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Graduated from a prestigious institute of design, Center for Environmental Planning and Technology, Ahmedabad, India, I, Sonali Gupta compile my creative work as follows. Meaning of design for me circumscribes three attitudes: DEFINE, REFINE and REDEFINE. These words have plethora of meanings and attributes associated with them that derive the essence of design. With the help of these attitudes, I attempt at categorising and presenting some of my work done so far as a student and as a professional. This also includes other works done apart from the academic and professional life.
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1 INITIATE this demonstrates the concept for a city carnival as briefed by the client (design proposal) 2 INVESTIGATE a research based on the sequential unfolding of spatial perception (dissertation) 3 ORDER understanding the essence of design by defining the relationship between basic elements of design (semester i) 4 CREATE an amalgam of cartoons, sketches, paintings and sculptures that helps to understand and explore the surroundings (miscellaneous)
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I N I T I A T E
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DELHI LIVE: CELEBRATING MY CITY, by Teamworks, a carnival that celebrates the vibrant city of Delhi. The design proposal was conceptualized in collaboration with Siddhartha Das Design Studio, Delhi. The design works with iconic elements of the city layered with its humour, ordered chaos and colourful spaces. From furniture to the metal scaffolding like structures that is typical of the rebuilt glitzy booming Delhi of today. Scrap, found objects are reinterpreted, reinvented with ingenuity and juxtaposed with industrial materials and street visual language of the city.
Site: Jawaharlal Nehru Stadium, Delhi
Ticketing|Security Check
Performance areas
Future & Game zones
VIP Lounge
Selected Area for Delhi Live: 12.50 acres approx.
Retail Stalls Mural Wall
Food Stalls Parade Route
Installation areas
Trucks Bands
Toilets & services
Visitor’s flow
VISUALISING SPACES: Photo Booths: These quirky pop up Photo booths will be sprinkled across the site and are reminiscent of the many photo studios that dotted Delhi and especially Chandni Chowk.
Retail Stalls: The stalls are envisioned to be circus like colourful canopies with their inner faces printed with peculiar street graphics that we see around the city with Delhi Live being read through projections.
Kinetic Sculptures A series of place marking sculptures will be conceived, many of them these will largely be kinetic sculptures. These dynamic sculptures will gesture towards the throbbing dynamic city always on the move, with the engineering marvels of the Metro and many of the new buildings that have transformed Delhi and NCR’s skyline and life. These may be made from a mix of found and scrap objects and machine parts.
Ticket Counter: The ticket counter has been visualized by modifying an old DTC bus in a fashion such that the long bus façade can be used for buying tickets. By removing window panes and visually enhancing the interiors of the bus, the raw yet funky piece of scrap can become a fun element for people as soon as they encounter the first glimpse of the festival. An interesting assemblage of metal number plates of various vehicles from Delhi form the backdrop wall , which seems to continue inside the bus due to the reflective glass as the windscreen of the bus.
I N V E S T I G A T E
define
This research was an attempt to investigate into the aspect of movement in time, which can be used as a tool of equivalent importance to approach architectural design as other conventional tools like building morphology, style or organization etc. By mapping movement through six different buildings using photographs and sketches, certain parameters were established that delved in the making of space-time relationship and defined the way one perceived space and experienced it in time
The study was carried out by analysing the aspect of time as experienced through the body movement, that delves in deriving the meaning of space. It focusses on comprehending architecture through the perception of space that changes as elements surrounding it and their relationship changes progressively. As compared to most architectural theories that define architecture as a highly specialized system with a set of prescribed rules, it imparts a new perspective to approach design.
Adalaj-ni-vav
Dada-Harir-ni-vav
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Adi-Kadi-ni-vav
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Navghan-nu-kuwo
Sanskar Kendra
Gandhi Ashram
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Categorising buildings conventionally: Building Morphology:
A,B...C.......D.................E........F A,B: defined path with slabs C: defined path without slabs D: defined path with meandering movement E: open plan system F: Open plan system with some definition of paths
Building Organization:
A,B,C.......D..........................E..F A,B,C: linear|unidirectional organization D: unidirectional but revolves around a central shaft E: open grid system F: spaces organised within a field of structural grid
Building Style/Language:
D,C................A,B.................E,F D,C: rock excavated structures A,B: partially excavated & partially built E,F: entirely constructed with column beam structure
* every parameter is explained through only one building (building A) above, the actual study was done by studying all the buildings in the similar fashion and the parameters were derived by comparing various frames from each.
Categorising buildings as per parameters derived by using movement as a tool DIRECTION OF MOVEMENT Direction of movement with respect to the destination:
A,B,C,D,E................................F
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A
Direction of movement due to the interplay of visual & physical axis:
Journey while entering the building versus leaving the building:
A,B,D..............F.....................E,C
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A,B,C,D................................F..E
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The physical axis and the visual axis of movement defines its relationship with the destination, guiding the direction of movement. The disposition of space takes place along the visual axis thereby marking the notional centers.
-goal appears – disappears - reappears -goal keeps changing -constant reference of goal The interplay between the physical & the visual axis of movement defines the manner in which the focus is followed to approach the destination.
The juxtaposition of various architectural elements offers clues to the perceiver guiding his movement direction. These clues may allow one building to be perceived differently while leaving it, as compared to the space perceived while entering the building.
A,B,C,D,E: visual axis suggests a point of focus that guides the movement direction F: presence of multiple focii in the cone of vision does not direct a particular movement path
A,B,D: the focus directing the movement appears, disappears and reappears as one moves through the space F: the focus constantly changes E,C: constant reference of the goal regardless of one’s position in the space
A,B,C,D: the space is perceived completely different while leaving the building as compared to the way its perceived while entering F,E: both the spaces share similarity as the in both, the journey in is similar to the journey out
SEQUENCE OF MOVEMENT Movement with a definite beginning: A A,B,C,D..............F....................E A sequence is defined by its beginning, the movement path and its end. Some buildings define a specific start point while others allow multiple approaches thereby defining the character of the sequence.
A,B,C,D: a starting point is defined for the sequence to be followed F: suggests a beginning but the entrance is not restricted E: the beginning is not defined and space is allowed to be accessed from anywhere
Singularity or multiplicity of the movement path:
A,B,C,D..................F.................E Further after the sequence begins, the journey can either be rigidly defined or bounded, or may lead to various different options for the perceiver to define his own experience within the space.
A,B,C,D: sequence is distinctly demarcated F: the sequence is defined to a degree but still gives alternate options within the space E: the space has no definition for the kind of sequence to be followed within the space
Sequential unfolding of spaces:
A,B,D..............F....................E,C -the entire space is revealed only at the end -the entire space reveals at the beginning itself -the entire space reveals itself in between the journey The manipulation of a sequence allows spatial elements to unravel in a specific order and determines the degree to which the revelation takes place. A,B,D: reveals gradually and the entire space is revealed only at the end F: the space revelas gradually to certain degree, but completely reveals itself in between the journey E,C: The entire space is revealed in the beginning itself
O R D E R
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Learning the meaning of design by exploring the relationship between basic design elements. Observing from the nature, importance of order and pattern were realised which was incorporated to create balance and harmony amongst a given set of these elements. As a part of a studio project, this was furthered by extracting a part of the whole and converting it into a living for a family of four members where the elements were relooked as spatial elements.
BASIC DESIGN ELEMENTS DOT
LINE
Primary elements of design: DOT, LINE, PLANE and SOLID forms the foundation for any design that exists. Relation of one element to the other generates certain dynamics that results into formation of a space.
PLANE
A set of 12 of each elements is set into an order that imparts meaning to these elements and builds up a story. Overlapping Gestalt’s principles of visual perception, the story is made to read differently. A section of this with four cubes and their elements are enlarged later to accomodate a living for a family of four where these elements are reinterpreted as space making elements.
SOLID
C R E A T E
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Expressing thoughts through diverse mediums ranging from caricatures to comic strips to illustrations to installations. Jotting down experiences while travelling through sketches and paintings using mediums like charcoal, water color, acrylics and oil paints. These observations inturn helps to understand and absorb details of the subject better. Interest in exploring new mediums resulted in playing with clay and ceramics and getting involved with processes like plaster of paris and fibre glass casting, glazing and baking.
series of cartoons and caricatures done for a book called ‘Agony and Ecstasy of a Teenager’ Medium: pen and ink
Typical street view at Esslingen, Germany (medium: pencil and ink on paper)
Kitchen space in a typical house in Bhuj, Gujarat (medium: charcoal pencil on paper)
Mosque next to Dada Harir ni Vav, Ahmedabad, Gujarat (medium: charcoal on paper)
Cemetery, Panchmarhi, Madhya Pradesh (medium: water color on paper)
Amber Fort, Jaipur, Rajasthan (medium: pencil on paper)
Lakhpat Mosque, Kutch, Gujarat (medium: charcoal pencil on paper)
Monastery complex, Bhutan (medium: water color on paper)
Eenchey monastery, Sikkim (medium: ink on paper)
Palatial house, Bhutan (medium: pen and ink on paper)
Jal Mahal, Jaipur, Rajasthan (medium: water color on paper)
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1. Hidden City Medium: Acrylic on Canvas Size: 1’x 1’ 2. Hustle Bustle Medium: Acrylic on Canvas Size: 1’x 1’ 3. Cityscape Medium: Acrylic on Canvas Size: 5” x 7”
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4. Blue Head Medium: Oil on Canvas Size: 2’ x 3’ 5. Water Lilies (ongoing) Medium: oil on canvas Size: 5’x6’ 6. Wall Painting (ref: Paul Klee) Medium: Acrylic on Paper Size: 10’x17’
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1. Clay sculpture cast in fibre glass Ht- 2.5’ 2. Shoes Medium: Glazed Ceramic 3. Alladin’s Lamp Medium: Glazed Ceramic
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Cologne Furniture Fair, one of the major furniture fairs in Europe, where design professionals from across the world participate to showcase their design innovations. Every year, a section of the fair is allotted to various participating design universities wherein students present their work. Students from a design studio at HFT Stuttgart took the initiative to design a stall to display chairs designed by other students from the university. The concept of the stall design revolved around the idea of building with waste material and this opportunity was seized by using waste bottle caps that were collected from various supermarkets and stores and went through the process of cleaning and compressing into mats to build the stall.
DHARTI : a photography exhibition showcasing the tradition and culture of rural settlements in small villages of Kutch and Bhuj regions of Gujarat. Interwoven with the various crafts inherent to this region of India, the exbition reflects the richness of its culture. This exhibition was put up for the foundation day of the Faculty of Design at CEPT University.
Bharat Natyam, an Indian folk dance performance that took place as a part of the cultural night during foundation day celebrations at CEPT University was highlighted by giving it a backdrop inspired from the Chakra, considered to be the point of energy in a human body in Hindu tradition. This backdrop was made by adding and subtracting layers of paper together.
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1 TRANSLATE reflecting the relationships of the context and the programme by understanding the parts to form the whole (semester v | professional project) 2 AESTHETICIZE this section delves into establishing a visual language in the space through the medium of graphics corresponding to the functionality of the space (professional project) 3 ARTICULATE establishes conjuncture among spatial elements and juxtaposes contemporary and traditional design thinking (semester iii | professional project)
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CHIKOOWADI, meaning sapota grove, was the site for a residence with a family of four. The existing builtform stands as a ‘C’ encircling a tree in the centre, and as a part of the studio project, another builtform of a similar area was to be added. Carefully retaining the trees present at site, the building was made to spread amidst the trees. By understanding the family, the existing space is altered by addition of a low diagonal volume towards the north east. The amorphous central courtyard thus created characterises the introvertedness of this small and close knit family of four. Visual axis acting as the major guideline for all the spaces keeps the keeps the space well connected from various angles in the building. The trees on the site are well woven into the siting of the extension.
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10 9 1 - Entrance 2 - Formal living 3 - House Temple 4 - Dining 5 - Family Lounge 6 - Tree House 7 - Kitchen 8 - Mother’s workspace 9 - Father’s Projection Room 10- Informal seating 11- Bedroom
EXISTING APPROACH & THE FINAL DESIGN
EXTENSION
The existing site situated in a Chikoo grove is a ‘C’ shaped structure which encompasses one of the trees in the center. The programme demanded an extension similar in proportion to the existing built area. The challenge was to make the building grow around the trees and blur the line between inside and outside. The extension, which is a similar structure skewed next to the existing structure is derived by borrowing cues from the family. A small and an introvert family, originally from the South of India, loves nature and open spaces. This furthers by keeping the extension simple yet dynamic, enclosing an extended inner court. The new structure has an open plan, absorbing openess and greenery from the surroundings. A tree house connects to the kids bedroom on the first floor which is introduced to cherish the feeling of living amidst the trees and appreciating it.
Rough sketches showing connectivity between the kitchen and work spaces and the circulation of air through the building due to surrounding courtyards
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- Formal Living - Dining - Family Lounge - Tree House
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T R A N S L A T E
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BINDU SAROVAR MUSEUM, Gujarat, is a project realised with Aakruti Architects. As a site for matru shraadha (post funereal rites), bindu sarovar holds significance as pilgrimage in north Gujarat. The architecture for the museum, in the sarovar precinct, takes direct references from it. As a frank gesture of continuity, the interventions for the interior follow this axis to the sarovar, and to it is added, a new diagonal path, that defines the movement. This makes the conceptual core of the museum and its categorisation primarily into tirth (pilgrimage), itihaas (history) and samaaj (society), with their juxtaposition derived from the architecture.
CONCEPT:
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Recreation of a temple garbhagriha (the inner sanctum of a temple) like spatial quality with a collocation of darkness, light and water as key elements
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The intersection of the bindu sarovar axis (movement axis with reference to bindu sarovar) and the new path defining axis, forming the mythological core about origin of the sarovar
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1 21 UPPER LEVEL PLAN 10
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- Entrance : Ticketing + Baggage - Lounge - Information Desk - Toilets & Drinking water - Viewing Gallery - Garbha Griha (as inner sanctum of a temple) - Gallery1 : Tirth (Pilgrimage) - Gallery2 : Itihas (History)
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9 - Administration 10- Electrical Room 11- Exhibition Gallery 12- Courtyard 1 13- Courtyard 2 14- Elevator 15- Store Room 16- Gallery3 : Samaj (Community)
17- Store Room 18-Cafetaria 19-Electrical Room 20-Generator Room 21- Replica : Rudra Mahalaya 22-Landscape
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A E S T H E T I C I Z E
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DELHI DAREDEVILS a cricket franchise representing the city of Delhi in the Indian Premier League. An office space designed with MOFA Studios, Delhi was conceptualised as a young energetic brand with sporty, energetic vibe. The idea was to blur the lines between work-play-meet spaces and was planned as a youth oriented semi formal open plan with multiple overlaps between working and meeting areas.The visual graphics for the entire office were done keeping in mind the spirit of the team and spatial concept for designing the office.
Graphics for two walls were done using the brand colors and keeping in mind the enthusiam associated with the game. The first one done for the conference room represents the team spirit and its achievements over the years and the second done for the discussion area next to the reception desk talks about the brand and its evolution over the years
The conference room wall was conceptualised to emulate the energy of the game and resonate the collective force of thousands of spectators cheering during the match, along with the team’s achievements.
An image of the conference room
The wall at the reception was conceptualised to outline the evolution of the brand “Delhi Daredevils�, over the years. The wall was designed keeping in mind the brand image, its colours and meaning behind the two logos.
An image of the discussion area next to reception
Think tank lounge: Imagined as a swirl of energy, this space is designed keeping the ‘work:play:meet’ factor. This installation was conceptualised as the spine of the office which allows people to have informal meetings while enjoying their coffee. The lower part of the central installation was divided into trapezoidal panels each representing players over six years of Delhi Daredevils, UV printed over MDF boards. AC ducts run openly throughout the office with words “Delhi Daredevils” spray painted in 10 different Indian languages representing the multicultural player profile of the team.
The new office for Delhi Daredevils, an IPL team owned by GMR Sports; designed by M:OFA Studios Pvt Ltd was well received and appeared on the Coverpage of CW Interiors Aug 2014 issue alongwith a detailed story about the project
A R T I C U L A T E
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LOTHAL, an important pre-historic site of the ancient Indus Valley civilisation, is taken as a hypothetical context for the space planning design studio. A site based in Lothal was taken as a reference to develop a temporary archaeological research facility for scholars and historians. The challenge was to develop a suitable space by carving out from the MASS of an imaginary solid 13’ x 13’cube.
Objects of three different scales need to be accomodated as and when they get excavated. The scale varies from objects as big as a gateway, to objects matching scales with a furniture to smaller day to day objects. Area allotment of 35% to gateway, 20% to furniture scaled products ad 15% to the smaller objects has been defined as per the requirement.
Initial sketches to understand mass and exploring ways of modulating and carving out spaces through it
Conceptual sketches to understand the aspect of mass through light that permeates through the space. These sketches helped to figure out how natural light can travel through this mass and accomodate the various requirements of the space.
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- Gateway - Ramp around the gateway - Furniture area - Area for smaller objects
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1 - Ramp around the gateway 2 - Furniture area 3 - Area for smaller objects
A part axonometric view of the space.
The ground floor accomodates the gateway with a ramp around to view and study it from all angles and heights
The first floor holds all the objects with scale similar to a furniture piece
The second floor consist of the light columns through which smaller objects can be studied
GROUND FLOOR
FIRST FLOOR
SECOND FLOOR
A R T I C U L A T E
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THE LOTUS HOUSE STORE, a one-stop-shop at a prime location at Bangalore International Airport for the last minute travel souvenirs. The store coming up at the airport offers a wide variety of hand crafted products from India. The corner shop offers a two sided open store, resulting into a very simple and clean organisation creating wide aisles guiding the user movement. Main idea for the interiors was to highlight the rich variety of crafts that the region offers and bring forward an amalgamation of design and culture.
PLAN
FRONT ELEVATION
Brass Casting: With the technique used to make traditional brass lamps, furniture legs were designed and craftsmen from Tamil Nadu were commissioned
Traditional Paintings: Various painting styles like Mysore painting, Guruvayur painting and Chittara paintings done by master artists from villages or working with NGOs were commissioned to make paintings in the traditional styles
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1 Lacquer Work: The craft involving application of lac color on turned wood was used for furniture legs as caps
TRADITIONAL CRAFTS 2 Kalamkari Painting: The traditional way of painting and dyeing fabric with natural colors and processes practised in Bangalore was used for panels hanging from the ceiling
1. Brass Casting
2. Lacquer Work
4 Wood Carving: Craftsmen from Karnataka, where this craft is largely practised in villages, were collaborated with carve out hard wood panels for a wall along with the cash desk
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3. Kalamkari Painting
4. Wood carving
5. Traditional Paintings
DEPICTION OF WAYS VARIOUS CRAFTS AS SPACE MAKING TOOLS
Kalamkari panels: Hand painted
Chittara Painting: Hand painted
Solid wood carving: Hand painted
Mysore Painting: Hand painted
Brass casting: Furniture base
Turned wood lacquer: Furniture foot caps
Design and crafts when blended together imparts a rich cutural touch to the space. The authenticity and experince of that space connects one to its roots, allowing a unique experience. Rich variety of crafts offered by the South of India where the store is based, various interior elements ranging from the ceiling to the walls and furniture has been designed retaining an overall warm color pallette.
Guruvayur Painting: Hand painted
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1 IMPROVISE this section is defined by projects where a new programme is juxtaposed to an existing built form (semester iv | semester ix) 2 METAMORPHOSE transformation of objects and changing the perception of things through some graphical representations (semester v | semester iv)
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I M P R O V I S E
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TOI is an english daaily, widely popular in India. As part of the design studio, office space for TOI is suggested to be housed in a building on the Gandhi Ashram precinct, currently occupied by a non-profit organization called Manav Sadhna. To accomodate an efficient and transparent working environment for such an organisation, the building structure of Gandhi Ashram was studied thoroughly. The idea incorporated was to create an open plan system which allows connectivity yet retaining the discipline of each section in the office.
The existing building at Gandhi Ashram works as a charitabe trust that works for the upliftment of society by laying their foundation on Gandhian principles of love and servise to mankind.
Analysing and understanding the existing structure of the building along with factors that contribute to the interior environment such as natural light filtering through the space and the materiality of the builtform along with the existing aesthetics of the given shell that reflects the simplicity of the Gandhian philosophy.
EXISTING
Primary Staff area | Formal Space Secondary Staff area | Semi-Formal Space Tertiary Staff area | Semi-Formal Space Open area | Informal Space Public area | Semi-Formal Space
Sabarmati River
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1 - Entrance 2 - Reception 3 - Display 4 - Waiting 5 - Editors 6 - President Editor 7 - Formatting 8 - Sports Section 9 - Main Desk 10- Regional & City Section 11- Reporters & Photographers 12- Creative Body 13- Conference Room 14- Backyard 15- Cafetaria & Services
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1 - Reception 4 - Deck | Cafetaria 2 - Display 5 - Main Desk 3 - Waiting
The existing planning through the space is governed by the roof structure that divides the building into three linear spaces connected by a diagonal axis.
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The proposed planning is based by understanding the functionality of the organisation that demands connectivity and transparency within thereby breaking the idea of constrictive bays and connecting the space cross directionally
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the horizontal windows have been well accomodated with the levels such that it falls at the eye level thereby maintaining the connection within & to the river
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1 - Regional & City Section 2 - Conference 3 - President Editor 4 - Formatting Section
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I M P R O V I S E
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RECREATIONAL CENTER (FRIENDLY WITH VISUALLY IMPAIRED): People suffering from visual impairment live on a fringe of society where platforms for interaction are highly institutionalised to blind schools or other ‘special’ schools. A center that opens the possibility of healthy interaction between all sects of people(blind and visually unimpaired people) is designed within an existing church in Stuttgart, Germany thereby creating harmony in the society while it sensitises a sighted individual to the visually impaired one’s strengths and challenges.
Site: Friedenskirche (church) Stuttgart, Germany Synthesis of the old and the new gives an interesting character to the building. The church that was destroyed after World War II was rebuilt with a simplistic, modern design approach whereas the bulky old belfry still stands intact.
DESIGN APPROACH: The idea was to create memories in parts, thereby allowing visually impaired to absorb and comprehend the whole. To achieve this, spatial contrasts between adjacent spaces were created as per the activities and the character of space that it demands. This contrast resulted in organising spaces in a way such that the volume of the built form grows gradually and generates a movement flow in the building, by breaking the monotony within the space. This progession lets the space to be perceived as a whole, thereby superimposing the scale of the building and character of its function
RESIDENTIAL BLOCK
PARKING
EXISTING CHURCH
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SITE CONTEXT: The 7750 square feet church building sits within a residential block in city of Stuttgart, Germany. Surrounded by a main road in the front and a pedestrian area at the back, it can be approached from both the sides through a green patch around
Character of spaces as per the nature of activities in the center: Library space added as an insert
Music | Art | Sculpture Open | Loose spatial character Chapel | Library Closed | Confined spatial character Cafe | Perfumery | Nursery Income generating acivities
Creating a datum, that makes the space easily navigable and self guided, connecting all part memories to create a whole.
Creating space within a space to incorporate part experiences yet connecting it in both horizontal and vertical axii
INCORPORATING DESIGN CONCEPT WITHIN THE SPACE:
Reception Lounge with ceiling installation Seating area with sand pit Waterfall Lift Library Ramp
The central bay inserted as a mezzanine adds a formal attribute to the space where the visitors are welcomed at the reception guided by a long ramp as one enters. Different character of seating types are provided without any physical barrier, but defined by either ceiling installations or sand pits creating an experience of space within a space. This mezzanine provides an option to associate or disassociate from the rest of the activities in the building.
MEZZANINE LEVEL
Art & Music area Artist studios Services Cloak room Lift Storage Library
The ground level allows one to enter from the structure created within the bellry guided by a railing of sorts made with guitar strings that reverberates as one enters. Immediately after one experiences sound that is reflected back due to a huge metal installation through which one enters a double height volume where people interact and create music and art together. Individual art studios allow artists to stay back and work on a piece of art for a longer time. A bridge connects to the main landing of the long staircase connecting all the three levels within the building.
GROUND LEVEL
Sculpture area Perfumery Cafeteria Church Artist studios Services Cloak room Lift Nursery BASEMENT LEVEL
The basement level approached either by the staircase or the lift contains a sculpture area in the triple volume where natural light filters through the church windows above. Adjacent to it in the single height volume is the perfumery that aromatises the space further connecting to the restaurant / cafe area that extends outside the building. The outside seating is surrounded by a small nursery of plants where fresh herbs and flowers are grown, giving a sweet fragrance to the surrounding. The space below the stairwell pushes into the earth that takes one to a small chapel. As the building was being used by people as a church before, the function has not been discarded completely and people can still render prayer services in the retained chapel.
LIBRARY ELEVATION
LIBRARY PLAN Library space being added as an insert that cuts through the entire building supported by metal structure. This long and linear space is secluded from the rest of the space and is directly accessed by a lift.
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- Entrance (like an instrument) - Metal installation (pause point) - Art & Music performance area - Restaurant | Cafe - Ramp - Secluded seating - Library (insert) key plan
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Creating pockets by introducing ceiling installations that defines the space instead of physical barriers that helps one to disassociate from the rest of the space.
Adding an experiential element with relation to existing tower, which allows sound to reverberate, thereby acting as a pause point and allows people to reorient. DETAIL A
DETAIL B
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- Ramp - Metal installation (entrance) - Art & Music performance area - Bridge - Staircase - Secluded seating (sandpit) - Restaurant | Cafe - Chapel key plan
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M E T A M O R P H O S E
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A resource that we use daily becomes more meaningful if we know how it evolved over time with respect to its function, its usage, its physical form and its technology . What lead to this change is a study in itself that addresses the factors mentioned above. What if the evolution is just looked at with respect to its form, and what if the form is transformed without considering any of the other guiding parameters. An exercise to transform and trace the form of a vehicle was carried out as part of the FURNITURE DESIGN studio. Therein, by dissecting the form of the components lead to understanding the making/evolution of a ‘whole’ was understood.
M E T A M O R P H O S E
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As part of the GRAPHIC DESIGN studio, forms in nature were examined to unravel the visual layers of meanings, using tools such as abstraction and simplification. Abstraction simplifies the visual anatomy, thereby, adding a layer of meaning not perceived before. An exercise to understand the chosen natural form of a CRAB involved a detailed study of the anatomy, structure and movement, thereby developing the resultant visual aesthetics, which would be abstract, bare and simplified to the essence of the above
Ranked third amongst the graduated students in the year 2013 from CEPT University as an Interior Designer. I actively worked as a teaching assistant in the faculty of design, under a professor heading subjects related to visual arts and attended various juries on campus. Alongside, my keen interest in learning and exploring mediums lead me to experiment with clay that got me into making a sculpture. Deeply intrigued by the variety of cultures and traditions that India offers, I have been diligently involved in going for study trips to a number of villages and small towns, where studying vernacular architecture takes me close to my roots, while I pin down multiple experiences and observations on paper in the form of sketches and illustrations. I have been selected for a scholarship programme for an exchange semester in Stuttgart, Germany, where I also finished my internship successfully with Innenarchitektur+Design. Furthermore, I have been merited with a gold medal for being the best graduating student in art based courses for five years alongwith other merits for few interior design studios and foundation years.
contact details: email: sonaligupta.0906@gmail.com ph: +91-9810052535