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souMia gupTa
I’m a third year architecture student illustrator and a graphic designer. Over the course of my academic projects, I have tried to explore various ideas that explore the various ways architecture can impact the users and the community. I believe architecture is much more than just designing structures. It is about creating spaces that tell a story. Through my works I have tried to explore architecture by various mediums as each try to tell their own story. My work is driven by my quest for learning and new experiences.
CONTACT DETAILS Email: soumiagupta@gmail.com Phone Number: 7700073350 Address: C-603, Aditya Antrix, Chandkheda, Ahmedabad
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EDUCATION
WORK EXPERIENCE
Bachelor of Architecture - Ranked AIR 42 in entrance exams School of Planning and Architecture, New Delhi
Architectural Intern, Studio Iksoi Working drawings, Couse graphics for a studio taught at CEPT University.
Grade XII - Scored 94% in board examination Pace Junior College, Dadar Grade X - Scored 97% in board examination P. G. Garodia School (I.C.S.E), Mumbai
Design intern, CitySabha Part of a team of inter-disciplinary thinkers, creatives, and activists working towards creating inclusive and sustainable cities.
EXTRA-CURRICULAR
Illustrator, Financial Literacy Campaign Involved in branding and web page design for a startup.
Solar Decathlon India Runner-Up Educational Category NASA GSEN Trophy Top 6 shortlisted entries CODA-Sankalp Coordinator (College Music Society) Coordinator Master Studio Design Shortlisted in Top 25 Student Entry judged by Abin Design Studio Lixil Mentorship Program Mentorship under Architect Niels Schoenfeilder, Mancini Enterprises
Graphic Designer, BuzzMedia Involved in designing branding concepts and social media posts Illustrator, Critiqued.in Part of an online blog by students of NLU-Delhi, making editorial illustrations for articles on social issues Graphic Designer, ACEDGE by Ethos Part of a team involved in making a webcomic series for students interested in architecture Volunteer Artist at IndiaLostandFound Program Group of artists, historians and researchers dedicated to conserving and creating a ‘virtual museum of thought’ around our untold monument & interpret their culture.
The Dharavi Project Competition Tamayouz Design Award for Excellence NASA HUDCO Trophy
SOFTWARE SKILLS Drafting: Autocad
LANGUAGES
3D Modelling: Rhino 3d, Grasshopper, Sketchup, Revit
English- Fluent
3D Visualization: Enscape, Vray
Hindi - Fluent Bengali - Native
Post- Production: Photoshop, Illustrator, Indesign
Spanish - Basic
Video Editing: Premiere Pro, After Effects
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LIST OF PROJECTS
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The Adda
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ORD Smart School
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RER -Urban Agriculture
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Chettinad House
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Quitabat
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Professional work
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Illustrations
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06 - 11
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12 - 21
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22 - 27
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28 - 33
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34 - 35
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Cultural Centre for people of Dharavi
Designing for a sustainable future
Vital cities, not garden cities
Measured drawings
Documenting the art of Islamic Calligraphy
Studio Iksoi
Observations of a day dreamer
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01 ADDA PROJECT, DHARAVI Individual The Dharavi Project International Competion Site Location: Dharavi, Mumbai
A place to celebrate the multicultural diversity of Dharavi. Dharavi embodies the idea of a live-work paradigm. Even with the workplace, street, and home all being in one place, it still allows for a conducive environment for skill exchange and social interaction. And thus, Dharavi challenges the conventional notion of a slum. Through its people centric design, ‘The Adda’ tries to realize the lack of dignified community space in the slum by providing spaces which allow the people to claim them through their own agency, make it their own and strengthen ties to the community. It envisions a place where the community gather conversations and exchange of ideas and support its bustling informal economic activity in small-scale industry and handicrafts.
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1.Workshops 2.Exhibition 3.Dance Studio 4.Clasrooms 5.Reading stairs 6.Library 7.Meeting rooms 8.IT training room 9.Tea stall 10.Office space 11.Community garden
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25m
PLANS
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CUT OUTS
STREET ACCESS
COMMUNITY ‘ADDA
NOOKS
STAKEHOLDERS IN DESIGN Women
Street Dancers
Textile workers
Kumbhars
Providing them a forum to discuss their issues and spread awareness
Providing them a platform to display and find new talent
Flexible workshop areas to train apprentices
Involving their participation in the design process and providing a space todisplay their creations
Children Playful spaces to incite imagination spaces
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02 ORD SMART SCHOOL Group work SPA Delhi 6th Semester, 2020 Solar Decathlon India Runners-Up (Educational Division) Site Location: Sector 128, Noida, Uttar Pradesh A school for the future. A school which prioritises “whole-school” approach; one that extends beyond the curriculum and addresses the entire planning, operation and management of the school facility. One that can reinforce what is taught about sustainability in the classroom, improve the school’s own carbon footprint and strengthen public relations with the surrounding community. This school project was a live project with a real client in ORD developers. Working with a real client gave the studio a perspective into how work in a professional practice is. We also interacted with several industry proffesionals over various topics under Architecture, Energy, Water, Comfort, Resilience, Affordability and Market potential. Whilst it was important to design sustainably and affordably, the goal through this project was also to show that we can design spaces that anticipate the needs of the users.
2nd Place
Educational Division Solar Decathlon India
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SITE PLAN
32m
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1. OFFICE 2. ACCOUNT DEPT. 3. PANTRY 4. MEETING ROOM 5. RECEPETION LOBBY 6. HEADMISTRESS’ OFFICE 7. VICE PRINCIPAL’S OFFICE 8. PRINCIPAL’S OFFICE 9. VISITOR’S TOILET 10. PRE-PRIMARY CLASSROOM 11. STUDENT TOILET 12. INDOOR PLAY AREA 13. VERTICAL CORE 14. CAFETERIA 15. CAFETERIA KITCHEN 16. MULTIPURPOSE HALL 17. CO-WORKING SPACES 18. STORAGE SPACE 19. BIOLOGY LAB 20. CHEMISTRY LAB 21. DANCE ROOM 22. MUSIC ROOM 23. COMPUTER LAB 24. PHYSICS LAB 25. FOOTBALL FIELD 26. BASKETBALL COURT 27. SECURITY GUARD ROOM 28. BUS DRIVEWAY 29. VEHICULAR DRIVEWAY 30. BASEMENT RAMP 31. VISITORS’ PARKING
TYPICAL FLOOR PLAN
Orienting blocks to get maximum sunlight
1. 2. 3. 4. 5. 6.
CLASSROOM JR. LIBRARY TOILET SR. LIBRARY SPACE FRAME BREAKOUT SPACE
Forming courtyards for passive design and connecting 2 blocks with a central spine
Keeping community spaces along the spine to facilitate interaction
Final detailing with appropriate places
cores
at
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TYPE A PANELS
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TYPE B PANELS 9 10 4
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TYPE C PANELS
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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
Terracotta baguette Cement Concrete Block Cellulose insulation Hollow Sections (Chilled Slab Air ducts) AAC Block Cellulose insulation AAC Block Double glazed Unit (6-12-6) Hanger Wire False Ceiling (Below Vents) Terracotta Baguette Aluminium box channel
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DESIGN STRATEGIES
The spatial layout was done envisioning the central spine of the building as a core concept of building massing. The spaces were planned along the spine so that it becomes a social hub - containing activity areas, foyer, sports facilities, a canteen etc,
ORIENTATION Allows for mutual shading between blocks. 18
ZONING Placing the WCs and Cores in the high radiation zones.
COURTYARDS Central courtyards and singly loaded corridors.
OPENINGS Adequate daylighting within all classroom spaces
THERMAL COMFORT AND AIR QUALITY 1. The HVAC system of the building zconsists primarily of a radiant floor cooling system, coupled with a chilled water cooling system. 2. For ventilation, a Fresh Air Handling Unit has been provided (FAHU). Ceiling fans have also been provided in all the conditioned rooms. 3. The goal is to reduce the HVAC system operational hours by maximising natural ventilation with ceiling fans.
Fresh Air Return Air
WITH HVAC
FINAL CALCULATED ENERGY FINAL ENERGY CONSUMPTION: 18.33 KWH/M2/YR
4. By means of Building Management System (BMS), the radiant cooling would be used as the primary conditioning system, while chilled water system would be used only when there is an additional cooling requirement to meet the comfort hours. 5. This coupling reduces the chilled water system cooling load by about 60%.
WITHOUT HVAC
IMACIMAC Comfortable Comfortable Temperature Temperature RangeRange
Comfortable Comfortable Humidity Humidity RangeRange
FINAL ENERGY GENERATED: 19.49 KWH/M2/YR
NET ENERGY CONSUMPTION (EPI): -1.16 KWH/M2/YR 19
DESIGN PROCESS
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Vital cities, Not Garden Cities
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03 RER - URBAN AGRICULTURE Group work NASA GSEN Top 6 Shortlisted Entry 2021 Site Location: Sector 18, Chandigarh Imagine waking up on a Sunday morning ride to the farmer’s markets. As you cycle your way, you comes across the tall stacks of ‘verticle’ farms, rising out of the landscape like a living skyscraper - vegetables and food crops sprouting out of it. There are freshwater channels between the stacks, surrounded by trees which attract birds of all kinds. You meet several friends tending to their patches of vertical farms and greet them. Chandigarh, India’s first planned city sits surrounded by beautiful landscape of the Shivalik hills. With beautiful gardens planned at the heart of each sector, Chandigarh remains a beautiful planned city. But what if those gardens could be turned into something more? By overlaying functions of productivity and community bonding, the project tries to visualise a sector that not just engages its residents but also provides them with returns.In order to empower the residents to achieve this paradise, we propose a strategic toolkit of ideas under the heads.
RESTORE-EMPOWER-REGENERATE
Top 6
Shortlisted Entries NASA GSEN Trophy
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Bird Watching Towers
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Orchards
Riperian Buffer
Crops
Sewage Treatment
Community park Society park
Hardscaping
Riperian
Community Farms
Fruit Orchard
Built Mass
Cycle track
Water Towers
Cropping Patch
Water Canal
Roads
Green House
Cropping Patch
Orchards
Vertical Farms
RESTORE - EMPOWER - REGENERATE. Restore catalogues strategies to implemented to revive the biodiversity and ecosystem of the heart of the sector surrounding the N-Choe water channel. Empower connects the residents of the sector to the landscape and guides how they can participate in the initiative and build socially inclusive spaces. Regenerate allows the residents get back returns of their harvest through innovative ideas of distribution of resources across the sector.
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Water collection pond
Biogas plant
Water capture towerss Bird watching towers Flea markets
Communityl farms
Vertical farms
Poultry farms
Terrace farming module
Riperian Buffer Land
conservastion of biodiversity, watch towers canal, play area, elevated pathway, large pond
High density production food towers, research centers, grain storage, poultary farms
Crop Land
crops, water capure towers
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Vertical farms
Markets Treatment and Recycling water treatment through reeds bio mass gascification tank
Society garden
Society parks, Green house, DC to AC converter grid, composting pit, info centers, waste collection, shops, seed bank
Seed banks
Parklets
modeular growing units, aeroponics, hydroponics
Community parks
vertical farms, play areas, flea markets, seed banks, info centers, crops, eateries
MARKET UNIT
POULTRY
SHOP SINGLE MODULE
FARMING UNITS VERTICAL FARMS
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A Chettinad house is characterised by beautifully carved Burmese teak doors
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04 CHETTINAD HOUSE Groupwork SPA Delhi 2nd Semester, 2019 Site Location: Dakshinchitra, Chennai
The villages of Chettinad in eastern Tamil Nadu comprises some 78 villages, dominated by the prosperous Nattukotai Chettiar community of businessmen and bankers. Large verandas and pillared passages commonly found in the traditional mansions of Chettinad, called natukottai.. They were built by rich traders who traded in gems, silks and salt. These ancestral homes are now used during the occasions of weddings or Pongal, the traditional harvest festival.
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PLAN Rooms called ullarai (inner rooms) and veliarai (outer rooms) were used for storing items. A large teak wood door opens up into the main courtyard of the structure which is bordered by pillars and rooms with tall windows inhabited by members of the family.
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REFLECTED CEILING PLAN The roof structure is supported by a system of ornately carved teak timber beams system resting on a series of carved burmese teak columns. The foundation consists of a combination of mud, stone and mortar. The walls are made of baked bricks, bonded by fibre roots and coated with egg shells and egg whites. The double-roof system made of baked clay tiles has an extension called chajjas. They act as sunlight breakers.
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ELEVATION
In a typical Chettinad mansion, a sweeping path leads to the front porch, called thinnai. Then comes a large veranda leading into an open space that was used for weddings and other celebrations.
SECTION AA’
A trademark feature involved doors lined up in a straight line from the entrance to the back of the house. The house often extended over the entire breadth of the street. Characteristic elements of the home included the multiple courtyards, the raised platforms on the corners, the inner walls, and the rooms.
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a) Athangudi tiles
c) teak wood roof support member
Source www.runningstudios.in
CRAFTSMANSHIP The house also featured distinctive local elements like painting, woodwork and tiles. Athangudi tiles or Chettinad tiles are sought after even today for luxury homes. These tiles were made by master craftsmen by hand and available in many colors. Athangudi tiles, named after the place of the manufacture in Chettinad, come in a myriad of colours and patterns, and are made by a unique process using local soil and glass plates. The smooth walls are coated with a mixture of egg white and lime giving them a sheen that has lasted for decades. The design of the mansions keeps them cool even in summer and incorporates water harvesting methods created a century ago. b) carvings in teak wood
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05 QUITABAT Individual SPA Delhi 2nd Semester, 2020 Site Location: Jama Masjid, Old Delhi Near Old Delhi’s Jama Masjid, in the lanes of Urdu Bazaar sits Mohammed Ghalib-one of the last Quatibs (calligraphers) of the state. A game of the youthful is how he describes his profession recalling his long years of practicing this art. Ghalib who has praticed his craft for morethan 50 years is now one of the last remaining traditional calligraphers in Old Delhi. Arabic, Persian and Urdu calligraphy is practiced to present the written word in different styles in the most beautiful form. This art is known as Quitabat and the calligrapher practicing the skill or art is known as Quatib.
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TOOLS USED:
Qalam
RAW MATERIALS USED:
Inkpot
PREPARING THE PEN: Makta Knife
Knife
Burnishers
PARCHMENT
Sharpening the pen
Cutting at an angle
Quitabat played a very central role because scribes began writing quotes of the quran on the walls of mosques with different techniques. Also, visual images that coud be be worshipped were forbidden in Islam, which in turn gave boost to calligraphy.A master craftman trained in all seven of the scripts used in Islamic calligraphy. They would then be hired in the kings court or various rich patrons to write manuscripts or poetry.
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CERAMIC
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06 PROFESSIONAL WORK Intern at Studio Iksoi, Ahmedabad Role: Worked on a textile industry project, designed a spiral staicase and made working drawings. Also designed course material on a sustainability course taught at CEPT. Other responsibilities: Making client presentation and other graphical representation work.
Mallcom Textile industry, Ahmedabad
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SPIRAL STAIRCASE A OF OUTER DIAMETER 2400 MM
40 MM DIA MS PIPE BALUSTER 20 MM DIA MS PIPE FOR SPACER 40 MM DIA MS PIPE HANDRAIL
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1065
9 10
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200 MM DIA MS PIPE WELDED 6
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10 MM THICK STRINGER BEAM 14
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GROUND FLOOR LVL
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20 DIA MS PIPE SPACER
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1186
1186
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LANDING LVL +2650
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40 9
3
15 16
8 7
2
1
17
6 5
1495
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1620
PLAN AT 1200 MM WITHOUT RAILING
PLAN AT MEZZANINE LEVEL
FRONT ELEVATION
(RISER HEIGHT = 2625 DIVIDED BY 17
SPIRAL STAIRCASE B OF OUTER DIAMETER 2000 MM 40 MM DIA MS PIPE BALUSTER 20 MM DIA MS PIPE FOR WELDING
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40 MM DIA MS PIPE BALUSTER 20 MM DIA MS PIPE FOR SPACER
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160 M WELD
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20 DIA MS PIPE 13 SPACER
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940
STEP AND RAILING DETAIL
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10 M STRIN
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10 MM THICK STRINGER BEAM 14
GROUND FLOOR LVL
10 MM MS PLATE STRINGER BEAM 10 MM MS PLATE 10 MM MS PLATE SUPPORT 1 2
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6 LANDING LVL +2650
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MM DIA MS PIPE WELDED TO ALL STEPS
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16200
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40 MM DIA MS PIPE HANDRAIL 150 150
40 MM DIA MS PIPE HANDRAIL
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445
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20 MM DIA MS PIPE FOR WELDING
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1050
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40 MM DIA MS PIPE HANDRAIL 200 DIA MS PIPE
GROUND FLOOR LVL
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1060
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PLAN AT 1200 MM WITHOUT RAILING
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20 D
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24°
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TREAD
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1056
16 TREADS AND 1 LANDING
LANDING DETAIL SECTIO
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1186
PLAN AT 1200 MM WITHOUT RAILING
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1275
1275
1495 25
1495
4 3 2
2
1
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4O DIA MS PIPE RAILING 4O DIA MS PIPE RAILING 14
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3691
12 11
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10 9
2625
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50
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300 WIDE MS STRINGER 300 WIDE MS STRINGER BEAM BEAM WELDED TOWELDED STEPS TO STEPS
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200 DIA MS 200 PIPE DIA MS PIPE 50 MM RADIUS TURN 50 MM RADIUS TURN 50 MM RADIUS TURN 50 MM RADIUS TURN
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SIDE ELEVATION SIDE ELEVATION
40MS MM DIAHANDRAIL MS PIPE HANDRAIL 40 MM DIA PIPE
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1246 124
940
1000
25 XSECTION 25 BOX SECTION 25 X 25 BOX
940 1000
3 MM MS CLADDING 3 MM MS CLADDING 25 XSECTION 25 BOX SECTION 25 X 25 BOX
960
124 1246
124
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x 25SECTION MS BOX SECTION 25 x 25 MS25BOX
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625 7) DIVIDED BY 17)
3 MM MS CLADDING OVER 3 MM MS CLADDING OVER 25BOX X 25SECTION MS BOX FRAME SECTION FRAME 25 X 25 MS 50 MMTURN RADIUS TURN 50 MM RADIUS 40MS MM DIAHANDRAIL MS PIPE HANDRAIL 40 MM DIA PIPE 50 MMTURN RADIUS TURN 50 MM RADIUS MM MS PLATE 10 MM MS10 PLATE 40MS MM DIAHANDRAIL MS PIPE HANDRAIL 40 MM DIA PIPE
MM MS PLATE 10 MM MS10 PLATE 125
125 17
60 MS X 40 MMSECTION MS BOX SECTION 60 X 40 MM BOX 30
MM DIA FASTENER 10 MM DIA10FASTENER WITH BOLTS WITH BOLTS
275 50 50
17
275 50 50
6 30
16
16
50
3
3691 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ
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2625
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EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ
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16 15
4O DIA MS PIPE RAILING 4O DIA MS PIPE RAILING 17
17
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720
720
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720
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DR
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150
150
1620
1620
L SECTION ON LANDING SECTION LANDING DETAIL DETAIL SECTION
NO
* All d and * All d ag * Any ten to t * Shu shu and * All l * All l * All t with * Par * All s ser * All e * All d indi refe * For
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60 MS X 40 MMSECTION MS BOX SECTION 60 X 40 MM BOX PRO 150 MM DEEP ANCHOR WITH BOLTS 150 MM DEEP ANCHOR FASTENERFASTENER WITH BOLTS 25 MM GAP 25 MM GAP DRG
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DAT
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07 ILLUSTRATIONS These are a compilation of a select illustrations that I have made over the past few years. Sketching and making cartoons have been a creative outlet for me during the pandemic and I try to add some humor to them to make them relatable. I love working with colours and character designs that tell a story.
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COLLEGE POSTERS Club Orientations
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souMia gupTa soumiagupta@gmail.com | 7700073350