Interior Design Portfolio by ABHILASHA

INTERIOR DESIGN WORKFOLIO

2013-2017

ABHILASHA SAIKIA

ABHILASHA SAIKIA Objective: To obtain internship as an Interior Designer where I may be able to employ creativity in designing processes along with excellent grasp on the details that are necessary to execute creative ideas.

Personal Information: +91-7665830076 abhilasha.2720@gmail.com H.No.38,Bye lane 3, Alok Path, Lichubagan, Khanapara, Guwahati, India- 781022

27th Aug 1995 Indian Nationality

About Me: I am passionate about Interior Design, eager to expand my skills while following my passion for designing and creating. I am pursuing Interior Design at ARCH Academy of Design, Jaipur that introduced me to the creativity of this built environment and I have not stopped being passionate about design since then. I have been involved in live projects and other co-curricular activities.

Passport No- K0612367 (Valid up to 02/01/2023)

Languages: English: Hindi: Assamese (Mother Tongue):

Experience & Activities:

Technical Skills:

Sep 2013 F.I.A.P.O. Exhibition Jaipur AutoCAD

3Dx Max

Sketchup

InDesign

Photoshop

MS Office

• Creating installation on saving animals and birds.

Jun 2014-July 2014

Personal Skills:

Trainee Interior Designer Rishika Interiors, Guwahati •Knowledge about materials

Creativity

2013- till date Backstitch Editorial Board College Monthly Magazine

Analytical Skills

•Article writing •Editing and compilation

April 2017-till date

Communication Skills

Trainee Interior Designer Defster Design, Jaipur •Tech office Interior Design at C-Scheme, Jaipur •To learn to manage an Interior project along with designing under the supervision of the firm.

Presentation Skills

2013-till date

Leadership

Pursuing Interior Design •Have been scoring very well throughout

Time Management

Education: 2011

10th Std Board (AISSE) DPS, Guwahati

Interests & Hobbies:

2013

2013-17 Travel

Photography

Music

Art

Cook

Literature

12th Std Board (AISSCE) DPS, Guwahati

BTEC HND Level 5 in 3D Design (PEARSON) ARCH Academy of Design, Jaipur

acknowledgement

I, Abhilasha Saikia, have taken efforts in to compile my work. However, it would not have been possible without the kind support and help of many individuals and organizations. I would like to extend my sincere thanks to all of them. I am thankful for their guidance, invaluably contructive criticism and friendly advice during the complition of my course. I am highly indebted to my institution ARCH Academy of Design and PEARSON for their guidance and constant supervision as well as for providing necessary information for letting me utilize the place and helping me expand my genre of knowledge. I would like to express my gratitude towards all my mentors for their kind co-operation and encouragement which helped me in completion of my course. My selfless regards also goes to my family who keep motivating me to work hard towards my goals. I am sincerely grateful to my comrades for sharing their truthful advice and iluminating views on a number of issues, also for providing me with conductive and nurturing environment. I would like to express my special gratitude and thanks to industry persons for giving me such attention and time. My thanks and appreciations also go to the people who have willingly helped me out with their abilities.

“How well we communicate is determined not by how well we say things, but how well we are understood.” –Andrew Grove

1. RESIDENTIAL PROJECT

content

4. VISUAL ART

COMMERCIAL PROJECT

PRODUCT DESIGN

5. BOOKS & MAGAZINES

RESIDENTIAL PROJECT

to manipulate interior environments to meet design requirements.

CONCEPT The graduating project was a residential plot.There was a family residing in Mansarovar, Jaipur C 34 6d ENGINEER’S COLONY and have recently bought a new plot. The residence has a 40’ road in the front and 20’ road at the rear side. On both the sides it has 2 similar residences boundary walls. This is a family of husband wife and their sons. The wife is an artist and wants the learner to design their residence while getting inspired with history of art and design culture. Client’s requirements: 1. Complete residence interior planning and designing with supervi sion of both the floors design work. 2. The living room must be environment friendly and the use of air conditioner must be avoided keeping in mind that the room must remain cool in summers. The theme which I opted for was Hindu architecture particularly Dravidian Temples. Hence, the materials I choee are terracotta, jute, solid wood, natural stones and metals like brass and copper etc. Fabrics

taken are bright and subtle both such as Kanjivaram saree is used for partition and curtains whereas for upholstery bright ocre, purple, green velvet have been used. Embroided floral prints are used in dining chair upholstery. The inspiration was not only in the for of materials but also extracting motifs and critically using them in the house. As the elements are very earthy and dark in colour, I tried to keep the wall colours subtle. Techniques used in wood are carving, chiseling for making the furniture and in metal casting, moulding, hammering are used. Execution is done in the form of 2D and 3D views.

SOFTWARES AutoCAD 2d 2010 SketchUp 2016/2017 Photoshop CS3 MS Powerpoint 2007

GROUND FLOOR

Space Accomodation Percentage

Space Zoning

Space circulation

FIRST FLOOR

Space Accomodation Percentage

Space Zoning

Space circulation

BASEMENT

Space Accomodation Percentage of area

Space Zoning

Space circulation

FURNITURE PLAN OF GROUND FLOOR

FURNITURE PLAN OF FIRST FLOOR

Sectional elevation showing ground floor and first floor using AutoCAD 2D

Sectional elevation showing TV unit and washroom of Masterbed room using AutoCAD 2D

Sectional elevation showing Bedroom on the first floor using AutoCAD 2D

Sectional elevation showing formal living room on the ground floor using AutoCAD 2D

The formal living room has been divided into low sitting area and high sitting area. The wall niches has mouldings inspired from the southern temples and and a wall it has hexagonal shaped bevelled terra cotta mouldings.

The informal living room cum dining room which is parted by a partition. This partition is of material Kanjivaram saree sandwiched between acrylic sheets, in interval of bamboo weaved mat, chattai in local term.

COMMERCIAL DESIGN

to design the interior space of Retail store and Restuarant.

CONCEPT

This is a project in which I had to create dynamic seating arrangements with a theme. The built up area is 40ft by 50ft. For this project I chose to take inspiration from the poem: THE ROAD NOT TAKEN (1916) by Robert Frost. In the poem: The speaker has come to a fork in a path in the woods. It’s fall, and the leaves are turning colors. He’s unsure which way to go, and wishes he could go both ways. He looks down one path as far as he can see, but then he decides to take the other. He thinks the path he decides to take is not quite as worn as the other one, The speaker reflects on how he plans to take the road that he didn’t take another day, but suspects that he probably won’t ever come back. Instead, far off in the future, he’ll be talking about how his decision was final and life changing. Similarly, my life is a turnover when my co-students were opting for honours in Humanities but I was amongst the few who opted for designing. It was difficult decision to make but when I look back it has been life changing for me too. As I developed the mood board from the inspirational image, the elements I got were geometrical shapes. I developed the colour from thr inspirational image too.

SOFTWARES AutoCAD 2d 2010 3Ds Max 2014 Photoshop CS3 MS Powerpoint 2007

INSPIRATION IMAGE & COLOUR PALLETE

PROCESS OF MOOD BOARD

MOOD BOARD

An accessory store which includes bags, scarves and jewellery. It has been developed in 3Ds Max.

A cafe with bar in the theme of ROAD NOT TAKEN with the geometrical elements. Views developed in 3Ds max.

A cafe with private dining room in the theme of ROAD NOT TAKEN with the geometrical elements. Views developed in 3Ds max.

An cafe with couple sitting in the theme of ROAD NOT TAKEN with the geometrical elements. Views developed in 3Ds max.

A cafe with four seater dining in the theme of ROAD NOT TAKEN with the geometrical elements. Views developed in 3Ds max.

PRODUCT DESIGN

to explore material in the process of making products.

DOOR HANDLE I have designed a door handle for the entrance door inspired from Hindu Architecture. It is made up of Brass by casting process, that is, pouring melted brass metal into the mould.

CONCEPT Inspired from the Dravidian temple, Virupaksha temple in Hampi, Karnataka. I have taken Dravidian architecture because it is least explored and we need to connect to our roots before getting inspired from the western world. The gopura, the entrance of the temple which is supposed to be the main attaction of the temple to greet people. The top-most part is called shikhara. The top part of the handle has the tika of Shiva, as the people of South India worship Shiva mainly.

SOFTWARES AutoCAD 2d 2010 SketchUp 2016 Photoshop CS3 MS Powerpoint 2007

3 dimensional view of door handle developed in Sketchup.

IDEATION & EXPLORATION FINAL DRAWING

4" 3" 1 32" 1 22" 3"

INSPIRATION IMAGE: Gopuram of

2" 1 22" 1 12"

Virupaksha Temple

WORKING

DRAWING:

Developed in AutoCAD 2D

DETAIL AT A Lvl +0 Lvl +0

3 14"

1 12"

1 2" 3 4"

1 2" 3 4" 1 2" 3 4" 1 2"

1 2"

3 4" 1 2"

Lvl +1mm

2" Lvl +3mm

1 4"

DETAILED ELEVATION

FINAL PRODUCT

3D RENDER: Developed in Sketchup

WORKING WITH ARTISAN

Door Handle Material: Brass Inspiration: Dravidian Temple Photograph courtsey: Nikhil Mangwani

TABLE LAMP The study table lamp is self made whcih is inspired from the Vitruvian man which is known for proportion. The product is completely made from Teak wood using different wooden techniques such as planing, chiseling, hammering, drilling etc.

CONCEPT The Vitruvian man drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius. Vitruvius described the human figure as being the principal source of proportion among the classical orders of architecture. He believed the workings of the human body to be an analogy for the workings of the universe. The process included from sketching of the Vitruvian man to do exploration for the production of the product followed by doodling of the product to explore the postures of human beings. From all the parts of human body, hand is one of the most porportionate part of the body. Also as an interior design student, hand is used to do both technical and software work. Hence, I have explored hand postures. It carried the evolution and exporation of palm gestures and refining the exploration of hands. Next exploration of hand postures in which light could be fit with visually balanced manner followed by development of the lamp which is feasible for single person. After finalizing the shape, it was developed in 2D and 3D softwares.

SOFTWARES AutoCAD 2d 2010 SketchUp 2016 Photoshop CS3 MS Powerpoint 2007

3 dimensional view of table lamp developed in Sketchup.

INSPIRATION IMAGE: Vitruvian Man

IDEATION & EXPLORATION

FINAL PRODUCT

3D RENDER: Developed in Sketchup

Table Lamp Material: Teak wood Inspiration: Vitruvian Man Photograph courtsey: Abhishek Sharma

VISUAL ART

to ideate and explore design through different mediums

VISUAL COMMUNICATION IN ART & DESIGN: Aim was to aware the world about endangered and vulnerable animals. I took Rhinocerous and studied its anatomy and body structure by using different mediums such as water colour, collage etc. The medium of communication was a visual poster using Oil pastel colours.

Studying the colour theory by understanding the negative and positive space in the nature. by colouring in grayscale.

Studying the colour theory by understanding the negative and positive space in the nature. by colouring in monochrome.

Studying the colour theory by understanding the negative and positive space in the nature. by colouring in polychromw

BOOKS AND MAGAZINE

graphical representation, documentation and analysis

COZY MUFFLE is a visual book which contains the meaning of all the words from letters A-Z written after a research on Jaipuri Quilts which are famous in Jaipur for its technique and which could be used all 12 months. The words are related to this unique traditional technique. For complete view: https://issuu.com/abhilasha_s/docs/a-z_visual_book

UNFOLDING RETAIL is a research book on Retail stores in Jaipur. For complete book1research

view:

https://issuu.com/abhilasha_s/docs/research-

DRAVIDIAN ARCHITECTURE 1

- Amonument such as the great eighth-century Virupaksha temples, contains a whole family of different aedicular forms at different scales.

- The emergenge of South Indian or Dravida temple architecture from earlier pan, Indian traditions can be traced from Ajanta and the Buddhist traditions of Adhra Pradesh to sixth century rock-cut architecture in the south.

- The architect/ builder of this temple is lakkan Dandesha. The moulding sequence had in the parapet, the shikhara moulding represents a thratched roof, the griva (neck) the habitable verandah, the vedi a railing, the vyalamala ( band of mythical vyalas and makaras) the ends of joists over the kapota, a thatched cave.

- Through the seventh and early eighth centuries, the full development of Dravida ‘language’ for structure temples can be observed in the area around Badami in northern Karnataka, capital of the Early Chalukyas, followed y related developments in Andhra. In parallel, with much interaction, the Tamil version of Dravida came to fruition under Pallavas. -Dravida temple architecture also spread to Kerala, and under the Cholas, the predominant dynasty in Tamil Nadu between the ninth and thirteenth centuries, to Sri Lanka.

temple structure - At present, the main temple consists of a sanctrum, three Ante Chambers, a pillared hall and an open pillared hall. A pillared cloister, entrance gateways, courtyards, smaller shrines & other structures surround the temples.

- The simplest form of Dravida temple is the alpa vimana (minor Shrine), with roots traceable back to one of the shrine types of Buddhist Gandhara. -Derived from wood-and-thatch prototypes, this tpe when rendered in masonry has a moulded base, walls-usually with pilasters- enclosing the square sanctum, an overhanging canopy or roll cornice (kapota) and a crowning domed pavilion (kuta), usually square.

-The nine-tiered eastern gateway, which is the largest at 50 meters, is well-proportioned & incorporates some earlier structures. It gives access to the centre court containing many sub-shrines. i

-Alpa Vimana of the temples are rectangular, crowned by a barrel-roofed pavilion (shala) and apsidal (gajapristha ‘elephant-backed’), crowned by an apsidal shala.

- The smaller eastern gateway leads to the inner court with its numerous smaller shrines. Th e gopuram towards north known as the Kanakgiri with subsidiary shrines and evenually to the river Tungabhadra.

-An early example of kuta-topped alpa vimana built around the beginning of the seventh century is a small, sandstone shrine, fronted by a porch, south of the Ravana Phadi cave temple at Aihole Karnataka

-A narrow channel of the Tungabhadra river flow along the temple’s terrace and then descends to to the temple-kitchen and outthrough the outer court. - The most ornate of all structures in the temple, central pillared hall is believed to be Krishnadevaraya’s (the then king of Vijayanagar Empire) addition to this temple. So is the gateway tower giving access to the inner courtyard of the temple. - It is the oldest temple which is still used for worshipping in that region. 1. Sketch of Virupaksha Temple, Pattadakal, Karnataka

gopuram 2

-This gopura is about 165 feet tall, 150 feet in breath and 120 feet in depth. -This is one of the tallest Gopura in South India and it is in 11 tiers. This Gopura has been built in such a manner that an inverted shadow of the Gopura falls on the western wall of the temple through a small hole adjoining the sanctum sactorum. -There are two other gopura in this temple complex. The northern Gopura is constructed with five tiers and another Gopura in the inner eastern side is constructed with three tiers.

-Once founded a temple would attact pious gifts and grants, including grants of land and could achieve a powerful role in social & economic life. - It might perform educational and charitable functions and have hundreds of employees, from priests and administrators to masons, dancers, cooks and potters.

a researched and analyzed documentation on various architectural eras. The chosen eras are: GREEK ARCHITECTURE HINDU ARCHITECTURE MUGHAL ARCHITECTURE For complete view visit: https://issuu.com/abhilasha_s/docs/cccjjkyjk

-Temples from this period and the following centuries are expressions of Pallavas, Cholas and Hoysalas’ wealth, power and artistic expertise.

SOCIAL & ECONOMICAL INFLUENCES

VIRUPAKSHA TEMPLE -The most awe inspiring aspect of this temple is the massive “Gopura” (entrance structure of the South Indian temples).

INTRODUCTION

- Many of the important temples were founded by kings or queens, but other important or wealthy peoople were also patrons, & sometimes guilded of merchants or craftsmens.

CRITICAL STUDY IN ART AND DESIGN is

-The temples of Brihadeshwarar temple has Chola frescos on the walls around the sanctum sanctorum portraying Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. -The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty.

c b

-Some of the paintings in the sanctum sanctorum in the passage had been damaged because of the soot that had deposited on them once upon a time. 3 a

2. Plan of Virupaksha temple from its entrance (gopuram) (a) at the bottom followed by the first courtyard (b), the triple headed nandi (c) , the middle of the courtyard (d) and the ranga Mandapa (e). The northern Gopura (f) is located at the right side.

3. Rajaraja I and His Teacher, Wall Painting in the Rajarajeshvara Temple to Shiva. Chola Dynasty

murals BACKSTITCH is the monthly magazine of ARCH Academy of Design, Jaipur. I feel previledged to be in the Editorial team and contributing for it in various roles. For comp;lete view visit: http://www. archedu.org/ downloads.html

+917665830076 |

abhilasha.2720@gmail.com

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