Interior Architecture Portfolio
Srabanti Dasgupta
Srabanti
Dasgupta
Curriculum Vitae
18 July 1996 English Hindi Bengali
Education Kendriya Vidyalaya O.N.G.C. Chankheda, Ahmedabad Kendriya Vidyalaya O.N.G.C. Panvel, Navi Mumbai Cept University School of Interior Design, Ahmedabad
Experience Summer School - Make and Learn Bamboo, Kheda, Gujarat Summer School - Himalayan Raw Architecture, Kathmandu, Nepal Internship at Sanal Thathapuzha Architects
Hard Skills
Soft Skills
Workshops
Autocad 2d
Hand drafting
Wood
Adobe Photoshop
Hand modelling
Clay
Adobe Indesign
Sketching
Textile
Sketchup
Content Writing
Bamboo
1996
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2012
2014
2014
SSC
HSC
CEPT SID
T
Alternative Building Materials Climate Responsive Design Sustainable Buildings Cummunity Oriented Spaces
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W
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2017
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2017
6th Semester
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Internship
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Incremental Housing Institutional Projects Differently Abled Spaces Spaces for the Third Gender
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Space Planning Summer School Basic Design
The Humble Abode
On the Deck of Grass
Harmonium by the Bay
Sloped Interactions
Sporsho
Metal Periwinkle
Residential Studio Space Planning Basic Design
Furniture Studio
Working Drawing Digital Technology
Colour Science Furniture Studio
Untitiled
Sloped Interactions Residential Studio
Diagrams realising the potential of the built. What it can be? How it can be?
Jay Prakash Goenka
Shreekanth Goenka
Being calm in nature, he seeks for peace. Organised, punctual, softly spoken, he has a sense of nostalgia. “Opens into the past”, he seeks comfort into the breathing spaces with ample of natural light.
Particular about his work, choices, schedule, he orients himself inwards. Open spaces overlooking greenscapes appeals to him; spaces that give him the opportunity to stay within as well as gradually open.
Vijaya Goenka
Nupur Goenka
Put into a space, she has a tendency to orient herself towards open, quiet, peaceful & green platforms. She makes sure to spend time with herself. “Open inwards”, she has a very individualistic character who is open to modern ways.
Extrovert & energetic on the outside; introvert when with herself, put into a space she will find her own cozy spot. She orients herself close to her cocoon, anchoring to her nest.
The child becomes a court for all the family members! He induces chatters! He binds all together!
Busy in their own lives, Each family member has developed A particular lifestyle, A particular pattern, Their activities strives to overlap, But they continue to vibrate in their own caves. Their eyes constantly has memories of past. An intelligent & retrospective family which have struggled its way up. In the course, distanced. The air passes through the spaces without catching much of chatters! In such a scene one of them induces these chatters! He becomes a court to which every other orients. He becomes the portal for conversations to flow. Three generations under one roof intersection missing between two. Memories strive to relieve, spaces continues to diverge, eyes expressing lost passions, looking out of the window emotions entangled thinks about one another.
Abstraction of the family members depicting the nature of their relationships and interactions.
Sloped Interactions
Ground Floor Plan
Residential Studio
Section DD
First Floor Plan
Site - Jai Shefali Typology - Row house
Front Elevation
One thing that the built strongly does is orient itself. The built vibrates back & forth by the virtue of transition & location of the open. The containment of the spaces stares directly back at you. The idea is to let spaces leak physically and visually.
The family has 6 members. The present scenario of the house divides them into horizontal slices by the medium of floors. The plan intervenes in the way they interact with each other. Their activities and hobbies corresponds, making it easier to capture and render the spaces with these activities.
Section CC
Section BB
Section AA
PROGRAM Rajan Sir, is an internationally acclaimed artist best known for his works in textiles. Rajan bawa has been the torch bearer for the traditional methods of weaving. He has trained illiterate unskilled women in the art of weaving and has ensured that the torch continues to burn.
“To capture the rawness of his strokes in the structure. To capture his humbleness in the materials.”
Exposed brick
The project aimes at redesigning the workshop and studio as well as adding a retail store to display & sell his works. Dholpur red sandstone
Riverfinished kota stone
Space Planning
DESIGN INTENT The design intended to make a space which looks within itself.
The Humble Abode
It tries to encapsulate 1. Negatives which become axis of movement & points of interaction.
Metal I- section
2. Bawa’s studio which opens towards the workshop & a verandah on the other side. 2.1 A free space under the shade of the tree for bawa’s spontaneous splashy explorations; transforming into an exhibition zone when required.
Tempered clear glass
2.2. A wet area for dyeing & drying of the yarn. 3. A retail space with a cozy gallery, opening towards the courtyard; the core. Recycled wooden doors & windows
Ground Floor Plan
Conceptual Longitudinal Section
Conceptual Transverse Section
The Humble Abode
Space Planning
First Floor Plan
Second Floor Plan
One of the key factors in this project is the human attitutes that is to be housed inside this abode.
The site houses a fully grown neem tree. The spaces are an after effect of the carved void by the virtue of the extent of the branches. The tree is plotted branch by branch and the design takes care of keeping it intact.
1. Bawa is inseparable with the workforce with whom he jokes around. It is important to preserve this interaction. His studio opens up to the worshop from all sides.
2. The women of the workshop works like a family. It is a place where they share their happiness and sorrow with each other. Therefore it is important to encourage these spontaneous conversations for a healthy work environment.
3. The project strived to be inclusive. Making a friendly environment for the differently abled; making the experience as intimate as possible. The basic necessities made sensitive towards the user is one of the key focus points.
“Trees tell stories If not from them you may hear some under them.�
Each loom constitutes a heavy beam onto which the yarn is rolled. Therefore making it mandatory to look into the picture of the warping process in detail. The installation of beam accounts for wider circulation zones; clear and distinct paths.
The handlooms, originally handmade by master craftsmen, becomes the furniture to work and sit on.
Site Model Site Context Old city, A'bad
Site Garden near amul, Loyola road, A’bad Area
Sporsho
44 m * 27 m
Space Planning
Program Centre for children 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
Children library (age 3-9) Toy library (age 3-5, 6-9) Science room (3-9) Arts & Crafts room (6-9) Outdoor hobby area Administrative office Multipurpose room Faculty room Children toilet block General toilet block Pantry Parent waiting area
Scale of the user and response of the built.
Visualisation of the void. The cozy onlooker’s cave.
DESIGN INTENT The design intends to accomodate the user group. Scale becomes the key factor to be addressed. The form took a simple shape. Linear rectangular horizontality spanned across the site, making the scale more relatable to the user group. The idea of a void is very predominant in this project which aims at providing an interactive envolope that connects all the layers. It gradually moves up and down; bent around the built seeking openings to look into the spaces, thus making the built itself playful and interactive. The name ‘sporsho’ derives from bengali, meaning ‘sparsh’ in hindi & touch in english.
Intimacy and outlook to the open enviroments.
In an institution there are multiple zones of interaction in physicality as well as visual proximity, which changes with varying age groups.
Visualisation of the built through sections.
Entry The entry is placed along the longer side of the site, towards the access from the road to emphasise the horizontality of the building.
Sporsho
Materials
Space Planning
A lot of spaces which needs more informal interaction is stripped off the furniture which accounts for the wooden flooring in such zones. The entire structure is made of metal frame structure and wooden planks as enclosures and partitions. The slabs are a sandwich of kota stone laid onto the metal frame, topped with a layer of BBCC and PCC, then topped with the flooring material which is kota stone & wood, at various spaces according to the functional need. The passages are surfaced with riverfinished kota stone to provide friction to the movement of the user to avoid accidents. The rest classifies under mirror finished kota.
Transverse Section
First Floor Plan
Ground Floor Plan
Tucked away in a small village, Mehlej, we began our humble attempt to understand and play with the endless possibilities of bamboo. We explored bamboo, in its properties and behaviour. We tried to make various joints & joineries along with experimentation in the lashing technique. During the 15 days, we designed, detailed & finally built a 15 feet high bamboo structure. What’s more we spent the 15th night on it!
On the Deck of Grass
Summer School
Site Kheda, Gujarat Course Make & learn bamboo Hands on workshop
THE BAMBOO BENT CHAIR It is an exploratory chair which involves methods of bending bamboo strips with heat. The strips are bent around the vertical members which serve as the structural members as well as a farma for achieving a particular form. The members are secured with the strips with GI wire. Tension is added with a rope before taking the vertical members out of the sand.
Stage 1
Stage 2
Stage 3
Stage 4
Foundation
Installation of the columns
Fixing the cleats
Fixing the tie members
“Struggle brings Humility Humility brings Sensitivity Sensitivity brings Consideration.� Plastic buckets were used as formwork for part of the footing above the ground. Gusset plates were anchored into the concrete.
Twin bamboo members were selected and assembled for the columns using nuts and bolts. The gusset plate was attached to its base as a fixing detail with the footing.
Cleats were made with a slant cut edge for a merging aesthetic appearance and were fixed to the columns, as a seat for the lower tie members.
On the Deck of Grass
Summer School
Digital visualisation and simulations of the design.
The lower tie members were fixed with nut and bolt and lashing was provided with a layer of araldite adhesive (used as a fixer).
Stage 5
Stage 6
Stage 7
Stage 8
Stage 9
Installing the beams
Fixing of bracings and joists
Installing the deck and railings
Fixing the roof structure
Installation of canvas roof
“You can always Do more Improvise Modify and Experiment It is an endless process�
Similarly the twin membered beams were fixed to the column. All these members were made with onsite measurements for ensuring a perfect fit.
The joist structure for the deck was put in place and fixed.
The railings were fixed with a similar cleat detail.
Bracings were provided to counter the wind force and torsion.
The deck was made in two parts and installed.
The roof members were fixed onto the structure and an overhang was provided on all four sides. A lightweight removable bamboo ladder was made.
A light weight canvas membrane works as a roof that was installed after the completion of the project due to time constraints.
Brief
Metal Periwinkle
The design exercise followed some simple steps to achieve organic forms and interesting spaces
Basic Design
1. 2. 3. 4. 5.
Simplification of natural form. Exploration of figure-ground relationships through Gestalt principles. Evolution of motif and its tessellation to create 2-dimensional composition. Creation of two dimentional grid based on selected composition and exploring the underlying geometry. Three-dimensional spatial explorations of grid within given volume.
Exploration of natural forms - Understanding space and order.
“Nature never fails to surprise It contains all the answers in forms unknown�
Perwinkle attracted me because of its rhythmic and structured form. The leaves spiralled its way up originating at various points. The grid took a linear pattern cut across, by diagonal lines with intermediate semi circles. The grid with alternate cuts across the lines formed triangles, creating interesting curves when folded. The planes stretched to meet each other forming waves & cozy cavities. Strangely enough the resultant form carried the characters of periwinkle - Structured, Firm and Rythmic.
Resultant space - Spaces of twisted swirls.
Brief 1. 2. 3. 4. 5.
Selection of an instrument. Understanding it’s working in terms of plans and elevations. Studying the various postures and drafting out the methods of playing. Restrospect on ‘ What a nest is? ’ using collages as a tool. Slicing a thermocol mass using only 4 cuts. Sliding & shifting the volumes obtained to get various intersections and volumes of spaces.
“ A h u m b l e a t te m pt t o u n d e r s t a nd r h y t h m , s p a c e a n d o r de r t h r o u g h m u si c
Harmonium by the Bay
Basic Design
which is understood enjoyed a n d a p p r e c i a te d universally. “
The spaces were progressive in their order of emergence spiralling their way up towards the centre.
The built was located on an imaginary sea shore.
“The mu sic ian cont empla tes w ith the sound o f waves hitting th e ro cks an d the w ind blo wing w hich p asses thro ugh his compan ion with who m he ta lks, medita tes, d a nc e, p l ays and figh ts with “
Site Vente Villa. Thaltej Brief The semester focused on Bathroom and Kitchen Design and developing working drawings for the same.
Working Drawing
Working Drawing
Digital Technology
Brief Design a studio apartment for youself. Dimension 12m*6m*5m. Software SketchPro
Brief Draft a section of a building and render it accordingly. Software AutoCAD for Drafting Adobe Photoshop for Rendering
Type Bar stool Material Teak Description Some modifications to the design is made. The legs are symplified to continuous straighter sections. The seat gradually tapers inside as it moves towards the back of the stool. The legs are crafted from burma teak and the seat from ghana teak. The legrests are attached to the legs with tongue & groove (a tight fit + fevicol). The legrests are attached at different heights to keep the strength of the main structural frame intact. The seat is made in two parts fixed with headless nails and adhesive to each other. The entire seat is fixed with wooden dowels to the upper tie members. The rear vertical members continuous to become the support of the handrest which is again attached by tongue and groove. After assembling all the parts, the stool is sanded starting from low to high grade GSM sandpaper. Lastly, the stool is finished with a mixture of kerosene and matt PU coating .
Furniture Studio
Type Outdoor chair Material Stainless steel Plywood Foam Upholstery Description The legs are made of stainless steel hollow pipes bent according to the design.
Furniture Studio
The frame is made in 3 parts Two V’s are welded together to form a X which forms the substructure of the chair. The V shaped backrest is then welded onto the lower end of the X member. The frame is then buff grinded to achieve mirror finish. The seat is formed of plywood topped with foam of two densities stuck together with resin adhesive and then covered with the upholstery and stitched to seal the edges. The planks for the backrest are made in a similar fashion. The planks are then screwed to the frame. Rubber Stoppers are added to avoid friction and sound.
Part 1 : Colour workshop The worshop aimed to touch upon Colour and Intuition The exercise aimed at identyfying particular colour choices based on an intuitive approach through representing folk music through colours. Colour Science Understanding of colour vocabulary along with colour relationships and their applications. Colour and Light Use of a miniature light box and seeing the colours in the different light conditions Colour Trends Presenting a social trend through a mood board. Colour and Culture Depicting the identity of the state through photo collage, then working out an abstract colour palette of the state. Colour and Form How colour changes with form; how colour changes the form through impressionism paintings. Colour and Space Expressing moods through colours in a 20 cm x 20 cm x 20 cm cube. Colour and Application Application of paint and wood finishes.
Colour Science
Part 2 : Museum of colour science Form derivation The form is achieved through the subtraction process to create a play of mass and void thus formulating the spaces for the gallery. Brief The building itself explains the principles of colour science. The dawn of rods and cones The spaces are articulated to narrate back the stages of colour perception from the start of it. The journey start with a black double height space. It continues to depict the start of the perception of greys, reds, oranges, yellows, greens and ultimately blues. The columns being the last space of the gallery is an installation depicting tints, tones and shades.
Conceptual physicality of the spaces and facades depicting the colours at play with light and scale.
Volumetric visualisation of the gallery.
Untitiled
KATUM KUTUM Blending three art practices: Art of found objects, wood craft and contemporary toymaking with a fusion of various techniques, this workshop borrows its name from Katum Kutum, a term coined by Abanindranath Tagore, which means ‘crafted using found objects’. Materials used 1. 2. 3. 4. 5.
Bamboo Terracotta clay Waste wood Scrap metal Found objects
Untitiled
Square in a square The installation is made of aluminium hollow box sections. Each module is made of 4 members. Wooden pieces were inserted to the edges of these members to screw two members together. The modules are attached with a hollow cylindrical pipe again inserted with wooden pieces to hold the screw. The graphic was inspired by the forms and structures scattered all over CEPT campus. Lastly, a mirror was mounted to increase the illusion. Wood Worshop The geodesic dome was made as a part of wood workshop. Each participant contributed 2 pieces of wood turnings done on leth. The structure was assembled with these members using metal connectors, fixed with nut and bolt.
Construction Technology Site Bungalow no. 1111, Devji Saraya ni pol, Manekchawk, A’bad. Description Section through the main door.
Untitiled
Sanal Thathapuzha
Krishna Shastri
Amal Shah
Rachita Sareen
Nikita Rungta
Kireet Patel
Ramesh Patel
Mridul Mitra
Aparajita Basu
Kamalika Bose
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Niyati Patel
Manisha Basu
Nikhil Agarwal
Shruti Tamboli
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Parantap Bhatt
Hamid Raj
Jay Thakkar
Rishav Jain
Shehzad Irani
Vishal Mehta
Aditi Vashisht
Komal Dighe
Rahul Mukherjee
Piyush Patra
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Email ID - srabanti.gupta.bd14@cept.ac.in Contact - 9099499157
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