ASHWINI SHWETHA KETHARAJ
PORTFOLIO
IMIAD WORKSHOP, NICOSIA, CYPRUS
INHABITING NICOSIA
CONCEPT
BORDERS, BARRIERS & THRESHOLDS OF INTERIORS
The area dealt with in this Design concept are the Chrysaliniotissa and Ayios Kassianos quarters these stretch along the east of the buffer zone within the walled city of Nicosia. An observation of the use of the roads with barrier gates led to the realisation, of a second invisible border, one created by the society. The neighbours of the buffer zone inhabit the space by turning them into extended living rooms (in the north) or parking lots (in the south). It is not only the inhabited spaces that makes one feel as if by mistake intruding into a private area, that keeps visitors away. But also the frightening boundary line, that is a constant reminder of the brutal past and torn apart present, that creates this invisible second boundary.
REGATE:
CROSSING THE LINE
By working for the present but keeping in mind the future, a concept is developed where this socially created barrier is unveiled and physically built. This is to draw the people to the area, to unconsciously bring awareness to the ignored space. Also by deliberately drawing up a threshold that does not physically prevent one from crossing and at the same time forces the residents to constantly more over it, a mental barrier slowly disappears. The goal is to familiarise the citizens with the idea of living in a road that will be more than a dead end one day, that this road may lead to an intersection where past, present, future, religion, culture, opinions and languages collide together. 
 The design draws a line along the floor that evolves into a three-dimensional vertical gate and back into a boundary. The gateways face towards a physical intersection located inside the buffer zone. 
 Due to the high quantity of copper on Cyprus it was mined, making it prominent resource of the island. Some may say that the name Cyprus originates from the word Copper. The material used for the design is corten steel which resembles the colour of copper and ensures stability.
IMIAD, CEPT UNIVERSITY
GENERATIVE DESIGN PROCESS
FORM-FINDING
PROCESS DESCRIPTION A form finding exercise by using Fevicol 998 SR(rubber adhesive) as primary material for the generative design process. This rubber adhesive has a nature of creating membrane in between two or more points or edges because of its viscosity. Firstly the process started using GI wires and made random forms out of it. Those forms were dipped in this adhesive solution and the resultant form was documented. The second step of the process was to add more constraints to the random forms. Explored forms with multiple defined edges in cubical grids and wire mesh. These forms when dipped in the adhesive solution resulted in much more interesting surfaces which were documented.
FURTHER EXPLORATION by adding some kind of control to its frame structure and moderating its flow.
COMPUTERISED DOCUMENTATION
Designed algorithm is working and generating surfaces between two or more surfaces by lofting them. 
 
 Images are showing process of surface generation from cube and gradually in further process it intervenes about if the same algorithm is used with different forms derived from a cube and their possible resultant products. Finding exercise and measuring the nature of material for derivation of analytical data which can be used for generative design softwares as a base to design algorithms.
IN INTERIOR SPACE Using the form which was finally derived with previous experiments, the given interior space in Courtyard Marriott, Ahmedabad has been designed.
EXCHANGE SEMESTER, GERMANY
POP-UP CAFE
CONCEPT
The pop-up restaurant - initially conceived for the project, was based on the concept of ‘nomadic tents’. The idea was to sit together to have a meal on the floor - like in both Turkish and Indian cultures. Flat bread can be seen in all three cultures - American, Indian and Turkish, hence chosen for the type of food served.
PROCESS
DEVELOPMENT
EVENT DAY
We chose newspaper as a medium for constructing our pop-up restaurant since it was easily available , affordable and commonly used in all three nations.
FEATURED
The work has been featured in Stuttgart’s local Newspaper as well as a youtube channel has been made showcasing our work.
Channel: IMIAD HFT insideIMIAD #1 Developing a pop-up restaurant https://www.youtube.com/channel/ UCGyspZWZ2TU_39Pp-bQPQEg
EIGHTH SEMESTER, B.ARCH
HUSSAIN ART MUSEUM
SITE : KOLKATA, INDIA FRONT ELEVATION
REAR ELEVATION
SITE PLAN Art museum design in the memory of the legendary artist M F Hussain. Also the design caters to other prevalent artists during his reign and also giving platform to the upcoming artists. Three different wings have been designed respectively with spacious high atriums and galleries. Entrance has a two storey high statue which has a circular ramp around it. The ramp which makes one experience the statue from 180 degrees and leads to an open coffee shop where artists can get the pleasure of sipping a coffee alongside admiring the architecture of the museum and the exhibits.
LEFT ELEVATION
RIGHT ELEVATION
SECTION AA’
SECTION BB’
VIEWS
RAJ REWAL ASSOCIATES, INTERNSHIP
JUNG-E-AZADI
 WAR MEMORIAL
CONCEPT The building of Jung-e-Azadi memorial poses a remarkable challenge and offers opportunity to re-state the values of Indian freedom fighters who laid down their lives and regional concerns in built forms. The concept of Jung-e-Azadi memorial and museum is based on a circular enclosure which houses the focal centre of the memorial and integrates it with a harmonious ensemble of galleries amplifying the struggle and freedom around a ceremonial path.
The building complex consists of: 1. An icon in the memory of the martyrs. 2. Galleries for each movement in history. 3. Temporary exhibition gallery 4. Auditorium 5. Movie halls 6. Seminar halls 7. Amphitheatre 8. Cafeteria 9. Shops 10. Administration 11. Library 12. Kid’s corner
The complex is designed as a sequence of t h re e i n t e r- c o n n e c t e d c o u rt y a rd s , culminating at the main monument with t h e s t a t u e s o f f r e e d o m fi g h t e r s surrounded by exhibition galleries. The courtyard is based on subtle spatial enclosures which diffuses the harsh sun light and promote social and intellectual encounters the design is built around distinct functional requirements.
The landscape for 25 acres of site is an important consideration. The building form which includes the internal spaces around courtyards is designed by hard paved areas in sandstone with a few trees. Outdoor seating areas can be arranged around the route. The landscaping outside the building creates external outdoor green spaces with small embankments which relates to the internal functional spaces of the building.
MEMORIAL ICON AND EXHIBITION GALLERIES The memorial would be seen as a central monumental icon at the end of the complex of three courtyards on an axis starting at the entrance gate. It may be appreciated that the iconic form of flowering petals would also be seen from the road linking Amritsar to Jalandhar through a landscaped garden and an approach pathway which could form secondary gateway. Symbolic values of the central icon and its theme for displaying statues is an important consideration for the concept the circular form standing tall up to a height of forty two metres(approx 140ft) is composed of four petals, inspired by Punjab’s famous phulkari textile patterns symbolising a gesture of honouring by flowers for eternity the valour of freedom fighters.
Place of pride is given to the Martyr’s memorial which would be the tallest structure in the landscape. It is located at the highest place in a central position at the end of a long ceremonial path. It symbolises the righteous struggle and sacrifice.
Jang-e-Azadi’s galleries are grouped together in a circular formation seen as a sequence of events and struggle for our freedom. The circular circumbulatory movement is reminiscent of ‘Parikrama’ around the central memorial exhibiting statues of freedom fighters.
The galleries at two levels have the potential to be lit with natural light from the top and the average depth would be about forty feet. It is important that galleries can be modified based on interior design considerations. In view of this the flexibility for natural and artificial light is part of the design.
SITE DRAWINGS REAR ELEVATION
FRONT ELEVATION SITE LAYOUT
FRONT ELEVATION FROM THE HIGHWAY
SECTION FF’
SECTION EE’
VIEWS
PHOTOGRAPHY