Flexible Architecture | Architecture Thesis | 2020

DISSERTATION Year: 2020-21 Batch No. 18

Flexible Architecture

Undertaken by: RIYA GARG Enrollment No.: 16E1AAARF40P105 V Year B.Arch (C)

Prof. PARUL

Prof. ARCHANA SINGH

GUIDE

COORDINATOR

Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022

APPROVAL The study titled “ Flexible Architecture � is hereby approved as an original work of Riya Garg, enrolment no. 16E1AAARF40P105 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota.

It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.

December 2020 Jaipur

EXTERNAL EXAMINER 1

Prof. K.S. MAHAJANI PRINCIPAL

EXTERNAL EXAMINER 2

Prof. ARCHANA SINGH COORDINATOR

i

DECLARATION I, Riya Garg, hereby solemnly declare that the research work undertaken by me, titled ‘ Flexible Architecture ’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report.

This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.

Riya Garg V Year B.Arch. (C) Aayojan School of Architecture, Jaipur

CERTIFICATE This is to certify that the research titled, Flexible Architecture is a bonafide work by Riya Garg of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota.

This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University.

Prof. Parul Guide Aayojan School of Architecture,Jaipur

ii

ACKNOWLEDGEMENT I take this opportunity to express my thanks to the Principal & Director of my institute, Prof. K.S. Mahajani for providing a suitable and healthy learning environment even during the tiring times like the COVID-19 pandemic.

I also wish to thank Dean-Academic Affairs, Prof. N. S. Rathore for his support and continued guidance, throughout the undergraduate course journey.

I earnestly thank the Dissertation & Thesis Seminar coordinator Prof. Archana S. Rathore for providing this prospect to conduct this research study and her valuable guidance and timely encouragement.

Furthermore, I would like to acknowledge with much appreciation and indebtedness for Prof. Parul for her support, critiques, advice, unwavering patience and perseverance throughout the course of this research and the semester.

I also take this occasion to extend my gratitude to Prof. Rajdeep Kotadiya for providing insight into the topic and for taking out time to have a stimulating conversation about the study.

I sincerely appreciate all the guides, external reviewers and jurors as well as other faculty members who provided suggestions for the completion of this undergraduate research project.

I would also like to thank my parents Mrs. Shashi Garg & Mr. Dileep Garg, and my brother Pravesh Garg for their constant support and encouragement.

Last but not the least, my friends and peers Mini Pokharna & Tanu Tyagi and anyone remotely involved for making this journey an enjoyable experience.

Riya Garg V Year B.Arch. (C) Aayojan School of Architecture, Jaipur

iii

ABSTRACT

The modern and contemporary approaches by ceramicists involve experimentation and exploration with clay. Each artist demonstrates their own expressions by deploying existing methods and techniques with a twist, resulting in rich and varied scale forms , miniatures to huge sculptures and installations. To gather such artists for exploring, learning and performing at a center, a flexible space which can be altered depending on the changing spatial requirements of each artist is essential.

This research is aimed to identify the flexible design strategies which can be used to create a suitable place for the ceramicists to work and exhibit. The ceramic art types and their scale, methods and processes are studied to understand the basic requirements. The literature study assessed various existing ceramic studios to examine the spatial relationships and elements of qualitative character. An online survey was conducted aiming few ceramicists to draw conclusions on expected qualities of workspace. It was observed that the degree of enclosure, daylight, natural air, nature and open plan are salient features of these spaces. Further, study of different elements of flexible architecture, examining their use and significance with respect to the qualitative character in existing buildings. Comparative analysis conveyed that different flexible design strategies are used differently in buildings to meet spatial and qualitative requirements of users. It was also observed that open plan design was a common flexible element used in the studied projects.

The research recommends the spatial zoning, qualitative character and flexible design strategies for achieving the desired space quality by ceramicists.

Keywords: Contemporary, Ceramicists, Spatial Requirements, Qualitative Character, Flexible, Strategies

iv

CONTENTS Page No. Approval

i

Declaration

ii

Certificate

ii

Acknowledgement

iii

Abstract

iv

Contents

v-vi

List of illustrations

vii- xv

List of tables

xvi

CHAPTER 1: INTRODUCTION

1-2

1.1Background & Need of the study 1.2Criteria of Selection 1.3Hypothesis 1.4Aim 1.5Objectives 1.6Scope 1.7Methodology CHAPTER 2: CERAMIC ART AND SPACES

3-16

2.1 Introduction to contemporary ceramics 2.2 Types of contemporary ceramic art and scale 2.3 Techniques, Processes and equipments 2.4 Case Studies 2.4.1 Clay Station, Bangalore 2.4.2 Andretta Pottery, Himachal Pradesh 2.4.3 Sculpture Space, NYC 2.4.4 Rhode Island College Art Center, US

v

CHAPTER 3: FLEXIBLE ARCHITECTURE

17-33

3.1 Introduction 3.2 Elements of Flexible Architecture 3.3 Types of Flexible Architecture 3.4 Case Studies 3.4.1 Substrate Factory Ayase, Japan 3.4.2 The Shed, New York 3.4.3 Rolex Learning Center, Switzerland

CHAPTER 4: ANALYSIS

24-33

4.1 Comparison of case studies 4.1.1 Spaces for Ceramicists 4.2.2 Flexible Architecture 4.2 Spaces required by ceramicists 4.3 Qualitative character of spaces 4.3.1 Multi-use spaces 4.3.2 Types of enclosure and their uses 4.3.3 Lighting and Ventilation 4.4.4 Indoor-outdoor-nature 4.4 Flexible building elements for ceramicists spaces

CHAPTER 5: CONCLUSIONS & RECOMMENDATIONS

34-38

5.1 Conclusions 5.2 Recommendations GLOSSARY OF TERMS

xvii

BIBLIOGRAPHY

xviii- xix

ANNEXURES (A/ B)

xx - xxxi

vi

LIST OF ILLUSTRATIONS S. No.

Figure Title

Page

Source

1

Fig. 1.1: Types of contemporary ceramics

01

https://www.indianceramicstriennale.c om/

2

Fig. 1.2: Methodology Chart

02

Author

3

Fig. 2.1: Recumbent Bottle

03

https://bit.ly/3lvw4cO

4

Fig. 2.2: Bowl

03

https://bit.ly/33zmq2F

5

Fig. 2.3: War

03

https://bit.ly/39u4I4n

6

Fig. 2.4: Chocolate Pot

03

https://bit.ly/2HVGe8S

7

Fig. 2.5: Rosie

03

http://www.claireloder.co.uk/work/rosie /

8

Fig. 2.6: Vase, The night was like fire

03

https://joannapowellstudio.com/the-ni ght-was-like-fire

9

Fig. 2.7: Social Amnesia

03

https://jenniejieunlee.com/paintings

10

Fig. 2.8: Plate

04

https://bit.ly/39CC9SF

11

Fig. 2.9: Teacup

04

https://bit.ly/2Vn8nc3

12

Fig. 2.10: Pourer

04

https://bit.ly/3lrAK3t

13

Fig. 2.11: Container

04

https://bit.ly/2JiGvUe

14

Fig. 2.12: Oo Floor Lamp

04

https://www.enyleeparker.com/oo-floo r-lamp-details

15

Fig. 2.13: Oo Lamp

04

https://www.enyleeparker.com/oo-lam p-clay-details

16

Fig. 2.14: Puffy Daisy Scone

04

https://www.enyleeparker.com/puffy-d aisy-sconce-details

17

Fig. 2.15: Table Lamp

04

https://bit.ly/2JCp1BJ

vii

S. No.

Figure Title

Page

Source

18

Fig. 2.16: Vase

04

https://bit.ly/3lq3Dgw

19

Fig. 2.17: Vase

04

https://bit.ly/3qsDMs2

20

Fig. 2.18: Planter

04

https://bit.ly/2JqcDFl

21

Fig. 2.19: Planter

04

https://bit.ly/33wcxmg

22

Fig. 2.20: Table

05

https://www.enyleeparker.com/cell-seri es

23

Fig. 2.21: Stool

05

https://www.enyleeparker.com/cerami c-stitch-stool

24

Fig. 2.22: Porcelain Teapot and Table

05

https://bit.ly/36ppOiq

25

Fig. 2.23: Liminal Entity

05

https://artaxis.org/savia-mahajan/#jp-c arousel-24243

26

Fig. 2.24: Occurence

05

https://artaxis.org/savia-mahajan/#jp-c arousel-24242

27

Fig. 2.25: Remains of Continent- 1

05

https://artaxis.org/savia-mahajan/#jp-c arousel-24250

28

Fig. 2.26: Head

05

http://www.junkaneko.com/artwork/ce ramics-detail/channel/C21/#/10

29

Fig. 2.27: Dangos

05

http://www.junkaneko.com/artwork/ce ramics-detail/channel/C21/#/10

30

Fig. 2.28: Painted Canvas

05

https://www.adilwriter.com/

31

Fig. 2.29: Ceramic flowers on ovoid frame

05

https://bit.ly/3lrTcJo

32

Fig. 2.30: Necklace

05

https://bit.ly/2L10My9

33

Fig. 2.31: Earrings

05

https://bit.ly/3ojz3qN

34

Fig. 2.32: Necklace

05

http://havefunpottery.com/gallery/

35

Fig. 2.33: Mosaic Mural

06

http://havefunpottery.com/gallery/

viii

S. No.

Figure Title

Page

Source

36

Fig. 2.34: Miniature

06

http://havefunpottery.com/gallery/

37

Fig. 2.35: Art tiles

06

https://www.rekhagoyal.com/the-moo ds-of-water-art-tiles-buy/?ref=Shop

38

Fig. 2.36: Techniques

07

https://www.thesprucecrafts.com/basi c-hand-building-techniques-2745928

39

Fig. 2.37: Mixer

08

https://www.mnclay.com/equipment/ mixers/bluebird.aspx

40

Fig. 2.38: Pug mill

08

https://bit.ly/3fVHFAK

41

Fig. 2.39: Pugger

08

https://bit.ly/2KZntCI

42

Fig. 2.40: Electric kilns

08

https://bit.ly/2KYy153

43

Fig. 2.41: Gas kilns

08

https://shop.clay-planet.com/laguna-le -200-18-gas-kiln.aspx

44

Fig. 2.42: Wood fired kiln

08

https://bit.ly/2JpsALS

45

Fig. 2.43: Kick wheel

08

http://www.handsnclay.com/brentkick wheel.htm

46

Fig. 2.44: Electric wheel

08

https://bit.ly/2VpeA7h

47

Fig. 2.45: Table top wheel

08

https://www.theceramicshop.com/pro duct/5992/aspire-wheel-w-foot-pedal/

48

Fig. 2.46, Fig. 4.1: Vegetation

09,24

https://bit.ly/348dil3

49

Fig. 2.47, Fig. 4.9: Multi-use ( Exhibition)

09, 24

https://www.instagram.com/p/B4rJIMR J-Iy/

50

Fig. 2.48,Fig. 4.23: Multi-use (Workshop)

09,27

https://claystation.in/vision/

51

Fig. 2.49: Hand building workshop

10

https://www.instagram.com/p/BuERY8Z A6vy/

52

Fig. 2.50: Naturally lit closed space

10

https://www.instagram.com/p/BwBza6 XA8gv/

53

Fig. 2.51: Visual connection with nature

10

https://www.instagram.com/p/B0NVu9 FgqLH/

ix

S. No.

Figure Title

Page

Source

54

Fig.2.52, Fig. 4.13: Floor Plan

10, 24

Author

55

Fig.2.53, Fig. 4.22: Semi-open workspace

10, 27

https://www.instagram.com/p/Bsauew egP0i/

56

Fig.2.54: Semi-open and open

10

https://bit.ly/30k2fEg

57

Fig.2.55: Entrance to the studio

11

https://www.instagram.com/p/BKZv2Rp AU1_/

58

Fig.2.56, Fig. 4.2: Open space

11,24

https://www.instagram.com/p/CDDjvw KFSd8/

59

Fig.2.57: Semi-open cafe

11

https://bit.ly/35DvUeH

60

Fig.2.58: Semi-open workspace

11

https://bit.ly/36BGamU

61

Fig. 2.59, Fig. 4.10: Clay preparation space

12, 24

https://www.instagram.com/p/BxuVSsk B4lQ/

62

Fig. 2.60: Semi-open transition

12

https://bit.ly/3nxTmQE

63

Fig. 2.61, Fig. 4.14: Floor plan

12, 24

Author

64

Fig. 2.62: Semi-open workspace

12

https://www.instagram.com/p/BVGod dglFsl/

65

Fig. 2.63: Outdoor kiln

12

https://www.instagram.com/p/B5KcIVjB imT/

66

Fig. 2.64, Fig. 4.6: Art gallery

12, 24

https://bit.ly/35DyjpJ

67

Fig. 2.65: Outdoor green space

12

https://www.instagram.com/p/CDEPdg RJ3gQ/

68

Fig. 2.66, Fig. 4.11: Open plan workspace

13, 24

https://www.instagram.com/p/BreIPBy gs62/

69

Fig. 2.67: Skylights

13

https://www.instagram.com/p/BnoeNq AnFUr/

70

Fig. 2.68: Electric kiln

13

https://www.instagram.com/p/BKETYIW BjNA/

71

Fig. 2.69: Exhibition space

13

https://www.instagram.com/p/B0gXKq 7gLUi/

x

S. No.

Figure Title

Page

Source

72

Fig.2.70: Electric round kiln

13

https://www.sculpturespacenyc.com/s ervices

73

Fig.2.71: Exhibition space

14

https://www.instagram.com/p/BGXHSg osxaH/

74

Fig.2.72: Potter’s wheels

14

https://www.instagram.com/p/BZjjRjeF5 tv/

75

Fig.2.73: Closed workspace

14

https://www.instagram.com/p/BZjjRjeF5 tv/

76

Fig.2.74: Indoor kilns

14

https://www.instagram.com/p/BY_ZbRh Fpit/

77

Fig.2.75, Fig. 4.15: Floor plan

14, 24

Author

78

Fig.2.76: Flexible partitions for individual workspace

14

https://www.sculpturespacenyc.com/ membership/individual-space

79

Fig.2.77: Glaze room and spray booth

14

https://www.instagram.com/p/BY_ZbRh Fpit/

80

Fig.2.78, Fig. 4.12: Exterior view

15, 24

https://bit.ly/2S7TTLw

81

Fig.2.79: Exhibition room

15

https://www.schwartzsilver.com/project s/alex-and-ani-hall

82

Fig.2.80: Corridor

15

https://www.schwartzsilver.com/project s/alex-and-ani-hall

83

Fig.2.81: Informal dining

15

https://www.schwartzsilver.com/project s/alex-and-ani-hall

84

Fig.2.82, Fig. 4.8: Open plan workspace

16, 24

https://www.schwartzsilver.com/project s/alex-and-ani-hall

85

Fig.2.83: Building floor plan

16

https://bit.ly/33cc5df

86

Fig.2.84, Fig. 4.16: Ceramic studio plan

16, 24

https://bit.ly/33cc5df Edited by Author

87

Fig.2.85, Fig. 4.4: Outdoor workspace

16,24

http://www.ric.edu/art/Pages/default. aspx

88

Fig.2.86: Exhibition room

16

https://bit.ly/2HJ2NNG

89

Fig.3.1: Folding Partitions

17

https://bit.ly/3ic9uo5

xi

S. No.

Figure Title

Page

Source

90

Fig.3.2: Movable Partitions

17

https://bit.ly/2EKXR9X

91

Fig.3.3: Retractable Partitions

17

https://bit.ly/3jfSPBh

92

Fig.3.4: Transforming roof

17

https://www.bbc.com/news/world-eur ope-29250459

93

Fig.3.5: Retractable roof

17

http://espaluz.com/portfolio/piso-en-c adiz-con-techo-y-toldo-deslizante/

94

Fig.3.6: Sliding Screens

17

https://www.pinterest.co.uk/pin/368732 90672993129/

95

Fig. 3.7: Open plan (1)

18

https://bit.ly/2EJBNwg

96

Fig. 3.8: Open plan(2)

18

https://bit.ly/2SbUXyc

97

Fig. 3.9: Folding wall shelves

18

https://bit.ly/39tNfJw

98

Fig. 3.10: Folding wall tables

18

https://bit.ly/39xMLSH

99

Fig. 3.11: Modular tables

18

https://www.apresfurniture.co.uk/confa ir-folding-tables

100

Fig. 3.12: Storage space

19

https://www.schaulager.org/en/media /1/schaulager

101

Fig. 3.13: Meeting room

19

https://www.schaulager.org/en/media /1/schaulager

102

Fig. 3.14: First floor plan

19

https://www.schaulager.org/en/media /1/schaulager

103

Fig. 3.15: Entry of the building

19

https://www.schaulager.org/en/media /1/schaulager

104

Fig. 3.16: Assembling of the module

20

http://dailym.ai/3ql7xLm

105

Fig. 3.17: After assembling

20

http://dailym.ai/3ql7xLm

106

Fig. 3.18: Transformable roof

20

https://bit.ly/3l36eNF

107

Fig. 3.19, Fig. 4.16: Exterior view

21, 25

https://bit.ly/33gtb9K

xii

S. No.

Figure Title

Page

Source

108

Fig. 3.20: Exterior facade

21

https://urbannext.net/substrate-factory -ayase/

109

Fig. 3.21: Interior partitions

21

https://urbannext.net/substrate-factory -ayase/

110

Fig. 3.22, Fig. 4.17: Exterior view

22, 25

https://bit.ly/2GaU32p

111

Fig. 3.23: Service floor

22

https://www.hudsonyardsnewyork.com /discover/shed

112

Fig. 3.24: Retractable shell

22

https://www.hudsonyardsnewyork.com /discover/shed

113

Fig. 3.25: Installations

22

https://www.hudsonyardsnewyork.com /discover/shed

114

Fig. 3.26: Performances

22

https://www.hudsonyardsnewyork.com /discover/shed

115

Fig. 3.27: Retractable seats

22

https://www.hudsonyardsnewyork.com /discover/shed

116

Fig. 3.28: Performing arts

22

https://www.hudsonyardsnewyork.com /discover/shed

117

Fig. 3.29: Open cinema

22

https://www.hudsonyardsnewyork.com /discover/shed

118

Fig. 3.30, Fig. 4.18: Exterior and surroundings

23

https://www.dezeen.com/2010/05/08/r olex-learning-centre-by-sanaa/

119

Fig. 3.31: Floor plan of the center

23

https://bit.ly/2Jjv66E

120

Fig. 3.32: Semi-open and open

23

https://bit.ly/32SWpLl

121

Fig. 3.33: Interior view

23

https://bit.ly/35AE3Rd

122

Fig. 4.3:

24

https://thekindcraft.com/maker-profileceramicist-romy-northover/

123

Fig. 4.5:

24

https://bit.ly/3gdLkKp

124

Fig. 4.7

24

https://www.sculpturespacenyc.com/

125

Fig. 4.19

25

https://urbannext.net/substrate-factory -ayase/

xiii

S. No.

Figure Title

Page

Source

126

Fig. 4.20:

25

https://bit.ly/33Mfboe

127

Fig. 4.21:

25

https://archello.com/story/60359/attac hments/photos-videos/1

128

Fig. 4.24: Semi- open

28

https://bit.ly/36JAo3T

129

Fig. 4.25: Closed space

28

https://bit.ly/2JF7c5p

130

Fig. 4.26: Open Space

28

https://bit.ly/39HpduF

131

Fig. 4.27: Skylights

29

https://www.berkeleypottersstudio.com /

132

Fig. 4.28: Skylights

29

https://hickoryclay.com/facilities

133

Fig. 4.29: Glass walls

29

https://www.bklynclay.com/about

134

Fig. 4.30: Windows

29

https://bit.ly/2JEyWar

135

Fig. 4.31: Indoor plants

30

https://theceramichouse.studio/

136

Fig. 4.32: Outdoor Landscapes

30

https://bit.ly/2VOPfUp

137

Fig. 4.33: Natural Materials

30

https://bit.ly/3gnwRf6

138

Fig. 4.34: Exterior Sliding walls

31

https://bit.ly/3gnxGEI

139

Fig. 4.35: Exterior Sliding walls

31

https://bit.ly/3gnxGEI

140

Fig. 4.36: Exterior Facade

31

https://bit.ly/3otlRPW

141

Fig. 4.37: Walls with voids

31

https://bit.ly/37zC5QO

142

Fig. 4.38: Walls with voids

31

https://bit.ly/2LdB0Xt

143

Fig. 4.39: Closing folding partitions

32

https://www.behance.net/gallery/8981 2901/O-Design3S4S-Pottery-Workshop

xiv

S. No.

Figure Title

Page

Source

144

Fig. 4.40: Open folding partitions

32

https://www.behance.net/gallery/8981 2901/O-Design3S4S-Pottery-Workshop

145

Fig. 4.41: Open Plan (physical partition)

32

https://www.behance.net/gallery/8981 2901/O-Design3S4S-Pottery-Workshop

146

Fig. 4.42: Open Plan (visual partitions)

33

https://hickoryclay.com/facilities

147

Fig. 4.43: Folding structure (Closed)

33

https://bit.ly/2InuCMg

148

Fig. 4.44: Folding structure (Open)

33

https://bit.ly/3opS22Q

149

Fig. 4.45: Folding Structure

33

https://bit.ly/3gfES5s

150

Fig. 4.46: Spatial Zoning

34

Author

151

Fig. 4.47: Multi-use

35

Author

152

Fig. 4.48: Degree of enclosure

35

Author

153

Fig. 4.49: Indoor-Outdoor Connection

35

Author

154

Fig. 4.50: Materials

36

Author

155

Fig. 4.51: Levels

36

Author

156

Fig. 4.52: Outer flexible walls

36

Author

157

Fig. 4.53: Interior flexible walls

37

Author

158

Fig. 4.54: Walls with voids

37

Author

159

Fig. 4.52: Retractable Structure

38

Author

xv

LIST OF TABLES S. No.

Table Title

Page

Source

1

Fig. 4.1: Comparative Analysis of Ceramic Centres

24

Author

2

Fig. 4.1: Comparative Analysis of Flexible Buildings

25

Author

xvi

01 Flexible Architecture

1.1 Introduction With changing perception about the endless possibilities of the ceramic craft, considered as the oldest craft known to man, is gaining popularity among new generations worldwide.The versatility, freedom and durability provided by clay and terracotta allow the artists to explore, design and mould crafts in several forms, including tableware, tiles, figurines, and sculptures, of varying shapes and sizes.The procedure, adopted by ceramists for creation of a single craft piece, includes a sequence of processes and use of various machines like processors, wheel and kilns.

(a) Sculpture

(b) Wall installation

(c) Tableware

Fig. 1.1: Types of contemporary ceramic art

Therefore,spaces which support the various stages of production and are capable of serving varying scale arts are needed.

Flexibility in architecture is designing of the built environment to offer the users an opportunity of altering their spaces with changing needs over time.This is achieved using movable, portable and transformable elements of design.

It will provide a dynamic space which can be used by any ceramist irrespective of the scale of craft form practiced.This will also help in maximizing the utilization of spaces in the present and future.

1.2 Criteria of Selection Adaptability- The open plan design will allow the artists to divide and use the spaces as per their changing requirements of storage, display and workshop.

Mobility- An open plan design with movable and folding partitions will allow temporary separation of the spaces with a possibility of uniting all to create one big space like merging of all studios to form one workshop space.

Transformability- The folding and unfolding of building elements will help in providing enlarged closed or open spaces depending on the user’s needs.

1.3 Hypothesis Flexible design approach provide ceramicists with multi-functional spaces serving their changing requirements with time.

02 Flexible Architecture

1.4 Aim To identify flexible design methods which can be used in designing of workspaces and exhibition space to meet changing requirements with time.

1.5 Objectives ● ● ● ●

To study ceramic art, it’s forms and their proportions.

To understand the various methods of flexibility in architecture.

To analyze the requirements of ceramists.

To conclude the flexible design methods which can be used to meet the spatial requirements of ceramists.

1.6 Scope The study will cover the various type of spaces required by ceramicists and their ideal qualitative character. It will also focus on the flexible design methods in architecture and which of those can be used to create a ceramicist’ s space.

1.7 Limitation ● ●

The study will restrict itself to the contemporary ceramic art.

The study will not go into the specifics of technical details for the flexible design methods.

1.8 Methodology

Fig 1.2: Methodology Chart

03 Flexible Architecture

2.1 Introduction to contemporary ceramics Ceramic art is considered to be still modern after 27,000 years of existence, nearly the beginning of mankind. The uses of clay were not limited, ranging from tablewares, storage containers, jewel, ornaments, artifacts, idols, decor and much more.

Fig. 2.1:. Recumbent bottle Stoneware, ca. 300–710 H. 37.1 cm; D 44.1 cm

Fig. 2.2: Bowl, Earthenware, 12th–14th C 9.7 x 10.1 cm

Fig. 2.3: War, Porcelain, ca. 1781–89 33.3 × 19.1 cm

Fig. 2.4: Chocolate Pot, Porcelain, ca. 1890–96 26.7 cm

After the industrially produced wares were criticised in the 19th century, by John Ruskin and William Morris, and the studio pottery movement by potter Bernard Leach in the 20th century, there has been a significant interest in crafting and buying of handmade art and crafts.

Ceramic art is experiencing a great revival in contemporary art and design worlds, involving experimentation with shapes, sizes , function, textures and more . There are a large no. of young ceramicists coming up in the cities, practicing and exploring new approaches and uncommon aesthetics.

Fig. 2.5: Rosie, 30cm x 23cm x 9cm

Fig. 2.6: Vase, The Night was like Fire, 20in x 8in x 8in

Fig. 2.7: Social Amnesia, 20” x 10” x 2.5”

04 Flexible Architecture

2.2 Types of ceramics and their scale Functional ● Tableware:

Fig. 2.8: Plate, 1 cm x 27 cm Stoneware clay, Hand built,

By Aman Khanna

●

Fig. 2.10: Pourer 7 cm x 12.5 cm

Fig. 2.11: Container 11 cm x 15 cm

Lamps:

Fig. 2.12: Oo Floor Lamp 22” x 48” x 18” Terracotta, Wheel Thrown,

By Eny Lee Parker

●

Fig. 2.9: Tea cup 5.8 cm x 5 cm

Fig. 2.13: Oo Lamp 20” x 36” x 12” 24” x 48” x 14”

Fig. 2.14: Puffy Daisy Scone

Fig. 2.15: Table Lamp 11” x 45” Terracotta, Hand built,

By Aman Khanna

Vases/ Planters:

Fig. 2.16: Vase 51 cm x 31 cm Stoneware

By Kate Malone

Fig. 2.17: Vase 9.5 cm x 13 cm

Fig. 2.18: Planter, stoneware 11 cm x 18 cm Stoneware

By Aman Khanna

Fig. 2.19: Planter, stoneware 17 cm x 15 cm

05 Flexible Architecture

●

Furniture:

Fig. 2.20: Table Sand clay

Fig. 2.21: Stool 22” x 18” x 22”

By Reyaz Badaruddin

By Eny Lee Parker

●

Sculpture:

Fig. 2.23: Liminal Fig. 2.24: Liminal Entity 1 4” x 10.5” Occurence x13.5” 15’ x 9’ Porcelain Paper Clay

By Savia Mahajan

●

Fig. 2.22: Porcelain teapot and table

Fig. 2.25: Remains of Continent-1 16” x 10” x 3”

Fig. 2.26: Head 124” x 69.5” x 77.5”

Fig. 2.27: Dangos 5.5” x 5.75” x 4.25”

Hand built Glazed

By Jun Kaneko

Installation:

Fig. 2.28: Painted canvas 2 M high

By Adil Writer

Fig. 2.29: Ceramic flowers on ovoid frame

By Priti Sundaravalli

06 Flexible Architecture

●

Jewellery:

Fig. 2.30: Necklace, Handmade

Fig. 2.31 Earrings, Handmade

By Saraswati

By Martina Zalig

●

Fig.2.32: Necklace, Stoneware

Others:

Fig. 2.33: Mosaic Mural on wood

Fig. 2.34: Miniature, Stoneware

By Saraswati

Fig. 2.35: Art Tiles, Stoneware , 6” x 6”

By Rekha Goyal

2.3 Techniques: Handbuilding: Technique which involves use of hands in shaping of clay. It may include combinations of wheel throwing, pinching, coiling, slabs, pounding or squashing. ● Pinching: A ball of clay is held in one hand and pressed in the middle using thumb of other hand. This is done in circles around the initial pinch to achieve the desired shape and thickness. ●

Pinching technique

07 Flexible Architecture

●

Slab construction: The uniformly thick slabs of clay are made using slab rollers, roller pins or by tossing. Then each slab is cut into desired shape, followed by combining, joining, pressing, bending or folding.

Slab construction

●

Coiling construction: Soft clay is rolled into long,thick strips and a smooth plate of clay. Then, the coils are stacked one on top of the other such that they all are joined.

●

Wheel throwing: A ball of clay is thrown in the center of a spinning wheel.

Water is poured over it and as the wheel spins, the clay ball is held by one hand while the other hand shapes it. Once the water is dispersed, the walls are raised and thinned as desired, the artifact is finished on top and dry.

Coiling construction

Wheel throwing ●

Slip casting: Liquid clay is poured in a mould and allowed to solidify within the mould. Afterwards, the hardened clay is removed from the mould and allowed to air-dry.

Slip Casting Fig. 2.36 Techniques

Process: 1.

2.

3.

4.

5.

Preparing and kneading of clay.

Shaping clay using above mentioned technique(s) to achieve desired form.

Drying or firing in a kiln at high temperatures and then let it cool before opening the kiln.

Painting or glazing the artefact using various ceramic glazes.

Let it dry and then load into a kiln for the final step, glaze firing.

08 Flexible Architecture

Equipments: ●

Clay mixers:

Fig. 2.37: Mixer 15” x 28” x 24”

●

24” x 27” x 21”

Fig. 2.39: Pugger 46” x 24” x 33”

Kilns:

Front load

Front load

Top load

Top load

Fig. 2.40: Electric kilns

●

Fig. 2.38: Pug mill 25.5” x 12” x 22.5”

Fig. 2.42: Wood fired kiln

Fig. 2.41: Gas kilns

Potters wheels:

Fig. 2.47: Kick wheel 46” x 43” x 30”

Fig. 2.46: Electric wheel 23.5” x 27.5” x 23”

Fig. 2.45: Table top wheel

09 Flexible Architecture

2.4 Case Studies 2.4.1 Clay Station, Bangalore ●

Started as a pottery training studio in 2009, Clay Station is a leading organisation supporting ceramics and all its aspects.

●

It offers training programmes, online ceramic supplies, studio setup and consultation, corporate workshops, ceramic labs and community studios.

●

The facility aims to teach new generations and create possibilities in the ceramic art.

●

It also provides community with a space to learn, work, engage and inspire.

Fig. 2.46: Vegetation

●

Fig. 2.47: Multi-use (Exhibition)

The studio is a combination of open, semi-open and closed spaces, surrounded by lush greens, giving a sense of calmness to the users and ensuring fresh air with pleasant temperatures throughout the day .

●

The closed spaces are lit by natural light through big openings in the walls.

●

The material used for construction is mainly terracotta, connecting the space to its use.

●

The open plan provides a flexible layout and multi- uses such as classes, workshops, training, exhibition and more.

Fig. 2.48: Multi-use (Workshop)

10 Flexible Architecture

Fig. 2.50: Naturally lit closed space

Fig. 2.51: Visual nature with connection

Fig. 2.49: Hand building workshop

Fig. 2.52: Floor plan

Closed storage Semi-open Open space Closed workspace Movable furniture Kilns Shelves Slab roller

Fig. 2.53: Semi-open workspace

Fig. 2.54: Semi-open and open

Potters wheels

11 Flexible Architecture

2.4.2 Andretta Pottery, Himachal Pradesh ●

● ●

It is an oldest pottery working studio, located in Andretta, Himachal Pradesh.

It offers residential courses for a period of three months.

The studio is a combination of closed, open and semi-open spaces enveloped with lush greens.

Fig. 2.55: Entrance to the studio Marked by grass on both sides

The site is enclosed by huge green trees, shading the spaces and providing fresh air.

The semi-open workspace and storage surrounded by green grass and plantation, providing a calm experience to the users.

Stone Slab for glazing and natural drying of clay pieces in sunlight.

Fig. 2.56: Open space

● ● ●

The spaces are designed in levels, approachable through gentle sloping ramps, separating but visually connecting spaces, The studio is planned such that semi-open and open areas are well connected visually and physically to ensure use of these spaces.

Natural materials like mud, bricks, wood, stone have been used for the studio construction.

Fig. 2.57: Semi-open cafe Designed in-between the lush greens.

Fig. 2.58: Semi-open workspace Slab for storing the pieces thrown on wheel has been provided along the workspace

12 Flexible Architecture

Fig. 2.59: Clay preparation space

Fig. 2.62: Semi-open workspace

Fig. 2.61: Floor plan Closed storage

Closed workspace

Slab roller

Semi-open

Movable furniture

Potters wheels

Open greens

Kilns

Circulation

Shelves

Fig. 2.63: Outdoor kiln

Fig. 2.60: Semi-open transition

Fig. 2.64: Art gallery

Fig. 2.65:Outdoor green space

13 Flexible Architecture

2.4.2 Sculpture Space, NYC ●

●

● ●

●

Situated in New York, it is a Ceramics and sculpture center encouraging new ideas and experimentation with ceramics.

It invites users of all backgrounds to experiment, learn, make, reflect and grow artistically.

Founders: Artists Andrew Kennedy and Magda Dejose Users: Artists, sculptors, potters, designers, exhibition audience.

Built-up Area: 790 sq. mt. , Ceiling 6.7 mt. high Fig. 2.66: Open plan workspace Includes potters wheels, slab roller, kilns, storage shelves, movable furniture

Fig. 2.67: Skylights For daylight in interior

● ●

● ●

Fig. 2.68: Electric kiln A sculpture being put inside the electric kiln for firing

Fig. 2.69: Exhibition space Installation exhibited in the exhibit room

Spaces: Shared workspace, Individual workspace, Storage, Glaze chemistry room, Spray booth, Exhibit room Equipments: Potters wheels, two slab rollers, two clay extruder, four top loading electric kilns, one 48.5 inch tall front loading Thermal Logic electric kiln, and one 18 cubic ft Gas Kiln.

Source of light: Skylights and artificial lighting.

Open floor planning.

Kilns: Small round kiln: 21.0’’H x 15’’W x 15’’L Medium round kiln: 21.5’’H x 26’’W x 26”L Large round kiln: 25’’H x 26’’W x 26’’L Oval kiln: 25.5’’H x 41’’W x 26’’L Front load kiln: 48.5’’H x 26’’W x 26’’L

Fig. 2.70: Round Electric kilns

14 Flexible Architecture

Fig. 2.71: Exhibition space

Fig. 2.72: Potters wheels

Fig. 2.73: Closed workspace

Fig. 2.74: Indoor Kilns

Fig. 2.75: Floor plan

The open plan design allows flexible layouts and use of interior spaces. The workspace is converted into an exhibition spaces when required.

Storage Exhibit room Workspace Glaze room Movable furniture Kilns Shelves

Fig. 2.76: Flexible partitions for individual space With work table and shelves

Slab roller Fig. 2.77: Glaze room And spray booth

Potters wheels

15 Flexible Architecture

2.4.3 Rhode Island College Art Center, US Architects: Schwartz- Silver Area: 54000 sq. ft Year: 2014 ●

●

After renovation and additions to the old building, the Rhode Island College Art Center transformed into a durable, safe and light filled building suitable for various arts.

The new building supports various art programmes under one roof connected by corridors.

Fig. 2.78: Exterior view The interiors are naturally lit by floor-ceiling windows

Fig. 2.79: Exhibition room The display room along the entrance lobby and naturally lit staircase

●

The art galleries and display areas have been designed along the public corridors for easy public access.

Fig. 2.80: Corridor The public corridors connecting the interior spaces are naturally lit by four monitors

●

Each artistic programme has been provided a separate space equipped with required equipments.

The informal dining space naturally lit and connected with the outdoor greens by glass walls and windows.

Fig. 2.81: Informal dining

16 Flexible Architecture

Fig. 2.83: Building floor plan Various entry and exits designed for easy circulation to each art room with all public spaces designed close to two gates to restrict further public movement .

Fig. 2.82: Open plan workspace The studio is designed with movable workstations for flexible layout and multi-uses.

Fig. 2.84: Ceramic studio plan

Fig. 2.85: Outdoor workspace Stores four large kilns

â—?

Separate rooms for workspaces, classes, kilns and storage.

Fig. 2.86: Exhibition room High ceilings for large scale arts and clerestory for natural light and ventilation

17 Flexible Architecture

3.1 Introduction With the constantly changing world, the societal and environmental needs also vary. There is a need of built-environment which responds and adapt to these changes as humans adjust to the changes in nature. The architecture which is not stagnant, but offers its users with an option to make changes in their built-environment as per their needs is considered as flexible.

As mostly the users in work spaces are not the owners, the flexible design solutions are required to cope with the changing users and their needs.

Flexibility in architecture responds to the changes by focussing on longer use, multi-functional spaces, movable building elements, transformable spaces, making it more innovative, economical and ecological.

The changing, moving and displacing of interior elements results in expanding or contracting, division or uniting of spaces for varying uses. The walls, ceiling, floor, furniture, etc., are considered as flexible interior elements.

3.2 Elements of Flexible Architecture â—?

Walls : The walls are designed to move, slide, fold, or removed in order to divide or undivide the spaces. This allows users to use one large space in various ways as suitable to their needs.

Fig. 3.1: Folding partitions

â—?

Fig. 3.2: Movable partitions

Fig. 3.3: Retractable partitions

Roofs : This includes transformable or retractable roofs used to convert a closed space into an open space when required. This provides users with a shelter in sun or rains, and an open to sky space the other times.

Fig. 3.4: Transforming roof

Fig. 3.5: Retractable roof

Fig. 3.6: Sliding screens

18 Flexible Architecture

●

Floors/ Open plan : The structure supporting large spans is fixed, with modular partitions, provide free floor space. These plans are considered as unfinished with an opportunity of various design combinations and future changes.

Fig. 3.8: Open plan(2)

Fig. 3.7: Open plan(1) New Office and Production building, Switzerland

●

Miniso Office, Mexico

Furniture : The folding, retractable or moving furniture broaden the scope of space uses.

Such furniture help in achieving multi-functional spaces by being shifted, moved or folded when not in use.

Fig. 3.9: Folding wall shelves

Fig. 3.10: Folding wall tables

Fig. 3.11: Modular tables

3.3 Types of flexible architecture Flexibility is categorised into three types based on the amount of change and extent of stability of those changes. ●

Adaptability : A building is able to adapt the changes and support various functions without any modifications to the structural elements. The elements of an adaptable building includes open plan design and temporary changes like modular furniture.

These changes provide with multi-functional spaces .

Schlaulager (Art Store) in Basel is an adaptable building designed to store and exhibit art. It includes storage spaces, exhibition spaces, auditorium, seminar rooms , library, reading room and archives open on application to the researchers.

19 Flexible Architecture

Fig. 3.12: Storage space

Fig. 3.13: Meeting room

The polygonal shaped building with modular layout supports various facilities and varying requirements. The rooms are designed for both storing and presenting art, unlike in conventional storage spaces. The massive concrete pillars support the each floor, with open plan and flexible use of spaces.

Fig. 3.14: First Floor Plan

â—?

Fig. 3.15: Entry of the building

Mobility : Buildings are designed to be self- movable or transported to different locations within a time range. This approach supports the needs of moving, migrating humans.

Today, the mobile buildings are widely used in a number of building typologies like commerce, industry, military, education, health care, housing, toilets and more.

These portable structures serve distinct uses, efficient use of materials and resources.

It also helps in establishing services in unapproachable, remote or unusual environments.

20 Flexible Architecture

Fig. 3.16: Assembling of the module

Fig. 3.17: After assembling

Flexhotel is a folding module of bedroom and bathroom space designed for cheap accommodation in outdoor events like music festivals. One unit can accommodate two people at a time and can easily be folded up. It also include electricity, lighting, basic furniture, linen and towels. â—?

Transformability : Transformable buildings include changes in interior or exterior spaces through alterations to the building components like roofs, partitions or walls. The transformable architecture helps in opening up of closed spaces or expanding/contracting the spaces to respond the changing needs. This also helps in interior and exterior environment interaction.

These modifications can be done manually by assembling or disassembling of building elements or mechanically by using button to operate these elements.

Bengt Sjostrom Starlight Theatre in United States is a facility for performing arts with a folding, origami-like roof enclosing the space during rains and opens in fair weather.

Phase I include expanded seating bowl, ticket building, toilet rooms, sculpted landscape and illuminated terraces. Phase II includes proscenium and translucent sliding stage doors.

Phase III includes the transformable roof structure which opens upward like the petals of a flower in a helical order so that each roof petal overlaps its neighbor.

Fig. 3.18: Transformable roof

21 Flexible Architecture

3.4 Case Studies 3.4.1 Substrate Factory Ayase, Japan Architects: Aki Hamada Architects Area: 290 Sq. Mt. Year: 2017 ●

Spaces : Multipurpose space to gather and exhibit for community.

Fig. 3.19: Exterior view

●

Lighting: The external skin allows the penetration of daylight into the building through voids.

The internal partitions are fit into the horizontal beams. The sloping roof is supported on diagonal beams and covered with translucent fabric to get diffused daylight.

Fig. 3.20: Exterior facade

●

Element of flexible architecture : Open plan and movable furniture.

Exterior Facade: Two layered Outer layer is of steel-strips panels creating solid and void while the inner layer is a transparent thing glass.

Inner partitions: Sliding and removable wood partitions.

(b) Partitions removed to get an open plan for communal use.

Fig. 3.21: Interior partitions

(a)

Translucent fabric draped over diagonal beams for diffused natural light.

(c) Partitions slided to divide large space and create small modules.

22 Flexible Architecture

3.4.2 The Shed, New York Architects: Diller Scofidio + Renfro, Rockwell ●

Spaces : Two large gallery spaces; a versatile theater; and a rehearsal space, an artists’ lab, and a skylit event space.

●

A 20,000 sq.ft plaza acts as a flexible space with capacity of 1250 people sitting and 2700 standing.

Fig. 3.22: Exterior view of The Shed, New York

The service floor for hanging installations, ropes, lights etc.

Fig. 3.23: Service Floor

The indoor halls are converted into art galleries , interactive sessions and performance spaces.

The retractable furniture is transported to the upper floors through hoists Fig. 3.24: Retractable shell operated from the service The walls of shell are retractable to floor. allow movement of trucks inside and also creating a semi-open public space when required.

Fig. 3.27: Retractable seats

Fig. 3.25: Installations

The external facade of the building is sliding to merge the interior spaces with the plaza and for transporting goods to the floors.

Fig. 3.28: Performing art space

Curtains dropped down to create an enclosed dark space for performances.

Fig. 3.26: Performances

Fig. 3.29: Open cinema

23 Flexible Architecture

3.4.3 Rolex Learning Center, Switzerland Architects: SANAA ●

Spaces : Multi-purpose hall, library, offices, learning space, workspace, exhibitions, restaurant, etc.

●

A continuous, organic shaped structure built over an area of 22,000 sq mt.

Fig. 3.30: Exterior and surroundings

●

Open plan: A rectangular plan with gentle slopes and fourteen voids. The undulations separate the spaces with no visual barriers to allow free flow of users.

Fig. 3.31: Floor plan of the centre

●

Indoor-outdoor connection: The glazed voids connect the indoors with the social open spaces.

These courtyards also help in naturally lighting the interior spaces.

The series of undulations create semi-open spaces below on the ground floor, encouraging the multi-use of semi-open and open areas.

Fig. 3.32: Semi-open and open

Shaded space below the building being used as a semi-open interactive space

Fig. 3.33: Interior view

Indoor space gradually sloping and visually connected with outdoors on both sides

24 Flexible Architecture

4.1 Comparison of case studies 4.1.1 Ceramic art spaces Clay Station, Bangalore

Andretta Pottery, Himachal Pradesh

Sculpture Space, NYC

RICA, US

Inferences

Main programme

Pottery training studio

Studio Pottery

Ceramic and Sculpture Center

Art Institute

-----------

Enclosure

Combination of closed, semi-open and open.

Combination of closed, semi-open and open.

Closed space.

Combination of closed and semi-open.

Combination of closed, semi-open and open spaces

Fig. 4.1

Fig. 4.2

Fig. 4.3

Fig. 4.4

Lighting

Combination of natural and artificial light.

Combination of natural and artificial light.

Combination of natural and artificial light.

Combination of natural and artificial light.

Combination of natural and artificial light.

Source of natural light

Windows

Windows

Skylights

Monitor roof, glass walls windows.

Windows, glass walls and skylights.

Fig. 4.5 Connection with nature

The studio is surrounded by lush greens and built in terracotta

Fig. 4.9 Connection between all the spaces

All the closed spaces open in one semi-open space

Fig. 4.13 Flexible strategy

Semi-open space with an open plan and movable furniture.

Multi-uses

Workspace,exhi bitions, workshops

Fig. 4.6

Fig. 4.7

Consists of outdoor greens, indoor plants and natural material

Fig. 4.10

No connection with nature in interior spaces.

Fig. 4.11

Visual connection between the spaces and physical connection through ramps..

Fig. 4.14

The closed workspace connects the other supporting areas physically but rare visual connection.

Fig. 4.15 _______

Each space has its own specified use

Table 4.1: Comparative analysis of ceramic centres

Fig. 4.8 Large glass walls connect with the designed outdoor landscaping.

Surrounding greens, indoor plants, natural materials, natural light and air.

Fig. 4.12 The spaces are physically connected through a corridor but no visual connection.

Fig. 4.16

The workspace physically connects the other spaces.

A visual connection between the primary spaces like workspace, exhibition area, open drying space, etc.

Open plan design with movable partitions.

Movable furniture and flexible layout.

Open plan, movable partitions and furniture.

Workspace and exhibitions

Each space has its own specified use

Convertible spaces

25 Flexible Architecture

4.1 Comparison of case studies 4.1.2 Flexible architecture

Main program me

Substrate Factory Ayase, Japan

The Shed, New York

Rolex Learning Center, Switzerland

Multipurpose space for community

Performing arts and visual arts.

EPFL Learning Center

Fig. 4.16

Fig. 4.17

Fig. 4.18

Enclosure

Closed space

Closed and semi-open space

Closed, semi-open and open spaces.

Lighting

Combination of natural and artificial light.

Artificial lighting.

Combination of natural and artificial light.

Flexible strategy

Sliding and removable partitions with an open plan design provide multiple uses of a large space.

Movable shell and walls allow multiple layouts and functions within the same space.

Open plan with gradual undulations to separate the spaces physically but maintaining visual connectivity.

Flexible space

Multipurpose space for community to gather or divide and use the space in groups.

Building merged with the plaza to achieve an enlarged space for various arts and accommodate large no. of visitors.

The undulating structure provides semi-open spaces below which can be used for various functions and interactions.

IndoorOutdoor connecti on using flexible elements

The external steel-strip panel facade,when slided, visually links the inside and the outside.

The onlookers can see the activities occurring inside the building through the translucent panels covering the sliding steel frame.

The gentle sloping concrete form merges with the ground floor, connecting the users to the open spaces outside.

Fig. 4.19

Similaritie s

Fig. 4.20

Fig. 4.21

Different flexible building elements have been used to meet the various levels of privacy and openness needed to perform diverse functions in multi-use spaces.

Table 4.2: Comparative analysis of Flexible buildings

26 Flexible Architecture

4.2 Spaces required by ceramicists:

●

Clay preparation space: Semi-open, rough flooring, Workspace: Diffused daylight, open plan, convertible into an exhibiting space.

Paper work space: Clean, organised space for sketching, drawing and keeping records.

Exhibition room: Close to entrance and naturally lit.

● ● ●

Storage: Clay, equipments and other materials.

Kiln room: Close to workspace and well ventilated.

Glaze room: Close to kiln room.

● ● ●

Fig. 4.14: Floor Plan

Closed storage

Movable furniture

Semi-open

Kilns

Open greens

Shelves

Circulation

Slab roller

Closed workspace

Potters wheels

27 Flexible Architecture

4.3 Qualitative character of spaces: 4.3.1 Multi-use spaces

Exhibition Workspace Fig. 4.22: Semi-open workspace

Fig. 4.9: Multi-use (Exhibition)

Workshop

Fig. 4.23: Multi-use (Workshop)

28 Flexible Architecture

4.3.2 Types of enclosure and their uses: The preference of enclosure varies from one artist to another artist.

Closed space: Open plan, Flexible layout Natural and artificial light Visual connection with the outdoors.

Fig. 4.25: Closed space

Fig. 4.24: Semi-Open

Semi-open space: Multi-use shaded space Diffused natural light and air Surrounded by lush greens Also acts a transition space

Fig. 4.26: Open space

Open space: Nature surrounds workspace,exhibition Natural light and air Can support pubic interactions

29 Flexible Architecture

4.3.3 Lighting & Ventilation : Skylights, windows and glass walls are used to allow natural light penetration and air flow in the interior space.

Skylights lit the interior and visually connect inside-outside by providing the users with a view of the sky.

Fig. 4.27: Skylights

Fig. 4.28: Skylights

Fig. 4.29: Glass walls

Floor to ceiling glass walls blur the boundary between interior and surroundings like Fig. 4.30: Windows landscaping, street, semi-open workspace, Windows admit light inside and allow etc., visually merging both. people with eye level above sill height to connect with exterior.

30 Flexible Architecture

4.3.4 Indoor-Outdoor-Nature: An indoor space can be connected with the nature through views to the green areas, natural light, indoor plants, or using natural materials for construction of the facility.

Indoor Plants: Adding plants in interior provide ceramicists with a calm and relaxing environment to work.

Fig. 4.31: Indoor Plants

Fig. 4.32: Outdoor landscapes

Outdoor greens: Indoor spaces can be visually connected with the nature outside through openings to achieve better qualitative space.

Fig. 4.33: Natural Materials

Materials: Natural materials like adobe, rammed earth, clay paints, etc., can be used to link the space to its use as well as nature.

31 Flexible Architecture

4.4 Flexible building elements for ceramicists’ space: Walls: Sliding or folding walls can be used to utilize the spaces independently or collectively.

When outer sliding walls are closed, less interaction with the surroundings and more privacy.

Fig. 4.34: Exterior Sliding walls

Fig. 4.36: Exterior Facade

When outer sliding walls are opened, less privacy but more interaction with the surroundings.

Fig. 4.35: Exterior Sliding walls

When outer walls slided to open, closed space transforms into a semi-open space. Daylight enters and natural air flows throughout the interior space.

●

●

The movable outer walls help in establishing a connection between the users and their surroundings, thus promoting use of the exterior spaces.

Flexible outer walls with punctures shall be used to allow natural air and light inside.

Fig. 4.37: Walls with voids

Fig. 4.38: Walls with voids

Sliding walls with punctures, jaalis, or louvers will allow natural light and air to penetrate inside, even when closed with a limited visual connection.

32 Flexible Architecture

The flexible partitions in interior help in division of large spaces to obtain smaller spaces like exhibition room, workspaces, storage, etc.

Fig. 4.39: Closing Folding partitions

When flexible interior partitions are opened, one large space or pockets of small areas, visually and physically connected, can be achieved.

Fig. 4.40: Open Folding partitions

â—?

Different permutations of one space can be done using flexible interior partitions to promote easy and efficient use of spaces by the ceramicists.

Open plans: Open plan design allows flexible layout within the same space. It provides with barrier free spaces to accommodate changing needs with time.

Fig. 4.41: Open Plan (physical partition)

Various activities can be done easily in an open plan space, separated by physical or visual means if required, at the same time.

33 Flexible Architecture

Fig. 4.42: Open Plan (Visual partition)

â—?

Open plans with movable partitions allow various levels different functional requirements of ceramicists.

of privacy and support

Roof/Structures: As semi-open and closed spaces are desirable by ceramicists, retractable roofs which slide or expand to form an additional space will be useful.

Flexible roof can be pulled back/forth to convert an open space into a semi-open or closed space.

Fig. 4.43: Folding structure (Closed)

Fig. 4.45: Folding structure

Various temporary activities like temporary exhibitions, workshops, etc, can be held easily.

Fig. 4.44: Folding structure (Open)

â—?

Retractable structures shall be used to create a temporary, semi-open space which will support occasional functions when required.

34 Flexible Architecture

5.1 Conclusions This research aimed to identify effective flexible design methods which satisfy spatial requirements of ceramicists.

Based on quantitative and qualitative analysis of their spatial requirements, the results show that organisation, layout, degree of enclosure, daylight, nature and visual connection, play a significant role in spaces for ceramicists. These characteristics collectively help in carrying out processes smoothly and also enhance the spatial quality.

By analyzing different flexible design strategies in architecture and their use with the help of literature studies, it can be concluded that a combination of open plan and movable walls help in achieving the built environment, such as daylight, visual connection and enclosure options, as desired by ceramicists. It allows them to organize and utilize the spaces as per their understanding and requirements. Also, temporary activities like workshops, exhibitions, etc, can be easily supported by flexible structures like retractable roofs or shell structures. But these strategies may vary according to the climatic context of the site for thermal comfort.

5.2 Recommendations

Fig. 4.46: Spatial zoning

1.

The supporting areas must open in a transition space ( lobby ) which is further connected to the workspaces for movement and work ease.

2.

Intake of natural light in public areas and work spaces is must to enhance the environment and support functions.

35 Flexible Architecture

3.

Workspace shall be designed close to a public area/ lobby so that it can be accessed by visitors easily when used as an exhibition space.

4.

A combination of open, semi-open and closed spaces support different user needs and artist-visitor interactions.

5.

The indoors must be connected with the outdoor spaces and greens at various eye levels, while working in different postures ( standing or sitting ).

Multi-use Workshops

Exhibitions

Fig. 4.47: Multi- Use

Fig. 4.48: Degree of enclosure

Sitting on ground

Sitting on chair

Fig. 4.49: Indoor-Outdoor Connection

Standing

36 Flexible Architecture

6.

Incorporation of nature in interior and exterior through use of indoor plants, outdoor landscapes,daylight , natural air flow, and materials.

7.

A variety of enclosures can be designed in levels, accessible through gentle ramps, such that open areas become central spaces for outdoor activities and also connecting other areas.

8.

A closed space can be converted into a semi-open using flexible outer walls, visually connecting indoors-outdoors and encouraging use of open spaces.

Fig. 4.50: Materials

Fig. 4.51: Levels

Fig. 4.52: Outer flexible walls

37 Flexible Architecture

9.

Open plan designing with movable partitions to allow multiple combinations of space division for flexible use of single space.

Individual spaces: Small modules (individual workspaces).

Common and individual spaces: Separated public( exhibitions, workshops) and private areas (workspace).

One common space: Large hall for exhibitions/ workshops.

Fig. 4.53: Interior flexible walls

10.

Fig. 4.54: Walls with voids

Use of movable partitions with punctures help in intake of natural light and air flow while maintaining physical separation between the areas.

38 Flexible Architecture

11.

Temporary events

Fig. 4.55: Retractable structure

Retractable structures like roof, shell, etc, can be used to create temporary shaded spaces for events like exhibitions, workshops, public interactions, on the open areas.

GLOSSARY OF TERMS 1.

Built Environment - man-made structures, features, and facilities viewed

collectively

as an environment in which people live and work.

2.

Ceramicists - one who makes ceramic products or works of art.

3.

Contemporary - belonging to or occurring in the present.

4.

Enclosure - an area that is surrounded by a barrier.

5.

Flexible - able to be easily modified to respond to altered circumstances.

6.

Kiln - a furnace or oven for burning, baking, or drying, especially one for calcining lime or firing pottery.

7.

Monitors - a raised central portion of a roof having low windows or louvers for providing light and air.

8.

Multi-functional - having or fulfilling several functions.

9.

Retractable - able to be drawn back or back in.

10.

Spatial - relating to, occupying, or having the character of space.

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BIBLIOGRAPHY 1.

Herzog, N. (2016, may 25). Contemporary Ceramic Art - the Return and the Appeal of Clay. WideWalls. https://www.widewalls.ch/magazine/contemporary-ceramic-art

2.

A modern approach to tradition https://ceramicartsnetwork.org/wp-content/uploads/2017/04/ContTableExcerpt2.pdf

3.

Corral, A. (2016, august 26). 5 Ceramic Techniques You Need to Know. Artsy. https://www.artsy.net/article/artsy-editorial-5-ceramic-techniques-you-need-to-know

4.

Peterson, B. (09, 04 06). The Three Main Pieces of Equipment for Potters. The spruce crafts. https://www.thesprucecrafts.com/main-pieces-of-equipment-for-potters-2745865

5.

https://claystation.in/

6.

https://andretta-pottery.business.site/

7.

https://www.sculpturespacenyc.com/about

8.

(2015, january 02). Rhode Island College Art Center / Schwartz-Silver. Archdaily. https://www.archdaily.com/582874/rhode-island-college-art-center-schwartz-silver

9.

(2016, april 11). Alex And Ani Hall. http://www.ric.edu/art/Pages/alexandanihall.aspx

10.

https://archello.com/project/rolex-learning-center-2

11.

(2020, september 22). Design Flexibility. Designing Buildings Wiki. https://www.designingbuildings.co.uk/wiki/Design_flexibility

12.

R. Kronenburg. Flexible Architecture: The Cultural Impact of Responsive Building. https://www.irbnet.de/daten/iconda/CIB12025.pdf

13.

Gharavi, M. (2018, November). Toward a convergent model of flexibility in architecture. Research Gate. https://www.researchgate.net/publication/328947317_Toward_a_convergent_model_ of_flexibility_in_architecture

14.

Concept. Schaulager. https://www.schaulager.org/en/schaulager/concept/architecture

15.

(2009, august 05). Bengt Sjostrom Starlight Theatre. Archdaily. https://www.archdaily.com/28649/bengt-sjostrom-starlight-theatre-studio-gang-archite cts

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16.

Baker, K. (2015, may 22). Now your hotel can be almost as portable as your luggage!.

Daily Mail. https://www.dailymail.co.uk/travel/travel_news/article-3093427/Dutch-firm-invents-foldi ng-hotel-packed-10-minutes.html

17.

Frearson, A. (2017, may 22). Removable walls offer endless configurations for community space by Aki Hamada. Dezeen. https://www.dezeen.com/2017/05/22/substrate-factory-ayase-community-space-japa n-kanagawa-aki-hamada-architects/

18.

Franklin, S. Architectural Details: The Shed at Hudson Yards. Architizer. https://architizer.com/blog/inspiration/industry/architectural-details-the-shed-at-hudso n-yards/

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ANNEXURES(A) QUESTIONNAIRE ONLINE SURVEY

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Images of workplace/studio collected through the survey.

Mudita Bhandari-

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Reyaz Badaruddin-

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Vipul Kumar-

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ANNEXURES(B) INTERVIEW- Mr. Rajdeep Kotadiya, Surat ● ● ●

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For how long have you been working with ceramics?

Almost 7 years but the studio was set up last year.

What kind of ceramic artworks are done by you?

I do all but mainly sculpture and studio pottery.

Is the scale similar everytime or different?

The scale mainly depends on the kiln size. The artwork is designed in pieces if bigger than the available kiln size. I work usually within 2 ft x 2ft sized craft.

As you do both sculpture and pottery, are there different requirements in terms of equipments and spaces?

Yes the requirements vary for both as tableware includes repetitive production of similar sized pieces in the same workplace every time whereas workspace for a sculpture depend on its scale.Also, materials remain same but the techniques are chosen depending on the sculpture design.

How many people work with you in your studio? Usually 2-3 assistants accompany me in preparation of clay and glazes as it is a messy and long process.

Do you have separate spaces for each use?

For now, I have only two rooms in my studio. There is a requirement of more spaces but property prices are too high.Bathroom space being used for clay preparation. If a proper studio is setup, it will have different spaces for clay storage,preparation, glazing, workspace,kiln and so on.

Which is the most common posture while working or it depends?

The posture varies with the techniques used. Usually sitting posture is preferable and standing is used when the scale of artwork is huge.

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Is there a variation in the size of pottery wheels?

The size of wheel is same but the height is customizable depending on the user preference.

Which kiln is used by you and why? or it varies with each artwork? I use Gas Kiln measuring inner 2ftx2ft, outer 3ft x 3 ft made by me.

Gas kilns are used mainly for studio pottery as temperature can be maintained as desired and it gives slightly varying finishes with same glaze.

Electric kiln is used for production as the temperature is set.

Wood kilns are used for sculptures and experimental art.The ash melts and mixes with glaze giving varying finishes on one piece.

How is clay prepared and what is the character of a clay preparing space? It involves mainly machines with some manual work as well.Clay prep is done in rough open space which requires less maintenance as it is a messy space.

Do you prefer working in closed, semi open or open space?

I prefer working in semi open space flooded with daylight. Direct light is not preferable as it leads to changes in clay.

Will a workspace with flexible layout, walls, roofs and storage be prefered by you and why?

Yes, as it will help with efficient use of spaces as required. Being a sculpturist, it will help me to enlarge the space if need for my sculpture.

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