PUJA BHAGAT ARCHITECTURE PORTFOLIO SELECTED WORKS 2017-2018
PUJA BHAGAT HONORS
pbhagat1417@gmail.com (484) 800-1005 First Place Department of Energy Race to Zero Competition Schreyer Honors College Student Penn State University
SKILLS Photoshop Illustrator InDesign Rhino VRay AutoCAD
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ART STUDIO
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THE MET CLOISTERS
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EXISTING CONDITIONS
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KAYAK RENTAL CENTER
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RACE TO ZERO COMPETITION
ART STUDIO THE ARBORETUM: STATE COLLEGE, PA SPRING 2018 INSTRUCTOR: CATHY BRAASCH 8 WEEKS
Nature often draws us in and evokes a
childlike fascination. We feel compelled to explore freely and are drawn towards what inspires us rather than a specific destination. I took this idea one step further and incorporated a duality associated with wandering. If nature is allowed to meander into the structure, then humans will feel compelled to wander back into nature as a result. My ceramics art studio thus invites the three main aspects of nature into its boundaries: aural, visual, and haptic. In doing so, a blend between that natural and man-made is created.
I began my focus on nature and the
northern forest by incorporating a curvilinear glass facade that draws viewers to sights of the forest. I added two more linear facades in order to block views to the human world and create an additional focus on the forest and its natural beauty.
I also incorporated a clay pit in the center of
the structure. This open-air center allows drainage from the roof to activate the clay soil in the pit. This clay can then be processed and utilized for the clay studio. In this way, nature has become the provider for the studio, further tying the human and organic together.
I incorporated natural wandering in several areas of my structure. Rotating glass panels on the curvilinear
facade provide visual and aural access to nature and the clay pit provides visual and tactile elements to the site. The materials also integrate the man-made and natural. Ceramics at heart is a natural material that is heat-treated to create something man-made. Similarly, my materials are initially natural but have been heated to create a new building material.
THE MET CLOISTERS NEW YORK, NEW YORK FALL 2017 INSTRUCTOR: JAMES KALSBEEK 4 WEEKS
The MET Cloisters focuses on European
Medieval Architecture, Sculpture, Gardens, and Decorative Art from the Romanesque to Gothic eras. The entire structure is designed to mimic the medieval era and provide viewers with an immersive experience from the past. This concept is shown through the incorporation of seven medieval structures that were directly imported from Europe. These architectural pieces provide a sense of authenticity in the architecture. They also create a transition from Romanesque to Late Gothic styles in the MET Cloisters, providing an additional level of authenticity. The structure also embodies ideals of the medieval monastery, such as the ideas of order and the Cloister.
https://www.nycgo.com/museums-galleries/the-met-cloisters
ABOVE: The seven medieval pieces are highlighted. BELOW: The areas are highlight according to the medieval era they embody. Red signifies the Romanesque period, orange denotes the Early Gothic period, and yellow highlights the Late Gothic period.
The cloister is the center of monastic life. It provides the monks with essential food, an education space, and a calming meditative environment. The MET Cloisters embodies this ideal by including three of these cloisters in its design.
I created a puzzle to embody the ideals of the MET Cloisters. It utilizes the monastic concept of complete order in the fact that this puzzle only has one solution. Magnets and a colored marking system create rules that restrict the user from creating an alternate solution, and thus absolute order and obedience similar to that of the monastery must be followed.
The underside of the puzzle references the seven European parts that combine to create a complete structure. These pieces from the main puzzle can be adapted to look like the seven individual sections and can then be fitted into the MET Cloisters’ floor plan, thus showing that these seven parts each bring a unique identity to the system, but are considered part of the whole as well.
KAYAK RENTAL CENTER BALD EAGLE STATE PARK: STATE COLLEGE, PA FALL 2018 INSTRUCTOR: LOUKAS KALISPERIS 4 WEEKS
Two strong axes appear at Bald Eagle State
Park. A road cutting through the site creates the first and a narrow strip of water near the site produces the other. These axes guide the design and introduce a promenade down the site to the kayak rack at the end. This kayak rack serves as a transformation point between land and water, where the system breaks the axis and directs the visitor into the lake. The axes also define a dynamic between the land and water. The left side of the promenade is thick concrete that is buried int he ground while the right is open, light wood construction that floats above the ground on pilotis. The rafters above create a transition space and further connect the ground and water.
Site Analysis
Water Axis
The two axes cut into each other at various scales in Bald Eagle State Park
Land Axis
Form Creation Land Axis Creates Building Direction
Water Axis Creates Cut
Solid vs. Open in Section Continuous Line from Ground to Water
Grounded in Topography
Solid Concrete Bearing Walls
Light Wood Construction
Open to Lake
Program
Low Water Level: 620’ Above Sea Level
Normal Water Level: 630’ Above Sea Level High Water Level: 638’ Above Sea Level
Dock Kayak Launch
Kayak Rack Kayak Storage
Viewing Deck Cafe Seating Accessory Storage Cafe
Viewing Deck Rental Office Changing Rooms
Map Display
Bathrooms Office
Parking Lot
Existing Access Road
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5
10
25’
The program is organized in order of how a visitor would rent a kayak. In addition, more closed program is placed on the left and more open program is placed on the right.
Section 1
E1
E2
S2
S1
Elevation 1
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5
10
25’
Elevation 2
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5
10
25’
0
1
2
3
5
10’
Kayak Rack
Section 2 01
5
10
25’
The kayak rack becomes the transformation point between the two axes. The rack turns the visitor from land into the water, thus bonding the two entities.
VISUAL COMMUNICATIONS FALL 2017 INSTRUCTOR: JAMIE COOPER Along with comprehensive design studio, I took a two-part visual communications class. During the first part, I enhanced my hand-drawing skills through a series of projects. I learned how to precisely draw perspectives and cast shadows by hand. The drawing shown below is the Temple of Apollo. For this piece, I analyzed the current Temple’s ruins and mathematically calculated its original dimensions based off of the Greek’s design ideals. The project to the right is a hand-drawing of the Uffizi. This rendering is composed so that the vanishing point of the perspective is the station point on the plan. I also drew an isometric of Adolf Loos’ Rufer House using exact measurements from my drawn plans and sections. I learned how to cast mathematically precise shadows while drawing Le Corbusier’s Villa Stein De Monzie.
The Temple of Apollo
The Uffizi
Rufer House by Adolf Loos
Villa Stein by Le Corbusier
VISUAL COMMUNICATIONS SPRING 2018 INSTRUCTOR: BENAY GÜRSOY TOYKOÇ During the second portion of the Visual Communications class, I improved my computer-based skills. I learned programs like Photoshop, Illustrator, Rhino, and Auto CAD. Based off a precedent, my partner, Mikaela Estepp, and I created a set of rendered postcards with plans and sections of the Lumino House. Using these and a 3D model, I individually rendered several perspectives seen on the following pages. In addition to these projects, I also drew the plan and an elevation of Charles and Ray Eames’ Eames House and Mies van der Rohe’s Barcelona Pavilion. Beyond that, I experimented with Rhino’s functions and created a set of shapes that deform based on specific rules, as well as a repetitive template that created emergent patterns.
Individually rendered photos below and to the right
Partner rendered orthographics
RACE TO ZERO STATE COLLEGE, PA FALL 2017-SPRING 2018 TEAM PROJECT FIRST PLACE
I participated in the Department of
Energy’s Race to Zero competition, where my team and I designed a zero energy ready suburban family home. This was truly an integrative design project, as I worked with a myriad of majors like engineers, architects, and even business majors. We worked with S&A Homes, a local production builder, in order to produce a highly constructible, cost-effective, and family conscious home. My team focused on the idea of the New American Home, where the home is open, welcoming, and familiar. We also aimed to create flexibility in our design, so that it could be a lifelong, multi-generational home.
We analyzed two of S&A’s top selling homes in order to find design strengths and weaknesses. We then created our own floor plans based on our findings. LEFT: S&A’s plans TOP: Designed plans RIGHT: Detail diagrams
Multi-generational home meets a family’s needs for years to come
All materials are low VOC, cost effective, and healthy for the family
To obtain a net zero standard, we made several design decisions, such as using an EP&B walls (left) and consolidating the plumbing system (top). We used REM/ Rate to model the home’s energy usage at each step. We were able to obtain a HERS score of -17 with these designed elements.