UG Thesis 2020 by Ishani Tanwar

THESIS 2020

DESIGN LANGUAGE AND DETAILING :

Understanding relationship/s between materiality , elements of space and details through case studies

Faculty of Design CEPT University

Guided by Prof. Snehal Nagarsheth

Submitted by:

Ishani Tanwar UI1315

Design Language and Detailing: Understanding relationship/s between materiality , elements of space and details through case studies.

Ms. Snehal Nagarsheth

DEDICATED...

.....to my parents for being my constant pillars of strengths and Jennis , my sister, for keeping me sane through the process.

ACKNOWLEGEMENTS

For this thesis, I would firstly like to thank my guide Prof. Snehal Nagarsheth for guiding me on this thesis. Her constant inputs and discussions helped me not only write the thesis but gave me insights of , who I am as a person and what I would like to do ahead in my life. Secondly, I would like to thank my examiners and Prof. Amal Shah for always giving helpful inputs and opening my mind to different and better possibilities, because honestly without perspective what even do we learn about design. Next I would like to thank Batchâ&#x20AC;&#x2122;15 for sharing the 5 years literally through blood, sweat and tears. All smiles with Chaman Chintuâ&#x20AC;&#x2122;s and a special thanks to Pragati Murathia for all her annoyance, followed by love. All my friends for bearing with me and pushing me to go ON & on. Priyanshi & Hiral for simply being there for me. A special thanks to Nehal Bhatt and Veeram Shah, for helping me to understand a little bit more about my topic and the field of design. Last , but never the least , my family for everything they have done for me.<3

ABSTRACT

Built space, a composition of many elements, discusses a language by either repeating or translating a common thread in its different layers of expression. The studyâ&#x20AC;&#x2122;s objective is to synthesize the parameters leading to the identification of elements that define the language of space. All elements partly, if not entirely contribute to the language. The research further narrows down to recognise whether a critical detail can become the identity of the project/ building.The detail can be disjunct or syncretic with the built specific to its context. The theory of part to whole is applied to build relationships between the detail and the built. The study builds a relation between the materiality and language of the detail.

DESIGN LANGUAGE

MATERIALITY

JUNCTION DETAIL

AIM

OBJECTIVES

To understand if detail can be a part of the design language by looking at the aspects of materiality and spacemaking elements.

• To identify the crucial elements of space-making through preestablished parameters. • To synthesis parameters that identify the crucial elements of design language and further deconstruct them to record their impacts in the built. • To establish and identify relationships between the materiality and the language of space. • To find the impacts of detail on the design language of a space.

SCOPE & LIMITATION This thesis looks at the idea of language in design with a focus on detail. Language is not taken for its literary meaning but language is looked and decoded from and for a drawing. Detail ranges from organization to functional to aesthetical and is always defined within the example. To further narrow it looks at the criteria of materiality in space-making elements to discuss about the visual language. The context is confined to contemporary public buildings ,post 1990, in India. The narrower lens is to see how the elements and materials come together in space. The 2 scenarios seen are the works done with pre-dominant single material and other with a mix of materials. The impact of materials on the design language.

INTRODUCTION The field of design today strives towards defining a unique language of design, for either a project or firm in practise. Language as defined by merriam webster is ‘ Form or manner of verbal expression’. Every language is a formal system of symbols, sounds and signs that, with a set of rules, from and transform into admissible expressions. Similarly in this thesis, the meaning of the word ‘language’ of space isconsisting of elements emerging from a set of rules and serving a purpose in the entirety of space.This study aims at identifying the elements fabricating the design language, with a focus on the expression of junction detail. Detail is the expression of the concept in the smallest of elements. Projects designed without thinking about the detailing often seem incomplete and chaotic in their narration. According to Gracia (2015) details define the theoretical expression and technical character, and impacts the building’s production process, assembly method and also ecological footprint. Details are very scalar in nature, as in, interior is a detail of architecture, architecture of a city, city of a landscape and landscape of the world.This can be further zoomed in and out till the undiscovered. This observation also means that everything can be considered a detail when looked at from a larger context. This observation can further be discussed through examples and record the impacts of the small detail on the larger context. For this thesis language and details are looked with the lens of materials and its impact on them. This document will help in understanding how materiality is related to the design language of the building. 10

METHODOLOGY QUALITATIVE, CASE-STUDY BASED RESEARCH

Non literary meaning of language Impacts

DESIGN LANGUAGE

Prominent Language Elements

Complex Language

LANGUAGE OF DETAILS

Inter-related

Function

Materiality

Single Material Multiple Material

JUNCTION DETAILS

Type ( Element ) Scale

INFLUENCES

Function

Public spaces Institutions

Context

Indian

Time Period

Post 1990 Contemporary works

Influences leading to unique expressions in design

The two broad topics this thesis tries to explore are the idea of design language and expressions of detailing. Within the first it establishes parameters to identify the elements, defining the language of the space, and further narrows down to the most crucial elements. The second part talks about the detailing and its expressions in various junctions of the built. It establishes relations between the built and the detail using the Gestalt’s theory ‘part-whole’. The tangible and intangible aspects of detailing are studied to record its impact in the space, and on the design language of the space. The later part synthesises relationships between materials and language. It records the impacts of materials on the space and detailing.

LITERATURE REVIEW Design Language Language as defined by Merriam Webster is ‘ Form or manner of verbal expression’. As discussed above every language is a formal system of symbols, sounds and signs which lead to unique expressions when adhered to a set of unique rules. . Similarly in this thesis, the meaning of the word ‘language’ of space consists of elements emerging from a set of rules and serving a purpose in the entirety of space. “Elements possess attributes inherent to their morphological construct which endow them with particular spatial properties, providing potential for their use and design in architectural compositions” (Pandya 2007). Elements structure and organise space for its use. The common thread that ties all of them together becomes the design language. In the book ‘the language of space’ Lawson (2001) establishes that the language of space is global as many of its roots can be found in fundamental characteristics of the human race. These characteristics help in objectifying a matter that is always thought to be subjective. All languages are tools for communication and the most apparent one is the visual language. The visuals form our perceptions regarding the design and the space. Perception is more than just sensation(Lawson 2001, 42). There are many ways of perceiving space and with every change in visual, the perception changes. The elements become key to perceiving a space. The second part of this thesis brings in a more focused lens where the language is defined by the junction details. It looks at the idea of how the detail can become a crucial part of the element and hence the identity of the project. Details are used to establish continuity 12

in design; safely construct the design; and explore the minutiae of the design scheme (Verghese 2003). Detailing mostly repeats itself or translates into different scales and elements. Relationships are built between the language of space and the impacts of detail in that space. What the field lacks in terms of data, according to me, is the relationship between the elements that define the space and the common thread tying all of it together. Not many have touched upon the impacts of the same along with the tangible and intangible aspects. The above is discussed in the thesis. References

Pandya, Y. (2003). Elements of space making. Ahmedabad: Vastu-Shilpa Foundation for Studies and Research in Environmental Design. Lawson, B. (2015). The language of space. London: Routledge. Language. In The Merriam-Webster.com Dictionary. Retrieved January 22, 2020, from https://www.merriamwebster.com/dictionary/language

Detailing in Design

TYPES OF DETAIL

Categorisation based on the theory of detail by Edward Ford

Detail as Abstraction Detail as Material expression Detail as Structural Representation Detail as Joint Detail as Dissonant Elements Detail as Space-making Tool Detail as Articulation

Detailing has been â&#x20AC;&#x2DC;in the shadowsâ&#x20AC;&#x2122; for a long time. It has been termed as unnecessary by a lot of modernists. Detailing in the past architectural periods was only seen as ornamentation Example- the column capital was a piece of sculptural art. But with time detailing in design has evolved to the point where details are designed simultaneously with the design and is many a times hard to seperate from architecture. Example- Prostho museum by Kengo Kuma integrates the detail and space. Peter Zumthor (1998) expresses the basic idea of the design required at the relevant point in the object: belonging or separation, tension or lightness, friction, solidity, fragility.......Details, when they are successful, are not mere decoration..... they lead to an understanding of the whole of which they are an inherent part. Detailing in architecture and design can be defined as the translation of a design concept to the smallest part of the whole. But Edward Ford in his book the architectural detail divides details in 7 types and concludes by defining the activity of detailing. Ford focuses on reading a detail under its specific context and does not look into the experiential factors surrounding design and detail. He categorises detail into 5 major categories, those being: Abstraction, Structural representation, Joint, Motif and Autonomous details. Detail as abstraction looks at the contextual translation of design concepts. detail as structural representation is the pure joinery or junctions between 2 materials , elements or spaces. This is also similar to the idea of detail as a joint. The only visible difference is the calculation of forces acting on a joint and the strength of it. Detail as a motif can be directly seen in 14

the example of Hollyhock house by FLW where the Indian motif is translated across various elements in the house. In a lot of digitally fabricated projects the detail acts as an autonomous (independent) entity. The example for this can be seen in the Contemporary art center in Cincinnati by Zaha Hadid. The handrail for the space is a seperate detail and element all together. Detail in design has had a lot of interpretations both tangible and intangible at times. The tangible aspects grow around the fact of material specifications and scale & proportions, while the intangible being the impacts or feelings they generate when composed in a space. References Ford, E. R. (2011). The architectural detail. New York, NY: Princeton Architectural Press Allen, E., & Rand, P. (2016). Architectural detailing: function, constructability, aesthetics. Hoboken, NJ: Wiley

CONTENTS Chapter 1: The

Language of Space

1.1 What is design language?......................................................(22) 1.2 Elements of design language.............................................(27) 1.3 What does design language communicate?...........(33) 1.4 Factors affecting the language...........................................(35) 1.5 Material and language..............................................................(37) 1.6 Language and Expression.....................................................(39) 1.6a Evolution of Language & Expression .................. (40)

Chapter

2: Detail and Design

2.1 What is a detail?............................................................................ (44) 2.1a What is a junction detail?............................................. (46) 2.2 What are the roles/duties of a detail?........................ (50) 2.3 Detail in design language..................................................... (52) 2.4 Reading a detail............................................................................ (53) 2.5 Cultural influences on detail............................................... (55) 2.6 Expressions of detail in design.......................................... (58)

Chapter

3: Making the Point

3.1: Prominent Design Language ........................................ (63) IIM-A, Louis Kahn, BV Doshi + HCPA 3.2: Complex Design Language............................................ (77) BRTS Module ,Ahmedabad

Chapter

4: Concluding the Argument

Addendum ............................................................................................... (100) Bibliography ........................................................................................... (103)

Reviews ..................................................................................................... (109)

THE LANGUAGE OF SPACE

I donâ&#x20AC;&#x2122;t separate architecture, design, or culture. Whatâ&#x20AC;&#x2122;s more important is a language of creativity that carries meaning. - Neri Oxman

What is a design language? Language in its elemental form is just a tool for communication. The idea of language in a space ,I am assuming, might have generated from the very phrase/ thought that architectural drawings and spaces are ‘read’ and not seen . The word language comes with a lot of technicalities and is extremely vast in terms of a definition. The umbrella of the word contains a lot of smaller components like grammer, sentences, words and alphabets. It is a complex combination of the above components. The combination of these are governed by rigid rules of the language. All languages have consistency within their respective boundaries and in their representation. Meaning: When a language is expressed it is usually done so with the thought of expressing just one thought. It might end up discussing different perspectives but the idea behind that expression remains similar for all interpreters. The expression of languages may change globally but mass interpretation remains the same. A simple example to clarify the use of the term language is- how a chair remains a chair and is always interpreted as a seating element regardless of it being called a chair or khurshi. The various dialects can be considered as the different expressions of the same elements of space-making. What is the structure of that language? What are the elements of that language? What is the grammar of that language? To answer the above questions what can be simply taken as an example is the English ‘language’. The language in 22

which this document is being written. English language contains alphabets from A-Z which are the core elements , which in different permutations and combinations come together to form words. The words are then arranged using a set of globally accepted rules, which is the grammar, to form sentences. Sentences are the ultimate form of expression and these combine to give a meaning to the written/spoken thought. The fig 1. shows the major categorisation of languages. These categories while engage the mind, also involve the sense of sight, touch and hearing. The language of architecture can be read through eyes by seeing the coming together of elements, materials and concepts. It can be heard in the stories murmured by the people using the place. It can be felt on the soles of the personâ&#x20AC;&#x2122;s feet who is walking through the spaces in the built.

LANGUAGE

VERBAL sense of hearing

WRITTEN sense of sight

VISUAL Fig 1. Types of language in current times. 23

For the purpose of this thesis language in architecture and design is better understood by looking at and analysing the works of architects with worldwide recognition which helps in talking about the universal impact of design language. The works of Carlo Scarpa and Kengo Kuma have triggered the starting point of this thesis.

The venetian architect has always hinted at the influences of his city ,through elements, in his work all over Italy. He combined the artisanal techniques with current available methods of production to express and enhance the details. His attention to expression and detail can be clearly seen in his woodwork at Caâ&#x20AC;&#x2122;Foscari (image 1). The expression in detail does not limit to just the material and artisanal technique but also to the purpose, haptics and aesthetic of the element individually and when looked at, as a whole. Scarpa in his works treats water as an element of the space. This influence clearly is linked with the place of his birth (Venice). During 1961-63 Scarpa worked on Fondazione Querini Stampalia (image 2). He was called to work on the problem of flooding in the palazzo. Instead of pushing the water out of the building, Scarpa created levels and let the water flow in the palazzo, without damaging the building. Water has become an attraction point at the entrance rather than being the burden. Scarpa uses water as an expression a lot of times in his works. At La Partigiana (image 3) Scarpa designed the concrete and copper base for a bronze sculpture credited as the work of Augusto Murer. The base is an irregular field of concrete 24

blocks of varying heights. The blocks just like the sculpture are often partially and at times fully submerged in water. Scarpa created those blocks for continuing the expression of the resistance that the sculpture depicts. The major words that define the architecture of Scarpa can be termed as Concrete, Water, Square Tiles , Levels, Contrary to the works of Scarpa -Kengo Kuma a Japanese born architect uses the traditional elements of Japanese Architecture and translates them for modern times. His work extensively uses wood and creates a different expression in it everytime.

Kumas work in GC Prostho museum is a representation of Japanese culture at its best. The exposed joinery and simplicity in design is a reflection of the culture he grew up with. The building is made up of 12mm square wooden sections. These form a cubic grid for the built and for the showcase. A similar design translation is seen in his work at the Yusuhara Bridge Museum. The column at the center is essentially constructed by stacking wooden members with the same crosssection. The architectâ&#x20AC;&#x2122;s challenge as he states was to design a structural system which consists of small parts ,referring to cantilever structures which are often seen in traditional architecture of Japan and China. Kengo Kuma does not always work with a single material. In his project called water/glass house, Kuma works with the idea of connecting the outside to the inside (one more spatial relation talked a lot about in Japanese culture). He uses water and glass as the core materials. Glass is extensively used for elements 25

like walls , floor, staircase and bridges. Language in design can be studied in 2 ways: Within the work of a single architect or Within the single work of an architect Language in design may or maynot be a conscious decision. We as designers might analyse a bigger picture but the artist painting wonâ&#x20AC;&#x2122;t necessarily have had planned it in the same manner. A lot of intuitive decisions guide the process of design and the resultant thus becomes a personal expression of an individual. Because all individuals operate with a different mind the design and its expression turns out unique. Language can hence be called subjective in its approach and depends a lot on how an individual reads the space/ element.

1. Carlo Scarpa- Venice, Italy Caâ&#x20AC;&#x2122;Foscari (1936) 2. Carlo Scarpa- Venice, Italy Fondazione Querini Stampalia (1963) 3. Carlo Scarpa- Venice, Italy La Partigiana (1961) 4. Kengo Kuma- Kasugai Shi, Japan GC Prostho Museum (2010) 5. Kengo Kuma- Yusuhara, Japan Yusuhara Wooden Bridge Museum (2011) 6. Kengo Kuma- Atami, Japan Water/Glass House (1995)

Elements of design language

Floor

Column

Door

The elements of space come together to create a design language. the elements can be categorised into physical and spatial for a narrower understanding. According to Pandya (2013) these elements in their physical form are: FLOOR COLUMN WALL DOOR WINDOW STAIRS ROOF The above list can also include bridges, courtyards, furniture, water bodies, brackets, passages to enrich the categorisation. The spatial elements are not so concrete in nature (pun-intended) but can be listed as following:

Window

Thresholds Aperture Connectors Blocks Voids

Roof

All of the above can be considered different, if not equal, contributors to the language of the space. These can become parts making the greater whole. The gestalt theory, â&#x20AC;&#x2DC; the sum of parts is greater than the wholeâ&#x20AC;&#x2122; when applied confirms the fact that these elements are what make the space and hence form the design language. There can be other space-defining elements as well. For example- In the Museum of Modern Art (MoMA), New York the painting Water Lilies by Claude Monet is the highlight of the space.?

Wall

Staircase

Furniture

These elements and their impact also depends on the scale of the built. To understand the elements a little more in depth with the context ,the following

examples will help in making the lens clearer. The examples will put the elements as the core of the project and will term it essential for the project : Floor- The horizontal plane that you can walk on.

The translation of levels to incorporate the surrounding landscape, and also regulate the flow of water in the interior spaces sets up a good example to see the floor as a core element for the space. such is the case in Therme Vals by Peter Zumthor. Column- The vertical structural element that transfers the load of the building.

The history of column design is a research in its own but for this thesis we look at the aspect where the column as an element is not only treated as a structural but also as a design element. For example- In Indian temple architecture the rows of columns act as the circulation dividers but are also treated as a canvas with figurines carved on them to hide the construction joints and narrate a similar story for the space. Walls- The planar element used to create enclosed spaces or divide spaces.

The wall as an element has been reinterpreted a lot with the idea of privacy in mind. From walls being a protective outer boundary ,like in Indian palaces, to glass walls being used to bring transparency. Staircase- The element connecting the separate floors in a space, used for circulation purposes. Many a times staircases are tucked away in a corner just for functional purposes 28

but it is also designed as the central element in works like the Guggenheim Museum, New York The ramp ( taken as a translation of staircase) has entwined itself in the entire space . It becomes the circulation path as well as the viewing path for the museum. Roof- The top-most covering element for a building. roofs are designed in a range from flatdomes-space frames- parametric. Roof as an element is a design opportunity for many and such is the case with the Mercedes Benz stadium, USA. The retractable roof can enclose the stadium making the stadium an icon for the city let alone for the building. The most interesting fact would be that the design of the roof is inspired by the dome of Pantheon, Rome. Door- The means of access to a space. It opens and shuts the participation for a space. Door in design and architecture have been used both, metaphorically as well as functionally. For example- Buland Darwaza in Fatehpur sikri stands as a symbol of courage and is a door that leads nowhere. For a functional example one can look at the door as a threshold between two spaces. The main door of the house is always seemingly different from the doors connecting two rooms in a residential building. Window- The opening in a wall which brings in light and air while allowing people to see outside. Window as an element can always be considered a cut that frames the outside for the people inside. Jaali, a translation for windows, is a one way communication tool for the women 29

living in Jaisalmer. It is to bring in cool compressed air and also reduce the bulkiness of the space. For a more modernistic expression of window as an element one can look at the interiors of Notre Dame du Haut chapel. The windows at different heights with different colours dramatise the space while fulfilling their purpose. Windows on the facade of the buildings like Hawa Mahal, Jaipur are there as elements to ornate the facade and intimidate the viewer. All of the above can also be categorized as architectural elements. The proceeding thought for an interior designer is what can be termed as interior elements? The answer to this question can be linked to the above literature that talks about interior design being a detail of architecture. So the elements of interior design can be narrowed down to furniture, partitions, layouts, doors, windows, staircases and the functional planning of spaces. Interior design can also be talked about as the means to making space and art is a huge part of doing so.

7. Peter Zumthor- Therme Vals (1996) 8. Carved Coulmn in Indian Temple. 9. Red fort- Delhi ,India 10. Frank Lloyd Wright, Guggenheim Museum, New York. (1939) 11. Mercedes Benz stadium, USA (2017) 12. Mercedes Benz stadium, USA (2017) 13. Buland Darwaza, FatehpurSikhri 14. Carved stone Jaali, Jaisalmer, India 15. Bahai Lotus Temple, Delhi (1986) the finished temple resembling the Lotus flower. 16. Bahai Lotus Temple, Delhi (1986) model showing the inner structure of the built.

The roles of elements are too diverse to cover in a document. The roles talked about above are ,for now, independent of the material influences and do not talk about the context in which the design sits. They mostly focus on the fundamental purpose of the element in a built space. The above is enough to conclude that these elements are together that make the space and give character to the built. The most astonishing fact is that these are the elements which are redesigned and retranslated for centuries now. Every design is a reinterpretation of the same elements in an eccentric manner. 30

The language of individual elements is a huge contributor to the language of the space. So to define the language of space ,one can say that the language is made by the cumulative features of design elements, materials, functions, details and context/narrative. The elements are not always seen in a pure isolation. Many designs integrate the various functions with a very unique form to create spaces with a complex language.

A building when designed is not always treated as an isolated kit of parts, While designing there is constant to and fro and the resultant is a piece which binds together every decision and thought. The building can be analysed and decoded into a kit of parts but is not always treated as an arrangement of isolated elements. To further explain by example how design further integrates the elements of space-making to function while giving the building a unique identity. The Bahai Temple, New Delhi

This piece of design is a great example to talk about the integration of elements. The form of the temple has been inspired by the Lotus flower which is a religious symbol in both Hinduism and Buddhism. It is a 9-sided ,3 layered form of lotus. The petals are of 3 different heights placed one after the other. There are a total of 27 individual petals set in concrete that enclose the space of the temple. It is to be noted that in the case of this temple there is no clear division of where the wall ends and the structure begins. The structure is integrated with the elements to achieve a form. These walls in turn make the outer shell of the building as well. 31

The petals never overlap and hence the center of the built seems to be openwhich is not the case. There is a metal and glass skylight which looks like a lotus symbolising the sacred nature of the flower in this kind of architecture. The interior spaces with yellow up-lights set the tone of calmity in the space. There are nine water pools around the nine sides of the temple which reflect light and are a part of Bahaâ&#x20AC;&#x2122;i architecture. The building is made in concrete and finished in Grecian marble to create an association with the temples of Greece like Pantheon. Moving beyond facts, the most associated memory of this building is the resemblance one makes to the Sydney Opera House in Australia because of the form it has. Both the buildings are different in terms of their design, use , function and construction but still fall prey to human perception and are considered to be similar.

What does the language of space communicate? A great deal of what goes under the name of perception is, in the wide sense of the term, recall. -Sir Frederic Bartlett, Remembering How do you perceive the language in a built environment?

A person sitting in Gada Shah ni Dukaan , Mandu

A lot of communication happens through our eyes and hence depends a lot on perception. The classic way of perception would be by recognizing order, pattern and redundancy. The next in order is the memory ( the way one remembers the space) and association with a space. A lot of memories have an emotional root stemming from â&#x20AC;&#x2DC;how the space makes you feelâ&#x20AC;&#x2122;. This makes one wonder as to how one perceives the language in a built environment. The perception starts with engaging senses and moves from scale to movement in space to foregroundbackground relationships to colour to principles of symmetry to verticality to lighting. We create an impression by judging a lot of factors, including the proximities ,scale and context. All these are the design parameters to be looked at when discussing the built in totality. As a viewer we are sometimes intimidated by the built or feel at home with some. The contrast was truly felt in the 2 buildings visited- one in Mandu and other in Ahmedabad. The Gada Shah ni dukaan in Mandu in Madhya Pradesh is a building that intimidates the person visiting it with the sheer scale with which it is built. It is a heritage built and as big as a modern day 4 storey complex. The massive open volume that it encompasses weighs down on you as a visitor. The huge arches and buttresses talk 33

about its history and function for which it was built. While CEPT University campus built by the famous architect B V Doshi is built with the idea and proportion of humans. While building the architect wanted the place to feel like a second home to the students and people using the space. The proportions for this intent were hence the same. The perception of built is influenced so heavily by the intent and the feeling one gets when visiting. It remains for a long period of time the only association till something else catches oneâ&#x20AC;&#x2122;s eyes. Lawson (2001) beautifully sums up this argument by exclaiming that the language of space is not abstract at all, but is an essentially human one.

Factors affecting the language • Availability of materials Material plays a significant role in the making of a design language. As a tactic to make a sustainable building, designers look for locally available materials to bring down the cost. Many times a material is so distinct to a particular region that it defines the context for the entire region and becomes the identity of that place.

• Climatic surroundings Weather responsive architecture has its own characteristics and design solutions.These in turn can be looked as vernacular architecture in many places. Specific elements are designed to cater to very specific needs for a region.

• Context of the place There is no denying that the context plays a huge role in the designing of a space. This is the sole reason why a house on the mountain paints a different picture than a house by the sea. The different contexts lead to different approaches to design ,developing a unique language.

• Availability of technology Technology has brought about a lot of changes in the way of design. From reducing the time of construction being able to achieve parametric formsmaking it possible to 3D print floors, technology has been a key component with very significant influences on design.

• Typology of building The spaces are always a reflection of the people who will be using the space. A public building will have distinct elements than a private residence. The 35

design strategies for both will be different because the footfall in the place will be different.

â&#x20AC;˘ Economy The economy more or less brings in the factor of the cost of construction. The use of specialised labour or engineered materials always leads to a polished precise design. This inturn makes the language also polished , clean and pioneered. This list is not exhaustive ,but these are the factors that always affect the design decision making and hence the design language of the space. The language of a space depends as much on the designer as on the people for whom it is made for. The factors can change the way the space is perceived. Language a lot of times is dependent on the perception of people using the space.

Material and Language Even a brick wants to be something . -Louis Kahn

Brick

Concrete

Wood

Glass

Metal

Material influences a lot while designing. It many times is the 1st impression of the space on the visitor. Material in space sets the texture , tone and the feel of the space. It constructs the haptic experience of the space. Expressions in material also show the sensibilities and the care with which a designer makes decisions. Informed decisions in materials lead to a better experience in space. Materials are broadly differentiated into 2 categories: Natural and Man-made. Natural materials bring their own set of colour , texture and challenges to the palette of design. Man-made materials are under an everevolving process.Materials also have pre-associated notions in line with their properties. Wood is always called a soft material because of the way it creates emotions in a person. â&#x20AC;&#x2DC;wood brings warmth to the spaceâ&#x20AC;&#x2122; is a phrase often heard being thrown around to describe the ambience of the space. Concrete on the other hand represents symbolically strong and permanent as its character. It is associated with raw and bare feelings. Many architects have even called concrete a soulless material and looked down on the fellow who used it. Glass similarly has this fragility to it, which is also reflected in the spaces made from it. It represents its core property of being transparent. It physically divides but visually still connects the spaces. Brick is a man-made material. A lot 37

of designers experiment with brick because of the earthiness it brings to the built space. The standard sizes also add a unit of measure to buildings. Every material has certain limitations and hence every expression in a material turns out to be a translated version of the same limitations. The expressions in materials have changed so much with the introduction of technology. The expressions of not just the existing material but also the new materials that are emerging in the field of design. For eg: cement concrete has been used for centuries now. What we see today is the most refined version of the same mix. The materials and its impact can be together put under the term called materiality. The role and importance of materiality includes much more than structural properties but equally informs a personâ&#x20AC;&#x2122;s experience of a building through its aesthetic, visual and haptic qualities as well as its associated social, cultural and historical meaning.

Language and Expression Expression as defined by Merriam webster is ‘an act, process, or instance of representing in a medium’. Language is the narrative one read of a built environment. The expression of it changes with the change in a lot of factors, big or small. Expression in language can be categorised into 3 kinds: It can be Articulation, Articulated or Structural in nature. Understandin by example is the approach of this thesisThe expression and detail can be said to be structural when it is the core intent of the project. Such is the case of one of the most iconic buildings- The Pompideu Center by Renzo piano. The entire building sits very distinguishly in Paris with its very industrial expression. The expression was such because the core idea behind building was the need for columnless spaces, in the time when industrail revolution was booming. The expression can either be an articulation of a thought or an articulated thought. The difference between the 2 will be the impact they create. The articulation might or might not be the intent, whereas articulated expression can only have one impact. The infamous Katsura palace was built keeping in mind the proportioning sizes of a tattami mat. Here the expression was influenced by Japanese architecture but the articulation was with the idea of the mats. Whereas the case with Zaha Hadid’s architecture is entirely a personal approach and can leave different impressions on every individual. Zaha Hadid approached design with bold aesthetic. 39

Evolution of Language and Expressions The evolution of columns throughout time is another research in itself. Instead of that ,assuming the reader knows about the column order of the past we shall focus on the current scenario and look at the evolution to achieve a specific purpose and that purpose leading to a unique expression of the same elements. If we look at the two extremes of the above, we can see a lot of examples where architects and designers try to achieve greater spans to ultimately build columnless spaces, while some use the grid to organize the functions in the space.

The design for a circular column has a very simple formulae to it- the overall height of a column capital should be half the diameter through the bottom of the column. With the history of over four thousand years the column as an element has undergone dramatic changes in both its structural and aesthetical interpretations. One example to understand the above is the Sendai Mediatheque by Toyo Ito, in Japan. It re-interprets the column as a combination of thin columns merging into a lattice system which are used not just for support but also for storage spaces and vertical connections between two floors. These vertical steelribbed columns reduce the overall mass of the built while serving their purpose. In contrast to Toyo Ito, Shigeru Ban interprets the column by fading the line between it as an autonomous element and translating it as the envelope continuing all around the space. For his project Paper house, in Japan- the paper tube run all across the different spaces and create a sense of continuity by tying the design together and attempting to 40

build a language in the space.

Another example where columns have been looked at differently is Serpentine Sackler Gallery, in London , designed by Zaha Hadid. Zaha Hadid has a unique sense of aesthetics which she brings quiet (seemingly) effortlessly in the spaces she designs. The above mentioned gallery has columns that act as light wells while appearing scooped out from the roof. These columns accentuate the verticality of the space while serving their primary roles as supports. In all the above discussed projects there are very different uses and materials used to design the same element ,i.e, the column. The projects not only reinterpret the function of the element but also its role in creating the visual impacts through different different processes. The argument here remains about the fact that how much does material influence the expression and the overall language of design.

18. Sendai Mediatheque by Toyo Ito Japan (2001) 19. Paper House by Shigeru Ban Japan (1995) 20. Slacker Gallery by Zaha Hadid London (2013)

EXPRESSIONS OF DETAIL & DESIGN

God is in the Details. -Mies van De Rohe

What is a detail? Detail is the smallest form of architecture in a built space. Details as discussed above in the introduction have a very scalar nature and vary not just in size but also in the function and nature of it. They can also be looked at as not the small parts but the parts between the parts, or the part joining two parts. The connections can be visible or invisible at times ,but nonetheless these are the connections that enhance the concept of the building. The designing of a detail is where detailing comes into picture. The course of detailing in todayâ&#x20AC;&#x2122;s times has shifted towards jointless buildings with zero tolerance with the emergence of digital fabrication. It is not wrong to point out that details have an ever-evolving nature. To understand this nature one can look at the evolution of modern day human beings from the chimpanzee, our closest living relatives. This evolution of details is a strive for achieving efficiency. Detailing has its importance in not just architecture or design but also in fields of art, nature and engineering.The outlook of details is very different in each of the fields and they are also influenced by each other. The easiest example to understand detailing in nature would be to look at the human body. The human body has a very complex form with different joints ,allowing mobility and functioning that is controlled by the personâ&#x20AC;&#x2122;s brain. Systems overlapping with systems make the human body a complex organization with simplest solutions. From the above we can say that in every field the application and expression of details will have a different approach and a different role to play. Detailing

design

has

very 44

evident presence because it helps in determining the character of the built. It has the potential to become the identity of the project, but to try and prove that assumption ,one needs to define what exactly is detail. For example details can be the overall structure of an arch or a compound structure in itself with its elements being haunches, keystones, abutments, foundation and many more. For the above reason it becomes utmost important to define under what lens is the detail being looked at? What can be termed as a detail solely depends on the scope of vision. For this thesis the scope remains to the junction details within a single built space. What is a Junction Detail?

What is a JUNCTION detail?

fig. 2 Diagrammatic representation of what a junction detail is.

Junction details are nothing but connections and relations between 2 components. The scale of the junction can again differ depending on the scope of vision but essentially the junction is the coming together of 2 components. Before truly defining the junction detail one needs to look at all the present types of junctions in a space: Junction between spaces (S) Junction between materials (M) Junction between elements (E) Junction between functions (F) Junction between contexts (C) Junction between surfaces (Sf) This is a perceptive list of possible junctions in a space. To understand these junctions in detail (pun intended) we further deconstruct the works of Carlo Scarpa and Kengo Kuma. The junction between spaces can also simply mean the thresholds. When translated into a design element, the door acts as a threshold between the outside and the inside. In the showroom of Olivetti Scarpa designed a â&#x20AC;&#x2DC;jaaliâ&#x20AC;&#x2122; just to accentuate the arch behind it. He made it his responsibility to work in a way that the door never hindered the sight. The junction between materials refers to the construction joints of the building. In traditional japanese architecture the joints were exposed and the detail simplified for a subtle expression in design. Such is the case with Yusuhara 46

bridge museum designed by architect Kengo Kuma.

Sf Fig 3. The above figure shows the various possible possible junction in a space. The junctions can be a combination of many such variables.

Junction between elements can be better understood by the example of how a beam comes together with a column. The column capital and the brackets ,used for additional support, are highly decorated elements in the pol houses of Ahmedabad. The junction between functions can be looked at in two ways: one as the fusion of two or more activities in the same space or second in physical form as the threshold between two built spaces. The idea of a porch in residences was developed to protect the privacy of a person whilst giving a physical environment to interact with people you donâ&#x20AC;&#x2122;t entirely know. Adaptive reuse of building is what can be simply put as the junction between two contexts. In Carlo scarpa work in Museum Castelvecchio , he tries to tie the old with the new in the most evident way possible. He demarks the new quite boldly but also leaves the old in its purity to be read by the visitor coming to the place. Junction between surfaces can be interpreted in physical form as when the flooring ends and the wall begins. Zaha hadid is one architect who integrates both in her works. The intersection between two planes in terms of elements can be taken as a staircase which again makes the best of the both worlds and connects the 47

spaces while being a design element. The junctions traditionally were evidence of the the skilled hand of the maker. But with the change in technology ,and shift towards the jointless era, the buildings now leave little to no impression of the makers (laborers). The thing now showcased in a junction is the marks /hits of realisation when 2 elements deviate by a single inch. The other outlook on these junction details could be how at these points in space the forces acting come to nullify. The junction acts as a accumulator and distributor of the forces acting on the built. This way a junction can be also termed as the â&#x20AC;&#x2DC;zero pointâ&#x20AC;&#x2122; in a space. Now not all junction actually transfer the forces, some also are crucial to the structure of the built. Structure is the technical component which can never be overlooked. The interaction of structure in a space can be in its own way a junction. A lot of buildings are intended with a design dictated by the structure/form. The language of design in these cases is dominated by the sheel or the form these forces and junctions lead to. In such cases the shell becomes the space-defining element. For cases in which the junction is a smaller entity of the built one can read the narration of it. But how can one recognise the junctions in a space? 48

Junction can either be catergorised in a similar fashion to expression in language, which is : Articulated, Structural or Abstract. or They can be based on the following aspects: Articulated Continuous ( Seamless) Seperated To understand the above categorisation, dissecting the terms is the easiest approach. Articulated junctions are usually the exposed ones which ,while solving a technical requirement, create a terminating new element. Continuous junctions are usually hidden and can be linked to the technollogical advances in design and contruction. These are the ones aiming for jointless building. Seperated junctions are the one which highlight the transitional end conditions of materials and elements in a space. Junctions in the end are aesthetic prefrences and technical progress. The interpretations can be many but let us stick to the most apparent of them all.

What are the roles of detail? Ellen, P (2013) in his book talks about detailing patterns and categorize them into 3 types: Functional Constructibility & Aesthetic These patterns are elemental fragments which can be found in building detail of all scales and typologies. These groups/ categories can also be looked at as the roles of detail. The roles of detail vary a lot from scale to scale. The functional roles can be briefly categorised as keeping the weather away from the built, accommodating the movement with the spaces, providing structural support to name some. The constructibility roles include the ease of assembling a detail, providing flexibility in transparency and accessibility and efficient use of materials and resources needed for the detailing. The aesthetical aspects dwell into a little more visual and sensitive part of the human-space interaction. It focuses on intensifying the ornamentation, grabbing the focus, hiding the flaws and highlighting the transitions. Details for interior design could be the translation of the concept to handrails and selection/ designing of faucets for a space. A huge part of it depends on the fact of what one considered a detail. As discussed previously the term detail for this thesis refers to the junction detail in built spaces. When talking about built spaces one needs to clearly also define the elements between which the details are specified. In the previous you got the best of me section interior elements have not been touched upon but it purposefully left 50

handrails and door handles, which are essential features in design. A door handle is like the first handshake of the building. It triggers the haptic experience of the space and hence is designed by great designers, with a lot of care. The material for a door handle is selected extremely gently depending on how one wants the user/ visitor to begin his/her experience. Another way of looking at these roles can be to personify the detail as an element and seeHow it condtributes to the design intent. How does it connect different element. How does it place itself adjacent to other elements. The roles of detail in a space are infinite but the question remains how much of these roles define the character of the project or architect for that matter.

FUNCTIONAL

•

WEATHER SHIELDING

•

CIRCULATION

•

STRUCTURAL

ROLES OF DETAILS

SUPPORTS

Fig 4. The adjacent diagrams show the various divisions of the roles of detail and the roles are further specified with a different factors involved.

CONSTRUCTIBILITY

•

TRANSPARENCY

•

ACCESSIBILITY

•

RESOURCE MANAGEMENT

AESTHETIC

•

ORNAMENTATION

•

HIGHLIGHTING TRANSITIONS

•

MAKING A VISUAL MAP 51

Detail in Design language

Detail in design Language

Tangible Aspects

Intangible Aspects

Material

Impact

Scale

Expression

Fig. 5 The diagram defining the Tangible and intangible factors of detail in design language.

This section discusses the impacts the details have on a space. To establish the detail as a contributor to the design language. Detail in design can be simply categorized based on the left brain/ right brain theory, which simply suggests that the left brain handles the analytical, logical thinking and the right brain is the creative, intuitive side. Details are a humble attempt to bring together the specific requirements of construction to the conceptual thinking for a project. There are both technical and intangible aspects of a detail. A detail can be termed good/ bad by how it performs in the space and if it fulfils the construction criterias or not. But in design , detail goes beyond just a solution. It has the potential to combine all aspects into the tiniest of forms and impact the people experiencing the place. As discussed above- this was the case with the work of Kengo Kuma in GCProstho Museum. Detail can be as simple as using a non-slip flooring or rough finish on the floor for safety purposes in a public building. This limitation leads to a material being selected for achieving the same. The range amazes me as it could also be complex detail hidden behind a simple expression. There are also intangible aspects of a detail. In the case of Carlo Scarpa, as discussed above, his details are extremely subtle and work on an unconscious level. His expression of these details visually captures the attention of the viewer and engages them to the built space. 52

READING A DETAIL

WHAT

A detail can be looked at in a way that it is an act of design. It is the resultant of a certain action/ intent.

HOW

While reading a detail, there are many aspects one can consider: The organizational , the functional, the material , the scale, the impression and the expression.

WHY

Fig. 6

The scalar nature of detail has already been discussed in the above segment and the lens with which it is looked at also becomes of atmost importance. For the purpose of this thesis we look at the apects from the point of view of a building designed by an architect/ designer. The organizational detail can be when one function coincides with the other function to increase the efficiency of work in a work environment. The functional aspect can be a change in standard dimensions/scale to instill a newer habit in the people using the space. It is also the purpose the detail serves in the space. For example it could be a junction between 2 elements or spaces or materials. The material as discussed previously influences a lot of emotional factors along with bringing a limitation of construction with it. Material also influences the impression and expression of detail to a high degree. The detail is the visual at times and its expression is something which depends a lot on how the detail is used. What material is it made in ? What purpose does it serve? But one can also question Why do you need to read a detail? the above can be answered from the perspective of a student, who is learning 53

about the field. Looking and learning from the past is what can actually help to make up for a better and innovative future. One can also feel that reading a detail is similar to reading an architectural drawing. All the above mentioned factors are the ones which help in analysing the different parts of a buildings. and the same applies to the details as well.

Cultural influences on detailing In Indian architecture the joints are usually hidden behind ornamentation to give it a seamless look while protecting the joints from exposure to the harsh climates. The expansion-contraction ratio is high for a climate like India and hence it is preferred to hide the joints. the joints are hence kept simple in design and execution.

In Japanese culture, the joints are left exposed. It being a colder country the expansion-contraction of joints is negligible. The detailing hence becomes extremely complex while being aesthetically pleasing to the eye. Joinery is designed with extreme precision as it will be exposed. This apparent difference in approaching detailing is because of a lot of influences from culture, time period, work ethics, availability of resources ,economy and function of the built. The detailing is also the display of craftsmanship for a region. While the Japanese craftsmanship is simple and sleek (inter-locked), in India it can be termed loud and strong in its perception. 55

The context of India and Japan is a comparative at a global level with two very distinct cultures. But to accurately see the influence of culture on expression and detailing one can also look at the detailing done in various regions of the Indian subcontinent. India is known for its cultural , geographical, climatical ,lingual and religious diversities, and many more. These diversities are evident even in its architecture and design approach. The regional influences are clear when seen between the two geographical ends of the country. The northern part with the mountainous regions and the southern part with a long coastal region. The western part with desert spanning across miles to the places receiving most rainfall in the Eastern regions. The geographical factors lead to a very distinct architecture in the specific regions. The elements of space-making are what become the corroboration of the above. Sloping roofs which are a common occurrence in the temperate regions are of little use in the dry ones. Places like Rajasthan where heat waves are common require a very different set of elements to deal with the heat. The stone Jaalis are the identifying feature of those regions. House on stilts become the most logical way in places like cherrapunji which receives the highest amount of rainfall in the world, to avoid flooding in houses one creates the house on stilts. The coastal region with the tropical climate has the occurrence of courtyards for enjoying the weather and to bring in light and breeze. The design elements are not only found in the specified regions, but are 56

mentioned as the identifying ones for a particular place. With the context and climate changing the detailing also changes. Vernacular architecture changes in every state making it impossible to clearly define a region/element specific to the place. In the southern parts of India houses made with wood are a common occurrence whereas in the eastern dry regions, the stone houses are seen built using the locally available material.

21. Kailasha Temple ( rock cut temple) India. 22. Traditional Japanese Temple joinery, Japan.

Expressions of Detail in Design CARLO SCARPA

Expression in design is a tool for narrating the most crucial aspects of design. The design is almost always set apart because of the expressions. Expression being perceptive in its nature leads to an individual’s identity and beliefs being reflected in design. Expressions in architecture and design have since the beginning been described as the impact they create. For example the adjectives used for describing these are bold, minimalistic, clean, typical ,dramatic , to name a few. However it is interesting to see how these adjectives also become the narrative of the space.

To understand the above it is best to go through the works of architects, wish love was perfect as love itself. Carlo Scarpa and Kengo Kuma, whose work has also been the inspiration for this thesis. Expressions in Carlo Scarpas’ work: The works of Carlo Scarpa reflects his influence and learning when he worked as a glass worker and a woodworker. The way Carlo Scarpa treats the edges shows his attention to detail and the termination of elements. His way of ornating the materials as well as the elements makes his work stand out, and instantly recognizable.

Some of the detail can be seen on the adjacent column. They are of the termination of a wall, and railing respectively. The use of brass and mosaic tiles are his signature moves. All of them are from different projects and have different functions but they are the representation of Carlo Scarpas’ way of seeing certain materials and elements. Expressions add to the aesthetic of the design.

KENGO KUMA

Expressions in Kengo Kumasâ&#x20AC;&#x2122; work:

Kengo Kuma repeatedly uses small elements to create a language in his design. His traditional background is also seen in his works where he reinterprets the traditional building elements to give a more modern feel. He uses natural and locally available material in his works to bring in local context, amongst many other reasons. His work extensively uses wood but every project the joinery ,the section and length of the wooden member changes ,with that the impact it has also changes. He uses wood not just for aesthetic purposes but also structural purposes which is the case in the adjacent photograph. Kengo Kuma works with the limitation of the material but still creates a different impact in all of his work . He creates frames in spaces as a way of expressing his intents of design.

18. Sendai Mediatheque by Toyo Ito Japan (2001) 19. Paper House by Shigeru Ban Japan (1995) 20. Slacker Gallery by Zaha Hadid London (2013)

MAKING THE POINT

Before diving into the case studies, it is necessary to actually establish how and why these particular set of buildings have been chosen to â&#x20AC;&#x2DC;make a pointâ&#x20AC;&#x2122;. The parameters for selecting these case studies was: Public spaces built post 1990 with a strong character of the built. The parameters with which the buildings have been categorised is as following:

Built Space Use of Single material

Use of Multiple material

Ideal case: Works of Kengo Kuma

Ideal case: Works of Carlo Scarpa

Prathma Blood Center

BRTS Ahmedabad, unit

To understand material and details in a built space it is necessary to isolate one from the other. With these parameter we dive into the case study with an assumption right now that The building with predominant use of single material has a simpler design language to read, while a building with use of multiple materials has a much more complex language to decode. Both the chosen studies have a very different and varied approach to design. They differ in terms of scale, material, use, context and details. These make for rich data and stark differentiation in language making it a bit easier to look at the elements of spacemaking. 61

Decoding the Language

DESIGN LANGUAGE

DETAILS ELEMENTS MATERIALS

CONTEXT/ CONCEPT

TYPE

JUNCTION (type)

SPACE MAKING

INFLUENCES

FUNCTION

IMPACT

RELATIONS

HISTORY

IMPACT

FUNCTION

IMPACTS

TRANSLATION

Through case-studies the attempt is to study how and how much do these factors contribute to the design language of a built space. Do these measures equally impact or if there is a ratio in which they work.??!

PILOT STUDY - IIM AHMEDABAD IIM Ahmedabad is a well-established institute in India. It was designed first by Louis Kahn in 1961, and an extension was then designed by HCP from 2001-2009. IIM stands as a really great example to look at the junction of new and old. The New campus was greatly influenced by the Old campus. The new campus uses concrete but creates similar expressions to bridge the commonality between both the designs. Both campuses seem to work on the principles of orthogonal blocks arranged in a diagonal fashion with alternating open spaces to balance inside-outside while creating smaller courtyards for gathering and circulation purposes. But this is at the planning level of the design. To understand at elemental level we deconstruct photographs in fig.20

Old & New Campus 1. 132 ft Underpass 2. Academic Block 3. PG Dormitories 4. Int Mngmnt Development Centre 5. Student Hostel (MSH) Block 6. NEw MSH Block 7. Substation 63

PILOT STUDY - IIM AHMEDABAD fig. 20 The below fig.shows the most basic elements that come together to form the current IIM campus.

OLD CAMPUS

Project Name : Indian Institute of Management Place :

Ahmedabad, Gujarat

Architect :

Louis Kahn + HCPDPM

Year :

1961 + 2001-2009

Area :

39 acre

Type :

Educational Institution NEW CAMPUS

PILOT STUDY - IIM AHMEDABAD

OLD CAMPUS

Material

TYPE FUNCTION IMPACT

Detail

Brick, brick has been used all over the campus for walls Concrete, has been restricted to arch floorslabs, arch tying members and arched openings.

Wood mostly used in interior elements like furniture and railings. Glass opening around library panelled using glass. Flooring- kota stone, brick Ceiling- concrete, panelled

Some arches are reachable while some highlight the scale of the built. Circular/ square shaped huge openings. Arches used to achieve wider spans. Windows at higher level to deal with glare. Parking away from the main academic built.

JUNCTION (type) IMPACT FUNCTION

Elements

Arches, Circular openings, ramps, arched passages, walls/facade, vaults ,staircase, landscape and courts, underpass. Dormitories and residencial spaces. library with the helix staircase. Brick has been used as an element itself.

SPACE MAKING RELATIONS IMPACTS

Context

The earthiness of bricks,makes the spaces welcoming and the scale of the structure gives a sense of openess in the rather monumental scale. The architect wanted people to communicate with the changing light in the spaces.

INFLUENCES HISTORY TRANSLATION

NEW CAMPUS Concrete, brick wood, glass, Flooring- kota stone, concrete Ceiling- concrete,

Circular openings frame the outside for the inside, Angled walls give a sense of direction Thin walls makes the mass weigh less upon the visitor. It attempts a bold play of light and shadow through massive cut-outs on the facade, allowing the light to penetrate in the building.

Circular openings, ramps, arched passages, walls/ facade, ,staircase, underground tunnel ,angled walls, voids at various entrances, various courts are designed and have been given designated spaces for outdoor activities.

Material

TYPE FUNCTION IMPACT

Detail

JUNCTION (type) IMPACT FUNCTION

Elements

SPACE MAKING RELATIONS IMPACTS

The concrete structure creates a stark difference between the old and the new. It talks about the modern times while respecting the old culture. The buildings takes a lot from the old campus but translates it to suit the current requirements.

Context

INFLUENCES HISTORY TRANSLATION

OLD CAMPUS

The old campus deals with mainly 3 different scalesInstitutional, Student dormitories Faculty housing ENT

FIG. 27 OLD CAMPUS INSTITUTIONAL BLOCK

PLAN OFFICES LIBRARY COURT CLASSROOMS HALLWAYS LOUIS KAHN PLAZA ENTRANCE STAIRS GROUND COURT

• • • • •

Library ,the center of knowledge, is built on a raised platform. The offices / classrooms have wide halls as informal spaces for interaction. The entrance steps are placed diagonally and open first to the plaza. The halls also face the Plaza and the ground court. Offices and Classrooms sit opposite to each other and are separated by small courts.

NOTE: Institutional block is analysed to decode language and details. 68

OLD CAMPUS - MATERIALS

Entry after main steps

Library entrance

Library interior view with staircase

LIBRARY + LOUIS KAHN PLAZA

FACULTY BLOCK

Faculty block openings on the back side with enclosed court

Facade openings on faculty block

Facade openings on classroom block

CLASSROOMS

Main diagonal stepr leading to library plinth

The building predominantly uses exposed brick, throughout the entire old campus. The brick with its commonly known standard size accentuates the scale of the built. Except for a few exceptions all elements of space use brick . The exposed brick gives an earthy texture to the built. The use of brick was also a decision guided by the harsh climatic condition of Ahmedabad. 69

NEW CAMPUS

The New campus deals with mainly 2 different scalesInstitutional, Student dormitories

ELEVATION A

ELEVATION B

â&#x20AC;˘ Elevation B is the facade of the academic block facing the main entrance to the new campus. The entire facade is made from exposed concrete with metal fenestrations to filter the light entering in the building. â&#x20AC;˘ Elevation A is the latitudinal facade of the Management center block. The facade is again exposed concrete but the fenestrations are of brick, instead of metal. 70

NEW CAMPUS - MATERIALS

Openings framing the outside

Staircase type 1

Facade of the academic block in the new campus.

Entrance facade of the new campus

Ramp leading to the classrooms

Use of Brick in the facade

Facade openings on domitory blocks.

The new campus pre-dominantly uses concrete but some facade fenestrations use brick. The building talks of modern times and so does concrete. Thin walls and framed openings does not let the building weigh upon you.

VISUAL COMPARISION OLD

NEW

The corridoor spaces in both the campus recieve light from huge cut out in the facade openings. The light falling on brick and concrete makes a difference in the quality of light.

OLD

NEW

The circular openings in both the campuses are to frame the outside for a person viewing from the inside. These huge openings are one of the striking and signature expressions of the spaces in the institution.

OLD

NEW

The diagonal walls are also one of the most intriguing elements of the space.They give a sense of entry to the space.

OBSERVATIONS • The design juxtaposes the appearance of all of the three different typologies present in the institution. The school building with its monumental impact shares the exterior which is repeated and lowered fir the residential scale. The exterior facades make use of pure geometry for openings. • The facade of both the buildings give away very little when looked at from the outside to inside. But on the contrary the inside allows the user to connect with the outside with a huge opening. • The formal nature of the building is very evident in both the new and the old campus. The elements that unify both of them are the Diagonally placed walls, huge circular openings and the use of wider hallway areas which are also used for informal meetings. • The new and the old campus are approached with a ramp and a set of steps respectively. These elements at the entrance dominate the built over the user. • The library sits on a raised plinth overlooking the Louis Kahn Plaza and vast ground ahead of it. • The plaza is surrounded by Offices and classroom blocks on either side and it becomes a center point for meetings. • The water tower informs the viewer of the proximity of the campus. It is easily noticeable when near the entrance and institutional building. It also acts as a visual element after 73

an extended lawn. • Both the campuses have fairly huge openings which allow the light to come in. These openings accentuate dark corners and create drama in the spaces/corridors. • The light washing over brick (old campus) and concrete ( new campus) make the light quality in both the campuses different. • Both the campuses cover a huge area but every place is within a walkable distance and reachable in under 20 mins. The connectivity in both the campuses internally and with each other makes it easy to access. • Both campuses work with the idea of mass and voids with very few elements on the facade and diagonal walls incorporated for sense of direction.

INFERENCES If you think of Brick, you say to Brick, ‘What do you want, Brick?’ And Brick says to you, ‘I like an Arch.’ And if you say to Brick, ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, Brick?’ Brick says, ‘I like an Arch.’ And it’s important, you see, that you honor the material that you use. […] You can only do it if you honor the brick and glorify the brick instead of shortchanging it. – Louis Kahn

Louis kahn has himself seen the brick as an element and carved a space out of it. Brick being a local material paved the way for geometrical facades. The building defined newer ways of communication other than the classroom. He set broad hallways and central plaza as the places for knowledge exchange. The large circular opening which made the first impression on the viewer are light wells while keeping the ventilation in check of the building. In a dry climate with harsh sun , the positioning of the building helped in bringing the southwestern breeze in and cutting the harsh sun reducing glare. Openings overlook the plaza which becomes the central gathering space for all activities. Hexagonal classrooms are designed for the interactive sessions between the students and the faculties. There are also small pockets which can be used for informal discussion without disturbing the circulation. These passages, pockets and balanced spaces are also seen in the new campus.

designing an institutional building Louis Kahn gave it a very solid and formal look, while making the interior spaces equally interactive. The corridors, galleries, courtyards and foyers make up for the transition zones and informal gathering spaces. To understand in a nutshell the elements that make IIM Ahmedbad, imprinted in memories is the use of diagonal walls- carving out the most important spaces, informal hallways- instilling a newer way of teaching whilst changing the standard requirements , circular openings- welcoming the light, breeze and acting as the connection to the outside.

These are the inferences from a building with the use of a single pre-dominant material. The next study is to see how does it differ ,when a building uses multiple materials using the same elements. 76

CASE STUDY 1 Project Name : BRTS Station/Cabin Place :

Ahmedabad, Gujarat

Architect :

CEPT University

Year :

2009

Area :

Type :

Public Transport

BRTS ( Bus Rapid Transit System ) is a public transportation module. This public system has been successful in few cities including Ahmedabad. The client of this project was Ahmedabad Municipal Corporation ( AMC ). • This project has been awarded national and international recognition for its system and efficiency. • The entire length of this project covers over 125km and has 162 modules including stations and cabins. • There are 14 lines of which 11 are bidirectional, 2 circular and 1 shuttle. • Under this project the buses were also re-designed to make the system more easily accessible and comfortable. • For its future expansion , it will connect the bus transit to the upcoming ,as of now, metro system in the city of Ahmedabad. •

The entire scale of this project can only be established when all the aspects are looked at the city scale but for the purpose of this thesis, only the bus stand module has been looked at. It is the module that has been analysed ahead. • It was designed to provide a faster mode of public transport. 77

CASE STUDY 1 fig. 25 Elements of design deconstructed for the BRTS bus stand module in Ahmedabad city.

PILOT STUDY - IIM AHMEDABAD

BRTS STAND MODULE

Material

Concrete Wood Metal Pipes Metal Wires Glass Stainless Steel

TYPE FUNCTION IMPACT

Detail

JUNCTION (type) IMPACT FUNCTION

Elements

SPACE MAKING RELATIONS IMPACTS

Context

Staggered door Raised Stand - re-designed buses Rollers on the edge to avoid collision damage Transparent planes for better viewing of the arriving buses. Card access to avoid human employment and interaction. Extended roof to cut-down the sunlight.

Ramp Sliding Doors Perforated Openings Railings Way Blockers Cabin Signages Seating

Public transporation module. The place has a heavy footfall and the number of users are in large quantity, but the time spent in the space is at max 15 mins.

INFLUENCES HISTORY TRANSLATION

BUS STAND MODULE

The outer shell of the built module. The transparency on both the longitudinal and latitudinal axis keeps the user well informed about the outside and approaching vehicles. The staggered entrances leave no room for a bottleneck situation. The entrances are narrow and which unintentionally lead to people queing before entering. 81

PRODUCED BY AN AUTODESK STUDENT VERSION BRTS MODULE UNIT

BASIC DRAWINGS SHOWING THE ELEMENTS AND THE LAYOUT OF THE BUS STAND UNIT

PRODUCED BY AN AUTODESK STUDENT VERSION

BRTS MODULE UNIT The module has a rather simple layout. The most important problem that this system resolves is the queue to take and check a ticket. Both the activities happen at the very entrance and hence leave the entire central space for the commute of passengers/ users.

Signages at the very entrance, in multiple dialects

For regular passengers, smart card system to avoid queues.

Ceiling of the module with light fixtures

PRODUCED BY AN AUTODESK STUDENT VERSION More space is given at the ticket counter to avoid crowding.

Ticket counter at the very entrance for faster and more efficient working

Smart card for cashless transactions 83

fig. 28 BRTS module exploded view of the 3 basic sections to be looked at for understanding details and junctions .

CONCRETE WOOD GLASS SIGNAGES

The module can essentially be divided into 3 different parts : The base, which is mostly constructed in concrete. It is casted on site with Kota flooring. The signages also have been marked in the flooring. The service, which has a mix of materials used like metal, wood and glass. The vertical planes comprise of the junction details between wood-metal, metal-metal and the intersections at the roof and flooring level. The roof is a seperate part with chamfered edges and extends towards the outside to cut down the sunlight. It is made up of metal and concrete and has been panelled with aluminium on the bottom to maintain the design language.

BRTS MODULE UNIT

The first picture shows the inside outside connections through the side elevations of the building. The second picture is of the entry with particular detail of a map of thr routes shown to promote independant travel . The third picture shows the side elevation of the building. It emphasizes on the coming together of materials.

BRTS MODULE UNIT

A comparative of the conceptualised and the built : • The elongated central space seems almost blending with the outside making the approaching buses is clearly visible from afar. • All the materials coming together in the shell seem busy just like the nature of the space. • The staggered entrances are also informed by the trapezoidal roof. • The space has a modern outlook to suit the people using the space and the time it is built for. • The focus is clearly on the efficiency of the module rather than the expression of it. The module is a user-friendly design with a modern sensibility.

INFERENCES • The module is so transparent and aptly designed for its need. With only 2 rooms to lock to close the place. • There is always a risk involved with public buildings of vandalism. The simple design of the module leaves very little in the dark after shutting down . • In terms of materials it is a mix of concrete metal , with hints of wood and glass that compose the entire built. • All elements are linear in their nature making the space seem open .The overall stretch the module covers is long but doesnt feel so. • The entire module also sits on a raised platform which levels the gate of the bus to that of the built. • The buses have been re-designed for an efficient and comfortable transport system. • The average time spent for waiting on a bus has been confined to a max of 15-20 mins. Hence a person doesn’t spend more time in the bus stand. • The modern materials have been chosen to also reduce the maintenance of public spaces. • The overall language of these modules can be defined as transparent, simple, elegant and efficient. Not a single extra element sits in the entire module. • The entire system is an attempt 88

to promote independent and selfexplanatory design with the help of transparency and multilingual signages which are easy to understand and follow. â&#x20AC;˘ The use of materials for this module is a mix of modern materials infused with modern technology to create a sense of ease for an individual to use this system as a whole.

CONCLUDING THE ARGUMENT

CONCLUSION The thesis was attempted to build a relationship between materiality and language in design. But before that there is a lot to understand regarding language in itself. Language in architecture and design is the narrative with which ine reads a drawing or built space. Language of design has always been looked at as perceptive. In this thesis it was an attempt to primarily measure the language of design. In a lot of terms this thesis fails as the observations on which the conclusion is drawn is subjective in the first place. Language is the narrative of the space and detail is the thread that brings the untangible to the tangible by tying it to the physicality of space. Language is highly dependent on the individual designing. The influences are mainly based on ones observations and outlook of a problem. Hence, this thesis focuses on the relation between language and material for a particular project. Material creates the first impression of a building. The influences/ inspiration for design many a times feel like a direct replica of something but that is what makes the recall value stronger and impacts a visitor more. Photographs can adhere to the visual language as well but what photgraphys lose out on sometimes is on the scale of the elements and space. It informs very nicely about the lighting and the visual compositions but can never give an accurate sense of the space. 91

With the examples it is evident that While IIM Ahmedabad projects itself at a monument ( where it should) to serve its function, the module of BRTS is an efiicient one with not a single element without any cause. IIM Ahmedabad built with the use of a single material radiates a very simple design language. It does not necessarily mean that the construction or the process of design was easy but it essentially builds on the impacts it creates on the visitor. While BRTS module with its multiple materials and multiple junctions seem fairly complex. One factor creating this similar impacts could be the fact that the time spent in both the spaces is highly contrasting. The nature of the BRTS itself is busy while IIM Ahmedabad being an institution also is a home to the students coming there to study. The change in material gives a visual break in the BRTS module while in IIM A the entire institutional block stands as a single mass. The visual break in the bus stand module helps in differentiating different components of design and overall makes a busy composition engaging the senses. The block nature and continuity in language makes the IIM Ahmedabd building seem as an enclosed mass. Language is dependent on the intent of design and the vision with which it is designed. It cannot be truely measured just by looking at just the materials and the elements. The complexity in designing as a process is one where many layers come together in harmony to create

a functioning environment. In a manner the study will always feel incomplete because it does not take into consideration the intangible aspects and personaltiy of the architect building into consideration. Detailing of a building and their expression is also a very personal decision representing the style and influences of the designer/architect. Design is a process which can never be isolated from the life of the designer and hne it always becomes a reflection of his/her traits in their designs.

L=E+M

L>M>E L>E>M

LANGUAGE ELEMENTS MATERIALS 93

CONCLUSION- Use of single material

For the particular study around IIM Ahmedabad one can say that what lingers in the memories is the scale and the light quality of the built. The building predominantly uses a single material i.e, brick (old campus) and concrete ( new campus). The material enhances the scale of the built but while not letting the building weigh upon you. The material also narrates in the most subtle way the time they were built in. The old campus is an abstraction of the city in which the building is situated. The material is justified by the context, the context being justified by the elements and the elements justified by the details. This surprisingly also remains the order in which one notices the built spaces. One of the reasons could be the abundance of the material that creates the impact on the visitor. However the elements and the details also contribute in underlining the impact created by the look and feel of the particular chosen material.

CONTEXT

MATERIALS

ELEMENTS

DETAILS

CONCLUSION- Use of multiple materials

For the particular study around BRTS Bus stand Module, the most impactful observations were regarding its functioning and the intent behind its purpose. It was a module that had to cater to the mass without actually weighing on them. Both the use of materials and the detailing has been a resultant of achieving a modern look for the buildings. The elements of space-making are designed with a very defined and specific purpose of achieving a particular goal i.e, to achieve transparency in design. The context/ intend is justified by the elements, the elements justified by the details and the details by the material. The materiality and the detailing can also be weighed equally for this case-study. The amount of time spent in the space is very little and hence to register everything in a go is not possible. The module is such that everytime you go you can notice a different aspect about it.

DETAILS ELEMENTS MATERIALS

CONTEXT

CONCLUSION- Heirarchy of Details (IIM) S M

C Sf

While looking back at the junctions created in IIM Ahmedabad campus, the reflections mainly have been in and around the transtional aspects where materials change. But because of the dominance of a single material the visual breaks in a space are hardly recognisable. The historical context and significance also divert the attention from the considered junctions. The junctions formed are also overshadowed by the scale and the context in which they sit. The heirarchy in terms of visual impacts can be understood according to the chart beside. Context - Materials - Elements - Spaces Functions - Surfaces.

The elements outshine the material after being repeated across both the campuses. There is no stark junction in the spaces which draws your attention towards itself but as one goes around the patterns are revealed gradually to tie everything together.

CONCLUSION- Heirarchy of Details (BRTS) S M

C Sf

Whereas the case with BRTS module is the opposite. The junctions are visible thoroughly and evidently in a single go. The built is busy in terms of its function, the visual breaks, the composition and everything surrounding it. The use of multiple materials helps in differentiating the surfaces from the entry points. The junctions thus formed are exposed and highlighted in the space. The circulation is very systematic and hence the space tries to inform the visitor of a lot of things in a single glance making the visual composition alarming. The heirarch thus stands in the manner of:

Function - Materials - Surfaces - Elements Spaces - Context.

The context of the module is very modern in its approach and with a strong sense to imbibe a system within the people. There are clear differences between the designated spatial junctions even though the built is an elongated span of space.

The purpose of this study was to develop a relationship between material, space-making elements and the language of design. The conclusion is a simple understanding that the language in design is a bigger whole and material and the elements the part of it. At times the material governs the details and vice versa. To further develop the relation between material and language the above study suggests that language is directly proportional to the materials used in the building. With the increase in the number of the material the junctions between the elements of design increases which inturn increases the complexity of design and the resolution it needs to be constructed. To further understand the relations between the same one can look at the following diagrams:

MATERIAL

LANGUAGE ELEMENTS

INTENT

Language was assumed to be the connecting factor bringing all the elements and decisions together but it turned out to be the cumulative sum of all the factor combined. 98

ADDENDUM

What is language Architecture?

Interior

Language in architecture/design can be simply addressed by how one reads a drawing. In a drawing the elements of space-making remain what they are- a roof can never be read for a plinth and vice-versa. The elements can be transformed in terms of form, material and scale but the basic purpose they serve remains the same. This thesis does not look at the literary meaning of language and hence the community factor becomes equal for all. The connotations for elements of space remain the same across the entire field. Every student of Design will interpret the roof for a roof regardless of who the designer is, what material is made of and what is the scale proportion of it. In these terms the language of design does not depend on the community impacts but it is developed on the same base as it has been from the day it began. As for the literary meaning a column can be called a pillar, khamba or may belong to a definite style of architecture like corinthian ,doric or ionic, but it still remains a column for someone reading the drawing or looking at the space.

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ADDENDUM INTERVIEW WITH NEHAL BHATT, Furniture designer/ Interior designer ( Studioworks ) Studioworks is an Ahmedabad based firm run focusing on furniture design. Designer Nehal Bhatt is an alumni from CEPT University. She believes that language in design is not a conscious decision and rather a resultant of design decisions which primarily are taken to achieve an intent. Her designs are influenced not from each other but are improvised versions of one another and their intent ranging fromwanting to achieve a desired expression to changing the form for a specific function. She firmly set that- Changing one factor creates a ripple effect in other decisions and the end products of those ripples is the language of design.

INTERVIEW WITH VEERAM Architect / Designer ( Design ni Dukaan )

SHAH,

Ar. Veeram Shah started DND with people from multiple disciplines of design and is a firm believer of delivering good quality and innovative designs. He was also quick to call language in design as a resultant of something one keeps in mind while designing. He thinks of design as problem solving ,while being pleasing to the eye. A lot of thought is given to the aesthetic of all designed things. Design is influenced from no particular thought but is very instinctive in the approach. He points out remarkably how a personâ&#x20AC;&#x2122;s daily habits and interests are reflected in the work that they do. The strong language is again ,in his case, a resultant of their design process and is not a conscious thought when beginning to design. 101

INTERVIEW QUESTIONS Q. What is the base-story behind the inception of your firm? Can you discuss your training and background? Q. Briefly define the entire scope of work of your firm? Q. What influences your signature style? Q.Is there a conscious thought behind customising and developing all your products? Q. There is an inate sense of structure, ergonomicsalong with striking aesthetics showcased in your work: how do you incorporate these factors in your designs? Q. Talk about the manufacturing processes used and the importance of craftsmanship in your designs? Q. What materials do you essentially work with ? Any plans to explore some other material in particular? Q. How would you define your design language? Q. There is a strong sense of aesthetic along with material expression in design? What comes first the expression or the Design? Q. How important role does detailing play in the design? Q. What is your process of design? What influences your designs? Q. you use common materials? What do you do different to define your design sensibilities? Q. What element/s set your design apart form the competitors? Q. Do you feel that complexity of design is related to number of materials used? or detailing becomes easier with introduction of different materials? 102

BIBLIOGRAPHY BOOKS Allen, E. R. P. (2016). Architectural Detailing. Wiley. Ballast, D. K. (2010). Interior detailing: concept to construction. Hoboken, NJ: John Wiley & Sons. Co, F. D., Mazzariol, G., & Scarpa, C. (1987). Carlo Scarpa: The complete works. Electa. Ford, E. R. (2011). The architectural detail. New York: Princeton Architectural Press. Forster, K. W. (2006). Carlo Scarpa architecture and design. RIZZOLI INTL PUBNS (NY). Frampton, K., & Kuma, K. (2018). Kengo Kuma: Complete works. Thames & Hudson. GENTES, A. N. N. I. E. (2018). In-Discipline Of Design: bridging the gap between humanities and engineering. S.l.: SPRINGER INTERNATIONAL PU. Lawson, B. (2015). The language of space. London: Routledge. Mehrotra, R. (2011). Architecture in India since 1990. Mumbai, India: Pictor. Pallasmaa, J., & MacKeith, P. B. (2012). Encounters 1: architectural essays. Helsinki, Finland: Rakennustieto Oy. Pandya, Y. (2003). Elements of space making. Ahmedabad: Vastu-Shilpa Foundation for Studies and Research in Environmental Design. Simitch, A., Warke, V., Carnicero, I., Fong, S., Hays, K. M., Lewis, D. J., â&#x20AC;Ś Williamson, J. (2014). The language of architecture 26 principles every architect should know. Beverly, MA: Rockport.

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ARTICLES Lee, J. H., Ostwald, M. J., & Gu, N. (2016). The language of design: Spatial cognition and spatial language in parametric design. International Journal of Architectural Computing, 14(3), 277-288. doi:10.1177/1478077116663350 Gstach, D., & Kirschbaum, M. (2016). Language as design tool: An empirical and design perspective in the field of architecture and planning. Architectural Science Review, 59(6), 465-473. doi:10.108 0/00038628.2016.1214809 UNPUBLISHED THESIS Chhabra,c (2018) Defining details : study of element - space relationship in a designed environment (Unpublished UG Thesis). CEPT University Choksi, S (2016)Challenges of shifting to public transport: BRTS, Ahmedabad (Unpublished UG Thesis). CEPT University Dhingra, A (2019). Expression of Details: as a key phenomena in the Construction of Space (Unpublished UG Thesis). CEPT University Hameed, B (2008). Socio-cultural manifestation of kuttichira mappila muslim houses : Calicut, Kerala (Unpublished UG Thesis). CEPT University Shail,R (2001) . Detailing and its expressions in interior space( Unpublished UG Thesis). CEPT University Maheshwari,A (2002) . Wall as an element and its Expression in Interior Spaces. ( Unpublished UG Thesis). CEPT University WEBSITES 104

1 December, 1. B. (n.d.). â&#x20AC;&#x2DC;Scarpa, more than any other Italian architect, has brought back decoration into architectureâ&#x20AC;&#x2122;. Retrieved from https://www.architectural-review.com/ essays/scarpa-more-than-any-other-italianarchitect-has-brought-back-decoration-intoarchitecture/10001203.article

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Goodwin, D. (2019, July 23). Spotlight: Arata Isozaki. Retrieved from https://www.archdaily. com/529896/spotlight-arata-isozaki IIM Ahmedabad- New Campus, Ahmedabad 2001 -2009. (n.d.). Retrieved from https:// www.hcp.co.in/project/iim-ahmedabad-new-

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IMAGE CREDITS Image 1 Retrived from https://www.theveniceinsider. com/venice-carlo-scarpa/

Image 2 Retrived from https://www.theveniceinsider. com/venice-carlo-scarpa/

Image 3 Retrived from https://www.theveniceinsider. com/venice-carlo-scarpa/

Image 4 Retrived

from https://www.archdaily. com/199442/gc-prostho-museum-researchcenter-kengo-kuma-associates/5004e0c5 28ba0d4e8d000ad3-gc-prostho-museumresearch-center-kengo-kuma-associatesphoto

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Image 5 Retrived

from https://www.archdaily. com/199906/yusuhara-wooden-bridgemuseum-kengo-kuma-associates/5004e4 0328ba0d4e8d000c0e-yusuhara-woodenbridge-museum-kengo-kuma-associatesphoto

Image 6 Retrived

from https://www. architecturaldigest.com/gallery/completewo r k s - ke n g o - k u m a - d y n a m i c- p owe r s japanese-architecture

Image 7 Retrived from https://www.architecturalreview.com/buildings/thermal-baths-invals-switzerland-by-peter-zumthor/8616979. article

Image 8 Retrived

from https://www.flickr.com/ p h oto s /va r u n s h i v/2 8 97 3 6 3 4 4 5 / i n / photostream/

Image 9 Retrived from http://delhitourism.gov.in/ delhitourism/tourist_place/red_fort.jsp

Image 10 Retrived from https://www.guggenheim. org/audio/track/victor-vasarelyintroduced-by-herbert-rickman-and-dianewaldman-1984

Image 11 Retrived

from https://www.archdaily. com/876888/aperture-style-retractableroof-at-atlantas-mercedes-benz-stadiumcloses-for-the-first-time

Image 12 Retrived

from https://www.archdaily. com/876888/aperture-style-retractableroof-at-atlantas-mercedes-benz-stadiumcloses-for-the-first-time

Image 13 Retrived from https://www.culturalindia. net/monuments/buland-darwaza.html

Image 14 Retrived

from

https://www.flickr.com/ 107

photos/64260796@N05/7610305386

Image 15 & 16 Retrived

from https://www. archdaily.com/158522/adclassics-lotus-temple-fariborzsahba/5038190328ba0d599b000e4a-adclassics-lotus-temple-fariborz-sahba-photoby-adib-roy-http-wwlickom-photos-manunited

Image 19 Retrived

from https://www.archdaily. com/876888/aperture-style-retractableroof-at-atlantas-mercedes-benz-stadiumcloses-for-the-first-time

Image 20, 21 & 22 Retrived from https://www.woolfinterior. com/blog/2016/5/26/carlo-scarpa

Image 23, 24 & 25 Retrived from https://www.woolfinterior. com/blog/2016/5/26/carlo-scarpa

Image 26, 27 & 28 Retrived from

https://www.dezeen. com/2014/02/25/sunnyhills-at-minamiaoyama-by-kengo-kuma/

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REVIEW 1.1 Suggestions: The first review discussed along the lines of the methodology and scope of this thesis. • To define the terminology of ‘language’ and ‘Junction detail’with a more focused attention on 2 materials. Community aspect of language • When looking at the ‘language’ it means the structure/grammer of detail. • How are we going from language to expression? • What are the duties of details? • perspective to the topic - trends become a language (community aspect) - 2 materials (steel and glass) as community - work with the language by decoding what is a detail and parts of detail. The aim should be to objectify the subjective through detail, objectives of interior design as a field. Q. What are the objectives of interior design as a field and how does detail contribute to achieve those objectives??! Identity of a project is also the association one has to the design of the project. it the element of design that is so striking and loud in its expression that it leaves an impression on your mind which then becomes the association a person makes with a certain type of architecture. But these things differ from person to person. Perception plays a huge role and the memory of an individual. Then how do you recognise the most important element of them all ?! What leads to observations being the same for the mass? How the elements play with eachother to create a impact which stays common to all. Regardless of all the differences in the personalities of the group the impact of architecture remains the same.? 109

REVIEW 1.2 Suggestions: • What are the type of details? Constructibility, Function and Aesthetic are driving forces but miss out on the other important INTANGIBLE aspects of a detail. It misses the psychological impacts • What interior elements can you look at? Currently the elements are of architectural scale. Can elements like passages, swings, furniture be included in the design language of the space. Furniture has been included while there is a very fine line between what are called interior elements and architectural elements. Instead of drawing parallels between India and Japan , focus only on the indian context while looking at the expression of junctions and details. The above suggestion has been taken into account and case-studies have been strictly kept in the indian context but to establish points for this thesis the Western projects have been described in examples. Contemporary buildings across India for 1st hand case studies for perceptive data and observations. Kengo Kuma’s work in Starbucks uses the detail as a installation with no function attached to it. (This is exatly what is not to be looked at in this case study)

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VIVA FEEDBACK Suggestions: • The roles of details at various scales. The institutional , the public and how are they changing with change in the function of the built. • The material impacts are very thoroughly understood. • How the document itself is a body of writing and also it has an expression. • Junction were looked at in a broader sense and the 6 factors used to describe junction details can be further developed to be looked at in terms of forces. • The case-studies can be related back to the junction and the heirarchy of the factors can be understood to make the conclusion even more dissected. • Case-studies could be increased to give a much more precise( due to lockdown not possible) • Reference material : AD, 2014 Jul-Aug issue, Future Details of Architecture. Adaptation: Junction details have been further looked in to with a newer perpective with respect to the forces of nature. How it is where the forces come to nullify. The reference material was refered to work on it. The conclusion now looks at language and details seperately for the case-studies and draws a heirarch chart to understand the detailing factors.

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THESIS PANEL - Quick View

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..........THANK YOU FOR YOUR TIME

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Contact Information DESIGN LANGUAGE AND DETAILING :

Understanding relationship/s between materiality,elements of space and details through case studies.

Ishani Tanwar II CEPT University ishani.tanwar.ugfd15@cept.ac.in +9099933699