 The Produc-

04 Building an

10 Sprawl to

the BMC as a Public Park Undergraduate Thesis. Informal Street 5th year | Krvia

3rd year | Krvia

Annexe Workshop held by Peter Rich.

05 Re-designing

the Sewage Treatment Plant 4th year | Krvia

06 An Icon

2nd year | Krvia

Spaces 1st year | Krvia.

Museum 3rd year | Krvia

tion of Home Designing Posters Stack An Article for ‘The Production of Home’

11 Zoom-in,

Zoom-out Guiding the First year introductory workshop, ’Narratives of Learning’


PROFESIONAL EXPERIENCE

MISCELLANEOUS

12 Framing the

13 Film Posters

Mountains Designing the Bungalow

15 Gammat

Customised Products with Graphics

16 Set designing

TV Commercials, Expositions

17 Sketch the

Process At Graphics Beyond by Baarish Date

18 Logos and

Cards Freelancing for HALLMARK Engineers Pvt. Ltd

19 Fun Republic

Social Internship at Studio Eight Twenty Three.

20 The Glowing Roof

Internship at Studio Eight Twenty Three.

21 Art Work

Interiors for Mr. & Mrs. Nadkarni’s

3rd year | Krvia

14 Real and

Imaginary Skies 2nd year | Krvia


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01. RE-DESIGNING THE BMC AS A PUBLIC PARK Location - Mumbai. The intent of the thesis is to merge the state process of planning the future and local memories/ stories.. The rift between the state planning done by the BMC and the indigenous local narratives of the site needs to be dissolved. The thesis aims to create opportunities where the communities plan and design their neighbourhood’s future, by creating a space where locals and the state (BMC) meet. The local stories of the site give an insight of the past, present and the future. The very act of locals having a say or telling the story of the site, in the planning process becomes a record, device in understanding and arranging chronologically the past, present and the future. Therefore, the thesis calls the merge as the ‘chronicle’ of the site whereby, records of the past, present are discerned to plan the future.


LOCALS MEET THE STATE By looking at various networks of BMC , a program need to be thought of, which needs to merge the publicness and the BMC office. A park ,as a program was envisioned as a measure to introduce publicness. It looks after the park and thereby brings in locals in its environment.

D R A W I N G T H E U T O P I A: The new BMC infused with a public park, was envisioned as a space for chance encounters, overlooking balconies, spaces intersecting each other, etc. fig.1


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fig.2

fig.3


fig.1

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IMAGINING THE UTOPIA ON SITE: To imagine the utopia on site,the forces of the site needs to be ascertained. The metro, the link road, the east west digression road are the major infrastructure forces that can drive the public into the park. Above models are the possibilities of the office sitting in the park, responding to the forces of the site.


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fig.4 Basement plan


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fig.1 Section AA’


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fig.1 Section BB’


BUILDING RESPONDING TO THE FORCES ON THE SITE Visarjan

fig.4

fig.1

East-west and link road digression

fig.5

fig.2

Metro link fig.6

fig.3

fig.7


17 Fire station

Park

Library

fig.8 Internal courtyard.

B M C

A S

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P U B L I C

P A R K


02 . C O R R I D O R A S A N I N F O R M A L S T R E E T Location- Dharavi, Mumbai. During redevelopment of slums, the present layer is obliterated and a new layer of SRA scheme is often slapped on it. The project looks at the nature of informal street within the Informal settlements and tries to incorporate it within the realm of SRA scheme. It imagines informal street on each corridor, by creating spaces for informal activities. Viz- hawkers, papad drying spaces, flying kites.

Massing to incorporate the existing temple and the informal street on the site.

fig.4 Section AA’

a

b

c

d

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fig.3


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fig.1

fig.2 Massing for major digression through the temple on the site

fig.3 Ground floor plan


03 .R A W Location- Kasba Ganpati, Pune. (In collaboration with Parth Batavia)

The treatment of a structure in its bare minimal form is termed as ‘RAW’. Within the context of Pune, the Shaniwar wada embodies the quality of the structure, material becoming the aesthetics of the architecture opposed to the newly made architecture which looks at external embelishment for aesthetics. The word RAW enables to cut down on the external embellishment and expose the structure to its bare minimum. The word RAW is interpreted in various aspects viz: structure, organisation, material, scale, etc.

Shared Amenities Vishwakosh Pilgrim centre

The project aims in creating a path/journey from the wada to the Kasba ganpati, within the journey there are pauses, detours, hangouts, social gatherings, seating areas. The major programs are Vishwakosh and Pilgrim areas.


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04 . B U I L D I N G A

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Location- Moragaon, Mumbai. (In collaboration with Pranav Thole, Karan Mehta, Pramada Jagtap, Neil Jain and Shivani Mehta). In the informal settlement of Moragaon, the varying decks are seen as plinths to be used by the locals according to their activities. A kanya balwadi(girls’ kindergarten) is programmed on the deck. Post the studies, the basement of the plinths will be used by the kids to play, sleep, read, etc. Location site


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Section AA’

Basement Plan

Ground floor plan


05 . RE-I M A G I N I N G

SEWAGE TREATMENT PLANT FOR PUBLIC Location- Mysore. Located at the outskirts of Mysore, the STP has often faced strong opposition from the locals for the pollution and impurity it has created. Also, its introvert nature has led to no benefit for the locals programmatically, experientially,economically and socially. Therefore, the STP is redesigned for public, with an intent of introducing public realm with programs such as Museum, Fish market, and flower market.


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fig.1 Location plan (In collaboration with Lekha Samant)

fig.2 Section AA’

fig.3 First floor plan


fig.1


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fig.2 Section

fig.3 Section

fig.4 Section AA’

fig.4 Elevation AA’

fig.5 Roof plan


06 .A N I C O N T O U N I T E, A S S E M B L E A N D A G I T A T E Location- Shillong.


29 The slender mass jetting out from the Shillong fabric was visualized as a monument ,a monument -to empower ,to unite. The monument/ tower held the office of khasi–jayantia -presbyterian assembly and the plaza surrounding it is the assembly space. The tower facing the plaza was visualized as a space to give speeches thereby making it a symbol of ‘a political building’. fig.1 Location plan

fig.2 Section AA’


07 .S P A C E S W I T H I N S P A C E S Location- Parshuram, Maharashtra.

“ He is in love with the twins. He is having an affair with both of them, with Paul and Ruth. They are amused by the excitement over the double helix and his perversity regarding the electrifying of the bulls” - John Hedjuk. The text evokes eroticity. Its the experience of entangling spaces within the precinct of Parshuram ghat.

fig.3 Section BB’


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fig.1 Roof plan

fig.2 Ground floor plan

fig.4 Section AA’


08 .T H E P O R O U S MUSEUM B B I A

L U R I N G O U N D A R N P R I V N D P U B

T I A L

H E T I

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Location- Bhaudaji Lad museum,Mumbai. “What should be kept public and private? To what extent the realm of public should intervene in the private? The project intends to make spaces in museum free enough for people to walk freely without getting intimidated by the State Architecture, rules and regulations. It tries to bring certain degree of porosity in the museum to blur the boundaries between the free movement to constricted. It allows opportunities for public to walk over, under it or peep into it freely. fig.1

fig.3

fig.2

fig.4


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

fig.5 Location plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

fig.6 Ground floor plan

fig.7 Section AA’

fig.8

The extension to Bhaudaji Lad museum, Byculla is a porous structure which manages the extent till which the artefact’s are kept open to public for viewing them.

fig.9


09 .

THE PRODUCTION OF HOME Location- Kamla Raheja Vidhyanidhi Institute of Architecture,Mumbai. (In collaboration with Pranav Thole, Justin Mathew, Pramada Jagtap and Shivani Mehta). ‘The Production of home’ is the College annual event, looking at different housing conditions across the city, primarily ‘Dharavi’. The poster was made with a way of looking at the housing scenario as a mechanically produced identical goods placed, piled on top of each other.


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fig.1


10. S P R A W L TO S T A C K FORM(A/U)LIZING THE INFORMAL Published in ‘The production of home’. Krvia reflections 2017. (In collaboration with Parth Batavia)

When the Mumbai metro passes over Asalpha, one can see corrugated sheets with blue tarpaulin interspersed across the mountains, saffron flags emerging out of the multitudinous settlements, indicating the location of temples. At night, these temples are lit, guiding the traveler to locating himself in the vast mayhem. The settlements spill out into lanes which adopt various activities ranging from selling fruits, toys and imitation jewelery to gossiping and socializing. Tanks are located at the hill tops, supplying water to the entire settlement beneath. As one navigates through the lanes, the locals guide him to reach his destination. Often labeled as a ‘struggle to humanize the worst of human settlement’, Asalpha is indeed a paradigm of informal and free living. Other such examples are observed at Majas Wadi and Bandrekar Wadi of Jogeshwari (east), where the chawl proliferated over the lush green land. The lanes when looked at from atop, are slightly curved. On further investigation, it was concluded that each house has been marked manually while surveying

and leveling. During the summer, members of the house climb over the corrugated roof to dry papads, clothes, pickles. Water is sprayed over the sheet to keep the temperature within the house in control. In the evening, the roof scape is used for flying kites, playing cards, for gathering, and for sleeping. Often rebuked for its ‘lack of open spaces’, the house finds a world in itself on climbing over the roofs, an ample amount of space to use. The roof top here becomes a shared open space within the microcosm. The essence of informality is that it decides its market, toilets, and open spaces on its own within the setting, suiting the lifestyle, indigenous to its location. The pattern evolves organically, and the’ built’ is not just four walls making a kitchen and a living room, but also the outside. Informality understands the importance of the ‘outside’, and gives the dweller the freedom to use the open space as per his livelihood. What becomes interesting is when informality is superimposed with formula, strategies and schemes


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What gets disregarded in formalizing informality are the attributes, aspects of these settlements which the math and formula fail to capture? (in the case of the SRA). The DCR dishes out rules for building, viz. providing an offset of 6m from the compound wall, maintaining the h/3 distance between the buildings so as to create ‘open space’, and so on. In a bid to provide open space, it is unfortunate that it is viewed largely as a quantitative aspect, and is slapped onto the masses. It largely remains as a white patch (if a nolli plan was drawn) with nothing to offer but parking and a garbage dump. What gets disregarded in formalizing informality are the attributes, aspects of these settlements which the math and formula fail to capture. Are these open spaces made by the h/3, the 6m offset, etc. seen as opportunities? Can the very act of drying clothes and papads on the roof, selling fruits and toys in front of the house be inculcated into this math? Can one derive an equation which encapsulates the freedom of the dweller to use the open space in accordance with his livelihood? In the making of the mathematical equation, it must be taken into account that it is just not a mere

manifestation of the lifestyle. What has always fascinated us is that simple operators like rotate, pullpush, move, mirror, and copy have given an impetus to the formulae to imagine lifestyles. It still takes time to make the fact sink in that calculations, computer aided commands can govern and design lifestyles to be settled in for eons. While deriving an equation for mass housing, maximum parameters affecting the lifestyles of people or the way they have settled should be taken into consideration. The parameters that need to be taken under consideration can be tangible well as intangible. The current development generalizes/standardizes the lifestyle without looking at the micro narratives of the site. The formula thus made should be arrived upon by looking at the customizations that happen on the site by people, and thus deriving the standardization of it by the planner.


Following is the manual for mass production of housing followed by recent development projects. They are computer operated commands used as strategies for mass housing. The design of the home is done at two levels the unit and the aggregation. The production of home is then just a game executed by repeating the same module or producing various typologies of different carpet areas. The operations done at unit level are a. Repeat: The repeat operation is used when i. The structural grid is standard throughout ii. Mass housing of specific number(carpet area) has been fixed b. Mirror: The mirror operation is used when

i. The two units require the same service core which runs in the between. ii. A common amenity (tangible or intangible) is required in between iii. To combine two adjacent units at a later stage c. Shift: The shift operation is used when i. An ‘open to sky’ balcony or terraces are required ii. To make overlooking spaces d. Rotate: The rotate operation is used when i. Similar activities and elevations on both sides of the building ii. Two units get interlocked within each other. e. Spacing: The spacing operation is used when i. Each unit is kept individual, which ensures maximum light and ventilation


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ii. Done after a set of units to ensure cross ventilation

These units once gathered are then attached together to produce a form. The positive to negative i.e. the built to the unbuilt ratio acts as a key facilitator in better housing. The setback left or the inner courtyard or any other type of open space has a specific control. These open spaces are sometimes the left out spaces of different typologies. The operations done at aggregation level are I. Cascading (open to sky terraces) II. Edging (single loaded corridor) III. Stacking (double loaded corridor) Each and every house cannot be replicated in the stack housing. However, looking at some key aspects of the way of living, such as the lifestyle of the community, the relationship to the ground and the ownership patterns, one can make an equation for

solving the housing problem for a huge set of people. Generalization of the way of living or standardization should also come from the community or the set of people residing in that patch of land. This ensures that the equation hence made is unique for a particular and specific set of people. The people would then raise a set of problems or grievances, but no project is completely successful and ‘we are merely explorers of infinity in pursuit of absolute perfection’ (G.H. Hardy).


1 1 .Z O O M- I N ZOOM-OUT Location- Kamla raheja institute of Architecture and environmental studies. (In collaboration with Vidisha Tolia, Parth Kandi, Sanya Desai)

The installation explores the spatial experience of athe object ‘lens’ . It is situated in an Av room , therefore, it constantly blows out and in the proportions of objects scattered in the room to get the spatial experience of the ‘lens’


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fig.1


1 2 .F R A M I N G T H E M O U N T A I N S. Location- Chinchwad, Nashik. (In collaboration with Parth Batavia, Krupa Shah, Manali Patil)

The site is located in Chandwad village of Nashik district, with mountains covered in fog as the backdrop throughout the monsoons. Mr and Mrs Bhadange, the clients envisage this project as their dream house, at the foothill of the beautiful hill range in Chandwad. An oasis from the city life, the ideal retirement house. The only strong visuals the client insisted be incorporated in the design were, to frame and provide

for seamless views of the hills along with traditional elements to the building, mainly the sloping roofs and front verandah prominent features in the architecture of the surrounding area. The design we developed following the brief looks at a traditional structure which incorporates various roofs-capes along with varied spaces that are formed that over look the hills.

fig.3


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fig.1 Ground floor plan

fig.2 First floor plan The L-typology creates for a spacious courtyard for the house and an added buffer between the client’s house and the adjacent future developments. There is a play of roofs-capes to provide viewing points, a courtyard to house various informal functions, a living room which opens out to the courtyard attempting at merging the outside with the inside

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1 3 . FILM POSTERS The India film project (IFP) hosts a competition for making movie posters for the films.

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A DEATH IN THE GUNJ

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14. R E A L &

IMAGINARY S

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These are a series of illustration for drawing the Skies at different time of the day at different places.


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fig.1

OIL REFINERIES IN GATE WAY OF INDIA


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A N I G H T

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15 . (In collaboration with Karan Mehta and Parth Batavia) It is a venture which explores the quirky sense of styling in different parts of the world. For our venture of designed products, we work to blend our travel illustrations with the products, so each product evokes a memory of travel experiences. The first travelogue is the Varanasi travelogue. The illustrations are made from various scenes of Varanasi-babas and. The aarti. Convertible Bag: its has a multipurpose of using it as a tote or as backpack. Sketchbooks: they are made in three different sizes which easily fits in a bag or a pocket.


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fig.1

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16. SET DESIGNING Location- Mumbai. Internship at Pitch black Designs. The work included making concept drawings and initial Power Point presentations to the clients. It also had site surveys, costing and fetching for materials. Projects included sets for TV commercials, stalls for Pedicon festival, event set ups.

DUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

fig.3 A set for a music concert


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RODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A set for a TV commercial

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Kitchen Son's Bedroom

Entrance

Dining area Magic room

Fathers Den

ODUCED BY AN AUTODESK EDUCATIONAL PRODUCT Fathers bedroom

Living room

Bedroom

Bedroom

Kitchen

Office

fig.3 Ground floor plan

Bedroom Father's den

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUC Living room Dining area Kitchen

Entrance up

fig.3 Ground floor plan

up

PRODUCED BY AN AUTODESK EDUCATIONAL PRODU

Living room

fig.3

fig.3


Wedding sets A luggage counter for an airport scenes


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Conceptualising the set for a movie.

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fig.3


1 7. S K E T C H I N G T H E

P R O C E S S

Location- Graphics Beyond, Goregaon,Mumbai. Client- Baarish Date. The firm wanted to present their procedures of dealing with a project in a sketch format. The following are few examples of it.

fig.1 Discussion


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fig.2 Rough sketching

fig.3 Execution

fig.4 Execution


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L O G O S A N D C A R D S Location- Mumbai. Client- Neelam Pathare, HALLMARK engineers pvt.ltd. (In collaboration with Manali Pati , Krupa Shah and Parth Batavia)

fig.1

fig.2

fig.3


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fig.1

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fig.1 TOAST THE TO-BE -BRIDE

Ritika

fig.3

weds

Malav


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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

fig.2 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT


19. F U N R E P U B L I C S O C I A L Location- Mumbai. Client- Socials Internship at Studio eight twenty three. The restaurant was a makeover of the previously establishes Firangi Pani. The interiors uses the furniture of firangi pani puri with a classic and retro feeling. Wallpapers with big flower prints, bright colours ,stained window panes are used throughout.

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Working drawings

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20.

T H E

GLOWING R O O F Location- MAKE IN INDIA, Mumbai. Client- Socials Internship at Studio eight twenty three. The social mini was a stall in MAKE IN INDIA, (BKC ground). it was to attract customers with a glowing roof. Throwing light on the bar table. Materials easily available in the market were used. Like: cans, crates, aluminum rods and PVC pipes.

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fig.4

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fig.5 fig.3

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21. ART WORK Location- W54,Dadar,Mumbai. Client- Mr and Mrs. Nadkarni. The interiors of Nadkarnis apartment had subtle hues. the wall art, wall hangings had to subtly blend with the interiors. Warli as an art form was chosen by the client to depict stories.

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Riddhesh ghadi portfolio  

Its a compilation of undergraduate and professional work in Architecture and Graphic Design.

Riddhesh ghadi portfolio  

Its a compilation of undergraduate and professional work in Architecture and Graphic Design.

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