SELECTED WORKS 2019-2022 PORTFOLIO KRISHA KOTHARI
Krisha Kothari
SCHOOL OF ENVIRONMENT AND ARCHITECTURE
A fourth year Architecture student tweaking and mending ways to perceive the world; learning to see. In a process of rethinking, reflecting and questioning pre conceived notions, ideas, stereotypes, institutions. I do engage in critical thinking to weave and analyse various interpretations and scenarios. Apart from architecture I like to explore, engaging in derives (to get lost in the city without any decided destination) is also what i like to delve in, it also is a way i interact with people across different walks of life. I also write poetry for myself to reflect on various happennings. One of my favourite parts of designing and also my field of exploration is understanding and weaving spaces through the lens of social, cultural and contextual fabric. I believe architecture includes a peculiar exchgange where one lends her emotion to a space and the space corresponds with an atmosphere which entices and reflects her perception and thoughts, which then also holds an ambiguous nature for another leading to reinterprtation of the sensorium of the space.
kkothari0212@gmail.coma19krisha@sea.edu.in9820327066 1601, Rasraj Heights, Rokadia Lane, Borivali West , Mumbai-92
Cambridge School 2004 - 2010 Academic Background Jbcn International School Head2010-2017Girl (2014-2015) Gundecha Education Academy ISC (Science) 2017-2019 School of Environment and Architecture 2019- present Voluntary Work Active Member of “Habitat For Humanity” -Painting schools in Wada -Handmade Embroidery and pottery work sale for the Organization Active Member of “Rotary Club ofCulturalBorivali”Secretary - School of Environment and Architecture 2021-2022 Covid Glossary Sea Annual Exhibition Connected Collaborated Studio : a student led initiative by four architecture colleges across India. Language GermanGujuratiMarathiHindiEnglish (level 1) Workshops Working with Bamboo Arene Attari Working with Bricks Prateek Dhanmer Repair and Retrofit Komal Gopwani Environmental Typography Ananya Tante Material Workshop - Bamboo Sankalpa Sankalpa Material Workshop - Steel Manjunath.B Housing in India’s Second Cities Shreyank Khemalapure Identity and Storytelling through Illustrations Sadhna Prasad Marketecture Devashish Guruji Bricolage as a Method Rupali Gupte Working with Ceramics Aastha Maru Publications and Collaborations Change a story of Juanwaadi, Goa Theorizing Housing Practices In India’s Second Cities Housing - Kozhikode City, Kerala Presentation Archival Building science & technology Book Concrete Blocks Book Solar Passive Housing Book Ground and Builtform - I Sewri, the wetland - Website Ground and Builtform - II Loktak lake, floating houses - Website SCHOOL OF ENVIRONMENT AND ARCHITECTURE
Skills AdobeAdobeAdobeAutodeskSketchupRhinocerosAutocadIndesignPhotoshopIllustrator Adobe After effect (Basic) Grasshopper (Basic) MS office Making WorkingCarpentaryModel-makingHand-draftingIllustrationswithbamboo, brick Basic concrete casting AdaptabilityWorkProblem-solvingTeamworkCommunicationLeadershipEthics Confident presentation and verbal skills Understanding and analysing context this booklet gathers a summed up version of my academic works and CV made under SEA, Borivali
01 What is a Factory ? Factory as Nesling spaces Sem 3 What is a Home ? Home as a Mundane Space Sem 4 02 Understanding Modularity Sem 4 03 Technological Sensorium A floating garden at Nasik Sem 5 04 Resource, Flows and Systems Artist Residency Sem 5 0605 Mass Inhabitation Resedential and co-working space in Borivali Sem 7CONTENTS:
Systems, Detail and Drawings Textile Muesum at Paithan Sem 6 Environmental Threshold Wetland Conservatory at Sewri Sem 6 0708 Hands on - Bamboo Bamboo Pavilion at SEA Sem 209 Digital Typography Monsoon elective Sem 4101112 Digital BricolageIllustrationsasAMethod Allied Design 2022 Sem 7
Artist Residency Sem 5 01 Today our urban environments are generated by indifferent mega systems. These have become unmanageable by virtue of its centrality and agglomeration. The centrality being a product of the nature of our economic order . A sense of larger common good is receding day by day. Architectural and City level norms and practices are unable to innovate and deal with the emerging situation of the inadequate and skewed distribution of resources. These conflicts have generated discomforting adjacencies creating uncomfortable relationships amongst communities over urban resources. There was an attempt to negotiate this condrum. The attempt was on asking questions of how we can create architecture that is not resistive but enhances the experiences of flows by building compassion towards flows that allows reinterpretation of resource consumption and management which resultantly demands reimagination of space through systemic spatial logics. the design was for an Artist’s Residency with spaces for residing, exhibition space, working space as well as cafe and kitchen. The whole structure is only built with bamboo and thatch roof. This made sure to use natural resources, which are easily available and could involve the locals in the building process. The structure is kept porous for easy movement of natural flows. Plan
Roof
Resource, Flows and Systems
Form Development End Wall Section Cut Plan at 1.5 m Cut Plan at 3 m Overall form
Understanding Modularity Sem 4
The module is made with box steel. Two modules come together to form this formation exploded drawing to understand different components that come together in two modules Joineries
The02projectaddresses the question of modularity in architecture. Modularity today, is understood only through the lens of an industrially manufactured assembly system, where every component is expected to fit together with a highest degree of precision only. Instead, this project wants to explore a more communitarian, artisanal, exploratory, temporal and at times playful dimension of the idea of modularity.
The Module
In the space of social events, modular and temporal aspects of the built-form are central and operative -from calamities and disasters to festivals. Every kind of event brings with it certain architectural imperatives and the focus here is on addressing the wide range of possible responses to these imperatives. To the imperatives of the events there are also imperatives of the site and management of resources like water that architecture needs to offer spatial ideas for. Even though modularity is the technical focus, the objective was also to think about the possible emergence of architectural forms that are more than the sum of all parts.
Module Arrangement 1 Pavillion imagined as Health / Exercise Centre
Module Arrangement 2 pavillion imagined as Ganpati Pandaal
Water Management System
The existing factory Collage to analyse the experiencial aspect
Factory as Nesling spaces Sem 3 An image of factory ‘archetype’ is already established in the society. This factory provided a dignified space for the administration department and the capitalist, but the welfare of the laborer was not looked at. They were given a tiny table to occupy for lunch in the corridor and had to work in the same atmosphere everyday which made their lives mundane and decreased work productivity. Due to inadequate light and ventilation the work space wasnt healthy and hygienic. The toilets were provided to the laborer and were placed at the far end corner of the site. The strategy here is to build a dignified space for the worker as well as the admin. It is essential to break the monotony of the space that provides the same experience making the working wearisome hence it would be effective to intervene with the experiences the spaces can afford. Moving on with the idea of nesting spaces the aim is to create spaces within spaces which provide different experiences. This may contribute to the welfare of labourers by providing them with dignified spaces too.
What is a Factory ?
03
The setting of the plot which (in chronology from outside to inside) accommodates a long corridor, an open space with loft, and smaller chambers for specific climate-controlled space, but the factory can afford a lot more than it accommodates now. The strategy of nesting space is thought of the outer realm to be a garden space which affords recreation, meals and leisure activities.
The04surroundingaround
has left upon us a strong impression of its archetype, the conventional ideology of a rigid BHK system that shape our lifestyles. But this rigid configuration has affected ones life in a mundane form and forbidding us to explore the various experience home as a space can offer.
The idea of lightwells was utilized to bring in skylight and ventilation in this compacted site. The staggering of plinth brings in visual connection fluidity in program and becomes an exciting space for the cat as well. The terrace garden connects one to the outside overlooking the courtyard. Amalgamating these experiences in a concrete block lets the stillness and monotony prevail in the home. It not only intervenes with the mundane routine but also broadens the variety of programs the home can accommodate to bring in varying experiences for each space.
Existing Home
The existing house is incremented one floor above, the family of three has a mother, daughter and father. The father and the daughter are out to work most of the time. The space felt highly mundane to the wife to be in all day .
The architectural intervention did not aim at completely abandoning the idea of mundane but rather aesthesising this mundane experience by carefully crafting the light and ventilation to allow one to alure this monotonous routine. Hence blurring the edges was requisite to make the mundaneness livable and enjoyable.
What is a Home ? Home as a Mundane Space Sem 4
The intervention Physical models to analyse the light quality
The intervention
Visual interactions, chance encounters, the porosity in the building allows it to breath, it form a temporal façade. the elevation of the building is seen as an everchanging fabric highly dominated by people and the negotiations they do.
Mass Inhabitation
society named Bhakti Yog in Borivali, Mumbai, various ideas and models of redevelopment and retrofitting were thought about. One of them i worked with was 50% redevelopment and 50% retrofit, with also coworking spaces to make the project feasible.
Resedential and co-working space in Borivali Sem 7
The society is mainly occupied by Brahmins living in one room kitchen houses. the idea to intervene on this site was led on by keeping intact the visual and social connections and also promote living for various family types. Co working spaces in Borivali have become an essential, post Covid various home based business have been promoted and also require adequate spaces to work.
Keeping this in mind there is a decision taken to retrofit 50% of the building and redevelop the other 50%. the redeveloped building has flats for rehabilitation of the old tenements and the retrofit contains flats for sale and coworking spaces.
Post05studyingahousing
The life of the site and its user group is imagined to be more lively and make thresholds that afford chance interaction as well as visual connections.
Technological Sensorium A floating garden at Nasik Sem 5 The06projectaimed
at experimenting with intimate interdependencies between the structural and spatial aspects of an architectural endeavor produce distinct environments that are not simply functional but technological artefacts in themselves.
The project attempted to rethinking the idea of a building, building as an apparatus - A building is a technological artefact. Several technological assemblies are disposed towards making a physical envelope possible for contextual inhabitation. Phenomena as environment - Human bodies are inevitably suspended in several phenomena that we come to take for granted over time. These are normalised, felt experiences known through the senses and are not necessarily reasoned, rather recognized silently . Space as sensorium - A built environment is a sensorial construct. In creating a physical envelope, one produce a sensorial setting for inhabitation. Here there is an attempt to produce phenomena through the building apparatus, in turn producing the building environment – the architectural space.
The three types of spirals used
The idea of the floating garden was attempted to facilitate on an elongated site. The idea was the use of prestressed steel in a spiral structure which produces a slight motion vertically when pondered with certain amount of human weight. Tied from one end to another spiral to spiral the nets are hung which can be inhabited by people from climbing the spiral. The movements from the spirals and nets produce a certain kind of sensorium.
Paithan07isawellknown
Textile Muesum at Paithan Sem 6
ancient Digambar Jain atishay kshetra, meaning a pilgrimage place of miracles. apart from this Paithan has been the birth place of Paithani textile. This type of textile extensively runs in the historical culture of Paithan, but along the years there has been a rapid decrease in this practice. Many locals claim that this wave of modernization has opened up various other job opportunities, leaving behind almost no time to practice weaving. The attempt here is to revive this old traditions and practices, making it informative as well as an experiential space. The structure is built keeping in mind the climate Paithan experiences, self shaded mini terraces, use of exposed brick, cross ventilation and recessed windows are few of the patterns that bring in heat relief within the structure. the terraces become spill out spaces and merge the programs in some way .
SR.NO.KRISHASCHOOLTHIRDYEARROLLNOSITEANDARCHITECTURE2021-2022TEXTILEATPAITHAN,ALLDIMENSIONSOTHERWISEALLTHEFOLLOWED.DRAWINGSOTHERP.C.C.COARSEALLLEVELSALLDECISIONSNEEDDONOTALLDISCREPANCIESNOTICECOMMENCEMENTRICHERFOUNDATIONTHESUPERSUGGESTED,THESTRUCTURALVERIFYWITHTHEPROCEEDINGWORKSPECIFIEDCOMPLYCODES,REQUIREMENTS.OCCUPANTSPROJECTUNINTERRUPTED/UNDISTURBEDDURINGDRAWINGNORTHISSUEDDATESEASIDEVERSIONSTUDENTAUTODESKANBYPRODUCED PRODUCEDBYANAUTODESKSTUDENTPRODUCEDVERSION BY AN AUTODESK STUDENT VERSION C G H 101112 F1 G1 H1 J1 K1 E2 F2 G2 H2 K2D2B2A2 B3A3 B4 C4 D4 E4 F4 G4 H4 K4 L4 C5 E6 F6 G6 H6 K6 L6D6A6 E7 F7 G7 H7 K7 L7D7A7A9 K8 D9 E9 F9 G9 H9 J9 K9 L9 A10 D10 G10 H10 I10 J10 K10 D11 E11 F11 G11 H11 I11 D12 E12 F12 G12 ALL DIMENSIONS ARE OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS FOLLOWED.DRAWINGSTO BE SEEN OTHER DRAWINGS. P.C.C. IS IN THE RATIO COARSE AGGREGATE). ALL LEVELS SPECIFIED ALL DECISIONS REINFORCEMENT NEED TO BE TAKEN DO NOT SCALE THE ALL WITHTHESUGGESTED,THEFOUNDATIONCOMMENCEMENTNOTICEDISCREPANCIESTOTHEARCHITECTOFRICHERCONCRETEANDM:30SUPERSTRUCTURE,EXAMINEDSTRUCTURALENGINEER.VERIFYFIELDCONDITIONSTHEPROJECTPROCEEDINGWITHWORKWITHINTHESPECIFIEDINTHEPROJECTCOMPLYWITHALLCODES,REGULATIONSREQUIREMENTS.OCCUPANTSONTHEPROJECTAREASHALLUNINTERRUPTED/UNDISTURBEDDURINGTHECONSTRUCTIONDRAWINGTITLENORTHSTAMPGENERALKEYISSUEDBYREVISION230 460 121314 E12 F12 PRODUCED BY AN AUTODESK STUDENT VERSION Systems, Detail and Drawings
This project opened up methods of drawing as one of the forms of conveying the design, these drawings are set up as standardized method since the British architecture was introduced in India. They try to incorporate each and every detail of the building from foundation to the the floor finish. Site FoundationPlan Plan
100 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1W2 W4 W4 W4 W4 W4109875321461112 A B C D E F G H I J K L D1 D1 D1 FD1 D2 D2 D2 D2 D2 D2 D3 D3 D3 D3 D3 D3 D2 W1D4 1413 KRISHA KOTHARI SCHOOL OF ENVIRONMENT THIRD YEAR B.ARCH ROLL NO | A19 - 14 FIRST FLOOR CUT PLAN WD - SEA - C - 05 AND ARCHITECTURE 2021TEXTILE2022 MUSEUM AT PAITHAN, MUMBAI ALL DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO BE FOLLOWED.DRAWINGSTO BE SEEN WITH RESPECT TO ALL OTHER DRAWINGS. P.C.C. IS IN THE RATIO OF 1:3:6 (CEMENT : SAND COARSE AGGREGATE). ALL LEVELS SPECIFIED IN METERS. ALL DECISIONS REINFORCEMENT CALCULATIONS NEED TO BE TAKEN BY STRUCTURAL ENGINEER. DO NOT SCALE THE DRAWING. ALL DISCREPANCIES SHALL BE BROUGHT TO NOTICE TO THE ARCHITECT BEFORE THE COMMENCEMENT OF ANY WORK. RICHER CONCRETE MIX TO BE USED FOR THE FOUNDATION AND M:30 MIX TO BE USED FOR THE SUPER STRUCTURE, ALL MIXES SHALL BE SUGGESTED, EXAMINED AND APPROVED BY THE STRUCTURAL ENGINEER. VERIFY FIELD CONDITIONS AND COORDINATION WITH THE PROJECT DOCUMENTS PRIOR TO PROCEEDING WITH THE WORK. WORK WITHIN THE FIELD BOUNDARIES AS SPECIFIED IN THE PROJECT DOCUMENT AND COMPLY WITH ALL THE APPLICABLE BUILDING CODES, REGULATIONS AND ORDINANCE REQUIREMENTS.OCCUPANTSONTHE ADJACENCIES TO THE PROJECT AREA SHALL SR.NO.DURINGUNINTERRUPTED/UNDISTURBEDCONTINUEOCCUPANCYTHECONSTRUCTIONOFTHEPROJECT.DRAWINGTITLE&NUMBERNORTHSCALE1:100STAMP&SIGNGENERALNOTESKEYPLANISSUEDBYCHECKEDBYDATEREVISIONDESCRIPTION10000.004880.0015400.0010000.00 PRODUCED BY AN AUTODESK STUDENT VERSION VERSIONSTUDENTAUTODESKANBYPRODUCED PRODUCEDBYANAUTODESKSTUDENTVERSION VERSIONSTUDENTAUTODESKANBYPRODUCED First Floor Plan
OTHERWISE SPECIFIED. ALL THE WRITTEN DIMENSIONS ARE TO BE FOLLOWED.DRAWINGSTO BE SEEN WITH RESPECT TO ALL OTHER DRAWINGS. P.C.C. IS IN THE RATIO OF 1:3:6 (CEMENT SAND COARSE AGGREGATE). ALL LEVELS SPECIFIED IN METERS. ALL DECISIONS REINFORCEMENT CALCULATIONS NEED TO BE TAKEN BY STRUCTURAL ENGINEER. DO NOT SCALE THE DRAWING. ALL DISCREPANCIES SHALL BE BROUGHT TO NOTICE TO THE ARCHITECT BEFORE THE COMMENCEMENT OF ANY WORK. RICHER CONCRETE MIX TO BE USED FOR THE FOUNDATION AND M:30 MIX TO BE USED FOR THE SUPER STRUCTURE, ALL MIXES SHALL BE SUGGESTED, EXAMINED AND APPROVED BY THE STRUCTURAL ENGINEER. VERIFY FIELD CONDITIONS AND COORDINATION WITH THE PROJECT DOCUMENTS PRIOR TO PROCEEDING WITH THE WORK. WORK WITHIN THE FIELD BOUNDARIES AS SPECIFIED IN THE PROJECT DOCUMENT AND COMPLY WITH ALL THE APPLICABLE BUILDING CODES, REGULATIONS AND ORDINANCE REQUIREMENTS.OCCUPANTSONTHE ADJACENCIES TO THE PROJECT AREA SHALL
A B C D E F G H I J K L SR.NO.KRISHASCHOOLTHIRDROLLAND2021TEXTILEATPAITHAN,ALLOTHERWISEALLFOLLOWED.DRAWINGSOTHERP.C.C.COARSEALLNEEDDOALLNOTICECOMMENCEMENTRICHERFOUNDATIONTHESUGGESTED,THEVERIFYWITHPROCEEDINGWORKSPECIFIEDCOMPLYCODES,REQUIREMENTS.OCCUPANTSPROJECTUNINTERRUPTED/UNDISTURBEDDURINGISSUED PRODUCED BY AN AUTODESK STUDENT VERSION StorageJanitor's space 1:1001:1001:100 1:100 1:100 1:100 1:100 1:100 Center Line Outlet Pipe Inlet TilesPipe Women's Washroom Men's Washroom Disabled Washroom StartStart 1005 840 840445 815 1600 1800 800 800 950 85015023602290925 750 5130 2175 4890 1200 5000 2420 460 TP Non-SkidWashHealthRollFaucetBasinCeramicTiles(300250)UrinalBaffleWallLedgeWallStorageJanitor's space D2D2 D2 D2 Brick Bat Coba (235 mm) 3000 460 1500 815 1035785 745 880 9501250 Water Proof Layer (25 Non-Skid(500Int.Ext.(25Limemm)Plastermm)(15mm)Screedmm)Ceramic Tiles (300mm 250mm) A'A Toilet Plan Section AA' Start Start BB' Sanitary Pads SteelDuct Grill Ledge Wall Section1:20 BB' Start Start Start Start KRISHA KOTHARI SCHOOL OF ENVIRONMENT THIRD YEAR B.ARCH ROLL NO A19TOILET14 DETAIL WD - SEA - A - 01 AND ARCHITECTURE 2021TEXTILE2022 MUSEUM AT PAITHAN, MUMBAI
DURINGUNINTERRUPTED/UNDISTURBEDCONTINUEOCCUPANCYTHECONSTRUCTIONOFTHEPROJECT.DRAWINGTITLE&NUMBERNORTHSCALE1:50STAMP&SIGNKEYPLANISSUEDBYCHECKEDBYREVISIONDESCRIPTIONEXISTINGROAD10MWIDESIDESEA B ED W4W4 W4W4 Start B ED 15606501100425 5 PRODUCEDBYANAUTODESKSTUDENTVERSION VERSIONSTUDENTAUTODESKANBYPRODUCED 2175 460 Brick Bat Coba (235 mm) 3000 460 1500 815 1035785 745 880 9501250 Water Proof Layer (25 Non-Skid(500Int.Ext.(25Limemm)Plastermm)(15mm)Screedmm)Ceramic Tiles (300mm x 250mm) Toilet Plan Section AA' Start Start Start B Sanitary Pads SteelDuct Grill 565 Ledge Wall 555 1020 1175 1100 1100 Section1:20 BB' Start Start Start Start Start KRISHA KOTHARI SCHOOL OF ENVIRONMENT THIRD YEAR B.ARCH ROLL NO | A19TOILET14 DETAIL WD - SEA - A - 01 AND ARCHITECTURE 2021TEXTILE2022 MUSEUM AT PAITHAN, MUMBAI DRAWING TITLE & NUMBER NORTH SCALE1:50 STAMP & SIGN WIDEM10ROADEXISTINGSIDESEA Start B ED 5 2 4 5 PRODUCEDBYANAUTODESKSTUDENTVERSION W2 38005250 W2 8150 2100 1200 5000 VERSIONSTUDENTAUTODESKANBYPRODUCED Toilet Plan Toilet Section Section
3300 9001000 1100 100250 600 W2W1 2500 PRODUCEDBYANAUTODESKSTUDENTPRODUCEDVERSION BY AN AUTODESK STUDENT VERSION Construction Process End Wall Section
Entering the design phase i began to articulate the roof in such a way that it also plays a part in giving back to what it consumes. Playing around with various free forms i then shifted to a physical model to conceptualize the idea and to bring it to realism. I then came down to using three segmental brick vaults which beholds the observatory below it. I tried experimenting with openings, courtyards, the plinth to get an idea of spaces being crafted in accordance to the light, ventilation and the relation with the outside.
Environmental Threshold Wetland Conservatory at Sewri Sem 6
we experience it is a set of interconnected networks which balance each other to maintain the rhythmic flows. The current building practices have resulted in new spatial priorities which largely ignore their consequences on the environment. This causes disruption to the very interconnectedness of all life forms and natural systems. I have attempted to investigate and explore design possibilities that negotiate bio-social relationships on an ecologically sensitive terrain. The Intent of the design was to make it a paradigm of threshold that invites all flows, and coexistence of biodiversity and ecology. The roof is seen as a roof garden, a product of hydroponics over the brick vaults. The built form is submerged below the garden, which also acts as an element of surprise once one enters the site with an perception of a garden.
The08environmentas
End Wall Section Physical Model
Cut Plan Roof Plan Section AA Section BB
Overall Axonometric
An09hands-onactivity, to understand the characteristics and materiality of bamboo. this pavilion stands in the backyard of SEA campus. With concrete foundation below and using joineries such as fishmouth, bamboo pin, tying and anchor bolts the structure was made successfully. The growth of creepers and vegetation on it makes it a cozy shaded space to sit in.
Hands on - Bamboo Bamboo Pavilion at SEA Sem 2
After10beinggiven an image of Prexi American to proceed with, a font had to be developed being inspired from the location. Being inspired by its rocky, earthy and roughness an attempt was made to form a font that relect these qualities.
Digital Typography Monsoon elective Sem 4
Mind’, Claude Levi Strauss uses the word bricolage to describe characteristic patterns of mythological thought. Bricolage is the skill of using whatever is at hand and recombining them to create something new . The Bricoleur who is the “savage mind” works with their hands in devious ways, puts preexisting things together in new ways, and makes do with whatever is at hand. For this course, i was particularly rethinking the idea of a feast. A feast is seen as a sturdy table with rich furnished cutlery, made best to suit the guests, with similar chairs made to comfort. But when the idea of a feast is reiterated, it is a platform where various personalities emerge out, coincide and refurnish ideas and personalities, then why should’nt the space we inhabit also reflect such an idea. The feast here is reimagined with cutlery of leather, chairs that reflect varying personalities and the table made unintensionally wobly with a thin wireframe of iron. All these ideas were expressed post reflecting on the derives we went on and from personal practices. Other ideas were rethinking the idea of “homely and unhomely” and the “library”.
Bricolage as A Method Allied Design 2022 Sem 7 In11the‘Savage
Reflection of Derives - Bricoluer’s Diary
Digital Illustrations 12
