Portfolio by Prateek Bajpai

P O R T F O L I O

TABLE OF CONTENTS

CURRICULUM VITAE FibR Mason Fiber Open Star Arena Light-Weight Facade Fabrication

NARRATIVES IN BOUNDLESS SPACE VR Exhibition, Mousonturm - Frankfurt

CARTOGRAPHIES OF VENICE VR Exhibition - Venice & Frankfurt Hide & Seek

STUDIO TOMAS SARACENO Albedo -Art Basil Miami 2018 Our Interplanetary Bodies The Arachnomancy Cards

NOMADIC FOLD PAVILLON Lightweight Bio Composite

THE HALLWYL MUSEUM Master Thesis

STRANGE BEINGS Speculative Design

ACTIVE PUBLIC SPACES Machinic Protocals

NAME Prateek Bajpai BIRTH 18|04|1990 CONTACT prateek.bajpai@iaac.net +49 152 13996972 Grafeneckstr 7 70188 Stuttgart Germany

EDUCATION

STAEDELSCHULE ARCHITECTURE CLASS. FRANKFURT AM MAIN, GERMANY 2017 - 2019 | Masters in art in Architecture

JOB HISTORY

(RECENT YEARS)

INSTITUTE OF ADVANCE ARCHITECTURE OF CATALUNIA (IAAC), BARCELONA, SPAIN 2016 - 2017 | Masters in Advance Architecture

FibR.GMBH STUTTGRT, GERMANY 2019 - 2020 Fabrication Incharge

GOETHE INSTITUTE, PUNE, INDIA. AUG 2015 - JUNE 2016 B1 German Language

STAEDELSCHULE ARCHITECTURE CLASS. FRANKFURT AM MAIN, GERMANY 2018 - 2019 Student assistant

DEHERADUN INSTITUTE OF TECHNOLOGY DEHERADUN, INDIA 2008 - 2013 | Bachelors in Architecture

EXTRA CURRICULAR

STUDIO TOMÁS SARACENO BERLIN, GERMANY AUG 2018 - NOV 2018 Internship

NARRATIVES IN BOUNDLESS SPACE KÜNSTLERHAUS MOUSONTURM, FRANKFURT MAY 2019 | Interactive installation in Virtual Reality

BEHAL JOSHI & ASSOCIATES NEW DELHI, INDIA AUG 2013 - AUG 2014 Assistant Architect

CARTOGRAPHIES OF VENICE SALEDOCKS VENICE, ITALY NOV 2018 | Virtual Reality Installation AEROCENE ALBEDO BY TOMAS SARACENO, MIAMI ART BASIL 2018 Prototyping designs and frabication

SKILLS

Unity 3D ZBrush Rhino+ Grasshopper Adobe Suit Unreal Engine 3D Printing Laser Cutting CNC Milling Welding

Good Good Fair Good Fair Advanced Advanced Good Good

LANGUAGE

Hindi English German

Native Excellent Fair

ON AIR WITH TOMAS SARACENO, PALAIS DE TOKYO, PARIS, FRANCE - OCT 2018 Prototyping designs and frabication RUNDGANG, STAEDELSCHULE FRANKFURT FEB 2018 | Clay Sculpture Exhibition NOMADIC FOLD PAVILLON NOWHERE FESTIVAL, MONEGROS DESERT, SPAIN. JUNE 2017 | Bio Composite Pavilllon

TEK TO NIK ARCHITEKTEN FRANKFURT, GERMANY 2021 - Present Design Architect

INSTALLATIONS AN

ND EXHIBITIONS

MASON FIBER 17th Architecture Bienalle, VENICE Project Team IntCDC / ICD University of Stuttgart, Institute for Computational Design and Construction Prof. Achim Menges Niccolo Dambrosio, Katja Rinderspacher, Christoph Zechmeister Rebeca Duque Estrada, Fabian Kannenberg, Christoph Schlopschnat IntCDC / ITKE University of Stuttgart, Institute of Building Structures and Structural Design Prof. Jan Knippers Nikolas Früh, Marta Gil Pérez, Riccardo La Magna Lab support: Aleksa Arsic, Sergej Klassen, Kai Stiefenhofer Student Assistance: TzuYing Chen, Vanessa Costalonga Martins, Sacha Cutajar, Christo van der Hoven, Pei-Yi Huang, Madie Rasanani, Parisa Shafiee, Anand Nirbhaybhai Shah, Max Benjamin Zorn. In collaboration with: FibR GmbH, Stuttgart Moritz Dörstelmann, Ondrej Kyjanek, Philipp Essers, Philipp Gülke with support of: Erik Zanetti, Elpiza Kolo, Prateek Bajpai, Jamiel Abubaker, Konstantinos Doumanis, Julian Fial, Sergio Maggiulli.

My roles include fabrication and assembly of the steel frames around which the carbon fiber structure is later wound. My key role was to strictly supervise the robotic arm during the fabrication carbon fiber of the components

https://fcld.ly/1li5qhq

OUTDOOR STAR ARENA Client - Diamler Group, Sindelfingen FibR.Gmbh

The project spatially defines an outdoor presentation area for newest car prototypes. The robotically fabricated lightweight structure reflects crossover topics between car design and architecture, such as innovation, performance and resource efficiency. The “Outdoor Star Arena” is defined by two doubly curved fiber composite structures. Emerging from a geometrically fitted prefab concrete socket, each wall envelopes the presentation arena with its wing like cantilevers. The structural capacity of the fiber composite structure is showcased through its 11,5m cantilevers withstanding 190m² of windloaded area. All 72 carbon composite components are unique in shape and fiber layout and showcase the potential of our digital design and fabrication technology to enable tailor made resource efficient structures. The components taper towards the top and side cantilevers and depth varies from 1,8m at the center down to 0,4m along the rim. The structure shows a duality between the shallow glass fiber mesh front, which integrates a strong expression of the brand communication, and the rear view showcasing the strongly articulated geometric depth of the black carbon structure. My main role was robotic fabrication and producion as well as quality control of the 72 components that are combined to build this structure.

LIGHT-WEIGHT FACADE FABRICATION Client - Textile Association Südwesttextil FibR.Gmbh

Prototyping and certification of our latest large scale project is well underway including structural, fire and UV testing. 476 facade components will form 1800m² of envelope with gradual variation of shading density and accommodating structural and geometric regulations as balcony balustrade. My role in this projection is the fabrication and testing of the facade components

Cartographies of Venice comprises of a series of dramatic reflections in virtual reality on Venice in the age of digital hyper-consumption of images. The exhibition counts nine projects which are presented on physical islands under hovering clouds - both digitally abstracted from the urban fabric of Venice. The projects respectively problematises specific aspects of how this exotic city has been and continues to be represented through an endless stream of photographic images.

Cartographies of Venice problematises this space of image consumption and uses the boundless realm of virtual reality for visitors to encounter novel and layered constructions of Venetian interiors and exteriors. The virtual reality environments comprise of a wallless space that is saturated with parts and qualities which have been digitally transported from the immediate environments of Venice. Matching virtual reality engines with digital scanning, the projects superimpose the endless, historical repository of Venice with imagined environments. Hence, the projects suspend the visitors between past, present and future, in a constructed synthesis of inside and outside, between the simulated, ancient materiality of the floating city and the vibrant pictorial space of strange narratives.

Narratives in Boundless space comprises of eleven projects that explore various architectural themes spanning from urban narratives to active participation in architectural design in Virtual Reality. The projects engage with real time surveillance, personal and poetic narratives from foreign cities, the work of select architects - such as Bernard Tschumi and Oswald Mathias Ungers, to machine-driven and robotic processes as part of architectural design. The eleven projects are presented in a scenography of sculpted objects that are strewn across the floor of Mousonturm’s Studio 2. The objects appear as fragments and may or may not belong to a single whole. Yet, they make up a garden of strange objects, anchors or portals to virtual worlds.

HIDE & SEEK Johan Bettum | Professor Yara F eghali | Tutor SAC Frankfurt Prateek Bajpai | Suyoung Ko

This work engages with the discourse of representation and different ways of seeing. Through the eyes of machine vision we explore the subject of dualism in the city of Venice Behind the grandiose facade lurks a dark, impassioned will, a pent up living forcewhich and as Grorge Simmel said “The Facade then lives up to its name, becoming a mere plaything of artifice and is denied entry to the realm of art.”

https://youtu.be/decWMwd4xTQ

Albeo Art Basel Miami 2018 Studio Tomas Saraceno

The large-scale temporal open-air pavilion, “Albedo”, was comprised of 40 reflective, out-turned umbrellas of various sizes, creating a hemispheric sundial on the oceanfront. The experimental structure, which is a continuation of the artist’s work with the Aerocene Foundation, harnessed solar energy to lift an Aerocene Explorer sculpture into the air whilst keeping it suspended. Albedo aimed to further this spirit of collaboration through cooking and eating together, adding to the community projects already upheld by Aerocene and Museo Aerosolar. Participants were welcome to join in the food being cooked or to bring their own food and experiment with the sun cookers/aero reflectors.

https://youtu.be/MJMQdmeh_NY

I got a chance to work extensively on this project. I worked on this project from the very begining. My task was to prototybe umbrellas of different types and sizes into these complex artwork and csolar cooking devices. I produced details usind 3D printers and laser cutter to solve the problems. I also worked with the welding and workshop team along with the textile and fabric department to produce a working prototype.

OUR INTERPLANETARY BODIES Studio Tomas Saraceno

Our Interplanetary Bodies appeals not to science fiction or fairytale fantasy, but to the possibility of realizing a utopian vision for the not-so-distant future. The phenomena of the mysterious Universe is made sensible through an organic and poetic consilience of different disciplines…. a creative contemplation on a more-than-human relationship and cosmic becoming. My task as an intern was to create inricate joinary details using modelling 3D printing and Laserutting. I also helped in the composition and layout of the artwork during the mock-up exhibition.

THE ARACHNOMANCY CARDS Studio Tomas Saraceno

The Arachnomancy Cards are an invitation to attune to our sympoietic futures, celebrating the radical interconnectedness of all things, both living and nonliving. The deck of 33 cards, exploring topics from Invertebrate Rights to Climate Eviction, were first created in 2018 to appear in exhibition, ON AIR, curated by Rebecca Lamarche-Vadel within the Palais de Tokyo, in Paris, and were subsequently further developed for Spider/Web Pavilion 7 as part of May You Live In Interesting Times curated by Ralph Rugoff at the 58th International Biennale Arte in Venice in 2019. As an Intern I helped in the designing and the presentation of the card

The Nomadic Fold Flax Pavilion, result of the Lightweight Bio Composite Seminar, was among the installations presented at Nowhere Festival hosted in Castejón de Monegros, the regional burning man event of spain. The model has been developed around the structural value of origami shapes. Rather that aiming towards a specific shape, the innate structure of folding has been used to generate the form.

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Therefor the purpose of this pavilion is to create a light weight bio-composite structure, meaning that organic materials are to be used to generate a structural form that can be made, fabricated and manoeuvred by people. The optimisation of the structure comes from increasing the depth of folds – in relation to maximising the usable floor plate. The deeper the bends, the greater the inherent strength NOMADIC FOLDSthese reof the piece. Using grasshopper, Alex Dubor + Pablo Ros | Tutors | Barcelona lationships have IAAC been able to be tested and Keesje Avis | Global Design perfected. Valerie Frey + Johana Monroy | Resins Guoliang Zhang | Construction Details Irene Ayla Castro + Sotiris Yfantis | Musicality Javier Lopez-Alascio + Ricardo Mayor | Robotics Prateek Bajpai | Fabrication & Assembly Kathleen Bainbridge + Prateek Bajpai | Documentation

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T -        ,    . T          C,          . T            , ,           . T      ,       . T          . A   90%    10%              ,  http://www.iaacblog.com/programs/nomad-folding-flax-pavilion/       ;           .

DESIGN AN

ND SPECULATION

THE HALLWYL MUSEUM Johan Bettum | Professor SAC Frankfurt .

Through the means of this project intend to rediscover culture through tangible and intangible heritage as visual experiences. The premises of my project is set in the Hallwyl museum in Stockholm which was in its initial one of the most expensive and radical building in its initial days before it was turned into a museum.

The Great DrawingRoom The principal reception room in the house.The Great Drawing Room has the most sumptuous interior in the house. It was a setting for entertaining, music and dancing. The room is inspired by the magnificent Baroque style of the late 17th century. This style provided a suitable opulent backdrop for big parties.

https://youtu.be/nYtrLaMIRM8

when the aesthetics of the world are disrupted, when doubt itself becomes aesthetic, and through this, what actions become possible, what plausible realties become available? Using Parafictions I attempt to question our assumptions about the way reality looks and feels It demands the viewer a curisoty and and attention this is triggered by an estrangement in realism via an aesthetics of doubt.

The Lower Vestibule The main entrance through which both the Hallwyls and their guests entered the house. Today it serves as the entrance to the museum. backdrop for big parties.

The argument made here is about Estranging the background by introducing an Alien object that does not belong in the context. This is achieved by manipulating the Texture, material scale and sometime quality of light and reflection. The alien object that cannot identify or cannot be easily categorized starts to develop meaning The context narrates the object.

The Smoking Room On festive occasions the gentlemen sat here after dinner, smoking cigars and talking. On regular days, however, this was the family sitting room, where they gathered to drink coffee and play board games in the evenings

In experiencing most Parafiction where the fictional hangs on the factual - one is evaluating not only whether a proposition is fictional, but what parts of it are true. There is a constructed tension through juxtaposition between reality and its representation. It positions the relation between realism and abstraction through aesthetics

The Great DrawingRoom This ceiling painting, by Julius Kronberg who contributed to nearly every room of the house It alludes to the musical function of the room. backdrop for big parties.

I chose th Hallwyl museum because in its time it was a very radical and most expensive building in Stockholm, The richness of the environment made it an easy pick to be the site of my project.

I began with the 3D scans of the rooms after permission from the museum unsing photogrammetry. The process involves taking multiple picures of the space and then stiching them through computational process to create a 3D mesh.

For this room, “The Great Drawingroom” I chose the fireplace and the ceiling as the object of estrangement.

The objects selected are through a process of online searches uning keywords and hastags such as museums, history, culture,antiques .etc.

These are readymade objects from game and cinematic environment.

The objects are then arranged in an assamblge to conceal the fireflace and make it an alien object.

Each object is then seperated from its original texture and assigned the texture and colur of the fireplace. Theis strange obejct is replaced with the fireplace in the original context to create a parafictional scenario. From a meaningless non contextual object it became an object of meaning through the narration of the space. Where this object suddenly gains a pragmatic attribute that is of a fireplace fireplace made of Belgian rouge marble It positions the relation between realism and abstraction through aesthetics

STRANGE BEINGS Damjan Jovanovic | Tutor SAC Frankfurt Prateek Bajpai | Design

This design is based on the painting “li ii” by H.R Giger. The task was to use high resolution modelling capabilities for transforming the literal or implied space of the painting into a high resolution multi-scalar polychromatic graphical space Li - II by H.R Giger

The principal design technique used to achieve this result is a language called “kitbashing” which is a composition of architectural debris, leftovers, readymade and found objects. these objects are then compiled in a way to achieve the formal properties of the painting and translation of the painting into a three dimentional volume.

MECHANICAL PARTS Mechanical Figures invollved in the process

ANATOMICAL FIGURES

Support Frame Structure

9V DC Motor

Central Rotating Disc

Suspended Rotating Arm

Pen Frame

Black 0.4mm Unipin

Support Frame (Servo Motor) Servo Motor

Balloon

What happens when you take traffic out of the picture in a l’Eixample superblock in Barcelona? Is it going to develop into another infrastructure? What infrastructure could that be? Who is going to provide the resources for this Infrastructure? Who is going to use this Infrastructure? Is it all going to happen at once or will it be a transformation assisted with future generations?

Base Structure

Plastic Tube

Air Injector

A1 Sheet

Site

Arduino Board

Active Public Space

Machinic Protocols – Activating the Superilles IAAC Introductory Studio 2016 Prateek Bajpai and Dongliang Ye and Daehwa Baek and Shashi Prakash Vyas

The Grid is a system that answers these questions to initiate a transformation into the existing Superblock Infrastructure that defines the production, distribution and use of energy in public spaces.

The machine prforms on the idea of collecting organic waste from the Superblock, decomposing it to generate energy and creating an energized domain. In addition to the distribution patterns it identifies the concentration of energy used in different parts of the superblock and provides statistics for energy consumption. The proposal is to create pockets that convert organic waste into electrical energy, and dissipating that energy in the multifunctional ways like creating heated floors, street furniture with charging pods, night lights and traffic lights, supply natural gas for cooking and heating.

http://www.iaacblog.com/projects/grid_a-retribution-change-2/

”Architecture is the art that is consumed habitually by the masses in the state of distraction” - Walter Benjamin