A TIMELINE OF SELECTED WORKS.
ARCHITECTURE, Design & PHOTOGRAPHY. GRADUATE PORTFOLIO.
NEHA VADDADI.
RV COLLEGE OF ENGINEERING, BANGALORE, 2013.
“Art is not a thing, it is a way.� -Elbert Hubbard
Design is everywhere. As Henry Thoreau said "The world is but a canvas to our imagination." A belief that has strongly influenced my work and my love for design.
I am an artist by nature, and architecture has helped me form a base for the versatility I give to my designs. My work is a culmination of all my thoughts and reflects in essence the places I visit, the buildings I see, the dramatic play of everyday life and finally nature in all its glory. Each of my designs have their own story, a theme that exposes the viewer to the thought that went into it's creation.
Art is communication -an outlet for the soul. The intention of creating something not purely for visual appeal but to connect a space with its habitat. To make people See, Think and Connect, giving them a view of my take on Life.
Career Path Till Date. Pre-University.
Graduation.
Work.
Vidyaranya School for Boys & Girls, Hyderabad. (83%)
Jubilee Hills Junior College, Hyderabad. (87%)
B.Arch., RV College of Engineering, Bangalore. (7.5/10 G.P.A)
Volunteer Designer/Photographer, The Vrindavan Project, Wada, Maharashtra.
Class of 2005.
Class of 2007.
Class of 2012.
Dec ’12 – Jan ‘13.
Schooling.
Born.
Works Displayed In This Portfolio.
6th October, 1989.
SEM 8.
SEM 4.
SEM 10.
THESIS PROJECT, Culinary Institute, Music Performance Centre, Mythic Society, Bangalore. Hyderabad.
Centre for Built Environment, Kanakpura Road, Bangalore.
2011.
2009.
2012.
Summer Internship.
SEM 7.
SEM 9.
Katakam & Associates, Hyderabad.
Practical Training at COSTFORD, Kerala.
KSRTC Bus Terminal, Bypannahalli, Bangalore.
2009.
2010.
2011.
Skills Learnt Over The Years.
Neha Vaddadi. Banjara Hills, Hyderabad. 09986548146. nehavaddadi@gmail.com
! Quick Hand Sketches/ Manual Pencil Drafting & Inking. ! Artistic Photography. ! AutoCAD, Microsoft Office, Adobe Photoshop(basics), Google Sketch-up(basics). ! Model Making. ! Architectural Analysis/Documentation/ Measure Drawing/Presentations. ! Designing Spaces/Products From Concept Level to End Result (Academic).
Interests. Doodling. Reading. Movies & Music. Traveling. Photography. Art. Vernacular Architecture. Environmental Issues.
CONCEPTUAL*EVOLUTION!!from&a& literal&idea&to&exploring&of&form&to& implemen1ng&of&the&ideology&into& prac1cal&design.
The purpose of this building was a Centre for people to voice out the city’s problems, and try to generate and implement solutions to make it a better place. Hence, my concept started with the single word ‘Voice.’ From being a form with literal sound waves, it went to grouping of functions based on Public, Semi-public and Private use. Finally refinement came about in a portion of the building being cantilevered, thereby breaking open the flow through the site.
In a nutshell, the building is a symbolic representation of the city’s problems, which is being penetrated and intervened by it’s people, represented by the strong public movement diagram. Analysis diagram showing Public, Semi-Public & Private.
N
SITE PLAN---Showing the public gallery, the connecting bridge to the official block which contains seminar halls, auditoriums, etc. and the open air amphitheater and cafe flowing freely below the building. SECTION through Gallery and The main building.
Rough Model Made to Understand Form and Movement, Which Is Indicated By The Red Strip.
SEMESTER 4 — ’09 Centre For Built Environment, Kanakpura Road, Bangalore.
Few of the ‘BAKER’ buildings visited.
Col.Jacob’s Residence, Tvm.
Loyola Chapel, Tvm.
Four months of intensive practical training in COSTFORD, Trivandrum, Kerala, which was chaired by the legendary Laurie Baker. Achieved a clear understanding of local building materials and construction techniques—a hands on experience.
Residence of Mr.Suresh, HUDCO, Tvm.
Rat Trap Bond. Jaali and Arches. Filler Slab. Trench & Rubble work. Setting Out. Cob Mud walls. Coconut Bark Foundations.
Few of the Construction Techniques Learnt. A few sketches of the exteriors and interiors of Laurie Baker Centre.
Indian Coffee House,, Tvm.
Laurie Baker Centre (LBC), Tvm.
Keith’s House. Plan.
Elevation.
Stage with water tank. Plan.
Perspective View.
Measure drawing and documentation of the Laurie Baker Centre (above) and Rangaprabath Children’s Theatre were some of the works done amongst many others. A few snippets are shown in the images.
Auditorium.
Hostel Block.
Semester 7—‘10 “Make low cost-ery a way of life, not just for the poor .” -Laurence Wilfred Baker.
Practical Training, COSTFORD, Trivandrum, Kerala.
Mythic Society.
‘Adaptive Re-use’ : IT MEANS, QUITE SIMPLY, PROVIDING NEW FUNCTION IN AN OLD BUILDING OR, IF A DISTRICT IS INVOLVED, MANY BUILDINGS. The Mythic Society building is situated on Nrupathunga Road, Bangalore flanked on either side by two large G+6 office buildings. The given site comprised of this entire area of approx. 1 acre--the Mythic Society building which was to be retained, and hypothetically ignoring the other two buildings.
Since the program demanded a Culinary Institute, a learning hub for traditional Karnataka cuisine, my conceptual ideas moved to rustic and traditional architectural elements of kitchens and homes in the state. These include raised plinths outside houses which were used for interaction and as hangout places; traditional courtyards which opened up the building, providing light and ventilation. Hence, the design is an attempt to a contemporary take on traditional ideas.
Snapshots of the Final Model.
Ground Floor Plan.
The design follows a grid pattern, with the courtyards alternating with the built, in a diagonal line. The main Mythic Society building was retained and used as a reception and waiting area, with annexes branching off for the admin staff. The academic cooking studios and classes are located to the left of the reception which is separated by a courtyard, replicated on the upper floor. A combination of pitched and gabled roofs were used to respond to the Mythic Society building, as well as a continued colonnade, an extension of the existing, forming a grand entry.
First Floor Plan.
N
SECTIONS. 1. Mythic Society in elevation, studios and courtyard in section.
2. Cutting Mythic longitudinally, showing reception area, back courtyard and guest accommodation. 3. Showing studio and courtyard relationship on upper floors wit the Mythic building.
Basement Parking Plan.
SEMESTER 8 — ’11 Culinary Institute for Tradition Karnataka Cuisine, Mythic Society, Bangalore.
O C T O B E R ‘11 “A good traveler has no fixed plans and is not intent on arriving.”
- Lao Tzu.
Exploring Amongst The Rustic Ruins of Hampi, Karnataka.
Creating two such islands not only reduces pedestrian-vehicular conflict, but also keeps the KSRTC and BMTC aspects of the bus terminal separate, enhancing efficiency and reducing confusion.
Geometry of the site was fundamental in influencing the concept of this project. Playing around with the ‘triangles’ led to the formation of the ‘pedestrian island’ concept.
The pedestrian island would be situated in the centre, with the KSRTC buses coming in from a strip 30m wide and going around it.
Different combinations--Purple indicating the pedestrian islands, surrounded by service roads.
First zoning diagram shows the ancillary functions as building blocks which form the two islands, while the buses enter through one side of the site, and exit through the other as shown. Green public spaces surround the built, acting as buffers as well as waiting areas for passengers.
Creating a bridge of pedestrian activities which connect the KSRTC & BMTC parts of the terminal.
Analyzing the zoning diagram and how it could cause a conflict between the pedestrians and vehicles.
Exploring further the ‘island’ concept by stretching it across the site instead of representing it in the literal sense of the word.
A 3D abstract adaptation, exploring form and the various activities and movements at different levels. Variations of the same idea where the orange squiggle represents the pedestrian activities.
CONCEPT DEVELOPMENT.
A10 acre existing KSRTC bus depot was the given site, located on the semi-industrial area of Byapannahalli. The requirement was to accommodate a KSRTC as well as a BMTC terminal. An additional 30m wide strip to the site was provided, which connects to the Metro rail ticket office, making access the bus station easier.
SEMESTER 9 — ’11 KSRTC Bus Terminal, Byapannahalli, Bangalore.
Site Plan--showing the site surroundings. A 10acre site located in a fairly busy industrial locality called Byapannahalli. The area contains a mix of residences, vast open industrial land, and a metro as well as a railway station.
N
The final outcome is a result of the same island concept, but more refined. The entry for the KSRTC buses happens through the 30m strip, which then pause to pick up passengers along a curved platform, and the exiting along it,through the centre of the site. The pedestrian drop off zone acts as a buffer between the exit for KSRTC & entry for BMTC, which exits on the rear end of the site.
Ground Floor Plan.
Part-Plan-- showing the transition between KSRTC platform to BMTC platform--an underpass connecting the two.
Bus Depot & Fuel Station Plan --below road level. On the rear end of the site, is an underground bus depot, and a fuel station. The fuel station area is open to sky, keeping in mind fire-safety concerns. The bus depot has a capacity to park 20 buses, and a workshop area for repairs.
KSRTC Entry
Exit
Pedestrian Entry/Exit
BMTC Entry
Exit
Upper Floor Plan.
Sections showing various levels and activities, and the roof form.
Planning of the two different platforms mainly depends on the frequency and usage patterns. Since the KSRTC buses are fewer in number and stop for longer, the pedestrian platform is more island-like, and one curved chunk; where as the BMTC aspect is a fast moving area, with a higher number of people and frequency of buses, hence the parallel planning of bus bays and platforms. The two islands are connected through underpasses which spill into a semi-open area, which can be used for passengers to wait and relax, and also certain admin activities. The roofs are made of tensile material, symbolic of the flexibility and flow of the design, allowing large free-flowing curves.
Music is often called the language of emotion and it has the amazing power to change lives. As well as the huge enjoyment and sense of achievement gained from music-making, music opens up new ways for people to express themselves and make connections with others, allowing them to explore and show more of their full potential. Over the last couple of years, the live music scene has rapidly gained appreciation in India. With famous international bands and musicians coming to the country on concert tours, it is a well known fact that India is inspired and is slowly putting itself on the map with new, young and talented musicians and bands being
Hence, the
Big Idea is to create an open public forum dedicated entirely to music, to bring together people of all ages who are passionate about performing any genre of music be it instrumental, or vocal, and encouraging both western and our rich Indian musical heritage alike.
An informal social interaction centre for amateurs and experienced performers alike, who can develop the quality of music in the city and encourage the youth in a positive manner.
A space where people can make use of the infrastructure available, shed
discovered everyday.
their inhibitions, interact, collaborate and learn from each other. It is a free-spirited
But what our country lacks is adequate infrastructure and platforms for these young stars. Cities like Mumbai, Bangalore, Delhi and now even Hyderabad are known as the Hotbeds of Rock music.
open for the public to come and witness the happenings of the center.
space with no pressure of performance, no pressure of the audience, and yet
But how many of these enthusiasts actually have a well equipped space to practice in? How many of them can have ‘jam’ sessions without getting shouted at by their neighbors or family for creating such a nuisance?
WHAT’S THE BIG IDEA?
Buildings and
Projects
Studied From Around The World. JS Bach Chamber Music Hall, Manchester
A Transportable Installation By Zaha Hadid.
Playing The Building, London.
A Sound Installation By David Byrne.
The Experience Music Project, Seattle, USA.
A State of the Art Concert Venue By Frank Gehry.
House of Music, Alborg, Denmark, A Cultural & Educational Space By Coop Himmelb(l)au.
SEMESTER 10 — ’12 THESIS PROJECT---Music Performance Centre, Jubilee Hills, Hyderabad.
Mapping the Cultural Hotspots of Hyderabad.
Shilpakala Vedika. NIFT Auditorium.
Hardrock Cafe. Hussain Sagar Lake.
Lamaakan.
KBR Park.
PROPOSED SITE.
N . Jubilee Hills is a suburban neighborhood of Hyderabad and is currently one of the most expensive residential locations in India. It is sandwiched between the wealthy and commercial district of Banjara Hills and is located within two kilometers of the IT central hub of HITEC City.
Easy access to this performance centre was a key requirement. Taramati Baradari.
Analyzing the noise levels around the site area.
Lalitha Kala Thoranam.
Hence, the area chosen for a potential site was Jubilee Hills, located to the west of Hyderabad. The site is in the interiors of Jubilee Site Model. Hills, about 3kms from KRB Park, N. which is the lung space of the locality. Surrounding this 18 acre site is mostly vast barren lands on the west and south and a few residences on the east of the site.
Ravindra Bharathi.
Land-use pattern-- mostly residential and commercial near the park, but barren land around the site.
The terrain in and around the site is highly contoured and rock filled, with a 30m drop from the top of the site to the road level. Built (ancillary facilities) Concert Area (stage + amphi)
Built (ancillary facilities) Concert Area (stage + amphi)
The central concept/Idea behind the design was to create one main performance area which would act like a seamless spine holding the project together; and the built structure would be arranged around it, which would enrich and add meaning to the performance space. Hence the process began with a series of sketches exploring different combinations of geometry, Clear demarcation between built w.r.t the contours and the program functions.
Complete built mass, hosting the core functions, and a semi built concert area.
Concept Development.
and concert area. ‘Ramp’ idea Site divided into half. Right side for parking, left Working with the conceptual form and integrated--where it flows through hosts the main design since the areas around the existing contours, the main concert the building, connecting the top and the west of the site are more barren. bottom of the site. area flows into the built spaces.
Site Plan--showing the site surroundings.
The final design includes two distinct parts--a main concert
Ground Floor Plan.
area(public) and a institutionalized part including
the ancillary facilities such as recording studios, seminar halls, an indoor auditorium, the admin, etc.
The levels on the site act as a natural amphitheater, giving
an excellent view of the stage from all points. Hence the main collecting plaza space is situated on the top of the site, filling in the amphi systematically from top to bottom.
Ground Floor Plan.
Sections showing
various levels and activities, and the roof form.
The initial multi-purpose ramp idea changed into a more workable road, which connects the top of the site to the bottom, and giving the user a panoramic view of the site as one drives by. Model Snapshots.
The main entrance to the centre for the public is from the top of the site where as the V.I.P and service entries and exits, as well as the movement for the institution happens at the road level, hence providing an easy access to the facilities closer to the ground. It also helps in avoiding vehicular congestion by diverting the crowd to a smaller side road.
ARCHITECTURE. HISTORY. CONTEMPORARY. CLOUDY WINTER SKIES!
O C T — N O V ‘12 “One’s destination is never a place, but a new way of seeing things.” -Henry Miller.
Taking it all in, in Belgium, Germany, and The Netherlands.
Nature. Details. Abstract. Light. Silhouettes.
PHOTOGRAPHY FOR THE FIRM’S WEBSITE.
D E C ’12 — J A n ‘13 Short Stint at The Vrindavan Project, Wada, Maharashtra.
Mural done on the wall of the Farmhouse. “The Tree of Life.” A dedication to one of the owners of the firm—a depiction of the life on the Farm.
Vrindavan Farm lends itself to a connection far deeper than just agriculture. Our practice is highly sensitive to the surrounding and cultural Vrindavan ecology Farm lends itself to a connection far presence,deeper aligning than ourselves with this livingOur system at just agriculture. practice is highly every stepsensitive of our production. From seed ecology to produce, our to the surrounding and cultural land and produce is cared for entirely by with hand,this andliving system at presence, aligning ourselves organically grown, using farming techniques. Theto produce, our every step of natural our production. From seed hands involved, Adivasi hands and us. Our method land and produce is cared for entirely by hand, and complements natures’ design, so we say with great pride organically grown, using natural farming techniques. The that our produce is grown in harmony. hands involved, Adivasi hands and us. Our method complements natures’ design, so we say with great pride Learn more us on: TheVrindavanProject.com thatabout our produce is grown in harmony.
Learn more about us on: TheVrindavanProject.com Gaytri Bhatia Farms Vrindavan Gaytri Bhatia Contact: vrindavanfarm@gmail.com | Vrindavan900 Farms 434 9733
Contact: vrindavanfarm@gmail.com | 900 434 9733
Back.
Front.
Vrindavan Farm lends itself to a connection far deeper than just agriculture. Our practice is highly sensitive to the surrounding ecology and cultural presence, aligning ourselves with this living system at every step of our Vrindavan Farm lends itself to a connection far deeper production. From seed to produce, our land and produce is than just agriculture. Our practice is highly sensitive to the cared for entirely by hand, and organically grown, using surrounding ecology and cultural presence, aligning natural farming techniques. The hands involved, Adivasi with this living system at every step hands andourselves us. Our method complements natures’ design, soof our production. seed to produce, we say with great pride From that our produce is grownour in land and produce is harmony. cared for entirely by hand, and organically grown, using natural farming techniques. The hands involved, Adivasi hands us.TheVrindavanProject.com Our method complements natures’ design, so Learn more aboutand us on: we say with great pride that our produce is grown in
harmony. Gaytri Bhatia Farms Vrindavan
Learn more about us on: TheVrindavanProject.com Contact: vrindavanfarm@gmail.com | 900 434 9733
Gaytri Bhatia Vrindavan Farms
Contact: vrindavanfarm@gmail.com | 900 434 9733
Designed a set of 20 coasters using a single image per coaster, which were photographed on the farm. Purpose was for the advertisement of the produce and bottled concoctions made on the farm.
Rubber Stamp design to be used on paper bags, for the sale of produce grown on the farm.
First copy of the printed coaster.
The Vrindavan Project is a design, architecture and agricultural firm, situated in Wada, Maharashtra, on a sprawling ten acre Mango farm, called the Vrindavan farm.