Beyond the line divides Art and Architecture

beyond the line divides

ART & ARCHITECTURE DESIGN PORTFOLIO - 2020 Art | Architecture | Interior | Art Installations | Furniture | Doors | Lights

BIBIN CHERIYAN 0-7289-090-542 | bibincheriyan@icloud.com

Contents Context 1 : Visible | Invisible

P:04

Context 2a : Radha Ras-Dham

P:18

A project to make an original art installation for the Oberoi, New Delhi. The section in this portfolio pass through different selected the spectrum of design development, production management and how people interact with the design.

An interior design project for one of the residence in New Delhi’s Golf Links Road. The section in this portfolio drives mainly through the visuals of the final end products of the project than the process story.

Context 2b : Signature Bedroom

P:24

Interior Designing of this bedroom been the first project ever handled by myself. The story was weaved through the client’s liking for India’s Gond Painting Style. The whole bedroom is crafted in that theme.

Context 3 : Non-Duality

P:28

A project in which one indulged in making a worship wall for a south Indian family, who is deeply rooted in the Indian tradition. The sections displays various stages of design and production of this piece.

Context 1 “In an epic paradox of the visual, in spite of knowing about dependent origination, I would still continue to label what I see, as whole, without the fragments and independently existing forms due to my habitual patterns.

However, time-to-time, if the perception actually slips towards dependent origination, even for a few seconds, the dualities between forms, architecture and product, inner space and outer space, will begin to dissolve...�

Associate, Studio Lead Interaction with PRS Oberoi and his team, Conceptual Development with the Design Head, Form Development, Presentation Drawings, Working out all details with consultants, Detailed production drawings, Production Supervision and Quality control, Site Installation Supervision

visible | invisible

His Holiness the 14th Dalai Lama walking down the old Oberoi New Delhi Entrance Coridoor, before rennovation.

photo: the oberoi, new delhi Drawing showing the Location, broad design challenges (in the physical manifestation of the form) of the art installation, with the physical and visual axises marked

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T

his project started by the requirement of The Oberoi Group of Hotels and Resorts to have an iconic Art installation at their newly refurbished flaghship Property in New Delhi.

The client was particular about the functionality and the theme of the art piece; to restrain the movement along the old long entrance corridoor and to talk about this amazing land, now we call as India.

Following pages will take you through the various stages of an year long journey I have walked with the Team of KAARU to make this project a reality.

It is awe inspiring to know what our timeless beliefs have in its fold, as a deep understanding of the self and how the self relates to the universe around. One of them, in our collective memory, is the ritual of embracing and taking care of a guest, as part of our Indian tradition.

A guest in most Indian homes, even today, is bestowed with the name, ‘Atithi’.

The Sanskrit word Atithi, as per Taittiriya Upanishad, holds the key to one of the most profound philosophical narrations, whose literal meaning is, ‘No fixed date’. At a much deeper subtle level, it points to an unwavering human wisdom, that all phenomenons around us is based on uncertainty and is contained within the ever changing nature of Time, the way we relate to it as past, present and future.

This view of the guest’s uncertain arrival is again transformed, when layered with another Indian wisdom, in which the guest is viewed, as none other than the reflection of one’s own true nature OR the self. This realization is viewed as the ‘Deva’ in each one of us. Hence the timeless view of ‘Atithi Devo Bhava’.

Thus, in an Indian context, the uncertainty of the guest’s arrival is never a source of anxiety but becomes a source of joy. “The guest is not outside me anymore, but within me, which is my own self ”.

What we have attempted is to create an installation to pay homage to the three facets of TIME, with is never static and forever changing. There are no distinct peripheries or boundaries, in time, other than an abstract notion in our minds about it, as the past, present and the future, yet, every conceivable phenomenon in this universe, including our own idea of the self, is qualified by its presence. The Screen reflects that quality by its sense fragility and fineness, yet making its presence felt by echoing in six layers, flowing on the floor like a serpentine river. Each part of the screen is a varying hexagon which is engineered to be flexible in 3 directions.

A traditional painting pictoring - Krishna Receiving Sudhama recognised as one of the best examples of the indian way of welcoming a guest

source: Hira Lal, Nathdwara; Krishna Sudama (1920) Craft of Arunmula metal Mirror from Kerala

source: madhumita nandi Read the full story: http:// www.untold.in/aranmulakannadi/

As a symbol of gratitude, this profound idea of dependence, is expressed further, by a simple floral offering to these three changing facets of time, and thus implicitly also to SPACE, which is considered sacred to one’s being as per the Indian belief. The three colors of deep orange, white and ultramarine blue depict the three different times of the day- Early morning, Midday and Dusk. Within one simple act of welcoming the guest, there is actually an enactment of this sacred view.

Traditional process of Stone Inlaying from Agra

photo: dsource.in

Trial and errors of the actual composition of the artworks developed as options

The feel of the screen installation is elegantly subtle and precarious and yet cannot be ignored. It would fascinate the viewer from afar and also to enjoy its presence as an intimate glimpse.

A final selected visual representation of the concept composition by the client

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Software Used- SketchUp, Vray for SketchUp, Photoshop CC

The 12 varieties of ‘segments’, as the basic construction unit

The Movable joints as ‘nodes’ in Stainless Steel mechanism

One side of the ‘flowers’ as the offering to the idea of ‘atithi’

Rear side of the ‘flowers’ as the metal mirror

Various Stages of Steel Production Various stages of the segmentsAssembly Random Client checking during production Various stages of Flower production: Stone Inlaying works from Agra, Metal Mirror works from Kerala Production facilities for the installation marked in the Map of India

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All components of the Flower Element in the Installation Detailed working drawings of the Flower Manufactoring Various stages of the onsite installation (P10, 11) Selected details and drawings for the manufactoring of the art installation (P12, 13, 14, 15) Few images of the final end product

162.4

Anchor bolt: 12mm dia stainless steel rod with M12 male thread welded to the arm.

HILTI, HSL-3 M12/50 Item number: 371782

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6.0

6.0 6.0

Anchor bolt: 12mm dia stainless steel rod with M12 male thread welded to the arm.

HILTI, HSL-3 M12/50 Item number: 371782 Side sleeve lip: 83mmOD,

6.0

18mmID stainless steel flat section in circular profile

Side sleeve lip: 83mmOD, Side sleeve lip cover: 18mmID stainless steel flat 90mmOD, 18mmID stainless steel section in circular profile

ss steel flat n

Side sleeve lip cover:

ss steel flat n

6mm ctions arms as ign 6mm ctions arms as ign

90mmOD, 18mmID stainless steel

flat sections as per design

Arm 3: 6mm stainless steel

Supporting Arm: 6mm stainless steel flat sections welded to the main arms as supporter as per design

203.4

203.4

Arm 2: 6mm stainless steel flat sections as per design

Anchor bolt: 12mm dia stainless steel rod with M12 male thread welded to the arm.

HILTI, HSL-3 M12/50 Item number: 371782

Arm 2: 6mm stainless steel flat Arm 1: 6mm stainless steel flat sections as per design

sections as per design

tainless

Side sleeve lip cover:

Supporting Arm 2: 6mm

Arm 1: 6mm stainless steel flat sections as per design

over:

stainless steel flat sections welded to the main arms as supporter as per design Supporting Arm 2: 6mm stainless steel flat sections welded to the main arms as supporter as per design

tainless 6.0 424.8

12.0

18.0

Side fixing Rod sleeve:

stainless steel flat sections welded to the main arms as supporter as per design Supporting Arm 1 : 6mm stainless steel flat sections welded to the main arms as supporter as per design

Arm 2: 6mm stainless steel flat sections as per design

Supporting Arm: 6mm stainless steel flat sections welded to the main arms as supporter as per design

PLAN 1

EXPLODED VIEW

6.0 424.8

Side sleeve lip: 83mmOD, 18mmID stainless steel flat section in circular profile

18mmOD, 13mmID sleeve of stainless steel flat head anchor bolt fixed to the column

EXPLODED VIEW

6.0

6.0 6.0 6.0

90.0

A

Supporting Arm 1 : 6mm

90mmOD, 18mmID stainless steel

A

156.0

6.0 424.8

3mmOD, ss steel flat nel flat ofile

3mmOD, el flat 6mm ofile ctions arms as ign 6mm ctions arms as ign

Arm 3: 6mm stainless steel

flat sections as per design

203.4

over:

ss steel flat n

Arm 3: 6mm stainless steel flat sections as per design

203.4

203.4

203.4

Side sleeve lip: 90mmOD, 18mmID stainless steel flat section in circular profile

ss steel flat n

ss steel flat n

18.0

18.0

Arm 1: 6mm stainless steel flat sections as per design

Anchor bolt: 12mm dia stainless steel rod with M12 male thread welded to the arm. HILTI, HSL-3 M12/50 Item number: 371782

Weld

P1

Weld

6.0 6.0

6.0

35.8

12.0

6mm stainless steel sheet 6.0

6mm stainless steel sheet

0

SECTION AA

KAARU

UED BY

VIEW SCALE 1:1

REVISIONS Issued To arttdinox

12.0 162.4

SECTION AA

Issued By

90.0

156.0

35.8

UED BY

18.0 35.8

Date

Date: SCALE 1:1

14-08-2017, Monday

REVISIONS

Checked by:

Date:

VIEW

10-08-2017, THURSDAY

25

50

Arm 1: 6mm stainless steel

ELEVATION

ALL DIMENSIONS ARE IN MM 0 25 50 NO:- ARE IN MM ALL SHEET DIMENSIONS

K/ID/OHDel/EF/SF-A

SHEET NO:-

ARCHITECTS

SHEET TITLE :-

END FIXING DRAWING:

flat sections as per design

SIDE FIXING (MANUFACTURING DETAILS)

ISSUED BY No. 1

Issued By KAARU

Issued To arttdinox

Date

14-08-2017, Mond

ARCHITECTS

KAARU

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Anchor bolt

Shanks - Extended slim necks of the segments with holes

R

Depression made in the RCC ceiling SHEET TITLE :-

PROJECT TITLE :-

Anchor bolt: 6" long Anchor bolts to fix the top cover to ceiling

203.2 80.0 17.0

END-FIXING DRAWING:

FLOOR FIXING (MANUFACTURING DETAILS)

The Oberoi, Dr. Zakir Hussain Marg, New Delhi, Delhi 110003

Entrance Screen Installation ,

Steel Circular cap: 17.1mm OD, 10mm ID, 19mm long stainless steel pipe section with M10 female thread inside the pipe welded with 3mm thk square plate to fix the Gas Spring

25.0 102.0

Segments

as per design (Ref: K/ID/OHDel/pt/p1,p2,p3)

Node as per design (Ref Drawing: K/ID/OHDel/N)

Ø12.0

(Ref: Manufacturing and Assembly of

Top Cover forFloor Circular pipe: fixing details-

Ø12.0

Steel Circular cap

) 203.2x203.2mm, K/ID/OHDel/EF/FF-A 5mm thk Stainless steel flat section welded to the circular pipe. This will be anchored to the ceiling using M16 flat head sleeve anchor.

59.4 27.3

Threaded Shaft - Both the 6mm thk sides of the Tail of floor ending to be in M16 male threading.

Floor Ending- 6mm thk stainless steel, matte finished flat section as per design (Ref: Manufacturing and Assembly of Floor fixing details- K/ID/OHDel/EF/FF-A )

Issued By

BIBIN CHERIYAN

ISSUED BY

1

No.

Finished Floor level

3.0

2.0

36.0 50.0 32.5

2.0

10.0

Stone Flooring as per site Issued To

Arttdinox

(19mm thk White Thassos stone)

13.0

Cement Mortar Bed

232mm long stainless steel circular pipe section holds the gas spring. M-50 Bottom Lip Sleeveportion - 36mmOD, 3mm female threading on the bottom thk stainless steel, matte finished flat for lip sleeve. Cut-out forasspacer section per design. Outer edge to be chamfered 45degree installation to be provided as inper detail.as per

Bottom Lip Sleeve - 36mmOD, 3mm thk stainless steel, matte finished flat section as per design. Outer edge to be chamfered in 45degree as per design.

Bottom fixing Rod sleeve: 22mm OD, 16mmID sleeve with M16 female thread of stainless steel flat head anchor bolt fixed to the column

181.0

Gas Spring: GZ-28-150 (Valve Bottom fixing Rod with sleeve Technology) Pull-Type gas-spring -22mmOD, 16mmID sleeve with M10 thread on bothM16 ends as thread per of stainless female steel flat head anchor selection. Total Length- 249.936mmbolt fixed to the column (9.84inches)

Threaded Shaft - Both the 6mm thk sides of the Tail of floor ending to be in M16 male threading.

REVISIONS as

level

Stainless Steel flat section fixed to the circular pipe

12.0

Date per site

eiling

Flaps to circular pipe: 3mm thk

19.1

50.8

RCC concrete Layer

RCC C

design.

PCC Layer as per site

226.0

Stainless Steel plate

Circular pipe: 60.3 OD, 50mmID, and

77.1

60.3

leeve to in its eiling.

Top Cover for Circular pipe

Floor Ending- 6mm thk stainless 3mm thk stainless steel plate welded to steel steel, matte finished flat section as circular pipe per design

211.0

Flaps to circular pipe

- EXPLODED VIEW -

152.0

Circular pipe

Gas Spring ELEVATION

k circular rubber washer as ular pipe and gas spring using nylon washer

12mm OD and 1.5mm thk nylon washer

20.0

Date:

Drawn by:

Checked by:

M4 Screw to lock the rubber gasket

Rubber Spacer

ELEVATION

10.0

04-08-2017, FRIDAY

STUDIO HEAD

evel

Cut out to be made in the 2" (OD) dia pipe for buffer

7.7

20.0

SECTION A-A'

Top Lip Sleeve:

K/ID/OHDel/EF/FF-A

SHEET NO:-

Scale: Not to be measured

6.0

SHEET TITLE :-

36.0 32.5

A-A'

115.9

PLAN

Floor Ending- 6mm thk stainless steel, matte finished flat 90mm OD, 10mm ID stainless steel, mirror section as per design (Ref: Manufacturing and Assembly of Floor fixing detailspolished circular flat section (outer edge to be bevelled as per Bottom Lip Sleeve - 36mmOD, 3mm thk stainless K/ID/OHDel/EF/FF-A )

90.0

Top Lip Sleeve

steel, matte finished flat section design.pipe Outerwith M50 design) welded to 50mmOD, 40mmasIDper circular edge to be chamfered in 45degree as per design. male threading-treaded to the bottom of circular pipe.

10.0

Fin

ish

BOTTOM LIP SLEEVE

Bottom Lip Sleeve - 36mmOD, 3mm thk stainless steel, matte finished flat section as per design. Outer edge to be chamfered in 45degree as per design.

1:1 Scale

PLAN

TOP FIXING DETAILS

ceil

ing

lev

el

SECTIONAL VIEW

SECTION AA DETAIL DRAWING:

ed

ISSUED BY No. 1

Issued By KAARU

REVISIONS Issued To arttdinox

Date

Date:

14-08-2017, Monday

Checked by:

0

50

100

ALL DIMENSIONS ARE IN MM 07-08-2017, MONDAY

SHEET NO:-

K/ID/OHDel/FD T-B

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“The perfect balance between tradition and modernity preserves the soul of the place.�

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A guest in most Indian homes, even today, is referred to as Atithi, one who arrives at the doorstep unexpectedly. The Sanskrit word literally means one who is without an arrival date, resonating at a deeper level the inevitable and profound truth of Impermanence, which we perceive through the ever changing nature of Time, as the Past, Present and Future.

The host greets the guest, who has just arrived, with joined hands in salutation saying Namaste, conveying a feeling of respect, humility and oneness. The guest is visualized as the reflection of (one’s own) ‘Self ’, in essence, whose true nature is held as divine, effulgent and knowing.

This manifest, as the guest is received with affection and dignity befitting a higher being. The scripture elegantly says ‘Atithi Devo Bhava’. Truly the guest is like the divinity arriving at your station for a short respite in this long journey called life.

Three layers of overlapping screens, collectively, personify our physical body and the way we mentally engage with the three facets of time. The outer two represent the past and the future, while the third in the middle, as the present.

Multiple and varying polygonal shapes are reminiscent of our entire body`s building blocks of cells and tissues, the way it is biologically engineered as a tangible, yet, altering form.

Hand inlaid flowers created from the traditional crafts of Agra, in three shades, of Lapis blue, Agate yellow & Shell white, selectively placed within the polygons, are floral offerings to the guest. They also symbolize early morning, midday & dusk.

The reverse of each flower, upon turning, is a unique mirror, made out of a thousand year old process, undisclosed till this day, from a small town called `Aranmula` in Kerala. It is a special alloy, hand cast and hand burnished to a magical unsullied shine, traditionally created as an offering to Lord Vishnu. Gazing upon the mirror is reminiscent of the guest being a reflection of the self.

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Within one simple act of welcoming the guest, there is an enactment of this sacred Indian view of `Atithi`.

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Icon o

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Identity

for the new generation of Indian craftsmen

Exploration

Take away

Re-defining Luxury

Glamour

Inspiration for new Designs

Ownership

Talk of the town

Flexibility in design

Light-ness

Style

Context 2 “Knowing about a Tribal ritual, Picasso’s strokes or City Planning, could make all the difference while designing a simple spoon”

Junior Project Architect Interactions with the clients, Concept development for each spaces, Presentation Drawings, Detailed production drawings, Production Supervision, Site Installation Supervision

Radha-Ras-Dham

I

have joined this project while the design stage was already going through in the studio.

The client wanted to renovate and re-energize all the major interiors spaces of their traditional house in New Delhi’s prominent Golf Course Road. The sensibility of the client family was deep rooted in the Indian Tradition and its exciting mythological chronicles.

Following the pages, will take you through the glimpses of the projectmainly the end products.

The brief for the shaping the interiors was to build ideas around a collection of contemporary paintings and objet d’art, received as gifts to the client’s family, of some of the most iconic images from the timeless stories of Raadha-Krishna and Rama- Sita. At the time of embarking on the project, the artworks had already found their final places on the walls of their home.

We chose to weave a design narrative which would take this unusual ‘iconographic artworks’ into account taking important cues from the invaluable traditional texts and beliefs.

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Three main theme areas, the Arrival Lobby, the Main Living and the Main Dining, were chosen to hold three bold narratives, including two on Raadha and Krishna’s courtship and the third on Sita and Rama’s marriage and related them to the depictions of the adjacent interior and exterior spaces, including two gardens in the front and rear.

Thread by thread, the warp of twelve different living craft forms of India were laid together within the weave of contemporary design, to make this an abode of Raadha, Sita, Krishna and Rama.

Guest Bedroom

Selected portion of the Ground Floor Plan of the Residence Next Page Finished Formal Living Room Reception

Formal Living

Close ups and other angles of the Formal Living Room Next Spread Finished Dining Space Silver Panel depics lord Krishna and converging cows

Informal Living

Stages of Production of the silver panel Sketch of Circular Kadambh Light Finished Reception space displays the blue wall and circular kadambh lights

While catering to a brief entrenched in the idiosyncrasies of Indian tradition, the ancient mythology and fabled art - a design that is astute, an aesthetic that is contemporary, a space that is receptive and an experience that is ethereal.

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Context 2b

Signature Bedroom

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Queen Size bed design with the custom made headboard A portion of a gond painting and a portion of the crafted headboard design Some glimpses of the details of furniture - Chaise Lounge, Nest of tables, Painted wardrobe handles, Center Table and painted blind Next Page: Rendered Plan of the Room with dimensions Next Spread: Rendered image of the room with the final design

A

project which revolved around one of the ancient tribal painting traditions of India, the gond style of painting. The client being a huge admirer of this art form, she wanted her room to be stylized with the icons and charector of the gond painting.

Have taken inspiration from various masters of this painting tradition to develop a whole range of furniture and accessories for this project

Following pages, will glimpse us through the finished product images of the project.

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Software Used- AutoCAD, Photoshop CC

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Software Used- SketchUp, Vray for SketchUp, Photoshop CC

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Context 3 “I can only see reflections of my own delusions as its premises, peripheries, walls, roofs, thresholds, and elements of earth, water, fire and air. That is all I can do.

The process of Architecture or Design, then, might not remain only an entanglement with the form any more, but lead to an awareness of space, a deep tranquillity, within and without.”

Project Architect Interaction with the clients, Concept development, Presentation Drawings, Preparation of BOQs’& Specifications, Sketch development, Production Planning, Production Supervision and Quality control, Site Installation and Supervision

Non-Duality

A

project started with an aim to create a worship wall for a south indian family, who is deeply rooted in Indian Tradition.

One gone through the various teachings of the masters of Indian philosophies to identify the best possible depictions of these ideas. This project is a walk of one’s own understandings of the age old tradition.

Also one explored the possibilities of presenting this ancient craft of stone carving suited for the centre space of an extremely modern-contemporary designed architecture.

Various sculptures from the ancient buildings created as ‘inrelief ’ sculpting works around the Indian peninsula.

Photo: India Lost and Found

Artisans working towards finishing the sculpture wall in Orissan Grey Stones

Nest Page: The worship wall Composition - The sketch drawing prepared before the stone carving to give the artisan an idea of scale and proportion of the wall and the dieties.

A detailed sketch for making stud to hang garlands Various other sketches of the details

Software Used- Hand-Sketches, AutoCad, Photoshop CC

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Sketches been the best possible way to communicate with the artisans and the manufacterors for this project, unlike every other projects measured drawings and detail work outs been very little- that itself made the project significant for an architect like me.

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Various stages of stone carving been closely watched for fine tuning and the right emotions to be depicted on the faces After panels are made its been leveled and matched to avoid any kind of matching issues in the panel Next Page Opening eyes : this been the last word done to any sculptural form. Once the eyes are open its, believed, an art transforms to a deity Various stages of site installation. Handing the panels

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Previous Spread: The finished worship wall as it finished the site works This Spread: Details of the Baba ji’s face and body posture Next Page: Close ups of various panels: Bhagawati, Perumal Balaji, Ganesh ji Details of eyes, ears and hands to show the intricacy of stone carving

Bibin Cheriyan

0-7289-090-542 | bibincheriyan@icloud.com