A walk through the unfinished art of Da Vinci

0. About Studio

1. Design Boot Camp

1.1 Architecture as Architecture

Architectural drawings of Pirouette house - Wallmakers

1.2 Interior Design Sensibility

Isometric view of interior

1.3 Interior Design Specialisation

Exploded isometry representing the experience Module 01

2. Developing the Hypothesis

05 07 22

The BIG Re-think Tectonic Materiality of Interior Elements

Master Tutor: Prof. Kireet Patel

Studio Tutors: Rishav Jain, Aparajita Basu

Assistants: Jay Odharia, Jhanavi Parikh

Brief Outline:

The Big Rethink is a series of postgraduate interior design studios focused on developing a multitude of notions, approaches, positions and arguments within the interior design field.

This semester, the fourth one in the series, the studio challenges the concept of Tectonic Materiality of interior elements. It offers an opportunity to develop a design position in different contexts by questioning preconceived notions of interior design. It emphasizes the relationship between Interior elements and tectonic materiality through experience, organization and construction. The studio focuses on representing experiential and ephemeral qualities, planning and organising strategies, detailing and construction techniques, exploring the relationship of interior elements and tectonic materiality.

Learning Outcomes:

After completing this studio unit, the student will be able to:

Ability to develop a systematic argument/position/approach on the interdependence between interior techniques and practice.

Ability to translate/represent the design argument/position/ approach through 3- dimensional and material based outcomes.

Ability to organize and evaluate the programmatic and pragmatic potential of derived design position.

Ability to build a design vocabulary and test it through the selected context (site/program).

Architecture

Trivandrum, Kerala

urban and crowded locale 2,174 sq ft plot that was projects from all four team at Wallmakers inward-facing house with all central courtyard. This bond is an ode to Lauri

Sketches/ Drawings

the selected project information sources)

Diagram Set 1 : Goal of selection | 4-5 Diagrams ( Create diagrams and give your reason for selection of a project and exemplify visually with creativity)

OpenVolumetric experiences

A metal staircase along the re claimed screen of scaffolding pipes

Free-flowing folds Choice of materials

Creating a space that opens to the inside and solves site limitations through design interventions

Exploration of design through sketches

Understanding the tectonics

Art in architecture - expression

Solving deficiencies through

Tutor: Prof. Kireet Patel | UnitTutors: Rishav Jain, Aparajita Basu | Unit Assistants: Jhanavi Parikh, Jay Odharia | M.I.D. | Monsoon 2022 | PG L4 Unit | Faculty of Architecture | CEPT University

Diagram

Ex. 01 | Specialisation of sensibilities

Knowing Architecture and Interior Sensibilities & Interior Specialisation

Pirouette house (2020)

Location : Maruthamkuzhi, Trivandrum, Kerala

Designer: Wallmakers

Week 01-04 | Design Boot-Camp Process:

Understanding the delicate balance between its architecture and interiors was necessary for the unfolding and revealing of the numerous layers of such an integrated design. This required a systematic peeling of multiple layers of design decisions that enhance the experience in the simplest yet complex manner. The process helped me identify the relationship of material textonics and user experience. Thus, it is possible to observe how the unique brick wall, recycled metal scaffoldings used as windows and for the staircase, cane railings, and furniture, together with the use of ferrocement slabs, contribute to the design’s individuality and produce a singular interior experience unmatched by anything else.

First

Exploded Isometric view Architecture as Architecture 4. Swing

Naina Maggie Cleetus | PID 22210 Interior 3. Toilet

design sensibility 5. Informal living 2. Courtyard

Architectural drawings representing architecture as architecture & interior design sensibility

Project name : Pirouette House ,Trivandrum, Kerala

Designer: Wallmakers Area: 2174 sqft

Cane handrail bolted to metal frame on floor

Cast ferrocement bed with slabs and storage

Rat-trap bond masonry

Welded steel scaffolding as grill for windows Welded steel scaffolding for swing in master bedroom

Seating cushion

Cane handrail joinery

Welded metal scaffolding staircase

Ferrocement slab as dining table

Ferrocement seating and wooden legs for stools

Cement plastered around projected brick masonry forming head board

Ferrocement seating and wooden legs for stools

Salvaged timber plank flooring Metal and cane furniture Integrated ferrocement slab MS grill for skylight

Cement plastered flush around brick projections.

Recycled metal scaffolding windows

Rat trap bond masonry

Metail framed furniture entwined with cane

Recycled metal scaffolding staircase welded coupled with cane handrail

Exploded Isometric view detail

Ex. 02 | Design Optimization

Familiarising - “Know it more through - Optimization”

Woven stories continue

In order to further understand how the material and its tectonics are woven into the design that creates the seamless experience, we delved more into the features such as the parametrically positioned bricks and woven metal scaffolding with cane. In this project, we experimented with employing laser cut MDF bricks, whose strategic undulations produced unusual but appealing niches. Additionally, wood and jute ropes that formed the tesselation and created the flow in the design were used to represent the intertwining of metal scaffolding to cane that formed another important element as for the openings and staircase. Which can be seen to connect with the more rigid brick, creating a sense of contrast as well as interest. Furthermore the cnc cut base represented our overall design identity overlaid with an acrylic layer that held the system together.

Group work model representing our idea of design optimization.

Tectonic exploration-

1. Laser cut mdf bricks assembled using metal wire and acrylic base.

2. Weaving of wooden sticks and jute.

3. Part of metal staircase experimented using metal spokes entwined around wood post.

4. CNC of wooden base representing design identity

Model process journal

Basu

Unit Assistants: Jhanavi Parikh, Jay Odharia

M.I.D.

Maggie

Text: Avenir LT Std 35 Light|10 pt Text: Avenir LT Std 35 Light|10 pt

View showing the fluidity of form through brick, cane and jute

View representing formation of space through tessellation and weave.

Image showing the contrast in exploration of material and form.

View to represent mediums explored- CNC cut wooden base overlaid with acrylic, laser cut mdf bricks assembled using metal wire and a weaving of wooden sticks and jute.

Ex. 01 | Tectonics & Materiality

Part 01 | Exploring concepts of Tectonic Materiality

Process:

The process included observing and analyzing several interior design decisions that contributed to the creation of the interior experience. To create a synthesis of the entire project, the design, its material, tectonics and its techniques are examined via a variety of lenses, including context, elements, compositions, layers, volumes, notions of space, composition, and movement, among many others, distributed over a matrix. Incorporating or identifying with these statements would ultimately lead us to creating our own hypothesis, which would serve as the foundation for the forthcoming roles.

Hypothesis development:

Can overlay of materials of interior elements enhance the tactility of an interior space? ---

Can fusion of elements modulate volume and tactility of an interior space? ---

Can combination of materials using multisensory connections as a deciding tool influence perception and experience in design ?---

Can fusion of visual and haptic communication through materials and elements generate more interactions and interest in design ?---

Can the play of light of visual and tactile textures through elements heighten sensorial experience in design ?---

“Can material and its tectonics enhance multisensorial experience ?”

Tectonics can be achieved through either complementary or contrasting materials. The same could be portrayed through modulation of a material, expression, form, geometry, colour, pattern etc..

One could also reveal the intricacy in joinery details or alternatively could conceal its tectonics to achieve a seamless design based on the experience required.

When does tectonics of materials play a role to enhance multisensorial experience?

To establish a deeper connection with space all senses needs to be integrated into the design process.Due to the ability and curiosity of the human mind to explore and understand the intricate relationship and tectonics between elements and its organization spatial experiences can be designed in a manner to achieve active and passive interactions with the user thus enhancing exploration and sensorial activity. This inturn would help to generate participation, identification of space and consequemtly generation of memory.

When is tectonics achieved through different materials ?

Design intervention - Exhibition for Da Vinci dream machines at Samode Palace.

Week 07-08

Module 02 | Role 01 Historical practices through a project representing an ‘era’

The Golden Era Adaptive reuse - Exhibition

Samode Palace, Jaipur

Process:

The objective of designing an exhibition within this historical location was to create an experience within an experience, taking into account the highly ornate and embellished interior facade of Samode palace. The process included identifying and analyzing prominent features and characteristics for creating an exhibition space that can highlight the dream machines of Da Vinci. This is experimented through identification of elements or planes of the historical site that can be strategically altered or layered to create the sensorial experience through use of material and its tectonics.

Influenced by Mughal and Rajasthani Art and architecture. Structure made out of marble, sandstone and masonry. Highly embellished interior facades.. Use of colors such as blue, green, gold etc.

Influenced by Mughal and Rajasthani art and architecture. Structure out of marble, sandstone and masonry. Highly embellished interior facades. Use of colors such as blue, green, gold etc Large span arches with ample circulation.

Interiors: Marble floors, intricately Mosaic walls with small Luxurious carpets and decorated Floral and hunting Smooth curves

The Big Rethink: Tectonic Materiality | Master Tutor: Prof. Kireet Patel | Unit Tutors: Rishav Jain, Aparajita Basu | Unit Assistants: Jhanavi Parikh, Jay Odharia

intricately ornamented pillars, small inlaid stones, decorated old painting. hunting motifs on walls. to soften roof.

Colourful frescoes.

Colorful frescoes. Use of highly chromatic colors with gold and stone. Soft furnishings contrasted with hard surfaces Intricate designs on all facades unifying the structure

Use of highly chromatic colors with gold and stone. Soft furnishings contrasted with hard surfaces. Intricate designs on all facades unifying the structure. Space exhibits a sense of grandeur and opulence.

Space exhibits a sense of grandeur and opulence.

Clear demarcation of pathways and activity zones

Variation in heights in roof forms based on function Directional arcade with highly ornamental arches

Design exploration trial 1 : Photo-montage showing elements which follows the chromatic palette achieved through reflective metal panels that form elements and create sense of enclosure. The idea of materiality was further explored and can be seen in the final outcomes

Other design concept explorations through use of color, onyx stone as podiums, and metal frame to define spaces within existing framework.

Role 01 | Historical practices through a project representing an ‘era’

Suspended exhibits from ceiling with soft flooring finish to ground the elements and emphasis display

Suspended exhibits from ceiling with soft flooring finish to ground the elements and emphasis display

Suspended exhibits from ceiling with soft floor ing finish to ground the elements and emphasize display

Existing niches and elevated platforms used to display exhibits.

Existing niches and elevated platforms used to display exhibits.

Existing niches and elevated platforms used to display exhibits

Use of gold embellished lighting over existing roof curve.

Use of gold embellished lighting over existing roof curve

INTERIOR DESIGN SENSIBILITY

INTERIOR DESIGN SENSIBILITY

INTERIOR DESIGN SPECIALIZATION

Curved elevated podiums to hold displays which also define circulation and allows visual connectivity.

Curved elevated podiums to hold displays which also define circulation and allows visual connectivity.

Curved elevated podiums to hold displays which also define circulation and allows visual connectivity

Masking of wall and floor using led panels.

Masking of wall and floor using led panels

Masking of wall and floor using led panels.

Fluted panel layered over led panel behind exhibit.

Fluted panel layered over led panel behind exhibit. Exterior displays set around space create emphasis and interest.

Fluted panel layered over led panel behind exhibit. Exterior displays set around space create emphasis and interest.

Mirror finish partitions to fuse ceiling and wall in a manner to create emphasis.

Mirror partitions to fuse ceiling and wall in a manner to create emphasis

Mirror finish partitions to fuse ceiling and wall in a manner to create emphasis.

Layering of paintings over led panels on wall and floor in addition to the lights from ceiling panel.

Layering of paintings over led panels on wall and floor in addition to the lights from ceiling panel.

Layering of paintings over led panels on wall

Use of back-lit onyx marble with brass inlay for podium along with floor covering from paintings.

Use of backlit onyx marble with gold inlay for podium alongwith floor covering from paintings.

Use of backlit onyx marble with gold inlay for podium alongwith floor covering from paintings.

Naina Maggie Cleetus

INTERIOR DESIGN SPECIALIZATION

Naina Maggie Cleetus

INTERIOR DESIGN SENSIBILITY

INTERIOR DESIGN SPECIALIZATION

Other design explorations using repetition and linearity to create sense of direction

The

Exploration of tactile experience through material and its tectonics

Location : Redesign of Ground floor FD UG design studio

Mind mapping to conceptualize hypothesis into design

Intent: Multisensorial experience as a stimulant to explorative learning.

As Le Corbusier puts it- “Contour and profile are the touchstone of an architect”, revealing a tactile ingredient in his otherwise ocular understanding of architecture. Images of one sensory realm feed further imagery in another modality. Images of the present gives rise to memory imagination and dreams. The human body exists in the physical realm and experiences it through its five senses – Vision, Hearing, Smell, Taste, and Touch. The engagement of all these senses allows the body to be the locus of reference and memory in space and time. The senses are a way to spark the imagination and express sensory cognition in addition to serving as a conduit for information for the intellect’s deliberations.

Similar to how Peter Zumthor recollects images from his childhood of architecture which he experienced without realization that later connected him to his architectural practice and understanding. Through material tectonics one could also stimulate the mind to explore and simultaneously generate an embodied memory which form base for remembering a space or design which in turn help identify with the space, penetrate conscientiousness and instill an imagery in mind that could further translate into more sensorial architectural design and structures in the future.

References:

Juhani Pallasmaa. (1996). The Eyes of the skin, Architecture and the senses. Peter Zumthor (1998), Thinking architecture

Final Montage showing elements defining focal point and circulation around space

Final Montage showing use of light and linear elements to draw visitor’s attention

Final Montage showing use of reflective and brushed metal to highlight exhibit

Criteria for selection of Material?

Reflective Lightweight Contrast to site surrounding

Criteria for use of ‘Material’

Visual gradation to enhance contrast

Creates enclosure and draws focus to exhibits

What Material has been used?

Where and how ‘Material’ has been used?

MS square hollow pipes

SS Gold Mirror & brush finish panels

Marble flooring

SS gold reflective panels used to create a sense of direction and enclosure that draws attention of visitor to exhibits.

Marble flooring with brass inlay creating focus towards center.

Back lit white marble onyx for display podiums with black marble base inlaid with brass

All elements are designed to be porous to the highly ornamented facade of the palace.

Use of concealed joints for the entire system to create a seamless effect.

Image representing space making element in design

Week 09-11

Module 02 | Role 02 | Organizing ‘Materiality’

The Mirror Maze Light as an element

Pearl Academy, Jaipur Architect: Morphogenesis

Current modern practices through a project representing a ‘Standardization’ Process:

The design was conceived of and influenced by Ar. Pablo Portoghesi’s Design Field Theory, which is applied here to design inside a grid to produce spaces that generate circulation against the grid. The experience commences from the basement, where the lobby looks out over a body of water, beginning a journey or series of tiered reflections that leads to the exhibition on the ground level. The use of acrylic in a variety of transparency, translucency, and reflectivity encourages visitors to explore the da Vinci exhibit and piques their curiosity about what lies beyond.

Exploration of design concept in chosen part of building - Trial # 1

Using element to define a maze as circulation identifying individual pods for exhibits and conceals columns.

Water body

Water body

Trial #1 Basement plan showing access from exhibition to cafe which faces the water body.

Trial #2 View exploring elements as split units forming isolated and small systems

Trial #2 Ground floor level plan showing access from basement and split systems that are located in a manner which consequently help form enclosures of varying transparency for the exhibit.

Trial #3 Using the column grid to identify locations for exhibits thus forming a circulation which goes against the grid

Project: Pearl Academy, Jaipur | Architect:

Morphogenesis

Trial #3 Basement floor showing main entrance lobby surrounded by the water body and seating cum steps.

BASEMENT FLOOR - Entry level to

Trial #3 Ground floor showing circulation and location of exhibits which vary in transparency which create a sense of oneness of the entire space.

FIRST FLOOR - Exhibition display

BASEMENT FLOOR PLAN - Entry level to exhibition

SECTION A - A’

SECTION B - B’

Trial #3 Sections showing porosity of elements that create the sense of overlapping views of surrounding elements, people moving around and exhibits alongwith a complex interplay of light

LEGEND

LEGEND

01 PERPETUAL MOTION 02 FOUR BAR LINKAGE 03 WORM DRIVE 04 WORM GEAR & SLIDER CRANK 05 GIMBALL 06 BELT & PULLET MECHANISM 07 AUTOMATION CART 08 PAINTINGS & SKETCHES

01 PERPETUAL MOTION 02 FOUR BAR LINKAGE 03 WORM DRIVE 04 WORM GEAR & SLIDER CRANK 05 GIMBALL 06 BELT & PULLET MECHANISM 07 AUTOMATION CART 08 PAINTINGS & SKETCHES

09 GOBLOID GEAR 10 VERGE CLOCK 11 SCREW JACK 12 WING 13 DOUBLE HELIX REVERSING 14 RATCHET & PAWL 15 ORNITHOPTER 16 HELICOPTER

09 GOBLOID GEAR 10 VERGE CLOCK 11 SCREW JACK 12 WING 13 DOUBLE HELIX REVERSING 14 RATCHET & PAWL 15 ORNITHOPTER 16 HELICOPTER

INSPIRATION

CIRCULATION PLAN

- Field theory by Ar. Paolo Portoghesi.

- Field theory by Ar. Paolo Portoghesi.

INSPIRATION

CIRCULATION PLAN

FIRST FLOOR - Exhibition display & Cafe CONCEALED METAL ACRYLIC EXHIBIT ELEVATED

CEILING ELEMENT ENCASING FOCUS LIGHTS +90CM LVL

CEILING ELEMENT ENCASING FOCUS LIGHTS +90CM LVL

CLEAR EYE

FIRST FLOOR - Exhibition display & CONCEALED METAL ACRYLIC EXHIBIT ELEVATED CLEAR EYE FROSTED LEVEL

FROSTED LEVEL

DOUBLE HELIX REVERSING MECHANISM EXHIBIT

WATER BODY ENTRY

SEATING LOBBY + 405 CM ENTRANCE LOBBY

ENTRANCE LOBBY PLAN

Paradoxical Camoflage - The Skin and Bones

SEATING 4 CM ACRYLIC VERTICALS WATER BODY ENTRANCE TO EXHIBITION

PERPETUAL MECHANISM EXHIBIT WING EXHIBIT

- Field theory by Ar. Paolo Portoghesi.

CUT OUTS TO ALLOW VERTICAL MEMBERS

+90CM LVL

PERPETUAL EXHIBIT

CEILING ELEMENT ENCASING FOCUS LIGHTS EXHIBIT DISPLAY STAND 1M 2M

PERPETUAL MOTION MACHINE EXHIBIT PLAN PERPETUAL

EXHIBITION LEVEL

ACRYLIC LIGHT BOX AS TABLE

ALL MEMBERS

RECESSED CUSHIONED SEATING

TOWARDS CAFE COUNTER

CAFE AUDI ISOMETRIC VIEW

CEILING ELEMENT

CEILING ELEMENT

ENCASING FOCUS LIGHTS

ENCASING FOCUS LIGHTS

FROSTED ACRYLIC AT EYE LEVEL

PERPETUAL MOTION MACHINE EXHIBIT ISOMETRIC VIEW

PERPETUAL MOTION MACHINE EXHIBIT ISOMETRIC VIEW

EXHIBIT DISPLAY STAND 1M 2M

EXHIBIT PLAN PERPETUAL MOTION MACHINE EXHIBIT SECTION

PLAN PERPETUAL MOTION MACHINE EXHIBIT SECTION

EXHIBIT DISPLAY STAND 1M 2M

ACRYLIC LIGHT BOX AS TABLE

ACRYLIC LIGHT BOX AS TABLE

RECESSED CUSHIONED SEATING

RECESSED CUSHIONED SEATING

ALL MEMBERS ARE ROUTER CUT & FLAME POLISHED

ALL MEMBERS ARE ROUTER CUT & FLAME POLISHED

4 X 4 CM SQUARE EDGED ACRYLIC VERTICAL SUPPORTS

4 X 4 CM SQUARE EDGED ACRYLIC VERTICAL SUPPORTS

4 X 4 CM SQUARE EDGED ACRYLIC HORIZONTAL MEMBERS

4 X 4 CM SQUARE EDGED ACRYLIC HORIZONTAL MEMBERS

JUNCTIONS BONDED USING ACRYLIC CEMENT

JUNCTIONS BONDED USING ACRYLIC CEMENT

SQUARE CUT, SANDED AND FLAMED EDGES

SQUARE CUT, SANDED AND FLAMED EDGES

TOWARDS CAFE COUNTER

TOWARDS CAFE COUNTER

ACRYLIC JUNCTION DETAIL

ACRYLIC JUNCTION DETAIL

LOBBY

MAIN ENTRANCE UP -405 CM LVL - 240 CM LVL DN

ENTRY

WATER BODY

A’

01

SEEN BELOW A B’

16

EXIT

17

MEZANNINE VIEWING DECK SEEN BELOW

Section B-B’ showing variation in display and entrance from basement

Section A-A’ showing exhibits and porosity of elements

Legend 01 Perpetual motion 02 Four bar linkage 03 Worm drive 04 Worm gear & slider crank 05 Fighting vehicle-Tank 06 Automation cart 07 Machine gun 08 Paintings & sketches 09 Gobloid gear 10 Water wheel 11 Ratchet and pawl 12 Wing 13 Screw jack 14 Double helix reversing 15 Paddle boat 16 Ornithopter 17 Helicopter

View showing porosity of elements and flow of circulation

Plan of entrance lobby

View showing perpetual motion exhibit

View of entrance lobby surrounded by water body

View of an auditorium transformed into a cafe with built in seating and acrylic light box tables

View showing wing exhibit

All members are router cut & flame polished

4 X 4 cm square edged acrylic vertical supports

4 X 4 cm square edged acrylic horizontal members Junctions bonded using acrylic cement Square cut, sanded and flamed edges

Acrylic junction detail

Criteria for selection of ‘Material’

Varying visual density

Criteria for use of ‘Material’

Transparence, translucence and reflectivity to interact and create curiosity

Lightweight

Create a complex interplay of light and shadow

Create sense of enclosure for exhibit with varying visual experience

What ‘Material’ has been used?

Acrylic - Clear, frosted and mirror acrylic

To create dynamic interplay of light with horizontal members being a diverse combination of frosted, clear and reflective.

Where and how ‘Material’ has been used?

The material has been used extensively as space making elements in both horizontal and vertical formats with seamless joints.

Marble flooring to accentuate the vertical plane and to ground the visitor experience while moving around the fragile system of elements.

Space making elements that defines circulation

Marble flooring

Varied combination of reflective, frosted and clear acrylic horizontal members

Varied density of placements of adjacent member generating porosity

Elevated platform for exhibit display

Image of model representing space making element showing variation of density, transparency and transluscency of horizontal members to create a complex interplay of light and shadow

Conceptual exploration through charcoal sketches

View showing space making elements

Week 12-16

Module 02 | Role 03 | Materialising the Interior Specialisation Collaborative practices through a project representing an ‘identity’

Paradoxical Camouflage

The Skin and the bones

A context where Interior is conceptualised before its architectural shell

Process:

Space is that extends past its physical bounds and connects the interior to the outside. A marriage of acrylic and wood is used to explore this concept in order to create a dynamic interplay of light and reflection. The spectator experiences fragile and unsettling perspectives of the space with the exhibit and the marble clad path leading to it being the only definite in the interior. The experience is expanded and multiplied with the mirror flooring and subsequent blending of forward and backward perspectives. Furthermore, a pure visual illusion of perfect openness is created by the integration of porosity in the spacemaking elements. The transparency and reflectivity of the elements as well as the relationship of the frames to the objects, the interior to the spectator and intrinsically interior to exterior heightens the visitor’s sensory experience in a way that resembles Da Vinci’s intricate exploration of the world.

Conceptual exploration through charcoal sketches

Conceptual exploration through charcoal sketches

Prof. Kireet Patel | Unit Tutors: Rishav Jain, Aparajita Basu | Unit Assistants: Jhanavi Parikh, Jay Odharia | M.I.D. | Monsoon 2022 | PG L4 Unit | Faculty of Architecture | CEPT University

Conceptual perspective exploring movement, volume and repetition- Trial # 3

perspective exploring volume, scale and movement

Module 02 | Role 03 | Materialising the Interior Specialisation

Jain, Aparajita Basu | Unit Assistants: Jhanavi Parikh, Jay Odharia | M.I.D. | Monsoon 2022 | PG L4 Unit | Faculty of Architecture | CEPT University

Conceptual perspective exploring volume, movement and inside outside relationship - Trial #

Inception of ideas from materiality model

Block model to represent space formation and enclosure generated through element

Schematic exploration of density of elements, variation in transparency and scale

Schematic exploration of elements forming enclosures/ spaces for exhibits

View C representing enclosures for exhibits

Junction model of element - L Junction in mitre half lap, acrylic junction, tongue and groove joint for holding acrylic to wood members

Image of model representing formation of enclosure and platforms for exhibits

Model representing experience of space generated through elements through its variation in transparency, translucency and reflection

View B representing the reflective experience within the exhibition and the defined circulatory path out of inlaid marble around acrylic light box platform which hold the exhibits

View D showing paddle boat exhibit over acrylic light box as platform and experience of space beyond space and fragile composition of elements

View E showing tectonics of the marriage between wood and acrylic that form space making elements

Foreword:

Space is that extends past its physical bounds and connects the interior to the outside. My trials with a glass model were helpful along the process, and I realized that by using glass, one is achieving a complex interplay of light reflections rather of a light and shadow look. This exhibition concept developed for Da Vinci’s dream machines by Naina Cleetus strikes me as having a similar tone. A thing may become an artwork in a variety of ways, including by being displayed in a gallery.

As significant in defining an object as art, whether it is found within or outside of the gallery, are curatorial techniques, the art market, and the aura of the piece and the creator. Both a barren desert and a hermetic museum are good places to think.

In her piece Paradoxical Camouflage - The Skin and bones, she explores this idea by doubling the experience with a mirror floor and using a creative blend of wood and acrylic in linear spans. The spectator is submerged in changing reflections and overlapping views of the surroundings, other viewers, and other people in the interior. First, fragile and unsettling inside the frame. Second, when the light levels change, hazy visions of the surroundings flicker on the surface. Third, there is a surface blending of forward and backward perspectives. Because of the quantity of people there and the lighting, the experience varies. The transparency and reflectivity of the display, as well as the relationship of inside frames to objects, interior to spectator, and intrinsically interior to external, are all affected by weather factors, such as the direction of the sun and the sky. The interior’s original purpose may have been to draw attention to what it carries, but by adding porosity, the illusion of complete openness is created, which is purely optical. The interiors are exposed at night when the lights are on, and during the day when natural light is abundant, it streams in to form its own monument through the interplay of light reflections. This produces a parallel experience of interior and outdoor setting that improves the visitor’s sensory perception in a way that evokes the explorative intricacy of Da Vinci’s mind.

- Ludwig Mies van der Rohe