By Soundarya arumugam C.A.R.E School of Architecture

1. SOUNDARYA ARUMUGAM
soundarya_aru@auroville.org.in
7639474400
ARCHITECTURAL
PORTFOLIO

2. INTRODUCTION
I am Soundarya Arumugam. Born and brought up in Auroville, I grew up in a di-
verse community with people from various countries and backgrounds which broadened my
perspective and exposed me to various ways to go about architecture. the spatial aspects
to my surroundings have always kept me wanting to think out of the box, I grew up ques-
tioning a lot of things, which eventually led me to step out of the comfort zone i spent
all my life in just to expose myself to the outside.
I graduated highschool from ‘Future School’, auroville. I acknowledged that ar-
chitecture was a field which held a wide spectrum of considerations to life, and has the
potential to solve a lot of the issues in the world today, which always triggered me to
want to know more about it, to delve into it. I wanted to understand why and how spaces
could be an influencing aspect to life, and to what extent it can leave an impact. home
kept me questioning and C.A.R.E school of Architecture was the medium i chose to find
those answers and is shaping me into the person i aspire to become.
over the course of learning i understood my core values, and what i prioritise
in design; the process as much as the end proposal. The journey to arrive at the end de-
sign proposal is something i enjoy experiencing and give value to as well. i love diving
into the endless possibilities architectural design has to offer for one problem, and the
options i choose reflect my perception about it.
home will always be a place for me to constantly explore and is the reason why
i am who i am today. some people who have been there to guide and inspire me, and to whom
il always be gratefull are: my family, Poppo pingel, mona dr.pingel, ar.lalit bhati, ar.
judith belinda laura, ar.vidhyashankar, ar.Karthikeya Chayya, sarah evanir, betty kraus,
ramesh tulyani, Dr.Prashant Hedao.

3. CONTENTS
ACADEMICS
01-future of the factory, documentation & design, mangalore (6th semester)
02-traders’ centre at manapparai maatu sandhai (5th semester project)
03-Thayanoor Rural study (4th semester)
04-Fuel Filling Station (3rd semester)
05-A Place under the Shade; Pavillion design in C.A.R.E Campus (2nd semester)
06-Exploration of spaces through models responding to emotions, senses, character (2nd semester)
07.-Basic Design (1st semester)
08-Art Works
09-Building Construction Sheets
COMPETITON
-ANDC design sheet
TRAVEL SKETCHES
-HIMAlaYAS TREKKING TRIP SKETCHES
WORKSHOPS
-Bamboo Construction; design of car shed in C.A.R.E Campus, mentors: Ar.Sankalpa & Er.manu
-Linocut carving and printing, Mentor: Artist Mark Rathinraj
-AVD (Arches, Vaults, Domes) theoretical and Practical, Auroville, Mentors: Satprem Maiini & Lara Davis
-Cauvery Archives, Documentation of Moovar Kovil
-Rethinking spaces; Mentor: Neelkanth Chayya
-Truss Workshop, Mentor: Ar.Durganand & Ar.Murali
CV

4. 01‘FUTURE OF THE
FACTORY:
THE ALBUQUERQUE TERRACOTTA PARK’
THE FACTORY, TO SURVIVE INTO THE FUTURE, RE-
QUIRES NEW IDEAS AND STRATEGIES TO PREPARE FOR
A DIFFICULT FUTURE. THE OWNERSHIP HAVE DECIDED
TO INVEST IN A RESEARCH AND DEVELOPMENT PROGRAM
THAT WILL HELP THEIR OLD PRODUCTS AND PROCESS-
ES UPGRADE, AND PROVIDE THE WORLD WITH NEW AND
CUTTING-EDGE IDEAS IN THE WORLD OF TERRACOTTA
BUILDING PRODUCTSS.
AT THE HEART OF THIS INSTITUTION ARE THESE AC-
TIVITIES: EXPLORING, MAKING, TESTING, PRODUCING,
NEW IDEAS AND OBJECTS OF TERRACOTTA.

5. PLAN_1:100
THEME:
UNDERSTANDING & OBSERVING THE FACTORY
AND SURROUNDS.
METHOD:
MEASURE-DRAWING AS THE PRIMARY TOOL TO
OBSERVE, RECORD, AND RECONSTRUCT IN
DRAWINGS.
INTENT:
5 DAYS AT THE ALBUQUERQUE TILE FACTORY
IS A PROCESS OF ASSIMILATING ASPECTS
OF CONSTRUCTION, DESIGN, PROCESSES OF
INDUSTRIAL PRODUCTION, CONTEXT-SENSI-
TIVE DESIGN, RELATION TO GROUND AND
SURROUNDS.
I ALONG WITH A GROUP HAD DOCUMENTED
THE ‘POTTERS’ STUDIO’ IN THE FACTORY.
documentation of the
potter’s studio
potter gangadhar’s workspacestorage space, that might ini-
tially have been an oven
clay piled up at a corner, dry,
wet, and then ready to use

6. WEST FACING SECTION _1:100
EAST FACING SECTION _1:100

7. SOUTH FACING SECTION _1:100
NORTH FACING SECTION _1:100

8. SOUTH FACING SECTIONAL PERSPCTIVE_1:100

9. the site:
located next to the gurupura river,
an estuary that forms a confluence
with the netravathi river before meet-
ing the arabian sea. the site connects
to the netravathi river via a creek.
physical infrastructure of the site
include 3 hoffman kilns (of which 1 is
at use now), 4 downraft kilns.
program areas:
research and development
living spaces for artists/craftsmen
incubation centre
admin
public interfaces
enhanced factory facilities(port, riv-
er terminal, jetty, storage)
parking
brief:
to understand how an architectural re-
sponse emerges from both historical
context and present day relevance and
constraints. old and new systems and tech-
nologies will necessarily coexist. empha-
sis will be placed on achieving a synthe-
sis of the varied concerns to arrive at an
articlulate architecutral proposal
design brief-
adaptive reuse
GROUND FLOOR SITE PLAN
A
C
J
K
L
D
F
G
H
I
B
E
LEGENDS
A- MUSEUM/GATHERING SPACE
B-ADMIN, GEORGE,& PETER’S OFFICE
C-COMMUNITY KITCHEN, CAFE, STALLS
D-VIEWING/FERRY POINT
E-EXHIBITION SPACE & PATHWAY THROUGH
UNUSED KILN
F-CRECHE, WAITING AND COUNTER FOR
TICKETS; PAVILLION
G-STORAGE OF MATERIALS FOR LOADING
H-PORT FOR UN/LOADING
I-SERVICE TAX OFFICE
J-SOUQ PATHWAY TO ENTER PLAZA
K-PARKING FOR CARS & 2-WHEELERS
L-HEAVY VEHICLE PARKNG
10 5 10

10. My response to the existing is seen from the resemblance of
the kiln inside, from which my entire design derivation was
expressed with arches and vaults. This silent and indirect
response was further accentuated with materiality, i chose to
reuse and recycle terracotta products from the factory itself.
exposed brick vaults, lime mortar filling, and a clean rcc
slab combined together shaped the structure. vaults stacked
created my main body of research and development, with varying
sizes and types of vaults appropriating light and its func-
tion within. while vaults sprawled horizontally on the ground
drawing a parallel to the ‘souqs of samarkand’, while here it
diffuses into landscape being caraved out of a mound creating
visual suspense, and particualr views and vistas.
i have attempted in creating a subtle flow from the old to new
with pathways connecting the inside of the factory as well.
0 5 10
0 5 10
0 5 101
1
1
first FLOOR PLAN
souq sectional elevation
section with factory A-A
A
A

11. 02
Traders’ centre at
manapparai maatu
sandhai
Objective of Studio: To understand and
Design for a Context
Context: Manaparai-A town amidst the ru-
ral hinterland located an hour from the
temple city of Tiruchirapalli.
Purpose: To reinvigorate Sandhai in the
current context of globalisation.

12. An analysis done in groups to study
the streets of manappari in detail.
A set of 6 streets; commercial, resi-
dential, old and new were given to us
to analyse
INFERENCES:
-Street width; space making aspect
that affects degree of interaction
-activities encouraged by available
ground space, and liminal spaces
-understanding the old and new
MANAPPARAI STREET STUDIES

13. To design A place to Sleep, A place to
Meet, and The Interface to support the
existing market. The intent of the de-
sign is to build on the existing char-
acter of the market and ensure the ex-
isting function of the market is not
disturbed in any manner through inter-
ventions.
UGLY DESIGN

14. my departure point: ‘Design as a
response to the growing town’.
I utilised method of grafting using
the existing grain of manapparai town,
which allowed me to create an extension of
the existing built form.
The challenge was to adhere to the
grain, yet create relationships between
the built and unbuilt. I utilised sections
from the town itself to create a certain
language I observed in manapparai.
POINTS OF DEPARTURE
i explored grafting, with existing
grains of Manapparai that would reflect my
ideas for each programme before I final-
ised configurations for each.
the Sections were reinterpreted from
Manapparai’s transitional spaces inferred
from the street studies I have done. These
sections are appropriated for suitable
programmes that could be adapted with the
configurations obtained from the grains.
GRAFTING
ZONING
my interface is a thick zone is placed in
the highway front to create a pause point for
people travelling as well.
The place to sleep is situated in the existing
scenario where people buy cots and sleep under
the open sky.
the secluded platform area next to the Aadu
santhai space accomodates the meeting area, as
it includes spaces around it for the programmes
I provide (brings together Artisans from the ad-
jacent street).
A
B
C
A-INTERFACE-ENTRY OFFICE, EXHIBITION SPACE, PARKING, HOTEL, CAFES, STALLS, TOILETS
B-PLACE TO MEET-ADMIN, LIBRARY,MULTIPURPOSE HALLS, CLASSROOMS, WORKSPACE, VETERI-
NARY HOSPICE, LABS, GATHERING SPACES/PAVILLIONS, TOILETS.
C-PLACE TO SLEEP-SLEEPING PLACE FOR 50 ADULTS, STORAGE, WASHING FACILITIES.

15. There is a sense of horizontality in this
space, giving chance for the users to experience
the same of sleeping under the open sky due to
the large terrace spaces, and have their cows
at proximal distance as well, as I have given a
stable like space.
I explored variations from open, semi-open,
closed, built and unbuilt, transitions from var-
ious spaces, spatial qualities, volumetric as-
pects etc through schematic sketches and models.
PLACE TO SLEEP

16. PLACE TO MEET
This grain had a lot more area than the pro-
grammes given, and so it gave me the opportunity
to create a lot more breathing spaces with open
pavilions, more activities.
These variations were for primarily decid-
ing what kind of dimensional area reflected the
activities that are to occur there, and in what
way a given space aids, or conditions the pro-
grammes given in that space.

17. This is the interface intended primarily
for the highway visitors and drivers who park
their vehicles and wait till trade is over in-
side. The parking space is also used as chilling
space for the drivers. The restaurant attracts
people into this instuition as well.
This configuration holding very few dimen-
sional variations and had to house a lot of ac-
tivities which demanded certain ways of approach
and movement. I chose to keep the parking,
restaurant, and other highway related programmes
in this grain. The same grain was used for the
hospice as well, yet the areas appropriated with
different programmes.
INTERFACE

18. This zone creates a landscape even before
entering the market, replicating the vastness of
the maatu sandhai. The large overhangs respond
to climate and human comfort as well. The vari-
ety created with this configuration is a reflec-
tion of Manapparai and its diversity.
This grain for the main part of the interface
reflected my concept of having meandering paths,
and a thick zone that creates movement from both
the highway and the market, and grows into the
interactive space, visitor space, and yet allows
a threshold that remains unnoticed while moving
through it. I intended the space to diffuse the
in and out.
INTERFACE

19. 03
RURAL STUDY OF
THAYANOOR VILLAGE
INTENT OF THE STUDIO:
to understand people, environment,
place, their inter-relationships and
the practices as a result of geograph-
ical/climatic conditions
methods of study:
1) pra (participatory rural appraisal)
2)architectural documentation
3)pda (participatory design appraisal)

20. 04
FUEL FILLING
STATION-TIME PROBLEM
objective:
To design a fuel filling sta-
tion on a Trichy-Chennai high-
way incorporating design aspects:
Spatial organisation, circula-
tion, functional efficiency, user
perception and behaviour, us-
er-activity-space relationship,
site planning aspects, choice of
appropriate materials and struc-
tural systems, safety norms and
standards, etc.

22. 05
A PLACE UNDER THE
SHADE-pavillion at
c.a.r.e campus
objective:
Utilise a part of any model
done in the previous exercises to
create a repetition/improvisation
and design a pavilion, for the
students that move from hostel
to college and vice versa. Site
is in CARE school of architecture
behind canteen, on the platform,
next to the existing water body.

23. I designed my pavilion as a pause space,
which can be an interactive space, a gallery or
student exhibition centre, a liminal space, or
merely a place under the shade.
By reiterating the module derived from the
previous model, and forming a radial composition,
I attempted bringing the focus to the centre where
most interaction and activities are aimed to oc-
cur. Playing with visual suspense, light and shad-
ow, and responding to the existing natural fea-
tures was my priority (my design revolved around
the trees in the centre and directioned towards
the water body and the college entry).

24. 06
intent: Understanding elements as po-
tential tools for space making, where-
in spaces transform from mere physical
dimensions into peotic entities that
engage human senses.
The role of the elements in contrib-
uting/attributing a character and a
narration in spaces was the insight of
this project.
1. Interpreting Basic Forms with
Planes; I used subtractive and ad-
ditive method to shape this sculp-
ture (cuboid of 20x20x20 cm)
2. Introducing a natural element in the
Derived planar form to effect a trans-
formation; I chose sky to be incorporat-
ed into my concept, to further develop it
to respond to this aspect. I imagined the
paths and spaces that would deliberate-
ly make someone experiencing it have the
urge to view the sky, and various ways of
how the sky reveals itself.
3. Introduce an emotion as a Factor af-
fecting a derived planar form; Peace-us-
ing the opposite to enhance the quality
of this emotion, I characterised the mod-
el incorporating Chaos to make Peace more
evident.

25. 4. Exploration in planar form with an
architectural element incorporating an
emotion; Steps and Playful.
5. Exploring an architectural element
and its characterization; steps express-
ing the life of Maleficent (movie where
the evil protagonist changes to the her-
oine after half the story, seen through
the color changes of white and black, and
the narrowing and widening of space, and
movement of up and down).
6. Solid forms and Transformation with
natural elements as design; Clay mod-
el exploring sky, inspiration taken from
canyon as a form. Thermocol model similar
to the subtractive cuboid.WWW

26. 1) capturing lines
2)expressing light and
3)identifying planes in terms of
dark and light, using monochrome
palette with acrylic paint.
4)improvising into a composition
of colors, using tertiary color
palette;acrylic paint.
07
BASIC DESIGN
objective:
a view from our college was cho-
sen, I chose mine out of famil-
iarity, it’s the view that I
cross everyday before going to
class. I explored this view in
terms of lines and planes.
1) capturing lines
5)identifying horizontal
lines using relief tech-
6)identifying vertical
lines using relief tech-

27. 08
ART WORKS
when it comes to art iv always
been open to learning all the
various mediums. These are some
where iv used acrylic paint, wa-
tercolor, oil paint. out of all
this, charcoal, and graphite pen-
cil sketching, & calligraphy are
artforms that are close to my
heart, painting with a bamboo
brush and black ink has always
been my favourite.

29. 09
building construction
sheets

30. 10
ANDC TROPHY SHEET
programme:
the design programme intends to
explore, identify and re-interpret the
liminal spaces in the respective con-
tex with a vision to inform a society.
liminal spaces are those thank-
less transitional, in-between spaces
which remain in backdrop to highlight
or connect with the primary functional
boundaries; they are not here and not
there.

31. 11
travel sketches-
himalayas
trail
rishikesh-gangotri-bhojwasa-
gaumukh-shrinagar-joshimath-
manna-satopanth-devprayag-
rishikesh
programme
An experiential education and leader-
ship program for young adults to Trav-
el along the river Ganga from it’s
source to it’s tributaries- interact-
ing with communities and understanding
about environmental, social, environ-
mental justice and development issues
while also exploring your own inner-
journey to power and wisdom.

32. 12
WORKSHOPS
The Bamboo workshop
explained the usage of native
species limited in length 22ft
out of which straight members
are further limited to small-
er lengths ranging between 12
-15 ft, for long span parking
structure with bay length of
40ftx20ft.
B
A
M
B
O
O
L
I
N
O
C
U
T
A
V
D
LINO CUT AND PRINTING WAS AN
ART MEDIUM TAUGHT BY ARTIST
MARK. A FORM THAT HELD BEAUTY
IN ITS ROUGH AND RUGGED CUTS,
AND THE IMPERFECTIONS MADE THE
FINAL OUTCOME PERFECT. A PRO-
CESS THAT WAS SELF-AWAKENING.
A 2 WEEK WORKSHOP COMBIN-
ING BOTH THEORY AND HANDS ON
WORK TO STUDY THE STRUCTURAL
STABILITY OF ARCHES, VAULTS
AND DOMES BUILT WITH CSEB

33. C A
A R
U C
V H
E I
R V
Y E
S
R
E
T
H
I
N
K
I
N
G
T
R
U
S
S
S
P
A
C
E
S
A WORKSHOP THAT RESHAPED THE
STEREOTYPICAL THOUGHTS OF HOW
SPACES SHOULD BE INSTEAD OF
HOW ALL THEY COULD BE; THINK-
ING AT AN URBAN SCALE AND EX-
PERIMENTING WITH GROUP MODELS.
A combined module pedagogy
between History and Building
Construction in understand-
ing structures and light in
built forms. Through real
time constructions and sim-
ulated study of loading
pattern, the studio had a
practical understanding of
structural stability and
light.
A DOCUMENTATION OF MOOVAR
KOVIL DONE IN DETAIL AND TO
CAPTURE THE INTRICATE DE-
TAILS AND HISTORICAL RELE-
VANCE OF THE TEMPLE THROUGH
DRAWINGS.

34. curriculum
vitae

35. REFERENCE
MENTOR:
AR.KARTHIKEYA CHHAYA
kartikey.chhaya@gmail.com
INTERNSHIP COORDINATOR:
AR.SENTHILKUMAR
ar.senthil99@gmail.com
HEAD OF DEPARTMENT:
AR.JUDITH BELINDA LAURA
tjbelindalaura@care.ac.in
DIRECTOR:
AR.VIJAYKUMAR SENGOTTOUVELLAN
vijayarchitects@gmail.comWW