Vishal Mistry 1
The Taurini Shrine - Page 10. A close-up section from the building revealing various functionality through fragmented architecture., showing the Taurini in action. 2
Contents
Curriculum Vitae Page 4
The Body Agent
M.Arch II Research project Pages 5 - 9
The Taurini Shrine M.Arch II Thesis Pages 10 - 17
Factory of the Future M.Arch I Thesis Pages 18 - 25
The Evolution of Panoramic Perceptions M.Arch II Dissertation Pages 26 - 27
Unite
BA III Thesis Pages 28 - 31
LUSH Projects
Professional Experience Pages 32 - 39
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Profile I am an ambitious and driven person who has developed a passion for completing tasks to the fullest detail. From a young age, I have been known to challenge the thoughts of others and express these ideas through drawing and making. This ability has allowed me to understand that as a generation, we are not surrounded by problems, but more so by solutions. It is our duty to devise and pick the right ones.
Vishal Mistry
Work Experience
Part II Architectural Assistant
Part I Architectural Assistant - Hyphen Nov 2016 - Aug 2017 & Jun 2018 - Sep 2018 Working with the retail giant LUSH towards establishing their new branding plans throughout stores around Europe. This includes refurbishments, remodels and complete refits for new stores, for which require planning applications, feasibility reports, design and furniture drawings packages which were prepared for various tender procedures. I have participated in each of the RIBA Plan of Work stages. Most recently, I worked on LUSH’s new flagship store in Liverpool during stages 4 & 5. Measuring 1,380 sqm, the new conceptual store and spa experience aimed to restore former glory to a historic building. I worked on the spa area which required a high attention to finishes.
Personal Nationality: Languages:
British citizen English
Graphic Designer - Silent Sentinel Jun 2014 - Oct 2015 Developed specific datasheets, graphics and videos used to market each new product. Using Adobe Creative Suite programs such as Photoshop, InDesign, Illustrator and After Effects, I have put together over 100 detailed datasheets of a high quality, ready to print, publish online and send to clients, as well as promotional videos and graphics.
Contact Website: vishmistry.wixsite.com/arch
Education Master of Architecture ( Part II ) - Distinction University of Westminster, 2017 - 2019
Achievements
During my final year, I was enrolled in Design Studio 25 which focused on ‘Body Architecture.’ I explored expression through materiality, which allowed me to develop elements of a ‘bizarre’ fictitious world. This led towards creating a programme proposal consisting of an architectural eclecticism with the several design languages analysed and produced within the investigation. My dissertation focuses on the contemporisation of the painted Panorama and how present day media relies on its fundamental principles. I visited the new panoramic instances to compare and examine against its original counterparts.
Award for volunteering in the academic peer mentoring scheme 2016 Recieved the Kent Scholarship for academic excellence 2013, 2014 & 2015
Bachelor of Architecture ( Part I ) - Upper Second Class Honours University of Kent, 2013 - 2016
Various drawings displayed at Westminster’s OPEN2019 & OPEN2018 and the Kent School of Architecture final shows in 2014, 2015 & 2016
Throughout my time at Kent, I had been encouraged to learn in theory through critical analysis of design and historical movements, and in practical application through urban or rural strategies, design and the adaption of old buildings. As well as establishing my drawing skills, I frequently used programs such as Autocad, 3DSMax, Sketch-Up and the Adobe Suite.
Bronze Duke of Edinburgh Award, 2011
A-Levels & BTEC Extended Diploma The John Warner Sixth Form, 2011 - 2013 BTEC Extended Diploma in Art & Design - D* D* D* English Literature - C
Interests
References available on request
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Skills
CONFIDENCE LEVEL
Building computers Mental well-being Table-Tennis DIY Projects Travelling Sketching Football Cricket
Microsoft Office Adobe Photoshop Sketch-Up AutoCAD 3D Studio Max Adobe InDesign Adobe Illustrator Adobe After Effects Vray Rendering Rhino (simple) Revit
12 years+ 10 years 10 years 5 years 5 years 5 years 5 years 2 years 2 years 1 year 4 months
Academic - M.Arch Year II Research
ma te ria l
[concrete]
[barry X ball]
precedent
[rough, cracked]
[rounded, smooth]
[young, fresh]
[wise, aged]
[pure, innocent]
[evil, suspicious]
[naive, intrusive]
[quiet, sneaky]
[knowledge, leader]
The Body Agent M.Arch Year II, Semester I
This project investigates how materiality could express qualities as expressions and character, which then expanded to exploring sensitivity and personality through materials, derived from Barry X Ball, Carlo Scarpa and Carlo Mollino. Through utilising qualities of the ‘bizarre’ and fragments of different architectural languages, the body agent, ‘Deus Sensuum’ was formed. Known as a god of the senses to its cult following, the spiritual being can store and record scents.
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Academic - M.Arch Year II Research
[barry X ball]
Following the sketch exploration of senses expressed in materials as characters, I decided to focus on the nose; a facial feature that does not easily show understandable expression, but can be assigned characteristics by shape. Smell is also a sense that is difficult to record and recite. The end result left a very delicate plaster nose which almost alludes to the CNC carved faces of Barry X Ball.
[plaster cast from acrylic mould]
[carlo scarpa]
The result showed strength and solidity to the form, but also a rich variation in colour with a very gritty rough feel. Scarpa’s use of exposed materials such as concrete emphasised acts of framing, focusing, and emphasising connections; glorifying simple planes; and declaring the depth of construction by cutting its edges. The types of materials that could interact with the concrete and the connections they could have could attribute to potential function and bring a new characteristic trait to the rough exterior.
[concrete cast from alginate mould and clay model]
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Academic - M.Arch Year II Research
guides direction to the centre point of the nose to value its significance
reinterpreting layered features and openings to create strength whilst maintaining intricacy
record and store scent
Concrete cast nose, plastic nostril tubing, wood scarpa-esque body and a slot-like component connection. The physical manifestation of the body agent begins to convey the bizarre nature of the concept through materiality. Using this I wanted to explore its characteristics, attitudes and traits and understand what its striking image could represent.
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Academic - M.Arch Year II Research
movement i // [rig] - [flexibility] - [attitude of character] - [conflict of materiality]
movement ii // [sliding plates] - [rigidity] - [robotic nature] - [rationality]
s mell // [bloat] - [power of sense] - [scent archiving] - [trigger] Having modelled in 3DSMax, I used different techniques to create movement and expression within the body agent. I wanted to see how the body agent would articulate itself and use its materiality to allow for movement or flexibility.
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The body agent as an architectural proposal could be a symbol, godly and monumental. It could act as a scent hub in a secluded area, where new and old scents can be stored or retrieved. The scents could be infused into the concrete and rise creating clouds.
Academic - M.Arch Year II Research
Palimpsest mapping - Plotting a reaction to the site based on the senses - how the body agent would experience the site. Clouds of scent, sound-waves, paths of activity, speed of movement, stationary activity nodes and viewing directions and neglected spaces.
Porta Palatina, Turin
A filmic representation which aims to explore the interests and the characteristics of the body agent, with a view to understand how the body agent could possibly impose itself within a site of rich history.
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The Taurini Shrine M.Arch Year II, Semester II
This proposal aims to bring elements of a bizarre fictitious world to ‘our’ reality to reveal the ways of a mysterious ancient culture within a site of great history. Based in Turin, the body agent ‘Deus Sensuum’ has returned to the site of the Palatine gate where his cult followers, the Taurini, were defeated in battle by the Ancient Romans for what is now modern Turin. Deus Sensuum can record and store scents, reading them as memories. Still full of anger after 2000 years, it plans to return to re-establish the cult on the land that was rightfully theirs. Through the creation of a new shrine, the Taurini cult can grow again and come out of hiding. Through the initial investigations which developed the body agent, it could be seen that the building proposal would be formed through symbolic fragments, with each fragment utilising a different architectural language derived from the development of the investigation. Fragments utilise aspects of intricate Scarpa interventions and castings, Taurini weaponry used to fight the Romans and classical elements inhabited by the presence of the See Contents page for a closer view of the Taurini Shrine.
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body agent. Overall the building will present an architectural eclecticism. The building will have multiple purposes; firstly, to educate and allow people to explore the Taurini culture. Secondly, to re-establish the Taurini cult in the site where they rightfully belong. Thirdly, to be provide an ‘uncanny’ portal - being a tourist information kiosk when you initially enter. As a result, the proposal becomes a reflection of the existing Roman gate, suggesting the notion of re-writing history, to impose itself in Turin once again. Through the weaponry fragments, historical elements of the site are framed with the intention to be ‘visually’ attacked and de-constructed, being revealed through reinterpretations of various Taurini weaponry mechanisms. The combination of fragments overall creates an unusual experience which aims to engage with the senses, with highly contrasting spatial zones and activity. I explore the initial establishment of the proposal and how by using the senses, the Taurini plan to throw an event to draw interest into the building.
A manufactured soft machine/creature made by the Taurini cult. It inhibits the spirit of the Deus Sensuum to bring it to life. They release a powerful scent and fly back to the shrine, leaving a trail of the most convenient route for the public to follow.
Using openings in the building, the proposal aims to frame the historical elements of the site. The aim is to ‘visually attack’ the gate through the architectural presence, by symbolically taking the land back.
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Front elevation of the building, the main approach from the public led by the scent trails. The elevation portrays the eclecticism of the faรงades symbolic fragments derived from development and research process. 12
The main shrine - a place to worship Deus Sensuum built as a replica of the destroyed ancient shrines of the original Taurini. The Taurini extract scents from the Taurinoses and it infuses within the concrete mass. 13
Academic - M.Arch Year II Thesis
The bizarre portal - entrance to the ‘tourist information centre’. Tourists are greeted by the Taurini, with the space filled with Taurini relics. The scarpa-esque concrete carves a void filled with light leading to the next level in the building.
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A section through the main shrine, also showing access through the shrine to the ballista platform. The Taurini wear long robes and masks of Deus Sensuum to hide their identioty among the public, fearing they will be attacked.
Academic - M.Arch Year II Thesis
The entrance derives from film narratives such as Alice in wonderland and Stranger Things where an ‘uncanny’ portal intrigues the viewer.
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2
Utilising a scarpa-esque language involves a degree of intricacy between the different fragments to contrast between its bizarre aspects. The use of the the stepped concrete carvings direct importance and create mass throughout the building which harnesses the infused scents collected by the Taurinoses.
1 Ground floor 1 - Entrance to the bizarre 2 - Tourist information centre 3 - Stairs to the Shrine 4 - Scent garden
The Taurini utilise many mechanisms from their ancient weaponry, such as the large crossbow, to create interactive elements which reveal historical fragments within Porta Palatina.
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2 First floor 1 - Entrance to the crossbow viewing platform 2 - Stairs down to the Taurini Shrine entrance 3 - Entrance to the Taurinose manufacturing room 4 - Concrete stair circulation to second floor 5 - Timber stair circulation to second floor
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Academic - M.Arch Year II Thesis
The ballista mechanism relies on tension. By repurposing the exisiting mechanisms, a pulley system was formed. Through interacting with the ballista columns, the next historial fragments reveal themselves.
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The launch pad for the Taurini to distrubute the Taurinose and create scent trails to attract new visitors that they can educate about the culture. The form of the third floor combines all architectural languages seen throughout the building.
Academic - M.Arch Year II Thesis
Second floor 1 - Concrete shrine stairs leading to interactive ballista platform 2 - Taurinose manufacturing room second floor 3 - Interactive ballista platform 4 - Stairs to the nesting dome / Taurinose launching pad
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1
3 4
Third floor 1 - Entrance to the Taurinose lauching pad / nesting Dome 2 - Access to the Taurinose transport wheel
The idea of mirroring the gate facilitated ideas of reinterpreting classical architecture, and thus formed the ‘bizarre captial’ as an act of intimidation to newcomers within the shrine.
1 The ancient catapult had mechanisms extracted to form a human wheel powered retractable slingshot. Using the windows in the roof, the Taurinose can be launched to pinpointed locations around Turin. The Taurinose are transported from the manufacturing room to the dome using the wheel.
2
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Academic - M.Arch Year I Thesis
Factory of the Future M.Arch Year I, 2018
Revitalising the industrial community in Sheerness An environmentally sustainable factory settlement The UK and various countries around the world heavily rely on exporting large amounts of waste to China for it to be recycled and processed. As of 2018, China have announced they will no longer accept foreign waste. This mostly affects plastic waste, with China looking to upgrade other industry sectors, thus leaving many countries with a no solution to dealing with large amounts of waste other land by creating more landfills. The UK has also recently faced many troubles within the Steel industry, with many mills having closed due to being out-priced by oversea producers, thus leaving thousands of workers without jobs. My project aims to find a solution to both problems by using former steel production sites as grounds for development of plastic recycling facilities. These facilities would aim to re-use as many of the
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historical and industrial features of the site and aims to create an environmentally sustainable settlement for the families working in the factories. The plastic recycling factory brings in waste which will utilise ‘waste to energy’ to power facilities in the site through combustion. The majority of the plastic waste will be sorted, processed and formed to create new building components. These building components will be utilised around the site to create residential and commercial facilities. The narrative focuses on Thamesteel in Sheerness, where closure affected many local people who had moved there for work with their families. We follow a former worker, Shaun, as he is offered a chance to work within the new factory and therefore create a new start for his family.
Academic - M.Arch Year I Thesis
The beginning of change - Steel workers and Plastic recycling company executives look for opportunies for development within the existing Thamesteel site plan.
The proposed site plan and the new settlement. The new site encorporates a sustainable living environment with factory worker housing, allotments and waste to energy power.
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Academic - M.Arch Year I Thesis
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Academic - M.Arch Year I Thesis
The new start - A former steelworker and his family arrive at their new home within the settlement. Perspective view from outside of the towering shared unit spaces.
A sectional perspective of the housing units. The view portrays the ample space created within the ‘narrow units’ utilising circulation derived from the intricate factory layouts.
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Academic - M.Arch Year I Thesis
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Academic - M.Arch Year I Thesis
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Academic - M.Arch Year I Thesis
The new start - A former steelworker and his family arrive at their new home within the settlement. Perspective view from outside one of the housing units.
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An internal perspective view of one side of the housing units. Looking up from the ground floor, the open heights created through the spiralling circulation become clear.
Proposed site axonometric, depicting the new housing occupied by factory workers. The image portrays the designs multiple functionality with regards to indoor and outdoor interactivity. 25
Academic - M.Arch Year II Dissertation
The Evolution of Panoramic Perceptions M.Arch Year II, 2019 - Dissertation
Abstract The Panorama was conceived in 1787 by Robert Barker, who created a 360-degree immersive experience using painted scenes, housed within rotundas. Debatably, the panorama created immersive experiences to allow the simulation of travel and experiences in their suggested settings. However, technological advancements in the late 19th century saw the rise of cinematography which rendered the Panorama and its descendants obsolete. The cinema provides us with a medium which we still use today, thus proving its significance at the time of creation. Although heavily overshadowed, the legacy of the Panorama did not diminish, with several iterations preserved around the world. Through the digital age, the format of the Panorama has been revived, with an aim to prove how recreating historical scenes or wonders of the world can arguably draw a new experience comparable to that of the cinema.
Die Mauer, Berlin, Yadegar Asisi (2012).
Austrian architect Yadegar Asisi has recently constructed new Panoramas around Europe, housed within gas storage containers. He uses multiple techniques but most notably digital manipulation through photocollages. Is it possible that the Panorama has been successfully contemporised thus enhancing the illusion of the simulation of travel through the digital age, or does it present us with a new experience altogether? To consider this I visited and analysed an original; the Panorama Mesdag, located in The Hague, Netherlands, and one of Asisi’s contemporary creations; the Panorama XXL, located in Rouen, France. The Panorama Mesdag is remarkable, having been preserved and restored beautifully. The illusion was powerful and simple, an experience which could only be improved using high definition imagery. The Panorama XXL presented a great vision, idea and recreation but with a completely contrasting experience. Asisi uses the panoramic format to present a theatrical display which aims to create or restore emotional connections between the viewer and image. The lack of obstacles or scenic framing arguably connects the viewer closely to the image to able to observe every detail and at a greater depth, therefore allowing Asisi to revive the original format to take viewers away from video displaying technology. Despite Asisi’s success, the panoramas ability to keep current may provide a problem, with immersive technology such as Virtual Reality offering accessible and versatile content in a huge global market.
Panorama of Edinburgh, Robert Barker (1789).
Panorama Mestag, The Hague, Hendrik Mesdag (1881).
Rome 312, Yadegar Asisi (2018).
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Panorama XXL, Rouen, Yadegar Asisi (2018).
Academic - M.Arch Year II Dissertation
The Panorama Mesdag essentially captures a peaceful moment and this is emphasised by the lack of sensual immersive devices. The panorama utilises simple and subtle design considerations help bring the panorama to life.
Rome 312 - Asisi’s artistic abilities exhibit his requirement for absolute detail and flowing narrative of a scene. The implication of action or movement within the static image is exemplary of why motion is not needed to define the scenes.
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Academic - BA Year III Thesis
Concept diagram
Proposed Site Plan
Unite
BA Year III, 2016 The concept of this project is based around uniting family, heritage and culture with current urban strategies through Sheerness on Sea. Currently, Sheerness on Sea suffers from a division of symbols. What was once great in the 1950’s and very popular among those visiting has now died down into a town declining in jobs, appeal and ambition. The introduction of large corporations within the area did create jobs, but took away from the image and culture of Sheerness, leading to large parts of the coastal area going towards the Port industry. The Aquatics centre itself aims to bring family
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and culture together. At the heart of the new high street, it provides solid and easy links to the beach and the pier. Overall , the high street is designed to not only give local businesses a chance to flourish among the many commercial locations, but for the local community to also contribute within the market square, with produce grown in the local allotments. The schemes promote local business, health and education as a whole. By extracting the essence of what had once existed in Sheerness, I was able to devise a humane conceptual upgrade towards revitalising a town on the verge of decline.
Academic - BA Year III Thesis
Aquatics Centre Approach
Site Perspectives
Site axononometric
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Academic - BA Year III Thesis
A section going through the indoor pool, showing the interaction of the pool area, restaurant and viewing areas. The building backs on to the sea wall to create a transition.
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Axonometric plans of the ground and first floors of the Aquatics centre. The drawing depicts the ease of navigation between the central hub in travelling between both wings.
Academic - BA Year III Thesis
Form Development
Construction Details
Sectional Model 1:100
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Professional - Retail & Hospitality
845mm Architrave width
Door number: D1.07 Room type: Cash office Door leaf width: 751mm Material: 44mm Hardwood Fire rating: FDS30 Finishes: TBC Accessories: Please refer to Ironmongery Schedule
825mm Structural opening 795mm Frame width
751 Door leaf width
150 1 823
PLAN
1
SCALE: 1:10@A1
2
ELEVATION
2
2 40
10 20 5
Door handle - Refer to ironmongery schedule
JAMB DETAIL
SCALE: 1:2@A1
5
2010mm Door frame height
2035mm Architrave height
2025mm Structural opening
SECTION
SCALE: 1:10@A1
10
New Partition
Softwood Architrave Softwood Door frame
20 5
Intumescent strip/ Smoke seal Softwood Door frame
Frame width varies depending on wall type Refer to Door schedule & Partitions plan 5573/161
2035mm Architrave height
Kick plate - Refer to ironmongery schedule
SCALE: 1:10@A1
44
2025mm Structural opening
Cylinder thumb turn lock - Refer to ironmongery schedule
Softwood Architrave
4
1983mm Door leaf height
2035mm Architrave height
823
2025mm Structural opening
1500
2010mm Door frame height
2
900
800
3 823
Door handle - Refer to ironmongery schedule
2010mm Door frame height
1983mm Door leaf height
'FIRE DOOR KEEP SHUT' Signage
6
10
HEAD DETAIL
SCALE: 1:2@A1
JAMB DETAIL
SCALE: 1:2@A1
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LUSH Liverpool Hyphen, 2017-2018
The project was the client’s largest ever store around the world, becoming five times bigger than the previous flagship. The store layout and design exhibits a new retail experience, leading to innovative fixtures and furnishings which align with the clients green and sustainable approach. It consisted of a complete transformation of the existing building interior, with 1380 sqm of retail space of over three floors, measuring 3577 sqm overall. The budget was £4.6 million and had a construction of period of 9 months. I participated in stages 1, 4 and 5. My involvement initially consisted of contributing to creating the feasibility report,
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7 0mm
1000mm
2000mm
3000mm
4000mm
SCALE: 1:100 @ A1 SHOP FLOOR AREA (SQM): -DRAWING NOTES:
All dimensions shown are in millimeters unless otherwise stated. Only figured dimensions to be taken from this drawing and not scaled dimensions.All dimensions to be confirmed on site prior any work. Any discrepancy to be reported to architect/designer immediately.Please note this drawing expires within 6 months of date shown - contact lush design for information prior to construction.
GENERAL ARRANGEMENT
having documented possibilities towards shop front styles using research from historic surrounding planning applications. Having re-joined the project at a later stage, I produced a thorough door schedule consisting of 130 doors with over 60 requiring bespoke detailing. I worked heavily on the second floor which consisted of the new spa experience, where I drafted plans, elevations and sections detailing the partitions and fittings of the spa rooms and surrounding communal spaces. Within the spa areas, I created detailed drawings of several in-built sliding storage cupboards which embedded sinks and electrical fittings.
THRESHOLD DET
SCALE: 1:2@A1
Professional - Retail & Hospitality
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Professional - Offices
First floor
Second floor
Ground floor
Roof
LUSH Offices Soho Hyphen, 2017
The project consisted of a refit of an unusual shaped office building in Beak Street, London. The unit measured approximately 1256 sqm over five floors and required new fittings, furniture, finishes and lighting. The budget was ÂŁ350,000 with the construction period lasting three months. I participated in stages 3 through to 5. My involvement on the project was initially to survey missing
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dimensions and then to create a tender package consisting of all necessary plans, sections and elevations of the unit whilst incorporating and co-ordinating externally supplied packages such as concept design and MEP drawings. The tender package also included detailed drawings of meeting rooms and kitchen specifications as well as the usual fire safety plans, typical wall and floor details.
Professional - Offices
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Professional - Retail
PLUMBING LAYOUTS TO BE DESIGNED BY CONTRACTOR FURNITURE MANUFACTURED BY OTHERS, INSTALLED UNDER GC RESPONSIBILITY PLUMBING/SINKS TO BE INSTALLED BY GC
EXISTING PARTITION REDUCED IN SIZE EXISTING PARTITION REDUCED IN SIZE
NEW PARTITION
NEW SINK TO BE INSTALLED AND CONNECTED TO EXISTING PLUMBING AND WASTAGE
2 302 C 402
RACKING GIFTS 1.3
SHOWER 1.4
GIFTS 1.3 MASSAGE 1.5
RAMP
SKINCARE 1.7
FRESH & CLEANSERS 1.6
BATH 3.0
BATH 2.9 A 400
FEATURE 2.8
KNOT WRAP 3.2
GIFTS 2.5
DEMO SINKS 2.3
PROPOSED GA PLAN 1:100
HAIRCARE 2.2 GIFTS 2.1
KITCHEN 6.7SQM
AREA NOT SURVEYED A 400
STOCK ROOM 50SQM
DG-04
DG-01
DG-05
CASHDESK FEATURE 3.1
MOUTH 2.4
SPA DISPLAY 3.2
CASHDESK 2.6
MAKE UP 1.9
WINDOW 2.7
EXISTING PARTITION REDUCED IN SIZE
DG-03
SALES FLOOR 84 SQM
1 302 401 B
STAFF ROOM 6.7SQM
RACKING
KNOT WRAP 3.2
SKINCARE 1.8
ENTRANCE
SOAP 1.2
WINDOW/ GIFTS 1.1
RACKING
EXISTING RAMP REFURBISHED. FINISH TBC
GOODS ENTRANCE
DG-02
401 B
PERFUME 2.0 RACKING
C 402
PARTITION WALL AND DOOR TO BOH HAVE BEEN REPOSITIONED
NEW SINK TO BE INSTALLED AND CONNECTED TO EXISTING PLUMBING AND WASTAGE
EXISTING PARTITION REDUCED IN SIZE
LUSH Portsmouth Hyphen, 2017
of all necessary plans, sections and elevations of the unit whilst also The project consisted of a thorough refit of the existing retail unit PROJECT NO: 1163 CHECKED BY: LT KEY FURNITURE REFERENCE FURNITURE REFERENCE DRAWING REF.and DRAWING REF. incorporating co-ordinating externally supplied packages DRAWN BY: such in the Cascade shopping centre located in Portsmouth. The unit VM DATE:as20/01/2017 DEMO SINKS 2.3 1163/200 1163/212 WINDOW & GIFTS 1.1 SCALE: 1:100 @ A3 84 MALL STRUCTURE DRAWING TITLE: 1163/213 1163/201 MOUTH 2.4 MEP SOAP 1.2 concept design and drawings. The tender package also included measured approximatelyEXISTING 147 sqm and required new fittings, furniture, DRAWING NOTES: PROPOSED GENERAL 1163/214 GIFTS 2.5 1163/202 GIFTS 1.3 EXISTING PARTITIONS ARRANGEMENT PLAN 1163/203 CASH DESK 2.6 SHOWER 1.4 plans detailing fire safety, typical 1163/215 wall and floor details at multiple scales. finishes and lighting. The budget was £150,000 with the construction 1163/216 1163/204 WINDOW 2.7 MASSAGE 1.5 PROPOSED PARTITIONS TITLE: FEATURE 2.8 1163/217 1163/205 I 1.6 also completed the tender analysis of the contractors PROJECT propositions, period lasting three weeks. I participated in stages 3 through toFRESH 7.& CLEANSERS EXISTING DOOR BATH 2.9 1163/218 1163/206 SKINCARE 1.7 REFIT 1163/219 1163/207 BATH 3.0 SKINCARE 1.8 partook in1163/208 several site meetings and the final “as-built” drawing PORTSMOUTH package. My involvement on the project was to create a tender package consisting 1163/220 MAKE UP 1.9 CASH DESK FEATURE 3.1 0mm
1000mm
2000mm
3000mm
4000mm
SHOP FLOOR AREA (SQM):
BREAK GLASS CALL POINT
All dimensions shown are in millimeters unless otherwise stated. Only figured dimensions to be taken from this drawing and not scaled dimensions.All dimensions to be confirmed on site prior any work. Any discrepancy to be reported to architect/designer immediately.Please note this drawing expires within 6 months of date shown - contact lush design for information prior to construction.
GENERAL ARRANGEMENT
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T1
VM 20/01/17 TENDER ISSUE
REV BY
EXISTING FIRE DOOR
PERFUME 2.0 GIFTS 2.1 HAIRCARE 2.2
1163/209 1163/210 1163/211
DEMO UNITS / KNOTWRAP / SPA VOUCHER 3.2
QUEUE DIVIDER 3.3
1163/221 1163/222
DATE
DESCRIPTION
DRAWING REF:
1163/120
Professional - Retail
3543
1600
2490
928 269
222
S 300
ENTR
GIFTS
CASH DESK
SOAP
5
6
7
8
1290
10
11
12
13
9
Bags
2250
Till Scales
3336
Till
MOUTH/ QUEUE DIVIDER
Bags
903
BACK WALL DISPLAY
Scales
F1
Till
1208
OFFICE
14 KNOTWRAP
Bags
1338
S 300
LOCKERS
Bags
WINDOW PLATFORM DISPLAY
FRIDGE
STAFF ROOM
Till
1200
1139
Scales
1500
4
PERFUME
BATH
900
S 301
1270
1000
1059 400
MOUTH/GIFT PEGBOARD
3998
3775
SHOWER
COAT HOOKS
3155
HAIRCARE
1409
ANCE
3
2
1
Scales
618
MASSAGE MAKEUP
GIFTS
2979 3343
LOADING
1173
FRESH
S 301
800
1060
SKINCARE
ICE MACHINE
WH
1599
LUSH Madrid
PROPOSED GENERAL ARRANGEMENT Hyphen, 2017PLAN 1:100
The project consisted of a new shop fit out in the Centro Comercial Plenilunio shopping centre located in Madrid, Spain. The unit measured approximately 140 sqm and required new fittings, furniture, finishes and lighting. The budget was £100,000 with the construction period lasting three weeks. I participated in stages 2 and 3. My involvement on the project was 2000mm
3000mm
4000mm
SHOP FLOOR AREA (SQM): 82
to create the concept design drawing package, working in contact with the client’s international design managers. The package consisted of general arrangement plans, RCP’s, sections and elevations and joinery drawings of every unit within the design. The joinery drawing package features comprehensive detail and specifies finishes, fittings and ironmongery.
KEY WALL TYPES
e in millimeters unless otherwise ensions to be taken from this drawing ns.All dimensions to be confirmed on discrepancy to be reported to diately.Please note this drawing s of date shown - contact lush design onstruction.
PROPOSED LININGS
F1
TILED FLOOR FINISH, MOSA 229V 600mm SQUARE
Do not scale from this drawing Report any discrepancies to the author © househam henderson architects
PROJECT NO:
5446
CH
DRAWN BY:
VM
DA
DRAWING TITLE:
EXISTING BUILDING STRUCTURE EXISTING PARTITION/LININGS
39 Moreland Street London, EC1V 8BB
P4 P3
LT 24/02/17 DESIGN ISSUE VM 22/02/17 DESIGN ISSUE
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VM 21/02/17 DRAFT DESIGN ISSUE VM 10/02/17 DRAFT DESIGN ISSUE
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DESCRIPTION
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PROPOSED G ARRANGEME
PROJECT TITLE:
MADRID PLE NEW ST
Professional - Retail
Images from the opening of LUSH Manchester Market Street displaying the final fittings and furnishings which opened in 2018. This was a small-medium refit job.
An example of the drawing packages created to detail the furniture required within the shops. Below is a drawing of a sole sink unit with shelving, along with details and finishes.
Die Mauer, Berlin, Yadegar Asisi (2012).
LUSH - Concept designs Hyphen, 2017
I have worked on the concept design for 10 stores around the UK and Europe during the space of a couple of months. As shown with Madrid previously, I had multiple meetings with the client’s international design managers to effectively learn about and communicate the client’s brand within the stores effectively and innovatively. The initial stages would consist of sketch plans using the brand image and products in the proposed unit, with drawings drafted on AutoCad and 3d models created on Sketchup to portray the space. Having worked with
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various contractors on previous LUSH jobs, I became aware of the methods of joinery construction and incorporated changes and solutions to current sets of designs used in new designs. The concept design drawing packages consisted of general arrangement plans, RCP’s, sections and elevations and joinery drawings of every unit within the design. I created planning applications when instructed by the client where necessary with regards to changes to shop fronts, liasing with the local planning officers when required..
Professional - Retail
The drawings below detail the ‘skincare’ areas. These areas require detailed layouts of units, cupboards, finishes and plumbing, resulting in a comprehensive set of drawings.
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email: vishalmistry.work@gmail.com website: vishmistry.wixsite.com/arch 40