POR TFO L I O R A M E S H WA R I JONNALGEDDA
E D U C AT I O N 2022-2023
Masters of Architecture - The Bartlett, UCL Design for Manufacture | London , United Kingdom | 2022 - 2023 Mentors - Arthur Prior • I’ve gained hands-on experience in CNC milling, slip casting, 3 D scanning and robotic milling, with a thesis focus on additive manufacturing. My research aimed to develop an efficient ceramic cooling mechanism, employing additive manufacturing to fabricate intricately minimal periodic surfaces.
2014 - 2019
Bachelor’s Of Architecture - Manipal Academy Of Higer Education Manipal , India | 2014 - 2019
• Major studies - Architectural Design , Design Dissertation , Architectural Thesis (Recreation Hub) , Interior Design (Furniture Design ) , Urban Design and Sustainable Design .Minor Studies - Acoustic Design, Advanced Structures, Photography,
R A M E S H WA R I JONNALGEDDA
2019 - 2020
Chennai , Delhi, India Mentors - Sushant Verma, AA London; Aman Jain, IAAC Barcelona , Tutors - Michael Pryor, Design Morphine ; Mohammad Yazdi • The 6 months course included Parametric Design Methods, Digital Fabrication Techniques and Optimization Strategies, Environmental Strategies using Computational Design, Building Skins and Facade, Environmental Simulations and Fabrication
DESIGNER
As an architect,and designer, I’ve explored diverse design realms—from high-rise buildings to interior design, art installations, and furniture. My passion led me to specialize in additive manufacturing with ceramics at the Bartlett, focusing on contributing to the circular economy and creating passive cooling methods. As a designer, I firmly believe that mastering diverse scales is crucial. Exploring different realms not only enriches our understanding but also enhances our ability to design thoughtfully, with lessons applicable across various contexts.With a drive for innovation, I’m dedicated to pushing design boundaries, whether it’s pioneering sustainable methodologies or experimenting with cutting-edge materials.
Computation Design Diploma- Smart Labs 3.0 rat [ LAB ] education
SKILLS
EXPERIENCE 2021-2022
Vice President - Tea Cares Foundation Charitable Trust | Hyderbad, India | January 2021 - Current
Fusion 3D Rhino 3D
2020- 2021
Product/Furniture Desginer - Esvee Atelier Hyderbad, India | December 2020 - November 2021
Grasshopper Illustrator
2019 - 2020
Architect - Morphogenesis Bangalore, India | August 2019 - November 2020
Indesign Photoshop
2019
C O N TA C T +44 7767933517, +91 9008109375 rameshwarijonnal1996@gmail.com rameshwari.jonnalagedda.22@alumni.ucl.ac.uk London, United Kingdom
2019
Architectural Assistant - Juniya Ishigami + Assoiciates
Tokyo, Japan | May 2019 - July 2019
Intern - Folds Design Studio Mumbai , Maharashtra | January 2019 - April 2019
PremierPro
B A R T L E T T
W O R K S
1, YUN - LUMINARE 2.SLIP CASTING
P R O D U C T
D E S I G N
3.KYRO - lUMINARE 4.EBB N FLOW 5.KAZAN 6.FIZZY FLUID 7.FROLIC FUSE
A R C H I T E C T U R E 8.CASCADE
1 0 .C U B A I T PA R K 1 1 . C O M P U TAT I O N D E S I G N 1 1 . 0 - CAV E R N 11.1-ESSENCE- SKYSCRAPPER 11.2-CANOPY
I N D E X
9.COCINA CULINARY INSTITUE
1 . Y u n
-
L u m i n a r e
(Group project)
Design
Strateg y
1.Clay
The goal was to give the designs flexibility and flow, therefore nature served as inspiration. Everything in the world comes in a variety of shapes that have evolved naturally through time before reaching us; the design was built around this principle. The concept for the light luminaire draws inspiration from the organic shapes of clouds in nature. The objective is to emulate the natural dispersion of light observed in the atmosphere, creating an illuminating effect reminiscent of the ethereal qualities found in the natural world. -The fundamental idea is to arrange 16 units -The units are spaced utilising horizontal and vertical flips with intermediate openings. -This is fixed to the frame and the LED lighting is wrapped around it. -The form should be such that the organic shape has interconnecting interfaces.
2.Latex/Rubber
with
The units went through several iteration with different materials like clay, rubber, beads and baloons so include the fun elements in the design and as well giving it more freedom.
beads
3.Ballons
Assembly
with
beads
Development
Final Assembly
In addition to the entire form being cloud-based, the unit must be designed around an organic cloud shape with interconnected faces after comparing and analysing manufacturing capabilities. After several iterations, two types of units were designed: Unit B, which includes perforations through which the light fixture passes, and Unit A, which connects Unit B.
Linear LED Tube – 1 x 2000mm
Linear LED Tube – 2 x 1500mm
Linear LED Tube – 3 x 1000mm
Several iterations were tested out with linear tube 1 X 2000mm, 2 x 1500 and 3X 1000mm.
Interface
between
metal
and
ceramic
parts 1. End section
2 . Ve r t i c a l c o n n e c t i o n b e t w e e n L a y e r s
-The cloud-based design allows the ceramic bid and metal components to coexist seamlessly.
4. Horizontal connection between ceramic unit
-The ends of the cloud form are sliced, with metal components in the end part and ceramic bid in the central area. The planes are sliced in such a way that they provide a connecting surface for both components. -There are four different types of aluminium connectors that interconnect the ceramic bids.
2.The large central hole is used to through the Led tube. Light can shine through the rectangular hole.
3 . To p c o n n e c t i o n b e t w e e n t h e b e a m & c e r m a i c u n i t
Manufacturing
Plan
Aluminum Sections
1.
Ceramic Bid
1.CNC -Components 1 and 2 are made with aluminium sections. The sections are cut as per the design and welded together.
2.
- An optimised tool path for CNC milling would be created.
- After welding, the holes are drilled.
-Component 3A is made of conventional aluminium pipe, which is cut to size and welded to component 3B.
-The completed model will be loaded with perforation references and connections exported for CNC machining.
2.Mould making
-The wooden stock must be prepared with plaster mould casting frames. -The amount of plaster required for the mould casting must be estimated and mixed correctly. -The plaster must be allowed to dry for 7 days.
3A
Sandcasting
3.Slip Cast
- Pour white clay into the mould (setting it for 45 minutes and purging the rest) and let it cure for a day.
3B -Aluminum Components 3B and 4 are 3D printed in preparation for sandcasting.
4
-Once the parts are completed, they are placed in the sandcast box to produce an imprint, after which the aluminium is poured into it. -Holes are drilled in accordance with the design.
4.Finishing
-Once the white clay block has been completed, the demarked perdorations must be cut out and sanded for a smooth finish. -Holes shall be drilled in the cast as per design.
Assembly
1 . To p c o n n e c t i o n b e t w e e n t h e beam and ceramic units
C. A.
B. Unit B
3 . Ve r t i c a l c o n n e c t i o n b e t w e e n L a y e r s
A.Components 1 and 2
are connected to the beam using bolts.
4. End section
1.
B. Component 4, the cylindri-
cal aluminium connecter, is interested in the Ceramic bid and is held together with bolts with rubber sandwiched between them. 2.
C. Component 4, the cylindri-
cal aluminium connecter, is interested in the Ceramic bid and is held together with bolts with rubber sandwiched between them.
4. 3.
The light tube passes through compoennet 4
2. Horizontal connection between ceramic unit
D.Four different types of alumi-
num-cast connecters are developed to interconnect the ceramic components and connect them to the beam.
Unit A
The horzinatal cyclindrical connecter connecting the cermaic units through which the light tube passes has rectangular performations for the light to emit through them.
Documentation
The
Physical
Model
printing Working
3D
Of
The model is imported into FBX for 3D prinitng. The components are printed in 1:1 scale and are printied using a 3D printed afterwhich were assembled. The 3D printed components include-
Wood
1.Modular Units A and B ( The units are printed in two halves taking into consideration the bounding limits of 3D printer and fixed together using glue) 2.Aluminium connecters between ceramic units a. Top connection between the beam & cermaic unit b. Horizontal connection between ceramic unit c. Vertical connection between Layers d. End section 3. Aluminium Connector connecting the beam and ceramic. After 3D printing the excess edges are removed and then sanded to give a smooth finish.
`The triangular component connecting to the beam is built at the B-made Workshop using timber blocks according to the design.
Assembly A.Holes are drilled and bolted together according to the design for the triangular component. B.The ceramic bids are joined using connectors with predefined holes that are fastened together with bolts. C.Both pieces A and B are connected by nuts and bolds.
printing
Working
3D
Wood
Nuts and Bolts Moudlar Unit - B Aluminium Connectors between the ceramic
Aluminium Connector between the ceramic unit and the beam
1.3D printing
2.Cut off the excess edges
3. Sanding
2 . S l i p
C a s t i n g
Focus
The goal of the study is to design a form for the ceramic bid that takes into account the following factors in order to slip cast the object.
The design was influenced by triangular geometry. This was chosen to ensure that light is diffused uniformly from all sides.
- Recognize the constraints of CNC and include them into the design, such as fillet and taper angle and create the tool path for the same in order to process the CNC milling.
Form
- Following the CNC process, create a system for plaster pouring in which the plaster quantity is calculated according to the design for the mould making.
The triangular geometry was then developed to create two doubly curved surfaces with differing heights are created around the edges of a triangle.
Perforating the surface disperses indirect light, creating captivating shapes while adhering to CNC milling constraints. The design process involves mirroring to produce ceramic units.
Developemnt
- Finally, understand the slip casting technique in order to create the white clay form. The processes involved in creating the ceramic bid, as well as its limitations, are well understood during the object-making process.
CNC
The file is taken to the manufacturing space after the draft analysis to be set up for CNC milling. The geometry is placed on the base and a stock is setup along with the placement of the origin. The geometry is configured for CNC milling by first selecting the stock, polybase, and shape which is then followed by configuring the tool path.
1.
2.
3.
4.
5.
6.
Adaptive Clearing Square endmill - 12mm
Flat Square endmill - 12mm
Steep and Shallow Ball endmill - 12mm
Total time taken - 40 mintues
Total time taken - 9 mintues
Total time taken - 34 mintues
Making
1. Following the generation of the toolpaths, they
were uploaded into the CNC machine. Subsequently, the raw stock was positioned on the machine base, and the CNC proceeded to execute its operations.
4.The required amount of plaster was calculated and blended with an appropriate volume of water. This plaster mixture was then poured into a box formed by a plastic cap, which serves as the perforation used for pouring clay.
2.After CNC machining, the stock block was sanded
and filled with wood filler where there were any uneven surfaces or where the surface has been chipped.
5.After the moisture has been absorbed
after 7 days, the two castings are sanded to make the surface uniform.They were then fastened together using rubber bands to keep them tight and intact.
3.Following the CNC, the surface was covered with
a layer of shrelac and the support components were clamped together for plaster pouring.
6.White clay was mixed until achieving homoge-
neity before being introduced into the perforation. Afterward, it was allowed to set for a duration of 30-35 minutes, resulting in the formation of a thin, 3cm layer of clay. This initial layer serves as a base through which the remaining clay is poured.
Making
7.The mold was allowed to cure for a period of 24 hours before being carefully removed the following morning.
8.After removing the mold,
edges were trimmed, and precision cleaning was conducted using clay cutting tools. Perforations were meticulously crafted to accommodate the passage of tubes and support structures, while additional surface holes were formed to facilitate the diffusion of indirect light
3.KAZAN Collector’s Edition
The end table Kyro takes its inspiration from volcanic eruptions. The design features a cascading surface that resembles the surface of a mountain, with a blue patina on top that mimics a volcanic explosion. This beautifully crafted sculpture was iterated several times in order to achieve the best fabrication results.
3.SCULPTING 4.DOCUMENTATION
MOOD
BOARD
2.MODEL MAKING
1.SKETCHING
1.SKETCHING
DESIGN PROCESS
I D E AT I O N P RO C E S S I T E R AT I O N 1 Each slice of the clay sculpture was traced on a graph sheet after it was sliced into 20 pieces. This was then turned into two-dimensional computer-aided design (CAD) drawings. The contours have been lofted to produce a mountain-like shape.
I T E R AT I O N 2 To achieve a smooth surface, the countours are modified. The 2D designs are exported to CAD and nestled on a 4’x3’ drawing. Planks stacked on top of each other were chosen as the building method.
I T E R AT I O N 3 Due to the high cost of materials, the base design was iterated to a hollow drum-like structure and is made up of 20 95mm X 75mm pieces. To produce an intriguing shape with a twist, each contour is rotated by one degree.The building method entails constructing a drum with 20- 480mm high wedges. The shape is obtained through CNC machining on a three-axis machine, which is done on the drum.
Volcanic eruptions are the source of inspiration for Kyro. The design includes a cascading surface that resembles a mountain’s surface, as well as a blue patina on top that depicts a volcanic eruption.The form’s foundation is a hollow drum-like structure comprised of 20 95mm X 75mm components. CNC milling on a three-axis machine produces the final shape, which is done on the drum. Dimensions of the drum
M E TA L E X P L O R AT I O N S COPPER WITH AMMONIA
Brushed Copper Ammonia Time - 24hrs
Brushed Copper Ammonia + Salt Time - 48hrs
Brushed Copper Ammonia + Salt Time - 24hrs
Polished Ammonia Time - 48 hrs
Brushed Copper Sawdust + Salt Time - 24 hrs
Brushed Copper Sawdust Time - 48 hrs
Brushed Copper Sawdust + Salt Time - 48 hrs
Polished Copper Ammonia + Salt Time - 48 hrs
Brushed Copper Ammonia + Salt Time - 48 hrs
Brushed Copper Ammonia Time - 48 hrs
Polished Copper Sawdust + Salt Time - 48 hrs
Polished Copper Ammonia Time - 48 hrs
Brushed Copper Time : 51 secs
Polished Copper Time : 35 secs
Polished Copper Time : 40secs
Brushed Copper Time : 2:23 secs
Polished Copper Time : 30 secs
Brushed Copper Time : 51 secs
Patina manifests in a diverse array of hues and patterns, reflecting the unique journey of each copper object. The resulting patina colors can span from verdant greens to serene blues. To achieve optimal effects, a blend of chemicals, often combined with concentrated ammonia and water, is employed.To explore various patina forms, copper underwent exposure to table salt, household ammonia, and woodchips over durations of 24 and 48 hours. Following this process, a protective coat of lacquer was meticulously applied, preserving and enhancing the distinctive patina characteristics.
COPPER WITH FLAME
Flame painting, a unique form of copper craftsmanship, illuminates the metal with vivid colors achieved through the application of a blow torch. The duration of exposure to the flame determines the resulting color, guiding the copper through distinct stages of transformation. Intricate colors and patterns emerge during this process, followed by swift cooling using a fan. The interplay of varying heat levels and rapid cooling produces a diverse spectrum of colors within the design. Once the background colors, shapes, and details are shaped, the final piece is immersed in a lacquer bath containing acrylic urethane. This final step preserves the distinct, colorful design, ensuring its durability and visual appeal.
M AT E R I A L E X P L O R A I O N I N T H E W O R K S H O P
Ya k i s u g i Shou Sugi Ban
Shou sugi ban is a Japanese technique for preserving and polishing wood that involves the use of fire. This procedure extends the life of the wood by making it waterproof, fire-resistant, and more robust, as well as giving it a lovely, distinct texture. To further grasp how to use burned wood into design, the shou sugi ban approach was used.
Wo o d Bending
Material techniques using Relwood, a sustainable wood supplied in India, were explored. Heatguns were used to test wood bending techniques on relwood to determine their amount of flexibility.
Brass Inlay
The workshop experimented with intercrate brass bending.
4 . K Y R O Luminare
CONTRIBUTION
Personal Project Form development, Generating 2D drawings for CNC cutting, nesting, model making, rendering and prototyping The lamp was designed using a moiré effect, generating an animation that projects captivating movement patterns when the external screen is in motion. Moiré patterns arise when a semitransparent item with a repetitive pattern overlays another semitransparent object. The visual impact of the moiré pattern undergoes dynamic changes as one of the items experiences slight movement. The velocity of the scroll, along with factors such as contrast, angle, and spacing of the stripes, collectively contribute to these mesmerizing effects. The intricate physics governing moiré patterns play a pivotal role in the successful execution of this challenging new art form, defining the uniqueness of this luminaire. Drawing inspiration from Japanese elevations, the lamp incorporates wooden beadings and delicate natural components, further enhancing its aesthetic appeal.
K Y R O Luminare
1.Outer skin - Beadings
The animation effect is achieved through a sequence of parallel lines, concealing all but one frame at a time. This necessitates cutting each frame into lines of the same width as the gap between the opaque lines on the acetate. A striped mask is meticulously crafted, permitting only 1/3 of the picture to be visible while obscuring the other 2/3. As the mask is rotated, only one of the three frames becomes visible at any given moment, creating the illusion of a moving striped pattern across the room.
Three frames super imposed over each other
After experimenting with line spacing, I determined that a spacing of 30mm was optimal, considering the lamp’s diameter. The solid 60mm line effectively conceals three frames, making each frame 20mm. This specific spacing allows for legible animation frames while maintaining sufficient proximity for clear visibility as the acetate mask moves.
2.Second skin
The lamp consists of two skins: one with beadings on the outside and another with a printed design on the inside. The lamp’s inner core is made of two discs and a central shaft. The printed pattern on the fabric is struck into discs. The discs are attached to the slip ring and the stepping motor, which move when it is turned on. When the inner skin of the kinectic lamp is overlapped with the beading that moves, the moire effect is created, resulting in the movement of birds.
The pattern overlaid with stripes.
Frame 1
3.Mechansim
Disc 1 Slip Ring
Central Shaft
3.Mechansim
Frame 2
Disc 2 Stepped Motor Ball Bearings
4.Bottom disc
Frame 3
5 . E B B N F L O W Ebb N Flow draws inspiration from the graceful movement of water, embodying a commitment to integrating fine craftsmanship into its design. To explore the myriad possibilities for fluidity in design, a custom code was developed using TouchDesigner. This code facilitated a comprehensive study of various fluid design options. The patterns derived from this exploration were refined and transformed into a sophisticated 2D drawing, further enhancing the artistic expression of the design.
C A S C A D E The Bidri art form, also known as “koftagiri,” is a form of damascene work that involves the intricate ornamentation of iron artifacts by encrusting them with gold or silver. In Bidri or Bidari, metals such as silver, gold, or brass are overlaid or inlaid into patterns to enhance products made from a zinc and copper alloy. In the design, the resulting 2D artwork takes the form of silver, symbolizing the graceful flow of water. The tabletop, featuring the silver inlay, is elegantly mounted atop a circular base adorned with column-like features, resulting in a finished piece that showcases the exquisite craftsmanship of Bidri art.
TOP
S I D E E L E VAT I O N
6 . F I Z Z Y F L U I D
CONTRIBUTION
Professional
Design developments, master plan, landscape planning, 3D modeling, renders and workign drawings.
BOARD
Inspired by the harmonious disruptions in fluidic states, Fizzy Fluid collection breathes life into furniture with dynamic, smooth forms. Crafted with meticulous artistry, each piece embodies balanced lines and forms, offering a tactile and visually engaging experience. The design philosophy centers around energizing compositions through color-centric styling, featuring wave-like lines, padded ripples, and inflated designs for comfort. Tubular shapes and rounded metal accents bring a soothing quality, while matte finishes add an elevated touch. Fizzy Fluid is an invitation to connect emotionally and physically with furniture, creating a tranquil and captivating atmosphere.
MOOD
DETAILS
KEYWORDS Curve forms
Inflated
Soothing
GLACIER
METHOD
OF
CONSTRUCTION
The Glacier dining table exemplifies volumetric geometry with a rounded rectangle marble top delicately positioned on a conically ascending wooden base. The structural framework resembles a sturdy skeleton, integrating vertical and horizontal members connected with half lap joineries. The planks, featuring grooves, seamlessly attach to this framework. Enhanced stability is ensured by additional support and a plywood base beneath the rounded marble tabletop, guarding against any potential bending.
FRONT VIEW
SIDE VIEW
RIPPLE
SIDE VIEW
Drawing inspiration from rhythmic disruptions in fluid states, the Ripple credenza showcases a frontage characterized by a captivating interplay of surface details. Grooves are integrated in the planks to form a mesmerizing wave-like pattern.
FRONT VIEW
MAGMA
FRONT VIEW
The Magma coffee table is functional art achieved through an orchestration of details and materials,inspired by the beauty of the flowing magma.. The skeleton which is the supporting structure consists of vertical and horizontal member on which the planks and top are attached. The leg of this table is composed of solid wood panels with spaced out grooves joined at intricate angles to form a round tapered base
SIDE VIEW
7 . F R O L I C F U S E
CONTRIBUTION
Professional
Design developments, master plan, landscape planning, 3D modeling, renders and workign drawings.
B O A R D
D E TA I L S
M O O D
SHAPES CIRCULAR
Frolic Fuse revolves around simple, uncomplicated shapes that add fun and colour to the space. With an approach of clean geometry, there is the advantage of experimentation with the juxtapositioning of shapes. Pastel, lively colours add warmth and make the space more inviting despite the industrial, basic forms. Child-like, naive forms make the interiors fully energetic.The hyper-functionality of the product comes with the minimalism in forms and the long-lasting materials.
WOOD FINISH TAN BROWN
KEYWORDS SOFT INDUSTRIAL JUXTAPOSTIONING SHAPES
SMOOTH CONTOURS
TWEED FABRIC
WARM & INVITING
UNCOMPLICATED SHAPES
SHISHU Frolic Fuse
1200 Sishu, a coffee table, embodies a humanistic form infused with a playful spirit. The integration of a brass rod serves both as an aesthetic element and a functional feature. Users have the delightful option to personalize their space by hanging additional items like books or planters on the brass rod, introducing a whimsical and interactive element to the design.
550
FRONT VIEW
SIDE VIEW
600
SIDE VIEW
Sishu is an end table designed with inspiration drawn from a humanistic form, evoking a child-like essence. The design is thoughtfully created to provide easy access, facilitated by a brass handle.
8 . C A S C A D E I N S TA L L AT I O N
CONTRIBUTION
Professional Generating 2D drawings, Nesting and model making
The project essentially comprises of an flowing intallation that flows inside and outside the building. The interior architecture’s substance was achieved with a high degree of prefabrication using this unified material/fabrication logic. Automated methods was established for creating real milling files, allowing us to easily transition from design to manufacturing while maintaining high tolerances and low error percentages.
C A S C A D E Computational programming played a pivotal role in crafting the installation, meticulously divided into nine components, each assigned a unique identifier for seamless on-site assembly. The initial step involved transforming the design into 2D CAD designs for precise metal sheet cutting. Laser cutting with half-cut grooves was strategically allocated for bending purposes. Subsequently, the cut pieces were skillfully welded together, bringing the fragments into a cohesive whole. After welding 15 parts, a protective layer of anti-corrosion paint was applied to enhance the installation’s longevity. The concluding step included applying a fine layer of MDF to the final curves before the application of the ultimate lacquer, adding a refined finishing touch.
1
2
3
4
5
6
7
9
8
PLAN
VIEWS
SECTION
FA B R I C ATO N O F C O M P O N E N T 5 5
F R O N T E L E VAT I O N
S I D E E L E VAT I O N
PLAN 148 parts were unrolled for the entire model. Each part was then alloted a number after which the components were nested on a metal sheet.
D E TA I L A
A
Fragemented componenets of component A, where in its broken down further into 11 parts.
VIEW
FINISHING
The component fabricated with metal sheet is the first layer.
NESTING
11 parts of Component A’s unrolled surfaces were converted to 2D drawings for laser cutting, with bending assigned to laser cutting of sheets with half-cut grooves.
The second layer consists of coating of an anti corrion paint which is applied on top of the metal sheet
The last layer is a fine layer of MDF to attain the smooth finish.
FA B R I C ATO N O F C O M P O N E N T 6
6
F R O N T E L E VAT I O N
PLAN 162 parts were unrolled for the entire model. Each part was then alloted a number after which the components were nested on a metal sheet.
B
FINISHING 1.Metal sheet
2.Anti corrosion paint
VIEW
3.MDF + Final Coat
D E TA I L B
Fragemented componenets of component A, where in its broken down further into 11 parts.
NESTING
7 parts of Component B’s unrolled surfaces were converted to 2D drawings for laser cutting, with bending assigned to laser cutting of sheets with half-cut grooves.
ON STE
9 . C U B A IT PARK
CONTRIBUTION
Professional Design developments, master plan, landscape planning, 3D modeling, renders and workign drawings.
Cuba Center is a commercial development that consists of a hotel, office building, and retail space. It was built as the cornerstone for a reformulation that combines work and pleasure. The major goal of this project was to rethink the morphology of a conventional office building in order to increase the quality of natural lighting and views while maintaining the building’s optimal constructed space.
The buildings are strategically aligned along the prominent axis, optimizing panoramic views of the river. At the podium level, numerous landscaped areas and gathering nooks are seamlessly integrated, providing delightful recreational features.
T Y P I C A L
P L A N
Three office towers, two of which are mirrored and one of which has an L-shaped layout, are oriented to channel the wind through the site. In the middle, the elevator bays, services, and restrooms are all grouped together. The center core was designed to maximize the amount of office space available.
P O D I U M
L O C AT I O N Hyderabad, India
At the ground level, an array of pavilions seamlessly organizes retail outlets, restaurants, and services amidst lush gardens and inviting plazas, creating inviting spaces for people to gather and socialize. The thoughtful combination of architectural design and open spaces not only enriches the user experience but also fosters a strong sense of community. On the Stilt level, a dual-purpose space accommodates both retail areas and parking facilities. The retail space comprises restaurants, cafes, and food courts, all interconnected by an open courtyard that links seamlessly to the podium level.
Situated within Hyderabad’s SEZ zone atop a hill, this property offers breathtaking views of the lake. The architectural design is meticulously crafted to channel the wind through the site while maximizing the panoramic vistas of the surrounding water. Strategically integrated double-height terraces offer multiple elevated viewpoints to appreciate the scenic beauty of the nearby lake, enhancing both visual appeal and functionality within the property.
L A N D S C A P E The outdoor spaces interact dynamically with the neighboring development, crafting an organic landscape using design elements such as a network of canopies. Ingeniously designed wooden decks, alongside rough stone features and additional trees, contribute to the creation of a natural oasis. Communal areas are centrally located, strategically fostering cross-departmental interactions and chance meetings among employees, enhancing the collaborative and vibrant workplace atmosphere.
01
02 04 03
M A S T E R
04
Following a central axis the landscape pours into a bigger gathering area with a connection to the retail space. This area consists numerous promonades and sit outs that run parallel to the landscape pockets.
03
P L A N
Pool is located in the hotel vicity with decks and pokcets of landscape.
01
The grand staircase, spanning from the stilt to the podium, adds a touch of grandeur to the entrance. Thoughtfully incorporated features such as seating, landscaped pockets, and shaded areas enhance the overall ambiance.
02
After the grand staircase, there unfolds a spacious spill-out area adorned with a network of canopies, offering inviting shade, ample public seating, and versatile spaces for outdoor events.
O F F I C E
T O W E R
Three office towers are strategically oriented to channel prevailing winds through the property, with two towers featuring mirrored designs and one adopting an L-shaped configuration. The central core efficiently houses elevator bays, services, and bathrooms, maximizing the available workplace space. Utilizing modular cladding components, deep reveals were incorporated on building sides susceptible to solar gain, along with curtain walling, balconies, and other features. The resultant elevation design purposefully divides the building masses into two interconnected volumes—one crafted from stone and the other from glass—allowing for shared masses across different scales. This intentional design approach seeks to harmonize functionality, energy efficiency, and aesthetic appeal within the architectural framework.
G R O U N D
F L O O R
G R O U N D
F L O O R
F I R S T
F L O O R
C O R E
L E G E N D Shaft Services Toilets Fire Staircase Lift Bay
F I R S T
F L O O R
1 0 . C O C I N A C U L I N A RY I N S T I T U T E
CONTRIBUTION
Academic
Cocina school of hotel management and culinary arts is propsed in the Mysore, India which offers a creative and multidisciplinary environment. The facility is meant to accommodate 600 students and is built using the Myvan modular building system.
CONCEPT
3 units of size 10 x10 M
Ground floor- The central unit is pushed by 5M
First floor- The corner units are pushed by 5M.
The ground level and first floor are layered, with punctures that operate as open spaces created by the overall geometry.
The concept is based on staggering and modularity. A 10 x10 M module is considered a standard unit. Alternative learning and interacting spaces are produced as a result of the horizontal and vertical staggering effect, which function as spill out regions.
CAMPUS
PLANNING
Conicina Campus strategically places blocks to create dynamic spaces, blending campus and city life seamlessly. Comprising three main building complexes—the central study building, the food mall, and the residential block—the campus ensures each complex maintains a unique relationship with the surrounding environment. Connected by a central pedestrian axis, these structures form a cohesive ensemble.The emphasis on social spaces throughout Conicina Campus encourages cross-communication, facilitating the exchange of knowledge and ideas. Multiple green, public areas enhance the campus, providing students and employees with serene spots to enjoy Mysore’s natural beauty. This design not only promotes collaborative learning but also nurtures a sense of community by blending the educational environment with the pleasant surroundings.
SITE
ZONING
AND
PLANNING
1.The architectural design of the buildings incorporates courtyards, fostering expansive open spaces within the campus. Utilizing cuboidal forms constructed with pre-fabricated components not only ensures simplicity in construction but also establishes a cohesive design language throughout the entire campus.
4. The residential facility and hostel blocks are linked by a playground, serving as recreational spaces. In contrast, the academic block is connected through a central plaza. Permanent sun-shading louvres strategically shield the structures, mitigating excessive solar gain while optimizing natural light. This facade treatment, utilizing sun-shading components, unifies the appearance of buildings with various functions across the campus. Public Private/ Semi Private
2.The demarcation between home and work is achieved by separating the academic and residency blocks. Placing public spaces near the site entry serves the purpose of discouraging visitors from delving further into the complex. Public Private/ Semi Private
3.Open spaces and courtyards are integrated in the academic and the hostel blocks which acts a space for the students to decompress.
5.Covered walkways link all structures allowing the campus to function even during spells of heavy rain.A service road runs along the site periphery allowing access to all structures in case of an emergency.
Walkways Pedestrian Path
6. Pockets of landscape and recreation spaces are spilt out through out the site.
Recreation spaces Landscape Pockets Open terraces/ balconies
ACADEMIC
BLOCK
PLANNING
The ground floor houses the kitchens, seamlessly integrated with vegetable gardens for enhanced accessibility and efficient service operations. To streamline access to the floor, stairwells are strategically positioned at opposite corners of the block.
HOSTEL
BLOCK
PLANNING
The structure seamlessly incorporates two courtyards, each serving as a central meeting point and a platform for engaging conversations and recreational activities.
Deliberate incorporation of horizontal and vertical staggering gives rise to alternative learning and interactive spaces, shaping dynamic spill-out areas. Classrooms seamlessly meld with gathering spaces, establishing a versatile platform conducive to both learning and interaction. Staffrooms and decks find their designated space on the intermediate floor, contributing to a well-designed and functional layout.
Seminar, library, computer lab and mock located on the topmost floor. Informal decks are provided at intervals which acts as gathering space
K-Kitchen A-Admin S-Staff room D-Deck C-Classroom T-Toilets
FEATURES
A series of fixed sun-shading louvres protects the building from excessive solar gain, while allowing maximized natural daylight.
Due to horizontal and vertical staggering effect alternative learning space and interactive space are formed which act as spill-out areas The blocks are integrated with courtyards which acts as a focal point and provide a space for interactions
1 1 A . C AV E R N The Cavern, housing cafes, restaurants, and diverse retail spaces, goes beyond its primary functions. It creates dynamic urban areas, fostering interactions among users, the community, and the surroundings. Challenging conventional perceptions of large-scale commercial buildings, the project integrates various urban and architectural scales, responding to the location. The design features an open plaza and inner retail spaces, encouraging interaction with the building facade. The undulating brick surface, initially appearing massive, is a porous layer made of stacked bricks, creating an inviting architectural texture and enhancing the project’s goal of a participatory urban experience.
CONCEPT The double-skin façade, referred to as DSF, comprises two transparent layers separated by an air corridor. The outer wall serves as a protective shield against the elements, exemplified in this instance by a brick construction that prevents heat infiltration. The inner skin, made of glass with a diamond panel system, adjusts perforations based on the amount of solar radiation received by the structure.
CONTEXT ANALYSIS
Layer 2 - Diamond panels
Layer 1 - Brick Wall
1.Base geometry placed in the context Location- Hyderabad, India.Solar raditoan on the base geomtry is studied and analyzed to get an optimized iteration
2.Brick wall is desgined with multiple iterations in order to cut down the raiditon of the building.
T Y P I C A L
Raditation on the base geometry is studied which repsonds to the context. The graphy is analyized and multiple iterations are conducted to get an optimized out put.
East Facade
- 3,34,887Kwh/m2
3.Diamond panels treatment on the skin of the building is designed repsonding to the context and the brick wall
North Facade
East Facade
South Facade
We s t F a c a d e
West Facade - 7,24,554Kwh/m2 North Facade - 7,33,466Kwh/m2 South Facade - 20,39,500Kwh/m2 Radiation of base geomtry without any facade treatment- 20,39,500Kwh/m2
P L A N
T Y P I C A L
P L A N
N O RT H & S O U T H B R I C K F A C A D E DIAMOND PANELS Two layers, one of brick and two of diamond panels, meet at an intersection to create juxtaposition, with alternate ‘green’ groupings of plants and vegetables. The cavern has a chain of space that is punctured aWnd connected to one another, forming a meandering in and out surface that flows smoothly, offering spaces for interaction. The blend of undulating curves generates a variety of interactions with the environment, blurring the lines between inside and outside.
1.
The underlying architecture and retail space are revealed by the gradient perforated panels scaling in response to solar radiation.The lighting dematerializes the facade at night, creating an appealing glow that radiates to the outdoor and public spaces from within the atrium. The brick skin serves as a backdrop for the study of the facade.
2.
3.
4. East Facade - 1,81,189Kwh/m2
North Facade - 7,33,466Kwh/m2 ( Radiation of base geomtery) South Facade - - 5,79,123Kwh/m2
1.
2.
West Facade - 1,37,303Kwh/m2 South Facade - 20,39,500Kwh/m2 ( Radiation of base geomtery)
3.
4.
The application of an additional layer of perforated brick façade panels creates a ventilated chamber between the outer and inner walls of a building structure. This chamber serves as an effective insulator, naturally cooling the structure and reducing the amount of solar radiation that reaches the facade.
S O U T H
E L E VAT I O N
North Facade - 3,20,632Kwh/m2
Total percentage reduction 95.5%
N O RT H
E L E VAT I O N
1 1 B . E S S E N C E E S S E N C E
S k y s c r a p p e r The core concept of the tower lies in its helicoidal form, adopting the structure of a double helix. Inspired by the description of the DNA molecule, characterized by two strands winding around each other like a twisted ladder, the tower incorporates this motif into its design. The defining feature of the tower is the introduction of two intertwining and twisting volumes that gracefully taper towards the center, resulting in a dynamic and futuristic sculptural form.
FORM DEVELOPMENT
Working with the twisting envelope, this optimised structural system is built with diagonal and square frames, resulting in diverse textures, view angles, and ripple effects.
Skyscraper Structure: The tower’s distinctive shape gives rise to core voids, interconnected by intermediary bridges that seamlessly link the two towers. These bridges serve not only as structural elements but also as dynamic platforms for interaction and engagement. Building Envelope: Inspired by the concept of DNA—a string of information that replicates and serves as the blueprint for all living organisms—the building’s shape and façade were intricately designed using the same principle. The integration of the building’s envelope results in a façade that embodies multiplication and repetition, manifested through the strategic use of space frames.
1.Central Core
2. Floor Plates
2. To identify the towers, the outside skin is treated differently. Triangulare frame panels on the first tower square frame panels in tower 2
1 1 C . C A N O P Y Situated within the urban fabric, the pavilion is designed through multiple iterations studied on Ladybug, particularly focusing on shadow analysis. The shadow study, a crucial step in the schematic design process, evaluates how the new building casts shadows on its surrounding area, influencing the evolution of the building’s form. Informed by the shadow analysis, the geometry is iteratively adjusted to achieve an optimal 60 percent shading, ensuring a harmonious integration with its surroundings.
PLAN
Iteration 1
Iteration 3
Iteration 2
Step 1 - Geometery is designed using the lunch box plug in
Shadow study - 39%
Shadow study - 48%
Shadow study - 60%
Step 2. Run the geometry/ model on ladybug, analyize the solar radiation graph
Step 3. Iterate the model according to the shown result.
SIDE VIEW
FRONT VIEW
T h a n k
Y o u !
Contact Email -Rameshwarijonnal1996@gmail.com - rameshwari.jonnalagedda.22@alumni.ucl.ac.uk