UPASANA JAIN portfolio
Maheshwar Ghats, India, Ink on paper, 46” X 33”
SPIRITUAL RETREAT CENTER
STREETS FOR ALL
FURNITURE AND INTERIOR DESIGN
FLOORING DESIGN : MUMBAI INTERNATIONAL AIRPORT
ADALAJ STEPWELL : RE-SURRECTING THE PAST
WALT DISNEY IMAGINEERING
SET DESIGN FOR A MOVIE - “ROBOT”
PATH TO WATER : INSTALLATION
PRODUCTION DESIGN : TAG HEUER
SPIRITUAL RETREAT CENTRE Client : Janardhana Reddy Size : 12000 sq ft Location : Bellary, Karnataka, India
Brief: Design a space that facilitates meditation of all faiths and can accommodate prayer irrespective of the religion. A place where employees of the company can openly discuss ethical issues, seek refuge or indulge in a moment of quiet contemplation.
Research: The project required research related to the Phenomenology of Place, link between Meditation and Architecture, nature of environmental behavior and experience, especially in terms of the built environment, suggesting why these places are important for people and how architecture and environmental design can be a vehicle for place making.
Proposal: The project aims at creation of a physical and a mental space in the form of a Spiritual Retreat Centre, which invokes an emotional response and sensory experience in the visitor. The ambience is created by electronically guided rays falling in an octagonal pond in the centre of the structure. The built structure marshals a wide range of multi sensorial experiences transcending the visitor from the worldly; from terrestrial to the celestial.
PROCESS To be built amidst the rocky terrain in a famous mining area, the lack of architectural definition and the stylistic diversity of the buildings led me to design of a building that generates contrast rather than blending with the neighborhood. The architecture reflects sensual aspects of traditional built structures that engage our full bodily participation.
CIRCULATION OF THE VISITOR
IDEA : BIRD IN FLIGHT
The form is influenced from Tropical architecture and the structure is a variant of post and beam system of construction. I tried to establish links between Geometry and Spirituality, while focusing on the most basic shapes like the square and octagon for the base & tetrahedron for the roof. Taking the pyramidal roof form, overlapping roof variations were tried to make the structure look floating above water. The juxtaposition of main roof and the smaller canopy portray the idea of a bird in flight. The side walls are made of glass allowing the exteriors and interior to visually combine into one. The roof is supported by ornate timber columns. They symbolically represent the union between the Earth and the Heaven. The building is like an island in the middle surrounded by water and zen gardens on all sides. Water is used to evoke a sense of tranquility, calmness and repose, silencing everything around to open up the views into another reality. It allows the visitor to interpret and accentuate his thoughts in a more conducive environment that in turn heighten the sense of pleasure. The smaller roof acts as a connected seating zone. This building encourages introspection and peace through its use of materials and lighting. The architectural vocabulary combines traditional and contemporary forms, elements of place making, demonstrating a deep understanding of psychological properties of materials, light and space.
DETAILS OF THE SPACE
Elevation views from all four sides. The base gives the structure reassuring gravitas of heaviness and age while the roof provides it the necessry lightness and elegance. The space changes continually throughout the day with changes in the natural light conditions.
The column is like a tree, with its branches supporting the floating roof above. These columns are arranged in an octagonal arrangement on the floor. MANGALORE TILES
OCTAGONAL WATER POOL
DOUBLE GLAZED GLASS RCC COLUMNS WITH SLAB
WATER BODY WOODEN DECK
DOUBLE GLAZED GLASS
Inside the column enclosure is an octagonal pond with water cascading over small steps. This conceptual sketch shows the visitors meditating around it.
OCTAGONAL WATER POOL
WOODEN DECK WATER BODY
RCC COLUMNS WITH SLAB
1. A front view of the building as one approaches the site. The canopies appears to be floating over the solid base. A lot of elements work together to engage all the senses. 2. The ornate carvings on the outside beam are visually strong. Use of glass allows a visual connect between the interiors and exteriors, which can be further controlled using bamboo blinds. The depth of the eaves was decided to block the intensive solar radiation during the summers. 3. The smaller canopy acts as a sit out. Steep roofs and high compound walls create an interesting play of light and shadows throughout the day. 4. The landscape has a combination of Zen and moss garden with sculptures and artefacts placed around. Due to the variation in the height of the canopy at all four sides the visitor always gets a unique view wherever he is standing. The sound of water falling further enhances the experience.
A Heliostat directs sunlight to the octagonal pond. Cushioned seats are added all around to meditate. A metal gong is placed on the side for people who want to concentrate using sound. The ornately carved columns form a closure. Waterfall on one side wall further increases tranquility of the space. The insides of the roof have bamboo matting. Wood and bamboo are extensively used to enhance the tactility.
STREETS FOR ALL BRINGING OUT THE BUILT ENVIRONMENT OF CITY INDORE Classroom Project
Brief: Develop an ‘interpretation strategy’ for an area of historic/cultural significance in the city of Indore by re-interpreting the history and culture embedded in that area for locals as well as tourists.
Proposal: The buildings of any city are a reflection of the sociocultural, historical and economic milieu of that city. Paths such as streets, walkways, railways, etc are the movement channels that form the predominant elements of the people’s image of the city. Landmarks act as anchor points in our mental map of the urban environment. Reinterpreting the history and culture embedded in an area of the city requires re-imagining the ‘built environment’ of the city, which is not only a vital part of place making but also provides it a character, distinctiveness and a sense of place. For the city of Indore, I have tried to bring out the ‘built environment’ of the city. The aim is to re-connect people with the city’s cultural fabric - historic buildings, architecture, museums, crafts & antiques market - and cultural activities - music, design, performing arts, fashion, film and video, television, radio - which contribute to its development by attracting visitors and tourists. At the macro level, I proposed four heritage walks connecting various landmarks spread across the city. Why heritage walks?
- Walking is the best pace to absorb a new place providing an elementary form of experiencing the space. In this movement, people invent stories and attribute meaning to spaces they enter, challenging the alienated and sterilised character of the city. Heitage walks enable visitors to read and interpret the overlapping and intertwined stories of objects, people and events.
At the micro level, a 200 m stretch of a heritage walk has been detailed. I proposed urban design changes with a focus on pavements, street furniture, lighting, plantations, traffic movement, public art, etc. A similar mmodule is expected to be folllowed all over the heritage walk path, thus inviting the local residents as well as tourists to explore and understand the city’s heritage, all in a day’s walk! 8
RE-STRUCTURING THE HISTORIC CORE 4 Heritage walks
ANALYSIS OF PRINCE YESHWANT NIWAS ROAD
A map of Indore connecting various historic monuments spread all over the city. The walks begin from Fort Rajwada which is the nucleus of the city. Vernacularly ornamented streets keep the visitors engaged throughout by providing different interpretations of the city at various junctions. This mutually understandable narrative brings out the history and culture lost in the space. Rajwada (In red) manifests the notion of an Institution occupying the cardinal directions and fronting the main city square through which the major trade routes pass.
Load bearing structures with2-3 floors. Central courtyard with rooms all around. The built structures acquire their form depending on the floor construction material. At the lintel level, there is no outward projection. The wooden columns support the roof. The facades are decorative and ornamental, with the name and the year of the building. I section construction
Wooden plank construction
Cityâ€™s heritage has been grouped into clusters to establish a hierarchy and define the movement of people for the heritage walk. Red: Rajwada, Veer savarkar market and Shiv Vilas palace form the core. Green: Cenotaphs Magenta: Socio-economic institutions. Yellow: Outlived Mill structures.
Rhythm & uniform patterns
Vernacular Architecture Period 1900-2009
Art deco Symmetry
Residential & commercial
Detailing Decorative Roofscapes
Multiple Projections Colonial, Greek, Victorian Old and new
Blue: Palaces and other historic monuments. Brown: Institutions built during the reign of Holkars which are now under government authorities.
ALL IN A DAYâ€™S WALK A 1: 100, handmade 6 feet long model showing the changes in a stretch of 200m of this street. The new One -Way street has been re-designed for low speed vehicles, pedestrians and cyclists. There is a 4.5m raised concrete pedestrian platform with street furniture being an inherent part of its surface. A hierarchy is established in the lighting to accentuate the architectural details. Continuity of the street frontage and repetition of columns on the ground level gives the street its unique identity. The pavement is embedded with replicas of Holkar coins and a lot of textures, sounds and installations are used all around to engage people while they walk. This heritage walk enables visitors to read and interpret the tangle of overlapping and intertwined stories of people, objects and events. A similar module is expected to be followed all over the 4 heritage walks path. This invites the local residents as well as the tourists to explore and understand the cityâ€™s heritage, all in a dayâ€™s walk!
Sectional View of the proposed section. Scale 1:100
VIEWS OF THE MODEL
The 6 foot long Model showing the details of the proposal. A part of the street is completely pedestrianised and elevated to avoid any vehicles. The building facades are highlighted using light at night and several laser shows happen in the street at night. The elevated path itself transforms in concrete furniture. A number of enlarged replicas of historical artifacts are embedded along the path. The facades are to be used for multiple projections at night.
INTERIOR AND FURNITURE DESIGN
Clients : Satish Jain, Janardhan Reddy Size: 6000, 8000 sq ft Location : Indore, Bellary; India
Brief: The brief required providing design solutions and development of all the CAD working drawings with architectural, structural, furniture and luminaire design details, site supervision, wall and ceiling treatments, flooring design, home furnishings and accessories. 12
LIGHTING DESIGN Developed a few lighting fixtures for the clients along with furniture. 1. A 25 foot long handmade paper lamp made with rice paper and metal. 2. Flower lamps made solely out of cotton thread. 3. Ceiling lamp made using laser cutting.
Charles Eames lounge chair made by bending 3 layers of plywood in a workshop.
Dining table made out of silver legs and high gloss lacquered solid teak wood. Each of the four legs is hand-carved.
A multi purpose lounging sofa that can be re-arranged in a number of ways, and thus used by all age groups; ranging from young kids to adults. The hand painted 3D installation on the wall depicts a playful herd of Jersey cows.
FLOORING DESIGN CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT, TERMINAL II Location : Mumbai, India
Brief: Develop flooring designs for the New Terminal at the Chhatrapati Shivaji International Airport, Mumbai, while working in close collaboration with architects from SOM and the GVK group. Design solutions were required for the circulation area and around the vestibules using different varieties of granite stone.
Proposal: The central theme of the designs was worked around a peacock feather motif, the same lines as that of the airport ceiling.
PROPOSED FLOORING LOCATIONS AND THE FINAL DESIGNS
1 Recommended potential flooring locations
2 Recommended potential flooring locations
3 Recommended potential flooring locations
4 Recommended potential flooring locations 5
ADALAJ STEPWELL : RESURRECTING THE PAST Interaction Design Location : Gujrat, India
Brief: Design an interpretative experience for the ‘Adalaj Stepwell’ in Gujarat, India, using light and sound to enhance the visitor experience.
Background: The ‘Adalaj Stepwell’ was built in 1499 on the caravan route from Ahmedabad to Patan. Historically, this stepwell served as a resting place for travelers and as a major source of water to the adjoining Adalaj village, leading to its evolution as a community space for the residents of village.
Contemporary concerns: Over the years alternate sources of water supply have emerged, making the stepwell redundant and a refuge for bats. The loss of functionality has led to its architectural deterioration and further isolation from the villagers. No authentic source of information is available at the site to inform the public about its story and heritage, further affecting local tourism. In addition, chaotic roadside vendors block the site and disorient the visitors. 20
PROPOSAL Revivify the stepwell by creating a spatial narrative that integrates the villagers and engages the tourist in the local arts, crafts and culture of the village and finally leads him/her to the main structure through an interpretation center.
1. Market: The journey begins with an organized circular market, where shops, signage and structures are standardized to get rid of the chaos. This provides the villagers an opportunity to showcase their local arts and crafts, resulting in financial benefits from increased tourism. 2. Community Space: A stepped tree shelter in the heart of the market emerges as a new community center. Centrifugal water forms guide the visitor ahead through moving water.
2. COMMUNITY CENTRE
4. ADALAJ STEPWELL
3. Interpretation Center: An interpretation centre orients the visitor through sensory and interactive experiences before entering the main structure. Divided into 7 sections, this center helps the visitor appreciate the heritage and experience the stepwell in a whole new light.
AMPHITHEATRE 1. MARKET
4. Stepwell: Architectural Highlights and Performance: As the visitor enters the main structure; light and sound accentuate its visual beauty, with dancers and musicians performing on the top three levels. Earthen pots with speakers producing water sounds become sensorial cues that guide the visitor down towards the water.
5. Discovery of water: The journey culminates at the bottom when he discovers water and attains heavenly bliss. A holographic projection of the Water Goddess emerges out of the well.
INTERPRETATION CENTER : SPATIAL NARRATIVE
At the entrance the visitor gets a look-n-feel of how Adalaj used to be 500 years ago through a mural lit by LEDs. The earthen pots are symbolic of the history of the well. Some have drinking water in them while the smaller ones have speakers fitted, giving the visitor a taste of the folk music.
An interactive map of Gujarat. The map shows various stepwells located all over Gujarat. As the visitor steps on any of these, motion sensors project the corresponding video and images of that well on the walls of the room.
The room has a lotus pond in the centre with Iconography present in the stepwell along its walls. and panels with explanation. A cut out in the ceiling represents the movement of sun at different points in a day .
The prototype room has panels all around with a working model of the stepwell in the centre. The model shows lighting in the well done with the help of a 1:100 scaled down model. There is a gradation from top to the bottom.
The world of Varuna (Water God): When the person hits the ground with a spade, water starts oozing out. The entire room lights up and the iconography becomes visible as the water falls from all sides.
Columns and the trompe lâ€™oeil on the wall create an illusion of depth. The room has just three pillars. There is no wall on the left to further emphasis on the interplay of light and shadow that happens in the vav.
HOLOGRAPHIC PROJECTION OF WATER GODDESS
View of the circular well where the holographic projection of water goddess happens.
The musicians and dancers perform on the top level 3 levels. The intensity of light decreases as one goes down the well.
THE ROYAL ODYSSEY CONCEPT RIDE & ATTRACTION DESIGN FOR THE WALT DISNEY IMAGINEERING Team : 2 members
DESTINATION 2: PARADISE GARDEN
DESTINATION 1: THE FLIP-FLOP WORLD
DESTINATION 3: A LAND LOST IN TIME
Brief: To conceptualise a ride/attraction for the Walt Disney World.
Team Members: 2
Proposal: The Royal Odyssey transcends Taj Mahal’s 400yr old story into a larger than life experience. The guests discover the joys of being an Emperor or an Empress through a dream sequence! The Taj Mahal meaning the ‘Crown’ Palace, symbolizes timeless love. This interactive and immersive experience lets you unleash a different world every time you take a ride! 24
DESTINATION 4: MOUNTAIN ADVENTURES DESTINATION 5: THE MAGICAL SEA
PLAN SHOWING THE DETAILS OF THE RIDE INSIDE THE BUILDING
SITE PLAN SHOWING THE LABYRINTH OF RIDES AND THE FIVE FINAL DESTINATIONS
SPATIAL NARRATIVE 1. ROYAL CHARIOT The journey begins as you ascend a ramp on the royal chariot ride. A euphoric court of elephants and myriad royalties welcome you before you reach the entrance of the Taj Mahal. 2. LOTUS POOL WITH DELICACIES On entering you find the perfect harmony of Indian music, delicacies served along a lotus pool and celestial nymphs dancing just for you! 3. INTERACTIVE MIRROR A series of interactive mirrors lets you groom as a King/Queen in your style. 4. SLIDING GRAVES The dream of exploring unknown lands as a king can now be realized as the graves slide open and you fall into a trap door leading you to choose from one of five interactive environments. 5. TUNNELS The royal shoe takes you in a translucent tube to your chosen interactive environment, as you see other visitors sliding through a labyrinth of time tunnels, ensuring a dramatic visual dialogue. 6. UNKNOWN LANDS A 1:250 model showing the approach to the five interactive environments. The visitors can reach a new destination each time they experience the ride.
5 INTERACTIVE ENVIRONMENTS
A land lost in time
The Upside Down Kingdom is an adventure in a simulator, taking you through an upturned kingdom.
A Land Lost in Time allows you to wander through wrecked ships & planes in pursuit of your lost treasures.
The Mountain Adventure
The Paradise Garden is full of exotic fruits and plants that govern your mood. The wishing tree fulfills all your wishes, giving you whatever you ask for!
The Mountain Adventure takes you on a Unicorn ride above snow-covered mountains to find the hidden luminescent flower.
The Magical Sea Magical Sea is an engaging environment of friendly magical creatures unfolds as you step in a bubble! With every visit being a different experience the Royal Odyssey aspires to end with a smile on your face.
ENTHIRAN (ROBOT) MOVIE 2010 ASSISTANT ART DIRECTOR SUMMER INTERNSHIP
Brief: Conceptualise and construct a set for the Artificial Intelligence Research and Development Campus to be featured in an Indian movie titled â€˜Enthiran.â€™ The role would include Art department research, Set construction, Model making, Property handling, Landscape design and other movie related furniture and signages.
About the film: Enthiran is a 2010 Indian Tamil science fiction techno thriller, cowritten and directed by Shankar. The film features Rajinikanth in dual roles, as a scientist and an andro humanoid robot, alongside Aishwarya Rai Bachchan. 29
Movie Stills A vehicle scanner designed using glass, acrylic, LED lights and motion sensors to scan the vehicles entering the Artificial Intelligence Research and Development campus. The scanner comes out from the ground a few seconds before any vehicle approaches the entry point. Other screen shots from the film of the various phases of production.
PATH TO WATER INSTALLATION ARTIST: SUDARSHAN SHETTY
Brief: Assist the famous Indian Contemporary Installation artist Mr. Sudarshan Shetty for his latest work â€œPath to Waterâ€? for the Art Basel Exhibiton 2013.
About the Installation: Art Basel 2013 is a solo show by artist Sudarshan Shetty. The exhibition features five hand-carved reliefs, each bearing an interpretation of a single line from a poem by Amir Khusrau, the celebrated 12/13th-century courtier, Sufi mystic, and musician, revered as the Father of the Qawwali tradition.
ABOUT THE INSTALLATION The installation has 5 distinct wooden panels, each with the exact same carvings of two elephants in a jungle. These carvings are an inventive translation of the poetic line, “Bahut kathin hai dagar panghat ki,” excerpted from the first line of a song by Khusrau composed in the Sufi tradition: “The road to the well is much too difficult, How to get my pot filled?” Alongside this installation, a collection of terracotta objects that appear like archeological excavated objects are spread upon the surface of a long, low table made of wood from antique doors. My being involved throughout the process; from conceptualization to the final assembly of the installation helped me understand a lot of nuances of the art world. The role included 3D conceptualization, layout and lighting, working on the excavated objects, assembly manuals and packaging, graphics and active involvement in the making of the installation.
ENIGMA : A MYSTERIOUS JOURNEY A hand-painted backdrop conceptualized for a rock concert. Taking illusion as a theme, the three faces of a cube are played with to minimize its identity as a cube and transform 3D into 2D. The wider curves at the edges start narrowing down into thinner, more eccentric curves, thus creating an illusion of the cube melting inwards. Use of black and white makes it more dynamic by adding a much greater contrast.
FERNANDEZ BRIDGE, AHMEDABAD INK AND WATER COLOUR 2009
SUN TEMPLE MODHERA, GUJRAT INK ON PAPER 2009
FERNANDEZ BRIDGE, AHMEDABAD INK AND WATER COLOUR 2009
VILLAGE IN RAJASTHAN CHARCOAL ON PAPER 2007
RED CHILLIES AND CRUSHED PAPER EFFECT WATER COLOUR 2009
REPLICA OF DAVID’S NAPOLEAN CROSSING THE ALPS INKS ON PAPER, AIRBRUSH 2006
LORD GANESHA INK ON PAPER 2008
DHOLA MARU MINIATURE ACRYLICS ON PAPER 2010
PRODUCTION DESIGN TAG HEUER, TIME FOR REBELS EXHIBITION , GENEVA 2012
Brief: Conceptual artwork for Indian ambassadors representing at the World Premier of the Exhibition ‘TIME FOR REBELS’ by TAG Heuer.
About the Exhibition: Premiered in Geneva on 17 January, the ‘Time for Rebels’ Exhibition showcases men and women from around the world who TAG Heuer considers as Rebels for their acts, attitude and what they stand for. The drawings represent the enduring spirit of rebellion by breaking away from the regular course of action and pushing the limits. Actor Abhay Deol and boxer Mic Mary Com were selected from India to represent the same.
CONCEPTUAL ARTWORK Artwork exploring the idea of rebels. The figures are trying to challenge the dials of time and break away from the regular trajectory. The first one explores the notion of being ahead of time. The second illustration explores the notion of going beyond the obvious.
Thank you for taking out time to look at my work. Feedback is welcome.
UPASANA JAIN Los Angeles, California Exhibition & Spatial Designer +1 323 363 9900 email@example.com http://www.linkedin.com/in/upasanajain ALMA MATER
National Institute of Design, India Southern California Institute of Architecture, CA (Summer program)
Exhibition, Spatial, Environmental Design