ARCHITECTURAL DESIGN PORTFOLIO VAISHNAVI CHANDRAKUMAR
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VAISHNAVI
CHANDR AKUMAR
e mail : c.vaishnavi1909@gmail.com phone: +91 78996 92567 city
EDUCATION
2015-19
: Bangalore, India
R.V. COLLEGE OF ARCHITECTURE
Currently studying to obtain an undergraduate degree in architectural studies Anticipated graduation 2020
2003-15
SRI KUMARANS CHILDREN’S HOME (C.B.S.E) Senior secondary school 94.8% - Rank 9 High school CGPA - 9.6
WORKSHOPS
2017
FRACTAL DESIGN WORSKHOP AT VIT, VELLORE
EXTRA CIRRICULAR ACTIVITIES
2019
VOLUNTEERED WITH SAMARTHANAM TRUST FOR THE DISABLED
Hands on workshop on working with bamboo and integrating fractal design in architecture conducted by Ar. Jaffer Khan and Ar. Fleur Palmer, Auckland, NZ
Helped record 30 audio books for the benefit of those visually impaired
2018
HEAD OF MEDIA COMMITTEE FOR ANNUAL EXHIBITION OF RVCA 2018 Planned and supervised with the media communication for the event
CHAIRED A MODEL UNITED NATIONS 2015
Organised and moderated the sessions for the NATO crisis committee
INTERNATIONAL AWARD FOR YOUNG PEOPLE
SKILLS
2013
BRONZE LEVEL Participated in voluntary based events like the cloth bag campaign and reading for the visually impaired
Software
AutoCAD
Photoshop
V-Ray
Advanced
Advanced
Intermediate
Sketchup
InDesign
Illustrator
Revit
Premiere Pro
Lightroom
Intermediate
Novice
Advanced
Advanced
Other
Intermediate
Intermediate
Hand illustration Drafting Model making
LANGUAGES
English
INTERESTS
Graphic Illustration
Kannada
Photography
Hindi
Sketching
Telugu
Singing 2
3
CONTENTS
1. COURT STREET CIVIL COURT COMPLEX DESIGN
2. LIGHT READING LIBRARY DESIGN
3. ART PAVILION PAVILION DESIGN
4. CHECKMATE CONCEPTUAL DESIGN
5. PLATFORM 1-1-2-3-5-8 PARAMETRIC BUS STOP DESIGN
6. BAMBOO PAVILION FRACTAL DESIGN WORKSHOP
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01 COURT COMPLEX DESIGN
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COURT STREET CIVIL COURT COMPLEX DESIGN
CONCEPT SKETCH
CONCEPT : SIMPLICITY AND RELATABILITY
SKETCH OF THE STREET VIEW IN OOTY
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The terrain of Ooty is predominantly hilly, rugged and heavily contoured. This has led to a more site centric design of the local buildings.
To the common man, the judicial procedures and the monumental red buildings can be an intimidating affair.
Most roads are narrow and slope steeply into other lanes. Even the most important roads like the Commercial road and Ettines road are about 10 m wide at most.
The concept behind this design is to make the courts a more relatable place . This simplicity is brought in by integrating the use of streets.
This lends to the character of the One of the striking characteristown apart from the dense vege- tics of the streets of Ooty is the taion found everywhere the eye goes. splitting of roads onto different levels. This is an element the deThe narrow buildings and sloping sign incorporates with the intenroads give rise to beautiful vistas. The tion of making the court complex vistas allow us to see the town in layers: like any other markets in Ooty. roads, buildings, trees and mountains
COURT STREET | CIVIL COURT COMPLEX DESIGN
Ooty being situated at a higher altitude experiences a cold and dry climate. It is also part of the Nilgiri biosphere that experiences rainfall for the most part of the year. The dryness is countered by the moist winds that blow towards the site from the Ooty lake. Ooty also has a very hilly terrain and one experiences differential temperatures at different points on site. Considering all these factors and results from the Mahoney’s table inferences, the design was made as climate responsive as possible
PREDOMINANT WIND DIRECTION
SHADED REGIONS OF THE SITE
MICRO CLIMATIC DUE TO THE LAKE
DIAGRAMATIC INFERENCES FROM THE MAHONEY’S TABLE
CONTOURED SITE MODEL
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COURT STREET | CIVIL COURT COMPLEX DESIGN
WEST MERE FOREST
THE TOWN OF OOTY
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OOTY LAKE
COURT STREET | CIVIL COURT COMPLEX DESIGN
SITE
KATHADIMATTAM VILLAGE
TERRAIN PROFILE ACROSS THE SITE AND THE IMMEDIATE CONTEXT
PHOTOS FROM THE SITE
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COURT STREET | CIVIL COURT COMPLEX DESIGN
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7.
6.
5.
3.
4. 2.
1.
MASTER PLAN
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1. LOBBY
5. LAWYERS CUBICLES
2. CAFETERIA
6. COURT ROOMS
3. LITIGANT’S HALL
7. REGISTRAR’S OFFICES
4.NOTARY SECTION
8. JUDGE’S CHAMBERS
COURT STREET | CIVIL COURT COMPLEX DESIGN
MANGALORE TILES
BOX SECTION 30 x 30 400 C/C PRINCIPAL RAFTER TIE BEAM BASE PLATE ANCHOR BOLT R.C.C. BEAM
WOODEN FINS
SLIDING WINDOW
WINDOW SILL COLUMN IN ELEVATION
PLASTER
345 TH. BRICK WALL FLOORING
FOUNDATION
WALL SECTION
LEVEL PLANS JUDGE’S BLOCK LAWYER’S BLOCK LITIGANT’S BLOCK 12
COURT STREET | CIVIL COURT COMPLEX DESIGN
TRANSVERSE AND LONGITUDINAL SECTIONS THROUGH THE SITE
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COURT STREET | CIVIL COURT COMPLEX DESIGN
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COURT STREET | CIVIL COURT COMPLEX DESIGN
VIEW OF THE COURT ROOMS
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COURT STREET | CIVIL COURT COMPLEX DESIGN
VIEW OF THE STREET WHERE ALL THE THREE SECTIONS INTERSECT
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02 LIBRARY DESIGN
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LIGHT READING LIBRARY DESIGN
CONCEPT The concept behind the design is based on how a space makes different people feel comfortable or uncomfortable. Everyone likes to pick a quiet corner to sit and read a book, with a cup of tea perhaps. The goal of this design was to achieve that comfort by manipulating the amount of light in any space. A space can feel bigger if there is more light and the opposite is also true. As it is impractical to have many small spaces for a public library, the volumes of various spaces have been maneuvered to achieve the same. 19
The library is layered in the typical fashion of the most public spaces in the front to the more private spaces at the back. Naturally, the reading areas are situated facing the street where they can take advantage of the north light. The auditorium lies in the basement and can be accessed from the front. The open area around the tree , where the cafe is situated, behaves like a small court enclosed between the volumes of the buildings. This mid-level is in proximity to the readers, admin staff as well as the guests visiting the auditorium. The courtb also helps break the mass of the library.
The reading areas are lit by tall windows formed between the fins or by skylights. The sizes of the skylights have been kept optimum so as to not bring in too much heat. The use of fins also brings in the play of shadows and textures that change throught out the day and give a dynamic feel to the space. The use of light wells gives diffused lighting to various floors and well suited for library like settings due to the implicit silence.
LIGHT READING | LIBRARY DESIGN
One way Bangalore Cantonment
Two way
Railway quarters Alliance Francis university K.S.F.C. Office Buildings
SUN PATH STUDY
USER GROUP ANALYSIS
TRAFFIC MOVEMENT AROUND SITE
SITE ANALYSIS Context study was done to underrstand the various user groups who would be using the library. As the concept of the building involved playing with light within the library, it was important to study the sun pattern to ensure that the sunlight would not damage the books or cause discomfort to the users in terms of heat.
GROUND FLOOR PLAN
LEVEL PLANS
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LIGHT READING | LIBRARY DESIGN
3
LEVEL TWO
2
1. 2. 3. 4.
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RESEARCH SECTION DIGITAL LIBRARY SECTION ADMIN OFFICE FILING AND RECORD ROOM
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LEVEL ONE + MEZZANINE LEVEL 1. GENERAL READING AREA 2. REFERENCE SECTION 3. KID’S READING AREA 4. BRAILLE SECTION 5. ADMIN OFFICE 6. BINDING AREA 7. GUEST ROOMS
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6 2 1
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GROUND LEVEL 1. CASUAL READING AREA 2. LOUNGE 3. BOOK STORE 4. STORAGE 5. WRITER’S GUILD 6. CAFETERIA
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2 4
5 6 1
2 3
BASEMENT LEVEL 1. ARCHIVES 2. ART GALLERY 3. AUDITORIUM 4. LITERARY FESTIVAL SPACE 5. PARKING LOT
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EXPLODED AXANOMETRIC VIEW 21
LIGHT READING | LIBRARY DESIGN
SITE SECTIONS
FRONT ELEVATION
WEST ELEVATION 22
LIGHT READING | LIBRARY DESIGN
VIEW OF THE LIBRARY AT THE ENTRANCE
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LIGHT READING | LIBRARY DESIGN
VIEW FROM THE COURT
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03 PAVILION DESIGN
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ART PAVILION PAVILION DESIGN
WIREFRAME MODEL
CONCEPT The installation is meant to be a art pavilion where anyone can set up their Canvasses and paint. The adjoining open air theatre is a platform for people to perform, turning the whole area into a small cultural hub. The concept behind the design was to create an atmosphere that stimulates the mind allowing for easier of translation of thoughts to art. The design provides for artists to set up their equipment on the suspended panels within the pavilion. 27
ART PAVILION | PAVILION DESIGN
PLAN OF THE PAVILION
SECTIONAL ELEVATION 28
LIGHT READING | LIBRARY DESIGN
DETAIL A
AXANOMETRIC VIEW OF A UNIT OF THE PAVILION
TEMPORARY FOOTING
DETAIL B STEEL CABLES 5MM DIA
C
D
AEROCON PANELS
E
WEIGHT: 5.1-6.2 KGS
B
THICKNESS: 50 MM
DETAIL C RETRACTABLE ALUMINIUM POLES DIAMETER: 150-70 MM
THE TEMPORARY PAVILION The entire pavilion is a series of units that can be individually assembled on site.
A
The base of the structure is supported on temporary concrete footings onto which the poles are fixed. All the posts and beams are made of Aluminium. These are retractable poles whose heights vary from 3-4 m, for the purpose of this design. The poles are fixed to the footings, and the weight of the footings holds the pavilion up. The roof is covered partially with PTFE coated glass cloth and partially with rope with a thin layer of transparent fiberglass underneath it. 29
DETAIL E
DETAIL D
ALUMINIUM TUBES FOR CROSS BEAMS
ALUMINIUM TUBES FOR CROSS BEAMS
DIAMETERE: 80 MM FASTENED USING SCREWS
DIAMETERE: 80 MM FASTENED USING SCREWS
LIGHT READING | LIBRARY DESIGN
FURNITURE FOR THE PAVILION The furniture is made of rope that has been soaked in Polyeurethane resin. The rope is further cured into the desired profile of the seating. This process retains the natural colour and texture of the material. This makes it slightly uncomfortable for sitting, but that can be easily overcome by placing a cushion. This furniture is very verstaile and can be used both indoors and outdoors. A portion of the site is dug out and made into the profile of a staircase to create the open air theatre. The steps are then covered with stone along the tread and rise. The open air theatre goes about 2.5 m underground from the level of the pavilion.
ISOMETRIC VIEW
SEATING DIMENSIONS
500 mm
900 mm
1500 mm
400 mm
1500 mm
1000 mm
700 mm
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LIGHT READING | LIBRARY DESIGN
VIEW OF THE PAVILION
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LIGHT READING | LIBRARY DESIGN
LIGHT AND SHADOW THROUGH THE PAVILION
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04 CONCEPTUAL DESIGN
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CHECKMATE CONCEPTUAL DESIGN
THE CHESS BOARD IN A CHECKMATE
CONCEPT The brief given, was to design a structure on a grid with 18 columns and 7 walls. The grid provided inspiration for a concept based on the game of chess. The game was assumed in a state of checkmate, where the position of the chess pieces were taken as the columns and the movement of the pieces were assumed as the walls. For eg., the knight moves in an ‘L’ , so the walls extrapolated were L shaped.
PLAN 35
If a function were to be assigned to the structure, it could be used as an ‘Obstacle course’, where the volumes of the spaces within the structure makes it feel like a maze.
The series shows a set of paths that the user can take. However, they all end in dead ends, which is a direct implication of the board being set up in a checkmate.
CHECKMATE | CONCEPTUAL DESIGN
t
DEVELOPMENT OF THE STRUCTURE
SECTIONAL ELEVATIONS
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05 PARAMETRIC DESIGN
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PLATFORM 1-1-2-3-5-8 PARAMETRIC BUS STOP DESIGN
CONCEPT
340
210
INFORMATION KIOSK
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SIGNAGE 80 50 30 20 10 10
In nature, canyons are a very good example of how parametricism occurs. It isn’t merely a repetition of a single unit, but it has a logical mathematical relation that influences the form. The curves in the canyons are formed due to the meandering effects of weathering elements like water. The design is a the canyons in parametricism is the elevation of
reference to nature. The reflected in the design
Starting from the plinth of the bus stop, the heights in the structure increase in the order of the Fibonacci series i.e., 1,1,2,3,5,8 and so on. These are considered as 10cm, 20cm to get the rises of the steps, 50 cm for the seating, 210 cm to get the minimum head room. The various other lines which appear fluidic all come together to form the structure. 38
06 FRACTAL DESIGN WORKSHOP
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BAMBOO PAVILION FRACTAL DESIGN WORKSHOP This workshop was aimed at developing an urban folly by using the fractal theory. Fractals are geometric figures, each part of which has the same statistical character as the whole. They are seen in nature in the form of snowflakes, bryophyllum leaves etc. Our team developed a tetrahedral fractal geometry made of 3 tetrahedrons. The entire structure itself was made by joining these fractals along varying faces. The final form was attained by allowing the structure to sit in it’s most stable form We were taught to manually join bamboo using ropes by the local craftsmen, which we further applied when the fractal itself was actualised into a 1:1 scale bamboo pavilion.
DEVELOPMENT OF THE FRACTAL UNIT 1:1 BAMBOO PAVILION
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This portfolio has been created solely for the purpose of intership in architectural organisations. All works are done primarily by Vaishnavi Chandrakumar, unless otherwise mentioned.
c.vaishnavi1909@gmail.com +91 78996 92567