Walk with Da Vinci Exhibiting Leonardo Da Vinci’s Dream Machines
Namraota Jain PID20215
The BIG Re-Think
Interior Techniques in Interior Design Practices
ID 4010 | Level 4 | PG Program
Master of Interior Design Monsoon 2020 | Faculty of Design CEPT University
Walk with Da Vinci
ID 4010 | Level 4 | PG Program
Exhibiting Leonardo Da Vinci’s Dream Machines
The BIG Re-Think
Interior Techniques in Interior Design Practices Master of Interior Design Monsoon 2020 | Faculty of Design CEPT University
Content
0. About Studio.......................................................................................................1 1. Objectory............................................................................................................2-5 2. Factory...............................................................................................................6-11 3. Developing the Argument..................................................................12-15 4. Ideating Role 1 of Interior Designer..........................................18-21 5. Ideating Role 2 of Interior Designer..........................................22-27 6. Ideating Role 3 of Interior Designer..........................................28-33
The BIG Re-Think Interior Techniques in Interior Design Practices Master Tutor: Prof. Kireet Patel Studio Tutors: Rishav Jain and Aparajita Basu Assistants: Shail Sheth and Paramdeep Singh Dayani
Brief Outline: The intention of this studio is to develop a multitude of notions, approaches, positions and arguments with reference to interior techniques and its implications on the interior design practice. Here interior technique is defined as “A method, tool and medium that modifies, alters, conceals, exposes an interior element, thus transforming the transformable quality of the space.” The studio offers an opportunity to develop a design position in different contexts by questioning preconceived notions of interior design. It emphasizes the relationship between Interior techniques and its expression, identity and design outcome. The first four weeks are part of the common foundation program, where students from all streams work together to develop common skills and abilities. The later part of the studio is largely divided into two modules: the first module builds an argument on interior techniques through existing projects and the second module intends to develop a systematic approach to the application of the argument in three different contexts. It is an opportunity to develop an individual design position for disparate sites keeping the program constant.
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).
(As per the studio proposal*)
(1)
Week 01-02 | FD PG Common Exercises
Objectory Process: The intention of the exercise is to understand the relationship between shapes, sizes, geometry and function of an object. A dialy use object, a fountain pen in this case is documented to observe and record the parts, sub-parts and components. It is also documented in a way that demonstrate the usage/ operation of the pen. The object is first dismantled and observed using appropriate tools like screwdriver, pliers, magnifying glass etc. It is then documented as a whole and in parts using a combination of orthographic and isometric drawings as per the sequence of assembly. Learning Outcomes: • Application of concept of precision, tolerance and accuracy in reading and representing the drawing. • Identifying the components and their sequence of assembly through Isometric drawings. • Identifying the materials along with the specifications used in each part or component. • Understanding the science, capillary action, behind the working of the fountain pen. • Analyzing the relationship between shapes, sizes, porportion, geometry and assembly of parts.
(2)
1.
2.
3. 1. Ergonomics of a Fountain pen
Tipping material
2. Elevation 3. Section
Slit
4. Parts of the Nib
Breather hole Base 4. (3)
1. 1. External parts/ components 2. Schematic diagram of capillary action in nib+feeder 3. Internal parts/ components
2.
3. (4)
3.
1.
2.
4.
5. 1. Functioning of the Nib 2. Design of the Nib 3. Top view- Nib 4. Side elevation- Nib 5. Pen- open and closed 6. Threading detail
6. (5)
Week 03-04 | FD PG Common Exercises
Factory Process: Factory is a place where objects are made. The intention of the exercise is to understand the art of making. Learnings from objectory are implemented in Factory exercise to design a magazine stand for a single Domus magazine using a given kit of parts. The material palette includes a combination of MS sheets, MS rod, wood pieces of varying sizes. A combination of joineries like wood-wood, metal-metal, metal-wood were explored that helped develop a deeper understanding of the material as well as the assembly of parts. Working drawings as per the sequence of assembly of the parts and components are produced and the stand is then fabricated in CEPT workshop. Learning Outcome: • Application of concept of precision, tolerance and accuracy in making the object. • Resolving design and the sequence of assembly through orthographic and isometric drawings. • Understanding the materials along with the specifications to be used in each part. • Understanding the material properties like bending, expansion etc. to develop suitable joinery. • Understanding the load bearing capacity of individual elements as well as the whole system.
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1.
2.
1. View- Magazine stand 2. Study model for MS sheet form development 3. Material technique exploration
3. (7)
Floor standing stand Design Iterations using sheet manipulation
(8)
Floor standing stand Design Iterations using sheet manipulation
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1. Final outputWall hung magazine stand 1. Orthographic drawings 2. Study model 3. View
3.
2. (10)
140
400
40
132
1
270
2
1
Part 1-MS Sheet
18
270
600
4°
30
2
3
1
79
1
18
MS 24
SHEET 176 Surface Development
2
600
450 3
24 400
270
30
3
176
30
576
400
600
30
576
47° 154Elevation Front
Front Elevation
300 24°
24°
40°
432
42
135 24°
300
40°106
18
154
432
432
Left elevation
40°
106
Left elevation Left
715 25
12
12
25 22
1.5
A'
25
75
287
B
53
800
ote- All the dimensions are in mm 800 Scale of the drawings is 1:10
7 30
D
Front Elevation
7 30
B
Scale 1:4151 28
50
25 4.777 4.7 35 8.4 37.5 11.4 18°
8.4
20
8.4 A
PLAN 0.4 81284 11 4 8
D R10 144
B
28°
28
A
75 40
A
B
75
287
234
287
D 234
40
75
75 53
7 30
D 40
7 30
B
75
C
16.5 16.5
75
40
2° R9 131
16.5 7 102 16.5 75 40 30 R10 8 B8
C
12
40
30
B A
131
77
B
75 40
D
131
7 30
B
R10
16.5 16.5 8
40
7 30
D
16.5 16.5 8
A
131
77
B
75 40
D
77
75
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C 40
30
B
8
40
7 30
D
40° 29 43 7° 20° 35
16
18151
Back Elevation 77
28 37
1329
35
435 35° 4° 34 17 22 25 68 143 155 82°
1°
17 16 29°
21
1°
R10 27 12°R28 15 42
121
Right Elelvation
2° 107
144
16
101
Left Elelvation R10
120 136.5 16
35 4° 35°
155
184
435
8
29
143 R28
26
52
18°
R10
34
16
27 42
144 20
34
155
155 101
15
16.5 16.5
17
24
R10 1° R10
1329
88
2°
2° 120 136.5 16
151
Back Elevation
21 12°
Right Elelvation
131 16.5 16.5
24
2°
82°
10° 27 42 37 7577.3
Left Elelvation
7
2°
10° 2° R9 27 42 37 77.3 102
136
14
77
28 37
128°7° 19 14
35 4° 35°
1329 34 155 101
155.5 122 10° 27 42 37 77.3
Left Elelvation
82° 15
27 42
21 12°
Right Elelvation
Orthographic drawings of Components and Parts (11)
37.5 4.7 2
15
3 15
3.9 2.4 2.8
R1 B
Part 8- MS Rod
17 120 136.5
Front Elevation
155.5 131 122
131
68° 88
2° R10 1° 155 R10 11
144
77
28 37
B D
144
122
8 12
128°7° 19 14
40
26
14
2° 7-88Wood 151
7
1:4
37.5 2.8 16 25 143 4.7 4.7 R1 R2 PLAN R1 UNFOLDED 11.4 8.4 A 3.9 17 16A 2.4 15 1° 29° 2.8 R10 R28 37.5 155 R1 R1 1° R1 R2 0.4 121 c
87
144 155.5
184
R10 1° R10
155 Part
14
A
75
100°
155
18°
155
Back Elevation
75
131 40
R28
24Scale
17 155 37.5
20
128°7° 19 14
154.8
C
A DC
20
8
18°
17
CB
435
151
14 17 16 29° 121
26
52
131
77
75
C
29
200 5 30 5
7
PLAN
435
16.5 143 16.5 R28
16
40
A
30
34
154.8
75
17
247
17
7
22
52
16
25
Front Elevation
8
287 40
143
1° R10 16.5
16.5 16.5
7
D
22
1° 16.5 30 8 D 2° 107
144
234
8
Part 7- Wood
435 17 75 68
29
143 R28 R10
28 771625 35
287
7 136
53
16.5 16.5
18°
154.8
131
144
14 131
8
287
77
D
D 234
234
C
C
234
40
77
B
40
40
C
40° 29 43 7° 20° 35
18
36
361
4.7 8 4.7 3 8 4 11 4 11.4B 8.4 2 D8.4 2° 1073 184 3.9 15 2 28° Front Elevation 15 2.4 15 c 2.8 D R1 R2 R1 R1 PLAN D c
34
24
PLAN 131
287 75
11
68°
18°
A
A
B
75
100°
40
40
A
C
77 25 35
75
75
Part 687 Wood155
151
200
435
17
24
Part 8- MS Rod
Part 7- Wood 17
7
373
373 361
B8.4
152° R9
A
136c 102
D
17 68
144
3 PLAN 2
PLAN A
357
15 2.4
435 15
c
435
D
40° 29 43 4.7 4.7 7° 20° 37.5 18 35 37.5 8 12 8 3.9 4.7 4.7 4.7 4.7 2.4 15 PLAN 2.8 8.4 11.4 8.4 8 12 8 R1 3 R1 R2 R13.9 A 2
B
0.4 4 11 4 8 8 UNFOLDED D B 14 28°
16.5 16.5
11
68°
3
2
UNFOLDED PLAN
20
87
100°
4.7 4.7 15 11.4 8.4
15
8
Part 6- Wood
143
5- Wall Junction clip using MS Part 5- Wall Junction clipPart using MS Sheet 435
37.5
16.5 16.5
40
5 30 5
5 30 5
B
Scale 1:4
8 Elevation Side
287
Elevation Side ElevationFront 40
Note- All the dimensions are in mm Scale of the drawings is 1:10
A
A
13.3 18.5
13.3 18.5
Part 5- Wall Junction clip using MS Sheet Part 8- MS Rod
50
234
7
25
40
TOP357 VIEW373 200
Right Elevation
40
7
5 30 5
15
20
40
20
Part 4-W
13.3 18.5
eq eq eq
C
7 373 361
17
75
C Side Elevation
50
D
9 Part 4-Wood
40
5 30 5
24°
Section AA'
Plan 20 75
20
Front Elevation 20
D 234
234
B 40
143
373 361
CD
432
287
D
A255 5 30
40
C
A'
50
C
25
12
40
Plan
1.5
40
40
116
Section AA'50
20
A
A' 800
50
13.3 18.5
9
40 TOP VIEW
PartWood 6- Wood Part 2-
AA 20
40
25
B 9
eq eq eq
B 40
116
22 25
Plan Section AA'
12 800
800
50 12
50
800
25 22
Part 2- Wood
75 50
7
B
200
17
13.3 18.5 C
TOP VIEW
432
1.5
C
373
40 40
D
40 Back Elevation A
300
30
24°
22 25
17
BOTTOM VIEW 143
40
eq eq
40
Right Elevation Right Elevation
Part 2- Wood
22715 25
135
432
40
A
B 40 VIEW BOTTOM eq
116
300
30
elevation
A
715
576 123 30°
40° 24°
A
25
B357
373
BOTTOM VIEW 123
Back Elevation
40°
18
18
A 361
A
A 40
42
135
106
373
30°
300 42
5 30 5
7
40
576
Note- All the dimensions are in mm Scale of the drawings is 1:10
D
40
Back Elevation
30
40
400
576
47°
300
TOP VIEW
40
131
400
123 30°
47°
373 200
361
5 30 5
400
Front Elevation
576
13.3 373 18.5
5 30 5
154
123 30°
40
40C 25
4°
Plan
123 30°
B
13.3 18.5
9
C
3024
47°
7 373 357 Part 3-Wood
373 eq eq D eq
361 40
Plan TOP VIEW
18
400
B 40
400
24
400
79
400
MS SHEET Surface154 Development
123 30°
47° 154
18
5 30 5
A
270
Plan
500
300
C
eq eq eq
131
40
A 373
40
4° 79
MS SHEET Surface Development
400 24
30
D
BOTTOM VIEW
400
9
13.3 18.5
BOTTOM VIEW
TOP40VIEW40
140
400
eq eq eq
18.5
25
40
40
40
270
500
300
132
40 40
A
B 40
270
450 500
300
1
2
400
140
400
450
2
1
Note- All the dimensions are in mm Scale of the drawings is 1:10
40
18.5
9
BOTTOM VIEW
8
12
R1 R2
A
4.7 8
R1
37.5 8.4 3.9 2.4 2.8
4.7 4.7 11.4
R1 R2
c
R1
Week 05 | FD PG Module 01
Developing the Argument Brief: A method, tool and medium that modifies, alters, conceals, exposes an interior element thus transforming the transformable quality of the space. To understand these interior elements and techniques required in an interior design project, 9 case studies were taken up. These projects were studied and analysed in a matrix based on the interior techniques i.e. to modify, to conceal, to expose and to alter. This was done to observe the design decisions and understand the relationship between interior technique and practice which help tranform the transformable qualities of a space. An argument was then developed in reference to the interrelationship of interior techniques and practice based on the design decisions analysed in the case studies. The argument was then understood further to be applied in the 3 given roles of an interior designer. Role1- Project representing ‘ERA’ Role2- Project representing ‘STANDARDISATION’ Role3- Project representing ‘IDENTITY’
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on the pume interispace
The placement of stairs and The new volume exposed Monumental yetsubtly intimate for a continous the entire volume Pantry is concealed behind The shapes cutflow the volume Pantry isbalances concealed behind Discontinuity intowards elements services the volume of on the outside, theaids lines curvescuriosity. lines andwithout curves for aand continous flow throughout thedisrupting entire space the hall it road. Generates
new added on the Theshelves servicesofand circulation The flowvolume or rythm is traslated The library concealon The thusshelves opening upare interiDiscontinuity in elements Movement occursthat throughout Movement occurs throughout the outside,of ensures unity ofaids outside into book the services conference for aentire continous the entireinvolume the orexposed volume space insidevolume the flow church the entire volume room behind
The plac Solid-Vo services fines the the hall
Water body
ession
Celebration of Life
Light
UP
Ex 1 | Developing an Argument
ty of The two volumes on the facade of Different shapes form backone are separate entities yet comCurves soften the rigidity Ever evolving space drop for the products thusof om the plements the age of one other linear space highlinting them ether
ature
Exposes the texture on the ma- unusual entry of light due to The path is organic but conterials inside partial roofshapes Different shapes backThe path iscollapse organic butbackconCurves soften theform rigidity of Different form sciously The grand designed staircase is an abWater body below staircase drop for the products thus sciously designed linear space drop for the products thus straction of a river flowing down highlinting them highlinting them the hills through woods
The raw nature of the material The rigidity of the space is Intercation user with prodis left exposed concealed by adding natural ucts The subtle light aesthetics of elements indows ceiling highlight the aged walls
Namraota Jain | PID20215
The two are sepa Addition plement es the au
Passage of time/ Ageing
Visual Play
sprodural cele-
By changing theEntry intensity of Thecreator path is alters organic butone conlight, how Grand staircase is exposed sciously designed differentiates the new from the old when both exist together
Organic flow light and The raw nature of the material rigidity of of the space is air is left exposed concealed by adding natural Attention drawn to the grand The holes in the roof are exelements staircase. to interpretaposed to Open celebrate the ageing tion of beholder of life
Organic flow of of light air The raw nature theand material Organic flow of light and air The light through the windows is left exposed The offices are concealed beThe use of holes as windows highlights the wall hind the punctures in of the wall modifies the interiors the hall The holes in the roof are celebrated and treated as windows
The idea space is p The subtl by chang ceiling hi viewer The Big Re-Think | Monsoon 2020The Big Re-Think | Monsoon 2020The Big Re-Think | Monsoon 2020The Big Re FD PG, CEPT University FD PG, CEPT University FD PG, CEPT University
Derivations from case studies. Impact of surfaces and light in the interiors
Artificial and natural lgiht togeteher distinguishes as well as balances the modern and old volumes
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1. RP SANJIV GOENKA OFFICE, ABIN DESIGN STUDIO
Case Studies 1. Baradari City Palace, Jaiour Lotus Design Studio 2. RP Sanjiv Goenka Office. Kolkata Abin Design Studio 3. Therme Vals, Switzerland Peter Zumthor
THERME VALS, PETER ZUMTHOR
3.
2. (14)
exposes the object
ht deeper Placement of light fixture to avoid glare
ains Sunlight
Placement of light to avoid glare Placement of light fixture to avoid glare
Sunlight
Varying scale of openings, Skylight conceals and exposes the object
Skylight
Shaft
Shaft
Placement of light fixture to avoidTranslucent glare
Placement of light fixture Translucent material; Translucent diffused light to avoid glare diffuser lens
diffuser lens
Transparent material; non diffused light
Placement of light fixture to
Translucent material; Transparent mate Diffused Diffused shiny opaque surface; Perpendicular surface can become alight deeper Horizontal shelf can diffuse shelf can diffuseavoid light deeper glare light light 45°Horizontal by relecting it through ceiling. by relecting it through ceiling. Namraota Jain | PID20215 diffused light non diffused light space below the shelf remains The space below the shelf remains source of reflected lightThe when window specular reflection shaded. shaded. 30° is placed closed to it shiny opaque surface; specular reflection
High window opening Perpendicular surface can become a allows light to penetrate source of reflected light when window deeper is placed closed Transparent to it Transparent Translucent material; material; Translucent material; material; Translucent material; Transparent material; diffused light non diffused light diffused non diffused diffused light light non diffused light light
Sunlight
3.
Placement of light fixture to avoid glare
The two surfaces of a wall can respond differently to light when modified Namraota Jain | PID20215
45° 30°
Modification in the form
The BIG Re-think | Level 4
45° 45°
4.
The two surfaces of a wall can respond Surfaces modified to create play of light when modified
30°
The two surfaces of a wall can respond differently to light The two surfaces of a wall can respond differently to light when modified when modified The two surfaces of a wall can respond differently to light when modified
Modification in the form of ceiling to allow Modification in the form of ceiling to allow
1. Relationship between incident light and Modification openings in the form of ceiling
Namraota Jain | PID20215 Namraota Jain | PID20215
2. Angle of lighting fixtures
Namraota Jain | PID20215
The BIG Re-think | Level 4 Studio | Monso The BIG Re-think | Level 4 Studio | Monso
The BIG Re-think | Level 4 Studio |
t s
30° 45° Placement of light fixture to avoid glare
45°
Sunlight
Placement of light fixture to avoid glare
45°
Varying scale of openings, conceals and exposes the object
(15)
30°
5. Response of ceiling to light
30°
Perpendicular surface can become a source of reflected light when window is placed closed to it
Placement of light fixture light to avoid glareby relecting it through ceiling. The space below the shelf remains shaded.
diffuser lens
Shaft
Perpendicular surface can become a source of reflected light when window Diffused is placed closed to it shelf can diffuse light deeper Horizontal
Varying scale of openings, conceals and exposes the object Translucent
Skylight
Modification in the form of ceiling to allow play of light
5. Sunlight
Horizontal shelf can diffuse light deeper by relecting it through ceiling. The space below the shelf remains shaded.
Perpendicular surface can become a source of reflected light when window is placed closed to it
Horizontal shelf can diffuse light deeper by relecting it through ceiling. The space below the shelf remains shaded.
4. Response of bent surface to light
Varying scale of openings, conceals and exposes the object
3. Transparency vs light
30°
The two surfaces of a wall can respond differently to light when modified
Placement of light fixture Placement of light fixture to avoid glare to avoid glareof light fixture Placement to avoid glare
shiny opaque surface; specular reflection
30°
Varying scale of openings, conceals and Varying scale of openings, conceals and exposes the object exposes object Varyingthe scale of openings, conceals and exposes the object
30° 45° 30°
45°
A Al al al th th
Modification in the form of ceiling to allow play of light
The BIG Re-think | Level 4 Studio | Monsoon 2020 | FD PG, CEPT University
Matte or unpolished surface; diffused or multiple reflection
Transparent material; non diffused light
Matte or unpolished surface; diffused or multiple reflection
Transparent material; non diffused light
45°
shiny opaque surface; specular reflection
Placement of light fixture Placement of light fixture to avoid glare to avoid glare
Placement of light fixture eals and to avoid glare
shiny opaque surface; specular reflection
Translucent material; diffused light
Namraota Jain | PID20215
the object
Translucent material; diffused light
Transparent material; non diffused light
Sunlight
Translucent material; diffused light
Matte or unpolished surface; diffused or multiple reflection
the object 30° Placement of light fixture Altering brightness of light can to avoid glare Sunlight alter contrast, thus highlighting Sunlight
Matte or unpolished surface; diffused or multiple reflection Daylight Daylight Daylight
Placement of light fixture to avoid glare
The two surfaces of a wall can respond differently to light when modified
allows deeperlight to penetrate deeper deeper
Placement of light fixture to avoid glare
Perpendicular surface can become a Perpendicular surface can become a brightness ofalight can Perpendicular surface can become source ofAltering reflected light when window source of reflected light when window reflected issource placedofclosed to it light when thuswindow highlighting is placedalter closedcontrast, to it 45° is placed closed to it
Matte or unpolished surface; Matte Matte or unpolished surface;surface; or unpolished diffused or multiple reflection diffused or multiple reflection diffused or multiple reflection
Varying scale of openings, conceals and exposes the object
The two surfaces of a wall can respond differently to light when modified
Placement of light fixture to avoid glare
Matte unpolished Highor window opening surface; High window opening High window allows light toopening penetrate diffused or multiple allows light to penetratereflection
shiny opaque surface; shinyshiny opaque surface; opaque surface; specular reflection specular reflection specular reflection
Matte or unpolish diffused or multip
Modification in the form of ceiling to allow play of light
Altering brightness of light can alter contrast, thus highlighting the object
Varying scale of openings, and conceals and Varying scale of openings, conceals 1. exposes the object exposes the object
Modification in the form of ceiling to allow play of light
shiny opaque surface; specular reflection
The BIG Re-think | Level 4 Studio | Monsoon 2020 | FD PG, CEPT University
Daylight
Altering brightness of light can alter contrast, thus highlighting the object
Project 2
Transparent material; non diffused light
Project 2
non diffused light
Perpendicular surface can become a source of reflected light when window is placed closed to it
Diffused Diffused Diffused Horizontal shelf can diffuse light deeper Sunlight Horizontalshelf shelfcan can diffuse light deeper light Horizontal diffuse light deeper light light by relecting ititthrough ceiling. byrelecting relectingit through ceiling. by through ceiling. The space below the shelf remains Thespace spacebelow belowthe the shelf remains The shelf remains shaded. shaded. shaded.
Altering brightness of light can alter contrast, thus highlighting the object
ome a Daylight Transparent material; window
The two s when mo
Project 2
Namraota Jain | PID20215 Shaft Shaft High window opening Shaft allows light to penetrate deeper Translucent Translucent Translucent diffuser lens diffuserlens lens diffuser
2.
Project 2
Sunlight Sunlight Sunlight Skylight Skylight Skylight
ht
Matte or unpolished surface; diffused or multiple reflection
Ideating Roles of an Interior Designer
Week 06-07 | FD PG Module 02
Ideating Role 1 of Interior Designer Brief: Udaipur City Palace has a strong cultural and historical value. For a site like this, so grand and magnificent; culturally and historically important; earlier closed for the common man; opening it up to public can create a stir. The beholder gets intimidated by the grandeur, which is uncommon in the regular house. As an interior designer it becomes important to imagine and transform the space into something which is welcoming and can make the user comfortable, yet at the same time maintain its sanctity and identity. The intervention tries to blend opposite notions of culture (as imbibed in the fresco, design elements of City Palace) and science (as represented by Leonardo da Vinci’s dream machines). The ephemeral qualities along with the craftsmanship, geography, climatology, culture and influence of time on the site determine the design decisions.
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he exisi�ng narra�ve associated with life history of a building can give an opportunity to the user to interpret the space
1. Namraota Jain|pid20215
2. Concept development
1. Natural light falling on the exhibit 2. Artificial and natural light creating drama 3. Narrative to create illusion
3. (19)
Argument- Abstrac�ng the exisi�ng narra�ve associated with life h
ArgumentArgument-Abstrac�ng Abstrac�ngthe theexisi�ng exisi�ng
1.
Idea development and conceptual sketches
2.
4.
3. (20)
2.
Argument- Abstrac�ng the exisi�ng narra�ve associated with li
Display Unit as seen from the other side For reference purpose only*
1.
3.
Variations in assembly of display unit
4.
5. Process showing implement of concepts
6. (21)
Week 08-10 | FD PG Module 02
Ideating Role 2 of Interior Designer Brief: Interior elements such as false ceiling, metal screens and metal frame are inserted in the existing interior space which are then modified to create a play of light using subtraction and reflection, in order to transform the space. Existing louvers on the faรงade are closed and a combination of diffused, sharp, ambient and laser light is used to enhance the interior space that respects the sensitive exhibits. Interior techniques used1. 2. 3. 4. 5.
Insertion of interior elements Modification of interior surfaces. Variation in light intensity to accen tuate interior space. Light as a wayfinding tool Open and light interiors to create unobstructed physical and visual connection.
Material techniques used1. Subtraction 2. Reflection 3. Bending Construction techniques used1. 2. 3.
Ceiling suspended MS frame to hold lighting fixtures. Perforation in MS sheet to create drama through light and shadow. Curved aluminium reflector sus pended through MS frame to diffuse light.
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Modulating the expected way of interaction with dream machine through movement
Dense movement near theexhibit creates intimacy between object and user
Reflection of dream machine is seen before the actual machine to generate curiousity
Spiritual connection between user and the dream machine
1.
Adjustable fixture to accomodate display change
2.
3. 1. Concept diagrams 2. Ceiling suspended fixture 3. Angle of spot light to avoid glare and shadows 4. Diffused light through reflection 5. Artificial and natural light to create corridor
5. (23)
4.
1. 1. Plan development by studying space-movement diagrams Case study- Master Architect: Renzo Piano 2. Harvard Art Museum- Plan 3. Harvard Art Museum- Section/ Elevation
2.
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1.
Key Plan
Key Plan
Plan
Plan
Section
Section
2.
Key Plan
3. Plan
Section
Defying/ defining the exisiting site 1. Define: Linearity and compartment 2. Defy: Linearity 3. Define: Grid and symmetry 4. Defy: Grid
4.
Plan
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Entry
Seating
Introductory Panel
Seating
Automation cart Ratchet Winch
Double Helix Gimball below
Gobloid Gear
Verge clock
Screw Jack
Four Bar Linkage Worm drive Lift C 2200x2450
Helicopter/ Parachute below
1. 1. Vision cone and circulation 2. Iteration 1
Key KeyPlanPlan-8th 8thfloor floor Key Plan- 8th floor
3. Iteration 2
Entry
Entry
Exit
Souvenir Shop
Souvenir Shop
Seating Seating
Entry
Automation Introductory cart Panel Automation Introductory cart Panel Introductory Panel
Double Helix
Four Bar Linkage
Four Bar Linkage
Gobloid Gear
Verge clock Verge clock
Gimball below
Gobloid Gear Screw Jack Screw Jack
Gobloid Gear
Verge clock
Four Bar Linkage Helicopter/ Parachute below
Lift C 2200x2450 Lift C 2200x2450
Helicopter/ Parachute below
Worm drive Worm drive
Screw Jack
Worm drive
Lift C 2200x2450
Helicopter/ Parachute below
8th Floor Plan 8th Scale Floor1:150 Plan
Gimball
8th 1:150 Floor Plan Scale Scale 1:150
Helicopter/ Parachute
Lift C 2200x2450
Exit Exit Exit
Souvenir Shop Souvenir Shop
Souvenir Shop
Souvenir Shop Souvenir Shop
Souvenir Shop
Ornithopter Ornithopter
Ornithopter
Gimball Gimball
Gimball
Lift C Lift C 2200x2450 2200x2450
Helicopter/ Helicopter/Parachute Parachute
Lift C 2200x2450
Helicopter/ Parachute
Plan- 8th floor
7th7thFloor FloorPlan Plan Scale Scale1:150 1:150
7th Floor Plan Scale 1:150
Double Helix Verge clock Double Helix Verge clock
Gimball
Ornithopter Ornithopter
Gimball
Plan- 7th floor
3.
2.
Ornithopter Gimball
Section 1-1 Scale 1:150 1-1 Section Scale 1:150
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Section 1-1
Scale 1:150
Four Bar Linkage
Four Bar Linkage
Key Plan- 7th floor Key Plan- 7th floor Key Plan- 7th floor
Ratchet Winch
Double Helix
Gimball
Gimballbelow below
Seating
Ratchet Winch Ratchet Winch
Automation cart
Double Helix
Ornithopter
Seating Seating
Seating
Double Helix Verge clock
Gobloid Gear
Gobloid Gear
Gobloid Gear
1.
Key Plan Scale- 1:750 8th Floor Area of Intervention- 620 sq.m
2. Iteration 3 1. Plan 2. sections 3. Views
3. (27)
Week 08-10 | FD PG Module 02
Ideating Role 3 of Interior Designer Brief: The interior space uses techniques such as bending, subtraction of surfaces to modify the surfaces in order to create a play of light and shadow. The design explores the possibility of using cardboard as a material to translate the argument. After the interior space is designed, an envelope is inserted on top of it which follows the same argument. Interior techniques used1. 2. 3. 4.
Modification of interior surfaces. Variation in light intensity to accentuate interior space. Light as a wayfinding tool Open and light interiors to create unobstructed physical and visual connection.
Material techniques used1. Subtration (Solid-void) 2. Perforation 3. Transparency 4. Bending Construction techniques used1. 2. 3.
A framework of metal provides a canvas. The cardboard is impregnated to achieve water and fire resistance. Cardboard tubes that follow sine wave are suspended from the ceiling Spaces are formed to keep the exhibit underneath
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1.
2. 1. Isometric View 2. Longitudinal perspective section 3. Lateral perspective section
3. (29)
1. 1. Concpetual sketches 2. Iteration 1 3. Surface modified to create light and shadow play
3.
2. (30)
color contrast to undulated surface to highlight exhibit create dramatic effect
1.
Perforated surface to create play of light and shadow
curved surface to spread light
2.
3.
4. 1. Iteration 2 2. Image showing light and shadow play due to modification of surfaces 3. Curved wall gathers light thus illuminating walkway 4. Modification of surfaces 5. Concept diagram- exhibit display 0.1
0.2M
5. 0
0.25
0.5
1M
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Key plan
1. 1. Iteration 2 2. Iteration 3- exploded isomentric 3. Iteration 3- isometric
3.
2. (32)
Images showing relationship between light play and modification of surfaces. Surfaces are modified through perforation, undulation, transparency
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