1
ACKNOWLEDGEMENT The work presented in this thesis would not have been possible without my association with many people. I take this opportunity to extend my sincere gratitude and appreciation to all those who made this thesis possible. I would like to express my gratitude towards my guide, Kaulav Bhagat, for taking out his valuable time to guide me with her knowledge and experience throughout my thesis. I would like to thank Shalini Amin, Pratyush Shankar, and all my mentors at SEDA because of whose teaching at different stages of education has made it possible for me to see this day. Their enthusiasm, integral view of research, and instigation to produce high-quality work has made a deep impression on me. I would like to appreciate all of my friends in and out of the college for their constant support and encouragement in all the situations. I owe my deepest gratitude to my parents and family for their eternal love, generosity, and understanding of my goals and aspirations. They formed part of my vision and taught me things that matter in life. Their infallible guidance and support have always been my strength. Their patience and sacrifice will remain my inspiration throughout my life.
TABLE OF CONTENTS INTRODUCTION
11-12
Aim Objective Scope and limitation Methodology 1 INTRODUCTION
15-18
1.1 Importance of public spaces 1.2 Types of public spaces 1.3 Types of activities in public space 2 PUBLIC FURNITURE
19-20
2.1 Introduction Types of public furniture How can space be interactive with help of furniture? 3 CASE STUDY
21-24
3.1 C.G. road Ahmedabad, Gujarat 3.2 Street furniture Sayaji Baug, Vadodara, Gujarat 3.3 The Museum Quarter, Vienna, Austria 4 SITE INTRODUCTION
25-31
4.1 About Baroda Museum and Picture Gallery 4.2 Site analysis Rational for site 4.3 Site study 5 DESIGN
33-55
5.1 Concept 5.2 Final Drawings 5.3 Design development and final view BIBLIOGRAPHY LIST OF FIGURES
56 57-59
9
INTRODUCTION The design thesis aims to create module based furniture in the public space to make it interactive. Cities are developing at a rapid pace of growth; the importance of public spaces has increased in this context, whilst proposing a specific design approach to develop them. Public space is the space where people see each other and engage in public affairs; public space is a space where people come together to meet, talk, eat and drink, trade, debate or simply pass. So, public spaces help to create a city where people want to live. Thus designing a public furniture in Baroda museum and picture gallery outdoor space to draw people towards the museum and enhance the facade hence making the outdoor space lively and interactive.
11
AIM The thesis is to design a public furniture which can make a public space interactive in Baroda museum and picture gallery outdoor space. OBJECTIVE The objective is to understand the importance of public spaces with human needs, material, culturetc SCOPE AND LIMITATION To understand the importance of Indian public spaces and its activities. To analyze study behavior, interaction, and effective use of public space. To design public furniture according to context. METHODOLOGY To understand the importance public spaces To analize the human behvaior im public spaces Activities observed in a public open space Functional factors User differences Material and color Orientation and aesthetics Case study Site study Site analysis Flow of visitor Density of visitor Touch points of site and material of museums Design a public furniture according to context
12
Chapter 1 Introduction
15
1.1 IMPORTANCE OF PUBLIC SPACES
1.2 TYPES OF PUBLIC SPACE Under this definition we can distinguish a variety of different types of public space, which are as follows:
Fig 1.1 Importance of public space
Hill stations Religious space Cities with historical monuments Metro cities other than sea-sides Local parks Community spaces, public buildings City squares & cultural squares Bazars, streets Maidans Waterfront spaces Shopping malls Health care sectors
Fig 1.3 Community space and public building
Fig 1.2 Playful pavilion, Olympic Park, England
The public spaces are an imperative and significant component of the city structure and landscape, with a determinant function withinside the overall photo of the city. The public spaces assume a vital part in giving the personal satisfaction to its inhabitants. Personal satisfaction will be dictated by the social and monetary value also the belongingness to the city. These spaces become a closed area for the rich and a remote area for the poor or the workers of a city. These spaces should encourage social interaction. It needs to be examined how the center performs a combination of the plan’s habitual and current standards for the public space. so that open spaces can meet the latest human needs, such as vehicle access and lifestyle, and conventional needs, conventional planning standards.
Fig 1.4 Bazar and streets
Fig 1.5 Malls
Fig 1.6 Historical monuments
16
17
1.3 TYPES OF ACTIVITES IN A PUBLIC SPACE In public spaces activities can be classified by Necessary, Optional, and Social Activity. Jan Gehl in report “Project for public spaces”, distinguishes between necessary/ functional activities, optional/recreational activities and social activities in public spaces.
Chapter 2 Public furniture
TYPES OF ACTIVITIES IN PUBLIC SPACE Necessary
Optional
Social
Necessary activity can be dependent on the environment. Optional activities can be made at their own wish to visit the space. Social activities is such a activity were social exercises incorporate youngsters play, welcome and discussions, collective exercises of different sorts, and basically seeing and hearing others.
Fig 1.7. Necessary activity
Fig 1.8. Optional activity
Fig 1.9. Social acticity
18
19
2.1 INTRODUCTION Public furniture design is how to use open new possibilities for making furniture more comfortable, interesting, and more fun. By using design as a trend in furniture, it has become more like interactive products that support people in their every day, education and working lives.
Chapter 3 Case study
In particular, it is about creating user experiences that enhance and extend the way people work, communicate and interact. It must involve at least two forms of appearance and function, or capable to fulfill a user need a better way of adding new types of relations between the user and the designed furniture.
TYPES OF PUBLIC FURNITURE How can space be interactive with help of furniture? • According to the human behavior • Social & cultural context • Natural, artificial, visual & digital-functional, efficiency, satisfaction • To be intuitive and easy to use-participants to control the experience.
Fig 2.1. Human behavior
Fig 2.2.
Fig 2.4.
Digital
Visual
Fig 2.3. Easy to participat
20
21
3.2 Street furniture sayaji baug, Vadodara, Gujarat
3.1 C.G Road, Ahmedabad, Gujarat CG Road which was designed and developed lastly in 1995. The design includes wider footpath, organized plantation, sitting benches, dustbins with two compartments and more.
Sayaji baug is a huge public space with museums, zoo, gardens, aquarium, planetarium, etc. There is much public furniture placed. The Street furniture placed in Sayaji baug is made with old scrap materials, attractive colors. This furniture is placed at different distance but people don’t use them wisely. Some furniture are made from old wheels, metal cage, old rods, jails, old metal barrels, aluminum rods, few parts of cars, trucks, etc.
OBSERVATION • • • • •
Street furniture plays major roll in public furniture. Furniture can be used for many uses such as seating, reading, eating, talking, playing, etc.
All the furniture was made out of concrete. They were without shade so it heated up, as it was made from concrete. There were sharp edges which can harm people. Not well maintained. At few places voids were created which were filled with dust.
OBSERVATION • • • •
People don’t prefer furniture which is at lower level under trees. People didn’t use furniture for it was meant. Not in standard height. People don’t use them wisely
Fig 3.1. No shade used
Fig 3.6.
Placement of furniture
Fig 3.7. Not well maintained
Placement of furniture
Fig 3.2. Made up of concrete
Fig 3.10.
Fig 3.8. Made with scrap
Fig 3.3. Not well maintained
Fig 3.4. Concrete post
Fig 3.11. Unstandardized height
Fig 3.5. Planter as voids
Fig 3.9. Unstandardized height
Fig 3.12. Made with pipes
22
23
3.3 The Museum Quarter, Vienna, Austria Enzo Outdoor Furniture Modern form of seating, the MQ courtyard furniture invites visitors to the MQ courtyards to relax and linger, making them a significant factor in creating the MQ “living space.” The MQ seat, also known as the “Enzi,” quickly turned the Museums Quartier into a favorite haunt of Vienna’s residen0ts, as well as of tourists from around the world, and the Museums Quartier is now often referred to as the “city’s living room.”
Chapter 4 Site introduction
OBSERVATIONS • • • • •
All the furniture was form based. It is compatible to any human posture. It is made up of light weighted material. It is movable. It is multi-functional.
Fig 3.13. Form based
BAROADA
Placement of furniture
ERY
PICTURE GALL
Fig 3.17.
BAROADA
RE GALLERY
AND PICTU
Fig 3.16. Easily movable
0
Fig 3.14. Multifuntional
P MUSEUM
Scale:
0
5000
SITE PLAN SCALE 1:500 TOTAL AREA 14312 sq.meter AREA USED 3071 sq.meter Fig 3.15. Compatible
24
25
10000mm
4.1 Baroda museum and picture gallery SAYAJI BAUG
SAYAJI Baug is a garden located in Vadodara, Gujarat, India. Also known as “Kamati Baug,” it was built by H.H. Maharaja Sayaji Rao Gaekwad - a great visionary ruler of Baroda. It is the biggest garden in Western India with the area surrounding more than 100 acres. It has one of the biggest floral clock in World and in India. Sayaji Baug was dedicated to the citizens of Vadodara by Maharaja Sayaji Rao Gaekwad III in 1879. Sayajirao III built Sayaji Baug, well known as Kamati Baug, on the river Vishwamitri. It is one of the largest public gardens in Western India, sprawling over 113 acres (0.46 km2). It has a rich flora of more than 98 species of trees. It is one of the finest gardens in India, and is maintained by Vadodara Municipal Corporation. Thousands of citizens of the city come here for their morning walk as well as for pleasant view of the garden. The garden is home to the Baroda Museum & Picture Gallery, the Sardar Patel Planetarium, and the Sayaji Baug Zoo.
BARODA MUSEUM AND PICTURE GALLERY
The Baroda Museum & Picture Gallery in Vadodara was built in 1894 on the lines of the Victoria & Albert Museum and the Science Museum of London. Major Mant in association with R.F. Chisholm [1] who refined some of Mant's finest works to make genuine Indo Saracenic architecture designed the Building. Maharaja Sayajirao Gaekwad III belonging to the Gaekwad dynasty of the Marathas founded the museum in 1887.The museum building was completed in 1894, when it opened to the public. Construction of the art gallery commenced in 1908, was completed in 1914, but did not open until 1921 as the First World War delayed transfer of pieces from Europe intended for the gallery. The museum was designed by architects Major Mant and Robert Chisholm and was completed in the year 1894. It was designed to the Victoria and Albert Museum of London. The double storied Museum is one of the most prominent examples of the Indo Saracenic style of architecture in India. The style is evident in the use of elements such as “chattiris", torans and cusped arches, while the ground floor of the museum reflects the European influence. The building also employs various other elements to keep the building well ventilated and lit. The roof of the building integrates innovative skylights and several punctures in its structure that the building is well lit throughout the day.
Fig 4.1.
BARODA MUSEUM AND PICTURE GALLERY SAYAJI BAUG, VADODARA, GUJARAT
26
THE MUSEUM
Maharaja Sayajirao Gaekwad III had himself collected several artifacts prior to the establishment of the Baroda Museum, which he had later donated as part of the first collection based on which the museum was setup. THE PICTURE GALLERY The famed art gallery is known to have been completed in the year 1914 but was not opened until the year 1921. The transfer of special pieces from Europe that were intended to adorn the walls of the gallery were delayed due to the First World War, which cause the delay in penning. The European Gallery exhibits artworks like paintings, sculptures, prints and drawings of artists from Italian, Spanish, Portuguese, Dutch and British schools of art among others. The collection houses many original works and several authentic master copies. A master copy of a painting from the Italian section titled The Death of St. Peter Martyr’ by Tiziano Vecellio (1480-1576; better known as Titian) is a much coveted treasure given the original, which was displayed at the Santi Giovanni e Paolo in Venice, was lost in a fire in 1874, making this copy at the Baroda Museum the only remaining master copy of painting.
27
SITE ANALYSIS
SITE STUDY
RATIONAL FOR THE SITE
1 How people enter to the park? 2 Where do they go first? 3 How furniture can be the part of museum? 4 Why people get more attracted to museum? Opportunity to connect public open spaces with the museum. People interacting in front of museum like waiting, looking around the facade, people walking around the park and observing museum, people roaming near the building, kids waiting and playing near the ticket choses.
Fig 4.2. When students visit the museum, they don’t have any proper seating to get a glance view of building facade, as it is the part of the museum too.
Fig 4.3. Empty spaces
- Density of people
- Touch points
-Flow of visitors
Fig 4.4. People sit on the either side of the lawn and sometimes they don’t have any proper place to sit and eat
28
29
SITE STUDY
TYPES OF ELEMENTS OF BUILDING
TYPES were OF ACTIVITY OBSERVED IN SAYAJI BAUG Follwing the activities observed and are divided as follows:
Follwing were the elements observed on the building facade:
ELEMENTS
TYPE OF ACTIVITY
AGE GROUP
ACTIVITY Movtivites, Arches
Social ac�vity -talking -mee�ng -get togther
15-65 years 80%
Tower, minarets
Op�onal ac�vity -clicking photograph -visi�ng zoo
10-50 years 10%
Chatris ,minarates,windows, overhangings
Necessary ac�viity -walking -jogging -yoga -running
20-70 years 10% Openworks,jails, arches, scalloped arches, Chhajja
Jharukhas
kids playing
Stone carvings
30
31
Chapter 5 Design
33
5.1 CONCEPT
FORMS / BASIC GEOMETRY
The design is based on the mass and void which are elevated on the building facade with basic composition of basic geometrical shapes which consists voids, which are the form of ornamentation perforation, arches, spacing in and around the roof, etc.
DISORIENTATION
The building has qualities such
as repetition, rhythm, mirror, symmetrymass and void, basic geometrical forms
CLUSTER MULTIPLY ROTATE SPECIFIC FORM
Fig 5.1. Basic geometry
ADDED FUNCTIONS MODULE BASED
Fig 5.5. Forms Fig 5.2. Mass and void
Fig 5.3. Repitition
Fig 5.4. Mirror
34
DIAGRAMS EXPLAINING THE FORM TO FUNCTION
35
5.1. FINAL DRAWINGS C
A' B'
A B'
PLAN @3200
C'
m
37
PLAN @2700
m
39
SECTION AA'
41
SECTION BB'
43
SECTION CC'
45
5.2. DESIGN DEVELOPMENT AND 3D VIEWS
Fig.5.6. 3D VIEW
Fig.5.8.3D VIEW
Fig.5.7.3D VIEW
Fig.5.9.3D VIEW
46
47
Fig.5.10.3D VIEW
Fig.5.12.3D VIEW
Fig.5.11.3D VIEW
Fig.5.13.3D VIEW
48
49
DESIGN DETAILS Glulam wood-100mmx100mmx1000mm Metal plate-3mmx100mmx1000mm Metal studs- 30mm Concrete base- 1200mmx1000mm
Fig.5.14.3D VIEW
Seating detail Scale 1:5
Metal sheet and glulam wood
Concrete base Fig.5.15.3D VIEW
50
51
Glulam wood hand rest-30mmxr-400mm Glulam wood- 100mmx500mm
Glulam wood-15mmx30mmxr-1400 Metal plate-10mmx 1060mmx1080mm T-section- 8no. Concrete base- 1200mmx1000mmxr-2800 Metal cylinder- r-440
300 300
Seating and shade detail GLULAM WOOD SHADE R1300 X 6MM WOOD BENDED
T-SECTION
1300MM X 24MM T-SECTION
Hand rest detail Scale 1:5
2400 2400
T- section
Glulam wood METAL CYLINDER
600
Bracket and glulam wood
CONCRETE BASE R1650MM X 300MME SEATING
300
Concrete base
300
R90MM X 2400MM
CONCRETE BASE
R1650MM X 600MM SEATING
1650 52
2800
1650
Concrete base
53
Glulam wood-r-2800mmx80mmx30mm Metal plate-8mmx15mmx600mm wood bend
2800
40
Glulam wood back rest- 120mmx300mm
2800 X 80MM X 30MM WOOD BENDED
800
120
GLULAM WOOD
METAL SHEET
8MM X 15MM X 600MM METAL SHEET BENDED
300
GLULAM WOOD BACK REST 120MM X 3000MM BEND WOOD
160
1210
160
1210
METAL CORNER BRACKETS 5MM ANCHORED WITH GROUND
CONCRETE BASE
300
1000MM X 300MME SEATING
1000 GLULAM WOOD
Seating back rest detail Scale- 1:5
2800 X 40MM X 30MM WOOD BENDED
METAL SHEET
8MM METAL SHEET BENDED
Glulam wood
Concrete base
Seating detail Scale 1:5
Concrete base
54
Bracket and glulam wood
55
BIBLIOGRAPHY
LIST OF FIGURE
Project for public spaces. (2008, December 31). Retrieved from www.pps.org: https://www. pps.org/article/jgehl#:~:text=Social%20activities%20include%20children's%20play,and%20 feed%20off%20each%20other.
Fig 1.1 Importance of public Source- https://www.pps.org/article/placemaking-and-place-led-development-a-new-paradigm-for-cities-of-the-future?hcb=1
Enzo Outdoor Furniture. (2010, 08 24). Retrieved from www.design-milk: https://design-milk. com/enzo-outdoor-furniture/ Gangwar, G. (2018). Fusion of Traditional and Modern Principles of Design for Public Spaces of Indian Cities. Garau, P. (2015). Global Public Space Toolkit. Ndinda Mwongo. Jun Hu, J. W. (2014). Design for Social Interaction in Public Spaces. KAUR, A. (n.d.). Evolution of Public Spaces in Contemporary Urban Life. Retrieved from rethinking the future: https://www.re-thinkingthefuture.com/article/evolution-of-public-spaces-in-contemporary-urban-life/ Praharaj, S. (2016). Re imagining public spaces in Indian cities . What is an Interactive Installation? (n.d.). What is an Interactive Installation? (n.d.). Retrieved from www.mbryonic.com: https://mbryonic.com/installations-guide/ Yılmaz, S. (2016). Seating Furniture in Open Spaces and Their Contribution to the Social Life.
Fig 1.2 Playful pavilion, Olympic Park, England https://www.wallpaper.com/architecture/2015-landscape-institute-awards-winners Fig 1.3 Community spaces and public https://www.shutterstock.com/search/lal+darwaza Fig 1.4 Bazar and streets https://oldnycphotos.com/products/fruit-stand-greenwich-village-1965-downtown-manhattan Fig 1.5 Malls https://www.hellotravel.com/deals/64009.html?hcb=1 Fig 1.6 Historical monuments https://edition.cnn.com/style/article/famous-buildings-india/index.html?hcb=1 Fig 1.7. Necessary activity https://before.travel/places/new-delhi-city-travel-guide/ Fig 1.8. Optional activity https://www.nytimes.com/2010/10/31/travel/31journeys-mumbai.html Fig 1.9. Social acticity https://www.wricitiesindia.org/content/reinventing-urban-waterfronts-indian-cities-five-ideas-step-way-forward Fig 2.1. Human behavior https://www.nar.realtor/blogs/spaces-to-places/add-the-bling-to-enhance-your-place?hcb=1 Fig 2.2. Digital https://hereandnowmag.co.uk/worthing-leads-the-way-as-public-art-goes-digital-gets-interactive/ Fig 2.3. Easy to participate https://www.psfk.com/2014/08/vancouver-installation-urban-reef.html Fig 2.4. Visual https://www.carnetdenotes.net/?p=1171 Fig 3.1. No shade used By author
56
57
Fig 3.2. Made up of concrete By author
Fig 3.17. Placement of furniture By author
Fig 3.3. Not well maintained By author
Fig 4.1. Baroda museum and picture gallery By author
Fig 3.4. Concrete post By author
Fig 4.2. When students visit the museum, they don’t have any proper seating to get a glance view of building facade, as it is the part of the museum too. By author
Fig 3.5. Planter as voids By author Fig 3.6. Placement of furniture By author Fig 3.7. Not well maintained By author Fig 3.8. Made with scrap By author Fig 3.9. Unstandardized height By author Fig 3.10. Placement of furniture By author Fig 3.11. Unstandardized height By author Fig 3.12. Made with pipes By author Fig 3.13. Form based https://www.itinari.com/chill-out-furniture-trademark-of-vienna-897x
Fig 4.3. Empty spaces By author Fig 4.4. People sit on the either side of the lawn and sometimes they don’t have any proper place to sit and eat By author Fig 5.1. Basic geometry By author Fig 5.2. Mass and void By author Fig 5.3. Repetition By author Fig 5.4. Mirror By author Fig 5.5. Forms By author Fig.5.6 to 5.12. 3D VIEW By author
Fig 3.14. Multifuntional https://www.itinari.com/chill-out-furniture-trademark-of-vienna-897x Fig 3.15. Compatible https://www.itinari.com/chill-out-furniture-trademark-of-vienna-897x Fig 3.16. Easily movable https://www.itinari.com/chill-out-furniture-trademark-of-vienna-897x
58
59
