P O R T F O L I O \\ S H R E Y A S U D E S H
GRAPHIC WORK ARCHITECTURAL WORK LITERARY WORK
South Facade of Hanumandokha Palace Photogram generated and redered for Himalayan Consultants as part of documentation for restoration of the palace in Kathamandu, Nepal
Map of the Indra Jatra on Day IV Map generated over the GIS and CAD map overlays of Kathmandu City’s Historic core as part of Postgraduate Thesis work.
Ritualistic Landscape of Indra Jatra Map generated over the GIS and CAD map overlays of Kathmandu City’s Historic core as part of Postgraduate Thesis work.
Yetkha Tol - Urban Milieu Highlighting structures of ritual importance amidst the urban fabric of Yetkha Tol (neighbourhood) in Kathmandu, Nepal.
Structures of Ritual Importance Sketches representing scaled details of structures of ritual importance (As part of the mapping process) in Kathmandu, Nepal.
shreya sudesh
The Kochi - Muziris Biennale 2016 meant different things to each of its visitors. To some, it inspired new thought, to some it began a healing process that only art could bring about, to some it was the physical translation of their emotion(s) and to some it was a walk through a stimulating experience. No one left Kochi as they’d the come. KMB in its third-leg, to me, was a personal journey where in my knowledge and inquisitivity towards art led me into introspecting myself and digging into nostalgia; the mind’s eye and creating memories that could also be ction. Becayse in the mind’s eye : everything is possible
Forming in the pupil of an eye is not an image of one reality but a reeection of multiple realities and of multiple possibilities in time. It does not question notions of reality, but instead layers many. As its own process, Forming in the pupil of an eye comes from that junction of the physiological with the conceptual. It is an acknowledgement that there is something essential in the way we look at the world, that it is multiple in nature. Forming in the pupil of an eye brings that multiplicity of experience together within the space of Kochi-Muziris Biennale and perhaps to spill over into the world at large.
For some the Biennale was a revelation of themselves. Through layers - deeper and deeper - as what you experienced peeled one after the other - you became your true self. It stopped mattering how your eyes began moving with the dancers movements. It stopped mattering how long you stood in the same positions looking at that one colour, that one object or listened to that one sound that took you back to another age - another you. For me, I unearthed the people I had boxed within myself as time and circumstances changed over time. Time stops mattering, people stop mattering. Only your experience stays.
TLF Banner Design Banner designed for The Ladies Finger for an editorial article.
Undergraduate Architectural Projects
The Kolkata Museum of Modern Art aims at providing adaptable spaces for the changing needs of Indian Art in all its forms – spoken, sung, performed, painted or sculpted. The Artist, the Art and the people experiencing it are at the core of this project which developed from being a space that brings to light India’s Modern Art Movement to a public place that encourages boundless creativity.
RESIDENCY
WORKSHOP
ART-CENTRE
SCULPTURE-COURT
IN INDIA ART AND CRAFT CANNOT BE SEPARATED. THE PLACE OF CREATION AND THE PROCESS MATTERS AS MUCH AS THE ART ITSELF.
A progression of plazas through the performance arenas, sculpture courts and the bazaar – takes the visitor on a journey from the public fringe to the Art Centre
SITE CONTEXT The site is located close to upcoming CBD and eco-park of Rajarhat to cater to the rapidly growing Industrial-housing-sector.
THE TRIAD: The Workshop , Artist Residency and The Art Centre form the Triad which bring together the Artist, the Art and the Experiencor. Between the Art Centre and the Workshop lies The Trench - the transition - where artists meet and perform before the public or involve them in the pe making of art. Stages coming out of the Workshop visually connect the people sitting in the trench which is a stepped plaza.
Coordinates: 22°35′55″N 88°28′03″E Site Area : 40468.6 sq. m ( Permissable FAR: 2.25 Maximum Permissable Ground Coverage: 45 % Along Major Arterial Road (Biswa Bangla Sarani)
THE WALL : The Wall signiies Expression - in spirit with the boundless space created to cater to the needs of the artists sublime or volatile.
The Precint: No North : International Convention Centre South: Biswa Bangla Haat East : Rajarhat Central Business District West : Hatiara settlement
Rajarhat is developing between Tree poles 10km east of Kolkata Metropolitan Area proposed to be the home for 1.5 milion people and a Smart Cit City.
Various perforations through the wall connect it visually with certain activities happening behind. The Art Centre holds prominence in the Hierarchy is approached via public \ pavillions and plazas.
Circulation Plan
The Bazaar - a showcase for local artisans is located next to the Auditorium and the food-court with a dedicated entrance - so that they can function independently and cater to public needs.
PARKING
ADMINISTRATION
O.A.T
ART CENTRE
SERVICE HUB
Poem as published in the Indian Arch Magazine - NASA
Quarantine
Arakku - untitled woes
will we, ten days from now, be able to imagine a time when we can move out and meet one another?
somewhere uphill, tucked between the forest, sat a swamp, unbridled flourish, toads aplenty, lazily watching us walk by, wondering why people are always in such a hurry.
time collects dust, while we wait, words swim in the air, making eyes at us. sip at your tea, while it’s still warm, watch the leaves grow, and your dog yawn, at least the sun rises, turning rivers to rain. our spirits simmer in warm water, it’s flavour soaking into the walls.
wondering why we leave, why we don’t let anything grow on us - people, place, patience. we’d rather burn our tongue, than wait for it to cool. we want it to be served to us and served quickly. there is always a ticking hand, a late train or an early bus, a looming target or a fast-approaching expiry. there is always something, leave nothing. scrape the bottom of the jar clean, like nothing was ever there. no memory made, no flag.
Abandoned There is a sad beauty to broken houses. Beauty, in the sense, that the trapped stories have escape the chaar-deewari into nothingness. Perhaps they will manifest some place else. Dark streets Smell of Dal and meat. Whistle of a cooker Headlights street lights Fairy lights. Oh there’s a party. Like the ones we attended as a family Kathmandu coffee everywhere No lights. Fresh grass. Sign boards Tail lights. Expensive dinners Driver with the top button undone. Tall buildings. Big mart. I’m doing my miles Fresh air, not really. Silhouettes. Sweat Moon and a lonely star Traffic. Apartment. Gate opens. Closes. Balconies. My love for them. Kids noises. A plant in a high balcony. Cooking dinner. Tv. Family laughing. Happiness in togetherness. My footsteps. I took a walk.
Untitled. every time we cross a person, we cross an entire novel or a film in motion. entire histories, endless daydreams, countless longings, stories that will never be revealed to us. stories we’ll just make up on our own as we see a woman exchange a brief glance with a man pushing a cart before her gate; a chai-wallah lighting a slim beedi as he waits for the tea to come to a boil; kids stepping down from a bus, their ties in their hand and bags hanging on a resigned shoulder. and all we get are brief glimpses every time we have time to look up from our lives which are simmering by themselves next to other pots and pans In kitchens of their own.
Co-wrote and Acted in a Youtube Sketch