EJAS MUHAMMED

PROLOGUE

Prologue

This is a portfolio created to showcase my works spanning from the spectrum of visual
design to architecture. All the work showcased here are taken from past four years of
the architecture college education. The works include contract-based, academic, side-
line and competition.
 I’m an Architect and Visual Designer with a experiences and stories into forms and
background in Origami, that has previous- spaces. With my background in Archi-
ly worked on spatial and façade designs, tectural Design, I’m particularly drawn
graphic and fine arts, interior and product to design projects that require a high de-
detailing, Installations, and landscape-ori- gree of craft, vision, and design thinking.
ented projects. With the tag of an Architect
and the experience of a Designer, I’ve craft- In my personal endeavors, I seek out
ed products and projects that are elegant opportunities to use storytelling and ad-
solutions to complex problems. vocacy as a method to aid underserved
communities and create a more sustain-
Through my experience, I have discovered able future.
my belief of stories building stories. Using
design tools and design as a tool, I weave
EDUCATION PROFESSIONAL EXPERIENCE

2018-23 School of Planning and 2022-22 Oritecture I Design Assisstant

Architecture, New-Delhi
/Collaborated with Gehry Partners - Concept Design, Visualizations, Script
(Bachelor of Architectural
development and Client Presentation for Origami Lamp #ProspectPlace
Design)
/Indian Art Fair - Scripting, fabrication #TwoWayLamp #TreeofPrayers
/Solo Show - Script Development #TectonicsofTerrain # Goldenfruit
2016-17 Sharjah Indian - Senior
Secondary, U.A.E
Hexagramm I Architectural Assisstant
(Engineering Graphics)
/Designed and Developed concepts, prototypes for Classical Origami.
/Produced sets of detailed drawings and 3D models for Mixed Develop,
SOFTWARE PROFICIENCY Interior, Landscape and Parametric Product Design projects.
/VR 360 Presentations of Mixed-use Residential Interior.
Autodesk Revit Intermediate
Autodesk 3DS Max Basic 2020-21 Solar Decathlon India I Alumini (Energy Analyst)
Autodesk AutoCad Advance /Collaborated with Dhun Pvt. Ltd. and pioneered the sustainable design
Autodesk Ecotect Basic of Multi-family housing from form finding to envelope selection.
Autodesk Maya Basic
2020-21 Professional Collab I Prof. Dr. Prabhjot Sugga
Adobe Photoshop CC Advance /Naraina landscape Rejuvenation - Visualizations and Diagrams
Adobe Illustrator CC Intermediate /Biramitrapur Bus Stand - Structural Drawings, Complete DPR
Adobe InDesign CC Advance /Competition; Telengana Centre of Excellence - Design team
Adobe XD Basic
Adobe Premier Pro CC Intermediate 2018-20 National Association of Students of Architecture, India
Adobe Lightroom CC Basic /HeadQuarter Subject - Assisted in selecting, maintaining, managing and
overseeing relationships with National and International Deligates
Rhinoceros 3D Advance
Grasshopper Advance
Trimble Sketchup Advance DOCUMENTATION
Unreal Engine Basic
2022 Tessellate, Constellate or Procreate;
Sketchbook Advance Complexity from Ordered Simplicity
Lumion Advance (W.I.P Dissertation Paper)
V-ray Advance 2021 Paradigm shift in Healthcare Architecture post Covid-19
Keyshot Basic (Published Seminar Paper)
DesignBuilder Intermediate 2019 Settlements and Contextual Study (Morni - Documentation)
Dialux EVO Basic 2018 Dakshinachitra - Built Documental Survey (Measured Drawing)
COMPETITIONS AND ACHIEVEMENTS

2022 C-IDEA Design Award

“C-IDEA Design Award Winner 2021_Architecture and Landscape”
“Shortlisted from top 2860 international entries”
2022 Design Award Exhibition - Australia
“Palmeira, A Neo-Vernacular Ephemeral - exhibited
in Kerry Packer Civic Gallery, Australia”
2022 Council of Architecture India, Exhibition
“Nominated for the best ‘Advanced Construction Drawing’ of the Institution”
2021 ACEDGE - Parametricism and Computation
“Winter Scholarship Award”
2021 Indo-Swiss BEEP Sustainability fellowship
“1 / 50 students selected Nationally”
2020 Solar Decathlon India - Multi-family Housing Division
“Winner - 1st Position, MFH Division”
“People’s choice for movie AWARD”
2020 Climate Launchpad India
“Shortlisted in Top-16”

COURSES AND WORKSHOPS

2022 Industrial Design - Universal Design - Prof. Parag Anand

2022 User Experience: The Key to Happy Customers - Google Primer
2022 Establishing Unique Brand Personality - Google Primer
2022 Parametricism | Algorithms | Artificial Intelligence - ACEDGE
2022 3D Print_Architectural Design Method - Prof. Francis Joseph
2021 Circular Economy in Design - Ar. Gaurav Shorey
2021 Urban Landscape Architecture - Ar. Nandita Parikh
2021 Indo-Swiss Building Energy Efficiency Project - BEEP India
2021 Collaborate & Design Hospitals with Martin Fiset - ETHOS India
2020 Net-zero Energy and Water Buildings - Solar decathlon India
2019 Architecture through Cinematic lens - Ar. Amardeep Labana
2019 Bio-Inspired Approach to systems thinking - Biomimicry India
2018 Climatology in Architectural Design - Dr. Shuvojit Sarkar
2018 Oritecture, Origami Workshop - Ar. Ankon Mitra

Curriculum Vitae 5
 What’s Inside?
VISUAL DESIGN
Two-way Lamp, Orikaru

The Spiral of the Self

Alter Ego

Apollo Pipes, Noida

Mango, The Golden Fruit

Cor-onam

Tessellated Column

Isha’s Cake Hut

Origami Shelter

NMIC

Dakshinchitra Documentation

Cocomelon

Orikaru_Solo Show

Orange Tree

Capital Diary

Textonics of Terrains and Topography

Indian Art Fair

Prospect Place

Leap

Selected Works 7
 ALTER EGO
A’ Design Awards Proposal I Individual I Illustration Style Design I 4 weeks

INTRODUCTION

This Project includes a set of illustrations that was developed as part of a compe-
tition entry. These illustrations were expected to convey message, reflect on an art
style and enhance aesthetic appeal. The core idea was to develop a graphic language
that is independent and capable of conveying the essence of messages instantly.

8 Alter Ego
 REQUIREMENTS CHALLENGES

The illustrations primarily aim for the web The challenge was to approach the
platform. Hence, should be communicative, design problem holistically and
aesthetically pleasing as well as light weight provide a system of illustrations
(smaller file size). They should also work on all that can be adopted and adapted
screen sizes ranging from mobile phones to big by anyone in the future when one
desktop screens. needs to add to the language.

INITIAL EXPLORATION

The design was set forward with the idea of superimposing two
distinct perspectives wherein the major body elements remains
solid colour and the rest was string drawing. The idea was an in-
spiration from combined effect of cubism and minimalism.

#ce6933

#ccb900

Illustration Style Design 9

PROCESS

The requirements, challenges and mood-

boards were initially laid to arrive at the final
outcome. Multiple colour palette, line thick-
ness, line typology, shadow quality etc were ex-
perimented before reaching the ultimate stage.

10 Alter Ego
PROS CONS

- The style is easy to reproduce, with - Only two colours are included in the
minimal efforts. colour palette which was very limiting.

- It addresses all the challenges and - The style lack details in terms of hu-
provide simple illustration with smaller man physicality and emotions.
file size that is apt for web platforms.
- Illustrations are limited to the usage of
- Abstract style with an icing of Cubism. smooth flow lines and not Sharp ones.

Illustation Style Design 11

FINAL OUTCOME

The Final outcome was a result of resolution of

challenges and satisfaction of requirements. It is a
fresh scalable model that is self-explanatory and
refreshing. The Process stage also played a vital
role in the outcome as it allowed for multiple ex-
plorations in a short span of time.

12 Alter Ego
STORY

An illustrative short story

is created to communicate
the quality and simplicity of
the Style for the users.

The message attempted to

convey through the story is
“Phone is a reality that we 1. 2.
want to leave, but live”.

3. 4. 5.

Illustration Style Design 13

COR-ONAM
Inter-SPA Web-Platform I Individual I Poster Design I 2 weeks

“The setting of Spark,

The coming of Mahabali.”

INTRODUCTION

This Project includes a set of illustrations that was developed as part

of a competition entry. These illustrations were expected to convey
message, reflec`t on an art style and enhance aesthetic appeal. The
core idea was to develop a graphic language that is independent and
capable of conveying the essence of messages instantly.

PURPOSE KEY WORDS

The primary purpose of this poster de- Covid-19, Mahabali,

sign is to provide a ray of hope in this dif- Kerala Blasters,
ficult times of Pandemic. Onam being the Onam, SPAviyal,
annual cultural festival of kerala, marks Virus, Vaccination,
the visit of the great king Mahabali. Immunity

14 Cor-Onam
Poster Design 15
CHALLENGE MOODBOARD

The poster design should not be

limited to keralites of the institu-
tions. Others, specifically North in-
dians should comprehend the gist
and message of the Poster.

PROCESS

The initial thoughts and ideas were put to question, if it was adequate to attract
south Indians since they prefer heavy duty mass items. Once the idea is upfront,
the sketches are iterated one after the other to arrive at the final.

The first design vision tends to connect

the idea of kerala martial arts master
defending the land from covid attack.
However, the illustration puts domin-
ion in the hands of corona virus. The
design was rethought to show the su-
premacy of keralites over covid.

16 Cor-Onam
 The final design vision reimag-
ines the arrival of king Mahabeli
as an arrival of hope. The con-
cept takes care of the ascendan-
cy of keralites and put Covid to
the backseat.

FINAL OUTCOME

This poster design achieves the set target of Purpose

and represents the kerala culture with Hope for its peo-
ple. The design psychologically tackles the challenge by
introducing the dialogue of ‘KGF - Movie’ and relating it
to the mass entry of Mahabali.

”One of the best in recent times” - SPAviyal Co-ordinator

Poster Design 17
NMIC
Competition I Individual I Logo Design I 4 weeks

INTRODUCTION

This Design Project was developed as part of National Museum of In-

dian Cinema logo design competition. The Logo design was expected
to uphold the legacy of Indian cinema. They are designed primarily
to connect the past of Indian cinema with the contemporary world.
Aesthetics in simplicity was an integral part of the Design process.

PURPOSE

The primary purpose of this Logo design competition is

to provide a visual identity for National Museum of In-
dian Cinema.

FRAMEWORK

1. Literature Study
Information Collection 2. Case Study
3. Scenario Building

1. Visual Personality
Redefining Design Brief 2. Colour Palette
3. Typography

Form / Concept Development

18 NMIC
Logo Design 19
PROCESS

The design process began with the exploration of shapes and

concepts associated to them, guided by the visual attributes.
Some iterations considered displaying a peacock to signify festiv-
ity and patriotism, while others used reel, claps, and typeface to
convey the notion of film.

National
Museum of
Indian
Cinema

nmic NMIC nm IC
The logo design was finalized looking at its simplistic majesty and how it meticulously
blends India with the concept of Cinema.

COLOUR PALETTE

The museum’s colour palette was chosen based on its

location. The palette is thus inspired by the architecture
and history of the location.

20 NMIC
TYPOGRAPHY

When it comes to the logotype, it was critical that the typeface

have the appropriate level of formality to complement the play-
fulness of the symbol. As a result, a NEO CLASSICAL, ROMANTIC,
SERIF typeface would be suitable for the logo.

Segoe UI Emoji National Museum of Indian Cinema NMIC nmic

Book Antiqua National Museum of Indian Cinema NMIC nmic
Baskerville Old Face National Museum of Indian Cinema NMIC nmic
Times New Roman National Museum of Indian Cinema NMIC nmic
Bell MT National Museum of Indian Cinema NMIC nmic
Californian FB National Museum of Indian Cinema NMIC nmic
Centaur National Museum of Indian Cinema NMIC nmic

nmic

Logo Design 21
COCOMELON (W.I.P)
Sideline (W.I.P) I Individual I Illustration I 2 weeks

INTRODUCTION KEY WORDS

Cocomelon is a WIP project that aims at Kids-Primary, Preliminary, Friendly and cozy, Kin-
producing illustrations for the web plat- dergarten, Cocomelon, Education, Fun, Sweet, Soft,
form of the kindergarten in Silvermount Discipline, Decorum.
International School, Perintalmana, ker-
ala. The concept behind the illustrations
is to design simple illustrations that are
self explanatory and kids friendly. CLIENT Silvermount International School, Kerala

22 CocoMelon
The first designed illustration showcases
a teacher explaning from a poster sheet.
Although the design didnt have much fun,
the concept behind illustration and the style
used was much appreciated by the clients.

Illustration (W.I.P) 23
LOOKBOOK / INSPIRATION

INITIAL EXPLORATION

The design was set forward with the nicate the idea in totality on the other.
idea of using 2D visual representation One could notice the reduction in de-
with lines and solids. One core intend tails especially on hands, fingers that
here was to reduce the details in the doesn’t affect the readability and intro-
illustration on one side and commu- duces the quality of fun in the design.

CocoMelon
The idea of fun was slowly and steadily incor-
porated into the illustration style. The above
work is one of the result that tried to convey
“Problem resolution by collaboration”.

The Process stage played a vital role in deriving

the product language since it allowed for various
investigations in a short period of time. Never-
theless, a cute illustration style was successfully
developed in a span of two weeks.

Illustration (W.I.P) 25
 LEAP
AN AVERAGE DESIGN IS A BAD DESIGN

Medium I Individual I Article I <1 week

If you’ve ever found yourself wondering in-between. In this contemporary world

whether a design is good or bad, you’ve that is competitive for everyone within,
undoubtedly encountered an average de- average designs and average designers
sign. An ‘average design’ as the term sug- won’t survive.
gests falls somewhere middle in the spec-
trum of design quality. Often, mediocrity arises from a failure
to recognize the fundamental distinc-
Recently, I came across an article in tion between Passion and Profession. A
the medium that appreciates mediocre profession is a paid occupation that in-
designs and why being average isn’t such volves prolonged training  and a recog-
a bad thing. To all those out there who nized qualification. Passion, on the other
satisfy themselves behind the curtain of hand, is defined as an extreme desire or
average, I’m your counterpart ruling it excitement for something. The quality of
out as a substandard design. A design is design is strongly influenced by where
either good or bad, there is no grey area it is placed. If design is viewed through

26 Leap
the lens of one’s career and profession, one may wind up A great designer is born from trusting one’s own instincts.
making subpar designs. Only when the design becomes They are highly self-conscious and driven by the idea that
passion that runs through one’s veins would he strive for by not being the most successful version of themselves,
greatness rather than settling for ordinary. they’re actually doing themselves a disservice. Being an
advocate of great designs for over 3 years, I feel that a
A design becomes great and International only with its great design has the power to change the mindset of peo-
universal appeal. Great designs make great products ac- ple, it has the power to reimagine the culture of places,
companied by exquisite aesthetics. Before I continue, let’s and power to revolutionise the entire planet.
just touch upon the subject of “Aesthetics” for a moment.
Even though we know for a fact that ‘design’ is subjective, So next time you see someone accepting an average de-
once someone recognizes a great design there is a 95% sign. Step in and speak up for the pursuit of greatness.
chance that others feel the same. This is because of the Make a conscious effort to push your fellow designers to
fact that aesthetics are perceived through instincts that be the best. And if they choose not to pursue their full po-
date back to past memories. Unlike thoughts, instincts are tential, advice them. Kill off the average, mediocrity is way
more sophisticated and reflexive. too boring.

One should constantly endeavour to be extremely ambitious or strive hard to ac-

complish heights far beyond the grasp of the masses. If you want to build an empire
that will one day be worth billions, or become a name that goes down in history, you
should work towards that with everything you’ve got! Pull all-nighters, invest your
savings, skip weekends in favour of business meetings—do whatever it takes.

-Anonymous

Medium Article 27
 What’s Inside?
ARCHITECTURE
Puissant Biomimicry

Vernacular Divinity

Morni Artisto

Advait Dhun

Hi - Sect

Naraina Landscape Rejuvenation

Under The Elevated

Origami Shelter

Palmeira

Madipur Healthcare Institution

Arch Melon

Paradigm Shift

Fractal Architecture

Biramitrapur Bus Stand

Classical Origami

Prospect Place

Garg Residence

Jayti Aggarwal Residence

The Crescent

Silvermount International School (W.I.P)

Selected Works
The Project Name
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”.

Hi-Sect 31
32 The Head Office Tower
Hi-Sect 33
 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.

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

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.

Hi-Sect
 The basic FORM was created by meticulous- The curved surface o
ly orienting and extruding the fixed base while FOLLOWS least ra
maximizing the view to talaab. with help of Galap

The vertical building block was separated The key to design is t

during early form explorations to provide a split that creates a mul
green refuge open zone that people can use. allow for indire

10 The Head Office Tower

on the west facade that The surface was then subdivided into balcony
adiation, was generated fragments. They shade the structure, ensuring
pagos and Ladybug. built-form SUSTAINABILITY.

the spectacular diagonal Raising a peripherial block further created two

lti-storey linear pocket to buffer spaces for recreational activities. This
rect natural light. welcomes light and wind to the tower.

Hi-Sect
 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 39
 GENERAL IN
1 2 3 4 5 6 7 8 9 10

B
101
A A
J
SCHEDULE
K

B A A' B
101 101
L C C

D D
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N E E

F F

G G

H H J
HIGH-RISE C
K

B'
101

M
1 2 3 4 5 6 7 8 9 10 INTERMEDIA
N FLOOR PLA

GENERAL INFORMATIO
A B C D E F G H

SCHEDULE OF OPENIN

P1 P1

P2 P2

P1 P1

P2 P2

HIGH-RISE COMMER

P2 P2

CURTAIN WALL
E
FACADE DETAIL

40 The Head Office Tower

 1 2 3 4 5 6 7 8 9 10

B
101

A A
J

B A A' B
101 101
L C C

D D
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N E E

F F

G G
P

H H J

P B'
101

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1 2 3 4 5 6 7 8 9 10
N

Technical drawings were created, spanning

from layout and setting-out plans, building sec-
tions, elevations, and detail drawings such as ex-
ternal wall section, toWilet detail, and basement
waterproofing etc. Forty-four sheets of Working
drawings that respects the Building codes and
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
drawings.

Hi-Sect 41
42 The Project Name
PALMEIRA
NEO-VERNACULAR EPHEMERAL

C-IDEA Award Winner 2021 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.

Palmeira 43
44 The Date Pavilion
Palmeira 45
The Date Pavilion
 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.

Palmeira 47
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.

48 The Date Pavilion

Palmeira 49
50 The Project Name
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.

Arch-Melon 51
52 The KinderGarten
Arch-Melon 53
 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.

54 The KinderGarten
Arch-Melon 55
 A Simple Catenary structure is de- Inorder to Optimize and furt
veloped using Rhino Catenary that bilize the catenary structur
follows the shape of hanging chain. chains are added on eithe

The primary central pavement sepa- Courtyard / Semi-open spaces are

rates the individual block to distinct Ad- introduced to both the blocks as a
min and Academic Blocks. buffer to let in indirect natural light.

30 The KinderGarten
ther sta- Final loaded Catenary structure is
re more derived that has less height, nega-
er sides. tive space and increased stability.

As a holistic approch to design contex- To finally connect these two distinct

tually, spaces that hinders tree growth blocks, a connection space is added
are subtracted from blocks. as a link between them.

Arch Melon
The Project Name
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.

Classical Origami 59
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 me
maidens
What ma
to escape
What pip
wild ecst

Heard m
those un
fore, ye
to the se
dear’d, P
no tone:
Fair yout
canst not
can thos
er, never,
Though w
do not gr
She cann

60 Script Development
en or gods are these? What
s loth?
ad pursuit? What struggle
e?
pes and timbrels? What
tasy?

melodies are sweet, but

nheard, Are sweeter; there-
soft pipes, play on; Not
ensual ear, but, more en-
Pipe to the spirit ditties of

th, beneath the trees, thou not thy bliss, For ever wilt thou love, and she be fair!
t leave Thy song, nor ever Ah, happy, happy boughs! that cannot shed
se trees be bare; Bold Lov- Your leaves, nor ever bid the Spring adieu;
, never canst thou kiss, And, happy melodist, unwearied,
winning near the goal yet,
rieve; “Ode on a Grecian Urn” by John Keats
not fade, though thou hast

Classical Origami 61
 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.

Initiation of design thinking purely de-

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.

62 Script Development
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-
ules and models.

Classical Origami 63
 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
However, the process con- in single click with the help of complex computational scripts.
tinues until the pattern with
mountain and valley creases
fold to form Origami. This di-
vision of Deployable folding
architecture was hence put
through a new light with ‘Clas-
sical Origami’ in Architecture.

64 Script Development
Final output of script reimagined the Classical Ar-
chitecture from the view of a Neo Designer. It takes
into account the Architecture qualities of a Classi-
cal artifact to convert it into pure Origami. These
final products and iterations serves as a testimony
to the fact that AI and Computation combined can
have the potential to rule the future Architecture.

Classical Origami
66 The Project Name
THE CRESCENT
C-IDEA Design Award Proposal 2021
Individual I Lamp Design

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

of loneliness, perhaps a ray of light could enlight-
en 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 design
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 nam-
ing it The Crescent”. This is a testimony to the fact
that when nature becomes the inspiration, the
design achieves perfection.

67
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