Interior Design Portfolio - Madhuvvanthy.B

PORTFOLIO UNDERGRADUATE INTERIOR DESIGN Madhuvvanthy Balasubramanian

RESUME EDUCATION Bachelor of Design (2019 - Present) UnitedWorld Institute of Design Karnavati university Gujarat, India Specialization - Interior and Furniture Design Current GPA - 8.58 (Aggregate of Semesters 1-4) Higher Secondary Education (2019) Abu Dhabi Indian School Abu Dhabi, United Arab Emirates CBSE Grade 12 Graduate (92.4 %)

CORE AREAS OF INTEREST An aspiring interior designer, writer and blogger interested in storytelling through space.

Storytelling Concept Development Graphical Representation Technical Observation Writing and Poetry

EXPERIENCE Junior Designer (December 2020 - March 2021) Living Midnight narrative Outfit Creative Head Projection Mapping Installation PRAXIS 3.0 - Interior Design Exhibition (2021) UnitedWorld Institute of Design Hospitality team member PRAXIS 3.0 - Interior Design Exhibition (2021) Exhibition Coordinator Virtual Interior Design Exhibition (2021) Writer - Newsletter, Articles, One-minute Reads PRAXIS 2.0 - Interior Design Exhibition (2020) Ahmedabad Design Week (2020 and 2021)

SOFTWARE SKILLS Auto CAD SketchUp Adobe Photoshop Adobe InDesign Office - Word, PowerPoint Procreate

LANGUAGES English - Full working proficiency Tamil - Native or bilingual proficiency Hindi - Limited working proficiency

CONTACT ME WORKSHOPS ATTENDED Parametric Design workshop (2021)

www.linkedin.com/in/madhuvvanthybalasubramanian-12949020b/ maddyb257@gmail.com

Masterclass by Nidhi Aggarwal, Saumya Aymuas, Karel Vredenburg, David Foley, (2020)

www.maddys.art.blog

Plymart Co. Workshop (2020)

0091 - 7041381665

@madhuvvanthy @thoughts.made.art

CONTENTS PAGE NO. ANALYTICAL EXERCISES I. Ergonomics II. Linear Drive Mechanism III. Light and Shadow

1-2 3-6 7-8

GRAPHICAL REPRESENTATION I. A Ghibli Dream II. Cube Portrait III. Confabulations

9-10 11-14 15-16

SPACE DESIGN I. Margazhi - /Hybrid Retail/ II. The Sphinx - /Restaurant/ III. Koragas of Karnataka - /Exhibition/ IV. Herbivore - /Retail Kiosk/

17-24 25-30 31-40 41-46

TECHNICAL DRAWINGS

47-50

WORKSHOP EXPERIENCE

51-52

PHOTOGRAPHY

53-54

MISCELLANEOUS

55-56

ANALYTICAL EXERCISES I. Ergonomics II. Linear Drive Mechanism III. Light and Shadow

1-2 3-6 7-8

ERGONOMICS

PROJECT DETAILS

This project is an ergonomic study of an L-shaped settee in order to understand the different human postures possible with the furniture.

By photographing myself using the sofa and capturing different postures, and further illustrating them, the acceptable or standard dimensions required for comfortable seating, and different problems associated with the existing material, colour and dimensions of the sofa could be identified and extracted.

MY LEARNING This experiment acted as a tool for research and helps to better define and design the context in which furniture functions.

Analytical Exercise I

OBSERVATIONS Inclination of the seat is comfortable between 100°110°.

5. The width of the seat should be between 500-580 mm to sit comfortably.

2. Multiple of layers of foam with different densities is required to provide girth and stability to the sofa. This would also reduce the bounce factor of the seat.

6. Minimum width of the arm-rest should be between 180-300 mm.

3. Maximum depth of the seating element when used should not be more than 30-50 mm. It is observed that, this way, one does not need the support of their hands or the arm-rest to get up from the seat.

The springs attached to the plywood frame structure should support the same.

7. The L-shaped sofa has to be divided into a minimum of 2 parts to be attached in the desired space.

They can be attached temporarily using Velcro or permanently using plastic ties that are attached to the front and back of the sofa.

4. Comfortable seating height is between 420-450 mm.

TECHNICAL DRAWING

All Dimensions in MM

Front Elevation

Plan

1-2

PRODUCT

LINEAR DRIVE MECHANISM PROJECT DETAILS

Typology: Product study and representation Product under study: Adjustable spanner

DESIGN BRIEF To study the adjustable wrench/ spanner in order to gain an understanding of the linear drive mechanism and apply the same while designing a furniture.

Analytical Exercise II

MANUFACTURING PROCESS

Carbon and iron under high temperatures are alloyed into forged steel.

After punching, drawing, polishing and surface grinding, the alloy goes through a rough CNC cutting - fixed jaw and handle.

The alloy undergoes annealing, which under heat, becomes more ductile and malleable.

The cut alloy is then taken through a thermal treatment and vibration to increase the hardness at a molecular level.

Next the alloy is rolled between high pressure pins to achieve the desired width.

Final assembly - moving jaw placed with the fixed jaw, laser printing of measurements, and attachment of worm screw.

USAGE

3-4

UNDERSTANDING SCALE

ISOMETRIC VIEW

Moving jaw for adjustment

Worm Screw or thumb screw

Fixed jaw and handle

Metal axle to hold worm screw

STUDY OF MOTION

The basis of the linear drive mechanism exhibited by the spanner is: 1. Downward movement of thumb screw results in the inward movement of the moving jaw.

2. Upward movement of thumb screw results in the outward movement of the moving jaw.

TECHNICAL DRAWING

ALL DIMENSIONS IN MM

5-6

LIGHT AND SHADOW PROJECT DETAILS

This project is an experiment with light and shadows. By creating miniature models within a certain given volume and introducing planes, apertures and textures, an interesting output with different shadows were cast.

The following models were photographed under natural light using a zoomed lens.

Primary Materials Used: Card stock Corrugated cardboard Paper

MY LEARNING Through the medium of model making and photography, the scale of the resultant volumes created could be re-imagined or defined and given a new meaning by creating different contexts. This allowed for an understanding of proportions and functionality of space with respect to mood lighting.

Analytical Exercise III

7-8

GRAPHICAL REPRESENTATION I. A Ghibli Dream II. Cube Portrait III. Confabulations

9-10 11-14 15-16

A GHIBLI DREAM PROJECT DETAILS

This project explores illustrating as a form of visual representation to depict the thought process undergone by a designer.

CONCEPT The story begins with the designer in awe of Studio Ghibli’s ever so realistic animations as she is about to receive an opportunity to design a ramen house in Dubai.

From there on, the comic visualizes the design process frame by frame - from fragmented ideas for one of the seating zones in the restaurant that draws inspiration from traditional Japanese interior elements and a contemporary representation of ramen culture.

Tools Used: Adobe Photoshop Procreate Read the comic: https://www.instagram.com/p/ CcIdk9rKFLI/?utm_source=ig_ web_copy_link

Graphical Representation I

9 - 10

SERIES OVERVIEW

CUBE PORTRAIT

PROJECT DETAILS

This project is an experiment with abstract representation and communication. Basic elements and principles of design were used to build a cohesive visual.

DESIGN BRIEF To create a volumetric abstract portrait of a character from any TV Series or movie to understand the design process involved in visual communication.

Given dimensions of cube: 3m x 3m x 3m

Anne with an “E” is a coming-of-age story about a young orphan who is seeking love, acceptance and her place in the world. Amybeth McNulty stars as Anne, a 13-year-old who has endured an abusive childhood in orphanages and the homes of strangers.

It is a reimagining of the classic book and film - Anne of Green Gables.

Character: Anne Tv Series: Anne with an “E”

MIND MAPPING CHARACTER TRAITS

Trait emphasis: Quirky

After the mind mapping stage, an image cloud was created for the character to understand the main colours and visual stimuli used in the series.

Graphical Representation II

The next stage was to identify the most prominent trait and represent it using dots, lines, patterns, planes and colours. The cube portrait was to be imagined with any extent of visual and physical accessibilities.

TWO-DIMENSIONAL VISUALS

THREE-DIMENSIONAL COMPOSITIONS

11 - 12

FINAL DESIGN - SEQUENTIAL TRANSFORMATION The diagram below illustrates the sequential transformation of the cube from a simple plane into a complex cube using the two-dimensional visuals.

Each of these 2D explorations have been translated partially or completely into a 3D medium. The cube

as a result, consist of fixed as well as floating elements.

This indicates complete visibility and partial physical accessibility.

ISOMETRIC VIEW

PERSPECTIVE VIEW

13 - 14

RESEARCH

CONFABULATIONS

PROJECT DETAILS

Typology: Research and representation

In order to understand and question the validity of fluid knowledge systems, extensive research was conducted in different directions. Among these, were medicine, politics, cinemas, literature, representation of people in society and dreamscapes.

This image is a production of thought refined after streamlining the above conducted research where four main verticals - Narratives, politics, crime and society are taken as guiding pillars. Creating constants and variable factors within this system helped to identify similarities and differences within each vertical.

Mentors: Ankita Trivedi, Ishita Jain and Thomas Mical Done as part of internship at: Living Midnight Narrative Outfit WHAT ARE “CONFABULATIONS” ?

The most common definition of this term describes it as “errors or glitches in memory”. Someone who “confabulates” is not delusional.

MY LEARNING This diagram is an evolution of my thought process while creating connections between all four fields.

This process helped me to understand the interdependency of stories within a society.

Confabulations is one such research topic that leads into multiple verticals of thought and perspectives. This project began with a broad research into the topic and identifying different applications of the process of “confabulating”.

This led to questions like - “Which field considers confabulations as a useful tool for constructing a knowledge system within?”

THE FINAL VISUAL The final visual highlights the similarities and differences between each system through colours.

There is an intentional use of organic and inorganic shapes to talk about the fluidity/rigidity within the network.

This exercise led me to question further: “Can confabulatory forms of knowledge be considered as important as other pragmatic approaches?”

Graphical Representation III

15 - 16

SPACE DESIGN I. Margazhi - /Hybrid Retail/ II. The Sphinx - /Restaurant/ III. Koragas of Karnataka - /Exhibition/ IV. Herbivore - /Retail Kiosk/

17-24 25-30 31-40 41-46

MARGAZHI

PROJECT DETAILS

Typology: Hybrid Retail Design Apparel + Craft Brand: Apparel - Margazhi Site Location: TTK Road, Alwarpet Details: (a)Ground floor - 200 square meters (b)First floor - 125 square meters)

DESIGN BRIEF To create a space that invites customers to experience the aesthetic of Margazhi and culture of craft through an ethnic contemporary medium.

Space Design I

17 - 18

MARGAZHI WHAT DOES “MARGAZHI” MEAN?

PROJECT PROPOSAL:

The word “Margazhi” is the name of the last month (December) in the Tamil calender. It is a month of festivities, joy, laughter and great food. The brand intends to channel this essence into their products to create a unique cultural experience.

The retail store would primarily sell apparels from Margazhi Designs along with a few styled jewelery pieces from collaborations with other brands. A studio space will be designed where customers can volunteer to experience the craft first hand through workshops and learn about styling the “Margazhi Aesthetic”.

The concept collage below depicts certain Tamizh words in association to Margazhi, such as “chillness”, “tradition”, “happiness”, “Kolams”, “Art” and “culture”.

CUSTOMARY JOURNEY:

COLOUR AND MATERIAL PALETTE:

19 - 20

GROUND FLOOR PLAN

N

FIRST FLOOR PLAN

LEGEND 1. Foyer Space (Digital Node of Interaction A) 2. Saree Display (1) 3. Saree Display (2) 4. Saree Trial Room 5. Clay Jewelry Studio Space 6. Cash Counter 7. Photos and Journey of the brand (Margazhi Aesthetic) 8. Washrooms

9. Memory Wall (Digital Node of Interaction B) 10. Clay Jewelry display 11. Central atrium courtyard 12. Trial Rooms 13. Store room 14. Kurti Display 15. Accessories Display (a), (b) 16. Traditional Swing seating niche

FRONT FACADE

PERSPECTIVE SKETCHES

Main Saree display area

Clay Jewelry studio space

First Floor Courtyard space (Display area and Trial rooms)

First floor Jhula nook (Accessories display)

21 - 22

EXPLODED ISOMETRIC VIEW

DIGITAL NODES OF INTERACTION The retail store has two nodes of digital interaction as a mandatory requirement of the brief. These nodes of interaction have been carefully placed in the layout of the store such that it facilitates ideal customer engagement.

The User Interface(UI) have been made by creating initial wireframes and then prototyping them to represent the experience.

As one enters the store -

Digital Node of Interaction A

Experience the interface:

Information Kiosk - Customers can interact with it to know about current collections and the studio workshops.

https://vimeo.com/701349483

Before one exits he store -

Digital Node of interaction B

Experience the interface:

Memory wall - Customers can share their “Margazhi” memories on the digital wall and display their photos

https://vimeo.com/701353555

23 - 24

THE SPHINX

PROJECT DETAILS

Typology: Restaurant Design Cuisine: Egyptian Site Location: Sindhu Bhavan Marg, Ahmedabad Details: Capacity: 80-90 people The Sphinx is a family dining restaurant that provides baby high chairs for infants as well.

DESIGN BRIEF To bring to the experimental crowds of Sindhu Bhavan Marg, a unique experience that encourages a culture of kindness and to give back to the environment in a space inspired

by Ancient Egyptian culture.

Space Design II

25 - 26

THE SPHINX CONCEPT Over the years, Ahmedabad has seen significant changes in food habits as well as the city’s physical landscape. Apart from high-end cafes and eateries, even the street food joints here cater to a niche customer base.

A narrative is created in the space for customers to get a real experience of the cuisine and culture of Egypt. Elements like material, texture, colours add up to creating this experience within the space.

This project takes inspiration from the hieroglyphic inscriptions made in The Valley of the Kings to talk about the process of making their traditional dishes (techniques), ancient Egyptian temple architecture (column/pillar designs), and colour palette.

COLOUR AND MATERIAL PALETTE

LOGO DESIGN Isolating a floral pattern from Ancient Egyptian architecture as the central focus of the design approach. Meeting the ancient culture with a contemporary mind appropriated the use of Contrast and Symmetry as the principles of design in this project.

And hence the logo of the restaurant follows the same theme and colour palette with gold detailing in the lettering.

CRAFTING CUSTOMER EXPERIENCE

27 - 28

FLOOR PLAN

0.2

5m

LEGEND 1. Main Entrance 2. Cocktail Juice Bar 3 Entry to Outdoor seating, Washrooms 4. Planter Display, Animation screens 5(a,b). Individual and Sofa Seating

6. Relaxed banquet Seating, Entry to Outdoor seating 7(a,b). Outdoor seating

N

FRONT FACADE

PERSPECTIVE SKETCHES

Planter Display, Animation screen

Sofa Seating

Cocktail Juice bar, Washrooms

Outdoor Seating

29 - 30

KORAGAS OF KARNATAKA PROJECT DETAILS

Typology: Exhibition Design Subject: Curation of tribal stories Koragas of Karnataka Site Location: Orion Mall, Bangalore Details: Total Area - (14*10) 140 square meters Project partner and colleague: Prisha Sehgal

DESIGN BRIEF To bring people together in the outdoors of Orion Mall, Bangalore, to engage in a journey exhibiting the history, culture, heritage and social stance of the Koraga Tribes of Karnataka in order to create an open forum for conversation about preservation of ethnicities in the city’s cosmopolitan environment.

Space Design III

31 - 32

KORAGAS OF KARNATAKA WHO ARE THE KORAGAS? The Koraga are a tribal community found mainly in the Dakshina Kannada, Udupi districts of Karnataka and the Kasaragod district of Kerala, South India.

They are classified by the Government of India as a Scheduled Tribe. Their population is 16376, by 2011 census, India. Koraga is a tribe of basket-makers and labourers, some of whom were employed as scavengers. The tribe continues to make use of the

forest produce - principally, bamboo and creepers for the manufacture of baskets today. The exhibition is a vision to create an emotional engagement with the visitors while simultaneously educating them of the depleting nature of tribal stories, not only within the context of the state, but the country as a whole.

RESEARCH AND ANALYSIS A detailed research on curatorial exhibitions and other design precedents was conducted. These included studying a travelling exhibitions, permanent installations and pop-up landscapes.

PROGRAM OUTLINE - GRAPHICAL REPRESENTATION

Link to Program research and analysis: https://www.behance.net/gallery/141921403/ Exhibition-Design-Research?share=1

CONCEPT DEVELOPMENT

Triangles have been taken as a primary shape in the conceptualization of the exhibition structure as they have been associated with tribal artefacts and patterns since ancient times. Triangles are also the strongest shape, giving the structure a better stability.

The final structure contains three main modules two triangular concrete boards attached using a metal framework and a bamboo roof. Each zone is joint by linear bamboo elements in order to create connectivity.

COLOUR AND MATERIAL PALETTE

33 - 34

MODULE CONSTRUCTION

ALL DIMENSIONS IN MM

MODULE 1: L x B x H = 3000 x 3000 x 120

MODULE 2:

Base for 2 triangular modules (Sensor based installation and led screen display in Zone 2 and 5 respectively.

L x B x H = 3210 x 3120 x 150

MODULE 3:

Roof design for the exhibition using bamboo sticks formed layering 9 x 10 sticks over a triangular frame.

Each bamboo stick is fixed at a distance of 350 MM. A x B x C = 5030 x 5850 x 4840

NOTE: This pop-up exhibition is designed to be open only during summer months in Bangalore (March to May). Hence the modules created and choice of materials are best suitable for a dry weather with little to no precipitation.

MECHANISM OF CONSTRUCTION

Square metal section

Angle metal section

CLICK TO SEE HOW THE MECHANISM WORKS Video Credits: Prisha Sehgal Screwing square sections on angle section

Screwing 2 halves of the board on either side of the metal framework

Fixing the final piece to project a seamless thickness to the frames.

FINAL PLAN WITH ROOF ENTRY

EXIT

35 - 36

PLAN IN CONTEXT ORION MALL

EXHIBITION SITE

FRONT ELEVATION IN CONTEXT

ZONING The exhibition site is located in the outdoor space of Orion Mall, Bangalore. The mall is situated in the north west part of the city. With a well known residential space beside it and commercial activities going on around it, the mall acts as a space for both commercial and social interactions - supplying a good crowd to the exhibitions. People of various religions and ethnicities visit the mall, giving the exhibition a wide range of audience.

There are 5 main exhibit zones that take the visitors through the stories of the tribe. The zoning plan and legend have been shown below.

ENTRY

EXIT

37 - 38

PERSPECTIVE VIEWS - Plan and Front elevation

PERSPECTIVE VIEWS

LED Display

Shelving Display

History and origin of the tribe displayed in the form of a showreel.

Displaying different tools and antiques used by the tribe from ancient times in glass casings.

Sensor- based installation

Occupation

Sensor based sound simulations of festival drum music and songs and traditional festival clothing.

Process of basket weaving displayed and a suspended cloth prism with hand-written tribal poems

LED Display

Exit

Displaying NGOs voicing the injustices towards the tribe and a QR code for interested volunteers.

Feedback platform before visitors exit the exhibition to share their thoughts.

39 - 40

HERBIVORE

PROJECT DETAILS

Typology: Commercial Retail Kiosk in a mall - Concept Design Details: (a) The kiosk is designed within an imaginary volume with dimensions 3m x 5m x 2.8m (b) Metal and wood sections are used as a mandatory requirement in the structural composition of the kiosk.

DESIGN BRIEF To design a kiosk in a mall situated in Ahmedabad,Gujarat for the brand HERBIVORE, a vegan skincare and wellness brand originated from USA. The kiosk draws inspiration from the Japanese script and traditional Japanese interior wood elements.

Space Design IV

41 - 42

HERBIVORE CONCEPT The Japanese one-letter word from the Kanji script meaning “Human” has been taken as an inspiration for the form of the kiosk, as it resonates with the natural desire to be cared for - something that Herbivore stands for.

Accordingly, it has been used to develop projections in the X,Y,Z axis and creating different blocks of differing length, not following any ratio. The selected exploration could be mirrored, repeated symmetrically, played around with volume and dimensions in order to best suit the kiosk’s function within the imaginary envelope.

STYLE BOARD

BROCHURE DESIGN Herbivore Botanicals is an all-natural, sensorial skincare and wellness brand. The brand uses allnatural, vegan, cruelty-free ingredients in its skincare that provides results you can actually see and feel.

The brochure reflects the brand’s identity which is a clean, modern and natural look and feel.

Herbivore has a variety of products in skincare and beauty. For this particular kiosk, I have chosen a few products from their line and showcased it to represent the brand in the form of a 6 page foldable brochure.

SPREAD 1

SPREAD 2

The images for the brochure have been taken from the brand’s original site.

43 - 44

FORM PROJECTIONS The potential front facade that reflects the word’s 2D shape and direction has been highlighted with a grey plane along with its projection and concept evolution explained.

FINAL DESIGN Isometric View

Wooden panel ceiling with pendant lighting

White acrylic structure with glass shelving units

Filleted edges to reflect the fluidity in the concept

Plan at LVL. +2450 MM

Since Herbivore engages in a wide range of skincare, beauty and wellness products, emphasis is made on facial, body care, grooming and the PRIDE merchandise sold by the brand. Gift sets and mini kits would also be part of the retail unit.

The kiosk is imagined to be stationed in the middle of a mall hallway/corridor and hence would receive optimum light directly from the mall’s lighting layout.

To highlight the products within the unit, pendant lights have been added.

Materials such as wooden panels for ceiling and acrylic for the structure have been used to create a modern look and maintain the simplicity reflected by the brand.

Front facade

45 - 46

TECHNICAL DRAWINGS I. Electrical Layout II. False Ceiling Layout III. Toilet Drawing

47 48 49-50

TECHNICAL DRAWINGS ELECTRICAL LAYOUT OF A RESIDENCE PLAN

ELECTRICAL SCHEDULE AND LIGHT FIXTURE LEGEND

FALSE CEILING LAYOUT OF A RESIDENCE

PLAN

SECTION AA’

SECTION BB’

SECTION CC’

47 - 48

TOILET DRAWING TOILET PLAN

SECTION AA’

SECTION BB’

PLUMBING LAYOUT

SECTION CC’

ELECTRICAL LAYOUT (ESTIMATED)

SECTION DD’

PRODUCT LEGEND

49 - 50

WORKSHOP EXPERIENCE PARAMETRIC DESIGN WORKSHOP - 2021

My team and I participated in a 10 day - Parametric Design workshop conducted in October 2021 where we learnt contouring and deformation techniques to create an experimental “Pop-Up Landscape”. Materials like card stock, MDF and metal were explored in the process.

The final model is called “GLIDE”, imagined to be set in an urban context. The structure created acts as an urban pop-up landscape where people can relax, pause and connect with each other. The fluid nature of the structure produce a calm mood amidst the hustle-bustle of a city. The constant parameters were length, breadth and thickness of each MDF strip. Variable parameters were the angle of curve between each strip and degree of overlapping.

Team members: Madhuvvanthy.B, Shraddha Pednekar, Shubhi Gupta, Pooja Kapadia and Ajay Pandey.

PROJECTION MAPPING INSTALLATION - 2021 Projection mapping, similar to video mapping and spatial augmented reality, is a projection technique used to turn objects, often irregularly shaped, into a display surface for video projection. These objects may be interior or exterior elements including complex industrial landscapes, such as buildings, small indoor objects or theatrical stages. By using specialized software, a two or three-dimensional object is spatially mapped on the virtual program which interacts with a projector to fit any desired image onto the surface of that object.

This technique is used by artists, architects, designers and advertisers to add extra dimensions, optical illusions, and notions of movement onto previously static objects.

This installation has been created by students of Interior Design and Animation & Motion graphics department from UG semester 5. It intends to create visual stimuli on a façade by projecting different colours, textures and patterns.

PROCESS

Setting up a trial:

Conceptualization and execution:

Mapping structure on 2D interface:

Building a small cuboid using cardboard to use as an object for projection.

Creating the final facade using triangular and quadrilateral faces and painting with acrylic finish.

Placing a projector at an appropriate distance through trial and error to map the structure.

FINAL STRUCTURE

Click to watch the video projection: https://vimeo.com/701360116

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PHOTOGRAPHY

City Palace, Udaipur

Qasr Al Hosn, Abu Dhabi

Shaniwar Wada, Pune

Ayyappan temple, Chennai

Expo 2020, Dubai

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MISCELLANEOUS ILLUSTRATIONS ORIGINAL WORKS

MY BLOG: https://maddys.art.blog/

MY ART PAGE: https://www.instagram.com/thoughts.made.art/

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THANK YOU

CONTACT ME maddyb257@gmail.com IG: @madhuvvanthy 7041381665