Undergraduate Portfolio

Education : Indian School , Bahrain

2007 - 2017

St. Aloysius PU College , Mangalore 2017 - 2019

Wadiyar Centre for Architecture , Mysuru 2019 - Present

ARLENE D SOUZA

PhoneNumber:

+918296385424

Experience : Layout editor | The Courtyard | Wcfa Newsletter

Club head | Food club

NASA Fashion team head | 2021

Skills :

Model Making

Hand Drafting

Layout Digital Drafting

3D Modelling

Rendering

Diagramming

Sketching

EmailID:

Address:

2019_arlene.d.s@wcfa.ac.in

Moodabidri,Karnataka,India

English,Hindi,Konkani

Softwares : AutoCad

Revit

Sketchup

Adobe Photoshop

Adobe Illustrator

Adobe Indesign

Enscape V Ray

WEAVING CENTRE IN KANCHIPURAM

Asst. Prof. Surendran Aalone

Prof. Shrutie Shah

Prof. Prashant Girish Pole

Prof. Anand Krishnamurthy

Prof. Asijit Khan

The semester focused on understanding the word “sustainabiltiy” and its different interpretations, the core of which is to understand nature and it’s behaviour. The brief is to design a cottage industry catering to the weaving population of kanchipuram. The project is to include all activities pertaining to Weaving, all the intricacies of manufacturing it to its retail.

The semester explored three variables : human comfort, climate responsiveness and resource efficeiency.

Tamilnadu Kancheepuram

The site, in kanchipuram., a temple town located 75kms from Chennai. The town is known for it’s saree production and attracts customers from all across India. These sarees have a significant identity in many south Indian cultures and traditions.

The town fabric, is quite dense with major commercial streets catering to the large influx of customers coming into this town.

The intent was to create a facade from the main street in front which was done in the initial massing by creating a set back for the drying unit. The second intent was to highlight the manufacturing process, to allow for transperency which is done by creating a difference in scale between the rest of the blocks and the blocks housing the manufacturing process of the sarees.

The second massing looked at an alternate way to achieve transparency by creating a pathway which passed through the blocks that were manufacturing and terminated with the retail block- creating an axis.

The massing was then itered retaining the same ideas such that the overall massing blocks help facilitate the overall wind movement within the built area.

Residential buildings Commercial buildings

Religious buildings School building

Intent sketch 01

Intent sketch 02

SECTION CC’

SECTION AA’

SECTION BB’

Direct sunlight from the west cut down with vegetation.

Increased buffer space on the first floor to create a cooler buffer zone throughout the day.

The weaving block split into two to create a channel for wind to enter into the

SECTION YY’

Rotatable louvres to cut down direct light from the east during the morning, letting in ambient daylight inside for the rest of the day.

PLAN AT +0.6M Weaving block

PLAN AT +6.5M : Weaving block

the court. The walls modified to get daylight into the blocks.

The idea of sustainaibility rooted from observation of the present working conditions of the workers which is unsafe and uncomfortable. Thus, Sustainability is seen as creating comfortable spaces forthepeopleinhabitingthebuildingto boost productivity and well being.

This has been done by using passive strategies in the building such as Solar shading, cross ventilation, rain water collection. In blocks which demanded more enclosed spaces active startegies have been adopted reusing the water which has been recycled by the DEWATS system.

Alongthesite,Thesitehasbeenopened up to accomodate higher public behaviour. Some of the site area, adjoining the road has been provided as a breathing area in response to the dense urban fabric of Kanchipuram. The other ends of the site has been opened up by providing a playground, in response to the school nearby and lack of large open spaces in the town.

The eastern buffer zone gets heated in the morning whereas the western buffer zone remains relatively cooler as it is not exposed to direct sunlight. This creates a pressure difference, facilitating cross ventilation.

The reverse occurs in the evenings, where the west facade gets heated during this time. The eastern buffer zone gets enough time to cool down and again creates a pressure difference, This in turns facilitiates cross ventilation.

The Inlet / Exhaust water based Wind Tower

Situation 01 Indoor Temperature above 28°C

Situation 02 Indoor temperature below 28°C Creating a pressure difference

Temperature at 29°C throughout the year underground, this helps to reduce cooling load of water.

RETAIL BLOCK

Wind tower collects wind and passes it over radiant cooling tubes with recycled water before sending the cooler air into the closed retail spaces.

Water required anually for all activities = 24,72,320L Water collected anaully = 18,49,412 L

74% OF ANUAL WATER REQUIREMENTS ARE MET BY COLLECTED RAIN WATER .

INTERIOR DESIGN

Groupwork

Asst.Prof.AnnaCherian

The interior design project is to design the foyer, exhibition space and the pantry space in Wadiyar Centre for Architecture. It focused on understanding the already existing context of the college and designing spaces as a response of this.

The aim was to decipher the existing situations and derive a concept or mood board from it which would further create functional spaces which also sits within the already existing situation of the surrounding.

The semester worked on understanding the difference between interior design and interior decoration. Thus, creating experiences on the interior spaces of a project.

Interiors of three spaces i.e., Foyer, Exhibition and a Teacher’s Pantry has been designed. The college structure itself had a strong identity created by its exposed brick walls, concrete flooring, slender steel members, pine wood windows, PUF Panel Roofing. The building is a result of juxtaposition of its various elements and this was attempted as a design concept for the three spaces.

THE PANTRY

The teachers lounge is designed to create a comfortable break zone. As a response to the exisiting context, which is a exposed brick and steel structure with concrete floors and pine wood, the material palatte is also kept earthy while also adding some colour to the space.

Grey Plywood

Pinkceramic herringbone

Cane

GreenFabric

Isometric views

Pinklime plaster

THE FOYER

The foyer is the entry point into the college. The idea of juxtaposition of heavy to light has been translated in this space by continuing the concrete floor into a heavy seating which gets juxtaposed with copper rods which further continues till the ceiling.

GreenFabricLightwood Copper

Coarseconcrete finish Concrete

Isometric View

THE EXHIBITION

The exhibition space required to be flexible to allow different permutations and combinations of display space according to the sizing requirements of each individual. Hence, the panels here can be customised to create different qualities of space. The intention was to also create a forest of pillars and free up the ground to make it appear as a transition between light to heavy from the ground up.

View - Panel boards when used View - Panel boards when not used. View - Display boards for permanent exhibits.

Perspectives

GreenLimeplaster

Exposedbrick

Towards the exhibit space

Towards the entrance

SRIRANGAPATNA

DOCUMENTATION OF SITE CONTEXT

Srirangapatna is an island town situated in the Mandya district in Karnataka. It derives its name from the Sri Ranganatha Swamy Temple which is an icon of the town and is also the place where Tipu Sultan had died, Thus this place has a religious, cultural and historical significance.

The town is enclosed by River Kaveri to form a river island. The main river flows to the East while another segment flows to the west.

This island houses Tipu Sultan’s summer house, Jami Masjid - was later on used as a spying tower The srirangapatna fort , Colonel Bailey’s dungeon along with remenents of some historic built forms.

Section XX’

Section YY’ Section

THE METAL WORK MUSEUM

Asst. Prof. Akash Rai

Prof. Anand Krishnamurthy

Assoc. Prof. R Kiran Kumar

Asst. Prof. Shreyas Baindur

Asst. Prof. Shashank Satish

Asst. Prof. Asijit Khan

This semester focused on understanding the public. It aims at designing a public building in an already publicly vibrant space. Thus understanding the public behaviour to futher understand how to inculcate a new form into this already exisiting setup. The project is a museum in Srirangapatna situated in an already exisiting vibrant public micro-context, a museum which is accessible to people of all age groups who choose to engage with the local history of Karnataka.

Since the primary lens adopted for the studio is typological, the key objectives were to do with approaching the museum as an addition to the existing public fabric of the site, which is currently comprised of multiple built & socio-cultural layers including the historic, religious & ritualistic, tourist economy-driven, commercial and institutional.

The site is located next to the extrance of the main Srirangapatna Ghat and is diagonally placed at the end of the maidan from the Sri Ranganatha Swamy temple, the temple after which Srirangapatna gets it name.

Hence, the pathway in front of the temple, along with the maidan becomes important during festivities - such as the chariot march. The maidan is also significant on it’s own and has functions as a place for vendors, as a playground, as a hang out stop, as parking and horse back riding.

01

03

Response to the maidan and the road - continuingthe activitiesofthe maidanandstreetendontheadjoiningsidesofthesite.

Tilting the built form towards the temple and the maidan

Creating a amphiteatre for the maidan. Creating a hierarcial cirulation according to the hierarchy of category of the exhibits.

- Domestic 02 - Commericialaccessories

- Waraccessories 04 - Religiousfigurines

Section AA’

Section BB’

Section DD’

Section EE’

MOOD OF THE SPACE

Public activities around the site and the response of the site to it.

LEARNING

The learning centre is aimed at providing a shared physical space for community members in which they can discuss their views on community issues while also participating in non-formal learning activities. It aims to contribute to collective transformation in the villages by promoting the pursuit of optimal personal development and by improving villager’s awareness of cultural, community and environmental issues. It should cater to people of all age groups and interests including children. It should accomodate activities such as Library and reading space , Indoor play area , space for music classes , space for dance and drama practice , space for discussion and meetings , Kitchen and dining space and space for learning tailoring and weaving

Melkote, being a small town, but a local sacred place in Karnataka, very traditional and orthodox charming village. The village is located on a elevated ridge in the landscape with Yoganarashima temple on a hillock linked with the Kalyani-complex in the north and the Tirunarayana temple in the south marking the street - Raja Beedi (Royal Street, since it serves as path for temple processions) which terminates to raya gopura. The important aspect of the settlement is the hierarchy of spaces from Raja Beedi, the public realm, secondary streets start off and enter the private realm of the settlement, meandering through it and ending up in clusters of dwellings. The important aspect of the village is the water harvesting system with interconnected kalyanis of various sizes dotted across the village with various utilities, finally leading to lakes on the lower level. Being a very important village for the followers of Saint Ramanujaacharya, this has become a place of worship and people across India visit here seeking for knowledge. The recent addition of Academy of Sanskrit Research has further enriched the place.

Karnataka

Melkote

Circulation within the built forms. Roofing System Section CC’

All the blocks on the site hold different functions are to create a sense of continuity tween spaces created for functions. The staircase the kalyani is still maintained tain its significance. The spaces either sides of the central follow a similar pattern by touching the water - to walk down sacred. Activities as the food court and the and weaving centre has been on the side adjoining the allow people to quickly step step out. Activities such as Dance and the Library ha kept closer to the water some sense of privacy or from the main commotion. activities are connected derground pathway to creat ement of surprise and further to the experience of circulating through the space.

site which are placed ontinuity bedifferent down to maintained to respaces on starircase and ends keep the ctivities such the tailoring been kept the road to step in and as Music , have been to create distance ommotion. These by a uncreate an elfurther add circulating space.

Section AA’ Section BB’ Section DD’

WORKING DRAWING

Prof.SrinivasSG

Prof.ManojLadhad

Prof.ThyagarajanC

Asst.Prof.SurendranAalone

Asst.Prof.GregoryMAnto

The semester focused on making basic and detailed working drawings of a housing project. It required making legible drawings to communicate the details and specifications of a project to make it fit and easily readable for construction purposes.

Section AA’

Section AA’

Section BB’

Section BB’

Section CC’

KOMOREBI CANOPY

- (Chinese) stattered light that filters through when sunlightshinesthroughtrees.

It is a customary practice in the indian culture to gather under the shade of a tree for assemblies like panchayats and protests. In this scenario, the tree acts like more than a source of shelter, and transcends into behaving like a communal symbol and a spatial entity. The -- pavillion aims to encapsulate this experience of gathering under a tree for a common objective, whilst paying homage to the Banappa park- where many protests at the time of India’s freedom struggle sprouted from.

The pavillion attempts to carry forward the same spirit and history of the place, and maintain a similar use of the space- which is to provide a free space for people to gather communally- while also adding a layer of playfulness and dynamism to the space. Thus, the space not only aims at capturing the quality of static activities (such as gatherings and protests) that take place under a tree, but also yearns to propagate the dynamic activities (play) that usually take place under and around a tree.

The experience of a tree in terms of a spatial quality is thus abstracted by the canopies that imitate the quality of filtered light that a tree provides, while also being inorganic and free in form and material. The underground plinths behaves as a static plane, while the undulating roof serves as a dynamic membrane.

“Abstracting the experience of the tree (as a spatial entity)”

*The Canopy of a tree as a pause point/place of rest (in contrast to Bangalore’s commotion)

*The memory of Play- the tree being a playful element- making the space dynamic and active

*The shade of a tree to gather (in small and large groups)- making a space more multiplepurpose in nature, promoting transient quality of program

*abstracting the elemental quality of resting under a tree in terms of the- quality of light, threshold/barrier from the commotion, climatically cooler (underground)

SECTION THROUGH ENTRANCE TO THE STATIC PLANE SECTION THROUGH ENTRANCE TO THE DYNAMIC MEMBRANE

“TO BEHAVE OR NOT TO BEHAVE”

A transient Venn diagram of territorial negotiations

The sudden bang of a dhol startles me awake, when I hear the clamour of an Indian wed-ding baraat passing by my street. Standing on my balcony I see uncles dancing and lights flashing everywhere while the pack unapologetically occupies the road- as if “baap ka road hai”. The crowd congests the traffic, agitating the autowala- “uda ke leke jayein kya chacha?” he grumbles- complaining to Dada who was sitting by the road, basking in his Sunday newspaper. Chotu and Radha’s intense cricket match had two overs left when it was interrupted by this baraat, having them resort to the side of the street, waiting for this huddle to move along. Overlooking from his balcony, Venki also partakes in this chaos by talking over the trumpets, immersed in his phone call.

The confines of “where” to behave publicly has been a foggy affair for India. The inquiry of “what’s public” often tends to begin as well as dissolve outside the threshold of our homes- creating a fluid overlay of a neutral, transient publicness. Sure, these shared spaces are not devoid of biases, but this freedom of definition- or rather, the undefined- affirms that India’s public spaces cannot be dealt with like the polished, demarcated western plaza. In-stead, its virtue lies amidst its chaos, unpredictability and unanimous comfort in coexisting- “apna hi road hai, yaar”. Thus, our piece inquires the origin of this character- India’s own rendition of publicness- and further posits a sensitive, tacit approach aiming toward com-plementing these idiosyncrasies.

Thread rod

Thread rod Concrete Bamboo

Bolt