Master’s in Interior Design | Faculty of Design | CEPT University
ID 4015
The Big Rethink:
Interior Materiality Unit Tutors: Prof. Kireet Patel, Rishav Jain & Aparajita Basu Unit Assistants: Chandni Chhabra, Teja Payapalle
Sandra Kodappully | 21306No.
ID 4015
The Big Rethink:
Interior Materiality
Sandra Kodappully | 21306No.
The Big Rethink is a series of postgraduate interior design studios focussing on developing a multitude of notions, approaches, positions and arguments with reference to interior design practices.
Master’s in Interior Design | Faculty of Design | CEPT University
ID 4015
The Big Rethink:
Interior Materiality Unit Tutors: Prof. Kireet Patel, Rishav Jain & Aparajita Basu Unit Assistants: Chandni Chhabra, Teja Payapalle
Sandra Kodappully | 21306No.
Contents 0. About Studio A. Interior Materiality B. Studio Outline C. Structure of the Studio 1. Foundation Program A. Objectory B. Factory 3. Generating and Developing the Argument 4. Role 01 I Representing an ‘Era’ 5. Role 02 I Representing ‘Standardization’ 6. Role 03 I Representing a ‘Collaborative Identity’
‘’If you think of Brick, you say to Brick, ‘What do you want, Brick?’ And Brick says to you, ‘I like an Arch.’ And if you say to Brick, ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, Brick?’ Brick says, ‘I like an Arch.’ And it’s important, you see, that you honor the material that you use. You can only do it if you honor the brick and glorify the brick instead of shortchanging it.’’ -Louis Kahn
‘Interior Materiality’ A concept that concerns the critical aspects responding to the governance and engagement of a spatial system - Loschke, Sandra Karina. “Materiality and Architecture.”
Why Interior Materiality? We design spaces and spatial experiences through orthographic drawing that only provides information about the form, and relegates ‘material’ to the empty spaces between the lines. The process of identifying and detailing form is embedded in our practices, and we fail to examine material beyond its aesthetic or technological capacities and leave it to adapt to the form. - Material Matters: Architecture and Material Practice
Studio Concern The current interior design field/practice has systematically emerged from its allied and specialized disciplines. This poses a challenge for its design professionals to be equally emerged or developed or qualified in order to develop a specific design approach/language/identity. It is important for the professional to possess the ability to develop a position that is professionally recognizable.
Learning Outcomes After completing the Studio,the student will be able to : - Ability to develop a systematic argument/position/approach on the interdependence between materiality and practice - Ability to translate/represent the design argument/position/ approach through 3-Dimensional and material based outcomes - Ability to develop a design position for varied complexity of interior projects - Ability to organise 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)
Studio 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 third one in the series, the studio challenges the concept of Interior Materiality in interior design. 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 materiality and its expression, identity and design outcomes. The first four weeks are a part of the common FD PG Foundation, where students from all streams work together to develop skills and abilities in drawing and making. The latter part of the studio is divided into two modules: the first builds an argument on interior materiality and the second module explores three key roles of an interior designer with each student working on three smaller projects. Role one focuses on practices that work within the context of an ‘era’, role two focuses on practices that are sited within the ‘standardisation’ of the typical floor plan and role three challenges the boundaries between interior design and architecture. The studio focuses on representing experiential and ephemeral qualities, planning and organising strategies, detailing and construction techniques, through the lens of interior materiality.
“A concept or the applied use of various materials or substances in the form of space making, actualized through the body and senses interacting with the physical environment. A language to articulate vision or make ideas tangible.”
interior materiality
what is the role of an interior designer ?
interior materiality
1
focus
3 ‘era’ ‘standardisation’ ‘collaborative’
roles
Leonardo Da Vinci
1
premise
3 experiential and ephemeral qualities planning and organising strategies detailing and construction techniques
projects
Structure of the Studio
Objectory and Factory
Generating an Argument
Foundation Program, 4 weeks
Module 1, 1 Week
Week 01-04
Week 05
Role 01
Week 06-07 Project Type: Adaptive reuse of an existing historical site Understanding Formal qualities Output type: Photomontage and drawings Focus on experiential and ephemeral qualities
Role 02
Role 03
Module 2, 10 Weeks
Week 08-12
Week 13-15
Project Type: Standardized typical office floor plan
Project Type: Independent design project with no predetermined site context
Output type: Plans, sections, Isometric Drawings Focus on organizing and planning
Output type: Experiential views showing construction techniques. Focus on constructing an experience, making and detailing.
Week 01 - 04
Common Foundation Weeks Objectory: Demonstrate precision by way of observing and representing. The study of tolerance is by way of identifying the materials and assembly of parts, and accuracy by way of exploded axonometric/isometric drawings. Factory: Explore the ideas of the frame, detail, assembly, tectonics, material as a central core of making. Process and transform materials with precision, accuracy and tolerance for assembly.
EX
01
Objectory Manual Tin Can Opener
Exercise Brief & Intent: The exercise focused on studying the working, mechanics, structure, parts, function, ergonomy etc of a tin can opener to understand the concepts of tolerence and precesion. The object was documented, studied, dismantled and analysed. A can opener is an essential kitchen tool. There are several kinds of can openers. The handheld can openers use a cutting wheel to pierce the lid from the top and then slice it from the can. A manual opener with a big turning knob is usually a butterfly can opener or a bunker can opener.
Learning Outcomes: Understanding the working of the mechanics and assembly of the object and how each and every part is essential to its functioning. Drawing skills of isometric, orthographic and documentation were acquired. Knlowledge was gained regarding the manufacturing process, material study and the ontology of each material.
Drive wheel Is a small, round metal wheel with notches/teeth in it which grips the surface/lip of the can and helps hold it in place. The wheel will be exposed to liquids within the cans as it cuts the lid, so it’s key that it be made of a metal that resists corrosion and rust which is why stainless steel is one of the best choices for this location
Lower Traction Gear The traction gear is a small, round metal wheel with notches/teeth in it to increase the grip on the can. When it is pressed against opposite sides of the edge of the can, the surface of the traction gear grips the surface of the metal.
Stopper Made of rubber, is the structure on which the rest of the traction gear mechanisms rest. It is made of rubber so that the friction from the turning of the traction gear wont wear it out.
Rivet It hold/joins the two main steel plates together and acts as the pivot/axis around which the two plates rotate.
Main Body Plate his is the main structure on which the handles and gears are attached to. It is made from steel and is chrome plated.
Screw mm dia screw which holds the lower gears together
Cutting Wheel The cutting wheel has a sharp edge around. When the cutting wheel is forced against the can by pushing the handles of the opener together, its edge cuts through the metal. When you turn the traction gear the cutting wheel rotates as well, cutting through the metal as it advances around the edge of the can. The wheel will be exposed to liquids within the cans as it cuts the lid, so it’s key that it be made of a metal that resists corrosion and rust. Stainless steel is one of the best choices for this location, as it maintains a sharp edge and resists stains, rust, and corrosion. Some can openers coat the stainless steel with zinc for increased durability.
Lower Traction Gear The traction gear is a small, round metal wheel with notches/teeth in it to increase the grip on the can. When it is pressed against opposite sides of the edge of the can, the surface of the traction gear grips the surface of the metal.
Main Body Plate his is the main structure on which the handles and gears are attached to. It is made from steel and is chrome plated.
Spring It is made of stainless steel and is used in attaching the crank and pin to the steel body
Pin It is made of stainless Steel and aids in attaching the crank to the steel body and facilitates rotation
Handles A manual can opener consists of two oval handles made of Stainless steel connected with a rivet or bolt, allowing them to be drawn apart and pushed together, pivoting on the point
Hanger It is a U- shaped metal tube of mm dia made of stainless steel and it is used to hang the object on hooks/ledges in kitchens for easy storage and access.
Crank A crank is attached to one of the handles and the axle of the crank has the traction gear attached to the opposite side. When you using thr opener one separates the handles, places the traction gear beneath the lip of the can and the cutting wheel above it, then brings the handles together, trapping the lip of the can between the traction gear and the cutting wheel. Turn the crank to turn the
02
ISOMETRIC VIEW
40mm * 20mm Teak Wood Components
EX
2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
20
Factory The cuboid 20
210
105
105
2mm Dia Screws drilled to fix the plate to the wood components
Exercise Brief & Intent: 55
ISOMETERIC VIEW
55
The exercise was to make an incomplete cuboid using the provided kit which consisted of metal rod, metal pipe, L section, wooden battens and metal plate. 1. Concept of floating joineries supported by symmetrical perpendicular interlocks at the base. 2. Aims to overlap individual material properties resulting in a singular unit thereby giving a unified outlook. 3. Consistent flow of mass and volume. The partial use of the 2mm thick metal sheet fixed to the wooden batten via l shape ss channels showcases maximum overlap of material use and balanced amount of volumetric 3 Dimensional compositions. 4. The installation is based on the principle of physical joinery over mechanical joinery. It showcases functional use of the material in a diverse physical form thereby giving a wide range of 12mm rod with 30mm 19mm SSdimensions Pipe flushing to experiment and long threading bolted to inside 12mm SS Rod the wood component comprehend joinery and materials. 105
10
200
2mm Metal Sheet
40
20
M6 Nut and Bolt
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
19mm dia SS Pipe
19mm SS Pipe
KIT CONTENTS: 1. SHEET METAL (MS) THK 1MM : 350X350MM 2. MS ROD (12MM DIA) : 500 MM
Learning Outcomes: The properties of the materials given 40mm * 20mm were studiedTeak and the different types Wood Components or techniques through which they could be treated and manipulated were explored. Different and interesting joineries were explored deep groove in junctions9.5mm two forespecially the 19mm thick pipe where to rest in the groove or more different types of materials interact. were exposed to he different types of machineries used in the construction and alteration of those specific materials. 3mm Dia Screws drilled to fix the Lap Joint
3. MS PIPES (19MM DIA , THK 1.2MM) : 500MMM 4. WOOD (TEAK) :40X20X1200 5. MS ANGLE 25X25 (THK 2 MM) :500MM
KIT CONTENTS: 1. SHEET METAL (MS) THK 1MM : 350X350MM 2. MS ROD (12MM DIA) : 500 MM 3. MS PIPES (19MM DIA , THK 1.2MM) : 500MMM 4. WOOD (TEAK) :40X20X1200
ELEVATION 01It compositions. ELEVATION volumetric 3 Dimensional component over mechanical joinery. showcases the material02 in a diverse physical form thereby giving a03 wide range of dimensions toELEVATION experiment04 and comprehend joinery and materials. JOINERIES : functional use ofELEVATION ISOMETRIC VIEW 4. The installation is based on the principle of physical joinery 20mm deep groove drilled in over mechanical joinery. It showcases functional use of the material in a diverse physical form thereby giving a wide range of dimensions to experiment and comprehend joinery and materials. 40mm*20mm wood component 40mm * 20mm Teak Wood Components
40
20
ORTHOGRAPHIC DRAWINGS:
JOINERIES : ORTHOGRAPHIC DRAWINGS:
20
20
105
20 540
20
10
60
105
ISOMETERIC VIEW
210
200
2mm Metal Sheet 55
M6 Nut Bolt use to01 fix the 12mm ELEVATION
40mm * 20mm Teak Wood Components
105
ELEVATION 02
ISOMETRIC VIEW 40
20
210
65
55
540
35
105
20 105
2mm Dia Screws drilled to fix the plate to the wood components
19
200
ISOMETERIC VIEW
210
105
60 540
ISOMETERIC VIEW
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
55
12mm dia SS Rod flushed in 20mm deep drilled channel fixated with Nut and Bolt
55
2mm Metal Sheet
19mm SS Pipe
40
19mm dia SS Pipe
20
35
55
ELEVATION 04
10 20
55
ELEVATION 04
ELEVATION 03
2mm Dia Screws drilled to fix the plate to the wood components
M6 Nut and Bolt
fixated with Nut and Bolt
2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
ELEVATION 03
19mm dia SS Pipe
20
20mm19 deep inside groove drilled inSS 12 flushed in 20mm deep 12mm Rod 40mm*20mm wood drilled component channel 12
12mm dia SS Rod2mm SS Plate Bended at 90* to hold flushed in 19mm dia SS Pipe 3 Wood and Sheet Metal at a Bolt perpendicular level. fixated with Nut and
ELEVATION 02
20mm deep groove drilled in 40mm*20mm wood component
19mm Pipe 12mm SS dia SS Rodflushing
20
20
12mm dia SS Rod flushed in 20mm deep drilled channel fixated with Nut and Bolt
40
M6 Nut and Bolt
rod to 40mm * 20mm wood ELEVATION 01 component
ELEVATION 02
2mm Metal Sheet
105
60
ASSEMBLY
40
20
200
40mm * 20mm Teak Wood Components
105
65
ASSEMBLY ASSEMBLY
PLAN
20mm deep groove drilled in 40mm*20mm wood component 12
45
ELEVATION 01 ISOMETRIC VIEW
10
M6 Nut Bolt use to fix the 12mm rod to 40mm * 20mm wood component
PLAN
55
20
540
35
12
55
ep groove drilled in mm wood component
2mm Dia Screws drilled to fix the plate to the wood components
40
JOINERIES :
SS Rod 20mm deep annel th Nut and Bolt
2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
55
drilled channel 20mm deep groove drilled in fixated with Nut and Bolt40mm*20mm wood component
PLAN
ISOMETERIC VIEW
55
105
19
2mm Dia Screws drilled to fix the plate to the wood components
210
20mm deep groove drilled in 40mm*20mm wood component 12mm dia SS Rod flushed in 20mm deep 12mm dia SS Rod drilled channel flushed in 20mm deep fixated with Nut and Bolt 45
12
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
40mm * 20mm Teak Wood Components
105
65
12mm dia SS Rod flushed in 20mm deep drilled channel fixated with Nut and Bolt
ISOMETRIC VIEW
2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
M6 Nut and Bolt
105
12 45
M6 Nut Bolt use to fix the 12mm rod to 40mm * 20mm wood 19mm SS Pipe flushing 55 component
105
10
inside 12mm SS Rod 2mm Metal Sheet
20mm deep groove drilled in 40mm*20mm wood component
40
20
20
65
19mm SS Pipe flushing inside 12mm SS Rod
40
JOINERIES :
40mm * 20mm Teak Wood Components
12mm dia SS Rod 19 flushed in 20mm deep drilled channel 12mm dia SS Rod fixated with Nut and Bolt
VIEW VIEW JOINERIES ISOMETRIC : ISOMETRIC 2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
12mm dia SS Rod 19mm SS Pipe flushing flushed 20mm deep insidein 12mm SS Rod drilled channel 40mm 20mmBolt fixated with Nut* and
105
210
105
210
Teak Wood Components
105
10
540
40mm*20mm wood component
55
10
60
105
2mm Metal Sheet
19mm dia SS Pipe
65
20
40
20
Lap Joint
35
35
55
19mm dia SS Pipe Dovetail Joint
3mm Dia Screws drilled to threading bolted fix the long Lap Joint
40mm * 20mm Teak Wood Components
19
Dovetail Joint
20
the wood component
20
20
20
20
to fix the tongue and groove joint
55
20
19mm SS Pipe
20
20
40
20
fix the plate to the wood components
20
19mm SS Pipe flushing inside 12mm SS Rod
2mm SS Plate Bended at 90* to hold 3 Wooden Components at a perpendicular level.
12mm rod with 30mm long threading bolted to 40 20 the wood component
20mm long threading on 12mm SS Rod
50
50
40
40
Lap Joint
21
40 20
40mm * 20mm 3mm Dia Screws drilled to Teak Wood Components fix the Lap Joint
3mm Dia Screws drilled to fix the plate to the wood Tonguecomponents
3mm Dia Screws drilled to fix the plate to the wood components
Level 4
9.5mm deep groove for the 19mm thick pipe to rest in the groove 20
and Groove Joint
FD PG CEPT University
3mm dia and 25mm long Dovel used to fix the tongue and groove joint
20
10
40mm * 20mm
20mm deep groove
40
Dovetail Joint
1
20
KIT CONTENTS:
KIT CONTEN
1. SHEET METAL (MS) THK 1MM : 350X350MM 2. MS ROD (12MM DIA) : 500 MM 1. SHEET ME 3. MS PIPES (19MM DIA , THK 1.2MM) : 500MMM 2. MS ROD (1 4. WOOD (TEAK) :40X20X1200 5. MS ANGLE 25X25 (THK2021 2 MM) :500MM RUCHARANI K |SANDRA 3.Student MS PIPES Studio I Monsoon BIJ(
9.5mm deep groove2 for the 19mm thick pipe to rest in the groove
19mm SS Pipe flushing inside 12mm SS Rod
12mm rod with 30mm long threading bolted to the wood component
KIT CONTENTS:
Lap Joint
20
FD PG CEPT University
3mm dia and 25mm long Dovel used to fix the tongue and groove joint
19mm SS Pipe
3mm Dia Screws drilled to fix the Lap Joint
20
12mm SS40 Rod
40mm * 20mm Teak Wood Components
FD PG CEPT University Dovetail Joint
20mm deep groove 20mm long inside threading on 12mm SS Rod
20
20 20
20
40mm * 20mm Teak Wood Components
9.5mm deep groove for the 19mm thick pipe to rest inSS thePipe groove 19mm flushing
20
2mm SS Plate Bended at 90* to hold 3 Wooden Components 40 at a perpendicular level. 3mm Dia Screws drilled to
40
20
40
and 25mm long Dovel used tongue and groove joint
19mm dia SS Pipe
20mm deep groove
10
20
40
Tongue 3mm dia and Groove Joint to fix the
36
10
20mm long threading on 12mm SS Rod
12mm rod with 30mm long threading bolted to the wood component
19mm SS Pipe flushing inside 12mm SS Rod
50
20
21
20
9.5mm deep groove SS to Plate for the 19mm thick2mm pipe Bended at 90* to hold rest in the groove 40mm *3 20mm Wooden Components at a perpendicular level. Teak Wood Components
40
40
40
20
40
20
20
20
20
Dovetail Joint
1. SHEET METAL (MS) THK 2. MS ROD (12MM DIA) : 5 3. MS PIPES (19MM DIA , T KIT CONTE 4. WOOD (TEAK) :40X20X1 5. MS ANGLE 25X25 (THK 1. SHEET M 2. MS ROD 3. MS PIPES 4. WOOD (T 5. MS ANGL
20
20mm deep groove
20
40
40
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
Tongue and Groove Joint
40
40
19mm SS Pipe
M6 Nut and Bolt
to
40mm * 20mm Teak Wood 3mm dia andComponents 25mm long Dovel used Lap Joint
19mm dia SS Pipe
40mm * 20mm Teak Wood Components
40
40
10
19mm SS Pipe flushing inside 12mm SS Rod
20
Lap Joint
12mm dia SS Rod flushed in 20mm deep Tongue and Groove Joint drilled channel 21 3mm Dia Screws drilled to the Lap Joint Bolt fixated withfixNut and
21
20
35
55
19mm SS Pipe flushing inside 12mm SS Rod
12mm rod with 30mm
19mm SS flushing 12 Pipe 3mm Dia Screws drilled to inside 12mmfixSS Rod the Lap Joint
12mm rod with 30mm long threading bolted to the wood component
19mm SS Pipe flushing
12mm dia SS inside Rod 12mm SS Rod flushed in 20mm deep drilled channel fixated with Nut and Bolt
9.5mm deep groove
20mm deep groove drilled in for the 19mm thick pipe to rest in the groove 40mm*20mm wood component
65
65
12mm dia SS Rod flushed in 20mm deep drilled channel fixated with Nut and Bolt
20
KIT CONTENTS:
M6 Nut Bolt use to fix the 12mm rod to 40mm * 20mm wood component
12mm dia SS Rod 19mm SS Pipe flushed in 19mm dia SS Pipe fixated with Nut and Bolt
M6 Nut and Bolt
19mm SS Pipe
19
2mm Metal Sheet
40
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
M6 Nut and Bolt
40
20
12
19
200
20
20mm deep groove drilled in 40mm*20mm wood component
12
40mm * 20mm 9.5mm deep groove for the 19mm thick pipe toTeak Wood Components rest in the groove
40
60
60
M6 Nut Bolt use to fix the 12mm rod to 40mm * 20mm wood 19mm SS Pipe flushing component inside 12mm SS Rod 20
10
105
2mm Metal Sheet
ISOMETERIC V
55
540
12 200
20
2mm Dia Screws drilled to fix the plate to the wood components
55
9.5mm deep groove for the 19mm thick pipe to rest in the groove
19mm dia SS Pipe
200
40
20
ISOMETERIC VIEW 20mm deep groove drilled in
55
M6 Nut Bolt use to fix the 12mm 20mm deep groove drilled in rod to 40mm * 20mm wood 40mm*20mm wood component component
12mm rod with 30mm long threading bolted to the wood component
ISOMETERIC VIEW
2mm Dia Screws drilled to fix the plate to the wood components
55
12
9mm SS Pipe flushing side 12mm SS Rod
2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
20
2mm Dia Screws drilled to fix the plate to the wood components
105
105
45
20
55
20mm deep groove drilled in 55 component 40mm*20mm wood
12
40mm * 20mm Teak Wood Components
19mm SS Pipe
20
105
35
12mm SS Rod drilleddia channel flushed 20mm deep fixatedin with Nut and Bolt drilled channel 20mm deep groove drilled in fixated with Nutwood and component Bolt 40mm*20mm
40mm * 20mm Teak Wood Components
2mm SS Plate Bended at 90* to hold 3 Wood and Sheet Metal at a perpendicular level.
20
flushed in 20mm deep
45
ISOMETRIC VIE
12mm rod with 30mm long threading bolted to the wood component
19mm SS Pipe flushing inside 12mm SS Rod
40mm * 20mm Teak Wood Components
210
45
SS Rod 20mm deep annel th Nut and Bolt
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
M6 Nut and Bolt
105
JOINERIES :
19mm SS Pipe
20
20
12mm dia SS Rod flushed in 19mm dia SS Pipe fixated with Nut and Bolt
M6 Nut and Bolt
12
540
ep groove drilled in mm wood component
19mm dia SS Pipe
36
Bolt use to fix the 12mm mm * 20mm wood nt
36
40
12mm rod with 30mm long threading bolted to the wood component
19mm SS Pipe flushing inside 12mm SS Rod
200
40
Tongue and Groove Joint
4. WOOD (TE 5. MS ANGLE
1. SHEET METAL (MS) THK 1MM : 350X350MM Level 4 Studio I Monsoon 2021 RUCHARANI K |S 2. MS ROD (12MM DIA) : 500 MM 2021 Level 4 Studio I Monsoon 40mm * 20mm
RU
Week 05 - 06
Module 01:
Generating an Argument Stage 01: Developing an argument A. Select relevant examples from recent practices of Interior Design B. List down design decisions and analyse the relationship between interior materiality and practice. Stage 02: Stating an argument Develop an argument in reference to the interrelationship of interior materiality and practice based on the list of design decisions and the selected examples.
EX
03
Exploring materiality
Ex 01 Material to Materiality
Projects representing an
Projects representing
Projects representing a
‘Era’
‘Standardization’
‘Collective Identity’
Lota Cafe| New Delhi | 2014 Café Lota & the Museum Shop revitalizes the National Crafts Museum hub using local materials and Indian art and craft
Homo Farber | | 2018 Exhibition of Craftmanship and local materials
Compartes Flagship | Los Angeles|
Spa|Greece| 2019 Intends to create varied and carefully articulated experiences
Dior| Seol | 2020 The façade becomes an organic body engaging diverse uses at the same time to give people a peaceful atmosphere
Tease me Cafe| Kottayam | 2015
CHateaux Gutsch | 2008
Four Seasons| Anguilla| 2003
Santa Monica Proper| California |2002
01 Collaboration between the designer, material and craftsman
Reference: Materiality by Benjamin Hubert
02 Materiality as a abase to engage
Exercise Brief & Intent: The aim of the exercise was to conduct case studies based on three areas: Era, Standardization and Collective identity. The case studies were then analysed based on ‘what does materiality inform?’ and ‘what does materiality contribute to?’ and a master argument was derived from the deductions. This argument would be the basis for design decisions in all the upcoming exercises. Argument: “Manipulation of contrast between materials of space making elements can create emphasis in a visual composition.”
Emphasis or points of focus are created in the space by manipulating the contrast between materials through different methods like creating foreground and background, texturing, form manipulation, layering etc. The points of foci created in this scenario would be Da Vinci’s dream machines. The design elements should act as a background in which the displays are presented. The design is also trying to create a scenario where the points of foci in the space are the objects and the users only.
Learning Outcomes: The ability to closely observe and analyse the case studies to arrive at deductions and to generate a conclusion from them. To make a differenciation/corelation between ‘Material’ and ‘Materiality’.
the senses Reference: Materiality and Interior Construction by Jim Postell and Nnancy Gesimondo
03 Materiality to emphasise volumetric form
Reference: Francesco Di Searra
04 Link between nature and indoors Reference: Sontaya Bluangtook
Artisan House| New Delhi | 2014
Monsoon 2021 | FD PG L4 | The Big Rethink: Interior Materiality
The Earth and Glass House | Mumbau| 20-
The Palace| Saudi Arabia| 2021
Sandra Bijuraj Kodappully | 21306
Week 06 - 07
Module 02: Role 01
Experiencing Materiality The Experience of space is understood through the elements, compositions and moments one may encounter in the space.This is seen through a visual study of how light, texture, color, material and finishes play out in space. Historical practices through a project representing an ‘Era’ Output: Photomontage / Collage
EX
04 Era of expressions Belonging
Exercise Brief & Intent: Aim: To create points of emphasis in a space Medium: Modulation of contrast between materials thereby creating a sense of foreground and background The site chosen was the Chandigarh High Court. The main aim was to retain the essance of the site with its rectiliniar solid forms and monotonous material composition. The intention was to asses how the proposed intervention can be woven into the exixting structure while studying its effect on the space. The main factor kept in mind was to create emphasis on the machines displayed through the modulation of materiality in the space. Niches or pockets are created in the given volume by scooping out smaller sub-volumes in the space. Learning Outcomes: Photo-montage making as a skill set to represent the interventions proposed in a space. Understanding scale and proportion of a space through material exploration and volumetric study
PLAN
PERSPECTIVE VIEW
Angular Bridled Joinery connecting the two wooden battens together Existing Concrete Walls of the Site
Existing Concrete columns
Wooden panels against which the machines are displayed
Wooden pedestal on which the machines are placed
Wooden Flooring
SECTION
ISOMETRIC VIEW
Week 08 - 12
Module 02: Role 02
Spatialising Materiality Organization and space planning involve the systematic laying out of space-making elements. Considering that some arguments and design intents involve an array of elements, while the rest require volumetric explorations - this visual composition leads to more clarity in the design. Current modern practices through a project representing a ‘Standardisation’ Output: Plan, Section, Isometric Drawings
EX
05 Standardization Etherial enclaves
Exercise Brief & Intent: Site as a Shell: which encapsulates all that lies within and acts as a barrier or threshold between the outside and inside. Interior as a Conduit for Introspection: The experience the user gets while interfacing with the space triggers them to introspect. The effect of introspection is not bound by the time spent experiencing the space. The arrangement of the machines are to be in such a way that the experience lingers long after one has left the space. The trigger is curated by: Providing meandering circular pathways, Creating a sense of pause/delay, Visual Reality and immersive design. The main element used to achieve this is the translucent fabric members.The members define the form of the space(curviliniear), they define the function (creating specific enclosures for the displays) and they also define the circulation pathways. Learning Outcomes: Adaptation of an existing space with a pre-existing function to fit into the new set of parameters and criterias for a new fucntion through design intervention
PROCESS MODEL EXPLORATION
DETAIL A
DETAIL B
DETAIL C
Week 13 - 15
Module 02: Role 03
Experiential Materiality Details of elements, junctions and construction assemblies all inform the production of spatial experience as well as organization. Hence,it is necessary that a language of detailing be designed and worked on. Collaborative practices through a project representing an ‘Identity’ Output: Experiential Views, Material specification and construction Details
EX
06 Collective Study Fluidity in rigidity
Exercise Brief & Intent: The concept was toexplore fluidity in three dimentionality. The design intends to create an experience of being inside a monolithic shell. The elements or intervention creates a feeling of being engulfed or encapuslated in a space bound by a singular material. The modulation and definition of the volume is explored using the elements too by creating undulations and enclosures. The material used is wood which is generally used and associated with linearity. Through material manipulation a feel of fluidity and seamlessness is created in the space while creating a sense of visual continuity. Learning Outcomes: Creating design interventions for a space without any knowledge or reference of the architectural shell on the outside
4mm Veneer
50x50 wooden batten
12mm Plywood
Wooden Planks
Wooden batten
Rubber Pads
