Subu bhandari portfolio by Subu

SHUBHEKSHYA (SUBU) BHANDARI Architecture Portfolio

CONTACT INFORMATION ADDRESS | 9429 TRAILS END ROAD, KNOXVILLE, TN 37931 PHONE | 865.312.4728 EMAIL | SBHANDA1@VOLS.UTK.EDU

SUBU BHANDARI | LIFE ABSTRACTION Montage: the technique of combining in a single composition, pictorial elements from various sources to give the illusion of belonging as a whole. 0.0 miles | We raced free through a road less jungle careful not to grab the attention of hungry leeches. It was Saturday and we cared not for the polished shoes, or the crisp school uniforms. All we wanted was the tea throne. A rare tea bush in the center of the helipad whose branched opened outward welcoming the winner, the daily heir. 8100 miles | I laid on my moms lap gazing towards the dark sky blanketed with stars. The humid air had engulfed my fragile frame welcoming me to the land of the free. 651.9 miles | I now long for the moments of faint eagerness when I laid motionless in the back right side of my dads Toyota Camry gazing out onto the mountain less terrain absent within the narratives of my creation. Are you going to die?â&#x20AC;? - They all asked. Nothing but fear was racing inside my mind as we wear headed towards Ardmore Oklahoma, located within a tornado alley. 743 miles | My identity was missing. I became my own melting pot absorbing the environments I encountered, yet I lacked a sense of context. Accustomed to saying good byes, I developed a habit of temporary. 7918 | My emotionless persona evaporated at 18 as I was welcomed by the unfamiliar comfort of family. I discovered my oasis, my identity, in Galkot, a district in Nepal untouched by the degradation of modern technology. Winding pathways, overlapping elevations, layers of rice patties, and the faint smell of burned corn, revealed the beauty that flourishes in the bare and a new focus. The montage becomes my story as fragments of memories overflow the page creating a unique narrative of personal significance. I currently claim myself a student of design through the voice of fiction. The appreciation grows for the capability of one to first construct a unique setting with conditions in which the building itself becomes the exposition to an endless, (weird), futuristic, fiction.

SHUBHEKSHYA BHANDARI

EDUCATION

sbhanda1@vols.utk.edu | 865.312.4728 v I am a third year architecture student at the University of Tennessee. I am looking for an internship for this summer to expose myself to the realities of architecture, yet maintaining my investigation to challenge the established boundaries yielding new design conditions. University of Tennessee, Knoxville | College of Architecture + Design | Year III

INVOLVEMENT

Member of Construction Specifications Institute Member of UTNSA (University of Tennessee Nepali Student Association) Recipient of Mildred E Doyle Scholarship, Hubered Bebb Scholarship, LLC Peer mentor scholarship, Knoxville CSI Chapter scholarship. Tau Sigma Delta, Beta Chapter Deans List

College of Architecture + Design, Administrative Office | February 2015 - Present Student assistant in the administrative office. I work closely with Scott Poole, dean of the college as well as Amanda Johnson, Director of Communications in designing presentations, banners, and graphics for the college.

Theodorus Chapter of Alpha Rho Chi | Vice President | 2016 - Present One of the twenty founders of the Theodorus Chapter of Alpha Rho Chi, a Professional fraternity for architecture and the allied arts. Our goal was to start a new culture within our college to close the gap between different years, and majors.

Theodorus Chapter of Alpha Rho Chi | Recruitment Chair | 2015 - 2016 Successfully organized a two week recruitment series, that involved many professional, philanthropic, and brotherhood events that resulted in 12 new recruits.

American Institute of Architecture Students | Media Coordinator | 2015 - 2016 Member since 2015, and on the board for the 2015-2016 school year. My responsibilities was to inform the general public about AIAS events through social media.

Construction Specifications Institute | President | 2014 - 2016

Member since 2014, and on the board since 2015, we have helped strengthen the presence of CSI within our college by informing other students about the importance of specifications. We help organize events relating to the realities of building design, as well as provide a network system for students.

Design Living and Learning Community | Peer Mentor | 2015 - 2016

SKILLS

Served as a mentor helping First year students transition into the Architecture program. I lived in the same dorm with them, and was a support line at all times.

Photoshop Illustrator InDesign Premiere Pro Acrobat Revit

AutoCAD Rhinoceros SketchUp Fabrication Microsoft Grasshopper

SELECTED PROJECTS B.ARCH 2015-2017

ARCHIVAL SUBCONSCIOUS A Self responsive and adaptive system generated by mapped human brain reactions.

ARCHIVAL SUBCONSCIOUS |FALL 2016 | M. STANLEY An investigation revolving around human reactions towards daily interactions, and the “black box,” a ten second span of uncontrolled and forgotten conditions. Blur, in relation to memory, is defined as the realm of uncertainty regarding all connections made during our lifetime. Blur Squared harbors the recalled memory. They are the significant moments in our lives. Blur Cubed, the last layer of memory is defined as the outside influences, both truth and lies that shape our understanding of a few of these “moments.” The introduced project required us to design an archive that sat on Pier 57, on the southwest edge of Manhattan. It hovers over the High-line, attracting wanders who just want to focus on their higher surroundings. With my base concepts of “Gravitation towards Danger”, “microscopic flesh”, and “control with consent”, a blur was created highlighting human tendencies and studying reactions that are ongoing within the blur.

Pier 57, located on the eastern boarder of Manhattan island, became the site for my experiment. Using the massive population that uses the high-line, a space was created for those who enjoy the nature of uncertain danger. The site plan shown, express my intention for a space with a dual relationship between the subconscious and the unconscious that continues the fluid movement offered by the high-line.

PIER 57 | GRAVITATION TOWARDS DANGER NYC High-line

Gravitation Towards Danger The maze is camouflaged within the repetitive grid. The subconscious stays subdued in reaction to the multitudes of cityscapes. The archive not only attracts those interested in the unknown, but it becomes a safe space for one to wander within a camouflaged maze.

HIGH-LINE PERSPECTIVES

A exploration into the floorplan and its arrangement in relation to the microfiber shell. The sequences show how the opposing components are in dialogue with one another, connected visually, and technologically through the wires that transmit subconscious data. The space circled in yellow is the centeral data overload chamber in which visitors is presented with a overwhelming amount of visual images. The space tests the limit of reactions, while also examining any relationships between brain reactions and image subjects.

SEQUENTIAL FLOOR-PLANS | LAB + DISPLAY

In attempt to connect with the high-line a green way path was extended to attract those connected with the projection. The perspective not only shows the final stage of the experiment which is projection of memories and dreams, but it also shows a theoretical system of data transformation. Users, as they sit and wander through the space, certain data is extracted from them, whether it be hair DNA, or the foot pressure they place on the pathway.

DREAM+MEMORY PROJECTION

A typical scenario would involve a spectator following the presented sequence within the gallery. They would absorb the images that are projected within their sight. Their brain + heart reaction would be recorded through heat and x-ray sensors and archived. Through the fiber-wires, the information is analyzed through the laboratory allowing the possibility for human dream and memory projections. The scenario shown depicts a moment within the gallery, in which characterâ&#x20AC;&#x2122;s body reactions are being recorded.

MICRO-DISECTION PROCESS

ARCHIVE SEQUENCES section cut of sequences showing moments of extraction, and transportation of data.

a maker space for rapid prototyping, and a culture of transparency

VIDEO-NEST

VIDEO-NEST | SPRING 2014 | K.AMBROZIAK A solemn space for prototype, the “Video-Nest” became the common ground for those inspired by doing, and making no matter the background. Madison Bowl, located within UVA became the home of the nest. Initial goals became to bring together the different neighbors surrounding the site. One side of the site was bordered with fraternities, while the other housed a art museum, and the architecture building. Madison Bowl had the potential to become a melting pot for those with the passion for making. One of my main goals was to provide students with a multi-story space with fluid plans to engage all types of students. In addition to the maker-space workshops, the “video-nest” also houses, a library, a small gallery, and a cafe, with hopes to inspire those who might not have connections to the arts. The “nest” was a attempt to bring a new culture within the campus of UVA. A culture where students are not trapped within their computer screens, but go out and prototype their creations, and share it with the world.

Early interests in the creation of a nest influenced a ribbon like form with â&#x20AC;&#x153;ribbonsâ&#x20AC;? that weave within one another while changing its purpose. After initial models, the question evolved into the realistic functions of the spaces created by the curved ribbons.

PRIMARY INVESTIGATIONS

The idea of open and transparent spaces was a major aspect of the design. Not only was the intention to provide facilities to students, but to use the architecture to display their investigations and methods. The upper level includes a lofted space the overlooks the workshop. Below, the actual space for creating is within a dome like space that welcomes sharing of ideas, and methods.

MAKER-SPACE PLANS Street Level Plan | with roof overlay

Street Level Plan | with roof overlay

A nest was created with the metaphor of having a space in which ideas can be born, nurtured, and trained of until it was ready to be shared with the world. For a welcoming attitude, the maker-space “grows” from its surroundings by weaving or reflecting its natural counterpart. The “ribbons” become identity changers as they transform from walls, into domes. The Video-nest not only serves as a tool for creative individuals, but also frames the interior activity with its translucent barriers.

MICRO-DISECTION PROCESS

A interior perspective of the workshops showing different types of uses. While the plan remains very open, slight changes in elevations separates different uses. For instance, the ground floor has a computer lab, that hovers slightly above the stages.

WORKSHOP SPACE SEPARATIONS

IDEALISTIC CONSTANTS | SPRING 2017 | B. AMBROZIAK This research has evolved into becoming a narrative about cultural changes, cultural constraints, and the constants that blend within a developing society. I am challenging the connotative definition of grotesque from a “horrible” perspective, to a term that can describe the domestication of landscapes, societies, and anything not “normal.” My abstraction has developed into the domestication of landscapes and daily man-made changes intruded upon that natural landscape. An attempt for a utopia that seems to be the unattainable goal. This manipulation of the natural might be defined as “grotesque” itself. The potential and the spacial consequence of this investigation moves into the question of a architectural constant that adapts to changing societies in different ways. A counter attack to perception of spaces and a unnatural way to approach spaces.

BLURRED BIO-POLITICS The client becomes the focus, as we create spaces that makes one hyper-aware of their surroundings. Within the monochromes society, small alterations of reality are distinguished and the slightest changes are judged. The rendering depicts a space in which the macro scale is dissected down into its pure essence. To strip one of their judgment, and to create a space where new definitions of experiences are created.

This investigation began with an idea of a ever-changing landscape whether it was natural or manipulated by man. I focused my horizon on two forms of ideal. One ideal is the ideal of Japanese sand gardens. Their form of perfection is recreated daily by raking the sand multiple times. The collage shown depicts two men not only raking patterns upon an assumed garden but also raking the Utopian connotations of an American grid. The second ideal is the natural. I compared zen gardens to the landscape of the desert, a continuously changing topography that re-masks its veil regularly. Within these two forms of change, and ideal my focus became the constants, which I define as the moments that remain the same within a dynamic environment.

MICRO-DISECTION PROCESS

Ongoing investigations : The problem and conflict challenged is architectureâ&#x20AC;&#x2122;s never-ending failure to achieve utopia. A potential solution is to create a constant that remains mono within an adaptive community. The architectural reality I am trying to propose addresses a constantly changing environment while creating a well balanced constant on the inside that remains reliable.

ENVIRONMENT EVOLUTION

Grasshopper was used to transform a landscape into a map showing movements throughout time. One set of points established key pressure points, this could represent moments of high elevation, or intersections within the city. Another second set of points determined “bubbles” or “centers” in which solitude would remain. These spaces represent the “eye of the storm,” a stamp of the time.

CENTRAL CONSTANTS

I spent one month in Nepal over winter experiencing my culture through a designers eye. My first time traveling after my experiences as a design student was contrasting in terms of my focus and analysis of the spaces I entered. Most of my time was spent in Kathmandu and the disarray nature of its elements. My focus early on became the small moments of purity. These moments show the frequent overlooked beauty of Kathmandu. Typically depicted as a polluted, and lawless space the moments that follow show the beauty of singular moments and the unexpected reality that follows.

CAPTURED MOMENTS + RESPONSIVE NARRATIVES

Narrow pathways and a massive accumulation of foot traffic in the heart of Kathmandu brings better opportunity for moments like this to occur. A split second in which the noise of humans is drastically muted and ones attention is veered towards the framed image created by towering antique architecture, and, much like the nature of Kathmandu, the tangled wires.

CONSTRUCTED FRAMES| KATHMANDU

A landmark of the past and a symbol for the present. The Boudanath Stupa becomes a local sanctuary. No matter the background, those under the shadows of the stupa believe in piece, and respect. All circumambulate around the stupa, all are quiet and solemn because, at that moment, they are not the greatest.

HIERARCHIES

A rare moment of piece and beauty within the chaotic nature of Kathmandu. A biker rides solo outside the city in hopes to escape its demanding grasp. A rare moment where the sun-rays touch the pitched road directing ones view in attempt to distract from the pollution. One would never expect that behind the turn, a traffic jam awaits.

PURE MOMENTS

Numerous vending stalls populate and abandon this temple entrance daily. For survival, many people must travel long distances, sacrifice happiness and freedom, to assure their kids of a better future. The owner of this stall walks three miles daily to set up her stall. Her sacrifices are justified through the education of her two daughters who she hopes harbors a brighter future than her own.

NOMADIC LIFESTYLE

A single bell rings and vibrates, standing out among the hundred that follow. One single vibration symbolizes a granted wish, a sorrowful mourn, and a peaceful thanks.

A SINGLE BELL