eAJs

Design Portfolio
Puissant Biomimicry

Vernacular Divinity

Arch Melon

Morni Artisto

Advait Dhun

The Crescent

Naraina Landscape Rejuvenation

Under The Elevated

Origami Shelter

Hi - Sect
Madipur Healthcare Institution

Palmeira

Paradigm Shift

Biramitrapur Bus Stand

Classical Origami

Textonics of Terrains and Topography

Indian Art Fair

Prospect Place

Garg Residence

Selected Works 3
 HI - SECT
FLAMBOYANT OF THE ARID, SEPARATED YET CONNECTED

Academic I Individual I Head office tower design explored the idea of expressing the
tower as “Marker in Space”, thereby influ-
Iconicity can often be an incentive in attract- encing the circle of place i.e the context.
ing the crowd. Influential, recognizable and re-
vered designs have always been the trademark One approaches the tower through the
of glowing civilizations. Here is a developing engaging community space viewing the
township on the outskirts of Jaipur, behind the serene water body. This sets a positive
rush of city life; beneath the dry sky seeking a tonality for the user, after which they en-
signature that can attract tourists to the Arid. counter breakout spaces during their ver-
tical transitions. This establishes open-
ness for the otherwise enclosed structure.
The project called for a tower that
upholds the identity of Dhun town- The key to the design is the spectacular
ship aimed to promote egalitari- diagonal split which creates a multi-sto-
anism and cultural tourism. The rey linear pocket. This allows for indirect
tower is designed to be the head- natural light to wash every corner of the
quarter element that caters to all building. These solids are then linked back
the lead offices of various depart- to the core creating a stunning visual of
ments within the community. The mass being “separated yet connected”.

The Project Name Hi-Sect 5

6 The Head Office Tower Hi-Sect 7
 The distinctive form of the office tower derives
from structural and environmental conditions.
The edifice maximizes its prospect towards
them by being located on the visual axis to the
talaab. Taking this notion further, the view from
the talaab to the tower is celebrated the way
view from tower to talaab is highlighted. This
complementary approach blows character to
the design.
The initial pivotal strategy that set the tone for the concept design process was to maximize the
social interaction spaces throughout the tower. Instead of providing the usual pale office atmo-
sphere, various sections were iterated to derive the ones that housed paramount views, open-
ness and connections with the greens. These iterations helped develop the key to the design
i.e. “the diagonal split” creating the multi-storey linear pocket. This enlightens the space for the
users and enhances the view for the viewers.

Subtractive architectural ideology follows for

the initial massing. As a buffer between imme-
diate building blocks and major entrances, re-
laxing green open buffer spaces are established.

8 The Head Office Tower Hi-Sect 9

 The basic FORM was created by meticulous- The curved surface on the west facade that The surface was then subdivided into balcony
ly orienting and extruding the fixed base while FOLLOWS least radiation, was generated fragments. They shade the structure, ensuring
maximizing the view to talaab. with help of Galapagos and Ladybug. built-form SUSTAINABILITY.

The vertical building block was separated The key to design is the spectacular diagonal Raising a peripherial block further created two
during early form explorations to provide a split that creates a multi-storey linear pocket to buffer spaces for recreational activities. This
green refuge open zone that people can use. allow for indirect natural light. welcomes light and wind to the tower.

10 The Head Office Tower Hi-Sect 11

 The Community space was slightly sunken to reduce the impact of scorching heat,
afterwhich an essence of nature was poured into space for rejuvenation. Introducing a
waterbody further enhanced the ambience and reduced the ambient temperature of the
sunken area. To mitigate the harsh radiation of sun, a semi-open roof structure was then
developed. What began as a rudimentary shelter blossomed into a fine work of artistry.

12 The Head Office Tower Hi-Sect 13

 GENERAL INFORMATION
1 2 3 4 5 6 7 8 9 10

1 2 3 4 5 6 7 8 9 10
B
101
A A
J
SCHEDULE OF OPENINGS
K B
101
B A A' B
101 101
L C C
A A
J
D D
M

E
K
N E

B A A' B
F 101 101
F
L C C

G G
D D
M

H N E E
H J
HIGH-RISE COMMERCIAL
K
F F
B'
101

L
G G
P
M
1 2 3 4 5 6 7 8 9 10 INTERMEDIATE
B-103
N FLOOR PLAN

H H J
GENERAL INFORMATION
A B C D E F G H
K

P B'
101

M
SCHEDULE OF OPENINGS
1 2 3 4 5 6 7 8 9 10

P1 P1
N

P2 P2
Technical drawings were created, spanning
from layout and setting-out plans, building sec-
tions, elevations, and detail drawings such as ex-
P1 P1
ternal wall section, toWilet detail, and basement
waterproofing etc. Forty-four sheets of Working
P2 P2 drawings that respects the Building codes and
HIGH-RISE COMMERCIAL
local bylaws were crafted precisely to blow life
to the design. It successfully entails the fire and
service requirements. Chiller plant, fire-pump
room, DG Set room etc are also integrated in the
P2 P2
drawings.
CURTAIN WALL
EWS-1
FACADE DETAIL

14 The Head Office Tower Hi-Sect 15

 PALMEIRA
NEO-VERNACULAR EPHEMERAL

C-IDEA Finalist I Individual I Date pavilion as a third envelope to build walls and roofs
were explored through the eyes of a millen-
A Pavilion that narrates the story of Middle-East- nial architect. Thus, weaving together the
ern civilization is set to be reimagined for the 21st stories of past and present for a sustainable
century. Palmeira binds futurism and vernacular- future.
ism seamlessly to resurrect the long-forgotten
heritage of the Arabian world. Surrounded by ver- Through the labyrinth of landscape, they
dant palm groves, the pavilion speaks their sacred arrive at the pavilion surrounded by sacred
history through the lens of divine architecture. palm trees. Here, the garden becomes a nat-
ural carpet to welcome the people. It gives
a hint and sets a tone for futher exploration.
The design explores the concept of The experience of being in nature is redis-
using sustainable local resources to covered as they enter the pavilion. God rays
derive an elegant design solution. It piercing through every pocket hole share
arranges points of relation in juxta- chronicles of the Nubian desert forest. Even
position with a keen sense of form when the architecture was a Neo-Vernacular
as well as of material. Palm fronds Ephimeral, It’s impact crosses milestone to
and leaves, which were once used inscribe the permanence of Date Palm.

16 The Project Name Palmeira 17

18 The Date Pavilion Palmeira 19
 Blending the muted structure with the landscape was the initial vital idea that did set the stage for
the concept design phase. Traditional palm leaf architecture was then leveraged to arrive at a con-
struction methodology that incorporates palm fronds. Instead of designing a conventional standout
volume in the garden, a section was developed on a domestic scale to narrate the idea of intimacy.
The sketch of this section depicted column as a branched stem supporting thatch roofs and walls
much like the palm tree sustaining their daily lives.

The intended component/section is used as a

recurring element to form the ultimate shape of
the Pavilion design. The palm tree’s harmonic
trunk pattern is abstracted further, and the re-
sulting composition is translated into the pavil-
ion’s plan.

20 The Date Pavilion Palmeira 21

Palmeira celebrates the unique indigenous buildings
and Arab traditions by providing the foundation for
a genuine understanding of the region, critical in the
context of the fast-developing global economies they
have become today. The pavilion is designed to func-
tion as a creative recreational space in the morning
and as an exhibition space in the evening. At any given
time, it can accomodate approximately sixty people.
Nonetheless, the comprehensive approach of the de-
sign provides a platform for further expansion of the
Pavilion.

The Ultimate organic form of the design successful-

ly targets the Present and future generation arabs to
compehend and accept each other so as to build a
harmonious future. Here, Architecture becomes the
solution and the reason for revolution.

22 The Date Pavilion Palmeira 23

 ARCH-MELON
PRISTINE DIRT; PRIMITIVE FOR PRELIMINARY

Academic I Individual I KinderGarten

Mud is a versatile building material that has

been used to make some extraordinary architec-
tural marvels -- from 1,000-year-old ksars (forts)
in Morocco and 6,000-year-old arches, vaults and
mother nature to construct an institu-
domes in the Nile Valley to multi-storeyed houses
tion for future generations. Its purpose
of adobe, sun-baked bricks of mud and straw is the
is to demonstrate that humans have an
traditional building material throughout much of
umbilical cord link to the natural world.
the early civilizations. Today, we comprehend the
value of mud to be a vernacular, and sustainable
Through the light bands, along the cozy
material of past, present and future construction.
arches, harmony and exuberance wel-
comes them to a platform that upholds
the vision of living with the nature. Irre-
Arch-Melon rewrites the mud tech- spective of the race, religion and gender,
nology construction for a resilient fu- they reflect architecture and the impor-
ture that can bind the upcoming gen- tance of mud through it. Here mud is
eration to stand for the mother earth. used as an primitive tool to carve the
The design addresses the idea of best out of preliminary children, hence
eliminating the usage of reinforc- “Primitive for Preliminary” becomes the
ing materials and relying solely on key slogan to carry for an eco-future.

24 The Project Name Arch-Melon 25

26 The KinderGarten Arch-Melon 27
 Contextual designs, become true to its
name only when the design and its com-
ponents are purely inspired from the con-
text. Sharing the plot with lady Irwin Col-
lege, Arch-Melon seemlessly blend with
the vaulted structures of mud-brick ma-
sonry. The soil for the construction is dug
out from the plot thereby binding the built
with unbuilt. It is extracted once a depth of
600mm has been reached so as to sustain-
ably protect the soil’s organic top stratum.

The design pays tribute to ancient MasterBuilders who developed a methodology that allowed
them to create innovative structures barring the usage of reinforcements. Proposed construction
remains cool in the summer and warm in the winter without compensating for the cost savings in
energy generation, thereby solving problems of present and future.

28 The KinderGarten Arch-Melon 29

 A Simple Catenary structure is de- Inorder to Optimize and further sta- Final loaded Catenary structure is
veloped using Rhino Catenary that bilize the catenary structure more derived that has less height, nega-
follows the shape of hanging chain. chains are added on either sides. tive space and increased stability.

The primary central pavement sepa- Courtyard / Semi-open spaces are As a holistic approch to design contex- To finally connect these two distinct
rates the individual block to distinct Ad- introduced to both the blocks as a tually, spaces that hinders tree growth blocks, a connection space is added
min and Academic Blocks. buffer to let in indirect natural light. are subtracted from blocks. as a link between them.

30 The KinderGarten Arch Melon 31

 CLASSICAL ORIGAMI
FOLDED RATIO, ALGORITHMS OVER PROPORTIONS

Prof. Research I Internship I Hexagramm

Tessellate, Constalate and Procreate; Com- The concept of combining divine ratios
plexity from ordered simplicity is a gift of art and proportions of the Classical Architec-
from the nature. It indirectly points to the har- ture with the tesselated yet faceted Ori-
monious pleasing qualities of repetition. How- gami was performed with the support of
ever, Can the architectural quality of aesthet- Computational softwares. Multiple grass-
ics be linked to the characteristics described hopper scripts were developed to trans-
by means of parametric fractal geometry? late sections to patterns, and patterns to
folded models.

The structured process began with the

The Concept of “Classical Origami” as modeling of tuscan division which was
the name suggests; revolved around further taken to a different dimension by
decoding the fine ratios, orders and introducing Origamic Cornices, Entabla-
proportions of Classical Architecture tures, Panels etc. This division of Deploy-
and using them to create Architectur- able folding architecture was hence put
al Origami elements so as to make it through a new light with ‘Classical Origa-
visually appealing yet Modern. mi’ in Architecture.

The Project Name Classical Origami 33

Thou still unravish’d bride of qui-
etness, Thou foster-child of silence
and slow time, Sylvan historian,
who canst thus express.
A flowery tale more sweetly than
our rhyme: What leaf-fring’d leg-
end haunts about thy shape Of de-
ities or mortals, or of both,
In Tempe or the dales of Arcady?

What men or gods are these? What

maidens loth?
What mad pursuit? What struggle
to escape?
What pipes and timbrels? What
wild ecstasy?

Heard melodies are sweet, but

those unheard, Are sweeter; there-
fore, ye soft pipes, play on; Not
to the sensual ear, but, more en-
dear’d, Pipe to the spirit ditties of
no tone:
Fair youth, beneath the trees, thou not thy bliss, For ever wilt thou love, and she be fair!
canst not leave Thy song, nor ever Ah, happy, happy boughs! that cannot shed
can those trees be bare; Bold Lov- Your leaves, nor ever bid the Spring adieu;
er, never, never canst thou kiss, And, happy melodist, unwearied,
Though winning near the goal yet,
do not grieve; “Ode on a Grecian Urn” by John Keats
She cannot fade, though thou hast

34 Script Development Classical Origami 35

 The Decoded digits were then transformed into frac-
tal units that undergoes repetitive organizations. Us-
ing the developed computational scripts these digits
were made to polylines that tessellate Origami.

The concept of combining divine ratios and proportions of

the Classical Architecture with the tesselated yet faceted
Origami was performed with the support of Computational
softwares. Multiple grasshopper scripts were developed to
translate sections to patterns, and patterns to folded mod-
Initiation of design thinking purely de-
ules and models.
pended on the research of Classical Ar-
chitecture. Beginning with the Tuscan
Order, the digits and drawings were
throughly scrutinized. Its ratios, order
and proportions were then decoded and
converted to tabular and grid format for
easy comprehendability. These served
as the initial ideal members upon which
iterations after iterations were tested
upon in grasshopper scripts.

36 Script Development Classical Origami 37

 The structured process began with the modeling of
tuscan division which was further taken to a different
dimension by introducing Origamic Cornices, Entabla-
tures, Panels etc. Different iterations and patterns were
tried and tested with these ratios and proportions to
finalize the options.

The script was developed

in such a way so that the
polylines that make up the
silhoutte gives tessellating
patterns as the final product. Multitudes of pattern with mountains and valleys were developed Final output of script reimagined the Classical Ar-
However, the process con- in single click with the help of complex computational scripts. chitecture from the view of a Neo Designer. It takes
tinues until the pattern with into account the Architecture qualities of a Classi-
mountain and valley creases cal artifact to convert it into pure Origami. These
fold to form Origami. This di- final products and iterations serves as a testimony
vision of Deployable folding to the fact that AI and Computation combined can
architecture was hence put have the potential to rule the future Architecture.
through a new light with ‘Clas-
sical Origami’ in Architecture.

38 Script Development Classical Origami 39

 THE CRESCENT
Sideline I Individual I Lamp Design

“In a time when we hang on to the thin strings

of loneliness, perhaps a ray of light could en-
lighten our dreams.”

The Crescent is a response to this time of uncer-

tainty and isolation. It is more than just a mere
lamp. Its a piece of art that redefines the sensa-
tion of light. Its an expression that illuminates
the mood within an enclosed volume. This de-
sign is an outcome of reflecting on Nature. The
idea of experiencing soft moonlight is taken
forward into the built-space. All its experiential
facets are abstracted from the crescent moon,
Hence naming it The Crescent”. This is a testi-
mony to the fact that when nature becomes the
inspiration, the design achieves perfection.

40 The Project Name 41

42 The Project Name Project 43
#PORTFOLIO
https://ejas.design.blog/