ishita sharma
contact
phone / 225.288.3379 email / studio@studioish.net web / www.studioish.net
Architecture | Writing | Photography education work experience
Louisiana State University/ Graduated Salutatorian, Summa Cum Magna/ May 2008
Bachelors of Architecture, minors in English and Architectural History. Currently pursuing Architectural Licensure.
Intern Architect/ Corgan Associates/ Dallas, TX/ 2008 - present
Recognized for superior communication, design and graphic skills with experience in all phases of design Assisted with business development, proposals and presentations, consultant and client coordination The Sixth Floor Museum Store + Cafe at Dealey Plaza: Adaptive reuse interior finish-out and graphic branding Worked with Museum and consultants on conceptualization, visualizations, graphic identity and all design phases Featured winner in Architect Magazine’s ‘2010 Design for the Decade’ and 2011 Retailer Excellence Award, NYC Dallas Fort-Worth Airport Terminals A, B, C: Visualizations, construction documentation and coordination Dallas International School, Design Competition: Devised concept and helped develop it for the firm‘s entry Re:Vision Dallas: Spearheaded competition concept and graphics in imagining ‘the most sustainable urban block’
Freelance Journalist/ Architizer/ New York, NY/ 2011 - present
Working with editors on periodic assignments and self initiated photographic essays for this online publication
Voice Columnist/ The Dallas Morning News/ 2010 - present
Responsible for a six-weekly column on self determined themes including art, architecture, social issues and science
Writer-Photographer/ AIA Dallas‘ Columns Magazine/ Dallas, TX/ 2009 - 2011
Responsible for interviewing regionally notable professionals and photographing two feature articles per issue
LSU Office of Community Design & Development/ Baton Rouge, LA/ 2006 - 2008
Participated in residential construction and provided design services for childcare facilities in New Orleans’ Ninth Ward
Intern Architect/ Tipton Associates/ Baton Rouge, LA/ 2008
Engaged in various design phases of ongoing commissions; prepared renderings and graphic presentations for clients
skillset + software
honors + awards
organizations
publications + exhibitions
Software: Revit, AutoCAD, Adobe Creative Suite, MS Office, Sketchup, Rhino, experience in Maya & Dreamweaver Writing: Editing, essaying, journalism, creative writing with fluency in written and spoken English and Hindi Arts: Model making, hand drawing, photography, graphic design, painting, sculpture, basic metal & wood fabrication HOGI Fellow, Dallas Center for Architecture/ 2010 Studied cultural-hybridization in Tokyo’s dense fabric Traveling Scholar, AIA Louisiana/ 2007 Studied aqueous negotiations within seven European cities First Place, Toastmasters Table Topics/ 2009 Dallas Area 51 public speaking contest AIA Henry Adams Certificate of Merit/ 2008 LSU School of Architecture award for academic excellence LSU School of Architecture Designer of the Year/ 2007 Faculty award for design excellence Percy E. Roberts Jr. Memorial Scholarship/ 2007 LSU Architecture scholarship for superior design ability Tau Sigma Delta Architectural Honor Society Alpha Zeta Chapter/ Lifetime member since 2008 Golden Key International Honor Society Lifetime member since 2006 Dallas Architectural Forum Volunteer Member/ 2009-2011 American Institute of Architects Associate Member/ 2008 - present Architect Magazine/ Design for Decades, Civic Buildings/ 2010 Featured Sixth Floor Museum project Architizer/ 2011 Tokyo: Cyclical City, Morphosis Rises Over Dallas Mega-Highway Ctrl + Alt + Del: Detroit in the Age of Obsolescence/ 2008 Undergraduate collaborative thesis Contexture, LSU Architecture Journal/ 2006 - 2008 Contributing editor for volumes 1,2,4,5 On My Own Time/ 2009, 2010 Winning exhibitor in digitally manipulated and black and white photography Say Cheese! This is Architecture/ 2007 Critiqued the perception of architecture as a singular glorified product On the Raiments of the Arcane/ 2006 Research travel based photo exhibition on Mughal architecture at LSU References available upon request
The Sixth Floor Museum Store + Cafe
Dallas, Texas hand drawn interior studies
3d models of preliminary options * Featured winner in Architect Magazine’s Civic Design for the Decade - 2010 * Finalist in running for the Retailer Excellence Award, New York - 2011
Work began on the Sixth Floor Museum at Dealey Plaza in the guise of a small interior project. Working on it with the project team however, taught me there is no such thing as a small project. The rich complexity of this 3000sf project involving interventions in Dallas’ historic West End called for my involvement from the get-go until the very
opening day. The project called for rebranding and establishing the Museum’s identity in the open plaza through the addition of a Store + Cafe at the corner of Elm and Houston. The site sensitive nature of the Museum relating to JFK’s assassination provided a rich contextual framework to ground the project in.
8” cut letters
metallic grey, powder coated steel
mapping sight lines from the Xs marked on Dealey Plaza
steel armature
the Museum in context : flow, nodes and adjacencies in the Museum Campus (Corgan)
Our project team considered the Sixth Floor Museum in its broader context, and analyzed its critical location and connections as intrinsically embedded in Dealey Plaza and the West End. This led to the recognition of this site specific institution’s museum campus.
Urban relationships, adjacencies, historic moments and points in the city’s fabric were carefully analyzed. The solutions herein were crafted respecting both the original fabric of the building and the emotional weight carried by the site of John F. Kennedy’s assassination.
designing and diagramming the modern graphic sign while respecting Landmark Commission stipulations
Distinctively modern in its form, the sign sets itself architecturally apart from the historic building it attaches to. It exposes the building’s beautiful brickwork and quoining details. The contemporary font, color and materials employed in signage establish a refreshed identity.
The Museum Store + Cafe sign was designed to address visibility of the corner from key experiential points along the winding slope of Elm Street. The sign captures the corner via rotation, tying its geometric origins to different sight and desire lines.
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KEY 1 - Entry 2 - Cash Wrap 3 - Museum Store 4 - Museum Cafe 5 - Cafe Service 6 - Cafe Support 7 - Store Workroom 8 - 501 Elm Lobby
store : process rendering (Corgan)
2 card readers
w/ alarm will sound function
1 wide angle door viewer
1 buzzer
1 card reader (outside) 1 wide angle door viewer
Dallas Fort-Worth Airport
Dallas, Texas DFW Terminal A - concourse level space plan detail (Corgan)
The $2 billion overhaul at DFW Airport Terminal Development Program (done in Revit) includes reorganizing spatial, functional and infrastructural updates to Terminals A,B,C and E. As part of a large collaborative team I worked with Corgan’s Aviation studio on the DFW Concept, Concessions, and Enabling phase teams on Schematic Design and
Design Development. My role included the reconfiguration of baggage flow, ticketing, gate queing, holdrooms and concessions layouts for terminals A and C. I also contributed visualizations for pedestrian bridges at terminal entries, and worked on construction documents for demolition and enabling phases of the project kick off at Terminal A.
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LA State Capitol Park Visitor Center
Baton Rouge, Louisiana concept collage : memory of the LA wetlands
proposed gazebos to capture key views
The LA Visitor Center is designed to inform and encourage explorations of the site, the city and the state. Because one must experience a place to truly undestand it, the building recreates a journey of discovery through a landscape where one must travel and experience the given to extract
knowledge. Louisiana is embedded in an aqueous landscape with fast disappearing wetlands. Sunk into the ground, surrounded by water, the Center alludes to the fragile deltal landscape created by the Mississippi and attempts to make the visitor aware of the sinking coastline.
site context site plan
The subterranean structure exploits views out to nearby attractions that spawned its configuration. A grid of trees acts as a reference, broken from within by event spaces occuring along gridlines generated by site context. Above, gazebos frame view, encouraging directed exploration.
longitudinal section
longitudinal section for working drawing set
view of exterior subterranean exhibit space with temporary displays
south elevation
changing light in exhibit areas
The Architecture of Obsolescenc
Detroit, Michigan the abandoned GM factory chosen site for CeSRON
figure-ground of Detroit, 2008 a shrinking city
Detroit today in rapid post-industrial decline, provides a radically different dystopic landscape from its yesteryear with a third of its population below the poverty line and more than 60,000 vacant lots. The city provided an eerie trail traced in the exploration of various facets of obsolescence in a collaborative studio thesis wherein my work delved into the obsolescence of self reflection in today’s society with the Center for Self Reflection, Otherness and Narcissism (CeSRON).
“Obsolescence is the canvas on which we sketch and give meaning to our present. It structures our very self” - Intro, ctrl+alt+del :Detroit in the Age of Obsolescence
We live in an age where the illusion of pure erasure seems cleanly possible. What is deemed obsolete often remains tangible, surfacing inconveniently in our physicalities and psyches. This project address ed cultural obsolescnce in the the ghost of Detroit.
“The I is always in the field of the other.” -Jacques Lacan “History is like Janus; it has two faces. Whether it looks at the past or the present, it sees the same things.” -Maxime du Camp
Socrates wrote that the most important knowledge is knowledge of our own ignorance. In our era of “me-generations,” self-reflection is obsolete. The focus on Self has a blind-spot; the spot from which the self can critically consider itself. We are reduced to mere images and lost in the reflections of our images; images which are fabricated and constructed for and by us. “Facing oneself” or acknowledging shortcomings and failures is so uncomfortable that the alternative has become the standard. We are content to live in denial of reality, often veiling our discomfort with narcissism and self-indulgence. We are a society that promotes self-esteem and
self-importance, encouraging expression of opinions no matter how grossly ignorant or misinformed. There is no room for self-doubt or evaluation of the consequences of our collective actions. In the words of Julia Kristeva, we are strangers to ourselves, our own doubles, our own Other. The proposed Center for Self Reflection, Otherness and Narcissism is an attempt to create a venue, a spot for the discourse of the other of the other, of the self. It is meant to be a “think-tank,” an educational, interactive socio-cultural facility. At the same time, in its form and location, the structure itself is a machine for glimpses of our fragmented being.
CeSRON : center for self reflection, otherness and narcissism
The reform of consciousness lies solely in the awakening of the world from its dream about itself. -Karl Marx
ctrl + alt + del : Detroit in the age of Obsolescence : Detroit, MI
Now seared by Rosa Parks Boulevard, a forgotten intersection is a silent marker of violent race riots of 1967. This is the proposed site for CeSROn, attempting to adress the racial undertones the city of Detroit struggles with.
whites protest black property rights
CeSRON will be sited on the location of the racial riots of 1967
skin deep, superficial understanding of the ‘I’- self analysis confined to the surface “Superficiality is the new depth.” -Rem Koolhaas
self - I - Other - other
site aerial
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CesRON at night
Inhabiting the Global Anonymous
Tokyo, Japan eastward shift of exploding metropoli
global megalopoli [population > 10 million people]
Asia is leading the urban shift from W to E. Tokyo was the first city to cross the 10 million mark. With a population of 36.6 million and the highest GDP of all (before the fatal earthquake of 2011), Tokyo is the largest and 3rd most global city in the world. It is so big, in fact that it merits its own typology, a city of cities- one true megalopolis.
Metropolitan anonymity in a globalized megalopolis - what in a cityâ&#x20AC;&#x2122;s DNA establishes its locality?
We are at a global inflection point. For the first time the majority of the worldâ&#x20AC;&#x2122;s population is urban and half of its largest cities are Asian. Urbanization translates into globalization, cities across the world resemble eachother more than their national rural counterparts. Advances in communication and transportation have created a rich, unprecedented
mixing of cultures throughout the world. Globalization is about integration. The architecture of cultural absorption is not clean-old is punctuated by new and vice-versa in a haphazard blend of urban nostalgia. Global metropoli find common ground in this space of flux, and one immediate role of architects is to mediate negotiations within similar cultural juxtapositions.
remnants of a Shinto shrine in Roppongi
During my fellowship to Tokyo, I studied urban and architectural nuances established in 5 evolving neighborhoods resulting from ongoing globalization of Japanese culture. The investigation understood the megalopolis not just as built form, but as an evolving culture that inhabits built form embedded in urban context.
Tokyoâ&#x20AC;&#x2122;s urban fabric was considered as a fluid organism into which culturally foreign forms and functions are assimilated, defying its original nature, while eliciting first-hand, the impacts of global assimilation on the un-documented, happenstance living city often lost to its flashier metropolitan counterparts.
reflections of foreign-ness in youth culture finding respite in the street - privacy ironically found in large public spaces in a city forced to inhabit small intimate spaces in the mundane
although the old structures and proportions remain, the re-ordered space of street here accommodates a hybrid culture, juxtaposing salarymen, youth, aged alike in a re-imagined space for anonymous escape