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A. Rishi Tej
Student Interior Designer
Skills
Sketching
Communication
About me Creative and passionate about design. Practical approach towards design with surrealistic ideas. An honest and persistent effort to transform these ideas and vision into practical and functional state of art designs. Good hand at softwares, yet does not allow them to dominate the workable thought process. Works well with groups yet has strong individual ideas. Respects team decisions and scope for growth of team. 2
Execution
Workshop
Model making
Space planning
Schooling Kendriya vidyalaya no.2 Golconda Hyderabad, India. CBSE. 2003-2004. Grade points 10th - 9.6/10 12th - 90%
Work experience Internship as interior designer at Trans architecture. Navrangpura,Ahmedabad :079-26444826. a residential interior design project, located in Mumbai India.
Undergraduation Pursuing 6th semester at CEPT University 2014 - till Date Grade points 3 / 4.4
Graphic designer for Accedo. a textile lable. :9490422145. Hyderabad,India. A group shop by two Indian Artists. At State art gallery.
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Important Awards Golden palette award (painting). Bitola, Macedonia 2012. Rose of Lidice: 35th international exhibition of fine arts Czech Republic.2013 Youth international on site painting competition. Hongkong.2013-2014.
Grasshopper
Sketchup
Photoshop
Illustrator
Urban Scale Projects 3materials,3minds,3manifestations (Lonavala) A detailed understanding of 3 contemprory architects. Linking 3 Minds 3 Materials through 3 Manifestations.
Participation redbull soap box race india 2016. designed a gravity car.
Museum Design In Hundarman (Kargil). Renovation with design intervention, of an abandoned 500 year old village which faced the Indo-pak war in 1999. A conversation and collection of stories from the natives and transforming them into a experiencitial National Museum
over 22 international art exhibitions across the world.2000-20014. Over 100 national and state level art competitions.
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C
ontents
12-17 Comercial Studio Bawa’s workshop
18-21 Space planning Studio Swa-Nirman (children centre)
06-11
22-25
Residence Studio
Basic Design Studio
The Medora Residence
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Utopia
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30-33
Furniture Design
Photography
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34-35
Construction Technology
Graphics
28-29
36-37
Working Drawing
Installations
Bar stool Cappellini
Pol house Wall section
Residence Washroom
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T H E
M E D O R A
R E S I D E N C E
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R B
esidential studio (semester five)
rief
Site: Baronnet haveli, Ahmedabad, Gujrat, India. This studio addresses dwelling as a series of acts of habitation, space planning, design development and design of interior elements. Furniture and associated objects that apply to residential design are primary exploration during the course. Engagement with site is addressed through space and function articulation, Furniture typology and placement, materiality, role of colour and texture and design, Service and technical details, Soft furnishings, Circulation along with clients need and requirments. The designs are enriched through the understanding of concepts and culture, Context, History and life style of the client.
C
oncept
The design evolves in three phases 1. To conserve the external facade which has a typical Pol house identity. 2.To replace or alter the internal elements in sync with the Parsi tradition. 3.To personalise the private spaces as per the client’s choice in tandom with contemporary period. 8
Concept diagram
Alteration sites
Pol house motifs
Wooden door with Parsi motifs
Pol house entrance facade
Niche elevation
Textured blow glass elevation
Pol house inner spaces
Window detail Granite with Louver detail Parsi incriptions elevation elevation 9
An abstract volumetric section showing the natural light conditions and division of spaces in the built
MEHERS MEETING ROOM CC CHILDREN’S BEDROOM
MASTERBED ROOM
e GUEST BEDROOM
LIBRARY
PATHWAY HOMOGENEOUS
LIVING SPACE
HETEROGENEOUS
Groundfloor plan dipicting the play of light in space 10
Firstfloor plan dipicting the play of light in space
fa
Interior courtyard elevation witht the canopy
entrance with an amalgam of Parsi and Pol motifs
ELEVATION AA
SCALE 1:50
CEPT UNIVERSITY STUDIO 3
RISHI TEJ UI-4114
acade entrance with undisturbed pol house motifs
Exploded ISO of the Baronnet haveli structure 11
C
ommercial studio (semester four)
B
rief
Site: Raipur, Ahmedabad, Gujrat, India. Project: Commercial and weaving workshop for Rajan Bawa. Rajan sir is a living legend. He has devoted his life to art. He is an Internationally acclaimed multi-disciplinary artist whose interests lie in art, music and design. He is best known for his works in textile design, handloom and weaving art. In a world where technology is taking over our lives and killing age old traditions, Rajan bawa has been the torch bearer for the traditional methods of weaving. .
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B A W A ’
S
W O R K S H O P
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C
oncept
A space which would get built up, relying on the the local materials and with a less use of foreign materials. which would give a greater essence of the surroundings. Factors such as sound, of the looms, traffic, tree swishing, birds chirruping, gossip of the women and the old radio talking, play an important role for the character of the workshop, which would be kept in mind while designing.
Site model and analysis within radius of 0.5km
“I wish not to let the workshop to stand out, which in my perception would look out of place and would also have a strong impression on the women�. Though the unorganized way is an important factor of the workshop which adds on to its character , it has a necessity to get altered and to get organized.
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Street elevation
Site .Existing Tree plot .9 existing MS coloumns .Neem tree of foliage radius 8m .Area: ...sqM
Equipment for warp
Equipment for dyeing and drying processes
medium loom of dimension 186 x 185 x 197 cm
small loom of dimension 200 x 168 x 118 cm
large loom of dimension 400 x 161 x 210 cm
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The design gets built with respect to the tree which is existing on site. A sensitive approach towars nature. The form of the built is according to the tree wich is the protagonist and the character of the site and space. all activites and function of the space are influenced and functioned in attachment of the tree. Retail is a Secondary function of the space, The main focous is on the workshop space and Bawas working den. Being in the context of the old city the built takes a character of the surroundings with respect to materials and social interaction and involvement. Workshop ground floor plan depicting the placement of looms
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section of the workshop with display and storage systems
section of the workshop showing works of Rajan bawa
Door detail: metal MS 4mm plates with Berma teak wooden planks
splayed Roof light glass of 3mm thickness
Detail model
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S
pace planning (semester three)
B
rief
Site: Garden near Amul, Loyola Road, Ahmedabad, Gujrat, India.
Aim of education is to produce a good human being.For that, all round development of a child is very necessary. Every child has some potential to develope various skills -There should be some informal method of teaching. In the new education policy, It is emphasized that over and above academic subjects a child must be given opportunity of developing his/her hobby, Interests and aptitude. To achieve this objective, This centre for children is very important.
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“ S W A
-
N I R M A N �
C H I
L D R E N ’ S
C E N T R E
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Ground floor representing the layouting system of the children centre campus
volumetric model
C
oncept
To develope a congenial space for self learning. 1.To develope inner abilities of children. 2.Satisfaction and Pleasure in doing creative activities. 3.Provide mental nourishment for children. 4.To create sence of art appreciation. 5. To know the environment in its true perspective. 20
A section showing the basement and a interactive grid space for co-scholastic activitie
es
A section showing a walkthrough of the collective and private spaces of the children center.
A section showing the glass enclosure and the crawlthrough space for toddlers. 21
B
asic design (semester one)
B
rief
Nature offers us infinite possibilities of observation and analysis – ranging to include the visual, formal, structural, and sensorial. This exercise, introduced me to the fundamentals of visual perception through lessons inherent in the study of natural forms. The design process involved the following stages: 1. Simplification of natural form 2. Exploration of figure-ground relationships. 3. Evolution of motif and its tessellation to create 2-dimensional composition. 4. Creation of 2dimensional grid based on selected composition and exploring the underlying geometry. 5. Three-dimensional spatial explorations of grid within given volume.
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U T O P I A
Project : “Nest� : sectional model.
site : hypothetical .
form evolution through expoloding of cubes at angles.
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2-D graphical grid pattern using motif.
2-D motif of a leaf. (1)
(2)
The LEAF is clearly perceived as figure with the surrounding white space ground. (1) In this image, the figure and ground relationships change as the eye perceives the the form of a shade or the silhouette of the MOTIF. (2) it is the negative of (1).The MOTIF is clearly percived as figure with red as the backdrop.
(3) (3) Derived 3-D cluster motif from 2-D grid.
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2-D grid.derived from leaf motif pattern.
sketches of a walk through narrative of the space derived from the 2- grid.
Cut of the grid layed on top and bottom of the frame.
Linking of positive and negatives of top and bottom grid respectively.
Volumetrix of the spaces created from the negative and positive superimposition of the 2-dimensional grid,derived from the motif. 25
F
urniture design
Intent of furniture desigh studio is to analysing a furniture piece and understand wooden joineries, junctions, structure and material. Exposure to wooden joineries and structure helped to design furniture further through semesters,I have worked with furniture systems which include residential,public,partions and office furnitures. Image Bar stool made of Burma teak wood with toungue and grouve joinary for the structure.The legs of the stool are tapered and fixed to the seat with adehesive.
Joinary
Plan
Front elevation
Side elevation
Cappellini furniture are known for their contemprory, innovative, simplicity and renowed use of colours and for incorporating various elements.
1:1 Prototype
Front elevation
image storage cum partion element. Side elevation 26
Plan
1:1 Prototype
C
onstruction technology
Site:Sheth ni Pada ni Pol, Ahmedabad, Gujrat, India. Identifying the Pol house on the old city of Ahmedabad has been a great experience to explore the vernacular architecture, design and construction of the particular period. Identifying typical Pol house motifs and elements. Understanding the construction and technique of constructing the building. Image Model of the wall section at a detail level made of MDF.
Pol-house wall section model
wall section Details
wall section
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W
orking drawing (semester six)
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Details
W
orking drawing (semester five)
Details
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P H O T O G R A P H Y 30
E X H I B I T I O N 31
I
ncognito
Group show Hutheesing Art gallery,Ahmedabad. The exhibition tries to pick up talks and visual scents from a journey that never tried to reach a destination. It embraces the very idea of searching stories in places. A simple attemt to capture and describe such interludes hypothetical or real. It primarily covers 4 milestones from Hundarman,A town at the edge of the Indo-Pak border to the touristic city of Srinagar. 32
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G
raphics
The challenges thrown by an empty space are always intriguing. The two dimensional space helps me in amlgamating the gamut of ever spurring ideas that crop up anonymously.Assimilating elements from nature with my emotions in relevent time segments is the forte of my work. Enhanced by the use of technology, my area of academic study, the inherent surrelistic thoughts that need to be addressed, culminate into capulels of visuals, transcending into personalised statements of thought and aesthetics. 34
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I
Deep love for nature and the pleasure of using locally available natural material to celebrate the asso
nstallations
Extolling tradition and culture in modernity, this installation is made to represent itself as a paradigm of spiritual substance and beauty. The suspended MDF boards are different images of Devi’s cut through, whose images juxtaposed along with organic elements of the lamps and the light seeping through them and the shadows cast a mystical display. occasion: CEPT Navratri.
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Creating an optical illusion is the main intention of this early installation.Through the different sized frames seem mingled and mangled,they are actually stategically planned and orderly placed.The usage of aluminium and glass has been done to convey fragility and strength in equal measures.The assemblage varies in visual perception seen from different angles and presents simplicity and complexity when viewed from different angles.
ociation of these with my thoughts,to achieve the unique blend of aesthetics and purpose is the forte of my work.
The inspiration has been the Indian craftsman, drawing from the craft and old coloumns of temples and havelis. Each of the wooden pieces is hand crafted to be used in the installation. Traversing from tradition to modern and place the structure in the contemporary scene engaging contemporary sensibilities.The idea is to feel the ancient Indian craft breathed into the concept of minimalism.It is a metaphor.
The insistence of acknowledgeing the superiority of nature is certain in this installation.A break of stereotyppical usage of diyas and use of them in a fresh and critical perspective.At night the installation gives a feeling of little twinkling lights hanging in air extolling a mystical and spriitual feel in sync with the nature and the self. It appears to be unconventional yet traditional. Material bamboo , ms plate , copper wire, cotton wicks.
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P
osters
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