PUJA BHAGAT ARCHITECTURE PORTFOLIO SELECTED WORKS 2017-2019
PUJA BHAGAT
phb5043@psu.edu (484) 800-1005
HONORS
Design Excellence Award Second Year, Penn State University First Place Department of Energy Race to Zero Competition Finalist Solar Decathlon Competition Schreyer Honors College Student Penn State University Finalist Visual Communications Award, Penn State University
SKILLS
Photoshop Illustrator InDesign Rhinoceros VRay
Revit Auto CAD Fabrication 3D Printer Hand Drafting
01
INSPIRING CURIOSITY
02
DEFINING ORDER
03
THE DUALITY OF WANDERING
04
GUIDING AXES
05
THE DESIGN MATRIX
06
HAND DRAWINGS
NEUE GALLERIE ADDITION
THE MET CLOISTERS
ART STUDIO
KAYAK RENTAL CENTER
SOLAR DECATHLON COMPETITION
VISUAL COMMUNCATIONS
INSPIRING CURIOSITY NEUE GALLERIE ADDITION NEW YORK, NY SPRING 2019 INSTRUCTOR: JAMES COOPER 15 WEEKS Museums innately inspire curiosity, especially with the artwork they hold. These paintings and sculptures capture moments and stories that go beyond the final product itself, leaving the viewer to wonder what layers may be beyond their frames. I aim to first inspire this sense of curiosity and then guide the viewer through the journey to fulfill this desire and gain full a understanding of their surroundings.
This museum design inspires curiosity in its open spatial arrangement and linear circulation. The arrangement of the space is created by intersecting planes on a 2’ by 2’ grid. These planes will never meet at a corner, but rather one will protrude past the other, or a sliver of space will be left between them. In addition, there are several double height spaces that allow small glimpses into other floors above. Finally, there is a suspended form in the center of the museum created by these planes that is visible at all times. It is only at the end of the journey that the viewer finally sees into this structure and gains the clarity they were seeking.
GLASS BLOCK T GIRDER FOR GLASS BLOCKS
W12 STEEL BEAM
FLOORING 2 1/2’’ SCREED 1’’ INSULATION 4’ - 0’’ x 8’ HOLLOW CORE PLANK W24 STEEL BEAM
THE DUALITY OF WANDERING 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.
The design goal of this project was to create an art studio on the outskirts of a forest on campus, the Arboretum. I began my focus on nature and the northern forest by incorporating a curvilinear glass facade that draws viewer’s to sights of the forest. Two more linear facades were added in order to block views to Penn State’s campus and create an additional focus on the forest and its natural beauty. A clay pit is also incorporated 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.
DEFINING ORDER 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. In addition, the structure 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 is created.
The underside of the puzzle references the seven European elements 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.
GUIDING AXES 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.
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
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
01
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
01
5
10
25’
01
5
10
25’
Elevation 2
0
1
2
3
5
10’
Kayak Rack 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.
THE DESIGN MATRIX SOLAR DECATHLON COMPETITION
FALL 2018-SPRING 2019 ADVISORS: CHRIS HAZEL, SARAH KLINETOB TEAM LEADERS: Neno Agnello, Carly Asadi, JUustin Charles, Blaise Waligun, Alex Vinitski TEAM MEMBERS: Ameer Aboneaaj, Joey Barbusca, Puja Bhagat, Celina Deng, Jake Doyle, Marissa Genevro, Alex Keiser, Khalid Khalil, Austin Lankford, Sumaiya Mehjabeen, Paul Panassow, David Reimold, Emily Wagner, Jonathan Wong, Ashton Yoder, Holly Zimmerman
Our team partnered with Habitat for Humanity Greater Center County in order to design a comfortable, afforadable, and zero energy ready home. Due to their lack of designers, high land costs, and short design period, Habitat is not able to create net zero homes that meet the needs of the site or individual family. Thus, our team created a design matrix that inputs site features and family needs, and outputs a sustainable and comfortable home that works on any site or family that Habitat may encounter.
DESIGN GOALS Our goals as a team stemmed from our needs, as well as our three stakeholders: the Solar Decathlon Competition, Habitat for Humanity, and the families who will live in our homes.
In order to design a better home for our local chapter of Habitat, we looked at their specific needs.
HABITAT PRECEDENTS
Improvement Areas
Site Slope Considerattion
Site Orientation Consideration
351 Reynolds Homes
Family Size Consideration
We analyzed a recent Habitat build as well, and determined that there were several improvement areas we would address with the design.
THE DESIGN MATRIX
DESIGN CONSIDERATIONS
ily Fam d 2 Be
d 3 Be
d 4 Be
d 5 Be
BA
SE
Slo
S.L .
pe S.O .G E-W
Orientation N-S
In order to resolve these identified issues from past Habitat homes, our team created a design matrix that would consider the site slope, site orientation, and family size, and utilize these inputs to select the most optimal base floor plan for the family out of twenty four options. In addition, we have designed customizations to these plans to allow families to further personalize their homes to meet their current and future needs. These customizations include the addition of a porch for an inviting entrance, the ability to add an ADA Bedroom, office, or flexible space to the home, and the choice of materials and color for the home.
MODULAR DESIGN PROCESS In order to determine our twenty four base floor plans, we applied a modular design process to each of the given scenarios determined by the design matrix.
Create 2x2 grid for simple material constructability and volunteer assembly
Right-size rooms and apply to modulated grid
Determine appropriate walls for the program and base plan
Finalized base floor plan
CASE STUDY In order to test our design guide, we applied our matrix to a theoretical family. This case study family is a family of four, John Doe, his wife Jane, and their two young children, Jack and Carol. This family wants their home to be comfortable, affordable, and net-zero energy ready. Within the next few years, it is expected that the family’s grandmother will be permanently in a wheelchair and move in to the home, creating a five person family condition.
ily Fam d 2 Be
d 3 Be
d 4 Be
d 5 Be
BA
SE
pe S.O .G E-W
Orientation N-S
ADDITIONAL CUSTOMIZATIONS
Base Floor Plan from Matrix
Slo
S.L .
Porch Addition
ADA Bedroom Addition
Final Floor Plan
VINYL SIDING 3’’ EXTERIOR RIGID ROCKWOOL INSULATION 1/2’’ ZIP PANEL SHEATHING
Year 30 Monthly Home Energy and Mortgage Cost
2x6 WOOD STUD 24’’ O.C. WITH R-21 BLOWN CELLULOSE 1/2’’ GYPSUM WALL BOARD
HERS Index Score
Construction Cost Analysis
ENVELOPE DEISGN FOCUS
EXTERIOR
INTERIOR
BALANCED
VINYL SIDING
N/A
3” RIGID ROCKWOOL INSULATION
1/2” ZIP PANEL
BLOWN CELLULOSE INSULATION
1/2” GYPSUM WALL BOARD
R-32
COST
VINYL SIDING
N/A
2” XPS
1/2” ZIP PANEL
BLOWN FIBERGLASS INSULATION
1/2” GYPSUM WALL BOARD
R-32
VINYL SIDING 3’’ EXTERIOR RIGID ROCKWOOL INSULATION
CONSTRUCTABILITY
SUSTSAINABILITY
MATERIAL AVAILABILITY
*NOTE*
Building Envelope Matrix MATERIAL AVAILABILITY REFERS TO NON-STANDARD CONTRUCTION MATERIALS OR SERVICES WHICH MAY BE DONATED BY A COMPANY OR AN INDIVDUAL FOR A SINGLE PROJECT AND CAN BE INCORPORATED INTO THE WALL ASSEMBLY, BUT THEY ARE NOT RECCOMMENDED FOR USE
VINYL SIDING
N/A
3” RIGID ROCKWOOL INSULATION
1/2” ZIP PANEL
FIBERGLASS BATT INSULATION
1/2” GYPSUM WALL BOARD
R-31
2x6 WOOD STUD 24’’ O.C. WITH R-21 BLOWN CELLULOSE
TRUE WOOD SIDING
1/2” AIR GAP WITH FURRING STRIPS AND RAIN SCREEN
3” RIGID ROCKWOOL INSULATION
1/2” ZIP PANEL
BLOWN CELLULOSE INSULATION
1/2” GYPSUM WALL BOARD
R-28
TRUE WOOD SIDING OR FIBER CEMENT SIDING
1/2” AIR GAP WITH FURRING STRIPS AND RAIN SCREEN
3” RIGID ROCKWOOL INSULATION OR 2” XPS
1/2” ZIP PANEL
BLOWN CELLULOSE OR BLOWN FIBERGLASS OR FIBERGLASS BATT
1/2” GYPSUM WALL BOARD
R-32 R-32 R-31
2X6 WOOD STUD 24” O.C.
ENVELOPE DEISGN FOCUS
1/2’’ ZIP PANEL SHEATHING
1/2’’ GYPSUM WALL BOARD
2x6 Advanced Framing with 3’’ Rigid Rockwool Insulation EXTERIOR
INTERIOR
HAND DRAWINGS VISUAL COMMUNICATIONS FALL 2017 INSTRUCTOR: JAMES 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 to the right 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. The Temple of Apollo
The Uffizi
Rufer House by Adolf Loos
Villa Stein by Le Corbusier