Portfolio (Landscape architect)

PORTFOLIO

Landscape Architect

About me

As a budding Landscape Architect, I am constantly experimenting and bringing out varied nuances through my designs. I enjoy expressing my thoughts and visions through illustrations and writing. It is my passion to learn and imbibe more knowledge through handling various projects and incorporating sustainable methods into my work.

Languages

English

Tamil Hindi

French

Skills

• Hand sketching

• Hand rendering

• Research & documentation

• Writing

• Concept drawing

• Digital art

• Presentation

• Laser cut drawing

• Model making

• Team work

• Photography

• Video Editing

Date of birth

17-05-1998

Contact

Ph no.: +91 9884577666

E: l.ar.prakriti@gmail.com

IG: @perks.of.being.prak

Address

Everest house No 62/18, Mukkathal street, Purasaiwakkam, Chennai - 600007

Academics

• 2013 | S. S. C. | Holy Angels Anglo Indian Higher Secondary School | 98 %

• 2015 | H. S. C. | Holy Angels Anglo Indian Higher Secondary School | 92 %

• 2015-2020 | B. Arch | Meenakshi College of Engineering | Anna University

| 8.94 cgpa (First class with distinction)

• 2021-2023 | M. Arch | Landscape Architecture | CEPT University

Softwares

AutoCAD

Photoshop

InDesign

Illustrator

MS Word

MS Power Point

Vray / Lumion

Procreate

Sketchup

Q GIS / Global mapper

Experience

• May - October 2018 | Architectural Intern

Amutha Surabhi Architects | Chennai

Architecture + Schematic & working drawing + Rendering & Presentation

• November 2018 - May 2019 | Architectural Intern

Foaid Design Studio | Chennai

Interior design + Detailed drawing + Rendering & Presentation

• May 2020-21 | Freelance artist

Concept art | Character design | Freestyle art

• May - September 2021 | Architectural Editorial Writer

Rethinking the Future | New Delhi | WFH opportunity

Writing articles + Creative writing

Extra-curriculars

Competitions

• Zonal NASA | Reubens trophy 2015

• Annual NASA | ANDC trophy 2016, 2017

• Art competition | IDHA labs 2020

Workshops

• City Futures Transformation through Urban Design | 2020

• Genesis Architecture and evolution of Landscape Design| 2020

• Advanced BIM Practice in Europe | 2020

• Art of Business Development | Emerging Creativity | 2021

• Landscape legacies | ISOLA Mumbai |2021

• Guest lecture on Conceptual Landscape Design by Chandrani

Chakraborti | 2022

• Why and how we draw : building relation between thinking writing & drawing | Manchester School of Architecture | 2022

• Guest lecture on Site Survey by Ambrish Dongre | 2022

Accomplishments

• State level 6 th rank holder in B.arch, Anna University | 2020

• Rethinking the Future (published 12 articles) | 2021

• Completed Grade 1 Music exam | Trinity college, London

1 2 3

CONTENTS

Electives | Summer Winter School, CEPT University

• NAVRAS - Exploring Indian Aesthetics Through Poetry and Drama

• Traversing Ahmedabad- Sites and Sights

• Design Writing Workshop

• Reimagining the Spatial Context of Ramayana & Mahabharatha

COMMON GROUND

INTEGRATING SHARED SPACES FOR ALL

CONVERGING FRAMES

NUANCES 4

OTHER WORKS

Reimagining The Spatial Context Of Lakshman Rekha | Ramayana

Visualising the Narrative | Book: MALGUDI DAYS - R. K. Narayan

Thesis | Revival Of The Lost City : Poompuhar | Socio-Cultural Centre

Urban Design Proposal | Urban Oasis - Reviving The Jambukeshwarar Temple Tank | Korattur,Chennai

UNDERGRADUATE PROJECT POSTGRADUATE

Full portfolio link: https://portfolio.cept.ac.in/2022/M/fa/community-open-space-studio-la4009-monsoon-2022/common-ground-integrating-shared-spaces-for-allmonsoon-2022-pla21255

COMMON GROUND INTEGRATING SHARED SPACES FOR ALL 1

Chand Chali community is predominantly a Muslim based minority community located in Old city of Ahmedabad. Women and children were bounded within the community as they did not have shared spaces as men in their community. The community progressed within these spheres.

Therefore, the main idea of this project was to identify the overlapping spheres and blend boundaries slowly to make spaces used by all. As a part of the design strategies, The smaller pockets available were opened up as play and congregational zones. Women moved out from their spheres further to worship in the prayer hall. Children were educated in Madrasa; while the portal reactivated people connecting them to the Sardar baagh. Urban farming methods were introduced to generate revenue and identity to the community.

The whole system of spaces were tied together, through the Mughal architectural principles such as axis and nodes. It made people move beyond their spheres, making common ground for all.

Introduction to the site

The site is located in the old city on the eastern banks of River Sabarmati in the old city of Ahmedabad. The Chand Chali community is located near to the river edge along the fortfication wall and is a muslim community. There are few historic monuments and masjids located at the site study area.

Location: Old city, Ahmedabad Site Study Area : 24 acres Neighbourhood popuation : 500+ people

Physical study & Analysis BUILT USE & MOVEMENT PATTERN

1.Chand Chali community

ACTIVITY MAPPING STUDY

2.The road leading to the community

Men go outside the community for work.

Women stay within the community.

Kids come to play in the streets.

Men go for work outside the community.

Women dont come outside.

Kids dont come outside.

3.Near Homeguard bhavan and Masjid

Men go for praying in masjid.

Women dont proper prayer hall to go.

Kids also go to pray in masjid.

Drinking water pots along the Rustom Cama Road under the Pongamia tree.

Rows of Pongamia trees along the Rustom Cama road.

Open stretch of land alongside the Riverfront road.

Chand Chali community

Banyan tree acts as religious node.

Rows of Bougainvilla creepers along the main roads.

Age based Gender based

Tea stall and barber shop

COMMONING

CONCEPT OF PUBLICNESS

CELEBRATE

BREAKING “CHORA” LOCATION

INVISIBLE FENCE FRAGMENT ED

GENDERED SPACES

SPACES OWN POW ER

IDENTITY BONDING

V ision Statement

“Acknowledging the forgotten links to restore bonds with the community, weaving a fabric that creates places out of spaces.”

MENDING THE BONDS

Spheres of Chand Chali community and office goers

Men sphere

Men usually leave for work and sit and chat in the tea stalls and majorly use the outdoor spaces. Office goers also use the road space.

Women sphere

Women stay mostly within the residential units and leave less frequently outside their zone.

Children sphere

Children stay inside gullies and play there. They also use open stretch of land as their play ground.

Faunal sphere

Fauna like chicken, goat, horse graze along the streets inside the community and along the open stretch.

Site: Near riverfront edge and Chand chali community open spaces

Chand Chali community

Primary stakeholders

-Meat

stall owner

Secondary stakeholders

-Home guard Bhavan

-Coming to mosque

Tertiary stakeholders

High Influence

Spheres formed within the community and the others based on their societal roles

Men

Own the land

Work

Travel

Socialise

Private sphere

Chand Chali community

Parenting

Women

Lesser social circle

Dont work

Illiterate

Lack of safety

Children/ teenager

Lesser social interaction

Only boys are educated

Play in gullies

Girls dropout of school

-Pan shop

man -Hens, Rooster, Pigeon

Office goers

Come for work

Use the spillover spaces around

Public sphere

Legends

1. Existing Masjid 11. Sunken court

2. Shops 12. Vegetable and herb garden

3. Madrasa 13. Creeper garden

4. Connecting corridor 14.Entrance plaza

5. Viewing terrace 15.Car and bike parking

6. Women’s prayer hall 16.Backyard garden

7. Existing residence

8. Kids playground

9. Open courtyard

10. Silent bay

Planting strategies

Zone 1

Materials used

Trees acting as marker

Trees act as anchor point in between the thresholds which indicate the entry points to the space.

• Murraya koenegii or Acacia auriculiformis can be used for the this typology.

Zone 3

Trees acting as enclosure/visual barrier

Trees with large canopy cover and can act as enclosure against the shared boundaries are used for edge buffer.

• Tamarindus indica and Peltophorum pterocarpum can be used for the edge buffer.

Zone 2

Red Mandana Kota Stone

Kota Brown Polished Stone

Concrete pavers

Terracotta bricks (for seating) Grass lawn

Trees as Directional element

Trees with the linearity in shape and gives a clear direction to the user to move within the spaces and hence giving a monumental entry to the space.

• Phoenix dactylifera used for this typology.

Zone 4

Trees which enhance the quality of space

Trees acting as binding factor for people seating in the sunken earth seating and giving shade for them.

• Millettia pinnata is used for this typology.

View of the Reading spaces

I can come here everyday after school!

Sunken seating

Backyard garden

Detailed plan - B

Legends

1.Vegetable and flower garden

2.Nodal plaza

3.Terrace view point

4.Fruit orchard

5.Herb and shrub garden

6.Connecting plaza

7.Creeper garden

8.Vegetable/shrub/flower garden

9.Exit to Riverfront road

10.Community market below

11.Storage and composting pit

12.Car parking

13.Bike parking

Materials used

Viewing terrace

The terrace acts as viewing platform which directs the user to look at the river as they walk.

Vegetable & flower garden

The gardens are present at various terraces where the interaction between the community is more.

Viewing terrace

The terrace acts as viewing platform from where we can also view the flower and herb beds at the lower terraces.

Full portfolio link: https://portfolio.cept.ac.in/2022/s/fa/routes-of-landscape-design-la4011-spring-2022/the-golden-egg-a-journey-through-hidden-nuancesspring-2022-pla21255

THE GOLDEN EGG

A JOURNEY THROUGH HIDDEN NUANCES

Phase I

The studio process began by creating quick and dirty designs that allowed us to bring out our creative side. By dwelling into sketches, readings, films and Haiku, we were able to refine our designs more which indeed cleared the fear of having clueless designs. For instance, The Golden Egg was a project which was approached through the Haiku method, that utilized poem to iterate the design narrative.

Phase II

The site was chosen in cept campus near South Canteen. Then, the four trace concepts were used as a base layer, which let us make design decisions not only experientially; but also incorporating the observations made on the site. The core of the design revolved around the mystical factor which will make the users to unravel the space through the varied nuances.

Studio

: Routes of Landscape Design

Semester

Phase I

Haiku method

What the site is now? What the site ‘wants to be’?

hustling all along near yet serenity resounds here amidst the green clutter

Site Plan

honey comb mimicked has nature perfectly aligned still, emptiness triumphs

Experiences:

Seating section - YY

Higher ground creating the drama.

Emphasis created by flowing water.

Water acting as a sensorial element.

Golden egg mimics the honey comb, adding a sculptural tone.

Section - XX

Dark internal cave like setting with seating space.

The whirlpool effect in water adds the drama to the space.

The broken egg seating inside the water makes the user feel connected with the nature.

Phase II

1.Site location

Landing

First impressions of the site

Loud

Print / Stationery

Material testing laboratory

Parking SITE

Concept ideation

The concept is purely based on the mystical element as the key factor with all the other factors like color, texture, movement along with transition defines the making of the space.

Parti diagrams

Approach

These elements are applied in various parts of the design through construction, sensorial and landscaping in spaces.

Aesthetic creation theory and Phenomenology are used together in the design approach.

Theme Observations from grounding

Mystery

Site plan

Legends:

Material palette:

Concrete wall

Brick wall

Concrete seating

Sand

Wood chips

Pea gravel

Corrugated concrete

Tipuana tipu

Views:

Ailanthus excelsa

The entry pathway

The transitional area

Seating within the wildered spaces

Planting Palette

Palette 1

Palette 2

Licula grandis (2m)

Codiaeum variegatum (Golden ring) (0.9m)

Tradescantia spathacea (0.3m)

Ophiopogon japonicus (0.1m)

Cynodon dactylon (0.05m)

Palette 3

Agave striata (0.6m)

Euphorbia neriifolia (1m)

Agave potatorum (0.3m)

Echinocactus grusonii (0.6m)

Ficus racemosa (20 m)

Alocasia macrorrhiza (3.6m)

Dracaena trifasciata (0.7m)

Tradescantia spathacea (0.3m)

Monstera deliciosa (2m)

Nephrolepis biserrata (2m)

Full portfolio link: https://portfolio.cept.ac.in/fa/group-a-la4003-1-monsoon-2021/converging-frames-monsoon-2021-pla21255

CONVERGING FRAMES 3

Moist deciduous forest of Mudumalai tiger reserve is located in Central western ghats and is a part of the Nilgiris biosphere reserve.

The riparian corridors are indicators of the forest’s richness in the ecosystem. The project investigates the various vegetation typologies occurring along the forest of Mudumalai tiger reserve and how these species follow the path of wetness and converge at the Riverine forest, present along the stream banks and tributaries of the River Moyar. The system of the streams that originate from the Nilgiris hills and flow to the plains, forming a continuous network in interlinking the species across various systems of the forest. The major convergence of species is seen at the valley of the River Moyar, where one might pause to discover the contrast in character along changing river widths.

Studying the species diversity of the riparian corridor.

Riparian corridors are bio indicators of a healthy ecosystem, thus through the study one can understand the species correlation with the riparian corridor.

What is the system?

Riparian corridors are the transitions between the semiterrestrial/semiaquatic systems which are regularly influenced by fresh water and extends its the edges along water bodies as the corridors for the upland community.

What is the extent of the system?

The extent of the system is the streams/rivers that originate from the Nilgiri hills to the plains through which they flow, forming a continuous network.

Why it is critical?

The Riverine forest contributing to the riparian corridors are convergence points of many native species of flora and fauna which are distributed across different forest typologies, following the path of wetness.

Recording landscape

Correlating vegetation typologies with different stream orders

The varying vegetation typologies with respect to altitude, rainfall and its varying moisture holding capacities, few species have a great dependency towards wetness and they move along the flow of water. This contributing to the rich biodiversity in the riparian corridors.

System Investigation

The convergence of species

The critical links:

Wildlife

Mugger crocodile-Habitat

Section through the Moyar valley

The Black buck- largest habitats.

Pause points

The nesting and roosting grounds for the gyps vultures.

Invisible protected corridor

Journey through the converging frames

Invisible protected corridor

Bamboo-Mango trees

This transitory space acts as a protected corridor where the visibiltiy of spotting an animal is rare and its a dense stretch of vegetation occuring along the narrow stream.

Visible Biodiversity pocket Terminalia-Sygium-Pongamia

As the stream widens, there is lot of visbility of viewing the different species and hear their chatters. This stretch serve as as migratory route and a browsing site for many arboreal and mammalian species.

OTHER WORKS 4

REIMAGINING THE SPATIAL CONTEXT OF LAKSHMAN REKHA | RAMAYANA

VISUALISING THE NARRATIVE | BOOK: MALGUDI DAYS - R. K. NARAYAN

UNDERGRADUATE PROJECT

THESIS | REVIVAL OF THE LOST CITY : POOMPUHAR | SOCIO - CULTURAL CENTRE

URBAN DESIGN PROPOSAL | URBAN OASIS - REVIVING THE JAMBUKESHWARAR TEMPLE TANK |

KORATTUR,CHENNAI

POSTGRADUATE PROJECT

LANDSCAPE DETAILS | ACADEMIC - CONCEPTUAL IRRIGATION SYSTEM LAYOUT | RAIN GARDEN

DETAIL ALONG THE ROAD | LIGHTING DESIGN - CONCEPTUAL

THRESHOLD

SITA LEADING

LOCATION: CHAMPALIMAUD CENTRE FOR THE UNKNOWN | CHARLES CORREA

VISUALISING THE NARRATIVE| BOOK: MALGUDI DAYS

AN ASTROLOGER’S DAY

Punctually at midday he opened his bag and spread out his professional equipment, which consisted of a dozen cowrie shells, a square piece of cloth with obscure mystic charts on it, a notebook, and a bundle of palmyra writing. His forehead was resplendent with sacred ash and vermilion, and his eyes sparkled with a sharp, abnormal gleam which was really an outcome of a continual searching look for customers, but which his simple clients took to be a prophetic light and felt comforted.

The power of his eyes was considerably enhanced by their position—placed as they were between the painted forehead and the dark whiskers which streamed down his cheeks: even a half-wit’s eyes would sparkle in such a setting. To crown the effect he wound a saffron-colored turban around his head. This color scheme never failed.

People were attracted to him as bees are attracted to cosmos or dahlia stalks. He sat under the boughs of a spreading tamarind tree which flanked a path running through the town hall park. It was a remarkable place in many ways: a surging crowd was always moving up and down this narrow road morning till night. A variety of trades and occupations was represented all along its way: medicine sellers, sellers of stolen hardware and junk, magicians, and, above all, an auctioneer of cheap cloth, who created enough din all day to attract the whole town. Next to him in vociferousness came a vendor of fried groundnut, who gave his ware a fancy name each day, calling it “Bombay Ice Cream” one day, and on the next “Delhi Almond,” and on the third “Raja’s Delicacy,” and so on and so forth, and people flocked to him. A considerable portion of this crowd dallied before the astrologer too. The astrologer transacted his business by the light of a flare which crackled and smoked up above the groundnut heap nearby.

Half the enchantment of the place was due to the fact that it did not have the benefit of municipal lighting. The place was lit up by shop lights. One or two had hissing gaslights, some had naked flares stuck on poles, some were lit up by old cycle lamps, and one or two, like the astrologer’s, managed without lights of their own. It was a bewildering crisscross of light rays and moving shadows. This suited the astrologer very well, for the simple reason that he had not in the least intended to be an astrologer when he began life; and he knew no more of what was going to happen to others than he knew what was going to happen to himself next minute. He was as much a stranger to the stars as were his innocent customers. Yet he said things which pleased and astonished everyone: that was more a matter of study, practice, and shrewd guesswork. All the same, it was as much an honest man’s labor as any other, and he deserved the wages he carried home at the end of a day.

The temple complex includes a tank which is as an important site for cultural actions and the temples and tanks are inseparable. People are dependent on the temple tank for religious and daily activities in their day to day life.

RAIN GARDEN DETAIL ALONG THE ROAD

DETAIL ‘B’ : Kerb edge detail

Continue fall of channel through the kerb opening

Bullnose finish kerb block

5mm chamfer finish

Rise of rainwater level

300 mm depth

Gravel mulch

50 mm depth

Filter layer (Earth mix)

600 mm depth

Foam concrete

Drainage filter media layer

150 mm depth

Raingarden containment wallpad

Transition layer (sand)

100 mm depth

uPvc pipe

100 mm diammeter

Ground

DETAIL ‘A’ : Raingarden along the road detail

LEGEND

Rainwater

Earth mix(filter layer)

Loose soil

Cast in-situ concrete

2000 mm 500 mm 1000 mm

Footpath

Road carriageway

Kerb with flat channel

Concrete slab

Rise of rainwater level

300 mm 0 mm

B

Gravel bed

Outlet to sump

Loose soil below pit

300 mm 150 mm 800 mm 1050 mm 1350 mm

Ground

Detail sketch 1 :

Front Elevation of the light

Detail sketch 2 : Section of the light

Detail sketch 3 :

Illuminated visual of the light

Dimensions: 40 x 25 cm (including the wire attached to the light fixture)

Material

Hanging light with translucent acrylic cover

Source

LED smart lamp with bluetooth colour changing automation.

Effect

Downlighting creating the sculptural effect through the diffused lighting emitted from the translucent cover.

Visualisation of the Hanging light

When lit up at night, it appears to be illuminating flowers, creating an ornamental effect. The lighting colour may be adjusted according to the theme/event set via automation which can be accessed through mobile phones.

Concept note:

•Strongylodon macrobotrys, often known as jade vine, emerald vine or turquoise jade vine, is a leguminous perennial liana (woody vine) native to the tropical forests of the Philippines.

•Applying biomimicry, the lighting strategy aims to create drooping blossomed artificial lighting through the use of overhanging lighting as feature element.

•The lighting will function as flowers without being illuminated during the day and will be lit with diffused lighting at night to produce a magical effect while also changing the ambience of the space.