My name is Ritankar Bera. I am pursuing Bachelor of Architecture from R.R. School of Architecture, Bangalore. I have always been inspired by the likes of Richar Meier and Charles Correa who dealt with geometric, contemporary forms incorporating a subtle palette. This portfolio is a culmination of the knowledge I have gained over the course of my four years as an architecture student. It is a compilation of works created with a sound knowledge on conceptual and structural integrity, skill in software and digital designing, a touch of creativity and my passion for this subject.
“Any work of architecture that has with it some discussion, some polemic, I think is good. It shows that people are interested, people are involved.” — Richard Meier.
PERSONAL INFORMATION Name D.O.B Phone no. Languages Interests
: Ritankar Bera : 25th December, 1996 : +91 9088220206 : English, Hindi, Bengali : Painting, sketching, photography, music, movies
LINKS geniusritankar@gmail.com www.issuu.com/ritankarbera www.linkedin.com/in/ritankar-bera www.behance.net/ritankarbera
EDUCATION Pursuing B.Arch at R.R. School of Architecture, Bangalore. (Currently fifth year, Batch of 2015-2020) 88.3% in CBSE(Science) (Class 12), Delhi Public School Ruby Park, Kolkata. 94.6% in ICSE (Class 10), M.P. Birla F.H.S. School, Kolkata.
ARCHITECTURAL EXPERIENCES AND ACHIEVEMENTS Seminar by Francis DK Ching Seminar by Christopher Beninger Seminar by Neil McLaughlin
HANDS - ON
DesignMatters seminar hosted by MASA
MODEL MAKING
Shifting Terrain workshop hosted by RNS School of Architecture Reactive Facade workshop hosted by Think Happy Everyday
Cardboard, Foamboad, Millboard
HAND-DRAWING
Plaster workshop hosted by Made in Earth
Architectural style and Free style
Best painting award for MSRIT Inspirit, Colors of Bangalore
PHOTOGRAPHY
Architectural, Landscape, Subjective, Potraits
Best product design award for CGBMT Bamboo workshop
SOFTWARE Autodesk AutoCAD
Adobe Photoshop
Autodesk Revit
Adobe Lightroom
Deisgner for banners and ancillary accessories for college fest
Google SketchUp
Adobe InDesign
Designed the first issue of ARRAY 2017 magazine
VRay
Microsoft Office
Created the fashion show video shortlisted for ZONASA 2018
Lumion
ANCILLARY ACTIVITIES Head of Photography Club
01
INSTITUTION ACADEMIC WORK
05
JAPANESE RESIDENCE
ACADEMIC WORK
06
INTERIOR DESIGN ACADEMIC WORK
02
TECH PARK OFFICE
ACADEMIC WORK
07
WORKING DRAWIN ACADEMIC WORK
NG
03
URBAN MARKET STUDY ACADEMIC WORK
04
URBAN DESIGN : REDEVELOPMENT OF A MARKET ACADEMIC WORK
08
ASSORTED WORKS
01
INSTITUTION
“ A campus that is focused on creating a user-focused enviornment.�
This project is on a 19 acre site. The requirement was to come up with an institution which would promote interactive spaces and be an efficient enviornment for imparting knowledge. The proposal is a physical manifestation of the various thoughts and concepts that was devaloped for making the project.
ZONING
PLAZA
CIRCULATION
COLLEGE BUILDINGS
LIBRARY
MASSING
INTERACTIVE SPACES
AMPHITHEATRE
PLAZA
PLATFORM
CONCEPT : MASS AS SEQUENCE
LEGENDS
THE MASSING OF THE SITE IS DONE BY PLACING THE BUILDINGS SEQUENCIALLY AND ABOUT AN AXIS. THE CENTRAL AXIS STARTS WITH THE LIBRARY BUILDING AND ENDS WITH THE HOSTELS. THE INSTITUTITION BUILDINGS ARE PLACED ON EITHER SIDE THE AXIS. THE LIBRARY BUILDING ALLOWS ENTRANCE INTO THE PLAZA WHERE ONE CAN LOOK AT THE VARIOUS ELEMENTS OF THE SITE. ENTRY INTO THE BUILDINGS IS AT THE CONCOURSE LEVEL. THERE ARE ACCESS STAIRCASES AT THE GROUND LEVEL TO PROVIDE ACCESS TO THE PLATFORM. FOR HANDICAPPED CONSIDERATIONS, RAMPS AND ELEVATORS ARE PROVIDED AT THE GROUND LEVEL TO HAVE ACCESS TO THE BUILDINGS OR THE STEPPED SEATINGS AND CENTRAL COURTYARDS, WHICH IS TO HOUSE CAFETERIAS AND OTHER SEATINGS FOR PROMOTING HEALTHY INTERACTIONS.
1 DROP OFF 2 LIBRARY BUILDING 3 PLAZA 4 COLLEGE BUILDING 5 SURFACE CAR PARKING 6 AMPHITHEATRE
7
7 HOSTEL BUILDINGS
6
3
5 4
2
1
THE ROOF TRUSS IS A SYSTEM OF ALUMINIUM FIXTURES WHICH HOLDS GLAZED GLASS PANELS. THESE CAN BE CUSTOMISED TO PROVIDE SHADING FOR SELECTIVE REGIONS OR THE ENTIRE PLAZA AS A WHOLE.
THE ELEVATED CONCOURSE ACTS AS A LAYER OF CIRCULATION WHICH PROVIDES ACCESS TO THE ENTRANCE OF EVERY COLLEGE BLOCK.
THE PLATFORM IS SUPPORTED ON BRANCHED COLUMNS WHICH HAS A REDUCED FOOTPRINT WHILE MAINTAINING CAPACITY TO WITHSTAND HEAVY LOADS.
ENTRANCE TO THE BUILDING IS AT THE PLATFORM LEVEL WHICH OVERLOOKS THE PLAZA THAT LIES BEYOND AT THE SITE LEVEL. THIS CREATES AN EFFECTIVE VISUAL ANCHOR FOR THE USERS.
RAMPS THAT LEAD UP TO THE PLATFORM FROM THE ENTRANCE AND DROP OFF SECTION. TWO RAMPS ARE PRESENT ON EITHER SIDE OF THE LIBRARY BUILDING GUIDING THE USERS INTO THE PLATFORM.
ELEVATION FEATURE OF THE BUILDINGS WHICH ALLOW OPTIMUM SUNLIGHT TO ENTER THE INTERNAL SPACES KEEPING IN COOLER WITHOUT COMPRISING THE AMOUT OF NATURAL LIGHT REQUIRED.
THE LIBRARY BUILDING SITS AT THE ORIGIN OF THE CENTRAL AXIS WHICH HAS A DOUBLE HEIGHT PUNCTURE TO ALLOW VISUAL AND PHYSICAL PERMEABILITY INTO THE ENTIRETY OF THE SITE.
CENTRAL CUT OUTS ALLOW NATURAL LIGHT INFLOW
TERRACE
EXTENSIVE USE OF CURTAIN WALL TO ALLOW NATURAL LIGHT INTO THE READING SPACES AS WELL AS PROMOTE VISUAL PERMEABILITY FROM THE ENTRANCE
TERRACE
FOURTH FLOOR THIRD FLOOR SECOND FLOOR FIRST FLOOR
FOURTH FLOOR
SIXTH FLOOR
GROUND FLOOR
PLAZA
SECTION OF COLLEGE BUILDING
THIRD FLOOR SECOND FLOOR
FIFTH FLOOR
THE COLLEGE BUILDING IS STACK OF CANTILEVERED LEVELS OPTIMIZED IN A WAY TO MAXIMIZE VISUAL PERMEABILITY TO THE CONCOURSE IN FRONT. INTERACTIVE SPACES ARE CRUCIAL IN AN INSTITUTION BUILDING HENCE CUT OUTS ARE CENTRALLY LOCATED WITHIN THE BUILDING TO ALLOW NATURAL LIGHT IN AND PROMOTE INTERACTIONS. TERRACED RECESS SPACES ALSO ACT AS A SPILL OUT AREA WHICH HAS PROVISIONS FOR A FOOD COURT.
FIRST FLOOR
THE LIBRARY IS PLACED AT THE CENTRE OF THE AXIS IN THE VERY FRONT OF THE SITE. IT ACTS AS A START OF
FOURTH FLOOR THIRD FLOOR
THE AXIS THAT BINDS THE ENTIRE SITE TOGETHER. THE DROP OFF AREA IS RIGHT INFRONT OF THE LIBRARY BUILDING. HENCE A CENTRAL PUNCTURE ALLOWS VISUAL PERMEABILITY TOWARDS THE ENTIRE LENGTH OF
RECESS AREA
MEZZANINE GROUND FLOOR
THE SITE ALONG WITH THE TRIPLE HEIGHT SPACE WHICH ALSO ALLOWS MOVEMENT THROUGH THE BUILDING.
SECOND FLOOR FIRST FLOOR
MAIN ENTRANCE PLAZA LEVEL GROUND FLOOR
CLASSROOM AUDITORIUM ADMIN ELEVATORS TOILETS LABORATORY
READING SPACES SECTION OF LIBRARY
TOILETS VERTICAL CIRCULATION
TRIPLE HEIGHT PUNCTURE TO ALLOW VISUAL AND ACCESSIBLE PERMEABILITY THROUGH THE AXIS INTO THE SITE
02 TECH PARK OFFICE
“A sprawling space for all your office needs.� This project is on a 2 acre site. The site is in the heart of the city close to a railway junction and a metro station. The building needs to be something that will be quite iconic and stand amidst the city as a unique piece of architecture.
THE SPANISH ARCHITECT AND STRUCTURAL ENGINEER, WHO NOW RESIDES IN NEW YORK CITY, EXHIBITED HIS ARTISTIC AND ARCHITECTURAL WORK AT THE NEW YORK METROPOLITAN MUSEUM OF ART IN 2003. THE EXHIBIT WAS ENTITLED “SANTIAGO CALATRAVA: SCULPTURE INTO ARCHITECTURE”, AND AS THE NAME SUGGESTS WAS BASED ON THE CONCEPT OF ARCHITECTURAL FORMS DERIVING FROM SCULPTURE ITSELF. THIS RELATIONSHIP IS AN INTRIGUING ONE. IT SEEMS LIKE SANTIAGO’S MAIN AIM IS TO EXPLORE THE POSSIBILITIES OF SPACE AND CONSTRUCTION, AND ALTHOUGH THEY MIGHT SEEM ABSTRACT AND RANDOM THE SCULPTURES DON’T NECESSARILY BREAK THE BOUNDARIES OF ARCHITECTURE.THIS EXPERIMENTATION SHOWCASES THE VIVID IMAGINATION OF SUCH A DESIGNER. THESE FORMS MIGHT NOT TRANSLATE IN TO THE PHYSICAL WORLD, THEY’RE MORE LIKE SKETCHES THAT HE’S ENVISIONED OR DREAMT UP. AS A MAN THAT TRIES TO BRING ORDER AND CLARITY IN TO EVERYDAY SCENARIOS, IT’S REFRESHING TO SEE THESE SMALL SNIPPETS OF THOUGHT, CAPTURING HIS MENTALITY JUST FOR THAT SHORT MOMENT IN TIME. SCULPTURE IS A MEDIUM FOR EXPERIMENTATION, WHERE FORMAL AND SPATIAL TESTS CAN BE PERFORMED WITHOUT ARCHITECTURAL LIMITATION. THIS TRIAL AND ERROR METHOD IS THE PERFECT WAY OF TESTING BOTH MATERIAL AND FORM, HOW THEY WORK IN HARMONY.
TIES GO AROUND THE ENTIRE STRUCTURE BINDING IT AS ONE WHICH IS THEN ATTACHED TO THE SUSPENSION WIRES. THIS IS HOW THE LOAD IS TRANSFERRED TO THE COUNTERWEIGHT PLACED BENEATH THE FOUNDATION.
A COUNTERWEIGHT IS A WEIGHT THAT, BY EXERTING AN OPPOSITE FORCE, PROVIDES BALANCE AND STABILITY OF A MECHANICAL SYSTEM. ITS PURPOSE IS TO MAKE LIFTING THE LOAD MORE EFFICIENT, WHICH SAVES ENERGY AND IS LESS TAXING ON THE LIFTING MACHINE. A COUNTERBALANCE IS A WEIGHT OR FORCE THAT BALANCES OR OFFSETS ANOTHER AS WHEN TWO OBJECTS OF EQUAL WEIGHT, POWER, OR INFLUENCE ARE ACTING IN OPPOSITION TO EACH OTHER. THE OBJECTS ARE THEN SAID TO BE IN COUNTERBALANCE.
SUPPORT PLACED AT THE JUNCTION WHICH ACTS AS A FULCRUM TO COUNTERACT THE LOADS INDUCED BY THE STRUCTURE ON THE VERTICAL MEMBER
DEEP FOUNDATION INSTALLATION TO COUNTERACT THE ENTIRE LOAD OF THE SUPERSTRUCTURE.
CENTRAL CUT OUTS ALLOW NATURAL LIGHT INTO THE OFFICE SPACE AND ALSO ACTS AS A GOOD INTERACTION SPACE.
THE MARKET SPACE HAS A LOBBY WITH ELEVATORS AND ESCALATORS TO BRING PEOPLE INTO THE UPPER FLOOR INTO THE LOBBY OF THE OFFICE. AMPLE SURFACE PARKING HAS BEEN PROVIDED TO ACCOMMODATE THE INFLOW OF CARS EFFECTIVELY WITHOUT RESULTING IN CONGESTION.
SITE PLAN AND GROUND FLOOR PLAN THE BUILDING WITH THE THREE MODULES STACKED ON TOP OF EACH OTHER
ADDITION OF THE SECOND MODULE
ADDITION OF THE FIRST MODULE WITH THE TERRACE
LAYOUT OF THE GROUND FLOOR IN THE SITE
FIRST FLOOR PLAN
SECOND FLOOR PLAN TYPICAL PLAN OF STACKED MODULES THE MAIN ENTRANCE OPENS UP TO A SHOPPING CENTRE WITH STALLS AND OTHER ACTIVITIES. THIS PERPETUATES TO THE FIRST FLOOR AT WHICH HAS THE OFFICES STARTING FROM THE CENTRAL PORTION BEYOND THE STAIRCASE. THE SECOND FLOOR HAS A TERRACE WHICH ACTS AS AN INTERACTIVE SPACE AND ALSO LOOKS TOWARDS THE METRO LINE WHICH THE FRONT FACADE OF THE BUILDING FACES. THIS FEATURE IS SPECIFICALLY DESIGNED TO CREATE A RELATIONSHIP WITH THE BYSTANDERS. THIS FRACTURED UNSTABLE APPEARANCE CREATES A VISUAL ANCHOR FOR THE BUILDING WHICH IMPACTS THE PSYCHE.
SERVICES
PUBLIC SPACE
PARTITION OFFICE
TOILET
LIFT LOBBY
TOILET
SERVICES
OFFICE SPACE
OFFICE SPACE
TOILETS SERVICES
LIFT LOBBY
THE ELEVATOR SYSTEM EMPLOYED IN THIS BUILDING IS UNIQUE. INSTEAD OF USING A CONVENTIONAL ELEVATOR AN INCLINED ONE WAS DEEMED SUITABLE TO FIT THE FUNCTION. THE DIAGONAL VERTICAL CIRCULATION CREATED BY THE INCLINED ELEVATOR CREATES A SEEMLESS AND CONTINUOUS CIRCULATION EXPERIENCE WHICH WOULD OTHERWISE BE HAMPERED IF A REGULAR ELEVATOR SYSTEM WAS USED BECAUSE IT WOULD CREATE MULTIPLE LAYERS OR CIRCULATION. DUE TO THE INCLINED STAIRCASE SYSTEM, THE ELEVATOR LOBBY IN EACH FLOOR SHIFTS TO ACCOMMODATE THE DIAGONALITY OF ITS ARRANGEMENT. THE ELEVATOR LOBBY AT THE GROUND FLOOR IS PLACED AT THE VERY BACK WHICH IS SUITABLE TO CREATE A HIERARCHY FROM THE SHOPPING SPACE IN FRONT AND ADD ADDITIONAL LEVELS OF SECURITY. AS THE PLAN PROPAGATES, THE ELEVATOR LOBBY STARTS SHIFTING WITH EACH FLOOR AND ENDS UP AT THE FRONT AT THE VERY TOP MOST FLOOR. THE FIRE ESCAPE STAIRCASES WORK BY CONNECTING THROUGH THE TERRACES OF THE ADJOINING MODULE WHICH FINALLY LEADS TO THE ROAD AT THE GROUND LEVEL.
03 U R B A N M A R K E T STUDY
KALASIPALYAM MA
ARKET
KRISHNA RAJENDRA MARKET
EVOLUTION OF MARKET DESIGN INTERVENTION : 1. CREATE SPECIFIED TIMINGS FOR LOADING AND UNLOADING OF GOODS. 2. MULTILEVEL CAR PARK CAN BE CONSTRUCTED TO MITIGATE THE PARKING ISSUE IN THE AREA. 3. EFFICIENT WASTE MANAGEMENT SYSTEM WHICH INCLUDES PROPER HANDLING OF WET AND DRY WASTES INDIVIDUALLY. 4. EASIER VERTICAL LOADING SYSTEM TO IMPROVE EFFICIENCY OF COMPLEX. 5. NEW PROPOSAL FOR A COMPLEX TO ACCOMMODATE MORE VENDORS TO PREVENT UNALLOTED SPACES. 6. PROVISION OF BETTER PEDESTRIAN WALKWAYS FROM THE BUS STOP, TOWARDS THE MARKET COMPLEX. 7. REORGANISE VENDORS ON THE MAIN STREET, RIGHT INFRONT OF THE ADMINISTRATIVE OFFICES.
04 REDEVELOPMENT OF A MARKET
THE ORIGINAL LAYOUT OF K.R. MARKET HAD A RETAIL BUILDING WHICH WAS SURROUNDED BY VENDORS WHO OCCUPIED THE ROADS MEANT FOR VEHICULAR ACCESS, CAUSING CONGESTION. TO PREVENT THIS, THE FUNCTIONS OF THE PROPOSED DESIGN HAS BEEN SEGREGATED IN A MANNER THAT MAXIMIZES THE PEDESTRIAN CIRCULATION IN THE RETAIL. SINCE ALL THE GOODS VEHICLES ARE DIRECTED TOWARDS THE REAR OF THE SITE, THERE IS NO REASON FOR CLASH OR CONGESTION. FURTHER MORE, K.R.MARKET DID NOT HAVE A PROPER BAY FOR LOADING AND UNLOADING OF GOODS. IT WAS DONE DURING FIXED TIMES OF THE DAY ON THE ROADS MEANT FOR VEHICULAR ACCESS. DOUBLE LOADING PARKING ALSO LED TO CONGESTION. THAT HAS BEEN IMPROVED BY PROVIDING A PROPER UNLOADING AND SORTING BAY WITH PROVISION FOR GOODS VEHICLE PARKING, FOR BOTH RETAIL AND WHOLESALE UNITS. THE OBJECTIVE OF THE DESIGN IS TO HIGHLIGHT THE RETAIL MARKET AND PROVIDE BETTER CIRCULATION. SINCE THE SITE HAS MAJOR ROADS AND A JUNCTION TOWARDS THE FRONT, MAXIMUM INFLOW OF PEDESTRIANS OCCUR FROM THAT SIDE. THUS THE SITE HAS BEEN OPENED UP TO ALLOW MAXIMUM INFLOW OF PEDESTRIANS. ZONING IS DONE IN A WAY TO KEEP THE WHOLESALE TOWARDS THE NORTH, AWAY FROM THE MAIN ROAD.
THE GROUND FLOOR HAS AN OPEN PLAN IN THE EAST SIDE WHERE THE PLAZA MERGES WITH THE BUILDING GIVING A SENSE OF CONTINUITY. THIS SPACE HAS BEEN UTILISED TO PROVIDE FLOWER SHOPS, WHICH HAS A LOW SHELF LIFE, THUS ALLOWING IT TO BE RESTOCKED ON A DAILY BASIS. UPPER FLOORS HAS RETAIL MARKETS FOR FRUITS AND VEGETABLE. THE SECOND FLOOR HAS A FOOD COURT. MASSIVE ATRIUMS HAS BEEN PROVIDED TO BRING IN AS MUCH NATURAL LIGHT AS POSSIBLE. VERTICAL SUN SHADING DEVICES HAS BEEN USED ON THE FACADE TO PREVENT GLARE, WHILE STILL ALLOWING SUFFICIENT SUNLIGHT INTO THE CORRIDORS, AND MAINTING A COOL ENVIORNMENT.
05 JAPANESE HOUSE “A traditional style house to fit the modern fabric of the city.�
This project is one of the housing projects which entailed building a small scale residential house for a Japanese city using only traditional Japanese building materials, which primarily was wood and stone. Simple truss and timber columns are used as the structural framework which holds the wooden skin of the building.
ROOF CONSTRUCTION IS DONE WITH A SIMPLE TRUSS SYSTEM. V ROOF PANELS BEAM SYSTEM OF PRINCIPAL RAFTERS CEILING PLATE BEAM SYSTEM TO SUPPORT TRUSS
PERFORRATIONS ARE MADE TO PULL IN NATURAL LIGHT AND FACILITATE CROSS VENTILATION,
A traditional Japanese house does not have a designated use for each room aside from the entrance area, kitchen, bathroom, and toilet. Any room can be a living room, dining room, study, or bedroom. This is possible because all the necessary furniture is portable, being stored in oshiire, a small section of the house (large closets) used for storage. It is important to note that in Japa n, living room is expressed as ima, living “space”. This is because the size of a room can be changed by altering the partitioning. Large traditional houses often have only one ima (living room/space) under the roof, while kitchen, bathroom, and toilet are attached on the side of the house as extensions.
ACTIVITIES ROOF DETAILS
FIRST FLOOR GROUND FLOOR
LIVING ROOM DINING ROOM KITCHEN DOJO BEDROOM TEA ROOM BATH ROOM
PHYSICALLY CONNECTED VISUALLY CONNECTED VISUALLY CONNECTED
CIRCULATION
Traditional Japanese houses have unique architectural and interior features that are considered an important part of Japan’s history and culture. These old features are often included in new homes because many people still find them charming. Family homes were historically viewed as temporary and were reconstructed approximately every twenty years. They were primarily made of wood and other natural materials such as paper, rice straw and clay. The following are a few common features of traditional Japanese homes.
SHOJI
Japanese houses didn’t use historically use glass, resulting in some interesting methods of natural lighting. A shoji is a sliding panel that is made of translucent paper in a wooden frame. They are used for both interior and exterior walls. They help to give Japanese houses their character by allowing diffuse light and shadows through.
S E C T I O N
TEA HOUSE TOILET ENTRANCE + FOYER
TOILET
PATIO BEDROOM
LIVING ROOM
KITCHEN AND DINING
FIRST FLOOR PLAN
FUSUMA
Fusuma are sliding panels that act as doors and walls. They give Japanese homes many possibilities as rooms can be dynamically reconfigured.
DRESS
WAGOYA GUEST BEDROOM
STUDY
SECOND FLOOR PLAN
Japanese carpenters developed advanced joinery techniques and occasionally constructed large buildings without using any nails. Complex wooden joints tied with rope can be seen in the frames of old Japanese houses. Traditional frames, known as wagoya, have a post-and-lintel design.
ENGAWA
An engawa is an outer corridor that wraps around a Japanese house. These were traditionally used as a separator between delicate shoji and outer storm shutters. When the storm shutters are shut, engawa feel something like a secret passageway that circles a house and can be extremely narrow. In some cases, large houses have a wide engawa that resembles a wrap-around veranda when the storm shutters are open.
RANMA
Ranma are panels found above shoji or fusuma that are designed to let light into rooms. They are often ornate wooden carvings or shoji screens.
TOKONOMA
A Tokonoma is a slightly elevated area against a wall in a room intended to receive guests. It’s a spot to put art such as a painting, shodo or ikebana. Tokonoma are related to several rules of manners and etiquette. For example, it is considered extremely bad form to stand or sit in the tokonoma. A respected guest is seated close to the tokonoma with their back to it. This is a humble gesture that avoids showing off your prized art in the tokonoma to your guest. The tokonoma is kept mostly bare with a single piece of art or some combination of a painting and ikebana.
AMADO
Amado are storm shutters that are used to completely seal a home or apartment for security, privacy and safety. They are particularly important as protection from typhoons.
GENKAN
A genkan is the main entrance to a house that has a lower level floor where you remove your shoes. This area is considered extremely dirty. People leave their shoes facing towards the door and take care not to step in the lower part of the floor in their socks. There’s usually a shoe closet directly beside the genkan. A spacious genkan is a popular feature of houses since that’s where guests are greeted. Wearing shoes into a home in Japan is considered a shocking breach of manners that’s akin to splitting on the floor.
TATAMI FLOORS
Tatami are mat floors traditionally made of rice straw. They are a standard sizethat varies by region. Tatami are so common in Japan that houses andapartments are often measured using the size of a tatami as a unit. They represent a traditional lifestyle that involves siting and sleeping on the floor. Tatami have a soft, natural feel on your feet and have a pleasant smell when they’re new. They are associated with a wide range of manners and customssuch as sitting seiza.
CHABUDAI
Chabudai are tables with short legs that are used while sitting on the floor. They are most typically used on tatami floors but make appearances on harder floors too. It’s common for families to eat at a chabudai while sitting on zabuton.
06 INTERIOR DESIGN “An attemp at bringing out the true potential of a space.
Spatial design of an architectural studio and desiging interiors of the architect’s office and reception area.
Key Traits of Industrial Interior Design by Kate Simmons
“It’s about proudly displaying the building materials that many try to conceal. It’s about adding a raw, unfinished look to the most thoughtfully designed homes. It’s about selecting pieces that are as much about function as style. It’s industrial interior design, and today’s post celebrates this growing trend. Used in loft apartments, modern homes and commercial spaces around the world, industrial design showcases neutral tones, utilitarian objects, and wood and metal surfaces. The result: a “warehouse look” that combines a true industrial feel with a range of other styles, from the earthy to the polished. This look isn’t just for “unfinished” spaces. In fact, many design enthusiasts who celebrate upscale interiors are incorporating industrial style into their homes through features such as stainless steel surfaces, metal light fixtures and vintage furniture.”
Industrial interior design is pleasingly flexible. Consisting mostly of neutral hues and materials that focus on unique textures, this design style is easy to pull off with lighting, decor, and furniture. Despite its simplicity and minimal design tropes, industrial style manages to create a bold statement. The juxtaposition of modern v.s timeworn makes for a great, layered and considered statement. It’s an environmentally friendly approach to interior design as it encourages the use of recycled or salvaged materials. There’s no need for cosmetic tricks when looking to master industrial interior design as emphasis is placed on the use of natural, bare finishes and materials.
Materials – avoid using plush fabrics paired with industrial style furniture. Instead, opt for utilitarian and hardworking materials and source furnishings that you can give a second life. Scour local antique shops for furniture made from wood, aluminum, iron, steel, tin, stone, and copper as these are go-to materials for enviable industrial style homes. And be sure to take advantage of distressed metal elements and wooden floors, stone countertops, and bare steel beams. Colors – when it comes to designing an industrial style living room, stick to neutral palettes that consist of gray, black, and white. And do add moody layers with hits of darker tones. Bring in personality and the unexpected with vibrant art that provides a contrast to your otherwise masculine industrial style decor.
07 WORKING DRAWING B
C
A
B
A2
9.25
9.25
1.73
4.21
3.32 4
4
DINING 4.25X3.6M
3
WASH 2.4X1.5M
3.83
3.83
FAMILY UP ROOM 4.25X3.6M
1.50
LEGEND
Qty
DESCRIPTION
0.12
2nos
STUDY 4.8X2.4M
1
1
3.02
2.10
ISSUED TO
NO.
1.50 NO.
REMARKS
DATE
BY
1.70
2.10
DATE
PROJECT: 5.34
5.34
5.05
4.21
9.25 B
C
A
A1
1.80
1.50
R.R.I.T
TITLE 01:
ELECTRICAL LAYOUT1.70
STATUS :
FOR INFORMATION.
FIRST FLOOR PLAN
0.12
0.12
0.12
1.70
RITANKAR BERA 1.50
1.70
1.50
1RS15AT005 VI SEMISTER WORKING DRAWING-II A
C
5.36
RESIDENCE AT BANGALORE
5.05
B
01
1.50 4.21
C
NORTH
STRUCTURAL CONSULTANTS
GROUND FLOOR PLAN
02
0.12
0.12
ZONE
CLIENT:
ARCHITECTS:
B
1.70
REVISIONS
1
9.25
1.70 3.83
02
LIVING BELOW
1
4.21
03
0.12
3.83
BALCONY
3.01
LIVING 4X5M
1.50
0.12
1.70
0.85
A1
1.80
DOWN
1A
5.34
2.04
2.03
1.50 3.83
SYMBOL
2
2.33
2.33
POOJA 1.8X2.1M
0.85
0.12
0.12
0.12
CAR PARKING
04
1.40
1.51
1.70
03
2A
2
ENT.LOBBY 2.8X1.8M
3.01
1.4
3.83
3
WASH 2.4X1.5M
13
2.1
2
2
A
04
1.5
3
13
3.83
13
UP
1.63
C
BEDROOM 4X3.6M
2A
1A
4.22
Qty
DESCRIPTION
0.12
1.73
WALK-IN 1.5X1.5M
SYMBOL
WASH 1.5X2.5M
BEDROOM 4X3.6M
3
LEGEND
3.83
3.83
3.83
KITCHEN 3.2X3.6M
4.21 4
BED ROOM 3.2X3.6M
B
18. The point shall be provided at the height specified by the architect.
1.73
4
POWDER ROOM 1.5X2M
5.05
13
3.32
A
C
1.73
A2
2.1
A
GENERAL NOTES:
1. Use only G.I deep junction boxes in the slab. 2. Use only Gupta or equivalent approved Make fan hook boxes for fan points. 3. As soon as shuttering is removed,provide G.I fish wire in all the conduits. 4. For exact dimensions & height refer architectural drawing. 5. If any clarification required contact Electrical consultants. 6. The earth pits shall be provided with funnel as per I.S.3043. 7. All the conduits and bends ,raised upwards shall properly plugged & taped to avoid the entry of be marter/cement into the conduits. 8. All conduit should be approved make and should not be less than 2mm thick. 9. Conduit dropped on 4½" wall should be at the center of the beam so that in case of shifting of wall from one side to other side,the conduits also can be chased to the. 10. No joints are allowed in the wiring. 11. Wiring shall be done in loop in loop out system. 12. Use only 25mm Ø conduit unless otherwise specified. 13. In all D.B's,Circuit Ferrules shall be provided. 14. Color coding of the wire has to be done as per I.S.732 (i.e Red for R phase, Yellow for Y phase, Blue for B phase, Black for Neutral & Green for earth). 15. 9" wall to be constructed for providing the D.B. 16. Switch boxes should be provided first and then the conduit has be raised. 17. In Case of sloped Roof with Rafters and Tiles the conduits to be run on surface of the Rafters as per site condition and clearance from Architects.
EXCAVATION PLAN N
GOOD FOR CONSTRUCTION ALL DIMENSIONS ARE IN M
DRAWN DESIGNED DATE JOB NO. DRG. NO.
ASHRITH ASHRITH
1/3/2018
CHECKED APPROVED SHEET SCALE
SHIVRAJA SHIVRAJA 1 OF 1 (A1)
1:50 REV. NO.
R0
GEN
NOTES:
1.4M
0.4M
Ø10@150mmC/C BOTH WAYS
F3
1.4M
1.2M
0.36M
Ø10@200mmC/C BOTH WAYS
1.73
4.21
3.32 4
COL.SIZE
C1
0.27MX0.4M
WASH 1.5X2.5M
KITCHEN 3.2X3.6M
3 0.27MX0.4M
C2
8 Ø, 16 4,Ø12
WALK-IN 1.5X1.5M
TIE:Ø8@8"C/C
L
C3
0.27MX0.4M
0.12
0.12
8, Ø 12
TIE:Ø8@8"C/C
UP
13
PLAN OF FOOTING
3
3
WASH 2.4X1.5M
WALK-IN 1.5X1.5M
2A
2.1
0.12
DINING 4.25X3.6M
3
WASH 2.4X1.5M
3.83
x
x
BEDROOM 4X3.6M
BEDROOM 4X3.6M
8, Ø 16 TIE:Ø8@8"C/C
B
BED ROOM 3.2X3.6M
COL.REINFORCEMENT
P.C.C 1:4:8
0.12
4
4
POWDER ROOM 1.5X2M
SCHEDULE OF COLUMN: TYPE
4.21
1.73
REINF.STEEL
1.73
1.AL 2.TH WRI 3.TH WITH STR 4.AN BRO STR CON 5.AL APP 6.TH REV
FAMILY ROOM 4.25X3.6M
2A
UP
13
1.5M
3.32
9.25
3.83
F2
9.25
3.83
Ø12@200mmC/C BOTH WAYS
C
1.73
0.5M
2M
B
A2
2.1
1.7M
F1
3.83
REIN. STEEL
3.83
DIMN-D
A
13
DIMN-B
C
13
TYPE DIMN-L
B
A2
3.83
SCHEDULE OF FOOTINGS:
01. ALL DIMENSIONS ARE IN INCHES & LEVELS ARE IN MM 02. DO NOT SCALE THE DRG. FOLLOW WRITTEN DIMENSIONS ONLY. 03. READ THIS DRG. ALONG WITH RELAVENT ARCH. / LANDSCAPE / SERVICE DRGS. 04. READ THIS DRG. ALONG WITH FOOTING LAYOUT, A COLUMN SCHEDLE. 05. ALL LEVELS / PROFILES / DIMENSIONS / LOCATIONS ARE TO BE CHECKED WITH ARCHITECTURAL / SERVICE DRG. 06. GRADE OF CONCRETE - M25 UNLESS OTHERWISE MENTIONED. COLUMNS - M30. 07. GRADE OF STEEL -Fe500 & DENOTED AS "Y". 08. COVER TO RENF.COLUMN = 35MM, BEAM = 25MM, SLAB =15MM. 09. AT BEAM-COLUMN JUNCTIONS, HIGER GRADE OF CONCERTE TO BE FOLLOWED. 10. AT BEAM-COLUMN JUNCTIONS, CLOSE SPACING OF STIRRUPS IN BEAMS SHOULD BE FOLLOWED AS PER COLUMN ELEVATIONS 4 OR AS IN BEAM SCHEDULES, WHICHEVER IS CLOSER WITH HIGHER BAR DIA. 11. ANY DISCRIPANCY IN THE DRG. / SITE SHOULD BE BROUGHT TO THE NOTICE OF THE CONSULTANTS PRIOR TO EXECUTION. 12. EXECUTION OF WORKS SHOULD BE UNDERTAKEN BY QUALIFIED PERSONNEL ONLY.
DOWN 2 DATE
2.33
NO.
POOJA 1.8X2.1M
REINF.STEEL
REMARKS
P.C.C 1:4:8
1A
L 0.12
0.12
NO.
DATE
ZONE
REVISIONS
PROJECT:
RESIDENCE AT BANGALORE
SECTION @ X-X CLIENT:
CAR PARKING
LIVING 4X5M
1.CONCRETE GRADE:M20 2.CLEAR COVER TO REINFORCEMENT IN A)FOOTING:50mm B)COLUMN:30mm 3.DEPTH OF EXCAVATION 1.4M BELOW G.L
1
FOUNDATION LAYOUT 2.03
STATUS :
FOR INFORMATION.
3.02
1
A1
DRG. NO.
5.05
4.21
ASHRITH ASHRITH
1/3/2018
CHECKED APPROVED SHEET SCALE
B
N
SHIVARAJA SHIVARAJA 1 OF 1 (A1)
1:1 REV. NO.
C
R0
SCALE 1:50
A
A1
1 A-102
B
FIRST FLOOR PLAN SCALE 1:50
RES
SCA DATE DRA
9.25
GROUND FLOOR PLAN
GOOD FOR CONSTRUCTION
JOB NO.
4.21
NORTH
A-101
DATE
1
1
ASHRITH BHARADWAJ K A
STRUCTURAL CONSULTANTS
DESIGNED
CLIENT:
R.R
9.25
1RS15AT005 A VI SEMISTER WORKING DRAWING-II
DRAWN
SL NO
BALCONY
PROJECT
TITLE :
ARCHITECTS:
LIVING BELOW
R.R.I.T 1
NOTES:
STUDY 4.8X2.4M
1A
5.34
D
3.01
0.15
2
2
ENT.LOBBY 2.8X1.8M
BY
2.33
ISSUED TO
COLUMN
3.01
F.F.L
5.34
2
C
CHE
SHEET TIT
FL
PROJE
WD
GO SHEET
AS
1RS VI S WOR
MODEL WORK
08 ASSORTED WORKS
PHOTOGRAPHY
PAINTINGS AND SKETCHES
/ A R C H I T E C T U R E geniusritankar@gmail.com +91 9088220206
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