ROWC Booklet Monsoon Sem 2021

Reading Objects, Writing Craft

Reading Objects WRiting cRaft

selected student WORk

This is a draft version. Not to be used or circulated without explicit permission from the CEPT Foundation Programme.

READING OBJECTS, WRITING CRAFT & PERSPECTIVES

SELECTED STUDENT WORK MONSOON 2021

Along with the visual and conceptual components of design language, the ability to use reading and writing to conceptualize, think through ideas, learn about the history that the discipline draws on, and speak with clarity about one’s own work contributes to the development of one’s capacity as a design professional. Sharp, pointed descriptions of products and pieces of furniture introduce a way of seeing which asks pertinent questions of everything around, and set up a process of acquiring a discipline-specific language which will continue to evolve throughout one’s learning and practice. Even with incipient knowledge of materials, means of production, user experience and design concerns, writing captures connections, supplements other modes of representation and articulates logical links. It allows for an active engagement with existing knowledge, and for questions to emerge.

A structured process of writing addresses the lack of confidence with putting things into words, and forms patterns of reading and writing practice which, quite literally, help find one’s words. It begins with working to achieve clarity by addressing syntactic and structural aspects through object descriptions. These are accompanied by images and corresponding captions, which form part of a process of anticipating the way a possible reader might engage with different components of the text. Reference texts build knowledge, but more significantly, provide genre-specific and stylistic samples for analysis and use.

More complex forms of writing, descriptive essays set the stage for introducing the process of research, of turning to reliable sources with specific questions in mind, and being able to connect these logically. Effective engagement with reading is often a function of having access to appropriate reading techniques, which are built through ongoing practice and discussions. Writing is similarly approached through a trajectory that involves learning from existing knowledge and articulating specific descriptions of products, pieces of furniture, and spaces clearly, looking to capture the nascent level of understanding at which we are placed. It builds on the initial object descriptions, with their focus on the individual ability to observe and articulate, adding a broad sense of context in which the artefact is to be understood.

Of more immediacy is writing related to ongoing studio work, which focuses on revisiting the internal logic and the process of arriving at specific outcomes, translating them into introductory texts for people engaging with one’s work; into documentation of the various stages through which the work has progressed; or into explanations for others who do not share a design background.

The focus on reading and writing techniques, rather than on the complexity of the content explored is not only an acknowledgement of the ’foundational’ nature of the programme, but also an active choice to write honestly, to the best of one’s knowledge.

Contents

E1.1 | describing objects 17

Framing the assignment 18

Learning Outcomes 19

A Benchmark of Design 21

The System Of Support 22

The Wooden Boon for Students 24

The Chair That Looks Nothing Like A Chair 26

The Abandoned Study Table 28

Wood Carved Coffee Table 30

Almirah For Aimers 32

Three Legged Stool 34

E3.1 | Skimming

41

Framing the Assignment 41

Learning Outcomes 42

How Do Paths Work In The Design Of A City? 43

Question:How do Perceptions of the Cities of Boston and LA differ? 45

What Are Functions And Utility In Design Thinking? 46

Where does a building’s sense of harmony come from? 48

How do Paths Work in the Design of the City? 49

E3.2 | Annotating and Summarizing 53

Framing the Assignment 53

Learning Outcomes 53

Art Nouveau by Jean Lahor 55

Art Nouveau by Jean Lahor 56

Building Utopia : Tim Benton 57

THE ORIGINS OF ART NOUVEAU By Jean Lahor 58

Building Utopia by Tim Benton 59

Art and Craft Style 60

Design and History- Bernhard E. Burdek 61

E2.5 & E2.7 |

Concept Note & Working Bibliography 65

Framing the Assignment 65

Learning Outcomes 66

Traditional and modern design: A Comparative Study of a Yixing Teapot Handmade by Shao Daheng (1821-1850) and the Industrial Design of Christopher Dresser’s Teapot (1879) 67

To Mould Or To Bend: A Comparative Study Between John Belter’s Slipper Chair and Aalvar Aalto’s Paimio chair 69

Marcel Breuer’s Wassily Chair (1926) and Long Chair (1936): A Comparison of Bentwood and Tubular Steel Forms in Design 71

Evolution of Design: From Bauhaus Telephone to Model 302 Telephone 73

The Tiffany Lamp (1893) And The Anglepoise Lamp (1932) : A Study Of Form And Function 75

The Ride To Comfort: Thonet’s Chair no. 14 and Marcel Breuer’s Wassily chair 78

The Role of Ideology of a Designer: A Comparative Study Between Marianne Brandt and Christopher Dresser’s Teapot Based on Means of Production 80

Into The World Of Steam Bending: Chair No. 14 and The Long Chair 82

E2.9 | Presentations 89

Framing the Assignment 89

Learning Outcomes 89

Lines and Curves 91

the Thonet Chair No. 14 and the Barcelona Chair 98

Contrast in Modernistic Minimalism 113

Same Period Different Styles 121

Evolution of the Teapots 134

E3.1 | Exhibition Introduction 145

Framing the assignment 145 Learning Outcomes 146

E4.1 | Informal Emails 165

Framing the Assignment 166

Learning Outcomes 166

Subject: A Veritable Frenzy of Colours, Deadlines and Coffee 167

Subject: My Knees Are Buckling Under the Onslaught of Freehand Drawing 169

Subject: Two Weeks Of Learning At CFP (CEPT Foundation Program)! 171

Subject: My Experience of Two Weeks 173

Subject : Two Tumultuous Weeks At CEPT 175

Subject: Continuing Our Conversation from Last Week’s Football Match 177

Subject: Habitual substitution at CEPT 179

Subject - My Second Life at CEPT 181

E4.2 | formal Emails 187

Framing the Assignment 187

Learning Outcomes 188

Subject: Sample work for the post of Lead Product Designer 189

Subject: Discussion Regarding The Structure of Door Latch Lock 191

Subject: Sample Work on Explicit Depiction of Complex Objects 193

Subject: Elaborate Representation for the Order of the Manual Egg Beater 195

Subject : Drafting of the Scooter Carburetor 197

Subject: Explaining the Mechanism of Flashlight 199

Framing the Assignment 205 Learning Outcomes 206

Art of the Imagination 257

‘All Art Is Quite Useless’ 258

Feed on Feedback 260

Reclaiming public spaces through poetry : A talk by Sabika Abbas 262

Perspectives Lecture Series: An Illustrated Life 264

Homai Vyarawalla 266

E.1Describing objects

E1.1 | describing objects

We often walk through the world making use of various objects around us: pieces of furniture, household items, street furniture, items of clothing. Given a choice, we select them for their qualities –the comfort of their form to our body, the way their colour sits side by side with others around, the overall experience they generate. As designers, whether we are concerned with products, pieces of furniture, interior spaces, buildings, streets or neighbourhoods, we need to be more attentive to detail, more curious about the choices made in the production of these varied objects. While curiosity is something we try to cultivate at every stage, choosing to start from this initial exercise allows us to work with greater focus, self-awareness and guidance towards our goal of becoming better professionals in our fields.

The questions that anchor E1.1 Describing Objects help us make these decisions: How do we understand and articulate the physical qualities and material properties of human-made objects around us? What kind of experiences do these physical qualities and material properties generate in the users? How do we connect the qualities of an object with the experience they enable and the intention behind their making?

There are complex tangible and intangible characteristics of objects that lead to an emotional response. A footstool that belonged to a great-grandparent who brought us up is dear to us for that connection, but it would speak differently to a stranger. The fact that it belonged to someone three generations removed may translate into scratches that it may have acquired while moving, an edge smoothened out with wear. Irrespective of familiarity with the lines of previous users, someone new to the object would still be able to interpret it as a well loved and well used object, just by having access to its material qualities. For the purpose of this exercise, we will focus only on the tangible characteristics (physical appearance: colour, texture, weight, shape and form; function and use) of the objects we are looking at, and then move towards more intangible ones which are connected, such as the aspirational value it carries, the overall aesthetic it represents.

Along with finding the time and patience for careful observation, we will also start asking ourselves: how do we communicate clearly, concisely, persuasively what we notice and the ways we interpret it? There is a specific type of writing that

suits each kind of engagement with the world, and when it comes to such close observation, brief, tight descriptive writing is what we need, accompanied by images and captions to help our reader understand precisely what we have in mind. We will begin to learn some of the formal aspects of writing which we will carry over into all other writing that will come our way: from honest, interesting titles, to effective captions that know how to direct the gaze, to introductions and conclusions that help the reader find meaning and completeness.

This will also be our introduction to guided reading and writing, the process through which we will listen to the way in which others read our text, and read the way in which others write for similar audiences, to draw inspiration from and hone our own skills. The questions we are asking at this stage are simple: we look critically at the way texts need to be structured at the level of paragraphs and in the relation among them; we check our use of vocabulary for accuracy; we ensure that the logic of what we want to convey is clear, patient yet not tedious or repetitive. These skills, in turn, set the stage for more complex writing to be undertaken later, and will continue to be invoked as we move along.

Framing the assignment

As a design professional, you have been asked to describe object/s immediately accessible to you, which you find interesting in their material aspects, for an online magazine called Familiar Forms. The magazine covers a wide range of design issues, and has a readership that includes designers and other people alike.

You need to come up with a description of two pieces of furniture and a product for household use, looking at their material properties and the specifics of the users’ interaction with them. This is not a brochure or a website for a retail store, so you are expected to approach these items as a designer, not advertising for them.

Learning Outcomes

• Identify material qualities of human-made objects making use of all one’s senses: form, colour, material, weight, texture, sound, smell, etc

• Identify the relationship to context

• Understand the basics of production, considering the material, form, time period it belongs to

• Understand the user experience in relation to material aspects

• Reading for language skills development

• Reading for structure and style

• Identifying and adopting a discipline-specific vocabulary

• Identifying and adopting writing strategies for descriptive writing in the disciplines of the built environment (design)

• Use new vocabulary in oral communication

• Begin to build a peer group to discuss qualities of style/ writing

• Identify and express thematic concerns

• Write effective, concise, accurate titles

• Write effective, concise, accurate captions

• Divide writing into coherent paragraphs with clear topic sentences

• Use connectors to link paragraphs

• Link captions and text

• Make use of introductory and concluding paragraphs

• Make use of language and register appropriate to the reader

• Work with tutor/reader feedback and edit one’s own work based on structure, formatting and editing feedback

A Benchmark of Design

This bench has a simple design concept but it is a wellbalanced and eye-pleasing piece of furniture in the house.

It is constituted of only two simple materials- wood and iron. The structure is composed of a plank of varnished maple wood resting flat on a rectangular section of the support with dimensions designed particularly for the plank to fit like a glove.

The bench’s support is a bent rectangular metal frame which is painted black. It is a simple and modern design arrangement of wrought iron rods of rectangular cross section is formed in such a way that only four metal rods are welded together but the bench is sturdy and doesn’t topple over or fall easily. It has a height of eighteen inches and the plank measures twelve inches by forty inches.

The light brown grains of wood can be seen through the glossy layer of polish painted over it, which makes the texture of the bench very smooth to touch. The patterns in the wood are refreshing to look at, although simple yet classy.

This bench can be placed in multiple places around the house due to its versatile design. The use of iron as the support ensures that the bench is sturdy and with a strong load bearing capacity.

The wooden plank is also detachable as it can be replaced by any other suitable material of similar dimensions. This allows for the bench to not go out of fashion. Even though the bench is of high quality, it is also affordable due to the use of materials that are inexpensive and easily available.

p. 14

Fig 1. Side View of the Bench. Note. The brown colour of wood is complemented by the black legs. By A. Anand, CEPT University, 2021.

Fig 2. Front View of the Bench Note. The metal frame seen supporting the top. By A. Anand, CEPT University, 2021.

The metal used is considerably heavy, making it less portable. Dragging the bench ruins the floor as it also doesn’t have any rubber guards on the legs. Despite having a maximum seating capacity of three people, the bench is not very comfortable for more than two people at a time. The bench has neither a backrest, nor cushioning, making it uncomfortable for the user to sit on for longer durations. Therefore, it is more suitable for it to be placed in an area built for guests, in a foyer, or as a showpiece.

The System Of Support

Inside every room of AES girls Hostel, there exists a piece of furniture that has seen it all. From working on projects till 3am and eventually passing out to munching evening snacks and having conversations on the most hideous and random topics with fellow hostelmates, this wooden chair has been through every stage of a student’s life, multiple times at that.

Even at first glance it is evident that the chair is quite unique in its structure and appeal. It follows a colour scheme of dark oak brown, black and dirty cream which perfectly harmonizes with the yellow brown dirt tint of the floors and walls of the hostel rooms. The chair isn’t very big in relation to the room in itself and thus, one can fit it comfortably in a room without occupying a lot of space. It is also designed with certain factors in consideration, that is, aesthetic appeal by incorporating complex elements with seemingly simple structures such as wooden carvings, cost effectiveness by using relatively cheaper building materials, Plus the user satisfaction and structural functionality which would prevent the user from falling down even if they were to lean forward or bend backwards.

The chair has a square base with four legs, two adjacent pairs of which extend upwards , connecting with each other to form the armrests. Its weight is distributed equally on all four legs due to the centre of gravity being right in the middle.

The chair is also bilaterally symmetrical on the axis taken vertically. The foot rest of the chair is attached to the common wooden beam connecting two of the legs, thus forming an ‘I’ shape. (see Figure 2)

The chair comes with a bright red and cream cushion made of soft memory foam which makes it very comfortable for the user to sit on even for long hours. The base of the chair is squarical in nature which distributes the weight equally and further helps in a pleasant sitting. The top of the chair has a semi-circular groove connected

Fig 1. Stunning rustic visuals Note. The brown and red tones of the chair compliment each other giving a warm and welcoming vibe.

By A. Anand, 2021

Fig 2. Footrest Note. The footrest is connected to the beams of the adjacent legs in right angles for stability. By A.Anand, 2021.

Fig 3. User friendly backrest Note. The plank connecting the shoulder rest and base to provide support to the user. By A.Anand, 2021.

to the square sitting base with the help of a wooden plank (figure 3) .The curvilinear groove engulfs the user and moulds their back to lean on it comfortably. The top has three flat based planks with two of them sitting apart from each other and the third on top of both, thus creating a cavity in the middle. Each arm of the chair has been carved on the edge to form a curved depression.

The chair by convention, is made majorly out of timber and wood which is soft to the touch. However, because of the way the armrests have been designed, it is difficult for the user to tuck it under a desk with a height less than 65cm.

Over the course of time, the screws of the chairs have loosened causing the chair to become wobbly. At some places the wood has chipped off and one of the wooden splats at the back is missing. It still, however, is a mark of timeless aging, having supported so many students through the best and the worst years of their life.

The

Wooden

Boon for Students

The table seen here is one of the studio tables at the CFP building. Twenty four of them, aligned in four rows and two columns in one room, give ample space to the students to work on any scale and also move about in the room. Each table is dedicated to a student for drafting, sketching and storing purposes, with pinning boards to the sides on the brick wall. The well lit room, owing to its large glass windows on the east, restricts the lighting imbalance due to artificial light and lets the students view their work in natural light. The size of studio tables is larger than the usual working desks to accommodate large drawing sheets or models. It is 1.3 metres long and wide. Each table can be worked on by two students, implying half the area for each student with individual storage capacities on opposite sides. The wooden table top rests on metal frames on the sides. The table is very efficient in its use. It does not engage any extra design clutter, rather has a very simple and to the point design.

The design consists of a drawer meant to store sheets of A2 size, a cuboidal storage compartment, both of which can be locked to make it a private storage by a smart and unique design concept. The way it is designed to lock is minimal. It employs a pivoted metal disc which when turned down restricts the use of the drawer and stops against the locking strip on the cuboidal storage adding a private facility when lock is attached. The table is also equipped with a power socket for gadget use on the table. Usually the stationery and materials required in the field of design and architecture turn bulky with the workload of assignments and submissions. Hence, the dedicated storage for students enables them to work efficiently without them having to worry about carrying around their sheets and things that need not be moved and are required everyday at work or class.

The metal frames are painted grey which complement the wood finish of the table top as well as the storage compartments very well. The table top is a unit of 26 wooden planks joined together side by side with each plank consisting of smaller wooden pieces connected through finger joints for decorative purposes. It gives the table a constructively rich appearance maintaining the simplicity of the design.

Fig 1. The Studio Tables at the CFP Building Note. The studio tables complement the brick wall and kota stone floor perfectly. Photographed by Deetishaa Koradia, 2021, CEPT University. Copyright @ 2021 by Deetishaa Koradia.

Fig 2. The Minimal Lock System Note. The state in art lock system employed by the studio table for private storage to facilitate students’ ease. By D. Koradia. Copyright @ 2021 by Deetishaa Koradia.

The hardwood is smooth to work on due to its lacquer finish which allows students to draw on the sheets uninterruptedly. Although the table has a framed metal grill mesh under the table which can be used to place bags or unconventionally students can stretch and rest their legs on it, this high table in general does not have a foot rest, but that is because the stool that comes along with it does. The stool too employs the same material as the table with a circular wooden seat and steel metal legs, seated on the smooth kota stone floor of the room.

The Chair That Looks Nothing Like A Chair

This piece of furniture was brought home as a balcony chair. The angle between the backrest and seat of the chair is in such a way that it provides a relaxing experience. So the balcony was the obvious first choice to place the chair. But then it became apparent that the light weight of the chair does not exactly favour it to be used as a balcony chair especially during the wind and the rain. Now, the chair sits in the bedroom next to a stack of books.

This foldable chair, which is skillfully handcrafted, is made entirely of wood and hence does not look light at first glance. The structure is a very simple one with almost zero complications. A number of thin strips of wood arranged horizontally to two long parallel pieces of wood makes the chair lightweight and easy to move around. Long hours on the chair are uncomfortable mostly due to the merciless hard surface of wood. I solved this problem easily by placing a cushion on it which makes the time spent on it more comfortable. Now we have a cushion placed permanently with the chair. Where the chair goes, the cushion goes. Another perk of using the cushion was that we don’t have to get up from the chair with the woodwork imprinted on our

The chair consists of two pieces (Figure 2. The backrest is slightly longer than the seat. The backrest is about three feet tall and the seat is two feet tall (including the legs). This object is one and a half feet wide. To assemble this furniture, a part of the leg present in the seat piece is placed into a slot present in the backrest piece. Multiple slots present in the backrest piece allows the user to adjust the angles of the chair according to their convenience. One of those angles, around 145 degrees, is not for kids because my sister once fell right into the gap between the seat and backrest and she has never used the chair since.

The joints of the chair (Figure 2) are not glued together but are hammered into the wood by nails. In figure 2, the last strip of wood placed in the seat (the piece on the left) had to be replaced after almost six years of use. This had to happen because the entire weight of a person sitting on it predominantly falls on that strip of wood. This led to the

Fig 1. A Work Of Art Note. The intricate woodwork on the rails gives this chair an antique look. Copyright 2021 by Arunima R.

Fig 2. Makes Storage Easy Note. The chair looks washed out after years of use. Copyright 2021 by Arunima R.

breaking of that strip of wood. This indicates that the strength of the wood tends to wear out with time.

The designer has definitely done a commendable job by making more space in a room by coming up with this chair but had to compromise quite a lot in terms of comfort.

The Abandoned Study Table

Here lies an old wooden study table unused in the hallway of a hostel, sitting right in the middle of the corridor in stark contrast to the grey tile and the white walls.

3 ft long, 2 ft 6 in wide and 2 ft 5 in tall, this table is an old piece of furniture with marks and scratches all over. The table top is a smooth surface made of plywood 1.5 in thick with an apron of 4 in; beneath which is present a storage unit on the right with tight leg room on the left. The table has six legs, four on the outer corners and two in the middle which, with the two legs on the right, make for the four anchoring points of the storage unit.

The storage unit, 1.5 ft deep, comprises a drawer 1 ft wide and a cupboard is 1.5 ft high with two shelves. The drawer pulls out in a very rough manner as there are no tandem channels present which after a point can get annoying for the user. Though, the handles on the drawer and the cupboard, both 4 inches in length, are a union of a cylinder and a thin long cuboid which enable the user to easily pull on the cylinder thereby making accessing the drawer a tad bit smoother. The

Fig 1. Switcheroo

Note. The table being in the hallway now serves the purpose of a chair than that of a table. By S. Shrivastav 2021.

Fig 2. Screechy Storage Note. The drawer lacking channels and the cupboard joints lacking lubricant result in noisy usage. By S. Shrivastav 2021.

Fig 3. Curves Note. The curved edges of both the table top and the legs reduce chances of injuries. By S. Shrivastav 2021.

cupboard has a latch which gives an added option to the user of locking it. But the state that the latch is in after years and years of use, it seems as though it will fall off any day now.

There is a side stretcher on the left acting as an anchor for the two stretchers in the leg area. Having two stretchers increases the surface area to rest one’s feet, adding comfort and convenience. The legs on the left have three decorative side stretchers and the two upper corners on the same side have cornice-like structures which look like upside down steps. Though the table is boxy and bulky, the rounded edges on all sides makes it seem a little less hostile.

This table is in a hostel meant for college students but the dimensions don’t indicate the same. The compact leg room and inadequate desk space can soon make the user frustrated. Tables in educational spaces should be universal in design but this particular one can be very uninviting for a left handed user seeing the little to no space on the left. In the end, we can come to the consensus that it’s not very discombobulating as to why the table is present in the hallway and not in a room.

Wood Carved Coffee Table

Made of oakwood, this 26 inch long table is the perfect place for a relaxing cup of tea or coffee.This coffee table is a great example of a simple yet elegant piece of furniture that almost goes with any kind of environment. It dimensions of 26*16 gives it an ideal size to accommodate upto six people.

It has an optimal height and also makes it easy for one to work on. This tabletop is made of a single piece of wood attached to 8 pieces of wood that form the legs. Each corner has 2 pieces of wood joined such that each leg forms an L shape for providing more grip. The legs are at a height of 12 inches from the ground. The pieces of wood attached to make a leg are bonded using PVA glue. Since it is made of oakwood it is highly stable and sturdy. This piece of furniture can also easily be cleant if anything is spilled on the same. The emptiness due to the carvings on the tabletop make it feel free and ready to

Fig 1. Top View of the Table Note. The dark brown colour and the polishing of the table gives it a tree bark like look.

Fig 2. The legs of the table Note. Each leg is made by joining two pieces of wood forming a L shape providing more grip to the table.

use. It has a rectangular shape that provides more surface area to the table thus accommodating more people than a circular or square table.

The corners have smooth edges ensuring that one can sit comfortably. Being lightweight this table can also be carried around and shifted easily. This table is also highly aesthetic due to the carvings on the tabletop. Done skillfully using a straight chisel, these carvings are done in the form of flower motifs of different sizes. These carvings provide a sense of spaciousness and enhance the beauty of the table, hence making this table unique from normal coffee tables. In general this table has an appearance that catches the eye and makes one want to sit near it. The colour and the carvings give this table an appearance that enhances the beauty of any place . It is also very handy for doing various activities like relaxing, working, studying, or just having a nice banter with friends. Its sturdiness, stability, appearance, and usefulness make it a good addition to one’s living area.

Almirah For Aimers

The image shown on left is of the cuboid steel cupboard in CEPT AES Girls Hostel used by students to keep their things. This grey colored steel cupboard is situated in the corner of an 18 square meter room consisting of two beds and two study desks, meant to be used by two students. It is situated just beside the window. For better understanding, the cupboard can be divided in two parts- the upper cupboard and the lower cupboard. The height of this cupboard is eighty- six inches, the width is twenty- two inches, and the length is fiftyone inches.

The height of the upper cupboard is six feet long. It has a total of six shelves out of which only three are meant to be used by one student. The shelves are in the form of slabs of stone at a distance of one feet eight inches from each other. The height of the lower cupboard is two feet eight inches. It consists of four shelves out of which two are meant to be used by one student in the form of slabs of stone at a distance of one feet two inches from each other. Both the cupboards are twentytwo inches deep.

All the four doors of the cupboard are hinged and have a strong steel handle that can lock the almirah’s door. Both the cupboards have a latch on which we can put our locks to keep our things safe. The top of the cupboard is significantly below the ceiling, and we use it as a rack for all of our suitcases and boxes. The cupboard is, sort of, stuck to the wall and the back of the cupboard is a hostel wall made of cement. It has pointy edges, It is elevated from the floor because of the concrete slab that it has under it.

Some of the negative things about the cupboard is that the back of the cupboard is not of steel but of cement and bricks. The walls of hostel rooms are not really in a good condition, so the back of the cupboard is always shedding it’s plaster all over the student’s stuff. Also, it has pointed edges, because of that, sometimes, students get hurt while opening the doors. It is used to store all the comfort that the student’s bring to the hostel in the form of snacks. It is also used to store every item that student’s deem special.

Fig 1. The Almirah of AES Girls Hostel, Ahmedabad Note. The almorah is 86 inches tall, and has 10 racks of which each student can use 5. By K. Srivastava, 2021, CEPT University.

Fig 2. The Locking System in Hostel Note. All the doors have metal handles and latches to add locks and additional security. By K. Srivastava, 2021, CEPT University.

In conclusion, we can say that the cupboard, although, is not really in a good condition but it holds a really special place in every hostel student’s life. It is a place where us hostel students store our things, such as snacks, food, stationary, clothes, etc. The metal bar and handles provide us with the added protection for our stuff. It is not the ideal almirah but for students it meets all the basic requirements, such as, the metal outer structure, the ample space inside etc.

Three Legged Stool

This is a circular stool with three legs. It is made of wood and steel. It has gray and brown color. This stool is a little higher than normal size.

There are two parts: seat and legs. Steel is used for legs and wood is used for sitting.This is comfortable to sit on. We can sit from any direction because it has no backrest and no armrest. This stool is circular.

It has foot rests and their color is light gray. There are 3 legs which are attached to the circular frame, and it makes a triangular shape on the floor. It comes between two legs. The Footrest has a different height and it has joined the leg.

It has rubber bushes on every leg of the stool and their footrest makes it easy to relax. This stool makes no bad noise because of rubber bushes. And the overall structure is comfortable to sit on stool because of the footrest.

Overall this structure is nice but it has no armrest and backrest. But it is enough for study.

Fig 1. Stool at CEPT Studio Note. Wooden seat stool. By Ishan Kuriya, 2021.

Fig 2. Three Foot Rest Stool Note. Smooth finish stool. By Ishan Kuriya ,2021

Reading,Writing, MakingSense

Skimming

E3.1 | Skimming

Our focus, so far, has been on writing. When we did stop to read, it was to read something as a writer would, paying attention to the strategies used to make the text work well.

With this exercise we turn to reading for itself. Our aim is to practice different reading techniques, which will help us conduct research for our projects more effectively, and keep up with all the work that others are doing as well. Skimming in particular focuses on identifying whether a particular text is relevant for us to read, and if it is, what part of it should be our focus. It also helps us, once we have decided that something needs reading, understand the main point the text is making, the theme or the central argument, and the skeleton or the structure it uses to do it.

Framing the Assignment

Your mentor, in your internship, urgently needs a book from the library, answering a specific question. They are going to send you the question and the title at the book by the time you reach the library, but you will only have half an hour to emails them with details indicating:

• The author and title of the text

• The page numbers (first-last) where the information required is to be found

• 1-2 sentences capturing the overall theme/ argument of the relevant part of the text (answering the question: what does this part of the text do?)

• 4-5 bullet points of the sequence in which the relevant part of the text covers the content

Learning Outcomes

Understanding where and how skimming is used

Familiarity with skimming techniques

Skimming a text effectively

Identifying the theme/ argument of a text

Articulating the theme/ argument of a text

Identifying the structure and movement of a text

Work with peers to skim and identify theme/ argument

How Do Paths Work In The Design Of A City?

The Image Of The City

Pg 47 to pg 62

By Kevin Lynch

Paths are an important aspect of the city. They are channels through which an observer moves. For many people paths are the predominant image of the city in their minds. All other environmental elements of the city are arranged and related along the paths. The study, conducted in 1959, was based on three American cities: Boston, Los Angeles and Jersey City.

• Common paths include streets, canals, walkways, transit lines, and railway roads.

• Concentration of activity along a path gives it prominence.

• People tend to follow mainstream traffic.

• Streets that have specific spatial qualities: too wide, too narrow attract attention.

• People commonly associate main streets to be wide and side streets to be narrow.

• People usually look for main streets when moving in a city.

• Special facade characteristics are also important for path identity.

• Proximity of paths to special features of the city make them more memorable.

• Occasionally paths are also important for structural reasons.

• Cities where major paths lacked identity, the entire city image was in difficulty.

• Paths with specific track continuities were seen as dependable ones.

• The paths having structural complexity and intersection were difficult to identify.

• The continuity of the path is a basic requirement for people to remember roads.

• The physical design and other aspects like buildings and crossroads distinguish the roads.

• Terminal points: these points help people from their start to end point.

• Directional quality: most paths in Boston were unaligned and confusing. People prefer straight aligned paths.

• The change in direction and curves of paths confuse people about direction.

• Abrupt shifts in direction actually enhance visual clarity.

• Directional signs on freeways are a problem for people.

• Intersections depending on their angles can either be confusing or clearly understood.

• Shapeless intersections where the spatial continuity is lost are incredibly confusing.

• Modern highway interchanges are even more confusing, since they must be negotiated at higher speeds.

• Excess branching out of paths is unnecessary.

• Simple path structures are preferred by people.

• People using automobiles don’t like one way restrictions.

• Los Angeles has a great grid path network which is very easy for people to navigate

• Boston’s back bay has a remarkable regular path network.

• People constantly try to reduce the complex non grid paths into more grid like structures for clarity.

Perceptions

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The Image of the City By Kevin Lynch Pg 17 - 45

The text shows the variations in planning, layout, socioeconomic disparity, resident complications, and scope for improvement between Boston and LA.

• Boston is an old, historical city characterised by very crooked streets and confusing path, recent construction of new buildings among the old ones. LA on the other hand is fairly modern metropolitan region, made confusing to navigate because of buildings that lack personality.

• Boston loses precision and content as it expands from the Charles River edge. LA, on the contrary, is planned like a grid hence uniform in its density.

• Boston’s central peninsula includes the commercial core of the metropolitan area, high-residential districts, and slums- lack of divisions based on economic conditions. For LA, quite as apparent, is the constant reference to socio-economic class: the avoidance of “lower class” Broadway in Los Angeles.

• Major difficulties in Boston’s image: confusions, floating points, weak boundaries, isolations, breaks in continuity, ambiguities, branchings. Major difficulties in LA’s image include: hard to envision or conceptualize as a whole, spread-out, spacious, formless, without centers.

• If Boston districts could be given structural clarity as well as distinctive character, they would be greatly strengthened. Although same couldn’t be said for LA since, there seems to be a bitterness or nostalgia among the LA natives which could be resentment at the many changes, or just inability to reorient fast enough.

Question:How do

of the Cities of Boston and LA differ?

What Are Functions And Utility In Design Thinking?

Design: A Very Short Introduction By John Heskett

Pg 25 to pg 36

Function and utility are the basic components of design. In order to understand design in a better way, it is necessary to understand its function and utility. Design of materials should come from the objective of its functionality rather than being attractive.

• The concept of function has been one of the most principal terms in design.

• Everything we design should be created keeping in mind its function and use.

• From ages, the forms of animals and plants had evolved in response to their elements. In this sense, form must indeed follow function.

• According to Sullivan, everything in the universe, human or non human forms follows the law of function.

• Sullivan’s concept of function surrounds the use of decoration as an integral element in design.

• This concept is confined in the dictum ‘Form follows function’.

• Function in design became widely interpreted in terms of practical utility.

• A definition of function can be understood by breaking the concept of function into a twofold division: the key concepts of utility and significance.

• Design should be simple and clean, based on rationality and functionality. During manufacturing of material the main focus should be on its functionality rather than its traditional aesthetics.

• Utility can be defined as the quality of appropriateness in use.

• This means it is concerned with how things work, of the

degree to which designs serve practical purposes and provide affordances or capabilities.

• A primary condition of utilitarian design is that it must effectively execute or support certain tasks.

• Utility is associated with the efficiency of the material derived from technological and material factors.

• A simple example is a professional kitchen knife used to prepare food: its primary utility value is as a cutting tool.

• In order for it to work effectively, the blade needs to possess material qualities enabling a sharp edge to be maintained and for it to remain stable in use.

• Problems seem to minimize if products are simple and clean based on functionality which cut down the possibility of cultural conflict.

• Every culture has different norms and can have different utility of certain materials so it is important to have a simple and utilitarian object in order to meet diverse cultural needs.

• The end result of design should be thought in terms of an interplay between designers’

• Intentions and users’ needs and perceptions.

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Sensing a dwelling

By Victor Papanek

First page:94

Last page :104

“Architecture can only flourish if the dwellings built are in harmony with the people who live in them, with nature and culture.”

• Deeply buried patterns like the golden ratio, fibonacci series when used in buildings and dwellings give us a sense of peace and harmony.

• Organic harmony can be achieved by balance with the environment.

• Prolonged exposure to fluorescent light has serious effects on health. Experts want to get more daylight into the workspace.

• In history people tended to build their own dwellings with the help of the community. They used materials from close to the site which proved to be reliable and biologically healthy for years. The connection between designer and end user was direct in earlier times; now the connection has become more complex by which the user most often cannot personally relate to the workspace or the dwelling.

• Earlier designers and builders had a moral aim that gave meaning and direction to their design and planning.

Classical antiquity sought a sense of harmony and balance, Medieval objective was mystic fulfillment. Renaissance strove for an elegance of proportions and more recent times have enlightened humanism.

• The perfect example of harmonious proportion can be seen in the interior of church of redeemer, Baltimore in Maryland which was beautifully designed by Pietro Belluschi. Pg 104

Where does a building’s sense of harmony come from?

How do Paths Work in the Design of the City?

The Image of the City

By Kevin Lynch

The

City Image and its Elements

Page – 49 - 62

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The text suggests that paths are one of the most predominant city elements, and their importance varies according to the degree of familiarity with the city. And it gives an insight on how there should be large focus on directional quality of paths.

• Paths which simply have a satisfactory degree of track are selected as the dependable ones.

• Paths with clear, strategic terminal points have stronger identities.

• Gives directional quality through visual end to end differentiation

• Scaling based on known landmarks.

• Misalignment causes confusion to civilians

• A large number of paths may be seen as a total network, following centralised network makes the paths more understandable to civilians

• They tried to organize paths into geometrical networks, disregarding curves and non-perpendicular intersections.

E3.2 | Annotating and Summarizing

We annotate texts while conducting research for two main reasons: pausing at specific ideas allows us to reflect on them, and then connect them to other ideas in the same text, in different ones, or in the knowledge we already have; but at the same time annotating is an investment we make for the future. Returning to a text we have annotated provides a visual reminder of our initial reflections, points out at a glance the aspects we considered important and the connections we made, and allows us to take less time in reading and working with the ideas.

We are at an incipient point in our research for the discipline we are studying and going to be practising, and this point is a good time to make a shift in how we annotate, from the habits we have formed while studying for exams, especially in contexts where we were trying to memorize everything, to a context in which we are trying to develop a critical approach to knowledge that is often complex, challenging and with which we may be quite unfamiliar, at least initially.

The exercise does not focus on the kind of annotations we used to engage in at school. In fact, it asks you to unlearn those processes when it comes to conducting research and develop habits which are in line with research instead.

Framing the Assignment

You are going to conduct research on a topic that is broadly connected to the texts provided. These texts offer context and will help you locate your narrow topic within a wider canvas. Read and annotate the given texts in a way that will help you make use of your annotations 3 months from now, when you are writing your research document. Remember that good annotations done at this stage will help and save you time later.

Learning Outcomes

Annotations for research

Identifying important aspects to be highlighted in a text

Making effective choices in using highlighting, underlining and side notes

Learning through group reading and discussion

Art Nouveau by Jean Lahor

The Art Nouveau movement, characterised by organic, natural and ornamental designs, had its origins in nineteenth century Western Europe. It grew out of the ubiquitous urge to reject simple design ideologies that put function foremost and invent something that wasn’t a mere replication of foreign styles.

A generation of dedicated English artists, led by William Morris and John Ruskin, gave it its initial form; flowing lines intertwined with flora and fauna, bound together in delicate compositions, complete with a fresh colour palette. Drawing inspiration from Renaissance artists, they invented a new style of their own without rendering the past irrelevant. Architects participated in this revival and reinvention, and helped shape the movement. This change was taken so well by the English that they began redecorating everything in an Art Nouveau fashion.

The case with Belgium was quite different. Tradition and precision took a backseat as copyists began mass producing objects. They played a major role in propagating the movement but not so much in preserving its delicacy.

French artists garnished the art style with embellishments. They were able to bridge the gap between major and decorative arts. Art Nouveau quickly conquered most French diners.

Eventually Jugendstil gained popularity throughout the world mainly through art magazines that varied from city to city. Its widespread success was unexpected but also allowed for multiple sources of inspiration; Japanese, Gothic, Islamic, Celtic among a few. It lost momentum in the early 1900s and came to be known as an elitist style, far from the reach of common men.

Art Nouveau by Jean Lahor

The Art Nouveau movement, characterised by organic, natural and ornamental designs, had its origins in nineteenth century Western Europe. It grew out of the ubiquitous urge to reject simple design ideologies that put function foremost and invent something that wasn’t a mere replication of foreign styles.

A generation of dedicated English artists, led by William Morris and John Ruskin, gave it its initial form; flowing lines intertwined with flora and fauna, bound together in delicate compositions, complete with a fresh colour palette. Drawing inspiration from Renaissance artists, they invented a new style of their own without rendering the past irrelevant. Architects participated in this revival and reinvention, and helped shape the movement. This change was taken so well by the English that they began redecorating everything in an Art Nouveau fashion.

The case with Belgium was quite different. Tradition and precision took a backseat as copyists began mass producing objects. They played a major role in propagating the movement but not so much in preserving its delicacy.

French artists garnished the art style with embellishments. They were able to bridge the gap between major and decorative arts. Art Nouveau quickly conquered most French diners.

Eventually Jugendstil gained popularity throughout the world mainly through art magazines that varied from city to city. Its widespread success was unexpected but also allowed for multiple sources of inspiration; Japanese, Gothic, Islamic, Celtic among a few. It lost momentum in the early 1900s and came to be known as an elitist style, far from the reach of common men.

The writer begins the text by stating the emergence of a new trend, in the early 20th century where buildings possessed simple geometric forms and lacked ornamentation of any kind. Constituting an anti aesthetic utilitarianism, the modernist style focused on the use of mass produced materials supplied by the Industrial Revolution like concrete, glass and steel.

The social agenda post war led to the notion of affordable housing for all which subsequently gave importance to the form and function of the structure rather than its style. The Zeitgeist theory in which the writer mentions in much detail throughout the text talks about the need for architects and designers to evolve with time. Space was an important architectural element and with time designers were successful in using negative space to create positive outcomes. The aesthetics effects in buildings achieved through light and airy rooms spread during the interwar period affecting the work of both traditionalist and modernist alike and equipped with new devices.

While stating the above mentioned arguments, the writer also draws attention to the fact that creating simple and unornamented buildings was not appreciated by everyone as people believe that more focus on functionalism would ultimately lead to the standardization and repetition of forms. They believed that this would lead to the loss of uniqueness and beauty which comes with ornamentation.

THE ORIGINS OF ART NOUVEAU

By Jean Lahor

The text “The Origins of Art Nouveau” talks about the Art Nouveau movement also known as the heart of renaissance which began as a movement emphasizing the change that was coming in the decorative arts in the western Europe after WWII. People began to get bored of the same old repetitive styles and wanted change. The feeling of nationalism also fueled the sentiment which called for independent art and craft styles.

The English architecture was overrun with neoclassical styles, which pushed for change. The newer designs were inspired from flora and fauna and had elements of tracery, composition and arabesques. Though they took inspiration from the past but never copied it. Unlike English, Belgians were less conservative and disregarded any traditions, they were comfortable with discovering new and comfortable designs. The French artists were more passionate about flora and fauna retaining its grace and showed the figures to best advantage. The designers were able to produce dynamic new poetic effects in which shadow and light played a major role. Art Nouveau slowly spread around the world integrating with local colours and transforming itself reaching its pinnacle in 1900. But eventually it lost its lustre, becoming an elitist and expensive style.

Building Utopia by Tim Benton

The author analyses the emerging style, Modernism in the 1920s which appeared across the world.The main aim was to tackle the social agenda of affordable housing by resolving technical and practical problems with the help of new materials (steel, glass and concrete) and technologies. Things need to be functional, social and economical. Modernist architects followed the principle of ‘Form follows function’ (functionalism), an embrace of minimalism, and a rejection of ornamentation with a concern for light, airy interiors. Minimum dwelling has become a part of modern architecture. According to the text, mechanization must lead to standardization. Machine aesthetic was expressed in motifs of industrial buildings. Modernism unified artistic and industrial spheres by use of anonymous design. An era of collective construction began which focuses on removing all excess elements of the building.

One architectural principle highlighted by the author is regularity rather than symmetry. Avant-garde movements such as Cubism, Expressionism, Futurism, De Stijl, Constructivism etc. went side by side with modernism and thus it never faded.

According to me, buildings should fit the landscape and not contrast with it. For example FallingWater by F. Wright is the best example of modern architecture.

Art and Craft Style

By Barabara Mayer

The art and craft movement first started in America during the period of industrial revolution at that time the quantity was preferred more than quality in America.The movement was also influenced in European states like Austria and Germany.

Augustus Pugin was one of the first architects to deplore the industrialism that separated art and labor and designer and craftsman and he focused on Gothic architecture and medieval furniture.William Morris one of the great architects who played an important part in the movement he was able to inspire a lot of people to join the movement. His design ideas were mainly using the natural elements like dye from the vegetables and woodblocks for printing wallpaper.

It was a new beginning in the United States in the year 1896 when many new art and craft societies were established and the art and craft work were used to be displayed over there some societies such as the Boston society, Chicago club, Guild of art and craft in New York etc.The movements approach to home design and the changes wrought in home buildings represent one of its great contributions.Art and Craft architects got new ideas and techniques to design the house and furniture for every economic level.The style grew enormously as manufacturers added new lines.

Mass merchandising became possible in America .The movement declined by the year 1917 due to the social changes brought on by impending war.It was due to the result of modernism the movement once again revived in the 1960s which also gave the knowledge of furniture and the ideas of the movement.

Design and History- Bernhard E. Burdek U21127

The text gives us an insight into how the design industry, principles and ideas evolved through the years. It describes the fundamental ideas of many art movements and styles; the Bauhaus in specific, and how they paved the way for modernism.

The industrial revolution marked the beginning of changes in the design industry. The arts and crafts movement was a step back into the traditional era. Ideologies which suggested that representative and decorative elements come secondary to function of the product became popular.

Newly developing artistic movements didn’t incorporate social reform styles. Utilitarian styles died down and new modernist styles which ideated a futuristic look, created a base for further developments in design. The German Werkbund; a craftsmen, designer and middlemen society was established, aiming at improving the quality of mass produced goods.

The Bauhaus was established in 1919 with Gropius as its director and ideated bringing together art and technology to form a new, modern unity. Its main goal was to achieve aesthetic and social synthesis parallelly. The foundation course promoted design thinking alongside technical knowledge to foster cognitive skills. The consolidation phase aimed to meet industrial and social needs. Hannes Meyer played a major role in promoting a social purpose for architecture and a designer-user relation but soon resulted in the disintegration of the Bauhaus.

These design ideas lingered back and forth resulting in constant development and progress.

E2.5 & E2.7 | Concept Note & Working Bibliography

Having developed a sense of the time period we are looking at, and practised our reading skills, hopefully to a point where reading through any kind of text seems more approachable, it is now time to move on. We’re at a place where we can begin to think of how we may use the knowledge we acquire, both from our own direct experience, and by engaging with other people’s work and research, to form our own opinions.

Ultimately, this might mean writing essays or dissertations, it may mean making presentations in front of peers and senior professionals, but before we get there, we need to be able to bring to bear everything we have learnt so far about writing descriptive texts, about conducting research and referencing it, in order to identify a topic for research, narrow it down to something meaningful and doable, and have a clear plan in mind for it.

That is the purpose of concept notes, the new genre of writing that we are about to engage with. Concept notes are what we write when we want to build clarity around an idea we are interested in, but we haven’t yet fully developed in all its detail. They are what we use to communicate with tutors, project teams, clients and academic publications, when we want them to provide support for us in pursuing that idea.

Framing the Assignment

You have been asked by your tutor to select from among the designers you have been introduced to in the course, and identify two specific products or pieces of furniture that would allow for significant learning if they were placed in comparison with each other. You need to submit a 500 word long concept note, arguing the relevance of the comparison you propose, accompanied by a working bibliography and two reference images (one for each product/ piece of furniture). The persuasiveness of the concept note will determine whether you get to work on this idea for your final project and class presentation, or on a topic decided by the tutor themselves.

Learning Outcomes

Conceptualizing and articulating the area of research

Articulating clearly and specifically the reason and grounds for comparison

Presenting briefly the methodology

Incorporating essential reference materials

Providing a comprehensive working bibliography

Integrating existing knowledge and skills

Peer learning in thematic groups

Articulating arguments orally as a testing ground

Working with tutor and peer feedback

Traditional and modern design: A Comparative Study of a Yixing Teapot Handmade by Shao Daheng (1821-1850) and the Industrial Design of Christopher Dresser’s Teapot (1879)

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The-‘Dou-Zhu’-Teapot, created in the traditional Yixing style,-was-designed-by-Shao-Daheng in the early 1800s. Another Modernist teapot designed by Christopher Dresser was manufactured by James-Dixon-and-Sons a few years after, during the Industrial Revolution. Although these teapots were designed only a few years apart, they possess very different characteristics. This study compares-some attributes of each teapot– namely the form, materials, manufacturing processes and object maintenance– highlighting the contrast between a traditional Asian pot and one inspired by Asian crafts, and the differences in the design ideologies of these two starkly contrasting personalities.

Fig 1. Dou Zhu Teapot by Shao Daheng (19th century)

Fig 2. Teapot by Christopher Dresser (1879)

Purple clay teapots have been produced in Yixing since the neolithic era. Shao Daheng, a master of Yixing-pottery, developed his antique style after years of carefully observing ancient masterpieces-and mimicking them. Christopher Dresser was known for exploring new methods-of-production with great attention to the properties of materials used. His teapot was one of the first to be designed with Modernist ideas, borrowing from a traditionally Japanese design.

aheng had always designed organic and symmetrical forms with clay while Dresser was known for experimenting with unconventional shapes and materials. This contrast is apparent in their work. The typical Yixing teapot has an oblate body with varying curves and a matching lid with a knob on top. On one side it has a spout which, like branches in a tree, curves slightly outwards. The purple indigenous clay used in its making, Zisha, is unique to Yixing and imparts a purplish-brown color to the pot (Goldthread, 2019). Dresser’s teapot is known for its unusual shape. A Japanese kettle at the London Exposition of 1862 had qualities that impressed Dresser; unusual shape, strong double metal base, and a smooth handle which stayed cool to the touch. He noticed that the material always complemented the form. His pot, similarly, was electroplated nickel silver with an ebony handle. It is unique with the unexpected use of a square set on its diagonal point with another square cut through. The top of the diamond is sliced off and repurposed as a top, capped with an arrow shaped design. The spout, handle and legs are rectilinear and sleek (Willette, 2018).

Bibliography

Bartholomew, T. (2019, March 20). Everything you need to know about Yixing pottery. Christie’s. https://www.christies.com/features/ A-guide-to-Yixing-teapots-9709-3. aspx

Discovery551. (2009, March 20). How it’s Made - silver plated teapots [Video]. YouTube. https://youtu.be/E-u6FOcMcpI

Goldthread. (2019, July 12). How the masters make a classic Yixing teapot [Video]. YouTube. https://youtu.be/5Z65jH-RjTE

Shao Daheng: Yixing purple clay ‘duo zhu’ teapot. (2015, 1 February). Mega International Auction. http://www.mega-auction.com/ auctions/?

Teapot. (2003, March 27). V&A South Kensington museum [VAM]. https:// collections.vam.ac.uk/item/O78328/ teapot-dresser-christopher/

Willette, J. (2018, November 9). The first modernist: Christopher Dresser and the teapot, part two. Art History Unstuffed. https://arthistoryunstuffed.com/thefirst-modernist-christopher-dresserand-the-teapot-part-two

Meilan, h. (2019, August 6). Caring for the Yixing teapot. Belgium Chinese Tea Center https://www.teasommelier.be/ caring-of-yixing-teapot/

To

Mould Or To Bend: A Comparative Study

Between John Belter’s Slipper Chair and Aalvar Aalto’s Paimio chair

Wood, a versatile material, has been used in furniture making since ancient times and as a result, has been dealt with in various interesting ways. Visually, one could never guess that the method used by John Henry Belter in his Slipper Chair (ca. 1855) would in any way resemble the one used by Alvar Aalto in his Paimio Chair (1931). But that is exactly what will be explored in this study.

Belter, a German cabinet maker, worked with the Rococo revival style, which consisted of heavy ornamentation with elements like strong C and S curves, and scrolls. Along with cabinets, Belter also made slipper chairs, low seated, high backed chairs used by Victorian gentlewomen to ease the process of wearing shoes.

Fig 1. Alvaro Aalto(1931-1932) Fig 2. John Henry Belter (ca. 1855)

Belter’s design was heavy on carving, which consisted of elements from nature. So he needed wood that was easily carvable while also being light and strong. Working in the Rococo revival style, Belter took inspiration from the original period while customising the techniques to his own needs, resulting in one of the first versions of plywood. (Furniture, 2021). According to Bourdon (1989), Belter glued six to eight sheets of wood with their grains running perpendicular to each other which reduced shrinkage and increased strength followed by steaming the wood. In doing so he achieved a piece of highly ornamented furniture that was durable while still being lightweight. Though Belter’s work was the antithesis of modernist furniture of the 1930s, he demonstrated the versatility of laminated wood, pointing the way for future designers such as Alvar Aalto to mould plywood into freeform curves of extraordinary grace. (Bourdon, 1989)

Alvar Aalto, a Finnish architect, utilised the contemporary principles of Modernism to design the Paimio chair. The abundance of wood in Scandinavia in the 1930s led to similar rational, modern furniture, using a variety of laminating techniques (Furniture, 2021) hence Aalto used laminated wood in the making of this chair.

The chair was required to be comfortable for the tuberculosis patients and Aalto achieved this with the chair’s form- the angle of the backrests helped open the chest cavity which

allowed the patients to breathe more easily. The chair consisted of closed loops of laminated wood and thin sheets of plywood tightly bent into sinuous scrolls. (MoMA, 2019).

In order to achieve this form, Aalto needed the plywood to be more flexible. To do so, he attached sheets of wood with the grain running parallel to each other making the wood more flexible and easier to steam bend.

It is this 90 degree shift in the arrangement of grains i.e. Belter’s perpendicular and Aalto’s parallel, of the two laminates that allows them to create two vastly different chairs. The study will elaborate on the fact that the two chairs following different design principles employed similar production methods with different techniques. Exploring this difference in technique i.e. the grain orientation, will help us gain a better understanding of how processes change based on requirements.

Working Bibliography

A nation divided: the political climate of 1850s america. (2022). Civil war era nc https://cwnc.omeka.chass.ncsu.edu/ exhibits/show/benjamin-hedrick/ polticalclimate

Alvar Aalto, Finnish, (1898-1976). Museum of Modern Art https://www.moma.org/artists/34

Alvar Aalto, Paimio Chair, 1931–1932. (2019). Museum of Modern Art. https://www.moma.org/collection/ works/92879

Anderson, D. (2010, August 10). Humanizing the hospital: Design lessons from a Finnish sanatorium. Canadian Medical Association Journal, 182(11). doi: 10.1503/cmaj.090075

Bourdon, D. (1989, March). The belter chair. American Heritage, 40(2). https://www.americanheritage.com/ belter-chair

Furniture. ( 2021, December 14). Britannica. ttps://www.britannica.com/

technology/furnitureh

John Henry Belter:American cabinetmaker. (2022, Jan 1). Britannica. https://www.britannica.com/biography/ John-Henry-Belter

Koeper, H. F. (1998, July 20). Alvar Alto:finnish architect. Britannica. https://www.britannica.com/biography/ Alvar-Aalto

Kovel, T. (2009, April 1). Antiques and collectibles: slipper chair was essential for Victorian gentlewomen. HeraldNet. https://www.heraldnet.com/life/ antiques-and-collectibles-slipperchair-was-essential-for-victoriangentlewomen/

Model Number 41 Armchair. (n.d.). Cooper Hewitt. https://collection. cooperhewitt.org/objects/18714213/

Paimio Chair – (1930 - 1931). (2015, November 24). iDesignWiki. https://www.idesign.wiki/en/paimiochair-1930-1931/

Quantril, M. (1983). Alvar Aalto:a critical study. Google books

https://books.google.co.in/books

Sarratt, R. E. (2001). The long and the short of it:- historic height and the dimensions of furniture, pp 46. UMI microform. https://udspace.udel.edu/ bitstream/handle/19716/27291/%20 The_long_and_the_short_of_it%20. pdf?sequence=1

Spotlight:Alvar Aalto. (2018, February 3). Archdaily. https://www.archdaily. com/326424/happy-115th-birthdayalvar-aalto

Tawab, A. A. (2018). The humane considerations in the design of paimio hospital. In Humane considerations in architecture and the outstanding universal significance of 20th century cultural heritage: the case of paimio hospital in finland. Landscape Architecture and Regional Planning, 3(2), 37-40. 10.11648/j.larp.20180302.13

Tracy, B. B., Johnson, M., Schwatz, M. D. & Boorsch, S. (1970). Object number 123. 19th Century america: Furniture and other Decorative arts. Metropolitan Museum of Art, pp. 123. https://books.google.co.in/

Marcel Breuer’s Wassily Chair (1926)

Long Chair (1936): A Comparison of Bentwood and Tubular Steel Forms in Design

and

Fig 1. Wassily Chair (1926) Fig 2. Long Chair (1936)

Bibliography

Belov, A. (2015, August 6). The history of modern furniture design. Viesso. https://viesso.com/blogs/a-la-mod/ the-history-of-modern-furnituredesign

Club chair, model B3. (2005, July 19). Victoria and Albert Museum. http://collections.vam.ac.uk/item/ O114197/club-chair-model-b3armchair-breuer-marcel-lajos/

DW News. (2010, January 29). Design icon (04) the Wassily chair [Video]. YouTube. https://www.youtube.com/ watch?v=jLjKFgij4sQ

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The 1920s and 30s saw the evolution of Modernism as a movement, bringing in a new era of aesthetics in art while also emphasising upon the functionality of furniture. Marcel Breuer, one of the most influential designers of the time, took advantage of emerging innovations like the bending technique used for different materials like moulded plywood and steel for designing revolutionary furniture (Belov, 2015). This study compares the Wassily Chair (1926) and the Long Chair (1936) designed by Marcel Breuer. The study will compare the differences in bending techniques of steel and plywood leading to a difference in the form and user experience of both the chairs.

Inspired by the steel handles of a bicycle, Marcel Breuer experimented with metal furniture in the 1920s to create lightweight, mass-producible chairs (Winton, 2000). His minimalistic approach led to the creation of the Wassily Chair, where bent tubular stainless steel was used for the first time. In his design of the Long Chair, Marcel Breuer derived inspiration from his own aluminium chair of 1932-1933 (Victoria and Albert Museum, 2000).

The Wassily Chair is an L-shaped upright steel framed chair with leather belts for the seat, armrests and backrest. It is 2.4 feet tall, with a length and breadth of 2.2 feet and 2.5 feet respectively (Victoria and Albert Museum, 2005). On the other hand, the Long Chair is an elongated reclining chair entirely made of plywood. It extends from the inclined headrest to the footrest. It is 4.5 feet long and 2 feet wide, with a height of 2.4 feet (Victoria and Albert Museum, 2000). The manufacture of both the chairs using the same bending technique on two very different materials - steel and plywood - by the same designer necessitates a comparison between the two.

Due to the use of bending techniques on steel and plywood, both the Wassily Chair and Long Chair, respectively, have continuous frames. The Wassily Chair is a continuous upright L-shape, with hard steel tubes and smooth leather straps to sit on (Felix, 2021), while the Long Chair is elongated and diagonally inclined. The sledge-like long horizontally bent legs in the Long Chair provide a stable look to it, compared

to the shorter and thinner horizontal legs of the Wassily Chair. The Wassily Chair has a cubical outline and hence has no solidity, thus providing visual transparency (Victoria and Albert Museum, 2005). The leather straps and open space in the backrest of the Wassily Chair seems to give a curved support to the back of the user against the solid hard backrest of the Long Chair. The seat of the Wassily Chair is at an angle so the user is forced to adopt an upright posture (DW News, 2010) whereas in the Long Chair, it seems as if the user can have a more relaxed reclining posture on the curved plywood. The armrests in the Wassily Chair are longer and broader than those of the Long Chair, which are short and curved upward, thus giving more arm space for the Wassily Chair user. The idea behind comparing these factors is to get a better understanding of how the user experience varies due to the difference in forms of the chairs.

Felix, M. (2021, August 19). History of the Wassily chair. 360Modern. https://blog.360modern. com/history-of-the-wassilychair/2021/08/

Long chair. (2000, February 7). Victoria and Albert Museum. http://collections.vam.ac.uk/item/ O22774/long-chair-reclining-chairbreuer-marcel-lajos/long-chairreclining-chair-breuer/

Winton, A. G. (2000). Heilbrunn timeline of art history- the Bauhaus, 1919–1933. The Metropolitan Museum. https://www.metmuseum.org/toah/ hd/bauh/hd_bauh.htm

Both the Wassily Chair and Long Chair were revolutionary furniture designs introduced to the world during the Modernist movement. The minimalistic approach to design along with an illusion of flow due to continuous frames made using the bending techniques relates both the chairs, one made of steel and the other plywood, enabling an understanding of how this results in different forms leading to varied user experience.

Evolution of Design: From Bauhaus Telephone to Model 302 Telephone

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The research study will show the comparison between two popular telephones - “Bauhaus Telephones” designed by H. Fuld & Company, Telefonbau & Normalzeit, and the “Model 302” designed by Henry Dreyfuss. The Bauhaus telephone was designed in 1929 whereas the Model 302 was designed in 1937. The research will show the evolution of design in the telephones based on the user experience and the effects of the pre-war conditions.

Fig 1. Bauhaus Telephone Fig 2. Model 302 Telephone

Bibliography

Antique Model 302 telephone. (n.d). Collectors Weekly. https:// www.collectorsweekly.com/ telephones/302s

‘BAUHAUS’ TELEPHONE. (2014, August). Mass Interface. http:// maas-interface-exhibition.s3website-ap-southeast-2.amazonaws. com/object/bauhaus-telephone/ index.html

Bickerstaff, C. (2013). Fuld ‘Bauhaus’ telephone designed by Marcel Breuer and Richard Schadewell. Powerhouse collection. https://collection.maas.museum/ object/474363

Bauhaus telephone was selected for the New Frankfurt housing program; a modern low cost development intended to relieve the post-World War I housing shortage. After the invention of Model 302 telephone, Bell received many complaints about its workmanship, but the issue was resolved in 1941, when Western Electric was obliged to switch from metal to a lighter thermoplastic body, a change necessitated by the metal shortages of World War II. The ongoing war condition resulted in a specific change in the design of these telephones that were low cost, easy to use and readily available.

Frankfurt started out with a normal desk top telephone, as it was specifically designed for a housing project. There were versions with an earthing button, 2-line versions with levers for selecting the desired telephone line, etc. The handset changed too, over time. The design for the inlet of the cord was changed, probably to make it less prone to damage. By 1936, the new Model of 302 was introduced to replace 202 with a sleeker handset that eliminated the cup like mouthpiece of the previous version.

The Bauhaus telephone was designed in Germany, and the Model 302 was designed in America. The Bauhaus telephone evolved from its previous models in terms of its design and the materials used in making the telephone. Dreyfuss had a lot of models to study and design a telephone that was more user friendly than the others. He came up with “Model 302”

that was handy, streamlined and was more comfortable. The material change in Model 302 from Bauhaus telephone was from heavy metal to bakelite and hard plastic, majorly because of its non conductive nature and lighter weight. The Model 302 was more comfortable to use than the other models due to its compact lightweight design, curved edges and the design of handset was such that it stuck between the ear and shoulder easily without sliding.

Chris, R. [Director]. [2010]. The Genius of Design [Documentary]. Episode 2. Youtube. https://www. youtube.com/watch?v=LsDCNL_ rAjs

Fuld Model Frankfurt “Bauhaus”. (n.d.). Matilo. http://www.matilo. eu/3-the-phones/1926-1945bakeliet-ww2/english-fuld-modelfrankfurt-bauhaus/?lang=en

The research study will show the evolution of Model 302 from Bauhaus Telephone with what led to the discovery of both of them and about it’s user experience and how world war I & II affected them.

Georlich, W. (2021, March 1) Telephone and the staying power of Ideas. Design Monday. https:// jwgoerlich.com/telephones-andthe-staying-power-of-ideas-designmonday/

Lupton. (2016, May 30). Evolution of the telephone. Princeton Arch Press. https://medium.com/@ PAPress/evolution-of-thetelephone-6ba0ff08d080

McDonald, AA (2015, January 23). From ‘Candlestick’ to ‘Lucy’: Telephone tells a National Story. YaleNews. ttps://news.yale. edu/2015/01/23/candlestick-lucytelephone-tells-national-story

The Tiffany Lamp (1893) And The Anglepoise Lamp (1932) : A Study Of Form And Function

The study of the Wisteria Tiffany lamp (1893) designed by Clara Driscoll working under Louis Comfort Tiffany, and the Anglepoise lamp (1932) designed by George Carwardine, focuses on the comparison between the form and function of the two lamps with relation to their social context, designer background and cultural impact.

The Art Nouveau movement in the early 1900’s was a direct reaction against industrial production and placed emphasis on a return to handcrafted traditions. Produced at the peak of Art Nouveau, Tiffany lamps mimicked design influenced by nature. Industrial design as a profession surfaced during the 1930’s as products needed to be simple and affordable enough to mass produce. The Anglepoise lamps show the modernist interest in fulfilling the needs of its time.

Fig 1. Wisteria Tiffany Lamp, Louis Comfort Tiffany (1893) Fig 2. Anglepoise Lamp model 1227, George Carwardine(1932)

Bibliography

Anglepoise Support. (2020, December 4). How to date my Anglepoise. https://support. anglepoise.com/hc/en-gb/ articles/360022921093-How-canI-date-my-vintage-or-currentAnglepoise-lamp-

The designers of both the lamps integrated the knowledge of their strikingly different professions with the form and function of their lamps in interesting and original ways. Louis Tiffany created favrile glass and copper foil technique of wrapping edges of glass in thin copper foil, both were used in making the lampshade of Tiffany lamps (RichmanAbdou, 2018). Clara Driscoll, who worked in the Tiffany company , designed various lamps like the Wisteria Lamp by creating elegant mosaics of glass (The Charles Hosmer Morse Museum of American Art, n.d.). George Carwardine was an automobile designer who specialised in vehicle suspension systems (Icon, 2020). While experimenting with this mechanism, he came up with the idea to create a suspended movable lamp shade, creating the Anglepoise lamp.

The lamp shade (44 cm in diameter) of the Tiffany Wisteria desk lamp is crafted using opalescent mosaic glasses, whose overall height is around 75cm. A heavy bronze base nearly half the diameter of the shade increases its weight, giving it a sturdy base (Internet archives wayback machine, 2009). It is more suited as a decorative lamp in the living room or

the bedroom. The Anglepoise lamp is smaller compared to it (60 cm in height). It is made using industrial metals like steel, aluminium and brass, making it more durable and lightweight. With a base of only 13 cm, it can be easily accommodated on a crowded work desk, making it more effective as a study lamp. Though it looks less colourful than the Wisteria lamp, it provides much brighter and intense light. A direct impact of the materials used is seen on the durability. The Tiffany lamp is more prone to breaking as it uses favrile glass. While the Anglepoise lamp, made of steel, has been said to work even after a crash landing in the water (The design museum, 2017).

Tiffany lamps originally functioned with turn-paddle knob sockets and few had pull chains for switching on lights which were used at the time of early electrification. (Biltmore loan & jewellery, 2022). The Anglepoise lamps, made in the 1930’s, when electricity was more common in households, were manufactured with electric switches for use as a workstation lamp,

Anglepoise. (2022). George Carwardine. https://www.anglepoise. com/designer/george-carwardine

Art Nouveau Club. (2020, April 12). Tiffany lamps, the icons of American Art Nouveau. https://artnouveau. club/american-art-nouveau-icons/

Ashby, C. (2021). Art nouveau: Art, architecture and design in transformation. Bloomsbury Publishing.

Biltmore loan and jewellery. (2017, December 29). Tiffany lamps: what you should know. https://www. biltmoreloanandjewelry.com/blog/ tiffany-lamps-what-you-shouldknow/

Designing buildings. (2021, February 21 ). Anglepoise lamp. https://www. designingbuildings.co.uk/wiki/ Anglepoise_lamp

The Tiffany lamp doesn’t allow free movement as seen in the Anglepoise lamp, which is based on the two-degree-offreedom spring balancing mechanism. These springs support the pivoting of its lampshade and arms while maintaining overall balance (French, M. J., & Widden, M. B., 2000). This feature made them beneficial to surgeons and navigators of world war II military aircraft.

French, M. J., & Widden, M. B. (2000). The spring-and-lever balancing mechanism, George Carwardine and the Anglepoise lamp. Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science, 214(3), 507–508.

Tiffany lamps, a status symbol in households during the Art Nouveau period, meant for impressing one’s social peers, have become an expensive collector’s item in today’s time (Raizman, D. and Gorman, C., 2007) (My Modern Met, 2022). Whereas the Anglepoise lamp still proves to be a relevant design in use. Immortalised by Pixar animation company as their mascot in 1986, the Angelpoise has become a culturally recognized symbol (Icon, 2020).

Gontar, C. (2006, October). Art Nouveau in Heilbrunn timeline of art history. The Metropolitan Museum of Art. http://www.metmuseum.org/ toah/hd/artn/hd_artn.htm

Grace’s Guide. (2014, November 7). Anglepoise. Graces guide to British industrial history. https://www. gracesguide.co.uk/Anglepoise

Icon. (2020, May 5). A short history of Anglepoise. https://www.iconeye.

com/design/features/a-shorthistory-of-the-anglepoise-lamp-2

Langworthy, H. (2012).

The Anglepoise: a history. Twelve twenty seven. https:// twelvetwentyseven.wordpress.com/ history/

Matranga, V. (2005). Industrial art and design. Encyclopaedia of Chicago. http://www.encyclopedia. chicagohistory.org/pages/637.html

Raizman, D. and Gorman, C. (Eds.). (2007). Objects, audiences and literatures: Alternative narratives in the history of design. Cambridge Scholars.

Richman-Abdou, K. (2018, November 16). Tiffany lamps: The illuminating history of the iconic stained glass fixtures. My Modern Met. https://mymodernmet.com/ louis-comfort-tiffany-lamps/

Taylor, K. (2007, February 13). Tiffany’s secret is over. The New York Sun. https://www.nysun.com/ arts/tiffanys-secret-is-over/48495/

The Charles Hosmer Morse Museum of American Art. (n.d.). Tiffany Studios Designers. https:// www.morsemuseum.org/louiscomfort-tiffany/tiffany-studiosdesigners

The design museum. (2017, August 1). Anglepoise under the spotlight. https://designmuseum.org/ discover-design/all-design-objects/ anglepoise-under-the-spotlight

The Neustadt. (2022). Tiffany’s lamps: lighting luxury. https:// www.theneustadt.org/exhibitions/ neustadt-gallery

To conclude, the study provides an interesting overview of two iconic lamps that could not be more different from each other, and their use and relevance in today’s modern world considering the two different time periods they belonged to.

The Ride To Comfort: Thonet’s Chair no. 14 and Marcel Breuer’s Wassily chair

The modernism movement had a great impact on the aesthetics and practicality of furniture in the 19th and 20th centuries. One of the factors that shaped modernism was the development of modern industrial societies, the rapid growth of cities, and the effects of World War 1. The chairs Thonet no. 14 (1859) by Michael Thonet and Wassily chair (1925) by Marcel Breuer made the chairs that contributed to modernism with their ideology of simplistic designs, cubism, and moving forward in aspects of design. This study will state the comparison of these chairs where based on the materials, design, manufacturing process while the focus of both the chair remains on comfort. During this time industries were changing from hand production methods to machinery and mass production was becoming increasingly popular. Mass production meant making products at higher speeds and quantities at lower production rates.

Their chairs, the Thonet no. 14 and the Wassily chair, respectively, were one of their more popular designs. Altogether both the chairs provide comfort by using different materials, one using wood and the other stainless steel. The comparison lies in the design and the approach about the materials, the making, structure, and aesthetics. While both the designers believed in simplicity and making the chairs affordable and giving the principal disparity in the usage of materials. To talk about the structure the No. 14 chair had tight continuous curves of bentwood without glued joints or carvings while the Wassily chair was made up of tubular steel. It had a uniquely exposed structure. Drawing inspiration from the handlebars of his bicycle that Marcel Breuer rode every day. It was the first all-tubular steel chair. When it came to materials chair no.14 was mainly made of bent solid wood as well as more pliable laminated wood. Wassily chair was made from tubular steel with polished chrome finish in leather or Cordura. Tubular steel made the Wassily chair more lightweight and strong at the same time. Both the designs were sculptural yet simplistic in form but different ways.

Manufacturing wise chair no.14 was made with six steam-bent wood, ten screws, and two nuts. These pieces of wood were made by heating beechwood slats, pressing them into curved

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Fig 1. Chair no. 14 by Michael Thonet(1985)

Fig 2. Wassily chair by Marcel Breuer(1925-26)

Working Bibliography

A brief history of Marcel Breuer’s Wassily chair. (2020,April 23). Icon.https://www.iconeye.com/ architecture/features/a-briefhistory-of-marcel-breuers-wassilychair

Basic press portfolio. (2015). Thonet – a pioneer of furniture history. pp.1-7. https://web.archive.

org/web/20150602171934/http:// en.thonet.de/fileadmin/media/ meta/presse/Basispressemappe/ EN_Thonet_Company_Press_Kit_ Jan_2015.pdf

Couch potato company. (2009, May 18). Marcel Breuer Wassily chair by find me the Original. tps://youtubehttps://youtu.be/ jpxscfYHUzs

Dugdale, S. (2020). Chair no. 14. Project muse, 41(2), pp. 67-68. https://doi.org/10.1353/ ner.2020.0051

Dr. Becke, B. (2007, June). Thonet - A modern design institution. Goethe-Institut. https://web.archive.org/ web/20080922020205/http://www. goethe.de/kue/des/dos/dos/dsd/ tho/en2404748.htm

DW Euromaxx. (2010, January 26). Series: Design Icons (01) Thonet Nr. 14 Chair,1859 | euromaxx. [Video]. Youtube. https://youtu.be/eoy5QP3Jibg

Gillian K. ( 2010, February 1), How to Identify Barcelona and Wassily Chairs Authenticity. How to Identify Barcelona and Wassily Chairs Authenticity

Hoffmannová, J. ( 1989). Chancellor Metternich and inventor Michael Thonet. Brill, 16(1-2), 135-136.https://doi. org/10.1163/187633089X00087

JBD Admin. (2018, March 18). Wassily chair 1925. Design wiki. https://www.idesign.wiki/en/tag/ b3/

Keulemans, G. (2016). Beech eating machine: A new materialist critique of the Thonet no. 14 chair Blucher Design. pp. 354-360

iron molds, and then drying them for hours. On the other hand, Wassily chair was made of tubular steel tubes welded to form a rigid frame with four vertical legs that bent over and then down to support the seat and back, both of which were inclined steel frames, across which fabric was stretched. Both the chairs have very distinct manufacturing and materials but in the end, provide comfort to the users. These were the chairs that took modernists by a storm and are popular amongst modern furniture makers to this day.

Both the chairs became popular in mass production as they were easier and quicker to produce by machinery. Both of them only required a few parts that were bent and then sent to assembly lines to be assembled and ready to be sold. Chair no. 14 was made with just 14 parts while was shipped in several parts to save space during transportation which made the chair even more popular.

What lead the interest in comparing these two furniture pieces was how similar yet different theyare, despite being the same product and having the same use as a chair they vary in many different ways like material, structure, aesthetic, design and still manage to fit in the ideologies of modernism.

http://pdf.blucher.com. br.s3-sa-east-1.amazonaws. com/designproceedings/ icdhs2016/04_010.pdf

Marcel Breuer Club chair (model B3), (n.d.), MOMA. https:// www.moma.org/collection/ orks/2851?classifications=any&date_ begin=Pre-1850&date_=2022&q=was sily+chair&utf8=%E2%9C%93

Marcel Breuer. Drawing for Wassily chair, circa 1971. Marcel Breuer papers, (1920-1986), Archives of American Art, Smithsonian. https://www.aaa.si.edu/ collections/items/detail/drawingwassily-chair-18818

Murphy, A. (2019, November). The Chair Men: Gebrüder Thonet and the

Number 14 Chair. Europeana. https://www. europeana.eu/en/blog/the-chairmen-gebruder-thonet-and-thenumber-14-chair

Payne, S.( n.d.). History of design: Wassily chair by Marcel Breuer. The coolist. https://www.thecoolist.com/ wassily-chair-by-marcel-breuer/ Rawsthorn, A. (2008, November 7). No. 14: The chair that has seated millions. The international herald tribune. https://web.archive.org/ web/20081113134340/http://www. iht.com/articles/2008/11/10/style/ design10.php

The Role of Ideology of a Designer: A Comparative Study Between Marianne Brandt and Christopher Dresser’s Teapot

Based on Means of Production

The post-Industrial Revolution era caused a shift in ideology of designers to follow a more functionality forward design language in their products. One beverage that gained popularity in this era was tea (Koli, 2020). This rise in popularity urged European designers to rethink what the vessel in which it is stored should look like. This research study will look into the teapots of Marianne Brandt (1924), and Christopher Dresser (1879). This comparative study will look into how the nuances in ideology affect the manufacturing process of seemingly simple and similar objects; we do this by looking at journal articles, websites and blog posts.

Although both the teapots were made from the same materials, due to the difference in ideologies of the designer’s the methods of producing each teapot was different. Brandt’s teapot was made from hand-forged Nickel Silver (Fund, 2019), whereas Dresser’s teapot was electroplated with it (Teapot, 2003). Another aspect of the teapots where dissimilarities arise are in the manufacturing process. Brandt’s teapot focused on functionality with a certain aesthetic aspect to it, making mass manufacturing of this teapot unsuccessful due to the complexity of assembling each individual part, and thus her teapots were hand-crafted (Rawsthorn, 2007). Dresser had a very utilitarian approach to his teapot- he used simple geometric shapes all throughout; which enabled him to make use of the latest techniques of mass production (Teapot, 2003).

Though both Brandt and Dresser were going for a functional teapot, the differences in ideologies are made especially obvious when we look at their history. Marianne Brandt was a student at the Bauhaus school of Design, (Teapot Marianne Brandt, 2014) which influenced her approach in the making of the teapot. She wanted to blend in modern ideology with deep-rooted functionalism (DR.Charles Cramer, & DR.Kim Grant, n.d) in her designs. Dresser on the other hand was a designer that believed in ornamentation to be the key aspect of a design (Messerli, 2020) in the early stages of his career and it was only after his trip to Japan where was exposed to various Japanese designs and the geometric forms within

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Fig 1. Marianne Brandt, Bauhaus Teapot Fig 2. Christopher Dresser, Teapot Bibliography

DR.Cramer, C., & DR.Grant, K. (2019, September 28). The Bauhaus: Marianne Brandt. Smart History. https://smarthistory.org/bauhausmarianne-brandt/

DR.Cramer, C., & DR.Grant, K. (n.d.). The Bauhaus: Marianne Brandt. Khan Academy. https://www.khanacademy.org/ humanities/art-1010/german-artbetween-the-wars/bauhaus/a/thebauhaus-marianne-brandt

Fund, P. (2019). Collection works. Moma. https://www.moma.org/ collection/works/2438

Koli, M. (2020, November 17). A Brief History of Teapots. Freshcarton. https://www. freshcarton.com/blogs/news/abrief-history-of-teapots

Messerli, B. (2020, May). The crisis of ornament: evaluation and intercultural divergences in the visual arts of the 19th and early 20th Centuries. Palíndromo, 21-23. https://www.researchgate.net/ figure/Christopher-DresserTeapot-1879-Electroplated-nickelsilver-with-ebony-handle-madeby_fig5_341200583

Pepall, R. (2021, Jan 19). The international tempest over the world’s most famous teapot. The Walrus. https://thewalrus.ca/theinternational-tempest-over-theworlds-most-famous-teapot/

Rawsthorn, A. (2007, December 16). The tale of a teapot and its creator. Nytimes. https://www.nytimes. com/2007/12/16/style/16ihtdesign17.1.8763227.html

Teapot (2003, March 27). Collection Vam. https://collections.vam.ac.uk/ item/O78328/teapot-dresserchristopher/

Teapot Marianne Brandt (2014). Shop Bauhaus-movement. https://shop.bauhaus-movement. com/teapot-marianne-brandt

Willette, J. (2018, November 9). The first modernist: Christopher Dresser and the teapot part two. Art History Unstuffed. https://arthistoryunstuffed.com/ the-first-modernist-christopherdresser-and-the-teapot-part-two/

Zamora, J. (2021, May 1). Marianne Brandt The Bauhaus Metallwerkstatt. Placida. https://placida.es/mariannebrandt-bauhaus/

them that he had a major shift in his ideology: Beauty in Functionalism. This was reflected in the design of his teapot, which has a very geometric and utilitarian look to it (Willette, 2018).

When one looks at the comparison from the larger perspective of design history, choosing a seemingly ordinary object that serves a common household drink like tea enables one to understand the nuances like ideology that urged European designers to rethink what a regular teapot should look like. The different timelines give one idea about the role of different means of production the designers chose, and how it impacted the production in the end. Both designers had opted for the same materials. Although both designers had a similar end result, the paths they took to achieve that were different. Their backgrounds and their resulting ideologies have impacted their methods of manufacture.

Overall, this is a comparative study that looks into two teapots from different designers, various design aspects influenced by manufacturing methods and the ideologies of the designers that shaped the teapot’s final form.

Into The World Of Steam Bending: Chair No. 14 and The Long Chair

Theme: The difference in the production techniques depending on the purpose of the two chairs while being of the same material.

The No. 14 chair is the most famous chair made by the Thonet chair company in the year 1859. Also known as the ‘bistro chair’. The design was a response to a requirement for cafe-style chairs. The seat was often made of woven cane or palm because the holes in the seat would let spilled liquid drain off the chair. (Alice,2008). The long chair was designed by Marcel Breuer in the year 1935-36, with the initiative of rising in modernism. This design focused on the user’s ease and comfortness. A comparative study of the long chair and chair no 14, looking at the differences and similarities such as texture, material, and production methods, the following discussions are made. The material bentwood was used for the revolutionary change for both the chairs and the designers.

Thonet’s chair is more like the usual chair whereas the Long chair is a reclining chair. The production techniques changed vastly for both the chairs being from completely different eras. For the Thonet’s chair, using both heat and moisture makes the wood(ash and beech preferably since they do not crack easily) flexible enough to set into the desired shape. It pretty much works like clay and gets hardened in due course.” (Kathy, 2014). While the long chair ranks as one of the highlights of interwar modernism, its use of molded plywood anticipates the direction of post-WWII furniture design and manufacture. (V&A explore the collections. Victoria and Albert Museum. (n.d.).)” The ‘Long chair’, with its bent frame of laminated birch wood supporting the shaped timber seat and back, was developed soon after Marcel Breuer settled in England in 1935.”(‘Long chair’ by Marcel Breuer. (n.d.).). It is made using bentwood (steam-bending), (Murphy, 2019).

Thonet’s design was suitable as best for the cafe-style chairs. The seat was made of woven cane or palm because the holes in the seat would let dribbled liquid drain off the chair. Whereas Breuer’s design of the Long Chair spreads a person’s weight across a larger area than a regular chair, giving greater comfort.(Isokon long chair — Isokon. (n.d.). The freeform

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Fig 1. Chair No. 14, Michael Thonet (1859)

Fig 2. The Long Chair Marcel Breuer (1936)

Bibliography

Alice Rawsthorn. (7, November 2008). No. 14: The chair that has seated millions. International Herald Tribune. http://www.iht. com/articles/2008/11/10/style/ design10.php

Borsani, O. (n.d.). Antique Model No. 14 Chair from Thonet, 1860s for sale at Pamono. Pamono. https://www.pamono.eu/antiquemodel-no-14-chair-from-thonet1860s

Breuer, Marcel. “Chaise Longue | The Art Institute of Chicago.” Art Institute of Chicago, https://www. artic.edu/artworks/229884/chaiselongue.

Breuer, Marcel. “‘Long Chair’ by Marcel Breuer.” MAAS Collection, https://collection.maas.museum/ object/167934.

Cole, F. (2020, March 20), The Thonet Chair: How the humblest of chair designs became the hardestworking furniture in film. Film and Furniture. https://filmandfurniture. com/2020/03/the-thonet-chairhow-the-humblest-of-chairdesigns-became-the-hardestworking-furniture-in-film/

Englund, M. (2018)., Isokon Furnitures- Modernist Dreams in Plywood, Documentation Issues docomomo 58 – 2018/1, Docomomo International. DocomomoJournal58_2018_ MEnglund.pdf https://www.docomomo.com/ wp-content/uploads/2019/04/ DocomomoJournal58_2018_ MEnglund.pdf

curve of the seat and back is both an expression of the free will of the artist and a masterly deployment of the elasticity of the material. (Bent matter. (n.d.). Bent Matter).

Thonet believed in the mass manufacture of quality furniture, on a production line, using semi and unskilled workers. The Thonet Company manufactured for a world market and fifty million No 14 Chairs were sold before 1930. Marcel Breuer was influenced by nature, unlike other furniture of the same period with materials such as tubular steels, which were relatively modern at that time. His design approach was to create something that is both functional and which also connects man and nature.

In The Long Chair, the head is rested separately so are the shoulders and back and the legs and therefore each body part rests for itself. One will have an amazing impression of the principle of Archimedes without being in the water. ( Hewitt, n.d.). The experimental nature of plywood as a new material for furniture making, saw the ‘Long chair’ undergo several modifications over time for strength and durability.(Marcel Breuer chaise longue long chair mid Century1970s Bauhaus Isokon. (2021, September 9).

Though made up from the same material the purposes it serves are different. Studying two chairs clearly illustrates the main purpose of each chair; the Long chair with its graceful design focuses on comfort and luxury whereas the Thonet chair with its decent design aimed at mass production, with the rise in industrialization in the post-world war period.

Folio: Marcel Breuer’s long chair. (2018, December 7). Architectural Review.

https://www.architectural-review. com/essays/folio/folio-marcelbreuers-long-chair

Harwood, B. R. (2011). Two Early Thonet Imitators in the United States: The Henry I. Seymour Chair Manufactory and the American Chair-Seat Company. Studies in the Decorative Arts https://www. journals.uchicago.edu/doi/10.1086/ studdecoarts.2.1.40662528

Howarth, D. (2014, December 20), Thonet No 14 Chair. Dezeen. https://www.dezeen. com/2014/12/20/a-zdventcalendar-thonet-no-14-chair/

Isokon long chair. (2010, November 15). Wikipedia, the free encyclopedia. Retrieved January 13, 2022, from https://en.wikipedia.org/wiki/ Isokon_Long_Chair

Isokon long chair — Isokon. (n.d.). https://isokonplus.com/collection/ isokon-long-chair

Kathy. (2014, October 16).A Brief History of Thonet Bentwood Chairs.Huset https://www.huset. com.au/blog/a-breif-history-ofthonet-bentwood-chairs/

Keulemans. (2016, March 10). Beech eating machine.A new materialist critique of the Thonet no. 14 chairBlucher Design Proceedings. Blucher Design Proceedings https://www. proceedings.blucher.com.br/articledetails/beech-eating-machine-anew-materialist-critique-of-thethonet-no-14-chair-24216

Long chair (Estonia). (n.d.). Cooper Hewitt, Smithsonian Design Museum. https://collection.cooperhewitt.org/ objects/51681337/

Long chair. (n.d). V&A explore the collections. Victoria and Albert museum. https://collections.vam.ac.uk/ item/O22774/reclining-chair-longchair/long-chair-reclining-chair-breuer/

MacCarthy, F. (n.d).Isokon long chair, Marcel Breuer. (2021, May 21). Sainsbury Centre. https://www.sainsburycentre.ac.uk/ art-and-objects/isokon-long-chairmarcel-breuer/

Marcel Breuer chaise longue long chair mid Century 1970s Bauhaus Isokon. (2021, Septembe9). https://www.vinterior.co/furniture/ seating/lounge-chairs/marcel-breuerchaise-longue-long-chair-midcentury1970-s-bauhaus-isokon Marcel Breuer long chair chaise lounge Attr. to Isokon, C 1970 Bauhaus Midcent for sale at 1stDibs. (n.d.). 1stDibs: Antique and Modern Furniture, Jewelry, Fashion & Art. https://www.1stdibs.com/en-gb/ furniture/seating/chaise-longues/ marcel-breuer-long-chair-chaiselounge-attr-to-isokon-c-1970-bauhausmidcent/id-f_24583582/

Mugrabi, C. (2019, January 15), The No. 14 chair. Minniemuse. https://www.minniemuse.com/articles/ musings/the-no-14-chair

Murphy, A. (2019, November 5). The Chair Men,Gebrüder Thonet and the Number 14 Chair,Europeana https://www.europeana.eu/en/blog/thechair-men-gebruder-thonet-and-thenumber-14-chair

No. 14 chair. (2021, October 31), Wikipedia. https://en.wikipedia.org/ wiki/No._14_chair

Ritz, J. (2019, December 16), Thonet and its bestselling no. 14 chairs get a major retrospective. Architectural digest. https://www.architecturaldigest. com/story/thonet-and-itsbestselling-no-14-chair-get-amajor-retrospective

Ryan, V. (2015), Michael thonet and the no 14 chair. (n.d.). Technology student. https://technologystudent.com/ prddes1/thonet1.html

Thonet Chair No. 14. (n.d.). The Design Museum. https:// designmuseum.org/discoverdesign/all-design-objects/thonetchair-no-14

The design museum. (n.d.). Thonet Chair No. 14. The Design Museum. https://designmuseum.org/ discover-design/all-design-objects/ thonet-chair-no-14

“V&A • Take A Seat – A Story Of Modernism In Three Chairs.” V&A, https://www.vam.ac.uk/articles/ take-a-seat-a-story-of-modernismin-three-chairs.

Reading,PresentationsWriting, MakingSense

E2.9 | Presentations

A designer, urban planner or architect, as well as a student of any of those and allied disciplines needs to make presentations virtually at the drop of a hat. They have to be engaging enough to hold the audience, visual enough to illustrate your points, clear enough to be comprehensible to diverse audiences–and more importantly, they have to help you say what you want to say.

Coming as it does at the end of a process of research and reflection, the present exercise is intended to provide us with an opportunity to reflect together on how we identify the right way (from content, to layout, to the overall aesthetic) to speak to an audience, when that involves a process of ‘translating’ our work from one genre (be it essay, concept note, or set of drawings) to another.

Framing the Assignment

Your concept note has been sufficiently persuasive for your research idea to be shortlisted in the first round of selection by your TA. You have been invited to make a 5 minute long open presentation to a board of review, comprising your tutor and tutors from other courses, as well as all your peers and others interested. Put together a powerpoint presentation that convinces them that the comparison you propose is meaningful.

Learning Outcomes

PPTs as a genre

Theme, focus area / argument

Layout choices

Sequence and structure

Identifying key take-away points for the audience

Articulating clearly and specifically the focus area/ grounds for comparison

Arriving at an appropriate structure for comparison

Determining the image-text balance

Deciding on adequate layout and aesthetics

Lines and Curves

Research Intent

The study has been conducted to examine the shift to minimalistic and functionalism driven designs by exploring the differences between the two lamps in terms of their design, production and user experience. The two lamps being compared are

● The Anglepoise lamp

● The Bauhaus Lamp

Introduction to the designers

● The Anglepoise lamp - designed in 1932 by vehicle suspension engineer, George Carwardine

● First blueprint born when Carwardine invented a spring, crank and lever mechanism.

(Anglepoise, 2022)

● WA 24 lamp -designed and manufactured in 1924 by Wilhelm Wagenfeld - in workshop of Bauhaus.

● Realized as an assignment for László Moholy-Nagy, exemplified the school’s imperative for design.

(The Museum of Modern Art, 2004)

Time period

● Victorian style winding down but still in fashion

● Included brass and glass designs which were more about form than function.

● Wagenfeld Lamp introduced - 1924

● Rejuvenating economy flooded market with Bauhaus and Art deco products.

● Transition to minimalist designs which were easy to manufacture

● Bauhaus died down

● Introduction of the Anglepoise lamp in 1932.

● Interwar period about to end

● Spread of functionalist designs in market

Wilhelm Wagenfeld Copyright @ 2022 by Tecnolumen

George Carwardine

Copyright @ 2022 by Lightology

Tiffany lamp.Copyright @ 2022 phipl0808, eBay

Wilhelm Wagenfeld table lamp WA24. ( 2022). Bauhaus Table lamp.Copyright @ Bauhaus Movement.

(2022). Vintage Brass Stiffel.Copyright @ VNTG

Shift to Functional and Minimalist Designs

Design

Anglepoise Lamp Bauhaus Lamp

Design - Structure - Description

● With this technique the tension spring has a double function: it controls both the forearm and the upper arm. This is not a common arm lamp system

● The Bauhaus lamp looks industrial, but a lot of manual labour went into its design to get the perfect Bauhaus style representation.

Functioning - User experience

● Perfect for tasks where the light source is constantly readjusted.

●

● An all-purpose lamp for the illumination of living spaces.

● Typically used for diffused industrial lighting

Production

● Carwardine - manufactured the lamp in the workshops of his own company, Cardine Accessories. Gave him more control over design. (Broad, 2020)

● He arranged a licensing agreement with Terry and Sons, after which production increased along with advertising of product. (Watkins, 2021)

Copyright @ July 6, 2018 by Jurek, Anglepoise refurbishment. yacf.

● Initial attempts at marketing the lamp were unsuccessful as most of its parts were still hand assembled at Bauhaus. (The Museum of Modern Art, 2004)

● Today, the lamp is widely produced by Tecnolumen, and is perceived as an icon of modern industrial design (TL1, 2018)

Conclusion

Anglepoise Lamp

● simpler and exposed design

Difference in Design

User experience

Production methods

● design was functionalist

● kept in mind minimalist trend.

● Use - utility lamp, could satisfy multiple requirements across fields.

● Cost - Comparatively cheaper

● easy to acquire materials

● production line used

Bauhaus lamp

● more geometric design

● leans towards aesthetics as compared to functionality

● Stress on minimalism is evident.

● Use - Provides effective diffuse general lighting

● Cost - Comparatively expensive

● used steel and glass

● design not readily picked up for large scale production.

Copyright @ March 11, 1982 by Suzanne Slesin, The New York Times

Conclusion

● Shift from minimalist to functionalist designs seen over a period of time

● Shift seen starting from Bauhaus Era and seen even today.

● The Bauhaus lamp employs such minimalist features but isn't easily available to the general public.

● The Anglepoise lamp makes use of the minimalist trend by enhancing design to be purely functional

● Designed in a way to make it available to the public through mass manufacture, standardized design.

● Bauhaus Kooperation. (2020, July). Wilhelm Wagenfeld 1923–1925 Bauhaus Student. https://www.bauhauskooperation.com/knowledge/the-bauhaus/people/students/wilhelm-wagenfeld/

● Broad, J. (2020, January 6). The 20th century history of the Anglepoise lamp. https://jamesbroadinteriors.medium.com/the-20th-century-history-of-the-anglepoise-lamp-1933-1985-c90129b5fd7f

● Doran, E. (n.d.) The Original 1227 Desk Lamp. Plot(s), 4(09), 88-94. https://adht.parsons.edu/designstudies/wp-content/uploads/sites/3/2017/05/Eibhli%cc%81n-Doran_The-Original-1227-Desk-La mp.pdf

● Heals. (2021, August). Behind the Design: History of the Anglepoise Lamp https://www.heals.com/blog/history-of-the-anglepoise-lamp/amp/#top

● Smith, N. (2013, November 11).Classic project: Anglepoise lamp model 1227.. Engineering and Technology. https://eandt.theiet.org/content/articles/2013/11/classic-projects-anglepoise-lamp-model-1227/

● Table lamp. (2021). The Museum of Modern Art, MoMa https://www.moma.org/collection/works/4056

● TL1(2018) Tecnolumen, 5-19. https://tecnolumen.com/wp-content/uploads/2020/03/tecnolumen_magazine_tl1_engl.pdf

● Vintage Design: The “WG24" Table Lamp (2015) EUROMAXX. https://www.dw.com/en/vintage-design-the-wg24-table-lamp/av-18172146

● Wagenfeld, W. Bauhaus table lamp | WA 24(1923) Tecnolumen. https://tecnolumen.com/lamps/wa-24-2

● Watkins, J. (2021, August 13). The Anglepoise lamp, a British invention that puts all other lighting in the shade. “ Countrylife”. https://www.countrylife.co.uk/interiors/the-anglepoise-lamp-a-british-invention-that-puts-all-other-lighting-in-the-shade-231107

Introduction Of Chairs

Figure 1

A First Glance

Thonet Chair No.14

● Designed by Michael Thonet in 1859.

● Thonet was an early pioneer of furniture design, and the industrialisation of furniture manufacture.

● Both machine and handmade processes were used to manufacture the chair.

● It was designed for use in cafes and restaurants.

Curved backrest

Dearth of armrest

Circular seat

Legs are slightly curved outwards

Note. This chair was used extensively in the cafes of Vienna, and it was soon called the “Cafe Chair”. Copyright: MoMA

Barcelona Chair

● Designed by the architect Mies Van Der Rohe in 1929.

● Mies used modernist principles to design this chair.

● It was made using machine made processes.

● It was mainly designed for use in the domestic environments.

Lacks an armrest Rectangular cushion seat and backrest

Form and Dimensions

Note. The wavy appearance of the legs makes the chair look dynamic. Copyright: Tenor

Figure 2 A Closer Look

Thonet Chair

Figure 3 Elevation And Plan

Note Length, breadth and height of the chair Copyright: Dimensions.com

Barcelona Chair

Figure 4 Elevation And Plan

The curved seat places the axis at the sides producing a highly cantilevered seat.

Note The chair's height to depth to width ratio is close to 1:1:1. Copyright: Dimensions.com

Thonet chair

● Since this chair was made for use in restaurants, its seat size is comparatively smaller. So one might not be able to sit comfortably on it for a longer period of time.

● Lack of an armrest seems to lessen the comfortability of this chair.

Barcelona chair

● The seat of this chair has a generous proportion, so one would be able to sit on it for a longer duration. Thus, this chair is ideal for use in a living room.

● It seems that the chair provides proper comfort even though it lacks an armrest.

Frame

Thonet Chair No. 14

Made of beech wood.

Figure 5 Unassembled Cafe Chairs

Note: This chair is designed to be shipped in easy-to-assemble parts to save space during transport. Copyright: Researchgate.net

Barcelona Chair

Made of stainless steel.

Figure 6 A Polished Look

Note. The frame adds to the durability of the chair. Copyright: Steelform

Thonet Chair No. 14

Figure 7 The Circular Seat

Note. A closer look at the details of the seat. Copyright: Vinterior

Barcelona Chair

Figure 8 The Rectangular Seat

High

Note. Grid pattern of the cushion seat. Copyright: Architonic

Backrest

Thonet Chair No. 14 Barcelona Chair

It has a curved wooden backrest. The backrest has a heavy grade leather saddle straps.

Figure 9 The Classic Backrest Figure 10 A Combination Of Modern Materials

Note. The curved backrest provides comfort to the user. Copyright: Vinterior

Note. The proportion of the backrest makes the chair very user friendly. Copyright: Technologystudent

Thonet chair

● As this chair is made of wood, it seems that it would withstand wear and tear for a long period of time.

● This chair seems light weight, and hence would be easier to move around. Therefore, it is apt for use in a cafe.

Barcelona chair

● The leather cushions and straps might stretch out and lose their original colour under certain conditions, so they would require regular replacements with time.

● This chair looks heavy as it is made of tubular steel, and so it would not be easier to move around. This might be a con for some people as the furniture in the residential should be easily movable.

Thonet Chair

Figure 11 Bending Process Of Wood

Step 1) The beechwood slats are heated at 100 °C and are then pressed into curved cast-iron moulds.

Step 2) They are then left to cool and harden in their new shapes.

Figure 12 MInimum Number Of Parts

Note. The outcome of the bentwood technique. Copyright: Researchgate.net

Step 3) In this way, the six pieces of the chair are manufactured.

Step 4) These six components are then combined using ten screws and two nuts.

Note.Thonet developed new techniques allowing wood to be bent into curves and organic shapes. Copyright: ThonetTV

Figure 13 The Intricate Designs

Step 5) Lastly, the seat is covered with hand-woven cane.

Thonet Chair

Figure 14

The World’s First Mass-Produced Furniture

Note. Features of the Bentwood chair. Copyright: Technologystudent

The entire production process takes eight days to complete. Copyright: Euromaxx, DW

Figure 16 Step 2

Steps of manufacturing

Barcelona chair

Figure 15 Step 1

Note. The curved frames are cut to the correct length, using a machine hacksaw. Copyright: Technologystudent

Figure 17 Step 3

Note. It is the use of rollers that allow the curved frames to be manufactured.

Copyright: Technologystudent

Figure 18 Step 4

Note. Then a machine grinder is used to remove the remaining rough edges, along the lengths of each curved piece of steel.

Copyright: Technologystudent

Note. The cut surfaces are finished by hand to remove the rough edges. Copyright: Technologystudent

Figure 19 Step 5

Note. Chromed steel or stainless steel flat strips are welded together to complete the assembly of the chair.

Copyright: Technologystudent

Figure 20 Step 6 Figure 21 Step 7

Note. Chrome plating (i.e. a thin layer of chromium is added to the surface of steel) is done to protect the steel from corrosion. Copyright: Technologystudent

Note. Lastly, each cushion, which is filled with foam, is manufactured from forty individual pieces of leather. This same cushion is used as the seat and the backrest. Copyright: Technologystudent

CONCLUSION

The comparison of both these chairs is worthwhile as it is interesting to see how different materials are used to mass manufacture two different chairs by two people using the latest technologies of their own eras.

List of Figures

● Figure 1: Michael Thonet Chair No.14. MoMA. https://www.moma.org/collection/works/110615

● Figure 2: Gomes, R. (2018). Barcelona chair [GIF]. Tenor. https://tenor.com/view/barcelona-chair-turntable-spin-comfort-gif-12659490

● Figure 3: Lufkin, C. (2021). Era chair [Photograph]. Dimensions.com. https://www.dimensions.com/element/era-chair

● Figure 4: Maddock, B. (2021). Barcelona Chair [Photograph]. Dimensions.com. https://www.dimensions.com/element/barcelona-chair

● Figure 5: Barros, M. (2011). Thonet Chair No.14 [Photograph]. Researchgate.net. https://www.researchgate.net/figure/Thonet-chair-No-14-1_fig1_268981591

● Figure 6: (n.d.). Barcelona Style Chair [Photograph}. Steelform. https://steelform.com/en_eu/produkt/mies-van-der-rohe-barcelona-chair/

● Figure 7:(n.d.). Thonet Chair No.14, 1860s [Photograph]. Vinterior. https://www.vinterior.co/furniture/seating/dining-chairs/thonet-chair-no-14-1860s

● Figure 8: (n.d.). Barcelona chair & designer furniture | Architonic [Photograph]. Architonic. https://in.pinterest.com/pin/725924033671021500/

● Figure 9: (n.d.). Thonet Chair No.14, 1860s [Photograph]. Vinterior. https://www.vinterior.co/furniture/seating/dining-chairs/thonet-chair-no-14-1860s

● Figure 10: Ryan, V. (2011). The Barcelona Chair-Basic Stages Of Manufacture [GIF]. Technologystudent. https://technologystudent.com/prddes1/barcelona2.html

● Figure 11: (2016). Thonet - Bending process - Chair 214 [Photograph] ThonetTV. https://www.youtube.com/watch?v=8sUti5yG7iU

● Figure 12: Barros, M. (2011). Thonet Chair no.14 [Photograph]. Researchgate.net. https://www.researchgate.net/figure/Thonet-chair-No-14-1_fig1_268981591

● Figure 13: (2010). Design Icons Thonet Nr. 14 Chair,1859 [GIF]. Euromaxx, DW. https://youtu.be/eoy5QP3Jibg

● Figure 14: Ryan, V. (2015). Michael Thonet and The No 14 Chair [Photograph]. Technologystudent. https://technologystudent.com/prddes1/thonet1.html

● Figure 15-21: Ryan, V. (2011). The Barcelona Chair - Basic Stages Of Manufacture [GIF]. Technologystudent. https://technologystudent.com/prddes1/barcelona2.html

Bibliography

Barcelona Chair. (n.d.). Cooper Hewitt. https://collection.cooperhewitt.org/objects/18678299/

Beren N. (2022, January 19). The best office chair for back pain in 2022. Creative Bloq. https://www.creativebloq.com/buying-guides/best-office-chair-for-back-pain

Clericuzio, P. (2017, September 15). Ludwig Mies Van Der Rohe. The Art Story. https://www.theartstory.org/artist/mies-van-der-rohe-ludwig/

Cole, F. (2020, March 20). The Thonet Chair: How the humblest of chair designs became the hardest-working furniture in film. Film and Furniture.

https://filmandfurniture.com/2020/03/the-thonet-chair-how-the-humblest-of-chair-designs-became-the-hardest-workingfurniture-in-film/

Murphy, A. (2019, November 5). The chair men.Gebrüder Thonet and the Number 14 chair. Europeana. https://www.europeana.eu/en/blog/the-chair-men-gebruder-thonet-and-the-number-14-chair

Oktavianus, S. (2020, April 25). The Barcelona Chair. Samuel Oktavianus. https://www.samueloktavianus.com/blog/barcelona-chair

Rawsthorn, A. (2008, November 7). No. 14: The chair that has seated millions. International Herald Tribune. https://web.archive.org/web/20081113134340/http://www.iht.com/articles/2008/11/10/style/design10.php

Ryan, V. (2011). The Barcelona Chair - Basic stages of manufacture. Technology Student. https://technologystudent.com/prddes1/barcelona2.html

Davey, E. (2017, May 8). The Thonet no.14 chair. Behance. https://www.behance.net/gallery/75530995/Thonet-Chair-No-14-Historiography-Essay-for-RCA-V-A

DW Euromaxx. (2010, January 26). Series: Design icon (01) Thonet nr. 14 chair, 1859 [Video]. YouTube. https://youtu.be/eoy5QP3Jibg

IncommT65. (2012, June 21). Design classics: The Barcelona Chair [Video]. YouTube. https://youtu.be/_NUpGYMckyo

Meadmore, C. (1997). The Modern chair: Classic design by Thonet, Breuer, Le Corbusier, Eames and others (Dover ed.). Dover Publications.

Contrast in Modernistic Minimalism

Contrast in Modernistic Minimalism

Comparing the Wassily Chair By Marcel Breuer and the F51 Chair by Walter Gropius.

A Brief Timeline

Overview

Designers and their Designs Idea of Minimalism

Structure and Material Conclusion

Modernism emerges as a movement

's 1919

World War II (Germany loses)

1920 1932 1933

https://cdn11.bigcommerce.com/s7vhg3hzp/images/stencil/original/products/1063/76351/030955069487.Wassily-chair-black1__87411.1588014800.jpg?c=2 Copy right 2022 MoMa

F51 Chair designed by Walter Gropius

Bauhaus Headquarters shifted to Berlin

Bauhaus closes due to pressure from Nazis

Wassily Chair designed by Marcel Breuer

Walter Gropius

German architect and designer

Emphasis on the concept of minimalism

Extreme form of minimalism

Wassily chair (1926)

Inspired by bicycle handlebars

Absence of paddings

Only a skeletal structure remained

Concept of Minimalism

Idea of Minimalism: F51 Chair

Reduced to a cubic form

Cantilever system on the base

Idea of M Wassily C

minimal use of ornamentation in the design

padding was replaced with Eisengarn

Reduced the elements to only frame and canvas

Tubular steel frame

Structure and Material

Structure and Material: F51 Chair

Thick padding covering the cubic chair

Solid black painted timber wood

Red cavalry cloth covering the padding

Structure and Material: Wassily Chair

Eisengarn canvas like material

Thin main frame

Tubular steel for the main frame

Conclusion

How two designers teaching in the same school, following similar philosophy of modernism, differed so much in their design styles due to what they thought to be 'minimal'

Bibliography

Arquitectura Abreviada (2021,October,19) Walter Gropius Through His Works [video] Youtube https://www youtube com/watch?v=oqK5K6qFJuI

Bergdoll, B (2018, June) “Marcel Breuer and the Invention of Heavy Lightness” placesjournal https://doi org/10 22269/180612

Curious Muse (2021, March, 12) Bauhaus in 7 Minutes: Revolutionary Design Movement Explained[video] Youtube https://youtu be/Y69wOKg6yp4

Czerwinski, M (2009, Oct, 5th) 50 Chairs That Changed the World, pp 11 Qdoc tips 50 chairs that changed the world pdf

Edward, M (n d ) Iconic furniture design Highsnobiety https://www highsnobiety com/p/iconic furniture designs/

Jon A ( 2018, November 2nd) “Walter Gropius: the ideas man who founded the Bauhaus” Dee Zeen https://www dezeen com/2018/11/02/walter gropius bauhaus 100 founder director architecture design/

Marcel Breuer (2013, October 31st)Marcel Breuer: Design and Architecture(book) https://www google co in/books/edition/ /7SaYAQAACAAJ?hl=en&sa=X&ved=2ahUKEwiL4rTu5q31AhXlzTgGHaD0ARYQ8fIDegQIDBAK

Bibliography

Marcel Breuer Architecture, Bio, Ideas (n d) The Art Story https://www theartstory org/artist/breuer marcel/#nav

Marcel Breuer the architect who shifted the Bauhaus focus away from Arts and Crafts towards the more modern movement of Arts and Technology, [(n d )] Doublestone Steel https://www doublestonesteel com/blog/products/marcel breuer/

Marshall, C (2019 October 17th) “The Politics & Philosophy of the Bauhaus Design Movement: A Short Introduction” Open culture https://www openculture com/2019/10/the philosophy politics of the bauhaus art and design movement html

Scandinavian Design 101 (2021,June 6th) The history of Marcel Breuer's Wassily chair [video] Youtube https://www youtube com/watch?v=kIDQpCAEd2Y

Walter Gropius (2021, December 26th) Wikipedia https://en wikipedia org/wiki/Walter Gropius

Walter Gropius (n d ),The art story https://www theartstory org/artist/gropius walter/

BACKGROUND

Barcelona Chair

Leather upholstery Cantilever base

● Designed By: Ludwig Mies Van Der Rohe.

● For the German pavilion at barcelona exposition 1929.

From Barcelona Chair Relax, (n.d.), Smow. https://www.smow.com/en/designers/mies-van-der-rohe/barcelona-chair-relax.html copyright 2002−2022 smow.com.

● Inspiration: Cantilever frame and leather upholstery in Tugendhat chair.

From Ludwig Mies Van Der Rohe- The Tugendhat Armchair, (n.d.), Wright. https://www.wright20.com/auctions/2020/12/design/280 (No copyright found)

F51 Armchair

● Designed By: Walter Gropius in 1920.

● For the Director’s Room at Bauhaus School of Art, Weimar.

● Inspired by: Cubistic structure of the room. F51 Armchair Isometric Layout of The Director’s room at Weimar, Bauhaus.

From Walter Gropius Bauhaus Office Armchair F51, (n.d.)., Bauhaus 2 your house. https://www.bauhaus2yourhouse.com/products/waler-gropius-f51-bauhaus-office-armchair copyright 2019 Bauhaus 2 Your House.

STRUCTURE

Barcelona Chair

Barcelona chair

Dimensions of the Barcelona chair

● Volume occupied: 75 x 76 x 77 cubic cm.

● Seat Height: 43 cms (i.e. from the ground level).

From Barcelona Chair.(n.d.). Dimensions https://www.dimensions.com/element/barcelona-chair copyright 2021 Dimensions.com

F51 Armchair

● Features a flat wooden base: sense of volume.

● Heavy but floating upholstery and simple frame.

● All its components are joined at right angles.

● Frame lifts back, armrest upholstery away from the floor. Flat rectangular base

Armrest F51 Armchair

Dimensions of the F51 Armchair

● Volume occupied: 70 x 70 x 70 cubic cms

● Height of the seat: 42 cm

From F51 Armchair Walter Gropius, (n.d.)., bauhaus movement https://shop.bauhaus-movement.com/f51-armchair-walter-gropius-tecta copyright 2022 Bauhaus Movement

MATERIALS

Barcelona Chair

● Beige-white (pigskin) leather cushion (original design).

● Buttoned, hand-tufted upholstered leather seat.

● Chrome plated flat steel bars as legs.

F51 Armchair

● The original piece of the chair had an ebonised wood frame

From Ludwig Mies Van Der Rohe.Barcelona Chair.(n.d.), MoMA.org. https://www.moma.org/collection/works/4369 .Copyright 2022 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

● The cushion of the chair is made up of Hallingdal 65, Cavalry Cloth, Leather, etc.

● The frame of the chair is made of Ash, Walnut or Oak wood

From f51 gropius armchair.(n.d.).dieter horn. https://www.dieter-horn.de/en/tecta/f51-gropius-armchair copyright 2022 dieter horn.

DESIGN

Barcelona chair

● Placement of the chair: Offices and architectural firms

● Referred as an architectural chair.

● Designed keeping a Royal look in mind.

From Barcelona Chair.(n.d.).northdeco. https://northdecoshop.com/en/barcelona-chair/75-barcelona-chair-synthetic-leather.html copyright 2021, Northdeco.

Outlook of the Barcelona Chair

F51 Armchair

● Modernism reflective in the structure.

● “The goal of modernism:overcoming the earth’s inertia in appearance,” evident (Bauhaus Movement, 2022).

Base of the F51 Armchair

Cantilevered base

From F51 Armchair Walter Gropius(n.d.). Bauhaus Movement. https://shop.bauhaus-movement.com/f51-armchair-walter-gropius-tecta Copyright 2022 Bauhaus Movement.

USER COMFORT

User Comfort

● Lack of an armrest shows the compromise on comfort over aesthetics.

● The laid back seat allows a person to sit more comfortably but might not be good for your posture.

● F51 Armchair has right angular backrest and armrests made of cushion instead of hardwood to provide extra comfort.

● The fabric upholstery in F51 is more comfortable as compared to leather in the Barcelona chair.

Barcelona Chair

Armchair

● Cantilever Structure: Sleek Curvilinear vs Angled and Voluminous

● Material: Leather and Chrome vs Fabric and Wood

● Design: Adapted and Extravagant vs Pioneering and Subtle

List of figures

Slide 1: Barcelona Chair.(n.d.).northdeco.

https://northdecoshop.com/en/barcelona-chair/75-barcelona-chair-synthetic-leather.html

Slide 1: Bauhaus Nowhaus.(n.d.).Tecta.

https://www.bauhausnowhaus.de/en/produkte/sessel-sofas/en-f51/

Slide 4: Ludwig Mies Van Der Rohe- The Tugendhat Armchair.(n.d.).Wright. https://www.wright20.com/auctions/2020/12/design/280 (No copyright found)

Slide 4: Barcelona Chair Relax.(n.d.).Smow.

https://www.smow.com/en/designers/mies-van-der-rohe/barcelona-chair-relax.html © 2002−2022 smow.com.

Slide 5: Walter Gropius Bauhaus Office Armchair F5.(n.d.).Bauhaus 2 your house.

https://www.bauhaus2yourhouse.com/products/walter-gropius-f51-bauhaus-office-armchair © 2019 Bauhaus 2 Your House.

Slide 7: Barcelona chair.(n.d.).cooper hewitt.

https://collection.cooperhewitt.org/objects/18678299/

Slide 7: Savonarola Roman Style Curule chair X shape cushion top oversized extra large.(n.d.).Etsy.

https://www.etsy.com/in-en/listing/715932357/savonarola-roman-style-curule-chair-x © 2022 Etsy, Inc.

Slide 7,8: The making of knoll barcelona chair.(2020, October 2).[Video].Utility design.

https://www.youtube.com/watch?v=B4ctbyTFUCk

Slide 9: Barcelona Chair.(n.d.). Dimensions.

https://www.dimensions.com/element/barcelona-chair ©2021 Dimensions.com

Slide 11: F51 Armchair Walter Gropius.(n.d.).bauhaus movement

https://shop.bauhaus-movement.com/f51-armchair-walter-gropius-tecta © 2022 Bauhaus Movement

Slide 13: Ludwig Mies Van Der Rohe.Barcelona Chair. MoMA.org.

https://www.moma.org/collection/works/4369 .Copyright 2022 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Slide 14: f51 gropius armchair.(n.d.).dieter horn.

https://www.dieter-horn.de/en/tecta/f51-gropius-armchair © 2022 dieter horn.

Slide 16: Barcelona Chair.(n.d.).northdeco.

https://northdecoshop.com/en/barcelona-chair/75-barcelona-chair-synthetic-leather.html © 2021, Northdeco.

Slide 17: F51 Armchair Walter Gropius(n.d.). Bauhaus Movement.

https://shop.bauhaus-movement.com/f51-armchair-walter-gropius-tecta Copyright © 2022 Bauhaus Movement.

Slide 19: Barcelona Chair.(n.d.). Dimensions.

https://www.dimensions.com/element/barcelona-chair ©2021 Dimensions.com

Bibliography

Anne, V. (2014, June 6). Barcelona pavilion: Techniques of perception. Owlcation. Furnishings.

https://owlcation.com/humanities/Barcelona-Pavilion-Techniques-of-Perception

Barcelona chair. (1999). The Museum of Modern Art. https://www.moma.org/collection/works/4369

Bruch, M. (2019, January 23) Here’s how the iconic barcelona chair design came to be. House Beautiful https://www.housebeautiful.com/design-inspiration/a26010236/barcelona-van-der-rohe-chair/

Barcelona chair of Ludwig Mies van der Rohe (2022, January 11). Barcelona City Guide. https://www.barcelona.com/barcelona_inspiration/barcelona_chair

Barcelona Chair (n.d.). Knoll. https://www.knoll.com/product/barcelona-chair

BBC production. (1987). Design classics: the barcelona chair [Documentary]. IncommT65. https://youtu.be/_NUpGYMckyo

Cho, S. K. (2005, August 30). Analysis on Characteristics of Bauhaus Furniture. Journal of the Korea Furniture Society, 16(2), 67-76. https://www.koreascience.or.kr/article/JAKO200503018525967.page

Cvetkovski, A. & Sidorenko, S. (2019, November 11). Similarities and differences in terms of the geometry used in De Stijl and Bauhaus product designs. South East European Journal of Architecture and Design, 2019(2019). 1-8. https://doi.org/10.3889/seejad.2019.10041

Eye studio design work. (2020, October 2). The making of knoll barcelona chair [Video]. Utility design. https://www.youtube.com/watch?v=B4ctbyTFUCk

F51 armchair. (2022, January 11). Classicdesign https://classicde.it/f51-tecta-en.html

F51 Armchair by Walter Gropius. (n.d.). Bauhaus Movement https://shop.bauhaus-movement.com/f51-armchair-walter-gropius-tecta

Hamid, A. (2018, January 8). The history of modern architecture. Issuu. https://issuu.com/ahmedhamid2/docs/digital_booklet

Koeper, H. (2021, July 1). Walter Gropius. Encyclopaedia Britannica. https://www.britannica.com/biography/Walter-Gropius

Martin, H. (2018, September 24). The Story Behind Mies van der Rohe's Iconic Barcelona Chair. Architectural Digest. https://www.architecturaldigest.com/story/the-story-behind-mies-van-der-rohes-iconic-barcelona-chair

Angela U21273 Tanisha U21141 Shashvi U21123 Aneri U21225 Nandini U21288

Captured unique details on the Teapot

Contrasting ideologies

Basis of Comparison

Materials

Ideology of the Designer

● Josiah Wedgwood tried making his pottery more appealing by adding more ornamentation and this was his key aspect of the design.

● Marianne Brandt believed that one could achieve beauty simply by form and colour. She took conventional design of a teapot and stripped it of ornament creating a geometric metal tea infuser.

Comparison of traditional and modern designs.

From “Coffee and Tea Set”, by Lucia Moholy, 1924, Bauhaus Kooperation. Copyright@ 1924 by Bauhaus Kooperation.

From “A guide to collecting Wedgewood”, by Paulus Porcelain. Copyright@ by Paulus Porcelain.

History of the Object

● The set was named after Queen Charlotte, the wife of George III, who had ordered a tea set.

● The Teapot was also an attempt in order to find a substitute for Chinese porcelain

● The collection of his got famous in England followed by Russia.

● The geometric forms of this tea-infuser reflect the influence of her teacher, the Hungarian artist Moholy-Nagy

● Although entirely handmade, this teapot has an industrial aesthetic, and Brandt subsequently went on to design for mass production.

Structure

Teapot of Queensware collection

● The handle is a molded overlapping leaf spout and reeded.

● The Tea Party and that of The Shepherd on the other side of the pot were the names of the commonly seen scenes on the pot.

Globular Body

From “Slavery and Sugar-Micheal Morris”by Nelson,2016, Wordpress.Copyright@2016 by Wordpress

From “Marianne Brandt, a silver tea-infuser”by Arts and Culture.Copyright@ by Arts and Culture

Pierced Globular Knob Leaf Molded Handle Cover

From “ The Wedgwoods: being a life of Josiah Wedgwood, By L. F. William, flickr. Copyright@ by flickr.

Structure

Teapot infuser and strainer

● The handle is a slice of ebony.

● The fill opening is offset towards the back of the pot, and the handle is similarly not centered. This prevents the tea from sloshing out of the lid.

From “Marianne Brandt, 1924”, by Tim Jacoby, 2014, Tim Jacoby. Copyright@ 2014 by Timjacoby.

CONCLUSION

● This comparative study showed us how the evolution of the teapots took place from being aesthetically pleasing to more efficient and practical efficacy.

● The designer of the teapot with infuser has focused more on the structure and functionality of the teapot, which can be used by anyone. But on the other hand Josiah emphasized more on the aesthetic appeal of the teapot as it was meant to be used by the elite class.

● This comparison helps us understand how different the ideologies of the artists were though they had made similar products but the time period played an important role as one was traditional and the other was modern.

Bibliography

Alice, R. (2007, December 16). The New York Times. The Tale of The Teapot and its Creator. https://www.nytimes.com/2007/12/16/style/16iht-design17.1.8763227.html

Arts and Culture. (1979). Marianne Brandt, a silver tea infuser. https://artsandculture.google.com/asset/marianne-brandt-a-silver-tea-infuser/IAEISayRoUOZrA?hl=en

Britannica, T. Editors of Encyclopedia (2015, June 7). Creamware. https://www.britannica.com/biography/Josiah-Wedgwood

Cuthbertson A. (2017, April 20). Brief History of Wedgwood Queens Ware. https://collectingwedgwood.com/wedgwood-queens-ware

Finch, A T. (1930, October). The Genius of Wedgwood and Modern Ceramic Art: Retrospect and Reinvention: 1730-1930 .The American Magazine of Art. https://www.jstor.org/stable/23931783?read-now=1&seq=11#page_scan_tab_contents

JBD Admin. (2019, November 1). Brandt’s Tea infuser, 1924 IDesign Wiki. https://www.idesign.wiki/en/brandts-tea-infuser-1924/

Rudoe, J. (1994).The British Museum. Tea-infuser; teapot. https://www.britishmuseum.org/collection/object/H_1979-1102-1

Simon. (2021, October 8). Tea Infuser and Strainer (1924) by Marianne Brandt. Encyclopedia Design. https://encyclopedia.design/2021/10/08/tea-infuser-strainer-1924-marianne-brandt/

The Fitzwilliam Museum at Cambridge. (nd). Teapot. https://fitzmuseum.cam.ac.uk/objects-and-artworks/highlights/C729-1928

The Beatrice G. Warren and Leila W. Redstone Fund. (2000).The Met. Tea Infuser and Strainer. https://www.metmuseum.org/art/collection/search/491299

The Metropolitan Museum of Art. (2020-2021). Teapot with Cover. https://www.metmuseum.org/art/collection/search/196536

Image Citations

Coffee and Tea Set. Marianne Brandt. 1924. Bauhaus kooperation. https://www.bauhauskooperation.com/knowledge/the-bauhaus/works/metal/coffee-and-tea-set/

Teapot (1775 - 1780). The Fitzwilliam Museum. https://fitzmuseum.cam.ac.uk/objects-and-artworks/highlights/C729-1928

Teapot with cover. Flickr. https://www.flickr.com/photos/internetarchivebookimages/14782289384

Tea infuser and strainer. Pinterest. https://in.pinterest.com/pin/455778424759845994/

Teapot with Cover. Wordpress. https://howglasgowflourished.wordpress.com/2016/09/28/slavery-and-sugar/ Marianne Brandt, a silver tea infuser (1924), Arts and Culture. https://artsandculture.google.com/asset/marianne-brandt-a-silver-tea-infuser/IAEISayRoUOZrA

Marianne Brandt, Teapot (1924). Tim Jacoby. https://timjacoby.com/teaching/design-history-3/moma_18270002/

E3OneStepataTime

E3.1 | Exhibition Introduction

Introductory text for exhibitions in itself can range from the abstract and extremely complex, to the more approachable, like in exhibitions of student work at lower undergraduate levels. Even looking at the same work to be exhibited, the exhibition text serves different purposes, depending on the theme of the exhibition or on the personal intention of the student/ architect/ designer behind displaying their work.

Irrespective of the purpose and intention, the writer who drafts text for an exhibition needs to reflect on their individual process and outcome in order to be able to articulate how their work stands out from that of their peers in the same and similar exhibitions.

Writing text that is cognisant of all this, and is able to speak to the extremes of readership/ viewership as well as every other reader on the continuum between them is not easy. It is only through practice and being able to anticipate more and more the kind of audience we are likely to address that we can make clear choices of content and style.

Putting your work into words helps you, as a writer, hone your skills in writing precise and concise text, which selects and engages with specific aspects of the work. It also takes writing off its unnecessarily complicated pedestal, emphasizing instead clarity and an ability to communicate about one’s work as broadly as possible.

Framing the assignment

You have been given a space of A3 dimensions (landscape or portrait) to present your work in an exhibition of young aspiring design-field professionals. Select a sheet from among the ones submitted for your previous studio exercise. Keep in mind that the exhibition will be visited by designers from India and abroad and by aspiring students and their families.

Write a short (max 150 words) introduction to the work, having carefully considered your audience, and ensuring that they look at it carefully even though your peers will have work on display as well. Propose a layout for your work and the text, within the space given to you, including placement of the work, title, text, fonts etc.

Learning Outcomes

Writing concise introductory/ explanatory text in accessible jargon-free language

Choosing focus areas and style to best represent one’s work

Effective titles

Grammar (syntax and paragraphing)

Layout and font style choices that communicate with the audience

Reviewing text for clarity

Reviewing text for appropriateness of vocabulary

Editing for grammatical correctness and paragraph structure

Speck-tacular Stippling

Building the Interesting

This freehand assemblage was achieved by first planning the placements of the basic geometric forms and then constructing the subtractions on every form. The placement entails forms of differ ent scales to create a balanced composition like the small cylinder accompanying a quadruple-sized prism on top. An important point kept in mind was to avoid any illusions that would result in an un clear representation of the form. This meant averting coincidence of two points or lines of different solids by playing with their scales like the cuboid on the bottom left is scaled down to avoid confusion with the adjacent prism.

The solids are closely packed since the idea is to create a composi tion and not to focus on individual objects. The key was to be mind ful of balancing the scale and spaces between two adjacent solids. With the outlines of objects in place, a mass from each solid was to be subtracted. These subtractions are measured and not random so they can be made into models in future. They are guided by the finite halves or fourths like in the cylinders in the centre.

This cluster of subtracted solids was an ideation of scaled down life-sized, atypical buildings that lacked symmetry and alignment, yet created a visual equilibrium with the balanced negative spaces like in the centre.

Transformation of 2D to 3D

Understanding the dimensions of a 3d object and making its blue-print on a3 size paper to make a mold.

The model of the cylinder which has been cut in it as shown in the front view is made and the plan is made using guidelines and data available. Making left side elevation Using front elevation and plan. Achieving true lines in plan view then combining both front elevation and plan left elevation is built.

For surface development of subtracted cylinder the dimensions from plan and elevations are used and placed according to the space. There are multiple ways to construct a blue print of it but to it in the sheet this is best one can achieve. The small labels are for understanding which parts will be con nected where.

Per p ct ve pro ect on i a d g h d d d p t h d i b t d f Th bj t p p d p i p d h p l g p ca ed the vani hing po n led LVP and RVP

The bo tom ha o he hee d splay he 3D compos on D f eren y d id h p i h b h i g di Th b igh g h b d th h b h p i ly d f b

On ob erva on he c eve us o the dashed colou ed nes wi be v s b e hroughou he hee These nes he p to convey f a ce ain so d edge s hidden rom the e e b b d h h l d th p i h b i Th b t h b d d t d t d p t i h p p d h p d q h h h b pl d Th

sub ac ions break he monotony o hav ng s mp e p a n so id compos ons

T h l g k l dg d d d g th pt k y th k Th d g t d h th t q i y f t q l y p d d di g f h p

Fragments forms precise the mm It and medieval like the the the sci-fi framework Everything a this neat precision

Fragments of Time

The composition is visually balanced with larger forms in the back and smaller ones at the front. The precise proportions and the smooth line quality of the edges are clearly visible due to the use of a 0.3 mm pen.

It has abstract versions of elements from history, and the possible future. From the cone looking like a medieval Chinese helmet1, to the cylinder looking like a futuristic transport capsule akin to the one in the movie The Polar Express2. From the pyramid in the back looking like an ancient mythical temple3, to the cuboids in the right looking like gizmos from a sci-fi movie4. The wireframes resemble the steel framework of modern buildings5

Everything seen here has been drawn without using a ruler. The vital skill of freehand drawing learnt in this exercise enables an architect to make quick, neat and nearly perfect sketches without using precision instruments.

Gauging The Planned

Every single element in the composi tion is derived from the basic form of a cube. There is a process of generating fascinating forms by subtracting var ious solids from the mother form. It helps to develop a logical understand ing of creating structures.

Every single element in the composi tion is derived from the basic form of a cube. There is a process of generating fascinating forms by subtracting var ious solids from the mother form. It helps to develop a logical understand ing of creating structures.

This assemblage is intended to look like a composition of well balanced solids which can further be transformed into real 3D objects from this 2D plane of paper. Forms are placed next to each other in such a way that there are en grossing junctions formed, hence mak ing a visually interesting composition. The stacking of solids is done in a man ner that there are no solids Floating in air, making the composition stable.

This assemblage is intended to look like a composition of well balanced solids which can further be transformed into real 3D objects from this 2D plane of paper. Forms are placed next to each other in such a way that there are en grossing junctions formed, hence mak ing a visually interesting composition. The stacking of solids is done in a man ner that there are no solids Floating in air, making the composition stable.

A good sense of visualisation of sur faces and precision in gauzing sizes is developed as we closely look at this assemblage of thirty unique solids.

A good sense of visualisation of sur faces and precision in gauzing sizes is developed as we closely look at this assemblage of thirty unique solids.

Shades of Light

COMPOSING CUBES

THE INDIAN STREET CUT

The drawing por trays the character of an urban Indian street section

Using feet as a guide for measurement, the width of the road has been estimated and using the height of an average human being as reference, the height of poles has been estimated Then the actual dimensions are measured to compare the both This method aids in developing better instincts when attempting to quickly assess a

location or room for size With these measurements and the scale being 1:75 ratio, all the elements of the street fit the sheet precisely Crisp lines with various intensities are used to show the distance away from the section cut using a mechanical pencil A darker line is drawn to depict the road section The vehicles, humans and trees that are far ther away are drawn lighter, this shows the positions of all the elements in the street

An illusion of 3D created on a flat sheet of paper by pulling all the forms to a single point creates this visually fascinating assemblage.

The solids are nothing but basic cubes, cylinders, cones, prisms and pyramids with subtractions.

The

Instead of thinking outside the box, how about chopping that box off? Here a composition of three matchboxes is digitally drafted. This was created to understand how numerous components around us are analogous to these boxes, where everything is made up of smaller, simpler forms with subtractions.

Each matchbox has a single form chopped off within it. Three distinct colors, namely red, blue and green are used to depict the matchboxes. The draft on the bottom center depicts the plan of the boxes. The plan later is used as a reference to draft each of the left, front and right elevations. Moreover, an isometric bird’s eye view and an oblique worm’s eye view of the same composition are drafted on the left and right bottom respectively.

For a designer, this simple practice opens up the possibilities for creation of undiscovered forms, spaces and products.

Fun with Geometry

One

is

this

as a ‘composition’

of

of

This

PYRAMIDS:TH PYRAMIDS:TH E INSIDE OUT E OUT

T h e i m a g e s h o w s t h e p a n a n d f r o t i h k i t h T h p y t f t h t s p a c e t o g e t a s e n s e o t h e p l a c e m e n t o f t h e k c h e n p a o r m s h e v e s w i n d o w s a n d a s o a b o u t p l a c e m e n t o f m o v e a b e h n g s l k B l h p l d t d l t i f t h p f d r e v e a l i n g h e d m e n s o n s o f u n d e t h e p a t f o m s h e l v e s a n d v e r c a d i m e n s o ns C r e a t n g a f a p a n o f v t u a l s l k p t t i g t h k i t t g h p p p G a s w e a s p r e c i s e m e a s u e m w e r e t a k e n o a n e n r e w a l l s m a l l p e c e o f u r n u r e b e p u t n g t d o w n E f f e c t i v e u s e h d p d f d g a u g e T h e a c u a l e a s u e e t s t h e g a u g e d m e a s u e m e n t s n b r a c k e a r e w t e n p a r a e t o o r e n t a t i o n o f t h e s u r a c e T o p u t an e m p h a s s o n h e a l l s d f t t t h f t h p o f t h e o o m t h e y a r e h a t c h e d a s s h o w n i n t h e m a g e T h e w a l l s a c a n b o u n d a r y a n d m a k e t h e s h e e t w e l l c o m p o s e d

P L A N O F A P L A N N E D R O O M

The Immersive 3D Universe

Scrutinizing The 3 Dimensional Scrutinizing The 3 Dimensional W

Enigma of Surfaces

O h h h d h ( d d h p

nal World!

nal World!

A digitally drafted composition is exhibited, showcasing dissimilar elevations of the model when seen from the top, right, left and front along with its three dimensional delineations. These drawings are visualized and inked on the sheet via three contrasting colors, viz red, blue and green to demarcate the boxes

A digitally drafted composition is exhibited, showcasing dissimilar elevations of the model when seen from the top, right, left and front along with its three dimensional delineations These drawings are visualized and inked on the sheet via three contrasting colors, viz red, blue and green to demarcate the boxes

Designed using Autocad at 1:1 scale, i e , retaining the actual dimensions of the matchbox composition, an explicit portion is withdrawn from each of the boxes For instance, the blue cuboid is cut diagonally, imparting it a sloping surface Vivid line types and intensities corroborate the lucidity of comprehending the draft by depicting the construction lines by thin gray lines whereas the visible and hidden edges through continuous and dashed lines respectively

Designed using Autocad at 1:1 scale, i e , retaining the actual dimensions of the matchbox composition, an explicit portion is withdrawn from each of the boxes. For instance, the blue cuboid is cut diagonally, imparting it a sloping surface Vivid line types and intensities corroborate the lucidity of comprehending the draft by depicting the construction lines by thin gray lines whereas the visible and hidden edges through continuous and dashed lines respectively

The three-dimensional drawings on the left and right bottom of the sheet represent the views of the composition when seen from above and below respectively, further scrutinizing its form

The three-dimensional drawings on the left and right bottom of the sheet represent the views of the composition when seen from above and below respectively, further scrutinizing its form

GAUGED PLAN OF A KITCHEN

E4AmongPeersand Clients

AmongInformalEmailsPeersand Clients

E4.1 | Informal Emails

Most of the reading and writing we have done so far has focused on seeing writing as a means of learning – of synthesizing information and knowledge and using it to articulate logical connections in a way that helps the intended reader – and also as a means of using words to accompany our work, in a process of reflection and also guiding an audience’s way of relating to it. Emails (and letters, should you ever need to write one) fall more clearly into what is usually called ‘communication’, whether it be professional or otherwise.

This particular exercise focuses on writing informal letters and emails for a general readership. In your professional life you will come across many opportunities to talk about your work not just in a formal capacity but also informally, to your work acquaintances and collaborators from various fields. One thing that we often forget as professionals is that not everyone knows what we are talking about. The most obvious aspects of our work, things that we take for granted, are sometimes completely alien and new for the people from different fields that we are working with.

With this exercise you will learn to communicate complex elements of your work in an informal tone and register, and in the process also learn to listen for and identify the tone and register a specific piece of communication uses.

But letters and emails needn’t be just that. Denisse Scott Brown writes to a young architect, musing on strawberries, potatoes and logical patterns in designing buildings, architects and architecture critics use the familiarity of the letter form to speak directly to their audiences about issues that may otherwise remain remote. Her letter appears in The Architectural Review, making its way to other young architects, along with letters written by a range of other well known architects. Clearly there is more to emails and letters than meets the eye, and the opportunities to use what you learn now will not be limited.

Framing the Assignment

Reflect on your learning journey at the institute so far, connecting the skills you have acquired and the process through which you have acquired them, with your aspirations as a young professional.

Write an email to someone who is familiar with you (a friend studying a different discipline, someone you have met over the internet, an older family member) sharing your reflections with them.

Learning Outcomes

Writing conventions: informal emails

Logical flow

Brevity and conciseness

Narrative, analytical writing (basics)

Use of anecdote

Writing reflective, concise text in simple language

Appropriate use of images referenced in the text

Grammar (syntax and paragraphing)

Reviewing text for clarity

Reviewing text for appropriateness of register

Editing for grammatical correctness and paragraph structure

Subject: A Veritable Frenzy of Colours, Deadlines and Coffee

Dear Paanda,

I know it’s been way too long since we’ve last talked but I have been truly swamped. I had no idea that the teachers actually meant it when they asked us to bid goodbye to our sleep schedules and social lives. I know I still have 5 years until I actually step into the professional world but it feels like I’m already there.

The first week plunged us straight into the world of design and deadlines. It was all about digital representation. We were introduced to a flurry of softwares that we will be using on a daily basis throughout our lives. As someone who is really into UX design and new fonts these are really gonna help me. I was one of the few people who had never used any of this software before, but the faculty never let me feel that I was behind the rest of the class. They taught us everything right from the very basics.

The best thing was that I really got to express myself in the assignments. I made a poster on Thierry Mugler and his iconic silhouettes, which you know I can’t stop talking about (unlike you, no one here tells me to stop). Look at the magazine I made on Voguing with InDesign. I was able to express how important it is to queer and black culture. I hope to use the skills I’ve acquired to create more queer friendly spaces and designs in the future.

I realised soon enough that I couldn’t submit half-assed projects and expect an A+ just for submitting it like I’d been doing throughout school. I had to give my all in every single assignment. Afterall, to be a good designer, I will have to put my 100% into every project I undertake. Choosing the perfect colour scheme for all my projects was an incredibly difficult task and I had to make many revisions but now I try to find a colour scheme in any and everything I see. Just look at the ugly red and black colour scheme I chose for the first poster compared to the second.

Not used to being criticised for my work, I had to learn how to incorporate the teachers’ critiques and suggestions in my

work even when I thought it didn’t go with my creative vision. (It somehow always ended up being better when I did listen to them, who would’ve thunk?) Listening to and working on advice from design professionals in the field is something that I will have to keep doing if I am to grow as a designer.

As fun as it has been, the deadlines are virtually impossible. I was introduced to sleepless, coffee-fueled nights, in the first week itself. I shudder thinking of the next five years.

Enough with my cribbing and crying. Tell me, how’s the application process going for your unis? Do write soon, not that I’ll have the time to reply.

Yours conditionally and unsincerely, Savyasachi

Subject: My Knees Are Buckling Under the Onslaught of Freehand Drawing

Dear Devanshi,

Remember how I told you how during the orientation from my college they did not stop talking about sleepless nights and the workload? We laughed at them, thinking that it surely could not be any worse than the IB. Oh how wrong we were.

We started with a week of T1-Digital Representation. I actually showed you some of my work from here - learning the ins and outs of Adobe InDesign, Illustrator and Photoshop and Autodesk AutoCAD. We ran through the interfaces, which were intimidating since you could see how high the skill ceiling for them was, and how little we were even scratching the surface. I’m quite proud of the poster I attached actually, seeing as I had only learnt Illustrator for a few hours before making it.

After the break, we were faced with S2-Freehand Drawing. Just as we had learnt to use software to represent ideas, we were now embarking on the journey to build skills that would allow us to do the same on paper without any tools or assists like scales or erasers.

It started with lines. “Lines? Lines are not that bad Vidush, quit your whinging”, you say. We had to draw dozens of parallel lines of different types across an A3 sheet, each in one stroke, following a precise 5 mm margin. The difficulty wasn’t even with the straightness of the lines., it was in line intensity -- keeping the stroke perfectly even while maintaining the crispness of the line. The Lines sheet I attached isn’t as good as the later ones we made, but it’s a better representation of how most of the ONE HUNDRED AND FIFTY sheets we did looked like. Barely any of us were up to the mark for the final submission in a few weeks’ time, but it was progress nonetheless.

We had barely time to breathe before we were slammed with the next assignment - Shapes and Forms. It was very tedious to essentially construct three shapes to get to your end result for some of them. For example, to make a hexagon I had to make a square then make a circle and THEN make a hexagon. I spent a full day just refining the construction methods to my liking, going back to the faculty and TAs again and again, to

their chagrin. I didn’t agree with having to estimate angles like 72 degrees by eye because it seemed vague and imprecise, so I devised ways of construction that involved squares, circles and arcs, meaning that they would be perfect every time. Eventually I was happy with all of my construction methods, and so I got to work. From the pictures I attached, can you see what I meant by having to draw two or three shapes just to get an end result? It’s quite painful, honestly.

Although it has been a slog every day, the skills that we are developing here are doubtless going to be useful in the real world. A big part of what I need to do whatever I end up doing in Design is representing an object or an idea, and developing precision through tasks like we are now will be invaluable. While sitting at the tail end of the second week, harried and frazzled, I can barely think about the next day. I’m sure I will enjoy myself once I get used to it. You were always better at drawing than me, so perhaps you would have fared better with these, but I’m quite excited to see how I’ll improve over 5 whole years if this is just 2 weeks of effort.

For now, that is all. On your side, how is Bean doing? How is Stockholm University? I better hear back from you soon this time! Missing you, Vidush.

Subject: Two Weeks Of Learning At CFP E4.1 | Informal Emails

(CEPT Foundation Program)!

Dear Khushi,

Two weeks into college life and I am sure that everything I heard about CEPT student life and work pressure is true.

Remember how I used to complain when your college started and you got busy and I had to wait for my admission offer letter? That’s not the case anymore. I feel like I have finally started getting where I wanted to be. As you already know, my college started two weeks ago.

Two weeks. Fourteen days. These days have been so much fun and hectic at the same time. I have enjoyed every bit of the time I have spent here in the studio. Studios are basically our classrooms where we each get our desk and workspace as you can see in the photograph above.

On the first day, we were all given assignments which included making straight lines horizontally, vertically and diagonally on an A3 size paper using different media. I thought of it as an easy exercise but soon realised it’s not as easy as it seems. I did not consider the details I had to take into account. The lines which

I made had to be of the same intensity and be as straight as an arrow. The exercise taught me that even if I feel my work to be the best, there is always room for improvement. The amount of effort I will put into my work right now will help me work as a professional one day out in the field.

Slowly, we moved on from the lines to making shapes and 3D forms to making different structures out of those shapes. My faculty taught me why I should not just make the shapes but construct the shapes and 3D forms. It is more important to construct the objects and show the method because the journey is more important rather than the destination. Here, the image below is of some equilateral triangles I tried to construct.

between my first and last sheet I made in the images below. This I achieved after practicing for a whole week and getting a maximum of four hours of sleep per night. If I can achieve these results in lines, I can surely make perfect shapes and forms after practice.

This was my experience in just the first two weeks at CFP. I am beginning to enjoy my time here doing what I really like.

Looking forward to hearing about your experiences of college so far.

Lots of love, Urja

Subject: My Experience of Two Weeks E4.1 | Informal Emails

Dear Hetvi,

I cannot believe it has been only two weeks since I have started attending the foundation course at CEPT, because it feels like I have been here for so many months. I did not know that my first two weeks at college would be tremendously hectic. The first exercise included drawing lines without use of any tools like scale, eraser and sharpener.

In the beginning I found it a bit tricky to draw perfect straight lines, Because I can make short lines straight but as we are drawing on A3 sheets at a certain point I stopped.After practicing on a few sheets I discovered that drawing with your elbows as opposed to using the wrists allowed for continuous movement while drawing lines.I even discovered that we need to keep the sheets horizontally aligned to the desk, as keeping the sheet slant creates an illusion for the eye, plus produces unsteady lines as we have to drag our hands across the sheet. And guess what? I was able to produce straight lines in one go using this technique. Although the quality of my lines did not magically improve. It was a gradual process, I started to produce straight lines closer to the line we use to draw with a tool only after twenty consistent practice sheets across two days. My experience of making lines angled at 30 degrees, 45 degrees without any tool was similar to the straight line drawing. Initially making a perfect angle was really a task for me, but I was able to get it right after applying the same technique and practising plenty.

From the above paragraph we came to know that there is a certain technique to draw lines. Pencils are a must to draw lines so we were taught a skill to sharpen pencils with blades. Sharpening pencils with blades has benefits like it has a long point and doesn’t break easily. All the basic skills are taught, as we are being trained as future designers. It seems like I am going to have a hectic schedule for my entire design career.

drawing sheets will have titles where lettering would help me. The lettering sheets attached look like they are printed sheets, as letters are like typography. It is not perfect for now as we are used to writing in a normal way, for example cursive, and the font face feels a little difficult to write. You can make out by my images that it is close to good. After doing lettering and lines we were introduced to forms and shapes. Working on forms and shapes for our next exercise was a fun experience as I like geometry, but I still had to practice a lot to make it an ideal form. Overall it was an amazing experience. So that’s all about me, what about you? Hope you are also enjoying your college and having fun. I am eager to know your experience. Will see you soon.

Yours lovingly, Shailvi

Dear Aaina,

I’ve been at university for over two weeks now and I have to say that it isn’t what I expected it to be. To be fair, most of my ideas about college were based on movies or highly romanticized memories from adults and the real thing is far from it. Is it the same way for you?

Starting off, our first week was completely online and we got to try out a bunch of different software. I got to experiment with programs like AutoCad and Photoshop and in that week, I truly felt like a designer - trying to think out of the box, learning things on the fly and honestly, just enjoying myself. In our modern age, practically everything is done online so it’s essential that I master the appropriate software. From being able to seamlessly blend images together or create plans and layouts, the skills I developed that first week will without a doubt be crucial in the future. I genuinely loved tinkering with all the applications, be it making ‘Olivia Rodrigo’ posters on Adobe Illustrator or designing random magazine spreads on Indesign. I’ll attach a few of my samples and I think you’ll be able to see just how much fun I had with them.

The next week, things started to go a little downhill for me. Our studio work was focused on freehand drawing, specifically drawing lines. It might sound rudimentary when written down but trust me, it really is a stressful process. We had to draw straight parallel lines on A3 paper without any tools, repeatedly, until they were perfect. In addition to just straight horizontal lines, we had to draw broken lines, vertical lines, 30 degree grids and so much more. Precision is key and that is exactly what the faculty were trying to instill in us. As designers, the smallest of mistakes, be it a single-degree tilt in a building or a slightly warped structure, can be lethal. In order to avoid those mistakes, we had to painstakingly hone our eye for design by critiquing our own work and learning how to make the most basic of forms with the bare minimum.

My first few sheets were really abysmal but after a few sleepless nights and a nudge in the right direction from my professors, my work began to improve. Just by holding my pencil at a higher

angle and making sure not to restrict my wrist movement, my lines went from being undulating to almost completely straight!

According to our faculty, these exercises are not just meant to improve our lines and embed the actions into our muscle memory but to also enhance our patience and I can attest to that. Once I started to relax a bit, by either putting on a true crime podcast or listening to some music while doing my work, my lines saw significant progress. I’ll attach my first and last sheets so hopefully you can see how my lines in the beginning were much more erratic when compared to my later ones.

Overall, university has been a hectic but enriching experience. I’ve learned a lot about the design field and more importantly, I’ve discovered a lot about myself. One thing that gives me comfort is knowing that I’m not going through this all alone and that although we’re studying different courses, we can still relate to each other. I’m dying to hear about your university experience so don’t hold back on a single detail.

Love, Manaal

Subject: Continuing Our Conversation from Last Week’s Football Match U21023

Dear Kunal

How are you doing ? It’s been sometime since we last talked. I have so much to tell you but before I do, where have you vanished ? I thought we were supposed to meet for lunch yesterday but then you cancelled at the last minute. Anyway there is so much to unfold, Where do I start ?

These first two weeks of college have been hectic but at the same time were very reflective and insightful.

On my first day I was thrilled to work in a proper studio environment with new people, with whom I am going to spend the next five years of my life with and truth be told that excitement didn’t even last two hours. We were asked to make straight freehand lines on an A3 size sheet and the worst part is we were asked to do thirty more of these sheets as homework for the next day. All this work seemed pointless and just a waste of our time and truth be told after getting this much work I was ready to give up on the first day itself . I somehow managed to do twenty sheets that night. I was so invested and focused on the work that I didn’t even have time to reflect on my first day.

The next two days were just as hectic as the first if not more. Our studio faculty had asked us to produce 70 more of these line sheets and at this point all hope had seemed lost but somehow I managed to pull two straight all-nighters with the help of coffee and some blood pumping exercises and managed to finish up the work. These two days were the most challenging for sure. But on that third day when I was making those sheets

I could feel the confidence in my lines. Not only had my quality improved but also my speed. In a matter of three days

I was able to do something I thought wasn’t possible without a scale. It was only later that I realized that making straight crisp lines is an essential skill for a designer who works with technical drawings of products and having good line quality is a mandatory skill for that.

I also learned so much about myself and what I can achieve if I just put my mind to whatever it is that I want to do. I realized that in order to seperate myself from everyone and become

known, I’m going to have to work harder than anyone but that doesn’t mean I need to be scared of it. Win or lose, I need to face every challenge and every problem with a smile and be excited about it, not run from it.

By the time the second week began I had started to settle in this new city and environment and was thrilled for our next module to start, which turned out to be shapes and forms. We were again asked to produce an uncanny number of sheets but this time the work didn’t seem difficult, I could see my improved line quality and it was much easier for me to finish the tasks. Drawing shapes and forms really helped me improve my attention to detail and helped me look at everyday objects with a new perspective. I am now somewhat capable of breaking down complex objects to their basic shapes and forms and understand them better.

The workload is very rigorous and is going to be for the next month but I’m no longer scared of it, rather I’m excited about what comes my way next. Acquiring these basic sketching skills will only help me as a designer to better convey my ideas and designs.

Anyway I’ll tell you in detail about my exercises and classwork when we meet next for lunch. Hope to see you soon.

Your’s Truly

Arjun

Subject: Habitual substitution at CEPT

Dear Sidharth,

How are you? It has been 3 months since we had our last conversation. I have taken admission to CEPT University, Ahmedabad. It has been two weeks since the college CEPT has started at the campus which has gone by pretty quickly. In the first week, we were introduced to different software Autocad, Adobe Illustrator, Indesign, and Photoshop. I pretty much liked the idea of Adobe Illustrator and Indesign and found them fun-loving. The teachers first introduced us to all the tools required for the exercise and then gave assignments to complete from there. These are an important software for designers and architects as they make it convenient and easy for the designers to achieve their assignment and if we have to make changes to the drawings or drafts of plans and designs in the future we can do that easily.

On 10th November after a week of holidays, we were introduced to our first studio exercise which was drawing different types of lines. The assignment consisted of two parts in which the first part was to draw different types of lines on an A3 size paper, in the second to draw grids at different angles of 10 mm spacing. It seemed very facile and effortless but it took a lot of practice sheets from me. We can easily draw lines with the help of a ruler but this exercise has to be drawn freehand so when we didn’t have our tools we can even draw without any complications, and secondly, if we are more dependent on the tools like rulers, protractors, eraser, etc. they will slow us down and restrict our way of thinking and imagination. The exercise helps to build your patience and focus in your work, and improve line intensity, preciseness and continuity in lines.

This exercise is a focus-building exercise and to improve our patience and confidence in this field. I will show you the progress from the first sheet to the final in the images. Figures 1 and 2 show the sheets in the early stages of the practice in which the line intensity was not constant, the lines were not parallel, the line spacing was not constant and the straightness of the lines was not there. The bottom two images show the sheets in the latter stages which much improved from the earlier sheets. It was tougher making the 30 degrees and 45

degrees grids due to inclined lines; making parallel inclined lines was more difficult as our hand moves very differently. After 30-50 practice sheets I achieved a better line quality, line, and margin spacing but there still are mistakes like the lines are not starting or ending from the same point. These basic characteristics will help in our further exercises like in the third and second exercises we have to deal with the shapes and 3D solids. This exercise helps in understanding the basic shapes used in everyday life such as tables, chairs, kettle, etc. In shape and form construction we have to draw parallel lines, lines at different angles eg. in pentagon we have to draw 72-degree inclined lines which will be achievable by dividing the angle between 45 and 90-degree angles in three parts, in an isometric view which has a 30 degrees inclined plane and projection lines which have to be precise. The first exercise transcribes our way of thinking to traverse in our brain from lines to different shapes and 3D forms.

These exercises and the first two weeks taught me that the exercises also focus on building your character and the design skills as a whole so that we face minimum trouble when we progress further in our careers.

Yours, Archit

Subject - My Second Life at CEPT

Hey

Vraj,

After the lockdown was over, colleges started opening and I was very excited to join CEPT University because it was my dream college. And then I took admission in CEPT University Ahmedabad. Before going to the college I had no idea about the campus and teaching method. But after completing my 3 weeks in CEPT now I am able to know how 5 years are going to be at CEPT. It is fun learning in CEPT but also there is more work load and too much hard work.

In the first week they taught about the softwares that we are supposed to use in our further work, they taught one software each on one day, and after the lecture was over we were supposed to submit that day assignment on that day itself before 11:59 PM. The software which they made us to learn was very use full So that way we are able to learn it faster and have practice. Following that, we had a week off for diwali break.

After the diwali breaks were over, the main semester began. I was very excited to go to the college but there was a hybrid teaching method. In that we are supposed to attend three days online and 2 days on campus. In the first week we were doing line exercises which was a little bit boring to me, In that we had to draw all the lines free hand. It was a little bit difficult for me to do that, but by practice I managed to draw straight lines. In that exercise there are many types of lines practice like 30, 90, 45 degree grid, line intensity for horizontal and vertical lines, horizontal and vertical lines, broken horizontal and vertical lines. It was tough to manage to do all the line exercises on time and with that it should be perfect. But with practice I managed to do it.

In the third week we have started a new exercise which is shapes. In that we had to draw 2D and 3D shapes, this exercise was also done by free hand. This exercise was a little bit easy for me because after doing line exercises I was able to make a straight line, only the thing was to know how to draw the shapes without any kind of tools. In that exercise we were doing triangle, circle, circle cumcircle, hexagon and pentagon for 2d and for 3d cube, cuboid, pyramid, cone, cylinder etc.

Our faculty and tutors help to do that. So this exercise was fun doing and easy to learn.

So this way my work experience in CEPT University which was a little bit tought in starting but by the practice it was easy to do it. I am attaching some of my work photos that you can check out. The first picture is of drawing horizontal straight lines, the second picture is of a 90 degree angle, in the third picture I have drawn a prism and at last I have drawn a triangle. All of these drawings are done free hand.

Love, Sneh Nayakpura

BetweenFormalEmailsPeers andClients

E4.2 | formal Emails

With this exercise which forms part of your professional communication experience, we focus on formal emails. These are the kind of emails that you will write to your prospective or existing clients, officials, or in other professional settings. The intended reader of your email is someone who is not necessarily from the design or architecture field.

You will have to be able to talk about your work meaningfully throughout your professional life, in order to convince people to hire you, convince them of the value of what you are proposing, invite them to give you their attention and thoughts. We often forget, as professionals, that not everyone knows what we are talking about. The most obvious aspects of our work, things that we take for granted (like for instance what a section is), are sometimes completely alien and new for the people from different fields that we are working with. Even while talking to people from within our field, we should expect that they have different opinions and processes to arrive at something. In order to show the value of your work, it is important to justify the choices you make and explain without taking anything for granted.

With this exercise you will learn to communicate complex elements of your work in a more formal tone and register and follow the conventions of a formal email. Write a short explanatory email addressed to a client who is not a designer, but to whom you need to explain the process through which you have arrived at your final drawings for the object you dismantled and represented in How Things Work, justifying all the minute choices and decisions that you have made.

Framing the Assignment

Focus: on what you represented and why the way you chose to represent it is the most effective one to understand the component parts, or the assembly, materials etc.

Learning Outcomes

Writing conventions: formal emails and explanatory notes

Logical flow

Brevity and conciseness

Descriptive, narrative, analytical writing (basics)

Writing reflective, concise text in simple language

Substantive writing

Appropriate use of images referenced in the text

Grammar (syntax and paragraphing)

Reviewing text for clarity

Reviewing text for appropriateness of register

Editing for grammatical correctness, conciseness and paragraph structure

Subject: Sample work for the post of Lead Product Designer

Dear Ms.Bhatt,

I am writing this email to thank you for being shortlisted for the position of Lead Product Designer in your company. As per your request of sending you a sample of my work, I have decided to attach an exploded view of a doorknob to show my clear understanding of the working of various products, my capability to explain its working principle to the fullest, and to show my skill in technical and free-hand drafting. Please find attached three attachments of my previous work below to better explain its function.

This specific door knob is termed as a cylindrical lock knob, since it consists of a button on the interior, and a key hole on the exterior knob.. The final drafted sheet was initially drafted and inked on an A2 cartridge sheet in 1:1 ratio, and later reduced to fit into an A3 sheet. Later, each part was labeled along with describing their individual function.

The process began by acquiring a brass doorknob(Fig.1), which was later disassembled (Fig.2). It was drafted in a way that all the 20 individual parts came in a singular, main axis (as shown in Fig.3), in the order of its disassembly, which will help us to best understand how its mechanism works and interacts with each other.

Fig.1 Assembled view of Cylindrical Lock Knob

Fig.2 Disassembled view of Cylindrical Lock Knob

Fig.3 Final Labeled Draft of the exploded view of the Cylindrical Lock Knob

As seen in Fig.3, all the parts of the knob lock are centrally aligned, while the mounting screws and the springs on the retractor are connected by dotted lines to show their connectivity to the main assembly and axis. Parts like the latch holder, are further dissected perpendicular to the main axis, to show the mechanism and parts present inside them for clarity. The working principle of the knob is quite interesting. The retractor assembly, consisting of the retractor body(which houses the assembly),along with the springs and plates, is responsible for its smooth working, which is why it is present in the center of the final draft, to show its significance. When the knobs are turned, tension is built up in spring, causing it to compress. Since the retractor is, by extension, connected to the latch (as shown in Fig.3), it further helps to unlock the

door, and then retracts when the knob is released. Parts like the housing and tumbler hold all these assemblies together, while at the same time , connecting the knobs to it, while the spindle aids in the locking and unlocking of it through a key.

I genuinely hope that the final draft, along with my explanation, gives you a clear understanding of the function of the product, and at the same time, shows all the skills I intended to show, as mentioned initially, and would compel you to consider me for the post. Please feel free to contact me if further query is needed.

Sincerely,

Melwyn Mathew Abraham

Subject: Discussion Regarding The Structure of Door Latch Lock

Dear Manushi,

I am writing this email in order to request a meeting regarding the discussion of your requirement of the structure of the door latch lock. Attached below is the drawing showing the exploded view of the door lock mechanical components.

The process of the aforementioned drawing started with dismantling of the lock into 20 different parts which make the internal components of the lock which helps to understand the mechanism of the product. The sheet below comprises the view of a deadbolt lock. A deadbolt lock has both dead and latch type of bolts. This increases the safety provided by it. The drawing is made with a sense so that everyone can understand the assembly of the parts. An isometric bird’s eye view, i.e. drawing seen from the height of a bird’s eyesight and made at an angle of 30 degree, is displayed to optimally see the objects in 3D. The sketch is made in a 1:1 scale making the objects drawn in their original size. The components are therefore measured thoroughly and the sizes are noted down for the final sketch.

The joineries and attachment of parts to each other to complete the mechanism is indicated by dashed lines called axis lines. For instance, the hook fixing in latchbolt is also attached to the cylindrical rivet which connects it to the deadbolt and mounting plate to assist in smooth motion of deadbolt and latch bolt simultaneously. This is shown through the axis lines in the sheet. The parts of the lock are made out of different metals such as brass, coated aluminum and rust-free coated steel. The different components are indicated using different line weights which are the way of showing contrast using different thickness and darkness of lines in a drawing. Darker and broader lines are used to emphasize the important parts like the main lock body and the closing cap and the secondary parts like face plate and side plate are mentioned in a lighter tone. The various metals are also differentiated through line weights such as the compression spring and the mounting spring which are of black color coated steel are displayed in a heavy lineweight while the steel components like the collar

plate are shown in lighter lineweight to display and showcase the shining quality of steel. Lastly, the drawing sheet is finished off by labeling all the internal parts with a fine line pen for one’s convenience to understand the assembly of each one of them.

I hope the drawing was according to your needs for the understanding of the structure of the lock. You can suggest if any specifications need change. I await your reply.

Thanking you in advance, Hani

Subject:

Sample Work on Explicit Depiction of Complex Objects

Dear Mx Romany,

Thank you for showing interest in my work. This email is in response to your inquiry regarding a sample explaining the work on my current projects, so here I am writing about a sample draft that was created for a website, explaining the working principles of simple mechanical objects. This sample is a perfect example of how to make complicated things easily readable and understandable for anyone and everyone.

The working principles of a mechanical sharpener are explained using an exploded view, so that each and every part is visible along with the labels of their mechanisms. The ratio followed here is 1:1, that is the true measurements are considered to make it easy to visualize various parts. As you can see in the image attached below, the composition is distributed in a way to balance the focus on the labeling, form and important details like the gears and joinery. The axis line follows a Z shaped path to fit the framework within the A2 sheet, without compromising the space between the parts.

There are different line weights used, darker and bolder lines are used to the outer border for distinguishable form and comparatively thin lines for the inner and minor details like the pivots or the spring, which need intricate illustration. 2D plan view of the helical blade is provided on the bottom right corner of the sheet to explain how the movement of the connected gears sharpens a pencil when inserted. Also, the plan of the front cover is included on the top left corner to give the angle at which the plastic walls of this part are bent.

There are particularly three different points of font sizes used for the labeling: the biggest is used for the title placed at the bottom, to make it clear at the first glance and yet not overwhelming for the reader; followed by the names of the parts and the smallest for the detailed working principles, so as to separate them. This is done so that the reader can decide on what depth of information they seek.

I am also attaching the images of the bridging sheet to give you an idea of my process of working. Overall, this draft will not only provide the working mechanisms of the object but also how various parts come together (joinery) to perform them.

Let me know if you have any clarifications or suggestions for the same, looking forward to your reply.

Warm regards, Janhavi Aggarwal

Subject: Elaborate Representation for the Order of the Manual Egg Beater

Dear Nalini,

This email is to inform you about the product that you had ordered which was the manual Egg Beater. The email consists of the process that was involved and a visual representation of all the details such as the overall form, dimensions, design, how to use, and the working of it so that there is a clear perception of the product and its use. An exploded view of the product was drawn by showing all the parts of the product that would be seen after dismantling it which would help in getting a better understanding of each part and its function.

I began by observing the product with its parts and noted down their accurate dimensions. After that, I drew the parts in a particular view at a scale of 1:1 so that the parts drawn are the same size as the actual ones. This was a little time-consuming as I wanted to find a view that would clearly determine the length, width, and height all at once. I cut those drawings and composed them on an A2 size sheet in a manner such that one can perceive how the parts are attached to each other. The sheet on which these parts were composed is attached below in the form of a process sheet.

Before approaching the final composition, I had tried out different layouts and paper sizes in order to find the best one in which the functions of the parts and the working could be understood effortlessly. Finally, I found it accurate to compose it in a vertical line. After that, I traced the composition on a tracing sheet with a precise pen and drew dashed lines which can be seen in the image I have attached below that represented how the parts connect to each other and in which direction the product should be used. I scanned the tracing sheet using a camera scanner, printed the scanned layout on an A2 size paper, and labeled all the part names along with their function. I also represented the working of the product on the right-hand side corner at the bottom of the sheet that includes its principle as well as a diagram for clarity.

I have attached a photograph of the view showing the functioning of the Egg Beater along with a process sheet for reference through which you can see how I was able to achieve

the final work and also what needed to be changed for the convenience of the person referring to the work. The diagram can be easily interpreted in a user-friendly way along with detailed information about its working. I hope this product is very useful to you and your cooking. Please feel free to let me know if you have any queries or suggestions.

Regards, Lavanya Dubey

Subject : Drafting of the Scooter Carburetor

Dear Mr Gopal

It’s a pleasure to be able to discuss my scooter carburetor research and how I explored the material. I have attached the final work of my research in the email.

I’ve been experimenting with a carburetor from an activa scooter. Each vehicle’s carburetor is unique in terms of design, parts and size. To learn more about the carburetor’s internal mechanics, I broke it into two halves. There are seventeen components which vary in size from larger to smaller after dismantling it into half. In the attachment, the diagram is arranged in a vertical exploded view.Therefore, objects are organized from top to bottom providing a clear section view of each carburetor part..

The carburetor body is the main component sliced into a section in the diagram, and all other pieces are joined to it. The parts are arranged respectively to their joineries for easy understanding. For example, float chamber to float pin are arranged from top to bottom in the upper portion of the carburetor in a single axis. The dotted lines in the diagram illustrate each object’s point of attachment, and the component names are bolded with a brief description of each function.

A carburetor is a device that facilitates the mixing of fuel and air for internal combustion within a vehicle’s engine. It works on the mechanism of bernoulli’s theorem.The air is passed through venturi and the fuel combines the air from a floating chamber where fuel is stored. Clear understanding of the carburetor principle is written to the left top corner in the attached sheet.

Without the assistance of a scooter technician, it was quite hard to explore this object. I hope the explanation of the carburetor on the A3 exploded diagram and its function has been helpful, and I eagerly look forward to your reply on any doubts you may have.

Yours sincerely, Jehat G Mathai

Subject: Explaining the Mechanism of Flashlight

Dear Ms Patel,

I am writing this to brief you about the mechanism of the flashlight that you asked about a few days back. We talked about the structure of the flashlight and its various components. The image attached below shows the functioning of each part of the flashlight along with showing how all the parts will be assembled. All the eleven components are drawn such that it gives you a clear idea of its form and are also aligned from the center which will help you identify the central axis of the flashlight shown using a dotted line.

The image shows how each part of the flashlight works hence explaining to you the whole mechanism of the object. The drawing is made in a 1:1 scale and in an isometric view (45 degrees) which shows you the true dimensions of the object along with all its surfaces. As shown in the sheet, the position of all components is shown using the dash-dot lines for those having circular surfaces and dotted lines for those which do not have circular surfaces. The cell connectors shown fitted at the end hold the cell and help to transfer the power to the copper bulb connectors attached at the central part of the flashlight. The bulb as shown in the image is placed with the support of the plastic supporter which helps to connect the bulb to the copper connectors to pass the current to the bulb. The other end of the bulb as shown is fitted into the reflector with the help of the retaining cap. The power reaches to the tungsten filament or LED making the bulb glow by producing visible light gathered by the reflector and with the help of the front diverging lens a wide range of light is produced. There are moulds of several shapes shown in the plastic casing which helps all the components to fit in perfectly. The upper case is a sliding cover which means that it has to be slid to open or to close which is shown very clearly in the image by placing it in its position. Also its position when it will be closed is shown as a dotted line perpendicularly above the main case containing molds. The switch shown below the plastic casing is the on off switch which activates and breaks the flow of electricity. This whole mechanism of the flashlight is shown in the image attached below which clear;y shows the functioning along with

the placement of the components and how all of them will be attached to each other.

The image attached below shows more details of the working principles of the flashlight. Please do not hesitate to reach out in case of any questions or suggestions about the product. Looking forward to your reply.

Regards, Vrinda Patel Manager

BetweenWritingPortfolioPeers andClients

E4.3 | Compiling Writing

Throughout the semester we have worked with different types of writing, ranging from descriptive to narrative to exhibition text and professional writing. Even while we were working with different styles our overarching aim remained the same – to effectively communicate with readers who do not belong to our discipline and hence do not share the professional knowledge, and to engage meaningfully with writers and readers from our discipline and share learning through this engagement.

This has been progress made on a daily basis, a polishing of our skills that we may not be entirely aware of. It is most certainly something that those around us are not able to see unless they have the opportunity to glance through the same process that we have gone through.

But this practice of putting together our work goes beyond the newness of having been part of this kind of writing workshop. As designers we will constantly engage with people from different fields and would require to showcase our work. In the process of compiling this writing portfolio for the semester our intention is also to begin to develop a keen sense of how to curate and visually communicate our writing. It will require us to make several choices regarding the layout, composition, selecting the correct colour family, font style, size, creating graphics to communicate our intention, etc. Overall this will help us understand the logic behind some of the most basic mechanics of putting together a booklet or a portfolio of your work, which you will need to keep doing virtually every time you finish a project.

Framing the Assignment

As we near the end of the semester, we take stock of the work we have done so far, and of everything we have learnt during our Reading Objects, Writing Craft workshop sessions. We do this by putting together every piece of writing, in the form of a booklet that can be shared with anyone–peer, tutor, friend.

The overarching question that we are using to guide us is “How do we make it compelling for the readers to read every piece of our work?” We use this to design our booklet. Our decisions ranging from the choice of font type, size, font colour, to the overall colour palette, image and text placement all will be made to draw the reader in and hook them into reading each piece.

Learning Outcomes

Understanding the logic of compiling and presenting image+text

Reading for style: register and tone

Reading to understand placement and layout choices

Determining sequence and logical flow

Basics of layout (image + text)

Ability to visually curate and display writing

Writing reflective text for the process of each exercise

Appropriate use of images

Consistent formatting

Layout

Grammar (syntax and paragraphing)s

Reviewing text for clarity and consistency

Reviewing text for appropriateness of register

Editing for grammatical correctness, conciseness and paragraph structure

ONWARDS UPWARDS AND

By Jiya Bhavsar U21060 CFP Monsoon 2021

QUICK READS

Object Descriptions

The aim of this exercise was to pay attention to the minute details of the objects around us and then write about them by not only focusing on the obvious aspects like materials and dimensions, but by also tying those aspects to their user experience.

Quick Reads

1. A Good Night’s Sleep

This bed is placed in the centre of my bedroom right beside two small tables on either side. It has been in my house for the past eight years and is used by me and my younger sister.

The bed is seven feet long and six feet two inches wide, and it is made of timber and plywood. It consists of a mattress that is made of flexible polyurethane foam. The side rails of the bed are slightly larger in size than the mattress. This allows the side rails to hold the mattress in place so that it does not move while one is sleeping on the bed. The mattress is at a height of sixteen inches from the floor, which adds to the comfort of the bed while climbing on and off it (Figure 1).

The headboard that is attached to the head of the bed is at a height of two feet eleven inches from the floor. It serves an aesthetic function and also keeps the pillows from falling off the bed. It is made of timber and plywood. The veneer on the plywood has been polished to give a wood-like look. The top horizontal member of the headboard slightly extends on all sides, and the headboard has thirty vertical wooden strips placed at equal distances from each other (Figure 2). These features enhance the beauty of the bed.

The bed also consists of three pull-out storage compartments placed below the wooden structure on which the mattress rests, two of which are three feet nine inches long and two feet five inches wide. The third compartment is four feet eleven inches long and two feet one inch wide (Figure 3). These

Figure 1

My Comfortable Bed

Object Descriptions

Note. My bed in the centre of the room has a simple yet elegant design. Copyright: 2022 by CFP, Jiya Bhavsar.

Figure 2 The Headboard

Note. The headboard adds to the aesthetics of the bed. Copyright: 2022 by CFP, Jiya Bhavsar.

Quick Reads

storage spaces are extremely useful as one can keep many items like blankets, bed sheets, etc in them. Each compartment has two metal handles that are placed on the front face of the storage in such a way that the user can pull out the storage with minimum effort (Figure 4). It also has four castors below, which allow the user to pull and push the storage easily. The storages are recessed from the edge of the bed so that one does not get hurt while using the bed.

All the materials of the bed complement each other well. Although I have been using this bed for a long time now, it has not been damaged in any way. Due to the robust castors, the storages do not have any channels allowing the user to store heavy items.

Figure 3

Placement Of The Three Storages

Note. The third storage is larger in size than the first and the second storage. Copyright: 2022 by CFP, Jiya Bhavsar.

Figure 4 A Pull-Out Storage Compartment

Note. Many items of daily use can be kept in the storage. Copyright: 2022 by CFP, Jiya Bhavsar.

Annotation & Summary

An excercise in reading productively, this next section follows the annotations and then the summaries of the two given texts. A crucial skill when it comes to research and retaining information, snippets of the annotated text can be found on the left accompanied by their summaries on the right.

Figure 14

Highlight Reel

Note. Annotated excerpt from ‘In The Arts And Crafts Style’. Adapted from B. Meyer. Copyright ©

Summary In The Arts And Crafts Style

Barbara Mayer

The given excerpt from In The Arts And Crafts Style by Barbara Mayer traces the Arts and Crafts Movement from its conception in the UK to its roaring fame in the US. Started as a response to negative British sentiments regarding the Industrial Revolution, the movement aimed to bring back craftsmanship and the love of honest construction to the public.

Although pioneered in the UK by William Morris, who repopularised the use of traditional design methods, the movement began to flourish in America only after the publication of Eastlake’s book Hints on Household Taste. The move ment’s ideas of “simple lines” and “a cohesive style” began to take root in the American design community.

At its height in the early 1900s, the movement led to a host of societies and exhibitions being formed in America. Due to the general interest in its aesthetic, pieces began to be mass-produced for the American public. Unlike the move ment’s precursors, Frank Lloyd Wright, who highlighted the importance of inte grating nature with design, believed that the effective use of machinery would bolster creativity.

As a result of mankind’s superficial nature, the Arts and Crafts Movement which began as an opposition to industrialisation eventually spurred mass production and slowed down only in the face of war.

Mindmaps

An interesting and unique way to organise data, mindmaps focus on building connections with the collected information. This section holds two mindmaps, the first summarises an article and the second captures the essence of a documentary.

Figure 16

Arts and Crafts Movement Mapped

Note. A mind map summarizing Barbara Meyer’ ‘In The Arts And Crafts Style’. By A. Gilankar, I. Kuwar, L. Mehta, M. Musaliar. Copyright Mehta,

Words

Copyright © 2021 By CFP, Archit Gilankar, Ishani Kuwar, Lia Mehta, Manaal Musaliar.

EXPRESSING THOUGHTS

reseArch

evolutIon of desIgn from bAuhAus telephone to model 302 telephone

Figure 15

Bauhaus Telephone

Fuld Model Frankfurt ‘Bauhaus’,Matilo. Copyright @ 2019 by Matilo

From

Concept Note

Bauhaus

Evolution of Design:

Telephone to Model 302 Telephone

The research study will show the comparison between two popular tele phones - “Bauhaus Telephones” designed by H. Fuld & Company, Tele fonbau & Normalzeit, and the “Model 302” designed by Henry Dreyfuss. The Bauhaus telephone was designed in 1929 whereas the Model 302 was designed in 1937. The research will show the evolution of design in the telephones based on the user experience and the effects of the prewar conditions.

Bauhaus telephone was selected for the New Frankfurt housing program; a modern low cost development intended to relieve the post-World War I housing shortage. After the invention of Model 302 telephone, Bell received many complaints about its workmanship, but the issue was resolved in 1941, when Western Electric was obliged to switch from metal to a lighter thermoplastic body, a change necessitated by the metal short ages of World War II. The ongoing war condition resulted in a specific change in the design of these telephones that were low cost, easy to use and readily available.

Frankfurt started out with a normal desk top telephone, as it was specifi cally designed for a housing project. There were versions with an earth ing button, 2-line versions with levers for selecting the desired telephone line, etc. The handset changed too, over time. The design for the inlet of the cord was changed, probably to make it less prone to damage. By 1936, the new Model of 302 was introduced to replace 202 with a sleeker handset that eliminated the cup like mouthpiece of the previous version.

The Bauhaus telephone was designed in Germany, and the Model 302 was designed in America. The Bauhaus telephone evolved from its previous models in terms of its design and the materials used in making the telephone. Dreyfuss had a lot of models to study and design a telephone that was more user friendly than the others. He came up with “Model 302” that was handy, streamlined and was more comfortable. The material change in Model 302 from Bauhaus telephone was from heavy metal to bakelite and hard plastic, majorly because of its non conductive nature and lighter weight. The Model 302 was more comfortable to use than the other models due to its compact lightweight design, curved edges and the design of handset was such that it stuck between the ear and shoul der easily without sliding.

The research study will show the evolution of Model 302 from Bauhaus Telephone with what led to the discovery of both of them and about it’s user experience and how world war I & II affected them.

P1Perspectives

P1 Reflections Perspectives

Dear Diary,

I have grown up with stories of what women are like, what they’re supposed to be. Not all of it sat right with me and since then my perception of what women are like has evolved. But there’s always something more out there you can learn, which is exactly what happened when I logged into my second perspectives lecture. The speaker was Sabika Abbas who is a performance poet. She was going to talk about the experiences of Muslim women in urban spaces.

When she started relating her experiences, which were a culmination of beauty, anger and sadness in that amazing poetic way of hers, something in me moved. Maybe it was that multilingual awe-inspiring poetry of hers or maybe it was the fact that as a Muslim woman myself I related to her experiences at a profound level. One thing was clear that I was going to keep fighting for what’s right no matter what because who is going to fight for us if not us? With people like Sabika out there with their emotion invoking poetry painting the urban spaces with words that inspire revolution, it’s an easier fight to fight, and like she rightly said “hope is a lot of hard work”.

While I still hadn’t quite gotten over the high of Sabika Abbas’ powerful poetry, another perspectives lecture had rolled around. This time the speaker was Sabeena Gadihoke who was going to speak about Homai Vyarawalla. She was India’s first woman press photographer! I’ve heard so many stories about so many famous people but I’ve never had so much fun listening to anyone’s story as much as I did listening to Ms. Vyarawalla’s. She had captured so many important moments of so many important personalities around the world that this entire entry will be over and I still won’t be able to finish the list.

She was notorious for capturing candid moments like no other. Her technique was to patiently wait for just the right moment and then snap! The perfect candid was captured. If I learned anything that day, it was that truly, patience is key. She was friends with so many important people including the then prime minister of India Mr. Jawaharlal Nehru! Which is why it comes as no surprise that she was invited to all elite gatherings as well. If there was anyone out there who was bold and unafraid and didn’t let any gender constructs come in her way it was Homai Vyarawalla. She inspired me to keep moving

forward doing what I do best letting no obstacle hinder my path.

Both these exceptional women’s works inspired me to such an extent that if I manage to achieve even a fourth of what they have in life, I’ll consider myself to have succeeded. Hopefully I’ll come back with more such remarkable tales to tell.

Love, Zenab

In old times, free-thinking women were branded as heretical and persecuted by the Church. Any woman who loved nature and knowledge was called a witch and burned at stake.

Inspired by Sabika Abbas and her poetry that speaks of the liberation of women from oppression.

I have presented poetry of my own, of a familiar story, with a twist, making a statement on how deep- rooted misogyny penetrates even children who cannot tell right from wrong.

The flower used for the title, lily, is used to show respect to a departed soul.

Since the forbidden fruit hath Eve partaken, Women of free mind and spirit were forsaken At stake the Church hath burned them all Many such women unwittingly waited for Death’s call

Such a story I will tell to thee Of a witch who had been unable to flee Overflowing with wisdom and kindness was she Living in the woods in a cottage beside a willow tree

To weary travellers, potions and medicine hath she given Despite her kindness, her behaviour remained unforgiven One fateful day a pair of children approached her cottage Seeking to quench their thirst, looking for roots to forage

Weary of solitude and loneliness was she She welcomed new company in her home happily She bestowed upon them warmth and sweet meats For the night the children were given cosy beds with clean sheets

At night they peaked out the door to find her awake Noting the positions of stars by the lake

The children recoiled in terror and fright Appalled by her strange utterances in the dead of night

“She is a witch, she must be! The village elders had spoken of women like her to me!”

To his sister the boy had said, Then spoke the sister, standing from her bed “What shall we do with her?”

“What we have been taught to do for people like her.”

“Cut her.”

“Bind her.”

“Stone her.”

“Grind her.”

“Bury her in the earth where no one can find her!”

When morning came, the children used their charm To deceive the fair lady and bring her to harm Naively lured by their innocent faces She was escorted through unfamiliar places Near a field of lillies hath she been told to wait Promises of flower-crowns and frolic Had merely been a bait

\The children ran to the village in glee “Hear ye! Hear ye!” they did yell merrily “Young and old, gather ‘round! Do thou know what we have found?

A witch! A witch! What we speak is true! Do thou not know what thee must do? Hurry and gather thy pitchforks and match. Waste not a moment, we have a witch to catch.”

A cursing mob full of anger and spite With a smile, she approached death in her sight She did not yell in fright and despair To the river boatman on Styx she paid the fare

The field hath soon turn to ash and so was she The children were given fifty gold coins by the king’s decree You all know this story by another name Hansel and Gretel of Grimm Brothers fame

To do her justice I told this to thee For I hope someday their souls will be free Good night, good day and everything in between Now you know things are not always what they seem

‘All Art Is Quite Useless’

Or so Oscar Wilde wrote in his preface to The Picture of Dorian Gray. A prolific literary figure and an icon even today, the then champion of the Art for Art’s Sake movement couldn’t have been further from the truth.

An often-overlooked artist, the illustrator, reminded us that her work, although sometimes underappreciated, features prominently in the early memory of a child. Quite literally bestowed with the power to mould the minds of the future, she stood firmly in the belief that not being critical of the world she depicts in her art would be damaging. The sociopolitical landscape we exist in today and that our successors will inherit is indeed complex and highly flawed but through her illustrations, Priya Kuriyan strives to break the cycle that is in place by being political and purposeful. She believes that art is not just shapes and colours, in fact its power is far greater than we can even begin to comprehend.

An artist that works with both games and words, Lavanya Lakshminarayan, relayed the lengths she went to in order to be able to pursue her dreams. She told us of her many unsuccessful attempts at finishing a novel and narrated the long and winding road she had to traverse. Through her speech, one thing shone through – her passion. Yearning for the day she could finally call herself an author, this artist reminded us just how much fervour a career in the arts required. To truly be great, to make a real difference, we must be able to accept setbacks for what they are – instances that shape us into the people that we are to become.

Poets, artists who use words as their medium, have been valued and memorialised throughout history, yet in our modern-day have been relegated to the background. A clear contrast, the poet Sabika Abbas, refuses to be pushed back and silenced in any and all aspects of her life. She believes that her rhythm, her stanzas, and her metrics have the power to raise marginalised communities and instil a sense of agency within them. She believes poems transform the places where they’ve been spoken and strives to tear down the walls and reclaim the spaces we deem public. Globally, as we move further to the right, it becomes imperative that we have clear voices that

aren’t afraid to be heard and Sabika Abbas promises to be one of them, reshaping the world to be more equal.

An illustrator, an author, and a poet – three distinct and powerful women who share one resounding belief – Art has the power to change.

Really, art without a purpose neglects to be art all.

Feed on Feedback

How a Perspectives session with Game Designer and AwardWinning Author Lavanya Lakshminarayan helped me overcome my fear of presenting my work.

“Never be Ashamed”, were the words that stuck with me throughout the entire session. I liked to think of myself as a self-confident person always diving headfirst into any challenge, I was daring and didn’t really think much of what others thought of me. However ever since I had joined the CFP program in CEPT I saw myself questioning my selfworth constantly asking myself “am I good enough” or “would people like me”. The once confident person had become a selfconscious introvert. This change eventually became evident in my social life and my work. I would often skip classes as I was too afraid to be made an example of how “not” to do things and I subconsciously stayed in one corner in the class never interacting with my peers throughout the day apart from the occasional break I would take with a few close friends I had in my group.

Lavanya Lakshminarayan’s appearance in perspectives was towards the end of the semester, however, her session had a huge impact on me. Truth be told, I had never really paid any heed to these Perspective sessions and have never really attended any of them except this one. I was particularly fascinated when she explained that she wanted to be a writer but ended up as a game designer and how one should expect the unexpected and go with the flow in life.

The story of Lavanya Lakshminarayan’s career was truly inspirational, an aspiring author that wanted to write a book and publish it. However, things didn’t go as planned for her and she ended up becoming a game designer. She made the best out of the situation by using her skills as an author to write the storylines for quests in different games. She was also part of the team that created some of my personal favourite indie games like Farmville 2 and Mafia. She never gave up on her dream to write a book and finally managed to publish her first book “Analog Virtual” in 2021 which won her the AutHer award for the best Debut Book.

However, according to me the most important part of her session that struck a chord with me was the part in which she narrated her experience of being afraid of receiving feedback from her superiors and how she would spend countless sleepless nights trying to correct those issues while still not trying to lose the originality of her concepts. She emphasized how one should never be afraid to express who they truly are and reflect that in their work as it would make whatever they create distinctively their own.

Her session encouraged me to get out of my shell and make new friends, explore new ideas, make my work distinctively my own and take both negative feedback with a very optimistic outlook.

Reclaiming public spaces through poetry : A talk by Sabika Abbas

Even today in the 21st century we live in a highly maledominated society where people belonging to other genders and communities, especially women are still struggling for something as basic as the right to just freely wander or be in a public space considered a patriarchal domain.The sight and feeling of women hesitating to claim their rightful public spaces simply because of the intimidation by the plurality of men there, is very common. Most public spaces are not gender neutral. The needs of women in public spaces are often ignored by urban planners, making them exclusive, inaccessible and even dangerous for women. Ideally public spaces should promote human contact and community involvement and reflect local culture. People should be able to have equal access to public spaces without hesitation to claim their rights. Women are

allowed access to public spaces only for work purposes and are expected to walk the straight line between home and their place of work. The urban women seemingly have better access to public space, with millions of women participating in the workforce, commuting daily using public transport or going about their economic activities etc. Yet, if we observe urban spaces deeply, we realise that women have very limited access to public spaces.

Ms Abbas focuses on the same issues of inequality for people from different backgrounds and cultures in public spaces through her poems trying to raise awareness about the topic and inspiring people to break the barriers and set free along the way. Her poems inspire us to work towards the cause, making us realize that even a little thing like poetry, can bring out big changes. people not only face issues in this but also there is a lot of discrimination that goes on in the work place like the discimination that happens towards the LGBTQIA community or towards people from lower class communities. These are the small things we as a society barely notice or we have gotten so used to this idea that we take it as a common practice but in reality it is not right. We as a young generation of people could stop this by taking smaller steps at a time like just by giving people a chance to express themself in the public space, may it be physical or digital. By letting people be who they are in front of the world. By making it a safer place for everyone. By standing up against people who deny others their rights. Everything doesn't need to be a violent, physical fight. These things could be solved peacefully even by just supporting one person in their fight,we are creating a change.

I really like the way in which Ms.Abbas chooses to express her thoughts and make a point in this world and create an impression and keep working through all the difficulties and the opposition that she faced. She inspires me to not give up and keep working towards my goal at the same time letting me know it is okay to take a break as long as we are being honest to ourselves and giving our absolute best in creating a change in society as well as our own life.

Perspectives Lecture Series: An

Perspective Lecture Series

An Illustrated Life

By Priya Kuriyan

It was a wonderful opportunity to interact with an award winning comic writer, who filled me with loads of motivation and inspiration. What inspired me the most was her habit of carrying a pen and a sketchbook with her wherever she goes, to doodle an idea or some interesting character she sees. I tried that too and my experience is that such practice never lets you run short on ideas, and the times I carried my diary, I could observe the surroundings better. What I could perceive of her was that her success story hides tons of struggle behind it, just like any other story of the modern world Despite the field being very new, at the time she started, she gradually overcame every obstacle that came in her way. I really liked one incident that she narrated, where she neatly depicted the political issue of a nearby slum getting destroyed, through kid's comic in the form of animals who were made to abandon their trees\shelters(homes).

Here is Priya’s brief success story

HOMAI VYARAWALLA

By - Sabeena Gadihoke

This Women’s Day we want to introduce you to some important female identifying figures who made an irreplacable place for them selves. The first person we’ll focus on in this edition of ‘Girlbossification’ is Homai Vyarawalla.

Homai, the first photojournalist of India, was born on 9 December 1913 and belonged to the Parsi community. 13 also gave her her psuedonym ‘Dalda 13’ as along with symbol ising her birth year, it also symbolises the age at which she met her future husband and also the registration number of her first car.

As a child she always wished to be an actress, but in those days acting was not considered an honourable field of work, hence she had to drop the idea. She learnt photography from her boyfriend, Manek Shah, whom she later married. A lot of her earlier work also came out under his name.

After completing her school as the only girl in her class, Homai went on to JJ School of Art in Mumbai, where she was introduced to the earlier subjects of her work, such as Re hana Mogul.

In 1942 she moved to New Delhi to work for the British Commission as an employ ee of the British Information Services. From there she got involved the national istic politics and became close with people like Nehru and Gandhi. She is creditted for clicking some of the most important images of Independent India, such as the Funeral of Mahatma Gandhi and the First Republic day at Purna Kila. But she was not only the photographer for the rich and famous, she would also click for marriag es, birthdays, parties etc.

She left photography at the age of 69 after her husband passed away and moved to Vadodara, where she spent the rest of her life. It is also where our speaker met her in 1997.

Homai was a very Hands-on woman, as in she could do anything by herself from fixing shoes to fixing water tanks. Also being a Gandhian was against throwing away things and this reflected in her minimal abode with handmade things such as her nameplate made out of glass bangles. she described herself as being a modern day Robinson Crusoe, as in she could every thing by herself, and she was correct. She passed away in 2011 just shy of her 98th birthday.

Homai was a person who had had a very interesting life. She work not only taught us how to click photos, but also that its important to first plan it out and then go for it. Her life tells stories about ups and downs and how it was to be a sole woman in a male dominated field. It also taught about how one should have principles for themselves and follow them.She is a great example to us all and one of our Girlbosses this year.

About the speaker

Sabeena Gadihoke is Professor at the AJK Mass Communication Research Centre at Jamia Millia Islamia, New Delhi where she teaches Digital Me dia Arts. She began her career as an independent documentary filmmak er and cameraperson.

List of Figures

Going downwards

Figure 1,3 and 6: The phenomenal photojournalist who threw gender stero types to the wind: Homai Vyarawalla.(December 9, 2017). [Photograph]. Vagabomb. https://www.vagabomb.com/Homai-Vyar awalla--first-indian-female-photojournalist/

Figure 2:Vyarawalla, H. Whatever happened to Rehana?. (2012). [Photograph]. Trans Asia Photography. http://hdl.handle.net/2027/ spo.7977573.0002.205

Figure 4: Vyarawalla, H. Homai Vyarawalla: India’s First Female Photojournalist. (August 2, 2012). Time. https://time.com/50318/homai-vyar awalla-indias-first-female-photojournalist/

Figure 5: Homai Vyarawalla: The trailblazer who became India’s first wom an photojournalist. (December 30, 2017). [Photograph]. BBC. https:// www.bbc.com/news/world-asia-india-42349710

Figure 7: Sabeena Gadihoke. (October 19, 2020). [Photograph]. Serendipity Arts. https://serendipityarts.org/curator/sabeena-gadihoke/

Bibliography

Gadihoke, S. (October 18, 2016). Farewell Homai Vyarawalla. The Hindu. https://www.thehindu.com/opinion/op-ed/Farewell-Homai-Vyarawal la/article13376991.ece

Perspectives. Sabeena Gadihoke: Homai Vyarawalla. (January 28, 2022) CEPT University.

Prakash, P. (December 9, 2017). The phenomenal photojournalist who threw gender sterotypes to the wind: Homai Vyarawalla. Vagabomb. https://www. vagabomb.com/Homai-Vyarawalla--first-indian-female-photojournalist/