INTERIOR DESIGN
POR T FO LIO
AAKANKSHA BATRA
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HELLO! My name is Aakanksha Batra, I’m an architect and interior designer. My skills include designing, conceptualization of ideas through visuals, graphical illustrations and sketching. I love colors, forms and spaces.
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CONTACT ME D.O.B
05-05-1995
Address
F-203, Empyrean courtyard, atladara, Vadodara. 390012
Phone
+91-9428364943
aakankshabatra264@gmail.com
Aakanksha Batra
Instagram fluffyyymuffin
EDUCATION College of architecture, S.V.I.T Vasad
CEPT University, Ahmedabad
Hochschule für Technik, Stuttgart, Germany
2013-2018
2019-2021
2020
Meraki design studio, Vadodara
Sun Architects, Vadodara
Arkin Institute, Vadodara
Jan 2018-May 2018
July 2018-Dec 2018
July 2018- April 2019
EXPERIENCE
SKILLS
WORKSHOPS Bamboo Furniture
Calligraphy
CEPT Summer-Winter School
Clay modelling
Paper quilling
Refresh-space
Stage design
Glass etching
Walking with the masters
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INDEX 01. The Fixed and the Flexible: Interiors for Headquarters
03. Railway souvenir store and picture gallery
05. Hand-drawn Illustrations
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02. Centre for knowledge: Interiors for a Library & bookstore
04. JUGAAD: A design approach or just a quick fix?
06. Digital Illustrations
6 The Fixed and the Flexible
Central work area
Translating materiality into the layout, elements & scale of a space bottom-up approach was the main aim of this project. The brief w oral products company where spaces appear to be arranged in a framework but are made fluid with flexible elements to create am materiality help to achieve this sense of flexibility. Partitions mad out zones which are then easily switched up when the functional modules with flexible parts is further continued in the furniture e The fixed modules with flexible elements are functionally workab according to individual users of the headquarters.
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e, by working with a was to design headquarters for an fixed grid of aluminum mbiguity. Changes in de from glass are used to carve lity demands it. This idea of fixed elements for customized usage. ble, and can be changed
8 The Fixed and the Flexible
modularity
transition
flexibility
Modular grid of light weight aluminium profiles dictates and frames the spaces in an otherwise open floorplan. To break from the rigid grid, flexible partitions are introduced in the space for it to transition from an open public space to enclosed smaller spaces accordingly.
Detail A
Detail B
aluminium legs joined by a modular unit which can be snap fit/welded
aluminium box sections bolted into floor and ceiling by 40mm base plate
Interior elevation showing details
Deta
pivoting shelves and to the legs via
3480
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staff entry
3480
cafeteria
storage and printing
2100
1750
admin cabin
work area
work area
2200
1750
director’s cabin
1200
reception
4350
manager’s cabin
main entry
ail C
d display board held a dowel & key
2530
HR cabin
conference room
display area and waiting
1870
2215
1960
1675
5570
Detail D sliding and bifold partition with top aluminium C channel and hinges
1675
1960
2215
1870
2530
Detail E aluminium frame with frosted glass, corkboard and white board panels
10 The Fixed and the Flexible
corkboard 20mm thk
corian 25mm thk
aluminium box profile
corian 25mm thk
aluminium box profile
clear acrylic 5mm
1150
700
700
870
870
1265
0 124
1515
work desk 1
work desk 2
0
230
aluminium sheet 4mm
500
tempered glass 25mm
aluminium table legs 0
225
750
2200
tempered glass 4mm
aluminium box profile
shelving unit
reception table
0
195
0
100
560
tempered glass 25mm
450
450
600
aluminium box profile
500
cushioned blue woven fabric
lounge area
Customised furniture with material specif ications
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existing roof with clerestory
Modular grid of aluminium profiles
Mezannine deck
Fixed & movable partitions in the grid
Central flexible work area with peripheral fixed cabins
Exploded isometric view
12 Centre for knowlege
Academic reading pods
A place for literary knowledge of reading, writing, orating and res the joys of reading through different spatial arrangements and li brief of the project. The program is based on multi functional uses o to experience reading, writing and even reflecting upon one’s tho integral parts in a space that generates different kinds of feelings this, it is introduced into the spaces at each level of the site by the to incorporating daylight as well as complimenting it with artificia experience of a space. Each level/floor has a different function and to semi-public and private as we move up in the site.
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search, to foster and experience ighting in a space was the main of the space that instigates users oughts. Light is one of the most s by the way it is used. Based on e means of modulating surfaces al lighting to enhance the over all d user-group, going from public
14 Centre for knowlege
Geometry as a rule to modulate surfaces for experiencing light in a space.
Light is often appreciated only for its functional value as opposed to being understood as a compositional tool to be explored and manipulated in the design process. There is an interrelationship between the method of lighting and the structural form, the former revealing the latter. Different openings with various design approaches affect both people and the interior environment. The ways opening affects these two mentioned factors are directly depended to the ways they are designed. Each designed opening plays a special role to design natural light coming in. The appearance of the interior space is determined by the physical surfaces, edges and textures when acted upon by the light falling on them. A symbiotic relationship between light and structure exists in that the unity of the building derives from their successful interrelationship. Openings have important role to bring daylight into space. Thus, considering their design is also important because it directly affects the space and its quality. On the other hand, people’s perception will also be affected by the light coming in through the openings. They can be designed via considering shape, size, location and wall’s depth and each factor affects the penetrating natural light into interior space. Location or position of opening causes view, visual comfort and daylight distribution in space.
State of experience, order and detail of the site
Creating openings with both planar and linear elements generate visual shadow in the space; cause a changing atmosphere by the movement of the sun during the day. On the other hand, changing the size and location of the openings affects the viewer’s perception of the outside. Openings designed as a result of the organization of design elements with different schemes, effect the integration of natural light into the interior space directly. New techniques or approaches, materials affect both, the form of the buildings and design of openings. However, it should be noted that more than the consideration of form, their effect to the interior environment should also be taken into consideration. Natural lighting can make a space alive or dead, it connects people to the outside environment, it also creates texture in interior spaces, which are all dependant on the way openings are designed in a space. Thus, it could be said that, opening design is a sensitive part of architectural design. According to this re-consideration, openings are the only way to bring natural light into space, they make a corporation between the two sides (indoor / outdoor).
The central core reduces from the bottom floors to top as activities change from public to private. On the other hand, the peripheral spaces increase.
For admitting daylight into the building, openings are extendable, foldable,manually/motorized movable. Cut-outs are made into the slab & glass-flooring is done.
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Private reading area: 25 m2
Private reading area with terrace garden. Noise-free reading with individual pods overlooking the sundarvan park, glare-free daylighting introduced in space.
Academic reading area: 48 m2
Academic reading area for research, controlled & diffused lighting for comfortable and professional environment.
Community space: 48 m2
Community space which is semi public used for interactive sessions, book readings. Play of light using fins/screens. Public reading area for group reading, easy to access and can be used for multiple functions. Direct daylighting for a dynamic experience.
Public reading area: 75 m2
Welcome/Retail space with outdoor cafe (existing) that engages the users into the space.
Retail space, cafe, open area: 58 m2
Knowledge exchange area used for screenings, seminars, talks and workshops.
Knowledge exchange area: 48 m2
Volumetric zoning
Activities on each level
Spatial arrangements according to activities
Pods for all activites
16 Centre for knowlege
Basement
Second floor
Ground floor
Third floor
Floor Plans
First floor
Fourth floor
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floating shelving system
glass tiles floor
accordion fold windows
individual reading pods
awning windows
group reading pods
group interactive seating area
display shelves + booth seating
lean-on stand and magazine rack
Exploded isonometric with kit of elements
18 Railway souvenir store
Souvenir store and picture gallery inside a train compart
The brief was to redesign a Narrow gauge Railway coach into a s to promote the Indian Railways. Merchandise ranging from railw t-shirts and other apparels to keychains, diaries, magnets and p the souvenir store. The picture gallery would have infographics a of western indian railways. The exterior of the railway coach was kept as it is, other than the display shelf on one side of the coach. Another counter inside t which people can access the store through the picture gallery. C top luggage shelves were preserved and incorporated into the in
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tment
souvenir store and picture gallery way engine models, toy trains, postcards were to be displayed in and pictures showing the history
modification to have a glass the coach was designed through Ceiling fans and lamps along with nteriors.
20 Railway souvenir store
Counter of souvenir store viewed from gallery
Picture gallery viewed from souvenir store
Peg display for clothes
Display shelf
Display shelf for train models
Mood board for the Souvenir store
Counter with storage
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22 JUGAAD: A design approach or just a quick fix?
Jugaad /, Hindi: A flexible approach to problem-solving that uses limited resources in an innovative way. (Definition from Oxford Languages)
Jugaad, the Indian practice of doing more with less, could help contributing substantially in the global philosophy for sustainable design. Indians may be the world’s champions when it comes to improvising with whatever resources they have at hand. But Indians certainly haven’t been the only ones to find utility within the limits of scarcity. ‘Similarly, the words ‘make-do’ and ‘fix-it’ exist in vocabularies of other languages, like ‘Chindōgu’ (Japan) and ‘Kludge’ (America in life-hacking in computing), ‘Guanxi’ (China), ‘Blat’, ‘Mir’ (Russia), ‘Quanhe’ (Vietnam), ‘Ubuntu’ (South Africa).’ (Birtchnell, T. (2011)
Eventually Jugaad and its etymological family are referencing more than intelligent problem-solving. In its broadest sense, it may be a combination of resistant and flexible attitudes devised to permit the less fortunate to survive and persevere with a sense of dignity. The capacity to hold life together with bits of string, old coffee cans, and broken mirrors in an astonishing gesture of aesthetic bravado is at the heart of Jugaad. India is not an easy place, and to be frugally creative is to rise above the hardships of life. For some in India, Jugaad represents the best of India — the ability of the thrifty people to make do with less. For others, it represents badly made products and shady practices for which the country has long been known. Jugaad is essentially, a one of a kind way of considering and acting in reaction to challenges; it is the gutsy art of spotting opportunities within the most unfavorable circumstances and improvising solutions using straightforward approach. Jugaad is about doing more with less. It is often said by members of design community that design isn’t just about making a product aesthetic also about its functionality and sustainability. In India, we often use the term Jugaad to either fix a problem or to improvise the functionality and the purpose of a design. This method is executed with local and cheap resources, hence the constraints. Use of minimalist available resources to maximize the impact is the main motto of Jugaad. Creativity may be limitless but design is dependent on constraints. To generate interest, designers need to create unique solutions rather than offer standard solutions. Every aspect has its own pros and cons. Though in most cases Jugaad is considered as a temporary solution, it also has some pros. It focuses mainly on problem solving to create an effective experience. The approach of Jugaad is used in every aspect of design, may it be architectural, interiors, fashion, events, crafts etc . Design process and its execution is dependent on various contributory services, fabricators, and skilled craftsmen. A craftsperson understands the concept of Jugaad because of the lack availability of resources around him and thus he is habitual to recycling certain objects to make the best use of it and hence making it environment and budget friendly.
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Jugaad canopy: public art installation, India
Jugaad isn’t about looking for modernity or flawlessness by over designing products, but rather about creating a ‘‘good enough’’ solution that gets the work done. Creative simplicity is Jugaad’s key rule. Jugaad captures the pith of the Indian mindset to make do with what one has, instead of investing in something that’s more need appropriate. It’s a state of mind that legitimizes the choice of a quick/cheap fix to an issue over an elegant/timeless solution. Jugaad basically rises from an inventive spark, a thought by chance. Another way to portray Jugaad would be the reverse of Form follows Function, so essentially Function follows Form, Being able to create function associations between products having particular forms. Jugaad is inconvenient to Design Thinking in the sense that it doesn’t follow a design process. It is basically a life hack, or a shortcut. Jugaad, in a way of speaking, points at accomplishing maximum output out of minimal input. This fundamentally decreases the amount of effort we put into the act of creation. Design should look effortless, not be effortless. Jugaad had and still has negative implications when used within the social setting as a workaround. Both as a social technique and as material products, Jugaad was/is generally not acknowledged. Rather, for a large part of its presence it has been swept beneath the carpet, especially when mishaps due to Jugaad take place within the material world or when Jugaad is used as a workaround in social world. Design can be scaled and duplicated, unlike Jugaad which is localized. In this way, design can be made nonexclusive and can be standardized. This implies that it can be controlled. On the other hand, Jugaad is often temporal - when the user does not and cannot have a long-term lasting solution due to limitations of resources he resorts to Jugaad. In a nation like India the sheer need of infrastructure and financial implications encourages Jugaad. The same is true of individuals on the margins somewhere else in the world. Thus it can be said that although Jugaad as an approach to design has potential to develop and be used for producing environmentally sustainable design solutions, it comes with its own set of negative connotations.
24 Hand-drawn illustrations
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26 Hand-drawn illustrations
Study of Paul Gauguin’s painting Medium: soft pastels
Study of Frida Kahlo’s painting Medium: soft pastels+water colors
Study of Claude Monet’s painting Medium: soft pastels
Study of Amrita Shergil’s painting Medium: soft pastels+water colors
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Study of Human anatomy poses Medium: graphite pencils
28 Digital illustrations
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30 Digital illustrations
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