Master’s in Interior Design | Faculty of Design | CEPT University
ID 4015
The Big Rethink:
Interior Materiality Unit Tutors: Prof. Kireet Patel, Rishav Jain & Aparajita Basu Unit Assistants: Chandni Chhabra, Teja Payapalle
Anamika Gupta |PID21036
ID 4015
The Big Rethink:
Interior Materiality
Anamika Gupta | PID21036
The Big Rethink is a series of postgraduate interior design studios focussing on developing a multitude of notions, approaches, positions and arguments with reference to interior design practices.
Master’s in Interior Design | Faculty of Design | CEPT University
ID 4015
The Big Rethink:
Interior Materiality Unit Tutors: Prof. Kireet Patel, Rishav Jain & Aparajita Basu Unit Assistants: Chandni Chhabra, Teja Payapalle
Anamika Gupta | PID21036
Contents 0. About Studio A. Interior Materiality B. Studio Outline C. Structure of the Studio 1. Foundation Program A. Objectory B. Factory 3. Generating and Developing the Argument 4. Role 01 I Representing an ‘Era’ 5. Role 02 I Representing ‘Standardization’ 6. Role 03 I Representing a ‘Collaborative Identity’
‘’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
‘Interior Materiality’ A concept that concerns the critical aspects responding to the governance and engagement of a spatial system - Loschke, Sandra Karina. “Materiality and Architecture.”
Why Interior Materiality? We design spaces and spatial experiences through orthographic drawing that only provides information about the form, and relegates ‘material’ to the empty spaces between the lines. The process of identifying and detailing form is embedded in our practices, and we fail to examine material beyond its aesthetic or technological capacities and leave it to adapt to the form. - Material Matters: Architecture and Material Practice
Studio Concern The current interior design field/practice has systematically emerged from its allied and specialized disciplines. This poses a challenge for its design professionals to be equally emerged or developed or qualified in order to develop a specific design approach/language/identity. It is important for the professional to possess the ability to develop a position that is professionally recognizable.
Learning Outcomes After completing the Studio,the student will be able to : - Ability to develop a systematic argument/position/approach on the interdependence between materiality and practice - Ability to translate/represent the design argument/position/ approach through 3-Dimensional and material based outcomes - Ability to develop a design position for varied complexity of interior projects - Ability to organise and evaluate the programmatic and pragmatic potential of derived design position. - Ability to build a design vocabulary and test it through the selected context (site/program)
Studio Outline The Big Rethink is a series of postgraduate interior design studios focused on developing a multitude of notions, approaches, positions and arguments within the interior design field. This semester, the third one in the series, the studio challenges the concept of Interior Materiality in interior design. It offers an opportunity to develop a design position in different contexts by questioning preconceived notions of interior design. It emphasizes the relationship between Interior materiality and its expression, identity and design outcomes. The first four weeks are a part of the common FD PG Foundation, where students from all streams work together to develop skills and abilities in drawing and making. The latter part of the studio is divided into two modules: the first builds an argument on interior materiality and the second module explores three key roles of an interior designer with each student working on three smaller projects. Role one focuses on practices that work within the context of an ‘era’, role two focuses on practices that are sited within the ‘standardisation’ of the typical floor plan and role three challenges the boundaries between interior design and architecture. The studio focuses on representing experiential and ephemeral qualities, planning and organising strategies, detailing and construction techniques, through the lens of interior materiality.
“A concept or the applied use of various materials or substances in the form of space making, actualized through the body and senses interacting with the physical environment. A language to articulate vision or make ideas tangible.”
interior materiality
what is the role of an interior designer ?
interior materiality
focus
1 3 ‘era’ ‘standardisation’ ‘collaborative’
roles
Leonardo Da Vinci
premise
1 3 experiential and ephemeral qualities planning and organising strategies detailing and construction techniques
projects
Structure of the Studio
Objectory and Factory
Generating an Argument
Foundation Program, 4 weeks
Module 1, 1 Week
Week 01-04
Week 05
Role 01
Week 06-07 Project Type: Adaptive reuse of an existing historical site Understanding Formal qualities Output type: Photomontage and drawings Focus on experiential and ephemeral qualities
Role 02
Role 03
Module 2, 10 Weeks
Week 08-12
Week 13-15
Project Type: Standardized typical office floor plan
Project Type: Independent design project with no predetermined site context
Output type: Plans, sections, Isometric Drawings
Output type: Experiential views showing construction techniques.
Focus on organizing and planning
Focus on constructing an experience, making and detailing.
Week 01 -04
Common Foundation Weeks Objectory: Demonstrate precision by way of observing and representing. The study of tolerance is by way of identifying th materials and assembly of parts, and accuracy by way of exploded axonometric / isometric drawings. Factory: Explore the ideas of the frame, detail, assembly, tectonics, material as a central core of making. Process and transform materials with precision, accuracy and tolerance for assembly.
EX
01 Objectory Measuring tape
Exercise Brief & Intent: Objectory: Accuracy, Precision, Tolerance. The aim of the exercise was to study the design of an object in depth, understanding the design decisions, ergonomics and design solutions, by making orthographic and axonometric drawings. A tape measure is a portable measurement device used to quantify the size of an object or the distance between objects. This type of tape is known as Return spring Pocket tape.
Assembled Measuring Tape
Learning Outcomes: Ergonomics plays a crucial role while designing any product or space. Tolerance plays a huge role during the fitting of parts making a product user friendly and cost effective.
Dismantled Measuring Tape
Orthographic Drawings
Isometric Drawings
Exploded Isometric Drawing
Part details
Part details
EX
02
Factory Pinnacle
Exercise Brief & Intent:
Gestalt’s Rule of Closure Perception of completeness through incompleteness. The design thought was to exploit this principle to and maintain the theme of peaks and how these are connected at different levels. It led to form based exploration of how to convert this philosophy into design.
Learning Outcomes: Understanding of precision and tolerance in designing. Constructibility and properties of materials at a detailed scale. Tolerance is crucial while designing joineries and connections between various materials.
Final Outcome
Orthographic Drawings
Kit of Parts
Isometric Drawing
Details and Joineries
Stages of Assembly
Exploded Isometric Drawing
WeekWeek 05 - 06 05 - 06
Module Module 01:01:
Generating Generating an an Argument Argument Stage Stage 01: Developing 01: Developing an argument an argument A. Select A. Select relevant relevant examples examples fromfrom recent recent practices practices of Interior of Interior Design Design B. List B. List down down design design decisions decisions and and analyse the relationship analyse the relationship between interior between materiality interior and materiality practice. and practice. Stage Stage 02: Stating 02: Stating an argument an argument Develop Develop an argument an argument in reference in reference to the to the interrelationship interrelationship of of interior materiality and practice based on the list of design decisions and the selected examples.
EX
03
Material to Materiality
Exercise Brief & Intent: The intent of the exercise was to understand the transition from Materials to Materiality. 12 examples were to be studied in depth based on the aspects which inform and contribute to materiality. Further from these case studies, design reductions were made based on which design decisions were taken for the next role.
Learning Outcomes: 1. It must be manifest that an ornamental design will be more beautiful if it seems a part of the surface or substance that receives it than if it looks “stuck on,” so to speak. - Louis Sullivan. 2.In contemporary architecture, the digital, structural, sensual, representational, and symbolic facets stratify ornament metaphorically and literally, making it an intense medium of impression and expression. 3. Rather than being viewed as additive or an appliqué, ornament can now be understood as an integrated, performative, functional building component.
Exploration Model
Ex 01 What does Materiality inform?
Texture
Colour
Tactility
Contrast
Repetition
Project 01: The TerraMater Store | RENESA Architecture Design | Amritsar | 2019
Project 02: Inside Out house | Modo Design | Ahmedabad | 2020 Polished wood and concrete
Wooden panels with grooves
Project 03: SND Fashion Store | 3GATTI | China | 2014
Project 04: The Fluted Emerald Elgin Cafe | RENESA Architecture Design | Kanboh | 2021
Project 05: Guha | Realrich Architecture | Indonesia | 2020
Project 06: Capilano Library | Patkau Architects | Canada | 2018 Raw wood and concrete
Wooden panels with grooves
ANAMIKA GUPTA_ PID21036
Week 06 - 07 Week 06 - 07
Module 02: Role 01 02: Module
Role 01 Experiencing Materiality Experiencing Materiality The Experience of space is understood through the compositions and moments one The elements, Experience of space is understood through may encountercompositions in the space.This is seen through the elements, and moments one
a visual study ofinhow texture, color,through may encounter the light, space.This is seen material and finishes in space. a visual study of how play light,out texture, color, material and finishes play out in space. Historical practices through a project representing an ‘Era’ Historical practices through a project representing an ‘Era’ Output: Photomontage / Collage Output:
Photomontage / Collage
EX
04 Adaptive reuse Seen. Unseen.
Exercise Brief & Intent:
Materials as ornamentation through surface modulation generate tactile experience.
The site is seen as a concrete canvas for the design intervention and materials have been selected in contrast to the existing ones. Horizontal bands of wood and glass slats following proportions of The Modular Man by Da Vinci , flow around the structural columns creating pockets for the exhibit at multiple levels.
Medium: Ornamentation of materials , Aim: Tactile experience Tool: Surface Modulation
Learning Outcomes: The arrangement and finish of materials influence tactility which thus behaves as a medium to direct a user into or away from a space/ element. Contrasting materials following a similar geometry break the monotony of a space as well as blend the interior elements with the space depending upon the opacity of material.
Anamika Gupta | PID21036
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Ornamentation of materials with the technique of form modulation and patterning can generate a sensorial experience.
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"Materiality acts as the protagonist of a space by virtue of it's ornamental and sculptural attributes, thus affecting sensorial experience." Anamika Gupta | PID21036
1. Modification in the scale of a material impacts the visual perception of a space. 2. Volumetric expression influences the sensorial experience in terms of proportion, volume and acoustics.
1. Sensorial experience is subjective and might not create the same environment for everyone. 2. The sculptural attribute of an element may
1. Sculptural and Ornamental attributes are key influences towards the user's sensory perception. 2. In certain cases, ornamental and sculptural scale can be conflicting.
Aim: Tactile experience , Medium: Ornamentation of materials , Tool: Surface Modulation Anamika Gupta | PID21036
Aim: Tactile experience , Medium: Ornamentation of materials , Tool: Surface Modulation Anamika Gupta | PID21036
Explorations
Aim: Tactile experience , Medium: Ornamentation of materials , Tool: Surface Modulation Anamika Gupta | PID21036
Aim: Tactile experience , Medium: Ornamentation of materials , Tool: Surface Modulation Anamika Gupta | PID21036
Anamika Gupta | PID21036
Anamika Gupta | PID21036
Concrete
Reinforcement
Explorations through experience
Anamika Gupta | PID21036
Anamika Gupta | PID21036
Anamika Gupta | PID21036
Wood Steel
Explorations through experience
Anamika Gupta | PID21036
Week 08 - 12
Module 02: Role 02
Spatialising Materiality Organization and space planning involve the systematic laying out of space-making elements. Considering that some arguments and design intents involve an array of elements, while the rest require volumetric explorations - this visual composition leads to more clarity in the design. Current modern practices through a project representing a ‘Standardisation’ Output: Plan, Section, Isometric Drawings
EX
05 Standardization Seen. Unseen.
Exercise Brief & Intent: Site - Action for Social Advancement Headquarters, BIOME The site is seen as a combination of volumes and voids divided on levels. 1. Transparency of materials as a medium of visual connection as well as barrier. 2. A sense of enclosure around an exhibit keeping it as the focal point gives an ephemeral experience to the visitor. Using these two reductions as hypothesis for role 2, a metaphor was derived visualizing the interior space as how.
Learning Outcomes: Modulating a surface along the existing geometry and changing transparency of a material enhances the space quality through the experience of closure as well as openness.
Week 13 - 15
Module 02: Role 03
Experiential Materiality Details of elements, junctions and construction assemblies all inform the production of spatial experience as well as organization. Hence,it is necessary that a language of detailing be designed and worked on. Collaborative practices through a project representing an ‘Identity’ Output: Experiential Views, Material specification and construction Details
EX
06 Identity Seen. Unseen.
Exercise Brief & Intent: To provoke the sense of Curiosity and Discovery through Transparency and Technology. Interaction between visitor and exhibit by creating an enclosed shell around the two. When seen from a distance, blurred exhibits can be seen inside closed glass shells generating a sense of curiosity. Proceeding towards the exhibit, the user passes through motion sensor platform which opens up the shell. Experiencing a sense of discovery, the user goes inside the shell to form a unique bond with the exhibit.
Learning Outcomes: Combining properties of material and technology enhance the experience and space quality by becoming an element of functional ornamentation.
Explorations
Explorations through model
