Elements of Form and Space by Amal Shah

Elements of Form and Space Studio Booklet

Academic Year 2020 - 2021

Tutors: Gaurang Shah and Amal Shah Teaching Associate : Shikha Mehta Program: Bachelors in Design | L2 Studio Unit

Elements of Form and Space Studio

This is an academic publication, outlining the details of the Elements of Form and Space Studio conducted in two semesters for the Bachelor of Design Program in the academic year of 2020 - 2021.

Design: Shikha Mehta

Content: Gaurang Shah, Amal Shah, Shikha Mehta

All rights reserved. No part of this book may be reprinted or reproduced in any form, including photocopy and recording without the permission in writing granted from the publishers. Copyright ÂŠ 2020 Faculty of Design, CEPT University. All Rights Reserved.

Elements of Form and Space Studio Booklet Academic Year 2020 - 2021 Tutors: Gaurang Shah and Amal Shah Teaching Associate : Shikha Mehta Program: Bachelors in Design | L2 Studio Unit Typology: Visualizing and Communicating

Elements of Form and Space Studio

Content About the studio Studio Brief

Studio Outline

Participants

Design Exercises Gestalt Laws of Perception Infographics

2D Radii Manipulation

3D Radii Manipulation

EndForms Generation

De-construction of Space

Final Design Project 1 (Spring 2020)

Exercises - Ergonomic & Posture Study, CFM Case-study

Site Study, Conclusions & Vision Board Concept Development and Evolution

Developed Products and their Process

102

Final Design Project 2 (Monsoon 2020)

130

Exercises - Research and Extraction of Inferences

136

CMF Considerations Concept Development and Evolution

Developed Products and their Process

148

About the Studio

Studio Brief A form is an image presented by the outer surfaces of an object or a structure. Form changes noise into music, simple marks into alphabets and writing and coloured brush strokes into painting. For designers form gives shape and structure to the raw materials of the world shaped by data, information, intelligence, creativity and imagination. Form is much more than the appearance or aesthetic properties of an object created by its outer surface. Form depends on the users viewpoint and the environment in which it is located; it is the expression of a productâ&#x20AC;&#x2122;s practicality, usability, and desirability and may convey social and cultural meaning or what John Dewey calls its intellectual, practical, and emotional characteristics. It is all aspects of an objects character, including the values and culture to which it belongs. The totality of sensory experience and perception of every object is, in some way, conveyed by its form. The Elements of Form and Space Studio refines and sharpens the studentsâ&#x20AC;&#x2122; perceptual and aesthetic sensibility to all aspects of form making including: geometric relationships; form integration; form manipulation and form transitions explored through sketching, drawing and physical and virtual modelling. Students gain the skills to understand and apply basic principles of form generation and to articulate their form ideas visually and verbally.

Studio Outline This booklet is an outcome for the Level 2 studio conducted during the Acdemic Year 2020 - 2021, in the Bachelor of Design program at Faculty of Design, CEPT University. The studio follows stages of design process, from understanding Gestalt Laws, form manipulation to achieving solutions for product designing. During each stage, students are given exercises that guides development of their design. In the final design assignment, the students understand form and space in terms of a product in the built environment, the relation with its context and users, and the merge of form, functionality, and context in the design process.

Elements of Form and Space Studio

Participants Spring 2020

Gaurang Shah

Amal Shah

Shreya Nanavaty

Students

Aakash Mali

Aashman Amin

Apoorv Magdum

Arushi Garg

Aryan Kapoor

Brinda Jasoliya

Het Desai

Jayashre Bangarusam

Kathan Chauhan

Khushi Jain

Neha Gandhi

Rashmila K

Stuti Gandhi

Participants Monsoon 2020

Gaurang Shah

Amal Shah

Shikha Mehta

Students

Ansh Ajmera

Archi Shah

Bansari Shah

Diya Chhaniyara

Harshavi Patel

Isha Shah

Kinshuk Adeshra

Kushani Mehta

Maitreya Pathak

Margi Sutariya

Suhani Nathan

Vaishnavi Borkar

Design Exercises

1. Gestalt Laws of Perception Infographics

Objective

The exercise involves development of individual representation for the Gestalt Laws of Perception (Law of Similarity, Proximity, Figure and Ground, Closure, Unified Connectedness, Symmetry, etc) through infographics depicting the student’s understanding and interpretation. The process begins by taking examples from student’s surroundings to interpret where and how the Gestalt’s Laws of perception are seen, followed by research and examples from logos, movies, visuals, etc. The students then produce infographics for each Law as per their understanding and interpretation of it.

Learning Outcomes

• Understanding of Laws which govern human perception • Ability to look at forms and spaces through a lens of visual laws and evolve a manner of perception. • A subsequent application and integration of visual Laws on form manipulation in a logical, yet creative manner. • To be able to extract an individual method of perception of form. • Verbal and visual communication skills

Output

• An exploration of real-life examples of where the laws can be seen are represented through a presentation. • An extracted understanding and interpretation of forms depicted through developed infographics which concludes in an overall understanding of the laws of perception.

GESTALT LAWS OF VISUAL PERCEPTION Gestalt is a german word for ‘form’. Within larger Gestalt Psychology come the Principles of GESTALT LAWS OFtheVISUAL PERCEPTION Grouping called Pragananz. Pragnanz or The Law of Simplicity states that we perceive visuals in its

Elements of Form and Space Studio

Gestalt a german word ‘form’. Within larger Gestalt Psychology come thegroup Principles simplestisform, removing allfor complexities and the unfamiliarities when we subconsciously a set of Grouping called Pragananz. Pragnanz or The Law of Simplicity states that we perceive visuals in its objects based on certain laws as shown here. simplest form, removing all complexities and unfamiliarities when we subconsciously group a set of objects based on certain laws as shown here.

Gestalt principles have been used subconsciously used since the beginning of time, as we can see in some of the oldest dated examples, before they were even officially formulated. This reinstates that Gestalt principles have been used subconsciously used since the beginning of time, as we can see in these laws are truly an innate part of being human. some of the oldest dated examples, before they were even officially formulated. This reinstates that laws are truly an Gestalt innate part of being human. Figthese 1.1 Bansari Shah Infographics CEPT University Faculty of Design CEPT University Faculty of Design

Elements of Form and Space

Gestalt Principles

Elements of Form and Space

Gestalt Principles

Studio BD 2004 Studio BD 2004

Infographics Infographics

Bansarin Shah UG180103 Bansarin Shah UG180103

Elements of Form and Space Studio

A D

GESTALT PRINCIPLES are in the mind, not the eye.

Fig 1.2

Fig 1.2 Suhani Nathan Gestalt Infographics Fig 1.3 Kinshuk Adeshra Gestalt Infographics

Proximity

Symmetry Continuity Symmetry Symmetry

The principle of proximity states that things that are close This law comprises the fact that we prefer symmetric together appear to be more related than things that are The principle of continuity states thatSymmetric elements that are appearances over asymmetric ones. objects This law comprises the fact that we prefer symmetric This law comprises factare that we prefer spaced farther apart. arranged on a lineare orthe curve perceived tosymmetric beaspects more relator arrangements associated with positive appearances over asymmetric ones. Symmetric objects appearances overnot asymmetric ones. Symmetric objects ed than on the line curve. such aselements stability, consistency andor structure . aspects or arrangements are associated with positive or arrangements are associated with positive aspects such as stability, consistency and structure . such as stability, consistency and structure .

Continuity Proximity Closure Proximity The principle of continuity states that elements that are The principle of proximity states that things that are close Proximity arranged on a line or curve are perceived to be more relatThe principle of closure states that when we look at a together appear to be more related than things The principle of proximity states that things thatthat areare close The principle of proximity stateselements, that things are complex arrangement of visual wethat tend toclose look ed than elements not on the line or curve. spaced farther together appearapart. to be more related than things that are together appear to be more related than things that are for a single, recognizable pattern. spaced farther apart. spaced farther apart.

Closure The principle of closure states that when we look at a

Continuity Figure and Ground Continuity The principle of continuity states that elements that are Continuity According to this principle, we tend to segment our visual

complex arrangement of visual elements, we tend to look arranged on a line or curve are perceived to be more relatThe principle of continuity states that elements that are The principle of continuity states thatiselements world into figure and ground. Figure the objectthat or are for a single, recognizable pattern. ed than elements on theare line or curve.to be more relatarranged on a linenot or curve perceived arranged onis a the line focus or curve are visual perceived be more person that of the field,towhile the related than elements not on the line or curve. ed than is elements not on the line or curve. ground the background.

Figure and Ground “Its not the eyes, that makes the visualization of the external world possible, Closure but its the perception out of the awareness ﬁeld. Your eyes are the same, but According to this principle, we tend to segment our visual Closure you The principle of closure states that when we view look attwo a things differently.” Closure world into figure and ground. Figure is the object or complex arrangement visualthat elements, welook tendattoalook The principle of closureofstates when we

person that is the focus of the visual field, while the Adeshra The principle that when we look a Kinshuk Gestalt Principles CEPT Universityof closure states Elements of Form and at Space for a single, recognizable pattern. complex arrangement of visual elements, we tend to look UG180307 Faculty of Design Studio BD 2004 Infographics complex arrangement of visual elements, we tend to look ground is the background. for a single, recognizable pattern. for a single, recognizable pattern.

Fig 1.3

“Its not the eyes, that makes the visualization of the external world possible, but its the perception out of the awareness ﬁeld. Your eyes are the same, but you view two things differently.” CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Figure and Ground Figure and Ground According principle, we tend to segment our visual Figureto this and Ground

Kinshuk Adeshra Gestaltground. Principles world into figure is segment the object or visual According to thisand principle, weFigure tend to our Infographics According to this principle, we tend to segment ourUG180307 visual person that is the focus of the visual field, while world into figure and ground. Figure is the objectthe or world into figure and ground. Figure is the object or ground is theisbackground. person that the focus of the visual field, while the person that is the focus of the visual field, while the ground is the background. ground is the background.

Architectural examples are observed over here.

Elements of Form and Space Studio

Note: In all the three examples closure is also observed alongwith symmetry.

COMMON REGION When objects are located within the same closed region, with visible barriers, we perceive them as being grouped together. Daily life examples are observed for this principle.

CLOSURE When one sees an image that has missing parts, the brain will ﬁll in the blanks and make a complete image so that one can still recognise the pattern. Examples of tessalation patterns are observed. Note: In all the three examples proximity is also observed alongwith closure.

SIMILARITY When things appear to be similar through a variety of design elements like color and organization, to each other, we tend to group them together. Here the examples of tessalation patterns are observed.

Note: In the second example, the law of ﬁgure ground is also observed.

FIGURE GROUND People instinctively perceive objects as either being in the foreground or the background. They either standout prominently inthe front or recede back into the back. It is perceived that generally smaller objects seen ﬁrst and then, the larger objects. Isolated ﬁgures against background are put as examples.

CONTINUITY Elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

Examples of graphics showing linearity are taken into consideration over here.

Fig 1.4

IT IS NOT WHAT YOU SEE, IT IS WHAT YOU PERCEIVE CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Gestalt Principles Infographics

Isha Shah UG180205

SIMILARITY

TEXTURE TEXTURE TEXTURE TEXTURE TEXTURE

SIMILARITY

CLOSURE

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CLOSURE

PROXIMITY

COLOR COLOR COLOR PRINCIPLES COLOR COLOR G E S T A L T P R IG NECSI PT LAELST Silimilar things perceived to be related.

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Vi s ual equi val enc e am o ng el em ent s .

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Complete the incomplete. Tend to look for recognisable pattern.

Use for grouping.

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Complete the incomplete. Relation between the Tend to look for object and its surrounding. recognis able pa ttern. Foreground - Background

Elements as continuing their establied direction. Helps direct the eye.

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P R I N C I P L E S T H R O U G H VA R I A B L E S

P R I N C I P L E S T H R O U G H VA R I A B L E S PRINCIPLE

Things close together, perceived to be related.

ORIENTATION CON TINUITY ORIENTATION ORIENTATION

F I G. G R O U N D

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Through size, color, shape and anomally.

CLOSURE

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PRINCIPLE VA R I A B L E

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object and itsa mon surrounding. g e leme nts.

P R IN C IP L E P R N C P L E PR R III N NC C III P PL LE E P PRINCIPLE PRINCIPLE V A R I A B L E V A AB BL LE E VA AR R III A A V BL Ebetween the Elements as continuing RelRation VA R I A B L E their establiedVobject direction. A R I A Band L E its s urro unding.

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PROXIMITY SIMILARITY Relation between Visu althe e qu ivale nce

SIZE

SIZE SIZE SIZE SIZE SIZE SIZE

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FIG. FIG. FIG. FIG. FIG.

SYMMETRY SYMMETRY SYMMETRY SYMMETRY SYMMETRY SYMMETRY

CLOSURE

GROUND GROUND GROUND GROUND GROUND

CONTINUITY CONTINUITY CONTINUITY CONTINUITY CONTINUITY

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Fig 1.5

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FIG. GROUND

W H AT W H W HA AT T W WH HA AT T Gestalt Principles Gestalt Principles Gestalt Principles Infographics Gestalt Principles Infographics Infographics Gestalt Principles Infographics Gestalt Principles Infographics Infographics

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ANSH AJMERA ANSH ANSH AJMERA AJMERA ANSH AJMERA ANSH AJMERA ANSH AJMERA

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Fig 1.4 Isha Shah Gestalt Infographics COLOR Fig 1.5 Ansh Ajmera Gestalt Infographics demonstrated as principles through variables

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Elements of Form and Space Studio

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5 Step Radii Manipulation Here we saw how to incorporate radii manipulation and how

5itStep Radiithe Manipulation changes character of the form in just 5 steps where we see awe rapid between two Here sawtransition how to incorporate radiiforms. manipulation and how it changes the character of the form in just 5 steps where we see a rapid transition between two forms.

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Here w

Radii M unders

done.w Here unders done.

21 Step Final Form Manipulation We had to ﬁnalize a particular form and then manipulate the

21 Step Form Manipulation form in Final 21 steps to observe how the form slowly evolves into thehad finaltoform. We finalize a particular form and then manipulate the form in 21 steps to observe how the form slowly evolves into the final form.

3D Mo

Base

3D Mo using

Based using

Inspiration and Concept Statement After ﬁnalizing the form, it had an aggressive feel to it, with a sense of direction to

Inspiration Statement it. For me, itand felt Concept like the forked tongue of a snake thus tried expressing the form

that brings outthe that. After ﬁnalizing form, it had an aggressive feel to it, with a sense of direction to it. For me, it felt like the forked tongue of a snake thus tried expressing the form that brings out that.

Maitreya Pathak 2D Radii Manipulation Stages of Transition

This f as th

This fo as the

2. 2D Radii Manipulation

Objective

The exercise begins with exploring origins of form by bridging necessary straight-line order to a basic curvilinear order. The development of motherforms is based on divisions and subdivisions of a square. The task is to recognize the changing attributes, characteristics and visual properties of the form, and the forms are individually developed as transitional forms through multiple stages. Generation of forms from the grid is followed by Integration of the forms by applying the technique of Radii Manipulation on the generated forms, and, analysing the attributes of the forms. One or more attributes are developed and transformed into a 3 dimensional model through multiple stages of operation, that creates visual order through arrangement of forms.

Learning Outcomes

• An insightful understanding of the bridge between basic straight line order and basic curvilinear order. • Learning and application of factors governing human perception. • An understanding of the basic frames of reference in visual perception. • Visual communication skills

Output Mediums

• Sketches on A4/A3 papers, shading with India Ink • Process models in paper, thermocol/foam, boards. Final Models in Acrylic (coloured or translucent), MDF.

Output

• Generating forms with different attributes by exploring varying radii at varying corners through sketches. • Translation of selected forms in 5 evolving steps. • Translation of selected forms in 21 evolving steps. • Creating digital and physical models of 21 step translation from Motherform to Endform.

Elements of Form and Space Studio

Generation of MotherForms

Exploration of forms from a 6 by 6 grid with a consideration of what emotions the forms evoke Fig 2.1 Brinda Jasoliya Library of Motherforms from a 6 by 6 grid

Elements of Form and Space Studio

Fig 2.2

Fig 2.3

Application of 2D Radii Manipulation

Explorations by applying radii at corners of selected forms to change the attributes of the manipulated â&#x20AC;&#x2DC;endâ&#x20AC;&#x2122; form from the original motherform: (1) Radii at 2-3 corners of the form (2) Radii at all corners (3) Changing degree of radii Fig 2.2 - Fig 2.4 Bansari Shah Manipulated forms from one motherform

Fig 2.4

Elements of Form and Space Studio

Fig 2.5

Fig 2.6

Fig 2.5 - Fig 2.7 Aryan Kapoor Explorations of Radii Manipulation to the Motherform

Fig 2.7

Elements of Form and Space Studio

Fig. 2.8

2D Radii Manipulation in 5 steps

Achieving the endform from the motherform in 5 steps of radii transformation, such that, the middle step is at a neutral characteristic, with the identity of both the motherform and the endform while the remaining two steps are in transition. Fig 2.8 Bansari Shah, Fig 2.9 Aryan Kapoor 5 step translation to different endforms

Fig 2.9

Elements of Form and Space Studio

Fig 2.10

2D Radii Manipulation in 21 steps

Achieving the endform from the motherform in 21 gradual steps of radii manipulation as a smooth translation Fig 2.10, Fig 2.11 Suhani Nathan 21 step radii manipulation of selected endforms

Fig 2.11

Elements of Form and Space Studio

Sharp, rigid, dense, hard, pointy, & fixed.

Soft, playful, fluid, light, movement, directional.

Fig 2.12

The transition from the mother form to the final form changes the character of the from in a way that it goes from a rigid, sharp form with straight lines and angles to a soft, fluid form. The fluidity of the final form gives a sense of abundance of space, whereas the mother form looks compact. The transition is done by both addition and subtraction.

Understanding configuration and attributes of Endform Analyzing the changing attributes of the form, associating them with a concept from nature, and applying the concept to a visual arrangements of forms that are in transition. Fig 2.12 Suhani Nathan Analysis of Motherform and Endform

FORMS L FORMS

FORM FORM T RA T RA N SN ITSIO ITN IO N 31 TWENTYONE STEPS MANIPULATION FIVE HSTEPS OWH HTO O HMANIPULATION W E W AT TTH HTEERIB AT ATUTTTRIB RIB ESU UCH TTES ES A NGE CH CHA AN N WIG GTH EE WI WI THE TH TH RADI THE THE IRADI RADI MAN II IMAN MAN PUL ATI IIPUL PULATI ON ATI OF ON ONFORM OF OF FORM FORM

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D IREC DI DI TIO REC RECT NA TIO IO L NA NALL

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INSPIRATION OF THE MODEL

UNDERSTANDING THE CONFIGURATION OF THE FINAL FORMS STABLE STA STABL BLEE

UN STAB E UN UNLSTAB STAB LE LE

The final model is inspired from the movement of Wat The arrangement of forms is done in such a way t resembles a half wave through side elevation.

Fig 2.13

DIRECTIONAL

INSPIRATION OF THE MODEL

UNDERSTANDING THE UNSTABLE CONFIGURATION OF THE FINAL FORMS

The final model is inspired from the movement of

DIRECTIONAL UNSTABLE

Theform arrangement of forms is done in such a w The mother looks very directional resembles a half wave through side elevation. and unstable while the transformed form gives a sense of fluidity in itself. The final model was made keeping in mind the organic traits of the final PROCESS MODEL form.

Process Models of the shortlisted forms were ma mediums.

ORGANIC EBULLIENT INSPIRATION OF THE MODEL INSPIRATION OF THE MODEL

Directional

Organic

The final model is inspired from the movement of Water Waves in nature. Unstable Ebullient The final model is inspired from the movement of Water Waves in nature. The arrangement of forms is done in such a way that the end result The arrangement of forms is done in such a way that the end result resembles wave through throughside sideelevation. elevation. resembles a a half half wave

TARNASNI TS II O T INO N O FO IFN IGNEGGERGARTA IO T INO N T HTRHORUOGUHG H C OCN OFNI G F IUGRUARTA IO T INO PROCESS MODEL The mother form looks very ORGANIC directional and unstable while the EBULLIENT transformed form gives a sense of fluidity in itself. The final model was made keeping in mind the organic traits of the final form.

Models of thefrom shortlisted The final Process model is inspired the forms were mediums. movement of Water Waves in nature. The arrangement of forms is done in such a way that the end result resembles a half wave through side elevation.

TARANG | A MODEL INSPIRED BY THE MOVEMENT OF WATER WAVES

Fig 2.14

P R OCES PRO PRO CES S CES MO SS DEL MO MO DEL DEL The mother form looks very directional and unstable while the transformed form gives a sense of Process Models Models of were using different Process of the the shortlisted shortlisted forms were made using different fluidityforms in itself. Themade final model was mediums. mediums. made keeping in mind the organic Fig 2.13 Ansh Ajmera Attributes of Motherform and Endform traits of the final form. PROCESS MODEL PROCESS

Fig 2.14 Diya Chhaniyara Application of attributes to translation model TARANG | A MODEL INSPIRED BY THE MOVEMENT OF WATER WAVES

Elements of Form and Space Studio

Model Exploration 1

Fig 2.15

Model Exploration 2

Kinshuk Adeshra - UG180307 Elements of Form and Space

CEPT University Faculty of Design

Fig 2.16 Kinshuk Adeshra - UG180307 Elements of Form and Space

Translation Models The 21 step translation from motherform to endform is explored in varying axes according to the attributes of the endform. The ideas are explored by being inspired from concepts and objects found in nature through digital and/or physical models. One exploration has been selected for a final physical model.

CEPT University Faculty of Design

Model Exploration 3

Fig 2.17

Model Exploration 4 Kinshuk Adeshra - UG180307 Elements of Form and Space

CEPT University Faculty of Design

Fig 2.18 Kinshuk Adeshra - UG180307 Elements of Form and Space

CEPT University Faculty of Design

Fig 2.15 - Fig 2.18 Kinshuk Adeshra Explorations of different 21 step translation form sets

Elements of Form and Space Studio

Selected Form Selected Mother-Form Directional Rigid Asymmetrical Final Form Directional Fluid Sharp

Radii Manipulation Being Applied on the Selected Form

Radii Manipulation (21 Steps) on the Selected Form

Process Models

Explorations for the 2D Transition Models for Different Forms Suiting their Transitional Attributes.

Final Model

blem Statementshow the transition of a 2-Dimensional form with its attributes with help of the 3-Dimensional model.

ncept Statementattributes of the final form are Directional, Sharp and Fluid, thus ping the attributes in mind, inspiration from a wave was taken as it similar attributes in its form. curve in which the transition follows, depicts the Directionality and vement of a wave. The base is also derived from the attributes of the l form.

Fig 2.19 Kinshuk Adeshra Considering the attributes of the final form (Directional, Sharp and Fluid), a wave was taken as inspiration as its form has similar attributes. The curve of the transition depicts the Directionality and Movement of a wave.

Final Model

Fig 2.20 Suhani Nathan The form is inspired by the shell of an aquatic animal called Nautilus. The flow in the 21 pieces of the model resembles the chambers present in a nautilus shell.

Elements of Form and Space Studio

Studio Outputs

Elements of Form and Space Studio THE TRANSITION AND RADII MANIPULATION - 2D The exercise began with exploring origins of form by bridging basic straight line order to a basic curvilinear order. The development of mother forms was based on divisions and subdivisions of a square. To recognize the changing attributes, characteristics and visual properties of the form, forms were individually developed as transitional forms through multiple stages. After multiple explorations with Radii manipulation, we identify and developed one or more attributes. The chosen attributes were then transformed into a 3rd-dimensional model.

MOTHER FORMS: Initial Mother Form Explorations:

Short Listed Mother Forms:

Final Mother Form:

SIMILARITIES & DIFFERENCES The initial form and the final form are very different yet similar. The crisp straight lines and sharp corners of with a heavy chunk of mass at the top make the mother form look like a weight lifter. While the swift curves and only some mass in the top right corner of the final form make it look dyanimic, as if an athlete in motion. To go ahead with these to make a 3D form, one thing that was kept in mind was the corners in the final form. These corners are very important to the characteristic and to its relation with the initial form

RADII MANIPULATION: Short Listed Mother Forms:

LINEAR TO CURVILINEAR | 21 STEPS:

Final Mother Form:

LINEAR TO CURVILINEAR TRANSITION | 5 STEPS: Short Listed Mother Forms:

PROCESS MODELS:

This idea was inspired from the belief of Samsara and its similarity to the form. The form shows continuity. The final and initial form are not seen as a start and end but as a part of a continuous and never ending transformation.

In this form, the idea was to highlight the sharp corners which stay throughout the transformation by using the 3D manipulation technique of twisting.

Final Mother Forms:

STRYNAMIC | Form inspired from concept of Samsara

FINALISATION AND ATTRIBUTES:

Sketch about essence of Samsara.

Samsara is the continuos circle of life. In this continuitity, life and death are not a start or end, but a part of the transformation. Similarly in the model, the mother form and the final form are not a start or end, they are a part of the transition

MOTHER FORM: STRONG STURDY ROBUST GROUNDED FINAL FORM: DYNAMIC QUICK MOVEMENT GROUNDED

IR 2031 ELEMENTS OF FORM AND SPACE

FACULTY OF DESIGN CEPT UNIVERSITY SPRING 2020

Fig 2.21 Aashman Amin 2D Radii Manipulation Process Panel

ROLL NO: UG180016

THE TRANSITION AND RADII MANIPULATION - 2D

GESTALT LAW, The studio started with learning the gestalt law in various contexts, I was given apparella and fashion, so various laws can be seen in the clothes and accessories, through which we could understand the the main laws like similarity, proximity, focal point, symmetry, figure and ground and so on. In this particular model , the gestal law of figure and ground, and focal points were employed.

The exercise began with exploring origins of form by bridging basic straight line order to a basic curvilinear order. The development of mother forms was based on divisions and subdivisions of a square. To recognise the changing attributes, characteristics and visual properties of the form, forms were individually developed as transitional forms through multiple stages.

MOTHERFORMS

After multiple explorations with Radii manipulation, we identify and developed one or more attributes. The chosen attributes were then transformed into a 3rd-dimensional model.

The basic motherforms were manipulated at their edges, the radii of some of the selected forms were explored, and so each edge with a difference in curvature gave a different attribute from the motherform. The next step was to stretch the metamorphosis into 21 steps. The mother form selectected from the various execution was given the attribute, RIGID, BOLD ,AGGRESSIVE ,AND SPIKY and after 21 transformations it held the attributes Elegant, Playful, Timid, Fragile, and PRODUCED BY AN AUTODESK STUDENT VERSION

Delicate.

AGGREGANT

PRODUCED BY AN AUTODESK STUDENT VERSION

the final modelâ&#x20AC;&#x2122;s idea was derived from its attributes which it shares with the leaf of the coconut tree, harmony, fragile and balance were the attributes the form and the model showcase. PROCESS MODELS

IR 2031 ELEMENTS OF FORM AND SPACE

FACULTY OF DESIGN CEPT UNIVERSITY SPRING 2020

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 2.22 Jayashre Bangarusamy 2D Radii Manipulation Process Panel

ROLL NO: UG180225

Elements of Form and Space Studio

THE TRANSACTION AND RADII MANIPULATION - 2D The exercise begines with the exploration of forms. The evolution of mother forms started with dividing and subdividing of squares. The characteristics, attributes and visual property were identified, that futher help in transition form throught manipulation. After several exploration with radii manipulation, we identified few form which futher explored by different manipulation stages. At last on the bases of the characteristics and attributes one form was selected which transformation into 3 dimensional model.

Exploration of forms.

Five step manipulation of forms.

Twenty one step manipulation of forms. FORM 4

Process model.

Mother form: Stable, Hard, Sturdy, Unpredicitable, Complex.

Manipulated form: Organic, Curve and Edgy, Relatable, Dynamic, Directional.

End form was inspired by a leaf.

The inspiration of Movement and gradual development of the form in final model.

The closer law of gestalt principle is implemented in the final form. Our mind perceive, the final form as a complete form and it relateds to the leaf. As the mother form and final form are different through its characteristics, attribute and visual property. To go ahead with making a 3D form, one thing was kept in mind was the corners, they are very important to the charactertic and its relation with the initial form; so the material was chosen in all things kept in mind. The fluorescent green acrylic is used to show the gradual manipulation, curve, edges and directional flow, also the evaluation of negative space can be easily identified. The green colour acrylic also relate to the colour of the leaf.

Elements of Form and Space

Infographics for 2D Radii Manipulation

Fig 2.23 Margi Sutariya 2D Radii Manipulation Process Panel CEPT University Faculty of Design

Studio BD 2004

Margi Sutariya UG190827.

2 D R A D I I M A N I P U L AT I O N B A S I C S O F F O R M I N T E G R AT I O N S A N D C O N F I G U R AT I O N S

MOTHER FORM L I B R A RY O F F O R M S

S T U D Y OF H OW S I M P LE C U T S A F F E C T T H E F OR M

D E R I VAT I O N O F F O R M S

F R OM T H E S T U D Y T H I S F OR M S A R E D E R I V E D

RADII MANIPULATION L I B R A RY O F CU R V E S

STUDY OF H OW E A C H E GD E M A NI P U LAT E D W I T H D I F F E R E NT C U R VAT U R E S

D E R I VAT I O N O F CU R V E S I N 5 S T E P S F R OM T H E S T U D Y T H I S F OR M S A R E D E R I V E D

FORM TRANSITION S E L E CT I O N O F F O R M A N D CU R V E S I N 5 S T E P S

HO W T H E AT T R I B U T E S C H A NGE W I T H T H E R A D I I M A NI P U LAT I ON OF F OR M

MOTHER FO RM

FINAL FORM

DI RECTI O NA L

M OV E M E NT

RO B UST

F LOW

STAB L E

U NS TA B LE

T R A N S I T I O N O F I N G E G R AT I O N T H R O U G H C O N F I G U R AT I O N

P R O CE S S M O D E L

FINAL MODEL: SLOG

Fig 2.24 Ansh Ajmera 2D Radii Manipulation Process Panel CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Infographics for 2D Radii Manipulation

FirstName Name AnshLast Ajmera Code No. UG190127

Elements of Form and Space Studio

CEPT CEPT CEPT University University University CEPT University CEPT University CEPT University Faculty Faculty Faculty ofof of Design of Design Design Faculty Design Faculty of Design Faculty of Design CEPT University CEPT University CEPT University CEPT University Faculty of Design Faculty of Design Faculty of Design Faculty of Design

Elements Elements Elements ofof ofForm of Form Form and and and Space Space Space Elements Form and Space

Infographics Infographics Infographics for for2D for 2DRadii 2D Radii Radii Manipulation Manipulation Manipulation Infographics for 2D Radii Manipulation

Elements of Form and Space Infographics forRadii 2D Radii Manipulation Elements of Form and Space Infographics for 2D Manipulation Bansari Shah Rendered Motherforms and their manipulated forms ElementsElements of Elements Form and of Space Form and Space Infographics Infographics for 2D Radii Manipulation 2D Radii Manipulation of Form and Space Infographics forfor 2D Radii Manipulation Studio Studio Studio BDBD BD 2004 BD 2004 2004 Studio 2004 Studio Studio BD 2004BD 2004

Elements of Form and Space Studio BD 2004 Studio BD 2004 Studio Studio BD 2004BD 2004

Infographics for 2D Radii Manipulation

FirstName FirstName FirstName Last Last Last Name Name Name FirstName Last Name FirstName Last Name FirstName Last Name Code Code Code No. No. Code No.No. Code No. Code No.Last FirstName FirstName Last FirstName Name Last Name FirstName Last Name Name Code No. Code Code No.No. Code No.

3. 3D Radii Manipulation

Objective

The exercise begins by exploring origins of form by bridging necessary straightline order to a basic curvilinear order. The development of mother forms is based on the divisions and sub-divisions of a cube. To recognize the changing attributes, characteristics and visual properties of the form, forms are individually developed as transitional forms through multiple stages. The forms have been rendered in an attempt to understand and perceive the forms and surfaces through light and shadows. The exercise aims to be a learning towards evolution and manipulation of 3D forms to create “good” consolidation among its planes using curvature as a tool towards integration of Form. The forms are digitally rendered, incorporating light and shadows to accentuate the forms. The attributes of the form transitions have been studied.

Learning Outcomes

• Understanding of various attributes pertaining to 3D form relationships. • An understanding of the basic frames of reference in visual perception. • Learning to evolve and manipulate 3D forms to create “good” consolidation among its planes using curvature as a tool towards integration of Form. • Development of visual communication skills. • Digital rendering with idea of light and shadow in an attempt to ‘celebrate’ form.

Output Mediums

• Sketches on A4/A3 papers • Models in High-density polystyrene foam/ thermocol/ Siporex blocks using tools and machines to shape the blocks.

Output

• Generating forms with different attributes by exploring varying radii at varying corners through sketches. • Digital/ Physical models of 3D forms. • Renderings of manipulated endforms with light and shadow. • Final Infographics Panel of the entire process.

Elements of Form and Space Studio

Fig 3.1 Margi Sutariya Library of 3D Motherforms

Elements of Form and Space Studio

Fig 3.2

Fig 3.3

Application of 3D Radii Manipulation Manipulating different corners of selected motherforms to curvatures and exploring changing attributes of the generated endforms. Fig 3.2 - Fig 3.5 Kinshuk Adeshra Explorations of endforms from motherforms

Fig 3.4

Fig 3.5

Elements of Form and Space Studio

Form Form17 17 Form 1

Form 17

Form 13

Form 5

Fig 3.6 Kinshuk Adeshra Motherform and Manipulated Models

Form Form Form has has has ahas adirectional, adirectional, directional, character character character versues versues versues its its its mother mother mother Form a directional, character versues its mother form form form which which which isisbulky isbulky bulky and and and static static static .. . . form which is bulky and static

Form 49 has form whic

Fig 3.7 Maitreya Pathak Motherform and Manipulated Models

CEPT UNIVERSITY OF FFORM FORM FORM AND AND AND SPACE SPACE SPACE 3D 3D RADII RADII RADII MANIPULATION MANIPULATION MANIPULATION FACULTY OF DESIGN 3D 004 2004 04 INFOGRAPHICS INFOGRAPHICS INFOGRAPHICS

ELEMENTS OF FORM AND SPACE MAITREYA MAITREYA PATHAK PATHAK PATHAK STUDIO MAITREYA BD2004 UG180328 UG180328 UG180328

Elements of Form and Space Studio

Fig 3.8 Bansari Shah Rendered 3D End Models

MOTHER FORM

MOTHER FORM MOTHER FORM MOTHER FORM

MANIPULATED FORM

MANIPULATED FORM Fig 3.9 Kushani Mehta Rendered 3D End Models

ORIENTATIONS

MANIPULATED FORM

Elements of Form and Space Studio

Fig 3.10

Physical Model Making Process Fig 3.10 Aashman Amin Model-making process Fig 3.11 Model-making process in CEPT Workshop

WI R E CU T T ER MAKIN G

O R I E N TAT I O N

O R IE N TATION

T O C U T H I G H D ENSI TY THE R M

AT T R I B U T E S

DIRECTIONAL

O RI ENTATI O N

OR I E N TAT I ON

A C C E L E R AT I N G M O T I O N

ELEVAT I ON

C O M F O R TA B L E S T E A D Y S TAT E M O T I O N

E L E VATIO N

AT T R I B U T E S

L I NU G T T E R M A K I NG PR O W I RF AEL C

C O M F O R TA B L E

I RT RO EGU A L R HIGH M O T I O DE N NS IT Y CUT

S T E A D Y S TAT E M O T I O N

O R IEN TAT I ON

O R IE NTATIO N

AT T R I B U T E S

UTTE R M AKING PROCESS

IOG H DENS I TY THE RM O C O L P R E C IS E L Y M F O R TA B L E

D Y S TAT E M O T I O N

T HERM OC OL PR

FA L L I N G

IRREGUALR MOTION

RAW MATERI A LS

S TA N D

T O P HO L D E R

MAKING PROCESS

BOTTO

M O D E L MAKIN G P

S IT Y T H E R M OCOL P R EC I SELY R AW M AT E R I A L S

TO F E E L T H E M A NBIOPU LATE D F TOP HOLDER TTOM HOLDER WI

S TA N D

M O D E L M A K I NG PR O C E

T O F E E L T HE M ANIP U LAT ED F O R M IN TO P H OL DER

BOTTO M HO LDER WI TH NICHROME W IRE

WIR ECU TTER PR IN CIPL E: H EATIN G O F W IR E

DEL M AKING PROCESS

WI R E C U T T E R P R I N C I P L E : H E AT I N G O F W I R E

B O T T O M H O L D ER W I T H N I C H R O M E W I R E

T HE MANI PU L A TE D F OR M IN H A N D S

1. H A KIN G P R O C E SI GH S DENS I TY THERMO C O L

2. C UT T I NG WI T H WI R E C U T T E R

3. S ANDI N G T O G I V E C U R V E

NIPULA T E D FOR M IN HA NDS

1 . H I G H D E NS I TY TH E R M O C O L

2. CUTTING WITH WIRECUTTER

F I N A L P H Y S ICAL M 3. SANDING TO GIVE CURVES

T O F E E L T H E M A N I PU LATE D FO

F I N A L P H Y S I C A L MO DEL

T O F E E L T HE M ANIP U LAT ED F O R M IN H

3. SANDING TO GIVE CUR VES

N G TO G I V E C UR V ES

4. APPLYIN G WATER PU TTY

4 . A P PLY I NG WAT E R P U T TY

5. SPR AY PA IN T

5 . S P R AY PA I N T

L P H Y SICA L MODELS

SICAL MODELS

H E MAN I PU L A TE D F OR M IN H A N D S

FigIN 3.12 AnshSAjmera & Kushani Mehta Model-making process from self-made wireP UL A T ED F OR M H AND cutter to the finished models.

Elements of Form and Space Studio

Fig 3.13 Jayashre Bangarusamy Thermocol Models

Fig 3.14 Ansh Ajmera Thermocol Models

Elements of Form and Space Studio

3D 3D Radii Radii manipulation manipulation Exercise Brief The exerciseBrief aims at showing the transition of the attributes of a form when radii manipulation is applied on an integrated 3-dimensional form, here, Exercise

the Mother-forms. The exercise aims at showing the transition of the attributes of a form when radii manipulation is applied on an integrated 3-dimensional form, here, A library of Mother-forms is generated, thereafter selecting a few Mother-forms for applying Radii Manipulation in 3-dimension. the Mother-forms. A library series of renders is aregenerated, then made so betterselecting understand andMother-forms study the forms their Radii surfaces in various in viewing angles. A of digital Mother-forms thereafter a few for and applying Manipulation 3-dimension. A series of digital renders are then made so better understand and study the forms and their surfaces in various viewing angles.

Development of Mother-Forms Development of Mother-Forms

Selected Motherforms Selected Motherforms

Radii Manipulation on Mother-Forms Radii Manipulation on Mother-Forms

Selected Motherforms

Selected Explortions

Selected Motherforms

Selected Explortions

3D Models of Selected Forms 3D Models of Selected Forms

Attribute - Encasing, Wrapped Up, Unstable. Attribute - Encasing, Wrapped Up, Unstable.

* The top surface of the manipulated form wraps around onto the part of the form to integrateform it aswraps a whole. *cantilever The top surface of the manipulated around onto the cantilever part of the form to integrate it as a whole.

Attribute - Enveloped, Encrusted, Sharp. Attribute - Enveloped, Encrusted, Sharp.

* The vertical planes of the motherform are integreted through radii with the motherform help of generous fillets. * Themanipulation vertical planes of the are integreted through radii manipulation with the help of generous fillets.

Attribute - Dense, Imploding, Soft. Attribute - Dense, Imploding, Soft.

* The manipulated form seems to be imploding on itself, thus it look moreform integrated motherform. *making The manipulated seems than to bethe imploding on itself, thus making it look more integrated than the motherform.

Attribute - Progressive, Soft, Directional. Attribute - Progressive, Soft, Directional.

* The dominating progressive attribute of the motherform is integrated by the help of the radii manipulation. * The dominating progressive attribute of the motherform is integrated by the help of the radii manipulation.

**Even a separated or isolated form possesses great capacity to be integrated and evolve into a completely different form, with different attributes, by applying simple operations like radii manipulation. **Even a separated or isolated form possesses great capacity to be integrated and evolve into a completely different form, with different attributes, by applying simple operations like radii manipulation. CEPT University Faculty of Design CEPT University Faculty of Design

Elements of Forms and Space Studio BD2004 Elements of Forms and Space Studio BD2004

Infographics of 3D Radii Manipulation Infographics of 3D Radii Manipulation

Fig 3.15 Kinshuk Adeshra Final Process and Output Panel

Kinshuk Adeshra UG180307 Kinshuk Adeshra UG180307

THE TRANSITION AND RADII MANIPULATION - 3D The exercise began with exploring origins of form by bridging basic straight line order to a basic curvilinear order. The development of mother forms was based on divisions and subdivisions of a cube. ideations on transformation of the selected forms were developed individually using radii manipulation. After ideation the chosen forms and the mother forms were made in a 3d software to understand the changing attributes, characteristics and visual properties of the form .

mother forms : initial explorations:

selected forms:

radii manipulation : radii manipulation of all forms:

radii manipulation of selected forms:

mother forms and final forms : 3d renders on keyshot:

Angular, Stable, Chunky, Open.

Playful, movement, Chunky, unstable.

the transition of the mother form to the final form makes the form more playful, and makes it look unstable whereas the mother form was chunky, and looks angular. the mother form has a sense of opening while the final form has a sliding movement to it.

CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Sharp, Stable, symmetric, Open.

Directional, playful, rounded, solid.

the mother form changes from having sharp edges and symmetrical shape to being more rounded ans asymmetric. the mother form does not give any sense of direction, where as the final form gives a sense of direction, as the shape of the cut out changes into a curve.

Infographics for 3D Radii Manipulation

Fig 3.16 Suhani Nathan Final Process and Output Panel

Suhani Nathan UG180601

Elements of Form and Space Studio

Fig 4.1 Maitreya Pathak Rendered Endform

3. Endforms

Objective

The exercise explores geometric end forms and transition through surfaces. Two and three endform transitions are explored in the process. The process explores the inter-relationship between the end-forms and aims to create optimal surfaces in the quest to create a ‘good’ form. The forms have been represented through physical and virtual modelling and rendering with an idea to understand, perceive, articulate, and, celebrate the form.

Learning Outcomes

• Understanding and generation of interrelationships between two or more end forms in space • An understanding of the basic frames of reference in visual perception • Learning to create “optimal” surfaces in the quest to achieve “good form.” • To learn and understand relationships between forms and to use it as a tool to create order and relationships among forms in abstraction.

Output Mediums

• Sketches on A3 paper • Digital Modelling on Rhinoceros software/ Thermocol/ High density polystyrene foam and necessary tools for physical model making • Digital graphic compostion for rendered endforms

Output

• Generating sketched forms with different attributes by exploring end forms and their transitions • Digital models of 3D forms • Renderings of endforms with light and shadow to articulate the form. • Graphic Poster of rendered end-forms

Elements of Form and Space Studio

Fig 4.2 Ansh Ajmera Explorations of Forms from two End-forms

Elements of Form and Space Studio

Fig 4.3 Diya Chhaniyara Explorations of forms from two End-forms

Elements of Form and Space Studio

Fig 4.4 Diya Chhaniyara Exploration of forms from three end-forms

Fig 4.5 Margi Sutariya Exploration of forms from three end-forms with cross-sections

Elements of Form and Space Studio

END FORMS The exercise begins with exploration of forms with two or three different types end forms. where the end forms are fixed and the transition between them were explored with smooth free flowing curves. The different types of treatment given to the forms creats different interesting forms; also we celebrated the forms and curves. This exercise was really helpfull to visualize the forms and there proposition, with different ways one could build. The digital 3D model were explored that help us to understand the surfaces, proposition, and sections of the forms.

Fig 4.6 Margi Sutariya Library of forms from two/three end-forms

Fig 4.7 Ansh Ajmera Library of forms from two/three end-forms

Elements of Form and Space Studio

Fig 4.8

Fig 4.9 Fig 4.8 Kathan Chauhan Representation of forms Fig 4.9 Aashman Amin Representation of forms

Fig 4.10 Aakash Mali Representation of forms

Elements of Form and Space Studio

Fig 4.11 Kinshuk Adeshra Digital Rendering of selected forms with light & shadows

Elements of Form and Space Studio

Fig 4.12 Maitreya Pathak Digital Rendering of forms in an attempt to celebrate the form

Elements of Form and Space Studio

Fig 4.13

Fig 4.14

Fig 4.13, Fig 4.14 Maitreya Pathak Rendered views of a form

Fig 4.15

Fig 4.16

Fig 4.15, Fig 4.16 Apoorv Magdum Representation of rendered forms

Elements of Form and Space Studio

Fig 4.17 Stuti Paliwal Rendered forms

Fig 4.18 Het Patel Rendered forms

Elements of Form and Space Studio

Fig 4.19 Aakash Mali Rendered forms

Fig 4.20 Aashman Amin Rendered forms

Elements of Form and Space Studio

DIVIDE VOLUME

TRANSFORM CROSS SECTION

DEFINE PLANES

TRANSFORM SHAPE

DEFINE CROSS SECTION

MODE OF TRANSPORT

SIMILAR

SIZE

ORIENTATION

SHAPE

AXIS

WAY O F T R A N S P O R T

ACC PHYSIC AL MODEL

MODEL MAKING PROCESS

CUTTING MASS

SURFACING

REFERENCE ON ACC

CEPT UNIVERSITY

E L E M E N T S O F F O R M A N D S PAC E

Fig 4.21 Ansh Ajmera Graphic Poster Output FAC U LT Y O F D E S I G N

BD2004

FINISHING

GIVING CURVES

POSTER FOR END FORMS

ANSH AJMERA U G 19 012 7

End Forms This Exercise was transition of different End forms in a visually striking manner. The end forms could be two or more than two but preferably three. This taught us about the transition in surfaces and how does it visually affect a certain form and how do two different end forms come together.

CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Final Endforms Infographics

Fig 4.22 Maitreya Pathak Graphic Poster Output

Maitreya Pathak UG180328

Elements of Form and Space Studio

ion of types

ion of lanes

Kinshuk Adeshra Deconstruction of space through lines, composition of planes

5. De-construction of Space

Objective

The exercise is a Perceptual study or a spatial analysis study wherein a selected space is analyzed through its constituent lines : horizontal vertical inclined and curved and their combination. The lines are then explored with them as a base and compositions of planes and blocks developed from multiple perspectives. It aims to uncover a sense of proportion, order or relationship in a visual impression. It creates the ability to generate alternate visual order/s through rearrangement of elements, and, use it as a tool to create order and connections among forms in abstraction.

Learning Outcomes

• Understanding and discovery of the hidden sense of proportion, order or relationship in a visual impression. • Ability to create alternate visual order/s through rearrangement of elements • To learn and understand the inter-form relationships and to use them as a tool to create order and connections among forms in abstraction

Output

• Sketches on A4/A3 paper represented as a set

Elements of Form and Space Studio

Fig 5.1

Fig 5.2

Ansh Ajmera Fig 5.1 Perspective sketch of space, Fig 5.2 Isolated vertical lines

Fig 5.3

Fig 5.4

Ansh Ajmera Fig 5.3 Isolated horizontal lines, Fig 5.2 Isolated Diagonal lines

Elements of Form and Space Studio

Fig 5.4

Fig 5.5

Ansh Ajmera Fig 5.4 Planes from vertical lines, Fig 5.5 Planes from horizontal lines

Fig 5.6

Fig 5.7

Ansh Ajmera Fig 5.6 Planes from vertical lines, Fig 5.7 Combination of all line types

Elements of Form and Space Studio

Fig 5.8

Fig 5.9

Fig 5.10

Fig 5.8 Ansh Ajmera Composition of planes from multiple perspectives Fig 5.9 Aryan Kapoor Perspective sketch of space

Fig 5.11

Fig 5.12

Fig 5.13

Fig 5.14

Fig 5.10 - Fig 5.14 Aryan Kapoor Composition of planes & blocks from isolated lines

Elements of Form and Space Studio

Final Design Project 1

Spring 2020

Elements of Form and Space Studio

Process

Exercise

Description

Output

Plug-in + Major Exercises Step 1

Spatial Analysis

Analyzing a space through Sketches constituent lines to study inter-form relationships and use them as a tool to create order & connections.

Step 2

CMF (ColourMaterial-Finish) Case-study

To understand the importance Sketches and Descriptive text of CFM in the field, the exercise was to choose any interior design elements, building product or furniture and speculate the process behind its CFM selection

Step 3

Narrative on Space (Site as the context for the product)

Step 4

Ergonomic and Posture Study

To evaluate the impact of outdoor furniture elements, the exercise involves studying different standing/sitting postures often found in public places.

Public markets, food joints, parks and public transportation stations visited to see how people behave, and observations, sketched.

Step 5

Site Analysis and Conclusions

Explorations of multiple forms according to context, concept and function

Process Sketches, 2D and 3D models

Step 6

Vision Board

Step 7

Concept Development and Ideation

Synthesis of final form through layers of refinements

Sketches, developed to final details, technical drawings, and renders in stages

Step 8

Representation of Design & Detailed Drawings

Appropriate Mode of representation of element and its relation to space, Communication with detailed drawings

Final Renderings of the element in space, and technical drawings of the product.

To consciously recollect their 100 word narrative, story or poem observations, and to be sensitized about the environment and context, the exercise asks students to describe their experiences on site

A2 size Board with Compiling visuals related to their ideas and philosophy behind design sketches & material indications of an outdoor artefact. It includes CFM concepts for the form.

6. Final Design Project 1 Spring 2020 Objective

The design project delves into how site design integrates the artefacts that are used for various designated purposes and create a sense of place. With these type of artefacts, an identity and a sense of place is created, if outdoor artefacts are properly integrated in the design of a public space. The design project involves the development of an outdoor artefact for a particular site and create a unique user experience.

Learning Outcomes

• Consolidation and synthesis of the previous inputs given in the realm of this studio including usage of appropriate software tools • Application of all previous learnings into tangible products addressing both form and functionality • Learning to relate the product to the user and the context • Learning to practically apply the design process to a desired end of a given problem area • Learning to deal with constraints • Learn to apply Material and process related knowhow for practical outdoor use • Learn detailing • Learning to present ideas and concepts effectively – visual as well as verbal (including technical drawings) • Presentation techniques

Output

Elements of Form and Space Studio

Sites for the Design Project The site selection for the was based on two types of context natural and architectural Site based on natural context 1. Sundarvan Park, Ahmedabad 2. Indroda Dinosaur and fossil Park, Gandhinagar Site based on architectural(man-made) context 3. Sanskar Kendra, Ahmedabad 4. Acropolis mall plaza, Ahmedabad

Design Brief User group Public: Able bodied people Age group: 6 - 60 years (Can be defined by the Designers) User Profile: Users of the location (To be defined by the designers) Constraints Users - 1 to 6 CFM - Practical Making and Production - Using tools and techniques that are widely available Features: Withstand natural forces and certain climatic conditions, Should be robust and not wear down Features To create a unique user experience through integrating: Idea of Safety Concept of Comfort Flexible in terms of its use Creative and innovative Friendly for the environment Appropriateness for the context

Learning Outcomes of Exercises CMF Case-study

• Ability to understand the importance of CMF in the field • Ability to apply concepts extracted from exercise to development of CMF for individual product designs. (Students were exposed to a video where Emma Lundgren speaks on experience in the automobile industry and the importance of CMF (Colour, Material, and Finish) in Industrial Design. discussion took place after the video was over, and students were asked to reflect on their learning through a brief exercise)

Narratives on space

• Ability to consciously recollect their observations of the site

Posture Study

• Identify, explain and evaluate the impact of various outdoor Furniture/surfaces

Site Study and Analysis

• Ability to gather, assess, record, and comparatively evaluates relevant information. • To observe the environmental qualities and reflect the understanding in their design

Vision Board

• Ability to identify the appropriate colour, finishes and materials for the given design problem.

Concept and Ideation

• Ability to establish a connection between intuitive concepts and program. • Learn to respond to the given context.

Design Development Stages • Stage 1 : Concept generation from extracted site

conclusions and form sketches • Stage 2 : Refined forms with relation to functionality and context, applications of posture studies • Stage 3 : Detailing and final form development • Stage 4 : Application of CMF

• Final Design Stage

Elements of Form and Space Studio

Colour Material Finish | Amby Chair by A Cube Inc. Seat Colour Pantone 7628 C Material Thick Cotton Threads Finish Undulated but Soft The use of thick cotton threads weaved together to make the seat allow a slight bounce. The experience plus visual of the weave makes the user feel as if they are sitting on a charpai with a back rest. This experience with the size and angles comming in play, makes the user unconsciously sit on it with legs crossed. Since the weave is very dense and tight, when one puts all their weight onto it, it makes a sound as if its tightening making the user feel contained in it.

Frame Colour Pantone 168 C Material Teak Wood Finish Smooth The frame is made from solid teak wood and is the connecting member between the stand and the seat. It houses all the junctions through which he weave is tied. By keeping the finish of the wood it brings a rawness visually and to touch which compliments the earthyness of the maroon weave. The CFM of the seat and the frame together set the mood of the whole chair which is of an Indian lounge chair

Stand Colour Pantone 419 C Material Mild Steel Plate Finish Grainy The stand brings in a very industrial look to the chair with its grainy finish. The user doesnt directly interact with the stand yet the black of this rather dainty stand makes the user feel safe about them sitting on it with legs crossed. The only reason this stand looks strong is because of its CFM, otherwise its form is rather delicate.

Fig 6.1

Aashman Amin | UG180016

KAST CONCRETE BASIN

The concrete sinks appear seamless in any space by make a bold statement COLOUR

Deep blue of the sink is a subtle shade and it makes the basin refined and has an elegant look. The goldne shine of he faucets then complemnt the simplicity of the whole and adds a level of sophistication with it MATERIAL

Concrete is unique material that has properties of both ; natual stone and the ability to cast into any shape. It is just a single detail. It is minimal but aslo strong. Furthermore a material which is sustainable; it leave a very little carbon foor print. A mateial which can be locally sourced from anywhere makes its an optimal choice. It is covered with an ultimaseal sealant that revents it from scrathes, stains and makes it heat resistant. An added advantageof this basin is that the company allows customization. You can change the size and shape accourdeing to ones conveniance

FINISH

Fig 6.2

The sink is ivered with vetical groves on the surface. It visually heightens the product and a certain softness is achived by the fine curves and linear patterns. Faucets are of a highly reflective materal, polished metal. They are stirking the the sink and grab anybodys attention. The contrast between the two two is carefully brought out and is pleasnt to the eye.

CMF Case-Study The exercise involves choosing an interior design element, building product or furniture, identifiying the CFM for the selected object and speculating the process behind its CFM selection. Fig 6.1 Aashman Amin Fig 6.2 Rashmila CMF Case studies of design elements

Indroda Park My first impressions after visiting this dinosaur park situated in Gandhinagar were somewhat confusing. I tried to view the space with a completely open mind and without any preconceived notions. The park itself was rather tiny as it took me only 15 minutes to take a full circle. The park had a decent amount of foliage with a few spots having a dense canopy atop. The path twisted and turned at various areas consciously trying not to disturb the growth of trees. There were enough junctions of the paths which created necessary breathing spaces with opportunities to have some sort of seating elements. The park seemed natural when one walked on the paths which were undulated and followed the terrain creating an adventurous experience. The side railings had very interesting joinery which allowed for the railing to a curved path making the experience more natural and not rigid. There were a few things which I felt were not right; The exhibits at the beginning and towards the right side of the park were jarring and felt they were everything but natural. The style of the information boards did not go with the overall atmosphere of the park. Fig 6.3

Acropolis Two four story buildings and one three story building make up Acropolis. These three block buildings are placed in just a way that the intermediate space between them is wide and spacious, as to allow free movement of public. Two of the three intimidating structures at the front, are connected by a linear foyer. Using this a lot of movement connecting those two spaces takes place, as well as vertical circulation for those two structures. The iconic semi open area is covered by a large ceiling, which is a curved tensile structure. These buildings are a hub for commercial spaces. The language of acropolis is very distinct, as there is not one prominent feature common between any of the structures, there is a mixture of curves and lines. We can even see tensile, load bearing and framework structures in Acropolis. The semi open area already has certain seating elements, they are placed very distant from one another, giving vast space for free movement. The overall space is very disconnected to each other, and gives a sense of desolation in a serene way. Fig 6.4

Narrative on Outdoor Environment To consciously recollect their observations,and to be sensitized about the environment and context, this exercise asks students to describe their experiences on site through a narrative, a story or a poem. Fig 6.3 Aryan Kapoor Fig 6.4 Jayashre Bangarusamy Site narratives

Elements of Form and Space Studio

Fig 6.5

Fig 6.6

Ergonomics and Posture Study To evaluate impact of outdoor furniture elements, the exercise involves studying different standing/sitting postures often found in public places. Public markets, food joints, parks and public transportation stations to see how people behave. Fig 6.5 Kathan Chauhan Fig 6.6 Aryan Kapoor Posture sketches as observed

Map and Spatial View Ports

4. Snake enclosure

1. Entrance

2. Playground

3. Pond

4. Snake enclosure

Proximity diagram Blue Areas: Human Activities 1. Parking 2. Entrance 3. Mandir 4. Play Area 5. Back Entrance 6. OfďŹ ce 7. Amphitheatre 5. Crocodile 8.enclosure House 9. Display

6. Amphitheatre

7. Turtle enclosure

Yellow Areas: Animal Activities 1. Birds 2. Porcupines 3. Aquarium 4. Snakes 5. Tortoise 6. Crocodiles

Fig 6.7

Site study and Conclusions Inference, analysis, interpretation and conclusion were done by an individual student for the given site to reflect on the environmental qualities of the sites (natural/ manmade context) Fig 6.7 Aakash Mali Site study

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Elements of Form and Space Studio

Fig 6.8 Site : Sanskar Kendra

To have sitting that would represent the building

coolors.co/f4cbad-ded6d3-bd8c63-ff7865-ffffff

Light weight

Bulky, Geometric, Organized and Minimal.

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#f4cbad

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244 203 173

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0 17 29 4

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The building felt very simple and functional. Everything is designed just for itâ&#x20AC;&#x2122;s use. It uses only basic shapes.

Different Level

New Colour Palette

Material and Texture

Using negative space

Concrete

Metal

Wood

These are the materials that I think would complment the building. concrete - To blend with the space. metal - To provide light weight. wood - To provide natural essence.

Reddish Orange representing brick. Grey representing the concrete that would blend in the space. White to hightlight.

Basic shapes and Forms 2D shapes Bulky

Seamless

Rigid

Floating

Fig 6.9

VISION BOARD

Organic and Geometric

Elements of Forms and Space

Vision Board

Apoorv Magdum UG180074

The vision board exercise began with students compiling visuals related to their ideas and philosophy behind design an outdoor artefact. It includes CFM concepts for the form. Fig 6.8 Rasmila K. Fig 6.9 Apoorv Magdum Vision Boards for sites

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Fig 6.10

Concept and Ideation After multiple stages of refinement, finalization of design concept and form for further refinement in later design stages. Fig 6.10 Apoorv Magdum Concept sketches for outdoor artefact

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Elements of Form and Space Studio

AN INTRODUCTION TO NATURE by Aakash Mali

Product: Outdoor Artefact | Context: Sundarvan Park, Ahmedabad

CONCEPT The site is designed to celebrate rehabilitation animals such as python, bats, crocodiles and other endangered species. The realistic sculptures of crocodiles, turtles and swan attracted many visitors. The sculptures near to the pond and fauna create a environment of observation. The main intent of designing an artefact was to celebrate the rehabilitation of animals through forms based on the abstraction of physical appearance of animals. The final product is designed with application of colour, materials and finishes under the guideline of the conclusion of the site. The process of design involves generation of 2D shapes from the abstraction of physical appearance. 3D forms are generated on the basis of 2D shapes by extrusion of shapes, and through other techniques such as â&#x20AC;&#x2DC;Revolveâ&#x20AC;&#x2122;.

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Form inspired from the shape of a bat wing, and further refinement to create a seating

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Elements of Form and Space Studio

Jaisalmer sandstone Finishes: smooth and rough

Edge Gaps and Details

Arrangement of sectional profiles

105

Rendered Views of the Artefact in the outdoor context, Scenario based render with contextual reference

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Elements of Form and Space Studio

SINUOSITY by Aryan Kapoor

Product: Outdoor Artefact | Context: Indroda Nature Park, Gandhinagar

CONCEPT The nature park attracts a certain crowd, which goes through the park rather hurriedly and doesn’t pause, and take in the surroundings. There needs to be a seating which guides the user through the park and allows them to slow down, relax, and learn from the exhibits. The path, connects the park and is free-flowing with undulations at a few places thus creating a more natural experience. The path has a sense of ‘meandering’ as its way through the park. This along with the flora seem the only natural aspects of the nature park. Thus designing a seating element that has the aspects of meandering would be appropriate for the environment. After considering the man-made structures present in the park; creating a low seating with enough play of levels (for more than one seating opportunity), that holds the concept of meandering and has a particular bulk to it, to show its permanence in the nature park seems most suitable.

The meaning of the word ‘meandering’ was explored through different forms keeping in mind that the indirect or curvilinear nature of the seating can be explored through; surfaces, sections, radii manipulation, etc.

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Renders with designed artefact placed in the context

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Elements of Form and Space Studio

ARTEFACT FOR SANSKAR KENDRA by Apoorv Magdum Product: Seating Artefact | Context: Sanskar Kendra, Ahmedabad

CONCEPT Sanskar Kendra has a very basic geometry. The whole building follows the basic shapes of geometry. Once one enter the building, one would know where to go instantly, it feels more functional, like it was built just for its use. Right when you walk in it has a water body in the middle of the building which acts as a focal point of the building. And due to OTS right above the water body, it creates a contrast of light and shadows. The building appears to be very heavy, voluminous and bulky from the outside but as you move in it gives a sense of light weight. Similarly I think the seating designed for it, should represent the building which follows the pattern similar to the building like having basic geometric shape, heaviness, light weight and organic or free flowing form.

Posture Study

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Site Analysis and developed forms

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Elements of Form and Space Studio

PLAN

SECTION AA

LONG ELEVATION

SHORT ELEVATION

Artefact with CMF Application

111

Rendered Views of the Artefact in the context, Scenario based render with contextual reference

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Elements of Form and Space Studio

STAMBHIN by Het Desai

Product: Seating Artefact | Context: Sanskar Kendra, Ahmedabad

CONCEPT

Site Analysis Conclusions 1. The building is geometric in nature and feels more organized and functional, like everything is made only to serve its purpose. 2. The building feels very bulky/massy from the outside but as you enter and approach towards the pond, it feels very lightweight. 3.The space has very definite point of direction and one can know where to go once he/ she enters the space. 4. Columns play a very important role in the building. Corbusier has a style of replacing the supporting walls by a grid of reinforced concrete columnÂ that bears the structural load on the basis of aesthetics. Sanskar Kendra is also built likewise. So, the concept is to celebrate the columns.

REVISED DESIGN The wood size has been reduced from 10cms to 6 cms and the curves have been flattened to reduce the wood wastage. Also concrete of different color is suggested.

Curve Derivation

r=25

r=30 Top view

Column Derivation

Side view

113

The artefact, Stambhin is designed by reducing the column from column and, a curve complimenting the pond in the middle of the Sanskar Kendra. The column also gets curved along with the wooden plank to compliment the architecture.

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Elements of Form and Space Studio

GEOLET by Neha Gandhi

Product: Indoor Artefact | Context: Acropolis Mall, Ahmedabad

CONCEPT An outdoor artefact had to be made for the given site, that is Acropolis mall, Ahmedabad. Acropolis is a manmade space and it holds an artificial, constructive and modern appearance. The Sitting should fit well into the space. DESIGN APPROACH -Minimalistic : Sleek, minimal, since the semi open space is already surrounded by blocks. -Color : Theme to follow the neutral color theme of the space. -Appearance : Glossy so that it matches the artificial appearance of the space.

COLOR PALETTE OF THE SPACE

GLASS

SS PIPE

WOOD

CONCRETE

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EGG BENCH by Brinda Jasoliya

Product: Outdoor Artefact | Context: Dinosaur Fossil Park at Indroda Nature Park, Gandhinagar CONCEPT Dinosaur Fossil park reserves fossils of dinosaur eggs and bones. The dinosaur fossil park is in the starting area from the entrance of the whole park, so people pass by hurriedly and does not give much attention to the exhibits. There is a need for a sitting element which allows them to take pause to enjoy the environment and learn from the fossil exhibiton. The sitting element should go with the present environment and should be relatable to the aim of the park. Thus, the sitting element is derived from the concept of dinosaur egg with levels which will attract user take a pause and learn from the park. It will also resemble the value of the dinosaur fossil park.

INDRODA NATURE PARK

DINOSAUR FOSSIL PARK

REN

PROCESS AND DESIGN DEVELOPMENT

RENDER VIEWS WI

SITTING BY LEVELS : EGG BENCH

Initially started exploration by arranging eggs in different position. Then chopped and sliced them to get different types of MOVEMENT PATTERN sitting.

MAJOR FOOTFALL

WEEKDAYS

WEEKENDS

Final form is two truncated eggs in specific position with manipulated radii. final manipulated form creates two egg like shape from top.

een

our Initial Truncated Form (top view)

ure the

RENDERED VIEWS

S AND DESIGN DEVELOPMENT

ave

Final Form(top view)

SITTING BY LEVELS : EGG BENCH

ess ith s.

uld Final form is two truncated eggs in specific position with manipulated radii. final manipulated form creates two egg like shape from top.

RENDER VIEWS WITH COLOR, MATERIAL AND FINISH CONCRETE - final material for the form is concrete because its monolith and gives value to the final form. - it also follows the language of material of the park. -exposed concrete with rough finish by method of casting

Final Form(side views)

TECHNICAL DRAWINGS Initial Truncated Form

(top view)

CONCRETE - final material for the form

Final Form(top view)

RENDER V

Final Form(side views)

LEFT ELEVATION

Teaching Teaching Associate: Associate: Shreya Shreya Nanavaty Nanavaty

rough finish by method of Faculty Faculty of Design, of Design, CEPT CEPT University, University, Spring Spring 2020 2020 casting

TECHNICAL DRAWINGS A

REN

WOOD

LEFT ELEVATION

STONE

TERIAL PALLET

, w . r

A’

B’

RIGHT ELEVATION

PLAN AT LVL+400

RENDERED VIEWS

AND DESIGN DEVELOPMENT

RENDER VIEWS WITH COLOR, MATERIAL AND FINISH

SITTING BY LEVELS : EGG BENCH FRONT ELEVATION

SECTION AT BB’

TOP VIEW

Final form is two truncated eggs in specific position with manipulated MM BACK ELEVATION radii. final manipulated form creates two egg like shape from top. ALL DIMENSIONS ARE IN MM

SECTION AT AA’

CULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020

Initial Truncated Form

(top view)

CONCRETE - final material for the form is concrete because its monolith and gives value to the final form. - it also follows the language of material of the park. -exposed concrete with rough finish by method of casting

Final Form(top view)

Final Form(side views)

sitting fixtures on site water body

HNICAL DRAWINGS

GG BENCH

117

path

RENDER VIEW WITH SITE CONTEXT

RENDERED VIEWS RENDER VIEWS WITH COLOR, MATERIAL AND FINISH LEFT ELEVATION

A’

B’

RIGHT ELEVATION

Page Page 2525 ofof 3232

position with manipulated g like shape from top.

NT ELEVATION orm Final Form(top view) SECTION AT BB’

al Form(side views)

K ELEVATION

SECTION AT AA’

sitting fixtures on site water body

UG180121 BRINDA JASOLIYA

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Elements of Form and Space Studio

SEATING ARTEFACT AT SANSKAR KENDRA by Kathan Chauhan Product: Seating Artefact | Context: Sanskar Kendra, Ahmedabad CONCEPT

Space follows the basic geometry of square and curvilinear forms. The architectural language of the space is BĂŠton brut. Hence, space has a neutral colour palette and also celebrates the building materials. A subtle contrast can be seen in the space where the mass is lifted up is geometric 3D forms, cube supported by circular forms. The ground floor has a bold representation of curvilinear forms in terms of a waterbody and an attending desk. Hence, Juxtaposition is the theme which was integrated into the artefact and portraying Le Corbusierâ&#x20AC;&#x2122;s style and keeping Le Modulor as the highlight of the artefact.

Concrete

Mild Steel Pipe

Glass Fiber Reinfored Plastic

Finish Rough Concrete texture Matt Finish for Fiber Reinforced Plastic

119

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Elements of Form and Space Studio

ARTEFACT AT ACROPOLIS by Arushi Garg Product: Artefact | Context: Acropolis Mall, Ahmedabad

CONCEPT The site, Acropolis mall itself is considered as the base of the concept. Basic form of the artefact is derived from the abstract diagram of site which where later manipulated. Basically there are 3 parts where the central part is derived from the tensile roof structure of the site which is used to integrate the form . Also, talking about the placement of the artefact. The interiors of the site are consistent and symmetric. So, the same attribute is taken into consideration. User and Usage It will be mainly used for short duration of time by - People waiting for someone near shops or the parking lot. - People holding bags or carrying kids with them -Office employees -Families -Couples

Site

121

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D lamp post of SS pipe of radius 30mm 2580

530

250 500

Sitting 3

Detail C

1280 120 120 220 60 2500

60 30

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Square plate is screwed to the floor

250

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SS Pipe of radii 30mm is screwed to the pipe of smaller radii

Sitting 2

Detail B

Detail C

500

410

820

275

Anchor is screwed to the stone

in the anchor

SS Pipe of radii 30mm is screwed to the pipe 335of smaller radii

335

Detail C

500

550 1100

1280

400 60 2500 450 250 120 120 400 330 820310 60 450 250 120 120 310 330 R4 00

330

60 30

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60 60 PRODUCED BY AN AUTODESK STUDENT VERSION

60 30

60 60

330

60 3

Anchor used to fix pipe to stone

Elevation C C SS Pipe of radii 30mm is fixed Elevation

Square plate is screwed to the floor

250

275Sitting

60mm thick Granite

Square plate is screwed to the floor

250

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410

60 1100 2500

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550 1100

SS Pipe of radii 30mm is fixed in the anchor

SS Pipe of radii 30mm is screwed to the pipe of smaller radii

0 R3

550 1100

Anchor is screwed to the Cstone Detail

SS 90degree angle screwed to granite

Detail B

335

275

Sitting 2

Anchor used 0 to fix pipe to stone

Elevation B

665 2000

60mm thick Granite

Detail B

Detail C

Detail A

Sitting 1

R30

335

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665 2000

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Detail B

Cantilevered sitting

Detail A

Anchor is screwed to the stone

PRODUCED BY AN AUTODESK STUDENT VERSION

Detail A

150

Anchor used to fix pipe to stone

SS Pipe of radii 30mm is fixed in the anchor

Sitting 2

Granite slab cantilever from the planter

60mm thick Granite

Detail C

PRODUCED BY AN AUTODESK STUDENT VERSION

MS Box section screwed to planter and SS 90degree angle Granite screwed to granite

275

Concrete planter

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335

Sitting 1

from the planter

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R30

Granite slab cantilever from the planter Granite slab cantilever 150

Detail A

Elevation B

Sitting 1

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Cantilevered sitting

Concrete planter

Detail B

Elevation A

335

R30

SS 90degree angle screwed to granite

Elevation B

R30

Concrete planter

Detail A

Detail A PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

420

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795

Granite slab cantilever from the planter

450

1280 1645

1100 2500

500

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3 Cantilevered sitting

0 R3

350 450

Concrete planter with horizontal shuttering

Concrete planter

150

30 350

2100 2000

Concrete planter

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Detail BY A AN AUTODESK STUDENT VERSION PRODUCED

205

190 60

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SS pipe of radius 30mm

Plan at 1500mm

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Granite slab of varying thickness

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Detail A

R50

125

1100

205 60 470

265 R30

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Elements of Form and Space Studio

STAY by Aashman Amin

Product: Seating Artefact | Context: Sundarvan Zoo, Ahmedabad

CONCEPT The space is for animals, birds and humans. The artefact should be something that interacts with all three. To do do, common ground had to be found. For this context, different trigger words were related to the different users, but one common trigger word was found : Leaves. â&#x20AC;&#x2DC;Leavesâ&#x20AC;&#x2122; work perfectly as the trigger word as it relates to the words associated with the space : calmand playful. In termss of the form, leaf again works as a starting point The two basic shapes of the leaf aas shown below are taken as a base from which the form is later derived. Explorations are done such that each surface of the form is a manipulated shape of the leaf.

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Elements of Form and Space Studio

Final Studio Panels

2D Radii Manipulation

Radii Manipulation

Sketches

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

Endform Manipulation

PRODUCED BY AN AUTODESK STUDENT VERSION

Rhino Explorations

Endform Manipulation

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Photoshop Renders

Endform Manipulation

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Initial 2d form manipulation

Process radii manipulation sketches

PRODUCED BY AN AUTODESK STUDENT VERSION

grounded formal

definite balanced

Playful sleek

focused rounded

PRODUCED BY AN AUTODESK STUDENT VERSION

Process model sketches

Marking

symmetrical stable

correct measurementsof the thermocol.

PRODUCED BY AN AUTODESK STUDENT VERSION

Playful sleek

Cutting and champhoring using filers to obtain desired model.

directional grounded

soft bulbous

After the thermocol is ready, a layer of acrylic putty is applied.

playful protruding

contorted peaked

To level the putty which is applied,we use different grades of sand paper and chamfer.

feminine seamless

dynamic poised

Perception Studies

PRODUCED BY AN AUTODESK STUDENT VERSION

soft rounded

PRODUCED BY AN AUTODESK STUDENT VERSION

Form transition Process models

seamless chunky

rational inclined

The model is given a layer of final chamfering, and is analysed for its attributes, shadows and quality.

Final sketches

Making process

AGGREGANT

Final models

Final form transitional model

IR 2031 ELEMENTS OF SPACE AND FORM 1 IR 2031 ELEMENTS OF SPACE AND FORM

UG180225 Jayashre Bangarusamy

STUDIO TUTORS: GAURANG SHAH AND AMAL SHAH | STUDIO ASSISTANT: SHREYA NANAVATY | LEVEL 2 STUDIO, FACULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020

Site Study and Conclusions

DESIGNING A SEATING ARTEFACT FOR ACROPOLIS

The site is a commercial space, with already existing seating. The structures are claded with artifical or processed materials. The site is facing a crematorium and opens up to S G Highway. The concept of the site, which is to direct pedestrians through it, is not fully getting through to the user of the space.

ISOMETRIC FRONT VIEW

PLAN

precast-concrete

Three individual buildings connected through the circulation area , make up Acropolis mall.

PRODUCED BY AN AUTODESK STUDENT VERSION

Materials which could celebrate rawness were assigned to the seating. The pre-cast concrete for the structure and wood for the seating. The concrete has horizontal shuttering concrete

teak wood

PRODUCED BY AN AUTODESK STUDENT VERSION

The backrest was manipulated to add to the concept.

Design Developement

Context Renders

FRONT ELEVATION

SECTION

ISOMETRIC SIDE VIEW

The language of the space is very scattered. Some structures are rigid, some curved.

SIDE ELEVATION

BACK ELEVATION PRODUCED BY AN AUTODESK STUDENT VERSION

PLAN WITH POSSIBLE ARRANGEMENT FOR THE SEATING

Technical Drawings

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1667

192

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3 27 2 14

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Final Renders - DIROM

100

ELEVATION A

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DETAIL B

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Front view

Base view

300

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430

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ELEVATION B

ELEVATION C

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teak wood R10

DETAIL A

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pre casted concrete bolted to the concrete

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R25

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STUDIO TUTORS: GAURANG SHAH AND AMAL SHAH | STUDIO ASSISTANT: SHREYA NANAVATY | LEVEL 2 STUDIO, FACULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Jayashre Bangarusamy Final Studio Panels

PRODUCED BY AN AUTODESK STUDENT VERSION

Ideal materials

PLAN FOR THE WOODEN PLANK ARRANGEMENT

PRODUCED BY AN AUTODESK STUDENT VERSION

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Ideal colours

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28 12

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Differnt levels

IR 2031 ELEMENTS OF SPACE AND FORM 1 IR 2031 ELEMENTS OF SPACE AND FORM

Concrete

200

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Wood

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Marble

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Bulky and rounded

PLAN AT 350MM

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Site

PLAN

460

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Fluid and natural

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Intimate and shared

200

The backrest was removed another leg was added for stability and to emphasise the concept of direction. This allowed adaptability.

PRODUCED BY AN AUTODESK STUDENT VERSION

The use of materials in this space, is seen that it is there to satisfy the need of a stable structure.

Vision Board

Directive

Seating Layout Since the initial idea was too voluminous for the context some of the volume was removed.

The seating can be used dynamically as it is accessible from all sides. The base of this artefact has three legs representing the three buildings which make up the commercial space. Inorder to bring a little essence of nature in this heavily manmade environment, the materials used have their rawness emphasized. As the seating is a single piece it is also made into units with different configuration which allow various possible human interaction. Overall the seating is designed for a prompt gathering and resting purposes.

Posture Study from River Front

Process and Design Developement Initial ideas

Entrance

This seating is designed for a commercial space that is Acropolis mall in Ahmedabad. The concept was that the seating must welcome the user and also direct them through its passage. Thus it has adopted a widened ‘v’ shape, such that the mouth is facing towards the entrance and the vertex is towards the inner passage. The form of the seating is such that it has a directional aspect to it. Thus, highlighting the wide semi open passage through which pedestrians may commute.

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Back view

Side view

UG180225 Jayashre Bangarusamy

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2D RADII MANIPULATION

3D FORMS

This exercise was about exploring different types of form in a square grid with basic straight lines.

In this I tried to achieve different types of form by manipulating different surface of cube.

This exercise was about exploring form with different shapes at the end and connecting these shapes in various ways to get variety of forms.

Exploration

Mother Form

Radii Manipulation

This stage was about exploring one single form into 21 stages by manipulating edges and adding curves to it and to see the change in the attribute of the form. The reason of having 21 stages is because, it shows the transition of form gradually.

In this I tried to manipulated the edges of the form and create various varieties of the form to see the change in the attribute.

2 AND 3 END FORM EXPLORATION RENDERS (PHOTOSHOP)

RHINO MODEL OF END FORMS

PERCEPTION STUDY In this exercise I tried to understand any existing place through horizontal, vertical, inclined lines and then further make composition using those lines by rearranging them.

THE ARROW

Thermocol Model

IR 2031 ELEMENTS OF SPACE AND FORM

IR12031 ELEMENTS OF FORM AND SPACE

UG180074 APOORV MAGDUM

STUDIO TUTORS: GAURANG SHAH AND AMAL SHAH | STUDIO ASSISTANT: SHREYA NANAVATY | LEVEL 2 STUDIO, FACULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020

DESIGNING AN ARTEFACT FOR SANSKAR KENDRA Sanskar Kendra has a very basic geometry. The whole building follows the basic shapes of geometry. Once one enter the building, one would know where to go instantly, it feels more functional, like it was built just for its use. Right when you walk in it has a water body in the middle of the building which acts as a focal point of the building. And due to OTS right above the water body, it creates a contrast of light and shadows. The building appears to be very heavy, voluminous and bulky from the outside but as you move in it gives a sense of light weight. Similarly I think the seating designed for it, should represent the building which follows the pattern similar to the building like having basic geometric shape, heaviness, light weight and organic or free flowing form.

SITE STUDY AND CONCLUSIONS The building is geometric in nature and feels more organized and functional, like everything is made only to serve its purpose.

RENDERS

PROCESS AND DESIGN DEVELOPMENT Form exploration

It gives a sense of floating as the building is resting only on the column. The space has very definite point of direction and one can know where to go once he/she enters the space.

Ideation Sketch

Final design

GROUND FLOOR PLAN

POSTURE STUDY

VISION BOARD

TECHNICAL DRAWING

PLAN

SECTION AA

LONG ELEVATION

IR 2031 ELEMENTS OF SPACE AND FORM

IR12031 ELEMENTS OF FORM AND SPACE STUDIO TUTORS: GAURANG SHAH AND AMAL SHAH | STUDIO ASSISTANT: SHREYA NANAVATY | LEVEL 2 STUDIO, FACULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020

Apoorv Magdum Final Studio Panels

SHORT ELEVATION

UG180074 APOORV MAGDUM

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Elements of Form and Space Studio

THE TRANSITION AND RADII MANUPILATION - 2D

THE TRANSITION AND RADII MANUPILATION - 3D

2 AND 3 END FORM EXPLORATION

MOTHER FORMS

The exercise begin with exploring forms with two or three ends. Radii manupilation of surfaces is explored with basic forms like Rectangle, Triangle, piont, curve, etc. by them at different height, position or angle and then joining them by curve.

Final Mother Form

PHOTOSHOP RENDERS (FINAL FORMS)

RHINO MODELS

RADII MANUPILATION

TRANSITION OF CURVES IN 5 STEP SELECTED MOTHER FORM FOR RADII MANUPULATION

TRANSITION OF CURVES IN 21STEP - Directional - Sharp - stable

RADII MANUPILATION

MOTHER FORM

First form - Organic - Rounded - Fluid

Last form

The initial and final form are very different from each other. WHIRLPOOL -Directional -Fluid -Balanced PROCESS MODELS

Directional, Stable, Axially Symmetric

Directional, Sharp

Fluid, Continious

Ditectional, stable

Rounded, Blunt

Chunky, strong, Stable

Contrastive, Stable

Aspiring, Strong

Rounded, Chunky

Strong, Stable

Focused, Fluent

Unstable, Playful

Definite, stable

Robust, strong

PERCEPTION STUDY

FINAL MODEL : FLUDI The choosen attributes of form were then transformed into a 3rd-dimensional model. Fludi has characteristics like directional, fluid and balanced. The start and end of the placement of forms are in opposite direction like charateristics of initial and final form.

Balanced, Robust, Open

PROCESS OF MODEL MAKING

Marking curves and lins on thermocol cube by stencil

Cutting form with wire cutter

Applying Putty to get smoother surfaces

Final sanding before spray painting

Sanding corners with filers to get proper angle

Spray painting for final finish

PHOTOSHOP RENDERS OF BASIC FORMS

IR 2031 ELEMENTS OF SPACE AND FORM IR 2031 ELEMENTS OF SPACE AND FORM 1

UG180121 BRINDA JASOLIYA

STUDIO TUTORS: GAURANG SHAH AND AMAL SHAH | STUDIO ASSISTANT: SHREYA NANAVATY | LEVEL 2 STUDIO, FACULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020

DESIGN BRIEF AND APPROACH

SITE STUDY AND CONCLUSION

Indroda natural park is located in Gandhinagar, along the west bank of the river Sabarmati. Park is divided into many different parts like dinosaurs and fossils park, snake park, zoo, and botanical garden. Dinosaur Fossil park reserves fossils of dinosaur eggs and bones. The dinosaur fossil park is in the starting area from the entrance of the whole park, so people pass by hurriedly and does not give much attention to the exhibits. There is a need for a sitting element which allows them to take pause to enjoy the environment and learn from the fossil exhibiton. The sitting element should go with the present environment and should be relatable to the aim of the park. Thus, the sitting element is derived from the concept of dinosaur egg with levels which will attract user take a pause and learn from the park. It will also resemble the value of the dinosaur fossil park.

INDRODA NATURE PARK

RENDERED VIEWS

PROCESS AND DESIGN DEVELOPMENT SITTING BY LEVELS : EGG BENCH

Initially started exploration by arranging eggs in different position. Then chopped and sliced them to get different types of sitting.

RENDER VIEWS WITH COLOR, MATERIAL AND FINISH

DINOSAUR FOSSIL PARK Final form is two truncated eggs in specific position with manipulated radii. final manipulated form creates two egg like shape from top.

OBSERVATIONS AND CONCLUSION MOVEMENT PATTERN

-Language of colour and material has been followed thoroughly through the park. -The iron railings are painted with green colour to merge with the colour of the tree.

MAJOR FOOTFALL

Initial Truncated Form (top view)

-Dinosaur made of concrete and iron structure and signboard fixed in carved stone gives the value of heavy and bulkiness. -The paths are narrow and random, also have undulation.

WEEKDAYS

-when one enters the park can feel the freshness of nature and calm atmosphere followed with the sound of cheeping of birds and squirrels. -Sitting element should be organic and should follow the language of material and color.

WEEKENDS

POSTURE STUDY

VISION BOARD

Final Form(side views)

CONCRETE

WOOD

IRON

STONE

sitting fixtures on site water body

TECHNICAL DRAWINGS A

COLOR PALLET

Final Form(top view)

path

RENDER VIEW WITH SITE CONTEXT

LEFT ELEVATION

MATERIAL PALLET

Sitting element should be organic, bulky,heavy, etc. and should follow the language of material and color. The fixture sould be comfortable for all the users like kids,adults.

A’

B’

RIGHT ELEVATION

PLAN AT LVL+400

FRONT ELEVATION SECTION AT BB’

TOP VIEW MM

LOCATION: CEPT CAMPUS

BACK ELEVATION

ALL DIMENSIONS ARE IN MM

IR 2031 ELEMENTS OF SPACE AND FORM IR 2031 ELEMENTS OF SPACE AND FORM 1

STUDIO TUTORS: GAURANG SHAH AND AMAL SHAH | STUDIO ASSISTANT: SHREYA NANAVATY | LEVEL 2 STUDIO, FACULTY OF DESIGN, CEPT UNIVERSITY SPRING 2020

Brinda Jasoliya Final Studio Process

SECTION AT AA’

UG180121 BRINDA JASOLIYA

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Aashman Amin Final Studio Process

Elements of Form and Space Studio

PRODUCED BY AN AUTODESK STUDENT VERSION

d Design Developement

Seating Layout

precast-concrete

PRODUCED BY AN AUTODESK STUDENT VERSION

NGEMENT

PRODUCED BY AN AUTODESK STUDENT VERSION

Materials which could celebrate rawness were assigned to the seating. The pre-cast concrete for the structure and wood for the seating. The concrete has horizontal shuttering concrete

teak wood

The backrest was removed another leg was added for stability and to emphasise the concept of direction. This allowed adaptability.

PRODUCED BY AN AUTODESK STUDENT VERSION

The backrest was manipulated to add to the concept.

Entrance

Since the initial idea was too voluminous for the context some of the volume was removed.

Context Renders

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teak wood R10

DETAIL A

DETAIL B 0

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Final Renders - DIROM PRODUCED BY AN AUTODESK STUDENT VERSION

460

192

pre casted concrete bolted to the concrete

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115 204

R25

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DEN NT

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PRODUCED BY AN A

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PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

Front view

Base view

T VERSION

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Back view

Side view

UG180225 Jayashre Bangarusamy

PRODUCE

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Page 25 of 32

Developed Products

Final Design Project 2 Monsoon 2020

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Elements of Form and Space Studio

Process

Exercise Identification of a designer entity

Step 1

Research & Information Collection

Step 2

Research, Identification of Context and its Analysis

Description

Output

Taking the designer/brand/ architect as design inspiration Research on the design inspiration on design philosophy, design approach, body of work, language, products sold, target audience, etc.

Story-board, images, Analytical Sketches

Explore possible contexts, and identify the appropriate context for the application of the studied approach and philosophy.

Site Analysis: Photos, Diagrams, Orthogonal Drawings, 3D Base model.

(Retail space for brand/ location in the architectâ&#x20AC;&#x2122;s project..) Generation of design concept according to context and brand/ designerâ&#x20AC;&#x2122;s visual language/ philosophy, etc.

Story-board / Vision Board

Identification/ Creation of Design Focus

Identify a problem / Create an opportunity for product designing and determine the function and type of design element in the space.

Sketches

Step 5

Research (Ergonomic & Functional Criteria) & Iterations

Explorations of multiple forms according to context, concept and function

Process Sketches, 2D and 3D models

Step 6

Design Synthesis

The culmination to a final form

2D Drawings and 3D form views in the space

Step 3

Conceptual Generation

Step 4

Step 7

Step 8

Detailing and Changes to design on the addition Material Articulation of appropriate material, joinery details, approach to construction, etc Representation of Design & Detailed Drawings

Renderings of material explorations scaled up joinery drawings

Appropriate Mode of representation Final Renderings of the of element and its relation to space, element in space Communication with detailed drawings

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7. Final Design Project Monsoon 2020 Objective The exercise aims to explore and experience how contextual design integrates artefacts that are used for various designated purposes, and, how to practically apply the design process to a desired end of a given problem area. It is the application of all previous learnings into tangible products addressing form, functionality and context. The final design exercise process begins by analyzing the form language of iconic design entities, extracting inferences and conclusions from their ideology and language, identifying a problem and creating a concept for the product in a context through the extracted inferences. The learning extracted from the initial analysis and research develops to create a learning of creating a form language, and, relating a product with its user and its context. Each individual process hence begins to integrate the product-context-user relation through form language.

Broader Learning Outcomes

• Consolidation and synthesis of the previous inputs given in the realm of this studio including usage of appropriate software tools • Application of all previous learnings into tangible products addressing both form, functionality and context • Learning to relate the product to the user and the context • Learning to practically apply the design process to a desired end of a given problem area • Learning to deal with constraints • Learn to apply Material and process related knowhow for practical outdoor use • Learn detailing • Learning to present ideas and concepts effectively – visual as well as verbal (including technical drawings) • Presentation techniques

Output

• Developed Product form according to the function and the context, with the idea of CFM (Colour-Material-Finish), related details and basic concept of the product’s construction/ making, represented through renders and Technical Drawings • Product finishes made to be available, Bill of Materials, etc. • Product Renders and Contextual renders with appropriate materials, finishes, details, placement and user relations.

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Elements of Form and Space Studio

Form Language and Learning Outcomes

To study the form language used by certain iconic designers / architects/design concerns with the following objectives in mind : • To stimulate thought regarding expression which we as laypersons and learners are unable to convey or express • Introduction to and opening of minds of learners by studying different approaches and perspectives vis a vis a problemsolving process and interpretation of “Form”, it’s language and usage and interpretations of materials in terms of its meaning • To encourage and stimulate the learners about different viewpoints and approaches of different persons in the sense that what it conveys and means to “us” • Very importantly, this exercise seeks to the stimulation of the faculties of observation, analyses and towards provoking students to look past and through what meets the eye and open their minds to the views of others • Finally, this offers an opportunity to sensitize the students and to make them aware, and to broaden horizons and a way of “seeing” things Name

Design Inspiration

Product

Ansh Ajmera

Zaha Hadid

Bus-Stop

Archi Shah

Frank Gehry

Cafe Seating

Zen Cafe

Bansari Patel

Toyo Ito

Partition Screen

Residential

Diya Chhaniyara

Charles Eames

Outdoor Seating

Kinshuk Adeshra

Santiago Calatrava

Chair

Alessi

Outdoor Dustbin

Maitreya Pathak

Luigi Colani

Indoor Swing

Margi Sutariya

Ross Lovegrove

Display Stand for Herbal Products

Suhani Nathan

Philippe Starck

Table + Stool

Isha Shah

Memphis

Permanent Partition

Vaishnavi Borkar

Alvar Aalto

Seating

Harshavi Patel

Reymond Loewy

Booth and Chair Seating

Kushani Mehta

Context

SG Highway, Ahmed

D Eames Plaza, NI Office

Park Spaces, Ahmed K Residential

Planet Health Sto M Office Space

SID Building - betw Single and Double H SID Plaza

Va Tomato’s Restaur (American Pop Cul themed) H

135

Product and Context The extracted design visual languages of the design entity analyzed, extend to the decision of recognizing an appropriate product in an appropriate context that the design language can be applied on. The idea becomes to establish a relationship between the form, its functionality, context and the user, and create meaningful products in the process.

Name

Design Inspiration

Product

Context

dabad Ansh Ajmera

Zaha Hadid

Bus-Stop

SG Highway, Ahmedabad

Archi Shah

Frank Gehry

Cafe Seating

Zen Cafe, Amdavad ni Gufa

Bansari Patel

Toyo Ito

Partition Screen

Library & Reading Rooms

ID Channiyara Diya

Charles Eames

Outdoor Seating

Eames Plaza, NID

Kinshuk Adeshra

Santiago Calatrava

Chair

Modern Residential/ Commercial Pool Deck Areas

Alessi

Outdoor Dustbin

New C.G. Road, Ahmedabad

Maitreya Pathak

Luigi Colani

Suspension Chair

Garden Areas

ores Margi Sutariya

Ross Lovegrove

Display Stand for Herbal Products

Planet Health Stores

Suhani Nathan

Philippe Starck

Table + Stool

Office Canteen

Memphis

Permanent Partition

FD Building - between Single and Double Height

Alvar Aalto

Seating

Near SID Plaza, CEPT University

Reymond Loewy

Booth and Chair Seating

Tomatoâ&#x20AC;&#x2122;s Restaurant (American Pop Culture themed)

dabad Mehta Kushani

ween Height Isha Shah

Vaishnavi Borkar rant lture Harshavi Patel

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Elements of Form and Space Studio

Fig 7.1

Research and Deciphering Design Language Design entities are analyzed to decipher their design language, philosophy and ideology of their work. Inferences and conclusions from the study are taken forth as concepts for the design. Fig 7.1 Kushani Mehta Deciphering design language of Alessi through product analysis

137

LIBERATION FROM COMPOSITION

VITRA F I R E S TAT I O N

S U P R E M AT I S M

TECTONICS VERY STRONG CHAOS FORCE

P LA NE S

LINES, CURVES

M U LT I-P E S P E CTIVE CRA S HING P A RA LLE L

WHAT IF GOING HORIZONTALLY, MOVING/SLICING VERTICALLY COLLIDING LANDSCAPE MERGING/ VERGING/ DIVERGING INTO/ FROM/BY ONE

Kazimir Malevich

Zaha Hadid

MIX, DIVIDE FUSE THE TYPOLOGIES MULTIPLE PERSPECTIVE AND PAR

Suprematism Overlapping Superimposing

under Equilibrium

GRADATION IN SPACE

Zaha Hadid

Kazimir Malevich, Suprematism (Supremus No. 56), 1916, oil on canvas, 31 3/4 x 28".

HOW SHIFT IN SCALE AFFECTS THE MEANING OF THE THINGS/ PIECE

LINES

Floatation Strong Chaos Force

LINES, CURVES

BERGISEL SKI JUMP

FLOWING

Zaha Hadid

Kazimir Malevich

GRADATION IN SPACE COLLIDING LANDSCAPE

Suprematism Overlapping Superimposing Floatation Strong Chaos Force under Equilibrium Seamlessness Explosion Project

MULTILAYER OF DIFFERENT SPACES

COLLIDING LAND MASS

BECOMES FIELD. FIELD BECOMES PART OF URBANISM OF CITY MERGING/ VERGING/ DIVERGING INTO/ FROM/BY ONE FRAGMENTING OF THE STRUCTURE, NOT WITH IDEA OF BREAKING OF STRUCTURE BUT WITH THEIDEA OF STRUCTURE TO FREE THE SPACE.

D I

Suprematism Overlapping Superimposing Floatation Strong Chaos Force but under Equilibrium Seamlessness

FLOATATION IN SPACE

VOLUMES

COMPOSITION — HOW TO FREE THE SPACE?

LIBERATION FROM GRAVITY, COMPOSITION

HEYDAR ALIYEV CENTER

BERGISEL SKI JUMP (LINES)

LIBERATION FROM GRAVITY

CONTEMPORARY ARTS CENTER

TECTONICS

SURFACES

FLOATATION OF ATMOSPHERE VERY STRONG CHAOS FORCE

FOLDING BENDING

LINES, CURVES GOING HORIZONTALLY, MOVING SLICING VERTICALLY IDEA OF LAYERING

GRADATION IN SPACE MAKE A SPACE A GRAPHIC SPACE; MAKING OF 2D SPACE IN 3D WORLD IDEA OF CARVING AS VALLEYS

DECONSTRUCTION O F S PA C E

BENDING AND FOLDING

V I T R A F I R E S TAT I O N ( P L A N E S)

I N F E R E N C E S SUPREMATISM IS A SIMPLE SHAPE LINES COLOR WHICH IS USED TO DEPICT HIGHLY COMPLEX CONCEPTSAND PHENOMENA WHICH IS MAINLY THROUGH ARRANGEMENT, ORIENTATION, RELATIVE SIZE, DIRECTIONAL, PERSPECTIVE, WITH ADDING A SINGLE LINE TO 2D TO GET A WHOLE NEW PERSPECTIVE OF SPACE WHICH IS IN A MULTI LAYER/ LEVELS OF PLANES SUPERIMPOSED, MERGED, CRASHED, COLLIDED WITH ONE ANOTHER.

PHOTOS

D E C O N S T R U C T I O N O F S PA C E

SUPREMATISM IS A WAY TO SHOW COMPLEXITY THROUGH A SIMPLE LANGUAGE WHICH ITSELF BECOME VERY COMPLEX WITH THE IDEA OF PROPORTIONS, SIZE, SCALE, ARRANGEMENT, ORIENTATION, RELATIVE SIZE REPRESENTING VERY COMPLEX CONCEPTS OF ON HOW SPACE CAN BE THOUGHT OF. HOW SHIFT IN SCALE AFFECTS THE MEANING OF THE THINGS/ PIECE PLAY BETWEEN 2 DIMENSION AND 3 DIMENSION ZAHA HADID’S DRAWING; LOGICAL THOUGHTFUL EMERGENCE AND EXISTENCE OF SPACE THROUGH CHAOS LINE DRAWING ARE VERY POWERFUL. ADDING LAYERING AND INKING APART FROM THE PLAN HOW WOULD YOU INTERPRET A 3 DIMENSIONAL DRAWING IDEA WAS TO SHOW IT IN 10 DIFFERENT WAYS BELOW ABOVE SIDE WAYS AXONOMATRIC MIXED WITH PERSPECTIVE EXPERIMENTAL, WHAT IF AND WHY NOT THIS?

BREAKDOWN

MATERIAL RESEARCH MULTIPLE MODEL EXPLORATION FOR FORM, MINUTE CHANGES, HOW IT CHANGES THE FORM EVERYTHING IN CHAOS MOVEMENT BUT WEILDED BY COMBINATION OF PERSPECTIVE AND PARALLEL PARTNERS IN A PLAN. THE COLOR AND MATERIAL USED FOR MODELS ALSO SHOWS THE ATMOSPHERE IT WILL CREATE IN ATMOSPHERE AND NATURAL LIGHT

PLAN

DESFINER OF LINES, PLANES AND VOLUMES

PLAN

D E C O N S T R U C T I O N O F S PA C E

EVEN STARINGHT LINES AR ENOT STRAIGHT, THEY ARE IN GRADATION OF CURVE

PARALLEL? YES BUT THEY CAHNGE THEIR PARALLEL PARTNER AND VANISHING POINTS PERPENDICULAR? MAYBE BUT THESE COMPONENTS ARE TRAVELING TO VANISHING POINT IN PLAN AND SECTION PLANER ELEMENTS ARE LIKE PLANES IN PERSPECTIVE. BUT JUST REMOVING THE V.S. GROUND AS A GRAPHIC SPACE GROUND AS A GRAPHIC SPACE

DOESN’T CREATE CURVES BUT SEAMLESSNESS IN LINES, AND CURVES ARE A RESULT OF THAT. SINGLE LINE TO 2D TO GET A WHOLE NEW PERSPECTIVE OF SPACE WHICH IS IN A MULTI LAYER/ LEVELS OF PLANES SUPERIMPOSED, MERGED, CRASHED, COLLIDED WITH ONE ANOTHER LIBERATION FROM GRAVITY, COMPOSITION, COLOR SUPERIMPOSE FLOATATION OF CITIES, SKY, ATMOSPHERE, UNIVERSE HOW THINGS CAN FLOAT IN SPACE GOING HORIZONTALLY, MOVING/SLICING VERTICALLY IDEA OF LAYERING COLLIDING LANDSCAPE

BREAKDOWN

CONTEMPORARY ARTS CENTER (VOLUME)

WITH VIEING ANGLE, SCALE CHANGES

MULTILAYER OF DIFFERENT SPACES AND COLLIDING OF SPACE (CRASHING OF PLANES) OBJECT BECOMES FIELD. FIELD BECOMES PART OF URBANISM OF CITY MERGING/ VERGING/ DIVERGING INTO/ FROM/BY ONE FRAGMENTING OF THE STRUCTURE, NOT WITH IDEA OF BREAKING OF STRUCTURE BUT WITH THE IDEA OF STRUCTURE TO FREE THE SPACE.

HORIZONTAL

VERTICAL

HORIZONTAL + VERTICAL

BD2004 ELEMENTS OF FORM AND SPACE

RESEARCH 1 : ZAHA HADID

Fig 7.2

Fig 7.2 Ansh Ajmera Deciphering the design language of Zaha Hadid through deconstruction of spaces

ANSH AJMERA UG190127

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Elements of Form and Space Studio

Santiago Calatrava His Art and Sculptures

His Bridges

About Santiago Calatrava, in full Santiago Calatrava Valls (born July 28,1951, Benimamet, near Valencia, Spain), Spanish architect widely known for his sculptural bridges and buildings. He is an architect, engineer, artist and a sculpturer. He has studied both architecture and structural engineering, which has enabled him to design the type of architecture that he creates. Calatrava evolved his art, and his sculpture into architecture.

Vase.

Mother and Child, Bach de Roda – Felipe II Bridge, Barcelona, Spain.

Margaret Hunt Hill Bridge, Dallas, USA.

Manrique Footbridge, Murcia, Spain.

Sometimes compared to da vinchi because he brings art and science together.

Mimico Creek Bridge, Toronto, Canada.

His Inspirations The Bird.

•

He was influenced by Le Corbusier’s work and aesthetics, which initially led him to pursue architecture.

•

He was also influenced by works of engineers such as Robert Millart, whose work inspired him to seek simple forms which could create an emotional response.

His Process and Style

Drawing no.-0005

Head.

Guitar.

Serreria Bridge, Valencia, Spain.

Bridge of Strings, Jerusalem, Israel.

Samuel Beckett Bridge, Dubin, Ireland.

Manrique Footbridge, Murcia, Spain.

Lusitania Bridge, Mérida, Spain.

Bridge of Strings, Jerusalem, Israel.

Pure Geometry.

His Buildings Kuwait Pavilion, Toronto, Canada.

•

He spent his time making and then developing numerous sketches. His sketches emphasize his preference for resolving a design in section, which for him reveals not only the strength of the building but also its structural beauty.

•

Often, his sketches are followed by scale models, or what he generally refers to as “toys and games.”

•

Calatrava is fascinated with Movement, it has been a source of inspiration for many of his creations.

•

Even in his Doctoral thesis, he investigated geometric figure can be reduced from three dimensions to two, and ultimately just one e.g. A polyhedron can be collapsed, making it a single planar surface. Another transformation can further reduce it to a single line, a single dimension.

•

Nature is his structural inspiration. He closely observes the strong visual movement in natural objects that derives from the fact that their shapes are the traces of the physical forces that created them.

•

Most of his work is finished in concrete, steel and glass as he employs engineering knowledge to create sculptural structures that are novel and innovative-giving most of his works a whitish appearance.

Drawing no.-0019

String 3.

Running Torso.

Elements of Form and Space Studio BD 2004

CEPT University Faculty of Design

String.

Untitled.

Reggio Emilia Stazione Mediopadana, Murcia, Spain.

Museu do Amanhã, Rio de Jenerio, Brazil.

Reggio Emilia Stazione Mediopadana, Murcia, Spain.

World trade center transportation hub, NYC, USA.

Palacio de Exposiciones y Congresos Ciudad de Oviedo, Murcia, Spain.

Emergency Services Center, St. Gallen, Switzerland.

Deciphering Design Language of Santiago

Final Design Exercise Research I

Agora, Valencia, Spain.

Calatrava

Kinshuk Adeshra UG180307

Santiago Calatrava Conclusions •

Calatrava’ Language

Evolves his art and sculptures into architecture.

• Use of mathematical curves such as parabolas and sinusoidal curves. • Use of ribbed structures.

• Use of bold cantilevered elements in many of his structures. • Wide use of principle of tensegrity. • His forms generally have fluid filleted junctions. • Almost no use of right angle.

• Use of simple forms.

Reggio Emilia Stazione Mediopadana, Murcia, Spain.

LHemisfèric, Valencia, Spain.

• Translating similar forms on different scale. Translating the concept of tensegrity and cantilever structure into many of his bridges. The Turning Torso, Sweden.

Lyon-Saint Exupery Airport Railway Station, France

•

SMU Wave Sculpture, Dallas, USA.

Believes in evolving his designs through sketches.

Bodegas Ysios Winery, Lagaurdia, Spain.

World trade center transportation hub, NYC, USA.

• •

Believes in function follows form. Never compromises on aesthetics.

•

Risk taker, Daring.

• Imitating nature through mechanical movement.

Torre de Communications de Montjuïc, Barcelona.

• Accentuating form through light, shadows and reflections.

Lyon-Saint Exupery Airport Railway Station, France

• • •

His design process begins by creating forms in abstract manner, inspired by nature Nature is the inspiration. Translating visual movement in natural object to his forms (Imitating human body and various animals). Fascinated with movement.

Translating the movement of a bird into many of his sculptures.

The Milwaukee Art Museum, Wisconsin, USA.

World trade center transportation hub, NYC, USA.

CEPT University Faculty of Design

The Milwaukee Art Museum, Wisconsin, USA.

LHemisfèric, Valencia, Spain.

The Milwaukee Art Museum, Wisconsin, USA.

Peace Bridge, Canada

Alamillo Bridge, Spain.

Agora, Valencia, Spain.

Inovation, Science and Technology Center, FL, USA.

Peace Bridge, Canada

Elements of Form and Space Studio BD 2004

Final Design Exercise Research I

Deciphering Design Language of Santiago

Calatrava

Fig 7.3

Fig 7.3 Kinshuk Adeshra Deciphering the design language of Santiago Calatrava

Kinshuk Adeshra UG180307

139

The memphis style was inspired by ART DECO, 50’S KITSCH STYLE AND 80’S POP ART. The designs were highly POST MODERNIST breaking the visual boredom, monotony and similarity in the attributes.

ww. ww.

Pioneered Pioneered by by ETTORE ETTORE SOTTSASS SOTTSASS in in 1981 in Milan, Italy. The MAIN IDEOLOGY behind the The MAIN IDEOLOGY behind the designs was to bring EXCITEMENT designs was to bring EXCITEMENT AND LEISURE in peoples’s life apart AND LEISURE in peoples’s life apart from the functionality, as an add-on from the functionality, as an add-on to to the designs. the designs. Memphis was a reaction to the BORING, MemphisMONOTONOUS was a reaction toAND the ALIKE DESIGNS. BORING, MONOTONOUS AND ALIKE DESIGNS. The name Memphis came from BOB DYLAN’S ‘THE MEMPHIS BLUES The name Memphis came from BOB AGAIN’. DYLAN’S ‘THE MEMPHIS BLUES ItAGAIN’. focused on creating BRIGHT,

MAXIMALISM

SYMMETRY

UNCONVENTIONAL DESIGN

RHYTHM/HARMONY

Continental Side Table By Michele De Lucchi

Bel Air Chair by Peter Shire

LAMINATED BULKY BASE

Tahiti Lamp By Ettore Sottsass

Casablanca Cabinet By Ettore Sottsass

Alpha Centauri by Marco Zanini

Royal Sofa By Nathalie Du Pasquier

Diva Mirror By Ettore Sottsass

Ladoga Vase By Matteo Thun

Ashoka Lamp By Ettore Sottsass

Pierre Table By George Sowden

Tartar Table By Ettore Sottsass

Palace Chair By George Sowden

Mizar Vase By Ettore Sottsass

Oceanic Table Lamp By Michele De Lucchi

Polar Side Table By Michele De Lucchi

Carlton Bookcase by Ettore Sottsass

Riviera Carpet By Nathalie Du Pasquier

Michigan Salt Cellar By Matteo Thun

Laurel Table Lamp By Peter Shire

Ivory Column By Ettore Sottsass

COLORFUL AND INNOVATIVE designs with post Modernist It focused onthe creating BRIGHT, effect. COLORFUL AND INNOVATIVE designs with the post Modernist effect.

DESIGN DESIGN LANGUAGE LANGUAGE

BRIGHT and FLASHY colours

BRIGHT and FLASHY colours PATTERNS, SQUIGGLES and ZIGZAGS without any part overpowering the otherSQUIGGLES part REPETITIVE PATTERNS, and ZIGZAGS without any part overpowering the other part PRIMARY and WACKY FORMS and SHAPES PRIMARY and WACKY FORMS and SHAPES Thestyle stylewas wasaa2D 2DVECTORISED VECTORISEDstyle stylewith withBOLD BOLDand and The withoutany anyshades shadesorortints. tints. PLAIN colours without

Materials like PLASTIC, PAINTED WOOD, LAMINATES AND Materials like PLASTIC, PAINTED WOOD, LAMINATES METAL were used. AND METAL were used. INFLUENCE INFLUENCE OF OF MEMPHIS MEMPHIS IN IN DIFFERENT DIFFERENT FIELDS FIELDS

DECONSTRUCTION AND INTERPRETATION OF DESIGN LANGUAGE CARLTON BOOKCASE BY SOTTSASS

EXTRUDED 2D FORMS Many of the designs have a form which are comprised of 2D shapes and then extruded to give a 3D form. So when one looks at the elevation, the whole form is understood and design is just done on one plane extruded in single axis and alongh with this, symmetry is also observed.

BEL AIR CHAIR BY PETER SHIRE BROKEN GEOMETRY Some of the forms of the products were achieved by breaking the geometry of one shape into smaller different forms.

Connecting ART DECO, 50’S KITSCH STYLE AND 80’S POP ART with Memphis, some points were deciphered like repetition of similar elements with slight modification, combination of plain colous and patterns and maximalist approach but in a logical way.

LAUREL TABLE LAMP BY PETER SHIRE

REPETITION IN DESIGN APPROACH

DIVA MIRROR BY SOTTSASS

Linear or planar forms inclined at certain angle with two elements put at top and bottom to balance the whole product.

LADOGA VASE BY MATTEO THUN

TAHITI LAMP BY ETTORE SOTTSASS

ASHOKA LAMP BY ETTORE SOTTSASS REDUCTION IN OVERPOWERING ELEMENTS THROUGH PATTERNS

HARMONY OCEANIC TABLE LAMP BY MICHELE DE LUCCHI FLAMINGO SIDE TABLE LAMP BY MICHELE DE LUCCHI

Harmony was achieved by putting different elements facing all the different directions such that it felt like there was a never ending loop of rhythm.

Many of the forms had a bulky base which would overpower the whole product. So, to avoid that, patterns were used in that area making it look less heavy.

POLAR SIDE TABLE BY MICHELE DE LUCCHI

Fig 7.4

Fig 7.4 Isha Shah Deciphering the design language of Memphis

RARE BIRD COFFEEPOT

140

Final Final ProjectProject- Ideation Ideation

Elements of Form and Space Studio Initial Explorations Initial explorations

Initial explorations

Exploring selected principles Exploring selected principle Exploring selected principle

Exploring tensigrity Exploring tensigrity

Final concept Final concept

Exploring tensigrity

Exploring Tensegrity Exploring tensigrity

1:1 Drawings to unde 1:1 Drawings to und proportion. proportion.

Fig 7.5

Concept Generation and Development The deciphered design languages are applied to selected products in appropriate context as concepts for form generation and are developed in stages. Fig 7.5 Kinshuk Adeshra Exploration of the tensegrity principle and generation of form

141

PROCESS Evolving Concept

Concept Development

Early Explorations

Evolving Concept

opment

Evolving Concept

CEPT University Faculty of Design

Fig 7.6

Elements of Form and Space

Process Sheet

Final Design Exercise

Studio BD 2004

F O R M D E V ELOP M EN T TAKING SIMPLE ELEMENTS, COMBINE AND MANIPULATE

Archi Shah UG190169 F O RM DEVELOPM ENT TAKING SIMPLE ELEMENTS, COMBINE AND MANIPULATE

Process Sheet

Final Design Exercise

Process Sheet

Archi Shah UG190169

Fig 7.7

Fig 7.6 Archi Shah Concept generation of forms for a seating inspired by Frank Gehry Fig 7.7 Ansh Ajmera Paper explorations for a bus-stop inspired by Zaha Hadid

Elements of Form and Space Studio

CMF : COLOUR, MATERIALS, FINISH

Bansari Shah UG180103

COLOUR

for Partition Toyo Ito: Colour and Material Palette

PANTONE 537 C

PANTONE 7506 C

PANTONE 11-0601 TPG Bright White

OPTION 1 Neutral, true to material colours

PANTONE 664 C

PANTONE 4184 C

PANTONE 2707 C

OPTION 2 Neutral colours and light and dulled colours as used by architect

Pragmatic/Program requirements: Versatile and neutral colours that can work with various context and backgrounds

CMF Infographic/

PANTONE 11-0601 TPG Bright White

Concept: Lightweight and porous. So light and subtle colours are required

Grey 2 (Pantone 422 C, Hex 9AA2A4): neutral, dull Brown (Pantone 466 C, Hex C3A776): rough, woody Lavender (Pantone 665 C, Hex C6BBCE): subtle. elegant Grey 3 (Pantone 656 C, Hex BCC4D0): ambigious, soft

MATERIAL

Partition

Steel (Volume): heavy, solid

Final Design Exercise

Steel, Aluminium Sheets (Planar): sharp, edgy, clean, cold

Grey 1 (Pantone 4135 C, Hex 828B9E): heavy, stormy

Concept: Porosity and lightwieight, using porous and translucent materials

Perforated metal sheet - Steel, Aluminium (Planar): light, free, ambigious Concrete (Planar, Volume): heavy, rigid, sturdy, solid

- Translucent materials (50%): perforated sheets, Shoji paper (washi), frosted glass, translucent/tinted acrylic - Transparent materials (25%): glass and acrylic - Opaque materials (25%): wood (plywood, MDF, HDF), metal, concrete, stone, polymers/plastics

Wood (Linear, Planar): lightweight, rough, textured

Program requires a main frame structure that has to be sturdy and opaque. Internal components can be opaque, translucent or transparent. Not use more than three materials so as to not clutter the space.

Glass (Planar): light, clear

Emotions and attributes associated with material palette:

OPTION 1 MDF/HDF, clear acrylic, perforated metal sheet (aluminium)

FINISH MDF: Smooth and matte (oil paint with a matte varnish) Acrylic: Smooth and anti-reflective/non-glare for clear visibility Perforted aluminium: Round hole staggered (5/32â&#x20AC;? dia, 7/32â&#x20AC;? centres, 46% open) Shoji paper: Basic Professional Shoji Paper (0.14 mm thickness, 48% Light permeation

OPTION 2 MDF/HDF, tinted acrylic, Shoji paper (washi)

Studio BD 2004

Pantone Bright White (Hex F5F7F6) : ligtweight, clean, cold, pure

Emotions and attributes associated with the colour palette: calm, elegant, clean, formal

Elements of Form and Space

Emotions and attributes associated with colours and materials used by Toyo Ito

CEPT University Faculty of Design

142

Fig 7.8

Cfm Color | Finish | material

MATERIAL

color

finish

Polycarbonate :

Clear :

Glossy :

- Transparent

- Blocks of different colored transparent blocks

- Scratch proof protective layer on polycarbonate

- High impact resistant

- Lightness + solidity

- Strong

- Playful

- Is stronger and can hold up longer to extreme

- Looks visually less crowded

emotion

temperatures and rough use than acrylic - Can be used for injection molding

- Transparency gives a sense of openness to a room

- Low scratch resistance

and permits light to flow freely through the space

- Has to be coated with scratch resistant layer

- It does not crowd up the room - Gives a modern feel to the space # FE5301

# 07A0C3

# F0C808

# 7CB34E

- With having different units of the table and stools in different colors around the canteen will bring playfulness in the space

# 0050C6

clear

# E11B34

# 0F6D52

Transparent blocks

Polycarbonate

CEPT University Faculty of Design

Fig 7.9

Elements of Form and Space Studio BD 2004

Final Design Exercise

Canteen Table and Stool set

Final Exercise/ CFM Infographic

CMF Considerations and Application Colour-Material-Finish considerations are based on (1)Pragmatic and practical requirements of the product and context (2) Emotion-related requirements (3) Conceptual stand of the design Fig7.8 Bansari Shah Fig 7.9 Suhani Nathan Deciphering CMF ideas for products

Suhani Nathan UG180601

77 cm

100 cm

66 cm

143

66 cm

33 cm

27 cm

44 cm

25 cm 122 cm

Fig 7.10

Form Development Fuctional, CMF and contextual considerations aid in the evolution of the form. Fig 7.10 Kushani Mehta Development of form and details of dustbins on the New C.G. Road, Ahmedabad

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514

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Part A Part B

Part A

Technical Drawings

Part D Part E

Part F

PART

Material

Die Casted Aluminum

19 mm, 2.65mm thk MS Pipe

Die Casted Aluminum

19 mm, 2.65mm thk MS Pipe

Part C

C D F

CORD

PART B,G &E (1:5)

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Fig 7.11

JOINERY - Part D connects Part B,G,F and E with M5 Bolts.

** All dimensions are in mm.

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NO.

Die Casted Aluminum

19 mm, 2.65mm thk MS Pipe

Die Casted Aluminum

19 mm, 2.65mm thk MS Pipe

Elements of Form and Space Studio BD 2004

Material

PRODUCED BY AN AUTODESK STUD

PART PRODUCED BY AN AUTODESK STUDE

D x2 Die Casted Aluminum Fig 7.11 Kuinshuk Adeshra Technical drawings, materials and details for ‘Levetos’ F x1 19 mm, 2.65mm thk MS Pipe CORD

135.8

3mm Nylon Cord

JOINERY - Part D connects Part B,G,F and E with M5 Bolts. - Part A fits in 19 diameter medium guage MS tube

niversity of Design

283.4

AN AUTODESK STUDENT VERSION

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LEGEND

Kinshuk Adeshra UG180307 Technical Drawings

Material

Die Casted Aluminum

C D F

Final Design Exercise 283.4 Chair

CORD

C D

19 mm, 2.65mm thk MS Pipe Die Casted Aluminum Die Casted Aluminum

CORD 19 mm, 2.65mm thk MS Pipe 19 mm, 2.65mm thk MS Pipe 3mm Nylon Cord 135.8

JOINER - Part D

JOINERY - Part A - Part D connects Part B,G,F and E with M5 Bolts

-Nylon C

- Part A fits in 19 diameter medium guage MS tub TOP VIEW

TOP VIEW

** All dimensions are in mm.

3mm Nylon Cord

Design Development and Technical Drawings

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NO.

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PART

-Nylon Cord is woven through the holes** provided All dim

TOP VIEW B,G &E (1:5)

-Nylon Cord is woven through the holes provided on Part A and C. TOP VIEW

PRODUCED BY AN AUTODESK STUDENT VERSION

683 135.8

283.4

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Elements of Form and Space Studio BD 2004

Kinshuk Adeshra UG180307

PART B,G &E (1:5)

PRODUCED BY AN AUTODESK STUDENT VERSION

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(1:1)

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LEGEND

CEPT University Faculty of Design

6 6

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Final Design Exercise Chair

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3440

5901350

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INSIDE

740470

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740 770

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300

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18mm PLYWOOD 18mm PLYWOOD 6mm TRANSLUCENT 6mm TRANSLUCENT TEMPERED 18mm PLYWOOD 30mmGLASS PLYWOOD TEMPERED COLOURED COLOURED GLASS 6mm TRANSLUCENT TEMPERED BIDDING PATTIGLASS COLOURED BIDDING PATTI 30mm PLYWOOD 30mm15mm PLYWOOD DEEP BIDDING PATTI

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INSIDE INSIDE

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450

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9000

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Faculty of Design

PLAN PLAN BB' BB'

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D TAILDJOINT DETAIL 1 DOVE 18mm PLYWOOD 18mm PLYWOOD PLYWOOD TO PLYWOOD SCALE 2:1

Exercise Name/ Sheet Title

Final Design Exercise

Name of Product 3000

450

D D 18mm PLYWOOD

DETAIL 1 DOVE TAIL JOINT DETAIL 1 DOVE TAIL JOINT Exercise Name/ PLYWOOD TO PLYWOOD PLYWOOD TO PLYWOOD Sheet Title SCALESCALE 2:1 2:1

Final Design Exercise 3000

Name of Product

Studio BD 2004

600 450

3000

DETAIL 1 DOVE TAIL JOINT DETAIL 1 DOVE TAIL JOINT PLYWOOD TO PLYWOOD PLYWOOD TO PLYWOOD SCALESCALE 2:1 2:1

3000

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Elements of Form and Space

B BOUTSIDE

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Elements of Form Space 600 450 and 600 450 600 450 600 450 Studio BD 2004 9000 9000

OUTSIDE OUTSIDE

2020 300 300

600

CEPT University Faculty of Design

3000

OUTSIDE CEPT University 3000 3000

DETAIL GLASS TO WOOD IN D 4.1 BIDDING DETAIL 4.1 PLAN GLASS TO WOOD IN PATTI SECTIONAL SECTIONAL PLAN SCALE 10:1 DETAIL 4.1 GLASS TO WOOD IN SCALE DETAIL10:1 1 DOVE JOINT 18mm PLYWOOD SECTIONAL PLAN TAIL 18mm PLYWOOD PLYWOOD SCALE 10:1 TO PLYWOOD 30mm PLYWOOD 30mm SCALE 2:1 PLYWOOD

3000 3000

OUTSIDE 450 6009000 OUTSIDE

450

PLAN BB'

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3000

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1410

2925

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30 30 1410

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75 75

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FRONT ELEVATION FRONT ELEVATION 1410 ELEVATION 30 FRONT 1410 30 1410

1410

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FirstName Last Name Code No.

D2 TRANSLUCENT 6mm TEMPERED COLOURED GLASS 30MM 20MM PLYWOOD MS PIPE DOOR 20MM MS PIPEMS 20MM PIPE DOOR) 7meters 37meters FRAME (PIVOT B'

D2 D2 D3 TRANSLUCENT 6mm 6mm TRANSLUCENT 6mm TRANSLUCENT TEMPERED FirstName Last Name TEMPERED TEMPERED COLOURED GLASS COLOURED GLASS GLASS COLOURED 30MM PLYWOOD DOOR Code No. 30MM DOOR 20MM PLYWOOD MS PIPEPLYWOOD 30MM DOOR 20MM MS PIPE DOOR) FRAME (PIVOT D4 FRAME (PIVOT DOOR) FRAME (PIVOT DOOR) D3 D3 TRANSLUCENT 6mm D3 TRANSLUCENT 6mm TEMPERED TEMPERED COLOURED GLASS GLASS COLOURED 30MM PLYWOOD DOOR DOOR LINE INDICATING PIVOT 30MM PLYWOOD D4 FRAME (PIVOT DOOR) FRAME (PIVOT DOOR) D4 D4 D3

590

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Name of Product 1410

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15mm DEEP 15mm DEEP D1 D1GROOVE B' D1GROOVE

DETAIL 2 PLYWOOD 0 1 30 1 37meters 7meters TO PLYWOOD RCC BEAM SCALE 1:2 RCC BEAM RCC BEAM

Exercise Name/ Sheet Title

Final Design Exercise

20 20

30mm PLYWOOD 7meters 01 3 7meters 01 3

DETAIL 2 PLYWOOD DETAIL 2 PLYWOOD 7meters 01 3 FirstName Last Name TO PLYWOOD TO PLYWOOD 7meters 0 1 3 RCC BEAM Code No. SCALESCALE 1:2 1:2

0 1 30 1

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Studio BD 2004

DETAIL 4.2 GLASS TO WOOD DETAIL 4.2 GLASS15mm TO WOOD DEEP 15mm DEEP ELEVATION GROOVEGROOVE ELEVATION SCALE 10:1 DETAIL 4.2 GLASS TO WOOD

DETAIL 2 10:1 PLYWOOD SCALE ELEVATION TO SCALE PLYWOOD 10:1 15mm DEEP SCALE 1:2 30mm PLYWOOD D1GROOVE

OUTSIDE

Elements of Form and Space

30mm PLYWOOD

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300

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INSIDE

SS STANDOFF BASE STUDS

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740

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740 770 740

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740 1350 770 770

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5901350 1350 770

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30 1410

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1800

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90 600

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660625 660

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625

1350

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3 MODULES OF PLYWOOD REPEATED ALL OVER 20MM MS PIPE 20MM MS PIPE THE PRODUCT SS STANDOFF BASE 6mm TRANSLUCENT 6mm TRANSLUCENT SS STANDOFF BASE 20MM MS PIPEMS PIPE 20MM TEMPERED 30mm PLYWOOD TEMPERED 6mm TRANSLUCENT 6mm TRANSLUCENT 30mm PLYWOOD SS STANDOFF BASE 20MM MS PIPE 8'x4' BLACK BOARD COLOURED GLASS

770

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INSIDE

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Elements of Form and Space Studio BD 2004

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18mm PLY DETAIL 1 DOVE TAIL JOINT 18mm PLYWOOD 18mm PLYW PLYWOOD TO PLYWOOD SCALE 2:1

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Final Design Exercise

Exercise Name/

Name of Product

Sheet Title

Final Design Exercise

Exercise Name/ Sheet Title

Name of Product

Fig 7.12 Isha Shah ‘Mazortal’ Partition at FD Building, CEPT

℄ OF ALIGNMENT LEFT ELEVATION

Rendered Views

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RENDER OF THE STOOL 1

E SET IN ELEVATION

℄ OF ALIGNMENT

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3 1350

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Body Surface: 6 layer carbon fiber surface : 210g woven fabric and 300g unidirectional. Surface is Axalta spectra master metallic paint (BM064)

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Body Surface: 6 layer carbon fiber surface : 210g woven fabric and 300g unidirectional. Surface is Axalta spectra master metallic paint (BM064)

Ice Cube

Suhani Nathan UG180601 Journey

Our journey was f rom dot, then to lines then to planes, and then see the planes turn into solid and then manipulating the solids using va tools now we are acknowledged with like radii manipulation. The visualization of form and how to appreciate good form was learned during this studio.

Future Scope

This studio was based around form generation and form developm bow this project should be looked at critically in terms of various joineries and materials which are to be used in the current project.

Our journey was from dot, then to lines then to planes, and then seeing I feel this is one thing lacking in my project is the joinery and speci the planes turn into solid and then manipulating the solids using various joineries related to that material. tools now we are acknowledged with like radii manipulation. The visualization of form and how to appreciate good form was learned during this studio.

Future Scope This studio was based around form generation and form development, bow this project should be looked at critically in terms of various joineries and materials which are to be used in the current project. I feel this is one thing lacking in my project is the joinery and speciﬁc joineries related to that material.

Product and Contextual Renders Applying software knowledge on products to generate contextal references of product and its placement, relationship and impact on the site, with appropriate colours, materials and finishes. PRODUCED BY VERSION AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT PRODUCED BY AN AUTODESK STUDENT VERSION

Student Outputs PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

136

dolphin

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PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

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GRIP ON BOTH THE ℄ OF ALIGNMENT SIDES FOR EASY A'WHITE CONCRETE LIFTING

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Model Model in Context in Context 55

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SIDE VIEW SIDE VIEW FRONT FRONT VIEW VIEW

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PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

PRODUCE PRO

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

FRONT FRONT VIEW VIEW

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PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

B PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

34°

MEASUREMENTS ARE IN MM

34°

SCALE 1 : 10

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PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

ARBONATE POLYCARBONATE

PRODUCED BY AN AUTODESK STUDENT VERSION

34°

200

Elements of Form and Space Studio

146

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION 110 110 PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION RODUCED CED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

100

110

PRODUCED PRODUCED BY ANBY AUTODESK PRODUCED AN AUTODESK PRODUCED STUDENT BY AN STUDENT BY AUTODESK VERSION AN AUTODESK VERSION STUDENT STUDENT VERSION VERSION

100

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7meters 3 7meters 3 TO WOOD

7meters

147

Mazortal

RENDERS WITH CONTEXT

EXPLODED VIEW WITH CMF SPE TECHNICAL DRAWINGS RENDER AND MODEL

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300

RCC BEAM

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SCALE MODEL IN CONTEXT

30mm PLYWOOD

30mm PLYWOOD LYWOOD

15mm DEEP GROOVE 15mm DEEP EEP GROOVE E

7meters

CEPT UNIVERSITY

7meters

Student Outputs

Final Design Exercise

ON DD'

Elements of Form and Space Studio BD 2004

TION DD'

CEPT University Faculty of Design

PHYSICAL MODEL (Scale : 1:20)

STUDIO BD 2004

SS PIVOT HINGE SS PIVOT HINGE

FACULTY OF DESIGN

ELEMENTS OF FORM AND SPACE

LOCATION: MONDEAL HEIGHTS

Elements of Form and Space Studio

RUKH by Ansh Ajmera

ANSH AJMERA UG190127 STUDYING ZAHA HADID’S WORKS FINAL DESIGN EXERCISE

OF V ITR AFIR E STATION

ELEMENTS OF FORM AND SPACE

D E C O N S T R U C T I O N O F S PA C E

CONTEMPORARY ARTS CENTER (VOLUME

I N F E R E N C E S PARALLEL PARTNERS IN A PLAN. PERSPECTIVE PARTNERS

HORIZONTAL

VERTICAL

HORIZONTAL + VERTICAL

SIDE ELEVATION

SUPREMATISM

PLANER ELEMENTS ARE LIKE PLANES IN PERSPECTIVE.

DESFINER OF LINES, PLANES AND VOLUMES

OBJECT BECOMES FIELD. FIELD BECOMES PART OF URBANISM OF CITY

STARINGHT LINES ARE IN GRADATION OF CURVE

DOESN’T CREATE CURVES BUT SEAMLESSNESS IN LINES

GOING HORIZONTALLY, MOVING/SLICING VERTICALLY IDEA OF LAYERING

FRAGMENTING

PLANER EL EMENTS ARE LIKE PLANES IN PERSPECTIVE.

THE PERSPECTIVE IS NOW IN PERSPECTIVE WHICH CREATES LUCID EXAGGERATION

CEPT UNIVERSITY

SUPREMATISM

NAME OF PRODUCT

PLAN

PARALLEL

)

PARALLEL

STUDIO BD 2004

VANISHING POINTS

FACULTY OF DESIGN

BREAKDOWN

D E C O N S T R U C T I O N O F S PA C E

V I T R A F I R E S TAT I O N ( P L A N E S)

Product: Bus-stop | Context: S.G. Highway, Ahmedabad Design Inspiration: Zaha Hadid

BREAKDOWN

148

O B J E C T S E LECTION

BAS E D O N OBJ E C T BE C OM E S F IE L D . F IE L D B EC O M ES PA RT O F U RB A N I SM O F C I TY

BUS STOP

A DESIGNNATED PLACE WHERE BUS TO STOP FOR PASSENGERS TO GET ON AND OFF

AMTS BUS STOP

PARALLEL PARTNERS IN A PLAN. PERSPECTIVE PARTNERS IT IS USUALLY USED TO CREATE INTERESTING COMPOSITION WHICH ARE CHAOTIC VISUALLY BUT HAVE A LOGIC OF RELATENESS OF ITS OWN

CG ROAD BUS STOP

O BJECT BECOMES FIELD. FIEL D BECOMES PART OF URBANISM O F CITY

THIS IS SIMILAR TO GESTALTS LAW OF FIGURE AND GROUND WHICH ALSO TALKS ABOUT THE HARMONY AND SEAMLESSNESS OF BUILT AND TO BE BUILT.

PARALLEL PARALLEL

DESFINER OF LINES, PLANES AND VOLUMES

FO L DING

PRIMARY ELEMENTS OF ANY OBJECT

FOLDING TAUGHT ME THAT STRUCTURE, AESTHETICS, FUNCTION ALL ARE INTEGRATED WITH MATERIAL INTO SPACIAL EXISTENCE

FRAGMENTING

STARINGHT LINES ARE IN GRADATION OF CURVE

GOING HORIZONTALLY, MOVING/SLICING VERTICALLY IDEA OF LAYERING

THE SCALE OF CURVATURE AND SEAMLESSNESS

NOT IN ORDER TO BREAK BUT WITH IDEA OF STRUCTURE TO FREE THE SPACE

PROGRAM ELEMENTS SHELTER

SUITABLE SYMBOL

SEATING

DUSTBIN

SIGNAGE

LIGHTING

WAYS OF APPROARCH

SIMPLE POLE AND SIGN

RUDIMENTRY SHELTER

SOPHISTICATED STRUCTURE

RUGGED

SHELTER

TS, THE BUS STOP END .

SEATING

HE MODERN BUILT OF THE PLACE.

SIGNAGE

LIGHTING

SUITABLE SYMBOL

SECOND, IS WITH THE IDEA OF SHADE COMES IN TREE AS A PRIMARY MEANS TO RESPONSE TO PROBLEM. FROM IT I TAKE THE BASIC UNIT, LEAF AS SHADE.

LEAF AS SHADE.

WAYS OF APPROARCH

OF BUILDING ALSO

149

FIRST, THE MODERNIST BUILT AROUND IS FLUSEHED WITH LINES WHICH IS ALL VERY STRIKING STRONG DUSTBIN AND OVER POWERING THE SURROUND. HENCE A CONSTRAST TO THIS WOULD BE ORGANIC CURVES.

THIRD, TO THINK OF A HOT BUT PLEASANT PLACE WOULD BE A BEACH. SO TAKING THE WAVES AS A FEELING AND CURVES AS GEOMETRY I START MY CONCEPT.

WAVES AS A FEELING

LLY IDEA OF LAYERING FOR PARKING NOW.

CTURE TO FREE THE SPACE

RY, PEOPLE ALSO STOP E BUS STOPS. DISABLED PEOPLE.

SOPHISTICATED

RUDIMENTRY SHELTER

AND SIGN

STRUCTURE

CONCEPT STATEMENT AHMEDABAD IS HOT, DRY AND UNPLEASANT AND BUS STOPS ARE MOSTLY PRAGMATIC AND BORING. SERVING PURPOSE OF ECONOMICS, ADVERTISMENT AND A PLACE TO WAIT.

STRUCTURE, AESTHETICS, FUNCTION ALL TERIAL INTO SPACIAL EXISTENCE CONTRAST WITH CURVES

IN THESE LIST OF SERVING WHAT IF WE ADD MIND AND ENVIRONMENT SO THAT THE BUS STOPS WOULD BECOME STOPS. THE STOPS FOR MIND AND THE MOVING EYES. IT BEING THE OBJECT BECOMING THE FIELD AND ONE WITH ENVIRONMENT AND ALSO BEING A SIGNIFIER IN ITSELF AT THE SAME TIME. CONCEPT IS BASED ON THREE MINORS FIRST, THE MODERNIST BUILT AROUND IS FLUSEHED WITH LINES WHICH IS ALL VERY STRIKING STRONG AND OVER POWERING THE SURROUND. HENCE A CONSTRAST TO THIS WOULD BE ORGANIC CURVES.

LOCATION ON MAP

IS WITH THE IDEA OF SHADE COMES IN TREE AS A PRIMARY MEANS TO RESPONSE TO PROBLEM. O B J E C T S E L E C T I O NSECOND, FROM IT I TAKE THE BASIC UNIT, LEAF AS SHADE. LEAF AS SHADE.

STUDIO BD 2004

SIMPLE POLE

ELEMENTS OF FORM AND SPACE

D AND GLOOMY

ELEMENTS O

CONTRAST WITH CURVES

PROGRAM ELEMENTS

CEPT UNIVERSITY

ATEMENT

RESEARCH ANALYSIS & INTERPRETATIO CONTEXT, PROBLEM STATEM

STENCE

R ES E

THIRD, TO THINK OF A HOT BUT PLEASANT PLACE WOULD BE A BEACH. SO TAKING THE BA S ED ON FEELING O BJ ECT B ECOM ES FIELD. F I ELD BECOM ESWAVES PA RT AS OF AURBAN I SM OF CIT Y AND CURVES AS GEOMETRY I START MY CONCEPT.

BUS STOP

UT WITH IDEA OF STRUCTURE TO FREE THE SPACE

A DESIGNATED PLACE WHERE BUS TO STOP FOR PASSENGERS TO GET ON AND OFF LOC AT ION ON MAP

SITE SELECTION

A MT S BU S S T O P

CEPT UNIVERSITY

OBJECT SELECTION

BA SED ON O B JECT B ECO M ES F IELD. FI EL D B ECOM ES PA RT OF URBANI SM OF CIT Y

R ES E AR CH REL AT C G R OA D BU S S TO P

L O C A T I OBUS N STOP

DESIGNATED PLACE WHERE BUS TO STOP FOR PASSENGERS TO GET ON AND OFF MONDEALA HEIGHTS RAMDEV NAGAR AHMEDABAD, GUJARAT 380015

SITE SELECTION

A MTS BU S S TO P

FACULTY OF DESIGN

WAVES AS A FEELING

VING/SLICING VERTICALLY IDEA OF LAYERING

C G ROAD BU S S TOP

ENVIRON MCEAN LO T ITO: N

MONDEAL HEIGHTS

NAGAR IN FRONT RAMDEV OF COMMERCIAL BUILDING AHMEDABAD, GUJARAT 380015 (MONDEAL HEIGHTS)

NEAR NOVOTEL HOTEL WIDE ANGLE MALL ENVIRO N M E N AND T: FRONT OF COMMERCIAL BUILDING CARS AREIN PARKED (MONDEAL HEIGHTS)

FOOTPATH UNDER CONSTRUCTION

NEAR NOVOTEL HOTEL AND WIDE ANGLE MALL

THE SITE SELECTION FOR BUS IS BASED ON ITS CARS ARE PARKED TRAVEL ROUTE. FOOTPATH UNDER CONSTRUCTION

THE SITE SELECTION FOR BUS IS BASED ON ITS

AN EXISTING BUS STOP SPOT WHICH IS NOT USED TRAVEL ROUTE. BUT WHY NOT IN USE?

AN EXISTING BUS STOP SPOT WHICH IS NOT USED BUT WHY NOT IN USE?

PROBLEM STATEMENT

THIS BUS STOP IS OLD AND RUGGED

DUE TO NEW DEVELOPMENTS, THE BUS STOP END UP BEING DUE AT SERVICE ROAD. TO NEW DEVELOPMENTS, THE BUS STOP END UP BEING AT SERVICE ROAD.

BEING AT FORGROUND TO THE MODERN BUILT BEING AT FORGROUND TO THE MODERN BUILT ENVIRONMENT IT LOOK OUT OF THE PLACE. ENVIRONMENT IT LOOK OUT OF THE PLACE.

PROGRAM ELEMENTS PROGRAM ELEMENTS SHELTER

DUSTBIN

SIGNAGE

SHELTER

SIGNAGE

DUSTBIN

SEATING

SUITABLE SYMBOL

LIGHTING

SEATING

SUITABLE SYMBOL

LIGHTING

WAYS OF APPROARCH WAYS OF APPROARCH

IT BEING AT THE ENTRANCE OF BUILDING ALSO IT BEING AT THE ENTRANCE OF BUILDING ALSO BLOCKS ITS FACADE. BLOCKS ITS FACADE. THE IS USUALLY USED PARKING FOR PARKING NOW. THE PLACE IS PLACE USUALLY USED FOR NOW. AHMEDABAD IS HOT AND DRY, PEOPLE ALSO STOP

AHMEDABAD ISTAKE HOTSHADE AND DRY, PEOPLE ALSO STOP BY TO IN THESE BUS STOPS. BY TO TAKE SHADE IN THESE BUS STOPS. THERE IS NO CONCERN FOR DISABLED PEOPLE.

THERE IS NO CONCERN FOR DISABLED PEOPLE.

THE PLACE SEEMS VERY DEAD AND GLOOMY

THE PLACE SEEMS AT VERY DEAD AND GLOOMY VISIBILITY NIGHT VISIBILITY AT NIGHT

SIMPLE POLE AND SIGN

DESIGN ER OF LIN E S, P L AN ES AND VO LUM ES PRIMARY ELEMENTS OF ANY OBJECT

F LINE S, P L ANES AND

TS OF ANY OBJECT

F OLDIN G

RUDIMENTRY SHELTER

CONCEPT STATEMENT

FOLDING TAUGHT ME THAT STRUCTURE, AESTHETICS, FUNCTION ALL ARE INTEGRATED WITH MATERIAL INTO SPACIAL EXISTENCE

STRUCTURE

SOPHISTICATED STRUCTURE

C O N C E P T S T A AHMEDABAD T E M EISNHOT, T DRY AND UNPLEASANT AND BUS STOPS ARE MOSTLY SERVING PURPOSE OF ECONOMICS, ADVERTISMENT AND A PLACE TO WAI

FOLDING TAUGHT ME THAT STRUCTURE, AESTHETICS, FUNCTION ALL ARE INTEGRATED WITH MATERIAL INTO SPACIAL EXISTENCE

F O LDIN G

SOPHISTICATED

RUDIMENTRY SHELTER

CONTRAST WITH CURVES

IN THESE LIST OF SERVING WHAT IF WE ADD MIND AND ENVIRONMENT AHMEDABAD IS HOT, DRY AND BUSIT WOULD BECOME STOPS. THE STOPS FORAND MINDUNPLEASANT AND THE MOVING EYES. ADVERTISMENT SERVING PURPOSE ECONOMICS, BECOMING THE FIELD AND ONE OF WITH ENVIRONMENT AND ALSO BEINGAN A AT THE SAME TIME. CONCEPT IS BASED ON THREE MINORS

IN THESE LIST OF SERVING WHAT IF WE ADD

MIND A

150

Elements of Form and Space Studio

DESIGN ISSUES AND ELEMENTS

D ELEMENTS

Functional considerations

151

F O R M D E V ELOP M EN T TAKING SIMPLE ELEMENTS, COMBINE AND MANIPULATE

F O RM DEVELOPM ENT TAKING SIMPLE ELEMENTS, COMBINE AND MANIPULATE

Form explorations

Elements of Form and Space Studio

LIMITING AND MODELING THE SKETCH

T ER

EMATISM

T ER

CO MPO NENT 1 : RO O F

C OMPONENT 2: SITT ING

CO MPO NENT 1 : RO O F

C OMPONENT 2: SITT ING

AND R OO F INT E GRATION

TION WI T H S IT T ING

NG)

AND R OO F INT E GRATION

TION WI T H S IT T ING

NG)

140

225 180 170 150 40

40 20

80 50

160

225 220

210 200

180

210

200

160 140 90

10 30 50

100

140

190

225 180 170 150 60

D E R I V AT I O N O F V E R T I C A L S E C T I O N S

10 30 50

VERTI C AL DI STAN C E 100

125

B ACK S ECTION

80 50

160 90

210 200

225 220 60

630

790 CM

M I DDLE SECTIO N

40 20

180

160 140

210

900CM

FRONT SEC T IO N

200

940 CM

124

D E R I V AT I O N O F H O R Z O N TA L S E C T I O N S

VERTI C AL DI STAN C E

T E C H N I C A L D E R I VAT I O N O F F O R M

630

900CM

790 CM

M I DDLE SECTIO N

B ACK S ECTION

210

162

940 CM

FRONT SEC T IO N

190

202

124

150

92 240 82

D E R I V AT I O N O F V E R T I C A L S E C T I O N S

40 125

230

20214 16 20

150 150

80 45 210

D IV ISIO N O F CURV ES IN 10 PARTS

120 100

100 EXTRACTI NG AND LIMIT ING T HE R OOF FOR M

HOR IZONTAL DISTANCE

162

240 235 230 225

220

VERTICAL S ECTIONS DER IVED

240

230

20 14 16

150

240 235 230 225

D E R I V AT I O N O F H O R Z O N TA L S E C T I O N S

220

T E C H N I C A L D E R I VAT I O N O F F O R M

D IV ISIO N O F CURV ES IN 10 PARTS

120 100 80 45 35

100 EXTRACTI NG AND LIMIT ING T HE R OOF FOR M

HOR IZONTAL DISTANCE

VERTICAL S ECTIONS DER IVED

F A C U L T Y O F D E S I G N F A C U L T Y O F D E SSI T GUND I O B D 2 0 0 4

EMATISM

C E P T U NEI LV EE M R SEINT TY S O F F O R M A EN L EDMSEPNATCSE O F F O R M A N D FS O P ARC ME E X P L O R A T I O N FTOHRRMO U EG X PHL O DE RR A ITVI E ODN PTRHI N RO CU I PGL H E SD E R I V E D P R I N CAI PNL S E SH A J M E R A NIG TIN TH GE ASNKDE TMCO HD E L I N G T H E S K E T C H S T U D I O B D 2 0 0 4 L I M I T I N G A N D M O D ELLI IM UG190127 T E C H N I C A L D E R I V A T TI O EC N HONFI CFAOLR D ME R I V A T I O N O F F O R M

ANSH AJMERA UG190127

LIMITING AND MODELING THE SKETCH

CEPT UNIVERSITY

152

153

1:1

R RIAL H

U E N C E OF I N FORM ATION P E IF ICATIO N S I S AS GIV EN.

N T IS THE R EASON FOR EACH F O R THE GI VEN ELEMENTS.

W E A T HER O F AHME DAB AD A B S O RBS LESS HE AT C RE AT ES WA VE LIK E S HADO W S

TR A N SLU CENT CA S T ABLE ST REN G TH W EA T HER- PROOF

DO N OT REFLE C T LIGHT GR AP HICS A PPLY

S IM I L A R TO A S R OOF

C A S T ABLE S T REN G TH WE A T HER- PROOF

C A S T E D WITH R OOF E LE ME N T S

CHEA P

CO L O R A PPLICAB LE

300

BE N D ABLE SCR EW PO SSIBLE

SCALE

DU RA BL E HE A V Y S H AP E CA N B E C ASTE D

FIL L S LIKE SAND IM P RI NTS

MA T ERIA L RE LIE F F R OM F R P SHI N E S A S A SIGNIF IE R DU RA BL E

IT MU ST SHINE NOT R E FLE CT

O N E L A N G U AGE WITH BUS ST OP

D U RA BL E L IG H TWEIG HT

MA I N TENA NC E F R E E F L A T BA SE

154

Elements of Form and Space Studio

RUKH

BUS STOP T HE FIN AL FO RM I S THE SUP E R IM P OSE OF P R INCIP LE S AND C ON CEPTS, SUPERI MPOSING FOLDING, ST R IP BE NDING, F RA G MEN TI N G . F URTHER THE L AYER O F P R AGM AT IC IS ADDE D T O SU IT THE L O G ICA L NE E DS AS IT IS AN U R BA N FURN ITURE.

COLOR MATERIAL FINISH THE SEQUENCE OF INFORMATION AB OUT SPEIFICATIONS IS AS GIV E N . ADJACENT IS THE REASON FOR E AC H CHOICE FOR THE GIVEN ELEMEN TS .

ROOF M AD E O F FO UR PA RTS, E ACH C ASTED O U T. THE SU RF ACE IS C URVED THRO UG H O U T WH ICH S ERVES BO TH AS A ESTH E T ICS A ND SEL F FO RM STRENGT H E NING A GEN T FO R THE SHEL TER .

W EA THER O F A HMEDA B A D A B S O RB S LES S HEA T C REA TES W A VE LIK E S HA DO W S MONTE CARLO

FRP (CSM)

TRA N S LU C EN T C A S TA B LE S TREN G TH W EA THER-PRO O F

DO N O T REF LEC T LIG HT G RA PHIC S A PPLY GEL COATED MATT

INLAY FRAME I N I TIA L L Y THI S W AS A N ADD ON AS A N A ESTHETI C EL EMENT BUT BE CAM E A STRU CTURAL EL EMENT SIM ILAR T O G R ID SL AB. THIS IS CA ST E D T OGE T H E R W ITH EACH PA RT O F ROOF.

S IMILA R TO A S RO O F MONTE CARLO

C A S T A B LE S TREN G TH W EA THER-PRO O F FRP (CSM)

C A S TED W ITH RO O F ELEMEN TS GEL COATED MATT

SUPPORTER T HE RO D S A CTS AS A CONNE CT OR T O SEPARATE EL EMEN T S OF R OOF A ND THESE A S A WHO LE UNIT JOINS W ITH THE G RO UN D

C HEA P B EN DA B LE S C REW PO S S IB LE MS ROD 12MM

C O LO R A PPLIC A B LE POWER COATED

BENCH

C O N CRETE CASTED IN T H R E E P IE CE S R E ASON B EI N G TRAN SPO RT A ND WE AT H E R E F FECTS O N THE MA TER IAL

DU RA B LE HEA VY S HA PE C A N B E C A S TED CONCRETE

F ILLS LIK E S A N D IMPRIN TS GRUNGE

SIGN STAND A MA ST AS A SIG N IFIER FOR T H E T R A VEL ER.

SS SHEET

MA TERIA L RELIEF F RO M F RP S HIN ES A S A S IG N IF IER DU RA B LE

4MM

IT MU S T S HIN E N O T REF LEC T BRUSHED

DUSTBIN M AD E W I TH SI MIL AR PR OCE SS A N D MATERI AL AS RO OF T O C O MPL I MEN T THE SHELT E R

O N E LA N G U A G E W ITH B U S S TOP MONTE CARLO

DU RA B LE LIG HTW EIG HT FRP

PLATFORM C H AN G E I N L EVEL A CTS AS A THRESHO L D FRO M AM BIGUOUS T O CO N FI N ED VO L U MES

MA IN TEN A N C E F REE F LA T B A S E CONCRETE

U IDOI OB D B D2 020040 4 U G 1 9 0 S1TS2UT7D

E ALEN EL M EHN TASTJSO MO FE O RM ESM EN FFR FA O R MA N AD N DS PSAPCAEC E

1:10 SCALE MODEL

I TI T YY E X P L O D E D V I E W W I T H C M F S P E C I F IC CCEAEPTPTITOUN SI VI VE ER RS S UNN TECHNICAL DRAWINGS F FAACCUUL LT TY YOOF FDD EE SS I GI G NN RENDER AND MODEL

SCALE MODEL IN CONTEXT S C A L LEO CM NH T A TO IOD N: E ML O N IDN E A LCHO EIG T SE X T 155

LOCATION: MONDEAL HEIGHTS

Conclusions Problem Statement-The chair needs to add an interesting element to the space. It should cater to premium segment users. The target space of usage for the chair are residential or commercial pool deck areas with modern and clean aesthetics.

• Evolves his art and sculptures into architecture.

Elements of Form and Space Studio

• Believes in evolving his designs through sketches.

Final Project- Research

•

Concept Statement-The chair isn’t meant to be just a chair, it is meant to make a statement and add a Problem Statement-The chair needs to add an interesting element to the space. It should cater to premium sense of premium to a space. The design is developed by translating Santiago Calatrava’s design language. segment users. The target space of usage for the chair are residential or commercial pool deck areas with modern and cleanuse aesthetics. Calatrava majorly uses bold cantilevers and of tensegrity in many of his bridges, keeping the similar language in consideration the form and principle of the chair was developed. Tensegrity is used with the properties of the nylon cords, the chair provides a comfortable seating which moulds to the shape of the Concept Statement-The chair isn’t meant to be just a chair, it is meant to make a statement and add a human body and due to the placement of the to cords the be perceived as levitating. To further refine sense of premium a space. Theuser designcan is developed by translating Santiago Calatrava’s design language. majorlyand uses bold andwas use ofachieved. tensegrity in many of his bridges, keeping the similar the form a minimalistic approachCalatrava was taken the cantilevers final form

• Evolves his art and sculptures into architecture.

• Believes in evolving his designs through sketches.

• • •

Product: Chair | Context: Residential/ Commercial Pool Deck area with modern aesthetics Context-The chair is meant to be for any pool deck areas, whether commercial or residential, with modern Design Inspiration: Santiago and clean aesthetics. The pool deck areas can either be outdoors orCalatrava indoors. The product should provide a

Translating the movement of a bird into many of his sculptures.

chair being is meantvisually to be for any pool elegant deck areas,and whether commercial or residential, with modern fairly comfortable seating for theContext-The space while light, sleek. and clean aesthetics. The pool deck areas can either be outdoors or indoors. The product should provide a fairly comfortable seating for the space while being visually light, elegant and sleek.

Santiago Calatrava About

The Turning Torso, Sweden.

Lyon-Saint Exupery Airport Railway Station, France

World trade center transportation hub, NYC, USA. Agora, Valencia, Spain.

Santiago Calatrava Calatrava’ Language Calatrava’ Language

About

•Use of bold cantilevered elements in many of his •Use of bold cantilevered elements in structures. •Wide use of principle of tensegrity. structures. •His forms generally have fluid filleted junctions. •Wide principle of tensegrity. •Almost no use use ofof right angle.

Santiago Calatrava, in full Santiago Calatrava Valls (born July 28,1951,

Santiago Calatrava, in full Santiago Calatrava Valls (born July 28,1951, Benimamet, near Valencia, Spain), Spanish architect widely known for his sculptural bridges and buildings. Benimamet, near Valencia, Spain), Spanish architect widely known for his sculptural bridges andHe buildings. is an architect, engineer, artist and a sculpturer. He has studied both

architecture and structural engineering, which has enabled him to design

•Use of mathematical curves •such parabolas and sinusoidal curves. such as • Use of simple forms. Useasof mathematical curves parabolas and •Use of ribbed structures.

•Use of ribbed structures.

many of his

He was influenced by Le Corbusier’s work and aesthetics, which initially

Calatrava evolved his art, sculpture into architecture. led and him tohis pursue architecture. Sometimes compared to da vinchi because he brings art and science He was also influenced by works of engineers such as Robert Millart, together. whose work inspired him to seek simple forms which could create an

Translating the concept of tensegrity and cantilever structure into many of his bridges.

Reggio Emilia Stazione Mediopadana, Murcia, Spain.

Bodegas Ysios Winery, Lagaurdia, Spain.

emotional response.

He was influenced by Le Corbusier’s work and aesthetics, which initially led him to pursue architecture.

Translating the concept of tensegrity and cantilever structure into many of his bridges.

His Process and Style

He was also influenced by works of engineers such as Robert Millart, whose work inspired him to seek simple forms which could create an emotional response.

SMU Wave Sculpture, Dallas, USA.

His Process and Style

• Imitating nature through mechanical movement.

World trade center transportation hub, NYC, USA.

•Accentuating form through light, shadows and reflections.

• He spent his time making and then developing numerous sketches. His sketches emphasize his preference for resolving a design in section, which for him reveals not only the strength of the building but also its structural beauty. • Often, his sketches are followed by scale models, or what he generally refers to as “toys and games.”

ny of his creations.

m three dimensions to e planar surface. Another

ent in natural objects that reated them.

LHemisfèric, Valencia, Spain.

• Translating similar forms on different scale.

SMU Wave Sculpture, Dallas, USA. The Milwaukee Art Museum, Wisconsin, USA.

• Calatrava is fascinated with Movement, it has been a source of inspiration for many of his creations. • Even in his Doctoral thesis, he investigated geometric figure can be reduced from three dimensions to two, and ultimately just one e.g. A polyhedron can be collapsed, making it a single planar surface. Another transformation can further reduce it to a single line, a single dimension.

The Milwaukee Art Museum, Wisconsin, USA.

•Accentuating form through light, shadows and reflections. LHemisfèric, Valencia, Spain.

Inovation, Science and Technology Center, FL, USA.

World trade center transportation hub, NYC, USA.

The Milwaukee Art Museum, Wisconsin, USA.

• Imitating nature through mechanical movement.

• Nature is his structural inspiration. He closely observes the strong visual movement in natural objects that derives from the fact that their shapes are the traces of the physical forces that created them. • Most of his work is finished in concrete, steel and glass as he employs engineering knowledge to create sculptural structures that are novel and innovative-giving most of his works a whitish appearance.

Peace Bridge, Canada

Torre de Communications Barcelona.

The Milwaukee Art Museum, Wisconsin, USA.

LHemisfèric, Valencia, Spain.

Peace Bridge, Canada

• Believes in evolving his designs through sketches.

The Milwaukee Art Museum, Wisconsin, USA.

• • •

Inovation, Science and Technology Center, FL, USA.

• Believes in function follows form. • Never compromises on aesthetics. • Risk taker, Daring.

Kinshuk Adeshra UG180307

• Even in his Doctoral thesis, he investigated geometric figure can be reduced from three dimensions to two, and ultimately just one e.g. A polyhedron can be collapsed, making it a single planar surface. Another transformation can further reduce it to a single line, a single dimension.

Levetos

Alamillo Bridge, Spain.

Final Design Exercise

Translating the movement of a bird into many of his sculptures.

The Turning Torso, Sweden.

Lyon-Saint Exupery Airport Railway Station, France

Calatrava’ Language

•Use of bold cantilevered elements in many of his structures. •Wide use of principle of tensegrity. •His forms generally have fluid filleted junctions. •Almost no use of right angle.

World trade center transportation hub, NYC, USA. Agora, Valencia, Spain.

•Use of mathematical curves such as parabolas and sinusoidal curves. •Use of ribbed structures.

Peace Bridge, Canada

• Use of simple forms.

Problem Statement-The chair needs to add an interesting element to the space. It should cater to premium segment users. The target space of usage for the chair are residential or commercial pool deck areas with modern and clean aesthetics. Concept Statement-The chair isn’t meant to be just a chair, it is meant to make a statement and add a sense of premium to a space. The design is developed by translating Santiago Calatrava’s design language. Calatrava majorly uses bold cantilevers and use of tensegrity in many of his bridges, keeping the similar language in consideration the form and principle of the chair was developed. Tensegrity is used with the properties of the nylon cords, the chair provides a comfortable seating which moulds to the shape of the human body and due to the placement of the cords the user can be perceived as levitating. To further refine the form a minimalistic approach was taken and the final form was achieved. Translating the concept of tensegrity and cantilever structure into many of his bridges.

• Imitating nature through mechanical movement.

Reggio Emilia Stazione Mediopadana, Murcia, Spain.

Bodegas Ysios Winery, Lagaurdia, Spain.

SMU Wave Sculpture, Dallas, USA.

World trade center transportation hub, NYC, USA.

•Accentuating form through light, shadows and reflections.

s emphasize his rength of the building but

as “toys and games.”

Bodegas Ysios Winery, Lagaurdia, Spain.

Reggio Emilia Stazione Mediopadana, Murcia, Spain.

The Milwaukee Art Museum, Wisconsin, USA.

LHemisfèric, Valencia, Spain.

• Translating similar forms on different scale.

Analysis & Interpretation Problem & Concept

uch as Robert Millart, which could create an

sinusoidal curves.

•His forms generally have fluid filleted junctions. •Almost no use of right angle.

the type of architecture that he creates. He is an architect, engineer, artist and a sculpturer. He has studied both Calatrava evolved his art, and his sculpture into architecture. architecture and structural engineering, which has enabled him to design the type of architectureSometimes that he compared creates.to da vinchi because he brings art and science together.

Elements of Form and Space Studio BD 2004

esthetics, which initially

World trade cen

Lyon-Saint Exupery Airport Railway Station, France

The Turning Torso, Sweden.

residential, with modern product should provide a k.

rchitecture. rings art and science

language in consideration the form and principle of the chair was developed. Tensegrity is used with the properties of the nylon cords, the chair provides a comfortable seating which moulds to the shape of the human body and due to the placement of the cords the user can be perceived as levitating. To further refine the form a minimalistic approach was taken and the final form was achieved.

a statement and add a atrava’s design language. es, keeping the similar egrity is used with the lds to the shape of the evitating. To further refine

er. He has studied both as enabled him to design

His des inspired Nature object t Fascina

Conclusions

LEVETOS by Kinshuk Adeshra

Conclusions It should cater to premium • Evolves his art and sculptures into architecture. cial pool deck areas with

lls (born July 28,1951, ect widely known for his

• •

niversity of Design

156

Final Project- Ideation Initial explorations

157

Exploring selected principle

Exploring

Final conc

Exploring tensigrity

1:1 Drawin proportion

158

Elements of Form and Space Studio Exploring tensigrity through models

Exploring manufacturing possibilities

CMF Colour and Finish

*Mono-block Die Casted Aluminum

Pearl white powder-coat.

*Die Casted Aluminum with standard MS profiles

PP RAL 9016 MATT Source- Rapidcoat.com

The finishes of the material withstand outside climate a

Material

Final concept

*Assembly based concept with die casted parts.

1:1 Drawings to understand proportion. *Standard metal fabrication.

*Exploring weave patterns.

Final Concept *Material References

*Die Casted Aluminum , MS Pipe, Nyl

Die casted aluminum is use precision. For linear structu carries the human load dire

Kinshuk Adeshra UG180307

Colour and Finish

files

Pearl white powder-coat.

Bead Blasted Aluminum.

White Cotton Cord.

PP RAL 9016 MATT Source- Rapidcoat.com

Fine Finish

Braided

The finishes of the material are selected for both the emotional and the practical aspects. The finishes can withstand outside climate and they wont ware-off for a long period of time.

*Exploring weave patterns.

*Material References

*Die Casted Aluminum , MS Pipe, Nylon Cord

Die casted aluminum is used for various connectors in the chair as it allows to achieve the required form with precision. For linear structural members MS pipes are used and for the cord that acts as the seating and which carries the human load directly, Nylon cords are used due to their strength and various suitable properties.

CEPT University Faculty of Design

ts.

Elements of Form and Space Studio BD 2004

Ideation & Development

Material

Levetos

CMF

Final Design Exercise

ssibilities

159

Elements of Form and Space Studio

160

PRODUCED BY AN AUTODESK PRODUCED STUDENT BY AN AUTODESK VERSION STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

Levetos -Technical Drawings

PRODUCED BY AN AUTODESK STUDENT VERSION

29°

FRONT VIEW

PRODUCED BY AN AUTODESK STUDENT VERSION

FRONT VIEW 143.3

95.5

SECTION AA

DETAIL B (1:1)

DETAIL B (1:1) DETAIL B (1:1)

TOP VIEW

PART F (1:5)

300 188.4 TOP VIEW

LEGEND PART

Material

NO.

Die Casted Aluminum

19 mm, 2.65mm thk MS Pipe

Die Casted Aluminum

C D F

283.4

CORD

Die Casted Aluminum

19 mm, 2.65mm thk MS Pipe

3mm Nylon Cord

JOINERY - Part D connects Part B,G,F and E with M5 Bolts.

135.8

683

109.1 400

PRODUCED BY AN AUTODESK STUDENT VERSION

2.2

PART C (1:5)

PRODUCED BY AN AUTODESK VERSION PRODUCED BYSTUDENT AN AUTODESK STUDENT VERSION

136.8

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DETAIL B (1:1)

PRODUCED BY AN AUTODESK STUDENT VERSION

2.2

110

SECTION AA

SECTION AA 128° 2.2 SECTION AA

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131°

128°

10 20 1° 10 1° 128°

600 600 13.7

600

14 131° 131°

110

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620 400

DETAIL B (1:1)

1°

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620 400 110

110

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19 19

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200 100 100 200 100

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PART A (1:5)

246.8

110

PRODUCED BY AN AUTODESK STUDENT VERSION

Model in Context 55

SECTION AA

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M5 Threading with Countersink

160

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Ø19 to receive 19mm MS tube

PART D (1:2)

160

47.64

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A A

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M5 Threading with Countersink 30

R110 TYP

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PRODUCED BY AN AUTODESK STUDENT VERSION

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R110 TYP

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

SIDE VIEW FRONT VIEW

R110 TYP

PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

34°

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

FRONT VIEW

PRODUCED BY AN AUTODESK STUDENT VERSION

34°

13.7

110

14 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK PRODUCED STUDENT BY AN AUTODESK VERSION STUDENT VERSION

PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION 110 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED PRODUCED BY AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

100

EXPLODED ISOMETRIC VIEW

EXPLODED ISOMETRIC VIEW (1:8)

110

95.5

201.9 301.8

PRODUCED BY AN AUTODESK STUDENT VERSION

194.8

PRODUCED BY AN AUTODESK STUDENT VERSION

99.2

SIDE 55 VIEW

238.2

188.1

110

ASSEMBLY DRAWING (1:5)

Part F

Part D

PRODUCED STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION BY AN AUTODESK SIDE VIEW (MAJOR AXIS)

Part A

Part E PRODUCED BY AN AUTODESK STUDENT VERSION

102.6

194.8

99.2

Part G

- Part A fits in 19 diameter medium guage MS tube -Nylon Cord is woven through the holes provided on Part A and C.

TOP VIEW

PART B,G &E (1:5)

TOP VIEW

** All dimensions are in mm.

PRODUCED BY AN AUTODESK STUDENT VERSION

LEFT VIEW

Part G

Part D Part E

PRODUCED BY AN AUTODESK STUDENT VERSION

LEFT VIEW

Part A

Part C

52°

206.4

800

820 PRODUCED BY AN AUTODESK STUDENT VERSION

820 320

219

12°

320

1°

Part B

PRODUCED BY AN AUTODESK STUDENT VERSION

820

1°

Part B

Part A

PRODUCED BY AN AUTODESK STUDENT VERSION

3mm NYLON CORD

620 514

PRODUCED BY AN AUTODESK STUDENT VERSION

3mm NYLON CORD

620 514

PRODUCED BY AN AUTODESK STUDENT VERSION

Levetos -Scale Model

713

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK VERSION PRODUCED BYSTUDENT ANPRODUCED AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

713

The brief of the project was to

In order to understand the visu works were researched and st use of cantilevers and tenseg These findin The idea was that the user c context for the chair was narro Using the idea of 2d and 3d ra

In the detailing stage of the con

A digital model of Levetos was t from all direc The name ‘Levetos’ comes from

It now becomes necessary understand and demo

Technical drawings and final product

PRODUCED PRODUCED BY ANBY AUTODE AN AU PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION SIDE 110

110

ASSEMBLY ASSEMBLY DRAWING DRAWING (1:5) (1:5)

161

3030

30 15

15 55

(1:1) (1:1)

DETAIL DETAIL B B (1:1) (1:1)

SECTION SECTION AA AA

Kinshuk Adeshra

10 20 1° 10 1° R6128°

10 20 1° 10 1 °° 128

SECTI

3 3

2.2

SECTION AA° AA R6128°SECTION 128 2.2SECTION 2.2 SECTION AA AA 2.2

PARTPART C (1:5) C (1:5)

2.2

DETAI (1:1)

DETAIL DETAIL B B (1:1) (1:1) DETAIL DETAIL B B (1:1) (1:1)

UCED RODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION UCED RODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

x3 x3 x2 x2 x1 x1 x2 x2 x1 x1 x2 x2

Final Design Exercise

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

NO. NO.

ersity

TheThe brief brief of the of the project project was was to design to design a product a product inspired inspired by by thethe work work of the of the famous famous Spanish Spanish Architect, Architect, Santiago Santiago Calatrava. Calatrava. In order In order to understand to understand thethe visual visual language language andand design design principles principles of Santiago of Santiago Calatrava, Calatrava, hishis works works were were researched researched andand studied studied thoroughly. thoroughly. While While deciphering deciphering hishis design design language,the language,the useuse of cantilevers of cantilevers andand tensegrity tensegrity were were prominently prominently seen seen in his in his work work andand explored explored further. further. These These findings findings paved paved paths paths for for thethe concept concept of Levetos. of Levetos. TheThe idea idea was was thatthat thethe user user could could be be perceived perceived as as floating floating in mid-air. in mid-air. TheThe options options for for thethe context context for for thethe chair chair was was narrowed narrowed down down to spaces to spaces likelike pool pool deck deck areas areas or office or office lounges. lounges. Using Using thethe idea idea of 2d of 2d andand 3d 3d radii radii manipulation, manipulation, end-forms end-forms andand principles principles of perception of perception thethe final final concept concept was was achieved. achieved. In the In the detailing detailing stage stage of the ofPhysical the concept concept thethe different different manufacturing manufacturing andand CMF CMF possibilities possibilities were were model and contextual renders explored. explored. A digital A digital model model of Levetos of Levetos was was then then made made with with help help of CAD of CAD software software to show to show thethe overall overall form form from from all directions all directions andand how how it will it will look look with with thethe context. context. TheThe name name ‘Levetos’ ‘Levetos’ comes comes from from idea idea of levitation of levitation which which was was explored explored through through thethe design design of of thethe chair. chair.

Elements of Form and Space

nrt Part A and A C. and C.

Design Design Journey Journey

R6128°

Levetos

DETAIL DETAIL B B (1:1) (1:1)

TOP V

131°

600

14 600 600

600 600

13.7

14 PRODUCED BY AN AUTODESK STUDENT VERSION

TOP VIEW TOP VIEW 131° 131°

110

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

620 400

620

13.7 13.7

A A

SECTION SECTION AA AA

A A

B B

TOP VIEW TOP VIEW

47.6 160 160

30 15

PRODUCED BY 110 AN AUTODESK STUDENT 400VERSION

14 14

SECTION SECTION AA AA

47.6

A A

B B

55 15

13.7

47.64 160 160

R110 TYP

TOP VIEW TOP VIEW

13.7

110 110 19 19

PRODUCED BY AN AUTODESK STUDENT VERSION

14 14

620 400 620 400

620 620

PRODUCED PRODUCED BY 110 AN BY AUTODESK AN AUTODESK STUDENT STUDENT 110 400VERSION 400VERSION

100 100 100

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

SECTION SECTION AA AA 47.64

R110 TYP

160

A (1:5) A (1:5) M5 Threading M5 Threading PARTPART DETAIL DETAIL B with Countersink with Countersink

Model Model in Context in Context

110 110

200

200 100 100

PARTPART D (1:2) D (1:2)

160

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

100

200

Ø19 to receive Ø19 to receive 19mm MS 19mm tubeMS tube

47.6 VIEW 47.6 VIEW TOP TOP

4° Taper4°Angle Taper Angle SECTION SECTION AA AA

VIEW TOP VIEW

200 PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

15 55

TOP R110 TYP

PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

30 15

R110 TYP

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION DESK STUDENT STUDENT VERSION VERSION

3030

R110 TYP

30 15

M5 Threading M5 Threading with Countersink with Countersink

SIDE 55 VIEW SIDE 55 VIEW 15

Ø19 to receive Ø19 to receive 19mm MS 19mm tubeMS tube

PRODUCED BY AN AUTODESK STUDENT VERSION

4° Taper4°Angle Taper Angle

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

SIDE VIEW SIDE VIEW FRONT FRONT VIEW VIEW

PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION

34°

FRONT FRONT VIEW VIEW

PRODUCED PRODUCED BY AN BY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

Part FPart F

PRODUCED BY AN AUTODESK STUDENT VERSION

34°

Part APart A

PRODUCED BY AN AUTODESK STUDENT VERSION

Part EPart E

Part DPart D

PRODUCED BY AN AUTODESK STUDENT VERSION

Part CPart C

34°

Part BPart B

131° 131°

PRODUCED PRODUCED BY ANBY AUTODESK PRODUCED AN AUTODESK PRODUCED STUDENT BY AN STUDENT BY AUTODESK VERSION AN AUTODESK VERSION STUDENT STUDENT VERSION VERSION 98

34°

Part APart A

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VER PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION 110 110 PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VER 14 PRODUCED BY AN AUTODESK STUDENT VERSION

95.5

13.7

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100

99.2

100

99.2

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Levetos Levetos -Scale -Scale Model AModel A

110

194.8 194.8

PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION PRODUCED PRODUCED BY ANBY AUTODESK AN AUTODESK STUDENT STUDENT VERSION VERSION

162

Elements of Form and Space Studio

BIN STATION by Kushani Mehta

Product: Outdoor Dust-bins | Context: New C.G. Road, Ahmedabad Design Inspiration: Alessi

163 PRODUCT SELECTION AND RESEARCH - DUSTBIN PROBLEM STATEMENT

UGLY GARBAGE CANS AROUND THE CITY, OFTEN TUCKED AWAY IN A CORNER WHICH MAKES IT HARDER TO FIND.

CONCEPT STATEMENT

BEAUTIFY THE DUSTBINS BY USING THE METHOD OF ANTHROPOMORPHISM - LANGUAGE OF ALESSI TO ADD SIGNIFIER WHICH MAKE THE CANS VISIBLE AND EXCITING

OBSERVING DUSTBINS

SEARCHING CONTEXT

MEASURING EXISTING CANS

GENERATING CONCEPTS - ANTHROPOMORPHISM

FORM FINDING

SELECTION OF FORM

FORM MANIPULATION

DERIVING FORM

164

Elements of Form and Space Studio

DESIGN DEVELOPMENT

CL OF ALIGNMENT

PVC BINS

BUSHINGS

MS RODS

GFRC BASE

VARIATIONS FOR THE STAND

SELECTION AND DETAILING

DESIGN DEVELOPMENT

EXPLORING FORMS OF THE SIGNIFIER

MODELLING THE CONCEPT

TECHNICAL DRAWINGS A

FRONT ELEVATION

SIDE ELEVATION

ISOMETRIC

PLAN AT AA

PLAN AT BB

SIGNIFIER - ALSO TO BE USED AS LOCATION MARKER

PLAN AT CC EXPLODED ISOMETRIC

DETAILING AT JUNCTIONS

WELL AS VENDO

ADE OF URABLE.

DUSTBIN WHICH

BUT ALSO STAND

165

PURPOSE OF AC .

TEP WAS TO SEARCH AN

CONTEXT

FOR

THE

ISOMETRIC

BIN STATION

T E C H N I CA L D R AWI N G S

ACING IT IN A CONTEXT IS TAKE

FROM

A A

CO M P O N E N T D R AWI N G S

M AT E R I A L S E L E CT I O N

SIGNIFIER

THE

THE SIGNIFIER IS MADE TO SHOW EXAGGERATION (ALESSIâ&#x20AC;&#x2122;S LANGUAGE) AND ALSO ACT AS A

STICS OF THE SPACE AND CONTRAST

THE

LOCATION MARKER ON CG ROAD, ADDING EXCITEMENT. IT IS MADE OF PVC , AS IT IS A CHEAP AND DURABLE.

HE PLACE CHOSEN IS CG

AUSE

NTS DS

THE

D E TA I L E D D R A

RECENT

THAT TOOK PLACE. IT

ISOMET

ODSFOOTPATHS ARE AND IS OF ED BY RETAIL SHOPS AS LESS BECAUSE AN APPROPRIATE ENDORS. USTHICH F ANDFITS IN THE CONTEXT

1:5 SCALE MODEL

RODS ALL RODS ARE MADE OF STAINLESS STEEL BECAUSE IT IS RUSTPROOF AND STRONG,GIVING FEELING OF HIGH QUALITY

H QUALITY TANDS OUT TO SERVE THE

F ACTING AS A SIGNIFIER.

FRONT ELEVATION

M O D E L- M A K I N G

DETAILING AT JUNCTIONS

PLAN AT AA

USTBINS

UG190750

D R AWI N G S

KUSHANI MEHTA

DETAILING AT JU

DUSTBINS THE DUSTBINS + LIDS ARE MADE OF PVC - IT IS MADE WHITE TO CONSTRAST THE COLOUR PALETTE

OF THE WHOLE OBJECT AND EMPHASISE THE RED COLOUR USED. THE LIDS ARE COLOURED AS PER WASTE SEGREGATION.

THERMOCOL, CARD PAPER, STEEL AND ACRYLIC RODS, MDF BASE

SIDE ELEVAT ELEVATION

E DUSTBINS +

DS ARE MADE PVC - IT IS DE WHITE TO

NSTRAST THE

PLAN

PLAN AT BB

LOUR PALETTE ISOMETRIC

EMPHASISE LIDS ARE GREGATION.

BASE THE BASE IS MADE TO HOLD ALL THE RODS IN PLACE. GFRC IS

1:5 SCALE MODEL

BIN STATION

PLAN AT CC

SIDE ELEVATION

CHOSEN BECAUSE IT CAN BE CASTED THIN, NOT MAKING THE BASE LOOK BULKY.

EXPLODED ISOM

ON - SITE OBJECT PHOTOGRAPH (1:5 SCALE}

. GFRC IS

TED THIN, KY.

E ELEVATION

EXPLODED ISOMETRIC ON - SITE OBJECT PHOTOGRAPH (1:5 SCALE}

Studio BD 2004

TO HOLD

HE RODS IN

Elements of Form and Space

ASE IS

sign

ASE

RSITY

Final Design Exercise

NG AT JUNCTIONS

ON-SITE RENDER

166

Elements of Form and Space Studio

THE MERCHANDISING PEDESTAL by Margi Sutariya

Product: Product Display Stand | Context: Planet Health Retail Stores Design Inspiration: Ross Lovegrove PROBLEM STATEMENT The display rack of the planet health is very overwhelming and straightforward. There are basic wooden racks for the shop displays which doesn’t standout in respect with the healthcare and wellness products. The shelving units are overpowering instead of the products that are displayed for the selling purpose. The form of the rack is quite liner and the sense to get customers attracted towards the product is lost here. Due to the variety of products sold there must be a display plate which highlights the special products and creates a captivate to hold customer’s attention.

CONCEPT STATEMENT The design intention is to create a display unit for herbal products in an alluring way to attract customers. The inspiration and form evolution is derived from the “Captain Organic”- Ross Lovegrove’s organic design language. The form inspiration was taken from bush plant with big leaves that serves as a base to exhibit the products. It balances the visually transparency between the display unit and products. The concluding form is kept as a central display unit with attached side panels with a sturdy base.

SITE ANALYSIS Site Studty

Sililar wooden racks for the display of every product. The central display of some product is only a glass plate, which can easily get slide off.

PLANET HEALTH : A retail chain of pharmacies and wellness stores. They providegenuine organic, healthcare and wellness products. The stores are located across Ahmedabad, Gandhinagar and Vadodara.

The products are kept one behind another, which cause the lost in attracting customers.

PROBLEM STATEMENT

CONCEPT STATEMENT

The display rack of the planet health ( phatmacies and wellness store ) is very overwhelming and straightforward. There are basic wooden racks for the shop displays which doesn’t standsout in respect with the healtcare and wellness products. The shelving units are overpowering instead of the products that are dislayed for the selling purpose. The form of the rack is quite liner and the sense to get customers attracted towards the product is lost here. Due to the variety of products sold there must be a display plate which highlights the special products and creates a captivate to hold customer’s attention.

The design intention is to create a display unit for herbal products in an alluring way to attract custmors. The inspiration and form evolution is derieved from the “Captain Organic”- Ross Lovegrove’s organic design language. The form inspiration was taken from bush plant with big leaves that serves as a base to exhibit the products. It balances the visually transparency between the display unit and products. The concluding form is kept as a central display unit with attached side panels with a sturdy base.

CEPT University Faculty of Design

Elements of Form and Space

FORM EXPLORATION

Studio BD 2004

Understanding the functions and of the wooden racks, form of the objects displayed in context to the human posture. Final Design Exercise Research I

Products and Context (Planet health)

EVOLVING CONCEPT

MARGI SUTARIYA UG190827.

Merchandising pedestal

Product Renders

Final Design Exercise

Exploded View Margi Sutariya UG190827

Final Design Exercise

Merchandising pedestal

Margi Sutariya UG190827

Product Renders

Elements of Form and Space Studio BD 2004

ded View

CEPT University Faculty of Design

167

Technical Drawings Explod

Elements of Form and Space Studio

168

RESPITE by Diya Chhaniyara

Product: Outdoor Seating | Context: Eames Plaza, NID Ahmedabad Design Inspiration: Charles Eames CHARLES EAMES

‘Recognizing the need is the primary condition for design’. -Charles Eames

MATERIAL AND TECHNOLOGY

GEOMETRY

DESIGN LANGUAGE- CO

STYLE AND APPROACH

USE OF SOFT CURVES

• Charles Eames used soft curves in • The furnitures he designed had ca • Use of minimum material and elem

‘Recognizing the need is the primary condition for design’. -Charles Eames LOUNGE CHAIR WOOD Materials used: Plywood and rubber.

GEOMETRY Technology used: Moulding of plywood; it is bent and then

DESIGN LANGUAGE- CONCLUSIONS

STYLE AND APPROACH

NEED BASED DESIGNING

USE OF SOFT CURVES

shaped and hardened. All the parts are screwed together.

The style of Eames depended heavily on the need of designing any product. He focused on the function of the design rather than the beauty of it. His approach was to fulfill the requirements/needs of the situation and the user.

• Charles Eames used soft curves in majority of his designs. • The furnitures he designed had careful and measured curves. EAMES HOUSE • Use of minimum material and elements define such an approach.

he primary condition for design’. -Charles Eames LE CHAISE Materials used: ShellMolded 2 partAPPROACH Fiberglass, later Injection molded Polyurethane STYLE AND Base- Chrome plated tubular steel.

DESIGN LANGUAGE- CONCLUSIONS USE OF SOFT CURVES

Charles Eames’ designs follow a certain type of geometry. All of

EAMES PLASTIC CHAIR Materials used: Plastic chair, wood vertical members, metal bracings. Technology used: Molded plastic, wooden and metal members screwed • The furnitures he designed had careful and measured curves. • Use of minimum material and elements define such an approach. together.

The Eames house is an avid architectural example of designing a space exactly as per the needs of the user. The

of it. • He focused on function as a criteria over any other aspect.

DESIGN LANGUAGE - CONCLUSIONS EAMES HOUSE DESIGN LANGUAGE- CONCLUSIONS

CEPT University USE OFof SOFT CURVES Faculty Design

rethane

Elements of Form and NEED BASED DESIGNING Space

racings. bers screwed

of Form and

on the need of

ef geometry. function ofAll the of approach ance. Thewas ratioto of ion and the user. hairs designed by

ural example of s of the user. The re not more than ce in such a way and nothing else.

guage of Charles

Deciphering Design Language of Charles

a space exactlymajorly as per revolved the needs of thethe user. The •designing Eames’ design idealogy around fact that the number elements in the house are not more than design of must be needused based. is required. Eames designed the space in such athe way •what Beauty of the design did not matter to him; he prioritised function that it caters to the need of living, working and nothing else. of it. • He focused on function as a criteria over any other aspect.

• Use of minimum material and elements define such an approach.

EAMES HOUSE

• Eames believed in using the materials in their truest form. • He believed that cladding materials one over the other was similar to disrepecting the field. • All of his designs have materials being used in their purest form.

HONESTY OF MATERIALS

NEED BASED DESIGNING

PROBLEM STATEMENT Final Design Exercise

Deciphering Design Language of Charles Research II of Design is an open space surrounded by trees, which is Eames plaza at National Institute used for conducting events as well as recreational purposes by the institute. Owing to its use and the natural aura it offers, lots of people tend to visit throughout the day. However, people find it difficult to spend more time here as there is a lack of any seating arrangement in the area. Oneishas chairs/example stools of from inside the building to sit amidst the lush The Eames house an to avidbring architectural a space exactly as per the needs of thethe user. The • designing Eames’trees. design idealogy majorly revolved that the green Therefore, there is aaround need offact proposing a seating element where people could number of elements design must be need used based.in the house are not more than sit and relax; rejuvenate for ahim; while. • what Beauty of the design did not matter tothe he prioritised function is required. Eames designed space in such the a way

HONESTY OF MATERIALS

Deciphering Design Language of Charles

Eames

Diya Chhaniyara UG190435

of it. that it caters to the need of living, working and nothing else. • He focused on function as a criteria over any other aspect.

cise

HONESTY OF MATERIALS

Final Design Exercise Research II

The Eames house is an avid architectural example of

The style of Eames depended heavily on the need of designing product. Hea focused on the function of Charles Eames’ any designs follow certain type of geometry. Allthe of designare rather than symmetrical the beauty of His approach was of to his designs vertically in it. appearance. The ratio fulfill the requirements/needs of the situation and the user. • Charles Eames used soft curves in majority of his designs. back rest to the seat is constant in all of the chairs designed by him. • The furnitures he designed had careful and measured curves.

Eames

Diya Chhaniyara UG190435

CONCEPT STATEMENT

Eames

Diya Chhaniyara UG190435

HONESTY OF MATERIALS

NEED BASED DESIGNING

number of elements used in the house are not more than The style of Eames depended heavily in onappearance. the need The of ratio of his designs are vertically symmetrical what is required. Eames designed the space in such a way backany restproduct. to the seat constanton in the all of the chairs by • Eames’ designing Heisfocused function of designed the design idealogy majorly revolved around the fact that the that it caters to the need of living, working and nothing else. design him. rather than the beauty of it. His approach was to design must be need based. the requirements/needs of the situation the user. • Beauty of the design did not matter to him; he prioritised the function •fulfill Charles Eames used soft curves in majority of and his designs.

s Eames

• Eames’ design idealogy majorly r design must be need based. • Beauty of the design did not matter of it. • He focused on function as a criter

The idea is to generate a design which caters to the need of installing a seating element in the abundant green lawns of the Eames plaza. To kick start the process, what would have been better than taking inspiration from Charles Eames, the man himself. Eames’ ideaology was to always satisfy the need of the situation. So, the concept is to design an outdoor bench which would not only serve as a seating element, but would also serve as a place for interaction and rejevunation. Further, to compliment the design, the inspiration of its form is taken from the logo of NID itself.

• Eames believed in using the mater • He believed that cladding material to disrepecting the field. • All of his designs have materials b

Eames

CMF- COLOUR MATERIAL F INISH COLOUR

DESIGN JOURNEY

3- DIMENSIONAL RENDERS

FINAL CONCEPT

The journey of designing a outdoor bench began with research on a given personality. Decoding their design language was the primary aim of the exercise. Form explorations and generating different concepts were the principles which followed next. What was important was the fact that the finalised concept is conveyed in the best possible manner. Looking back at the previous exercises, they add a lot of value to the final form generation process. Generating a spectrum of 2-dimensional and 3-Dimensional forms aided the thinking process and helped us visualise their behaviour and appearance in a better way.

STEEL RODS

CONTEXT

Eames plaza at National Institute of Design, Ahmedabad is an open space, which is generally used for recreational purposes. It is the place where all the Cultural events and other formal events of the institute take place.

Elements of Form and Space Studio BD 2004

CONCRETE

The two blocks would be made of precast concrete whereas the rods CONTEXT RENDER used for holding the concrete blocks together, would be made of steel. Concrete would have a smooth matte finish, whereas steel rods would have a rough finish.

CEPT University Faculty of Design

MATERIAL AND FINISH

Ideation & Development

Final Design Exercise

The idea is to use the materials in their honest form so as to retain the original visual characteristics of the materials used. The colour of both, the concrete blocks and the steel rods would be Grey.

RESPITE- Outdoor bench

DESIG N DEVELOPMENT

Diya Chhaniyara UG190435

169

and bottom to balance the whole product.

AND LEISURE in people’s life apart from the functionality, as an add-on to the designs.

Some of the forms of the products were achieved by breaking the geometry of one shape into smaller different forms.

170 Elements of Form and Space Studio Memphis was a reaction to the BORING, MONOTONOUS AND ALIKE DESIGNS from modernist era.

TAHITI LAMP BY ETTORE SOTTSASS

MAZORTAL by Isha Shah

The name Memphis came from BOB DYLAN’S ‘THE MEMPHIS BLUES AGAIN’.

Product: Partioning System | Context: FD Building Double-Height, CEPT University Design Inspiration: Memphis

It focused on creating BRIGHT, COLORFUL AND INNOVATIVE designs with the post Modernist effect.

LAUREL TABLE LAMP BY PETER SHIRE

Some of the forms of the products Thewere name Memphis came from BOB DYLAN’S ‘THE MEMPHIS BLUES achieved by breaking the geometry AGAIN’. of one shape into smaller It focused on creating BRIGHT, different forms.

TAHITI LAMP BY ETTORE SOTTSASS

DESIGN LANGUAGE

-BRIGHT, FLASHY and PLAIN colors without any shades or tints colors -PRIMARY and WACKY forms and shapes ASHOKA LAMP BY ETTORE SOTTSASS -PATTERNS, SQUIGGLES and ZIGZAGS withoutMEMPHIS any part INFLUENCED DESIGNS BRIGHT, FLASHY and PLAIN colors overpowering the other part ithout any shades or tints colors PRIMARY and WACKY -Materials forms and like PLASTIC, PAINTED hapes LAMINATESHARMONY and METAL PATTERNS, SQUIGGLESWOOD, and GZAGS without any part were used. Harmony was achieved by putting different verpowering the other part

Many of the designs have a form which are comprised of 2D shapes and then extruded to give a 3D form. So when one looks at the elevation, the whole form is understood and design is just done on one plane extruded in single axis and alongh with this, symmetry is also observed.

OCEANIC TABLE LAMP BY MICHELE DE LUCCHI FLAMINGO SIDE TABLE BY MICHELE DE LUCCHI The Memphis style was inspired by ART DECO, 50’S KITSCH STYLE AND 80’S POP ART. The designs were highly POST MODERNIST breaking the visual boredom, monotony and similarity in the attributes.

LAUREL TABLE LAMP BY PETER SHIRE

ASHOKA LAMP BY ETTORE SOTTSASS

-BRIGHT, FLASHY and PLAIN colors without any shades or tints colors -PRIMARY and WACKY forms and shapes -PATTERNS, SQUIGGLES and ZIGZAGS without any part overpowering the other part -Materials like PLASTIC, PAINTED WOOD, LAMINATES and METAL were used.

HARMONY

Many of the forms had a bulky base which would overpower the by adding elements in all Harmony/Rhythm whole product. So, to avoid that, three axis patterns were used in that area making it look less heavy.

REDUCTION IN OVERPOWERING ELEMENTS THROUGH PATTERNS

Skate Deck by Supreme

Many of the forms had a bulky base which would overpower t whole product. So, to avoid tha patterns were used in that area making it look less heavy.

Harmony/Rhythm by adding elements i three axis

Broken Geometry

POLAR SIDE TABLE BY MICHEL

Many of the forms had a bulky base which would overpower the ASHOKA LAMP BY whole ETTOREproduct. So, to avoid that, patterns were used in that area SOTTSASS making it look less heavy.

POLAR SIDE TABLE BY MICHELE DE LUCCHI

RARE BIRD COFFEEPOT

MAXIMALISM IN DESIGN

The products are such that each component is designed

Broken Geometry upto its optimum level

HARMONY

through patterns and colours but in a balance way.

LADOGA VASE BY MATTEO THUN

Harmony was achieved by putting different elements facing all the different directions such that it felt like there was a never ending loop of rhythm.

CASABLANCA CABINET

POLAR SIDE TABLE BY MICHELE DE LUCCHI

ROYAL SOFA

TARTAR TABLE

RARE BIRD COFFEEPOT

Extruded 2D Forms

LADOGA VASE BY MATTEO THUN

CASABLANCA CABINET

elements facing all the different directions such that

Isha Shah UG180205

REDUCTION IN OVERPOWERING ELEMENTS THROUGH PATTERNS

DIVA MIRROR BY SOTTSASS

MAXIMALISM IN DESIGN

PROBLEM STATEMENT

Harmony was achieved by putting different elements facing all the different directions such that it felt like there was a never ending loop of rhythm. LADOGA VASE BY MATTEO THUN

it feltplayhouse like there was a Sasha neverBikoff ending loop of rhythm. Pee Wee’s Stone Mansion staircase

DIVA MIRROR BY SOTTSASS

BEL AIR CHAIR BY PETER SHIRE

BEL AIR CHAIR BY PETER SHIRE Connecting ART DECO, 50’S KITSCH STYLE AND 80’S POP ART with Memphis, some points were deciphered like repetition of similar elements with slight modification, combination of plain colours and patterns and maximalist approach but in a logical way.

Repetition in design of diagonal member with horizontal members at top and bottom

Dior Autumn collection 2011

ROYAL SOFA

CASABLANCA CABINET

ROYAL SOFA

The products are such that In the double height of FD building, there is a partition between the studio and semi-open open space. Due to heavy linearity and lesser space between the linear elements, st each component is adesigned ‘Jail like’ feeling while sitting in the studios or moving around in that area as shown in deconstruction of product graphical representation. As a result, the users that are the are not willing to sit in that studio area. upto its optimum level Thus, there is a need to get rid of such design and introduce an interactive semi-open partition which generates some kind of excitement and playfulness breaking the monot through patterns and colours building. There is a need of something that not only acts as partition but also has multiple functions so that the users would be interested in more and more interaction with but in a balance way. TARTAR TABLE

CONCEPT STATEMENT

Extruded 2D Forms

Apart from product and furniture design, Memphis has influenced in fields like interior design, set design, sports product design, The Concept is to generate excitement, playfulness, leisure with an element of surprise and break the monotony of the space through introduction of playful geometry and apparel design etc. To satisfy these needs, what better option than taking inspiration from Memphis group from 1980s. Memphis’ design style satisfies the overall need of introduction of playfuln The popular TV show ‘Pee Wee’s Playhouse’ set design, the staircase by Sasha Bikoff for Kips Bay Decorator Show house, the So the concept is to design a partition solving the current problem alongwith being able to be more functional by not just limiting itself to bifurcate the spaces. For this, inspira interiors of Stone Mansion from Ruthless People, Supreme skate deck designed by Alessandro Mendini, Apparel design for Dior PROBLEM STATEMENT Memphis patterns is taken which is further modified according to the need and functions like display rack for models, writing board, projector screen and sitting tools are adde Memphis movement collection autumn 2011 are the iconic and most popular examples of Memphis influenced designs in 1980s and after that. In the double height of FD building, there is a partition between the studio and semi-open open space. Due to heavy linearity and lesser space between the linear elements, students get

PROBLEM STATEMENT

In the double height of FD building, there is a partition betwe a ‘Jail like’ feeling while sitting in the studios or moving arou are not willing to sit in that studio area. Thus, there is a need to get rid of such design and introduce building. There is a need of something that not only acts as

a ‘Jail like’ feeling while sitting in the studios or moving around in that area as shown in deconstruction of product graphical representation. As a result, the users that are the students are not willing to sit in that studio area. Thus, there is a need to get rid of such design and introduce an interactive semi-open partition which generates some kind of excitement and playfulness breaking the monotony of the building. There is a need of something that not only acts as partition but also has multiple functions so that the users would be interested in more and more interaction with the space.

Dior Autumn collection 2011

CONCEPT STATEMENT

gn, set design, sports product design,

s Bay Decorator Show house, the dro Mendini, Apparel design for Dior Memphis influenced designs in 1980s

Skate Deck by Supreme

Dior Autumn collection 2011

The Concept is to generate excitement, playfulness, leisure with an element of surprise and break the monotony of the space through introduction of playful geometry and colours. To satisfy these needs, what better option than taking inspiration from Memphis group from 1980s. Memphis’ design style satisfies the overall need of introduction of playfulness. So the concept is to design a partition solving the current problem alongwith being able to be more functional by not just limiting itself to bifurcate the spaces. For this, inspiration from Memphis patterns is taken which is further modified according to the need and functions like display rack for models, writing board, projector screen and sitting tools are added to the

ke interior design, set design, sports product design,

a Bikoff for Kips Bay Decorator Show house, the ed by Alessandro Mendini, Apparel design for Dior r examples of Memphis influenced designs in 1980s

PROBLEM STATEMENT In the double height of FD building, there is a partition between the studio and semi-open open space. Due to heavy linearity and lesser space between the linear elements, students get a ‘Jail like’ feeling while sitting in the studios or moving around in that area as shown in deconstruction of product graphical representation. As a result, the users that are the students are not willing to sit in that studio area. Thus, there is a need to get rid of such design and introduce an interactive semi-open partition which generates some kind of excitement and playfulness breaking the monotony of the building. There is a need of something that not only acts as partition but also has multiple functions so that the users would be interested in more and more interaction with the space

CEPT University Faculty of Design

Skate Deck by Supreme

EXTRUDED 2D FORMS

Memphis Group on Tawaraya ring bed

INSPIRATION

80s POP ART

Materials like PLASTIC, PAINTED WOOD, LAMINATES and METAL ere used.

EXTRUDED 2D FORMS

COLORFUL AND INNOVATIVE designs with the post Modernist effect.

Connecting ART DECO, 50’S KITSCH STYLE AND 80’S POP ART OCEANIC TABLE LAMP BY with Memphis, some points were MICHELE DE LUCCHI SIDE TABLE BY 50sFLAMINGO KITSCH STYLE deciphered like repetition of similar MICHELE DE LUCCHI elements with slight modification, e Memphis style was inspired by RT DECO, 50’S KITSCH combination STYLE AND of plain colours and ’S POP ART. The designs were ghly POST MODERNISTpatterns breaking and maximalist approach LAUREL TABLE LAMP BY PETER SHIRE e visual boredom, monotony and but in a logical way. milarity in the attributes.

onnecting ART DECO, 50’S TSCH STYLE AND 80’S POP ART ith Memphis, some points were eciphered like repetition of similar ements with slight modification, ombination of plain colours and atterns and maximalist approach ut in a logical way.

REDUCTION IN OVERPOWERING ELEMENTS Repetition in design of diagonal membe members at top and bottom THROUGH horizontal PATTERNS

of the products were achieved by breaking the geometry of one shape into smaller different forms.

TAHITI LAMP BY ETTORE SOTTSASS

Mazortal

focused on creating BRIGHT, OLORFUL AND INNOVATIVE esigns with the post Modernist ffect.

BORING, MONOTONOUS AND ALIKE DESIGNS from modernist era.

CARLTON BOOKCASE BYBROKEN GEOMETRY SOTTSASS Some of the forms

Final Design Exercise

he name Memphis came from BOB YLAN’S ‘THE MEMPHIS BLUES GAIN’.

Memphis was a reaction to the BROKEN GEOMETRY

CARLTON BOOKCASE BY

SOTTSASS BEL AIR CHAIR BY PETER SHIRE

Analysis & Interpretation Problem & Concept

The MAIN IDEOLOGY behind the designs was to bring EXCITEMENT AND LEISURE in people’s life apart from the functionality, as an add-on to the designs.

The Memphis style was inspired by Linear or planar ART DECO, 50’Sforms KITSCH STYLE AND inclined at certain angle with two he MAIN IDEOLOGY behind 80’SthePOP ART. The designs elements put at top were esigns was to bring EXCITEMENT and bottom to balance highly ND LEISURE in people’s life apartPOST MODERNIST breaking the whole product. om the functionality, as an add-on the visual boredom, monotony and o the designs. similarity in the attributes. Memphis was a reaction to the

ioneered by ETTORE SOTTSASS in 981 in Milan, Italy.

certain angle with two elements put at top and bottom to balance the whole product.

Elements of Form and Space Studio BD 2004

REPETITION IN DESIGN APPROACH

ORING, MONOTONOUS AND LIKE DESIGNS from modernist era.

DIVA M SOTTSA

OCEANIC TABLE LAMP BY MICHELE DE LUCCHIREPETITION IN DESIGN APPROACH FLAMINGO SIDE TABLE BY Pioneered by ETTORE SOTTSASS in Linear or planar 1981 in Milan, Italy. MICHELE DE LUCCHI forms inclined at

ww.-

CONCEPT STATEMENT

The Concept is to generate excitement, playfulness, leisure To satisfy these needs, what better option than taking inspira So the concept is to design a partition solving the current pro Memphis patterns is taken which is further modified accordi

CONCEPT STATEMENT The Concept is to generate excitement, playfulness, leisure with an element of surprise and break the monotony of the space through introduction of playful geometry and colours. To satisfy these needs, what better option than taking inspiration from Memphis group from 1980s. Memphis’ design style satisfies the overall need of introduction of playfulness. So the concept is to design a partition solving the current problem alongwith being able to be more functional by not just limiting itself to bifurcate the spaces. For this, inspiration from Memphis patterns is taken which is further modified according to the need and functions like display rack for models, writing board, projector screen and sitting tools are added to the element.

171 TECHNICAL DRAWINGS 740 740

RENDERS

3440 3440

270 270 270 740 270

3440

1520 270 1520 270

540 540

30 30 20 20

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DETAIL 3.1 ELEVATION DETAIL 3.1TO ELEVATION PLYWOOD MS PIPE PLYWOOD SCALE 5:1 TO MS PIPE SCALE 5:1

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1520

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1110 1110

30 30

1410 1410

450 75 450 75

90 600 90 600

450

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1800 1800

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1110

1410

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DETAIL 3.1 ELEVATION PLYWOOD TO MS PIPE SCALE 5:1

1800

TEAK WOOD DOWEL

FRONT ELEVATION BROKEN INTO A FRONT ELEVATION BROKEN INTO A GRID (270mm x 270mm Square Grid) GRID (270mm x 270mm Square Grid)

SS STANDOFF BASE

30mm PLYWOOD

20mm MS PIPE

3000 3000

9000 9000

RENDERS

DETAIL 3.3 SECTION SHOWING DETAIL 3.3TO SECTION 30mm PLYWOOD PLYWOOD MS PIPESHOWING JOINT PLYWOOD JOINTTHREADED SCALE 5:1 TO MS PIPEDOUBLE SCALE 5:1 SCREW

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FRONT ELEVATION BROKEN INTO A GRID (270mm x 270mm Square Grid)

SS STANDOFF BASE STUDS

30mm PLYWOOD

DETAIL 3.2 PLAN PLYWOOD TO MS PIPE SCALE 5:1

INSIDE INSIDE

300 300

30mm PLYWOOD 30mm PLYWOOD

INSIDE

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30mm PLYWOOD

3000 3000

3000 3000 9000 9000

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740 470

530

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3440

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8'x4' BLACK BOARD 8'x4' BLACK BOARD 8'x4' BLACK BOARD

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300

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480 180 300 480

SECTION CC'

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300

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300

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3000

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PHYSICAL MODEL (S

Other materials that he uses in his designs are stainless steel, aluminium,

172

ARA Table Lamp for Flos

leather, vinyl.

Flatware Set for SASAKI

Organic tap for axon

also likes to use Space interesting combinations of materials such as plastic ElementsHeof Form and Studio with aluminum, velvet with chrome.

THE ICE CUBE by Suhani Nathan

Product: Table + Seating System | Context: Office Canteens Design Inspiration: Philippe Starck

Gun table lamp for flos

Mister bliss chair for beton brut

Miss dorm for etoz

wen

transparency

AN ELEMENT OF TRANS

Concept statement While designing the product the inspiration was taken from the design language of Philippe Starck, which is the use of transparency which gives a modern feel to space, need-based design, and cantilever furniture with minimal elements. The design of the furniture for AN office canteen is such that it saves space as it can be assembled INTO A SINGLE UNIT when not needed, it does not crowd the space as the transparency of the material

La Marie Chair for Kartell

Bon Jo

makes it practically invisible AND TAKES UP LESS VISUAL SPACE.

QUIRKY SHAPES

problem statement

The forms are of qui

The intent was to design furniture for an office canteen which can be assembled in such a way that saves space and as a result creates a differentiation between work and leisure time. the material used was polycarbonate which is a transparent material. Transparency gives a sense of openness to the room and permits light to flow through the space. Having units of the furniture in different colors around the canteen will bring a sense of playfulness to the space. And an interesting play of light and shadow.

Elements of Form and Space Studio BD 2004

Detail development CEPT University

Detail development Faculty of Design

an office canteen which can

pace andan as office a result creates a ure for canteen which can

ARA Table Lamp for Flos

PROCESS

ure time. the material was t saves space and as a used result creates a

material. givesused a and leisureTransparency time. the material was

rmits light to flowTransparency through the gives a sparent material. different colors and permits lightaround to flowthe through the

Detail developme

problem statement

ness tointhe space. And an intresting iture different colors around the

playfulness to the space. And an intresting

PROCESS

space. Having units of the furniture in different colors around the canteen will bring a sense of playfulness to the space. And an intresting play of light and shadow.

Detail development

problem statement

EXPLORATIONS FOR SEAT REINFORCEMENT

Process The intent was to design furnitureFOR for SEAT an office canteen which can EXPLORATIONS REINFORCEMENT

model

be assembled in such a way that saves space and as a result creates a differentiation between work and leisure time. the material used was polycarbonate which is a transparent material. Transparency gives a sense of openness to the room and permits light to flow through the space. Having units of the furniture in different colors around the canteen will bring a sense of playfulness to the space. And an intresting play of light and shadow. Elements of Form and Space Studio BD 2004

Elements of Form and Space

Process model

Studio BD 2004

Final Design Exercise

Ice Cube

Final Design Exercise

Ice Cube

Design Process Design Process

Suhani Nathan UG180601 Suhani Nathan UG180601

EXPLORATIONS FOR

EXPLORATIONS FOR SEAT REINFORCEMENT CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Fin

CEMENT

173

Cmf Color | material | finish

MATERIAL Polycarbonate : Polycarbonate

- Transparent - High impact resistant - Strong

Polycarbonate

- Is stronger and can hold up longer to extreme temperatures and rough use than acrylic - Can be used for injection molding - Low scratch resistance - Has to be coated with scratch resistant layer Transparent blocks

color

finish

Clear :

glossy :

- Blocks of different colored transparent blocks

- Scratch proof protective layer on polycarbonate

- Lightness + solidity - Playful - Looks visually less crowded

clear

Sheen green

aero blue

red

Middle yellow

Hex code # 96E00C Hex code # 6AB5EE

Hex code # F10A07

Hex code # FAE434

rgb - 150, 224, 12

rgb - 241, 10, 7

rgb - 250, 228, 52

rgb - 106, 181, 238

emotion - Transparency gives a sense of openness to a room and permits light to flow freely through the space - It does not crowd up the room - Gives a modern feel to the space - With having different units of the table and stools in different colors around the canteen will bring playfulness in the space

Final Design Exercise

Ice Cube

Suhani Nathan UG180601

174

Elements of Form and Space Studio

CALE 1 : 10

RE IN MM

ni Nathan G180601

RENDERS RENDERS Ice| cube canteen furniture Ice cube Office| Office canteen furniture

botoom view of the stool showing details

RIBS INCORPORATED

RIBS INCORPORATED IN THE DESIGN FOR STRENGTH IN THE DESIGN FOR

STRENGTH CURVATURE ON THE SEAT FOR COMFORT ON THE CURVATURE AND STIFFNESS SEAT FOR COMFORT

AND STIFFNESS RIDGE TO FIT INTO THE GROOVE ON THE TABLE

RIDGE TO FIT INTO THE

FOR EXTRA SECURITY

GROOVE ON THE TABLE FOR EXTRA SECURITY

GRIP ON BOTH THE

SIDES FOR EASY LIFTING

GRIP ON BOTH THE SIDES FOR EASY LIFTING

SET IN CLOSED POSITION

SET IN OPEN POSITION

SET IN CLOSED POSITION

MINIMUM AREA CONTACT

SET IN OPEN POSITION

TO THE GROUND TO AVOID SCRATCHES

MINIMUM AREA CONTACT TO THE GROUND TO AVOID SCRATCHES

RENDER OF THE STOOL I

CEPT University RENDER OF THE STOOL I

Faculty of Design

CEPT University Faculty of Design

RENDER OF THE TABLE

Elements of Form and Space RENDER OF THE TABLE Studio BD 2004

Elements of Form and Space Studio BD 2004

RENDER OF THE STOOL II

Final Design Exercise RENDER OF THE STOOL II

Ice Cube

Final Design Exercise

Ice Cube

Product Renders

Suhani Nathan UG180601

175

RENDERS

CLEAR GLOSSY FINISH

CLEAR YELLOW GLOSSY FINISH

CEPT University Faculty of Design

CLEAR RED GLOSSY FINISH

CLEAR BLUE GLOSSY FINISH

CLEAR GREEN GLOSSY FINISH

CLEAR MATT FINISH

CLEAR RED MATT FINISH

CLEAR BLUE TEXTURED

Elements of Form and Space

Final Design Exercise

Studio BD 2004

Ice Cube

Product Pallet

Suhani Nathan UG180601

RENDER OF THE SET IN ELEVATION

RENDERS Context render

RENDER OF THE RENDER SET INOFELEVATION THE SET IN ELEVATION

Elements of Form and Space Studio BD 2004

OFFICE CANTEEN

Final Design Exercise

Ice Cube

RENDER OF THE SET IN ISOMETRIC VIEW

Context Render

Suhani Na UG18

RBONATE

FINISH

SCALE 1 : 10

SUREMENTS ARE IN MM

ANTEEN RENDER OF THE RENDER SET INOFISOMETRIC THE SET INVIEW ISOMETRIC VIEW OFFICE CANTEEN

RIBS INCORPORATED IN THE DESIGN FOR STRENGTH CURVATURE ON THE SEAT FOR COMFORT AND STIFFNESS RIDGE TO FIT INTO THE GROOVE ON THE TABLE FOR EXTRA SECURITY

Context Render Context Render

GRIP ON BOTH THE SIDES FOR EASY LIFTING

Suhani Nathan Suhani Nathan UG180601 UG180601

176

Elements of Form and Space Studio

SUAVE SLENDER SEATING ARTEFACT

by Vaishnavi Borkar Product: Outdoor Seating | Context: FD Plaza, CEPT University Design Inspiration: Alvar Aalto

CMF

Product and INFERENCES

COLOR | MATERIAL | FINISH

FINAL PROJECT- RESEARCH

High pressure laminates Stainless steel: Teak wood: (HPL) : Durable, strong, resists rust, wind-resisOne of the best materials for Sleek modern look, and tant and easy to clean.lunch time all spaces are crowded outdoors. Problem Statement: In campus, during and occupied resists bacteria and super-by students. One of which is Expensive and retains heat. Durable, strong, resistant to marks from spills or the niche kind of space at exterior of library building. These spaces areficial constantly occupied by people and litered weather, decay and insects, no impact. cracking or warping and easy to sometimes, that makes the space around library unpleasant. High in price. clean. High in price. Aluminium: Strong, lightweight, weather-resistant, Concrete: Oak wood: and low maintenance. Long-lasting, strong artefact for the space around Water-proof, rot-resistant and Concept Statement: Theinexpensive main idea is to design a minimalistic comfortable seating Hollow tube frames may blow over in and can take on any strong. Hardwood easy for library and SID plaza. Thehigh idea is and to itcreate a seating which can be used byshapes. stundents or faculty anytime for relaxation, winds retains heat. bending technique. Heavy toand move. many other purposes. This seating Difficult for finishes so as to working outdoor for refreshment, interaction, sometimes for organsing events protect the wood. Plywood: Strength, durability, flexibility, attractive and light weight.

Extruded glass fibre: Heat resistant, strong, moulded in any shape, sleek and modern look.

1935-1975 ARTEK

ALVAR AALTO METHOD

1898-1976

COLOR

FINISH

“Beauty is the harmony of purpose and form”

Strength Hardness Flexible Light color smooth grain texture Economically available

CEPT University Faculty of Design

Created fluid qu and glass than lamella).

is designed inspired from a famous Finnish architect and designer Alvar aalto. His overall design language and material palatte closely resembles with this context and its purpose.

MATERIAL ASH WOOD

Site context

Forms are derived from simple geometry that has an elemental power.Three dimensionally curved designs that are both ergonomic and highly comfortable.

CONCRETE

Strong Long lasting Can form into any shape Bulky

Varnish or Alvar Aalto is Finnish architect and and concrete WOOD Wood Exterior oilmaterials finish is and designer for his own unique of their modernism focusing on local Steamknown bending wouldstyle have functionality. the simplest and technique natural color and His works mainly include architecture, town plans, furniturelong design, glassware designs, lasting for ash textures that celejewellery, textile designs and other forms of art. wood.

CONCRETE Moulds in which concrete is cast and vibrated. PHILOSOPHY

brates Truth to Material.

Emotions: The natural texture and feel of material has calming effect, warmth, 1. Alvar Aalto's design philosophy was influenced by nature and organic materials. homliness and relaxing 2. His innovative designs and natural forms changed the design towards organic Modernism. effect. 3. The beauty of his work is hidden in his design approach of Functionalism but with a strong connection to the organic relationship between man, nature and buildings Elements of Form and Space Final Design Exercise CMF and Product context Studio BD 2004 components and created a synthesis 4. He coordinated these three Researchof I life in materialized form. 5. He included bright color pallette in his works as he believed that use of bright colours made people feel better and be more active and enthusiastic. Aalto was highly inspired by the nature and implied natural elements as organic forms in his design. He derives the aesthetic character from the relationship with their natural surroundings, scale, unique treatment of materials and natural lightings.

DESIGN

DESIGN LANGUAGE

Product context: Passage between library and FT CEPTincampus ‘Aalto’nothlights, means ‘wave’ Finnish. It was only natural that the wave would become his signatur building a complete environment to be experinced by its users through all their senses. In m Borkar functionally convincing, even inevitable, consequence of allVaishnavi ofUG191457 itsProblem disparate origins. Statement : In c The streamlined design creates a sense of warmth humility thatspaces minimalistic design approac are crowded and o sense of emotions that connects with the user. Some designs are purposely left unfinished to od which is the niche kind Aalto's design has influenced the audience's visual aesthetics and perception experience building. These spaceswith a and scene atmosphere. people and litered somet

around library unpleasant.

Concept Statement: The main idea is to design a

minimalistic comfortable seating artefact for the space around library and SID plaza. The idea is to create a seating which can be used by stundents or faculty anytime for relaxation, working outdoor for refreshment, interaction, sometimes for organsing events and many other purposes. This seating is designed inspired from a famous Finnish architect and Dynamic curves: A sequence The courtyard at Aalto’s own summer (‘experimental designer Alvar aalto. His overall design language and different radii. Sovey vase Cantilever chair house’, palatte 1953) atclosely Muuratsalo has with monumental and Pendant light Arm chair material resembles this context rustic, formal and playful, open and closed attributes. and its purpose. Problem Statement: In campus, during lunch time all MATERIAL spaces are crowded and occupied by students. One of Problem Statement: In campus, during lunch time all which is the niche kind of space at exterior of library spaces are crowded and occupied by students. One of To create a sense of warmth humility in design that creates a connection between the man buildings and building. These spaces are constantly occupied by which is the niche kind of space at exterior of library nature. Birch wood was used by laminating and gluing technology to create organic forms. people and litered sometimes, theDesign space CEPT University of Form and Spacethat makes Final Exercise Concept statement building. TheseElements spaces are constantly occupied Studio BD 2004 Faculty of Design Research I by Aalto’s architecture is distinctively Finnish, strongly individual, and marked by a warm humanity. His buildings derive around library unpleasant. people and litered sometimes, that makes the space their aesthetic character from their dynamic relationship with their natural surroundings, their human scale, superbly around library unpleasant. executed details, unique treatment of materials, and ingenious use of lighting. In the most of designs it appears as both an aesthetically and functionally convincing, even inevitable, Concept Statement: The main idea is to design a consequence of all of its disparate origins. Concept Statement : The main idea for is tothe design a minimalistic comfortable seating artefact minimalistic seating artefact for the space around library comfortable and SID plaza. The idea is to space around The idea create a seating which library can beand usedSID byplaza. stundents or is to create a seating which can be used by stundents or faculty anytime for relaxation, working outdoor for faculty anytime forsometimes relaxation, for working outdoor for The way light is reflected and refracted by the refreshment, interaction, organsing refreshment, interaction, sometimes for organsing Repetition: Repeatation of sim glass surfaces to generate new patterns that add events and many other purposes. This seating is deevents and many other purposes. This seating is deto the aesthetic pleasure. into distinct segments. signed inspired from a famous Finnish architect and signed inspired from a famous Finnish architect and

Ash wood

Birch wood

designer Alvar aalto. Hisaalto. overall and and designer Alvar Hisdesign overall language design language material Concrete palatte resembles with this context Juxtaposted Tubular Bricks materialclosely palatte closelySteel resembles with this context and its purpose. and its purpose.

CEPT University Faculty of Design

of Form and Space Elements of Form Elements and Space Studio BD 2004

Studio BD 2004

Final Design Exercise Final Design Exercise Research I Research I

Concept statement Concept statement

Vaishnavi Borkar Vaishnavi Borkar UG191457 UG191457

Vaishnavi Borka UG191457 INITIAL IDEAS

DEVELOPING CONCEPTUAL IDEAS

Mellow- A Seating Artefact Elements of Form and Space

Final Design Exercise Research I

Studio BD 2004

3D rendered model

PRODUCT CONTEXT SIDE ELEVATION

seating artefact is gned for the SID plaza space around library tudents and faculties eisure and various rent purposes. This h is designed by malistic approach comfort of the user. use to material in its way a ELEVATION SIDE creates ELEVATION ral essence that ects the user with re and its ND JOINARIES unding place. eover, this is a two ng artefact designed s universal use rding to its context.

Vaishnavi Borkar UG191457

3D RENDERS

Vaishnavi Borkar UG191457

CEPT University Faculty of Design

Final Design Exercise

TECHNICAL DRAWING

3D RENDERS

PLAN

Mellow- A Seating Artefact

SECTION AA’

Elements of Form and Space Studio BD 2004

TECHNICAL DRAWING

SIDE ELEVATION

EXPLODED VIEW

EXPLODED VIEW PLAN AT +420

RIES AND PARTS

CEPT University Faculty of Design

This seating artefact is designed for the SID plaza SECTION AA’ and space around library for students and faculties PLAN AT 340for leisure and various different purposes. This bench is designed by minimalistic approach and comfort of the user. The use to material in its own way creates a natural essence that connects the user with FRONT ELEVATION SIDE ELEVATION JOINARIES AND PARTS nature and its surrounding place. Elements of Form and Space Design Exercise Technical Drawing Moreover, this is aFinaltwo Research I seating artefact designed for its universal use according to its context. Studio BD 2004

Final Design Exercise

DETAILS AND JOINARIES

This seating artefact is designed for the SID plaza and space around library for students and faculties for leisure and various different purposes. This bench is designed by SECTION AA’ minimalistic approach and comfort of the user. The use to material inEXPLODED its VIEW own way creates a natural essence that connects the user with PRODUCT CONTEXT nature and its surrounding place. Moreover, this is a two JOINARIES seating artefact designed for its universal use according to its context.

This seating a designed for and space a for students for leisure an different pu bench is desig minimalistic and comfort The use to m own way cre natural essen connects th nature and i surrounding Moreover, t seating artef for its univers according to

Elements of Form and Space Studio BD 2004

SECTION AA’

CEPT University Faculty of Design

TECHNICAL DRAWING FRONT ELEVATION

PRODUCT C

ISOMETRIC VIEW

SCALE: 1:10 Note: All dimensions are in MM

Vaishnavi Borkar UG191457

CEPT University Faculty of Design

INITIAL FORM EXPLORATION

177

THE VINTAGE RESERVATION by Harshavi Patel

STYLE/APPROACH STYLE/APPROACH

Loewy, began his career y thereafter, moved into wy, began his career veryday products like reafter, moved into ery to machinery like day products like gerators. He practically o machinery like but he has also designed ors. He practically A principle - Most he has also designed d that “The adult public’s nciple Most ogical -solutions to their t departure “The adultfrom public’s what al solutions to their the norm.” His writings from what alarture Design, and his 1951 norm.” His writings one. sign, and his 1951

nd World War II, the a new century, free of orld II, the past.War As the aircarft was ndcentury, it so attractive w free of and as thier After . As theinspiration. aircarft was came forward and coined so attractive oewy was one of the ier inspiration. After ymond Loewy’s designs e forward and coined include yarted wastoone of thestreamling nating sharpdesigns corners, nd Loewy’s thestreamling smallest dis. to Even include arpner and the largest ng sharp corners, werethe inspired from the Even smallest e in which he excelled. er and the largest e inspired from the beauty through the use which he excelled. ped modern industrial of his work permeated uty through the use modern industrial is work permeated

- A SIMILAR FORM-INSPIRED CHAIR

- LOOKS DECENT - COULD FORM-INSPIRED EASILY BLEND WITH THE - A SIMILAR CHAIR SURROUNDINGS - LOOKS DECENT - COULD EASILY BLEND WITH THE SURROUNDINGS

The Lucky Strike cigarette package

LOEWY’S DESIGN IDEOLOGY

The Lucky Strike cigarette package Observations - Loewy gave the customers a new branding image but also kept the elements to make users feel familiar with the previous Observations - Loewy gave the customers a new branding image but design. also kept the elements to make users feel familiar with the previous design.

LOEWY’S DESIGN IDEOLOGY

Aesthetics of design - Humble, should not jump at you. To quote him “It should be easy to look at Aesthetics of design - Humble, and not easy to use”. TheTo product should jump at you. quote merge background. himshould “It should be with easythe to look at should serve The the purpose andIteasy to use”. product of pleasing one aesthetically. should merge with the background. It should serve the purpose of pleasing one aesthetically.

Functionality - Function of a design outweighs the looks. To qoute Loewy “What expresses Functionality - Function of a function correctly, directly design outweighs looks. To is good than thethe permanent qoute Loewy “What expresses value, aesthetically speaking.” function directly Loewycorrectly, believed that the product is good than the its permanent should serve purpose first. A value, aesthetically speaking.” product that cannot reach to its Loewy believed that product is functionality to itsthe maximum, not just worth buying. first. A should serve its purpose product that cannot reach to its functionality to its maximum, is not just worth buying. Streamlined designs - Loewy was one of the fathers of streamlining designs. Most of Raymond Loewy’s designs Streamlined designs - Loewy based aerodynamic waswere one of the on fathers of concept. He startedMost including streamlining designs. the concept of streamling and of Raymond Loewy’s designs aerodynamism in all of his were based on aerodynamic products, eleminating acute concept. He started including angled corners, irrespective of thewhat concept of streamling and the scale of the product is. aerodynamism in all of his products, eleminating acute angled corners, irrespective of what the scale of the product is.

The Coca Cola bottle

Observations - One of the most famous shapes in the world is the iconic contour fluted lines of the Coca-Cola bottle.One of the interestCoca Cola ing notes about the shapeThe is that while it is bottle almost universally recogObservations Oneevolved of the most famous shapes theoriginal world is the nized, the form- has over the years. Just asinthe patent iconic1915 contour lines of the Coca-Cola of theinto interestfrom was fluted a slightly fatter shape than thebottle.One bottle that went ing notes about thealuminum shape isbottle that while it is almost recogproduction, todays is a 22nd centuryuniversally update of the nized, the form has evolved over the years. Just as the original patent classic design. from 1915 was a slightly fatter shape than the bottle that went into production, todays aluminum bottle is a 22nd century update of the classic design.

DESIGN DEVELOPMENT

does not get obsolete but one that

Familiarity in a design - According to Loewy, people want things to be innovative yet familiar. That touchaccording from the past designs should be is there so as that to make more acceptable. To conclude, to him, a good design a design doesthe notproduct get obsolete but one that Toclassic go with like the a extremely streamlined forms, all his products have glossy or chrome finishes. stays Greek Statue. These added to the speedy or rapid of form.want things to be innovative yet familiar. Familiarity in a design - According to attribute Loewy, people

That touch from the past designs should be there so as to make the product more acceptable. To go with the extremely streamlined forms, all his products have glossy or chrome finishes. These added to the speedy or rapid attribute of form.

CMF - C

PROBLEM STATEMNET - M.A.D. Tomato’s (S.G. Highway branch) has an interior inspired by American designs. The interior and the furniture is dominantly based on the kind of diners we see in America intergrated with a touch of modern design. The PROBLEM STATEMNET - M.A.D. Tomato’s (S.G. Highway branch) an interior inspiredbeing by American designs. The interior existing bar section within the restaurant still looks a little excluded from has the rest of the interior, more retro than being and the furniture is dominantly based the kind of diners wesection, see in or America intergrated with more a touch of modern The modern-integrated-retro. Thus, there is on a need to make the bar the stool to be precise, appropriate todesign. its existing bar which section within restaurant stillthe looks a littlebut excluded from the restthe of the interior, being more retro being background would notthe only merge with interiors would also generate ambience more accepting. Thethan need of Thus, thereforisthe a need to make section, or the stool to be precise, more appropriate to its itmodern-integrated-retro. being modern and yet very familiar rightness of it the to fitbar in place. background which would not only merge with the interiors but would also generate the ambience more accepting. The need of CONCEPT STATEMENT - Thefamiliar conceptfor is the to generate very humble, classic and simple modern design with an element it being modern and yet very rightnessa of it to fit in place. of familiarity for the users to accept, connect and relate with it, and what better than taking inspiration from Raymond Loewy’s style of design. His design style not is only serve these needs but would also give justice in making the Americana CONCEPT STATEMENT - Thewould concept to generate a very humble, classic and full simple modern design with an element inspired restaurant modern and yet acceptable to its with user.it,The is to than maketaking a bar stool for M.A.D. of familiarity for themore users to accept, connect and relate andConcept what better inspiration fromTomato’s Raymond Loewy’s restaurant, where the term MAD stands for Modern American Design, which is more functional rather than being justAmericana style of design. His design style would not only serve these needs but would also give full justice in making the aesthetically good. For this, inspiration Raymond Loewy has been taken whoisonce, changed entire face of Tomato’s America by inspired restaurant more modern and from yet acceptable to its user. The Concept to make a bar the stool for M.A.D. his designs.where The inspiration modified according to the function need of the functional product. rather than being just restaurant, the term was MADthen stands for Modern American Design,and which is more aesthetically good. For this, inspiration from Raymond Loewy has been taken who once, changed the entire face of America by his designs. The inspiration was then modified according to the function and need of the product.

PROBLEM STATEMENT IGN DEVELOPMENT M.A.D. Tomato’s (S.G. Highway branch) has an interior inspired by American designs. The interior and the furniture is dominantly based on the kind of diners we see in America intergrated with a touch of modern design. The existing bar section within the restaurant still looks a little excluded from the rest of the interior, being more retro than being modern-integrated-retro. Thus, there is a need to make the bar section, or the stool to be precise, more appropriate to its background which would not only merge with the interiors but would also generate the ambience more accepting. The need of it being modern and yet very familiar for the rightness of it to fit in place. Imbalanced designs - If we look closely at his designs, specially automotive designs, there are traces where we can see the imbalanced or off-centered Imbalanced designs - If we look elements. logo of his famous closely at his The designs, specially car is placed off-centered and while automotive designs, there are talking about traces where wehis candesigns see thehe said “i don’t likeor balanced designs”. imbalanced off-centered elements. The logo of his famous is placed off-centered and whilethat To conclude, according to him,car a good design is a design talking about his designs he said “i stays classic like a Greek Statue. don’t like balanced designs”.

Bar Stool

UNDERSTANDING THE FORMS UNDERSTANDING THE FORMS

Final Design Exercise

The Shell The Shell

Observation - The logo has become so recognisable that it often appears without-the brand Observation The logoname. has become so recognisable that it often appears without the brand name.

- THE DESKFAN DESIGNED BY LOEWY (1930S) - THE DESKFAN DESIGNED BYAND EDGES - NO SHARP CORNERS LOEWY- (1930S) SIMILAR KIND OF CURVES USED - NO SHARP CORNERS AND EDGES - SIMILAR KIND OF CURVES USED

Bar Stool

- RAILROAD LOCOMOTIVE, EASY TO LOOK AT LOCOMOTIVE, EASY TO - RAILROAD - THE LOOK AT DESIGN WAS STREAMLINED BASED - THE DESIGN WAS STREAMLINED - AESTHETICALLY SAVES THE BASED PURPOSE - AESTHETICALLY SAVES THE - AESTHETICALLY SAVES THE PURPOSE PURPOSE - AESTHETICALLY SAVES THE - LOOKS DIFFERENT FROM WHAT PURPOSE A PREVIOUS PERSPECTIVE OF A - LOOKS DIFFERENT FROM WHAT REAILROAD DESIGN WAS. A PREVIOUS PERSPECTIVE OF A REAILROAD DESIGN WAS.

Final Design Exercise

- COLOUR PENCIL SKETCHES MADE BY RAYMOND LOEWY- COLOUR PENCIL SKETCHES MADE BY RAYMOND - FREE LOEWY FLOWING CURVES - FREE FLOWING CURVES

YTHING!

SKETCHES BY LOEWY SKETCHES BY LOEWY

FORMLANGUAGE LANGUAGE FORM

- STREAMLINE - STREAMLINE - AERODYNAMICS - AERODYNAMICS - DISTINCTCURVES CURVES - DISTINCT - FUTURISTIC TOUCH - FUTURISTIC TOUCH - CLASSIC (CONCEPTUAL) - CLASSIC (CONCEPTUAL) - AIRCRAFT INSPIRED - AIRCRAFT INSPIRED - SMOOTH CURVES - SMOOTH CURVES

IT IS ESSENTIAL TO DESIGN FOR FUTURE BUT IMPROVE THE IT IS ESSENTIAL TO DESIGN FOR FUTURE BUT IMPROVE THE PRODUCT GRADUALLY PRODUCT GRADUALLY

- ONE OF LOEWY’S MOST ICONIC - ONEDESIGNS OF LOEWY’S ICONIC WAS MOST HIS ‘STREAMLINE’ DESIGNS WAS HIS ‘STREAMLINE’ PENCIL SHARPNER (1933) PENCIL SHARPNER (1933) AND A - MADE WITH CURVES - MADE WITH CURVES AND A SMOOTH FINISH, ELIMINATING SMOOTH FINISH, ELIMINATING SHARP CORNERS AND EDGES - ACORNERS TEARDROP-SHAPED CATALYST SHARP AND EDGES FOR STREAMLINEDCATALYST INDUSTRIAL - A TEARDROP-SHAPED DESIGN FOR STREAMLINED INDUSTRIAL DESIGN

EVOLUTION AND OBSERVATIONS EVOLUTIONOF OFSOME SOMEOF OFHIS HISLOGOS LOGOS AND OBSERVATIONS

STYLE/APPROACH STYLE/APPROACH

PHILOSOPHY PHILOSOPHY PRINCIPLE MAYAMAYA PRINCIPLE (MOST ADVANCED ACCEPTABLE) (MOST ADVANCED YET YET ACCEPTABLE)

Harshavi Patel UG190515 Harshavi Patel UG190515

Product: Stool | Context: Tomato’s Restaurant (American Pop themed) Design Inspiration: Reymond Loewy

Analysis & Interpretation Problem & Concept Analysis & Interpretation Problem & Concept

NDUSTRIAL DESIGN STRIAL DESIGN

Elements of Form and Space Studio

CEPT University Elements of Form and Space Studio BD 2004 Faculty of Design CEPT University Elements of Form and Space Studio BD 2004 Faculty of Design

178

CONCEPT STATEMENT CMF - is COLOUR MATERIAL FINISHES The concept to generate a very humble, classic and simple modern design with an element of familiarity for the users to accept, connect and relate with it, and what better than taking inspiration from Raymond Loewy’s style of design. His design style would not only serve these needs but would also give full justice in making the Americana inspired restaurant more modern and yet acceptable to its user. The Concept is to make a bar stool for Valencia Tamarillo Cardinal M.A.D. Tomato’s restaurant, where the term MAD stands for Modern American Design, which is more functional rather than being just aesthetically good. For this, inspiration from Raymond Loewy has been taken who once, changed the entire face of America by his designs. The inspiration was Vinyl leather Polyurethane (PU Foam) then modified according to the function and need Cardin PRAGMATIC REQUIREMEST - This red shade goes with the retro america • The materialand used forsitting the seat is Polyurethane foam which is generally u of the product.board, projector screen seats. This material not only ensures comfort but is also durable, flexible tools are added to the element. • The Vinyl leather as the cover on the foam also serves the purpose of d

Cardinal Vinyl leather seat

Spun Pearl

FINAL CONCEPT

EMOTIONAL REQUIREMENT - The colour red provokes the kind of vibe fo American setup, is red therefore it kind of connects with us instantly. As the colour of the material and that adds to the vibrance of the surrounding. • The PU foam being lightweight makes the overall product visaully accep • Vinyl leather being durable would last longer and thus adds to the emoti

25 mm cold rolled steel tube 1.2 mm thick

Chrome finish

PRAGMATIC REQUIREMEST - The colour combination of red and Chrom metallic that as been created in M.A.D. Tomoato’s. • The use of metal as stand or legs of a bar stool matches with the previo MAYA principle intact. Also, a bar stool is usually immovable or can hard plains the use of metal as the base material.

CONTEX

179

FIN

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION PRODUCED

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION PRODUCED

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Bar Stool

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Bar Stool

Final Design Exercise

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s of Form and Space

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Journey - This exercise started with the excitment of studying the personality that we chose to work on. Research came into picture which made it extremely important to have the eye to understand the works of the designers. Research part never has a time limit, it could go on as much as one wishes to but at the same time it is also important to stop researching and start develpoing designs. This is the difficult part. Developing designs. Developing them in such a way that does not only reflect Raymond Loewy style but also how we (as designers) interpret it and bring it in light. Going back to the previous exercises which not only included generating different forms but also manipulating them in a way that would make it visually more appealing, helped a lot throughout this final exercise. Many other things needed to be taken care of as well, one of the important things being the materials of the product. Appropriate and suitable materials is also important as it would change the entire look of the design. Just like materials, there were also other things that neededd to be taken under consideration. To conclude, many new things came in light which made the whole journey more interesting, frustrating, beautiful and exciting.

product. Appropriate and suitable materia the entire look of the design. Just like ma neededd to be taken under consideration To conclude, many new things came in lig interesting, frustrating, beautiful and excit

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of the late 20th century. He studied at the University of Southern California and Harvard University.

180

He is famous Elements of Form and Space Studiofor his deconstructive style.

His buildings represent a conjunction between “stillness and motion”, and “order and disorder”. Inspired by fish, he wants to express emotions through curves with the use of inert material creating a sense of movement. This philosophy connected him more with artists than with other architects.

THE TWISTED EDGE by Archi Shah

Product: Outdoor Seating | Context: Zen Cafe, Amdavad ni Gufa Design Inspiration: Frank Gehry Design Influences and Inspirations

INSPIRATION- FRANK GEHRY

SITE ANALYSIS

About Frank Gehry is a Canadian- American architect, considered to be one of the most influential architects of the late 20th century. He studied at the University of Southern California and Harvard University.

Assemblage of Solids

Curvilinear and twisted forms

Context

He is famous for his deconstructive style. His buildings represent a conjunction between “stillness

Art by Rauschenberg and inspired motion”, Gehry and “orderHouse and disorder”.

Sails inspired Walt Disney Concert Hall

Sharp and acute angles

Inspired by fish, he wants to express emotions through curves with the use of inert material creating a sense of movement. This philosophy connected him more with artists than with other architects.

SITE ANALYSIS

Design Influences and Inspirations

Regatta inspired Foundation Louis Vuitton

by Rauschenberg inspired Gehry House Curvilinear andArttwisted forms

Regatta inspired Foundation Louis Vuitton

Sails inspired Walt Disney Concert Hall

Berini’s sculpture inspired Beekman Tower

Assemblage of Solids Sharp and acute angles

Movement in StillnessContext

Problem Statement

Frank Gehry’s forms were highly inspired from fish and sculptures in order to capture a sense of movement and emotions. His forms expresses emotions, which humans Berini’s sculpture inspired Beekman Tower can connect to.

Zen Ca aSurr cente by vari cam genera besi The ca for the the wire m cam paralle beside in th to have better permanent sitting space which Gufa have a rather exciting product that is a is an cafe.

Frank Gehry’s forms were highly inspired from fish and sculptures in order to capture a sense of movement and emotions. His forms expresses emotions, which humans can connect to.

Material Palette

Concept Statement

Use of metal cladding

Use of sophisticated materials like glass and wood

Conclusion

Use of sophisticated materials like glass and wood

Frank Gehry’s forms are twisted and curvilinear in nature with sharp and acute angles. He believes that curves transmit emotions that humans can connect to. His curvilinear forms were best expressed with the use of inert materials like stainless steel and titanium who’s glossy surface reflects light making the building look dynamic. He wanted to create a play between stillness and motion through his forms and unusual choice of material. Stainless steel cladding was done on Walt Disney Concert Hall. The glowy surface under the light creates a sense of movement along the curves.

Glossy metal surface of Frederick Weisman Museum of Art under the sun.

Sharp and acute angles

The IAC Building has glass, concrete and steel facade.

Gehry looks at the world like a collision of thoughts that are adequately expressed through neat clean shapes of modernism. Hence, his buildings look like an assemblage of solids. He tries to express emotion through his work. His buildings look foreign but also have a sense of belongingness. He is very sensitive about site context and it’s surroundings. Movement, emotion, and unusual material are lifelong themes of Frank Gehry.

Glossy metal surface of Frederick Weisman Stainless steel cladding was done on Walt Museum of Art under the sun. Disney Concert Hall. The glowy surface under Silver titanium Guggenheim Museumof movement Change in color of the surface Foundation Louis Vuitton is constructed the lightcladded creates a sense along thewith change in changes its colour under the sun. angle of light. with billowing, soaring glass and wood. curves.

Conclusion

The form of the ‘Twisted Edge’ is inspire and curvilinear in nature, creating a sen seating is to create the same sense of m The fluidity of the form breaks the mon harmoniously celebrates its context, pu on its function and experience. Inspiring functional surface rather playful. The co was kept in mind while dividing the form visually and aesthetically balances with

Problem Statement

Movement in Stillness

outd

The IAC Building has glass, concrete and steel facade.

Frank Gehry’s form He believes that cu forms were best e titanium who’s glo wanted to create a choice of material

Gehry looks at the Zen Cafe loca through neat clean a center of att of solids. He tries by various col also have a sense generally com surroundings. The cafe uses

for the custom

Movement, emotio wire mesh cha

Silver titanium cladded Guggenheim Museum changes its colour under the sun.

Change in color of the surface with change in angle of light.

parallel throug beside each o to have a cons better permanent sitting space which is more Foundation Louis Vuitton is constructed have a rather exciting product that is aestheti with billowing, soaring glass and wood. cafe.

Concept Statement Use of sophisticated materials like glass and wood

Conclusion Frank Gehry’s forms are twisted and curvilinear in nature with sharp and acute angles. He believes that curves transmit emotions that humans can connect to. His curvilinear forms were best expressed with the use of inert materials like stainless steel and titanium who’s glossy surface reflects light making the building look dynamic. He wanted to create a play between stillness and motion through his forms and unusual choice of material.

The IAC Building has glass, concrete and steel facade.

Foundation Louis Vuitton is constructed with billowing, soaring glass and wood.

The form of the ‘Twisted Edge’ is inspired by th and curvilinear in nature, creating a sense of m seating is to create the same sense of movem The fluidity of the form breaks the monotonous harmoniously celebrates its context, purpose, a on its function and experience. Inspiring from t functional surface rather playful. The concept o was kept in mind while dividing the form into p visually and aesthetically balances with space

adequately expressed gs look like an assemblage buildings look foreign but ut site context and it’s

es of Frank Gehry.

Archi Shah UG190169

The Twisted Edge

Final Design Exercise

Surrounded by lush greenery, Zen cafe is located on the campus of CEPT University, Ahmedabad. It is an open cafe just beside the entrance of the campus. The built space follows the language of exposed brick and concrete throughout the campus, juxtaposed with the Gufa in the center. Shining bright in the afternoon sun like a collection of shells, the facade of Gufa is cladded with China mosaic on ferrocement. The Gufa is an underground art gallery and surrounded by indoor and outdoor exhibition space.

Zen Cafe located on the campus of Ahmedabad ni Gufa, the place is a center of attraction for youngsters and art enthusiasts. Surrounded by various colleges, the place is often crowded in the evening. People generally come in groups of 3- 5 to relax and spend time with their friends. The cafe uses brick ledge and concrete tables as permanent sitting space for the customers. When the place is crowded, they use wooden chairs and wire mesh chairs as a part of the temporary setup. The brick ledge runs parallel through the existing built structure. As a result, users have to sit beside each other which doesn’t give enough privacy and is uncomfortable to have a conservation with the other person. Thus, there is a need for a better permanent sitting space which is more organized. Keeping user group in mind, it would be nicer to have a rather exciting product that is aesthetic and balances between the visual language of Gufa and the cafe.

Concept Statement The form of the ‘Twisted Edge’ is inspired by the work of architect Frank Gehry. His buildings are twisted and curvilinear in nature, creating a sense of movement in the form. The concept behind designing the seating is to create the same sense of movement which also compliments the Gufa and its surrounding. The fluidity of the form breaks the monotonous verticality of the exposed brick structures and harmoniously celebrates its context, purpose, and function. The site is divided into different levels based on its function and experience. Inspiring from that, the seating also has a subtle level difference making the functional surface rather playful. The concept of the assemblage of solids seen in Frank Gehry’s buildings was kept in mind while dividing the form into parts to make it look interesting. The form of the seating visually and aesthetically balances with space and functionally severs its purpose.

Analysis & Interpretation Problem & Concept

Problem Statement

Elements of Form and Space Studio BD 2004

h sharp and acute angles. connect to. His curvilinear e stainless steel and ng look dynamic. He h his forms and unusual

181

Context

CEPT University Faculty of Design

ess

SITE ANALYSIS

Elements of Form and Space Studio PROCESS AND DESIGN DEVELOPMENT

Initial Explorations

COLOR MATERIAL FINIS

Design Development

Materials Present in the Conte

The initial explorations were done to find fluidity and movement in the forms. Fish is the main inspiration for Frank Gehry, he believed that the form DESIGN of fish has aDEVELOPMENT sense of movement in PROCESS AND it which inspires emotion. Hence, the chosen form has an abstract representation of fish.

Initial Explorations

COLOR MATERIAL FINIS

Design Development

Materials Present in the Conte

The initial explorations were done to find fluidity and movement in the forms. Fish is the main inspiration for Frank Gehry, he believed that the form of fish has a sense of movement in it which inspires emotion. Hence, the chosen form has an abstract representation of fish.

Exposed brick and concrete

Material Palette

Exposed brick and concrete Mahogany wood

Rose wo

Material Palette

White concrete

Grey con

Mahogany wood

Rose wo

White concrete Finish and Details

Grey con

- White polished concrete, teak wo make the seating. - White concrete maintains the ma language of the space - Wood adds the natural essence

Archi Shah UG190169

- White polished concrete, teak wo make the seating. - White concrete maintains the ma language of the space - Wood adds the natural essence

COLOR MATERIAL FINISH

Materials Present in the Context

Exposed brick and concrete

The Twisted Edge

Final Design Exercise

China Mosaic

Mahogany wood

Rose wood

Teak wood

White concrete

Grey concrete

Cream concrete

Ideation & Development

Material Palette

- White polished concrete, teak wood and reinforced bars are used to make the seating. - White concrete maintains the material palette and balances the visual language of the space - Wood adds the natural essence to the seating.

Finish and Details - Smooth polished concrete surface which reflects sunlight in the day time adding a sense of movement in the form. - Teak wood oil finish is applied on the wooden surface to prevent it from turning into grey when

Elements of Form and Space Studio BD 2004

182

Finish and Details

183 Exploded View

Technical Drawings

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Archi Shah UG190169

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Elements of Form and Space Studio

CATALYST by Bansari Shah

Product: Partitioning | Context: Libraries and Reading Rooms Design Inspiration: Toyo Ito

Final Studio Panels

Exploring radii manipulation in three dimensional forms and associating certain attributes to forms to generate better understanding of the forms

Motherforms - a set of 50 forms made on a 12cm x 12 cm grid

DECONSTRUCTION OF SPACE An exercise to analyse space through vertical, horizontal and diagonal lines; developing planes and volumes. On the right is the entire space followed by the study

ENDFORMS An exercise to create forms with creative transitions where the end profiles and pre determined. These forms venture outside a definite box and have no volumetric constraints as seen in previous form explorations

Initial explorations with radii manipulation for various motherforms A set of 3-D motherforms made on isometric grid with each side meausuring 9 cm

Initial explorations with two endforms.

Using gradual change in radius to achieve an integrated form in 5 steps

Explorations with radii manipulation on some of the selected motherforms. At least five iterations were made for each motherform

A few selected forms were expanded and explored in 21 steps

Bold | Symmetrical

Fluid | Continuous

Further explorations with multiple endforms. Here, all endforms are circles or ellipses

A render of the visulalised final model

Symmetrical | Similar Many more exploration not shown here are possible with the motherform

The first exploration creates a soft for with subtle radii and the second one makes an angular form with more intense radii manipulation

The final model made with 3 mm thick transluscent black acrylic sheet Side view

Top view

Stacking on a single axis emphasised the curves and the niches made by them and provided a directed spinning motion. Acrylic makes evry stage of the form stand out while still being able to be percieved all the twists ad bends of the entire form. While the first form remains symmetrica and rigidl, like the original, the second and third manipulated forms are assymetric and fluid, despite having a prominent negative space.

INFERENCES BASED ON RESEARCH

Toyo Ito (born 1941) is a Japanese conceptual architect and 2013 Pritzker Laureate

- Lightweight and fluid spaces

Inspiration

Bansari Shah UG180103.

Deciphering Design Language of

A form with three endforms along with its multiple cross sections

The first and third manipulated forms use the inner edges - the changes are more subtle. The second form uses outer as well as inner edges, making the it more bold and distinguisable.

Nature

TOYO ITO

- Using prosity and transparency in material and form

Ito is an exceptionally sensitive designer who believes that people come first and architecture should provide freedom and comfort. He creates fluid and open spaces and does not dictate or attempt to control how his spaces are used.

- Integrate practical straight lines and organic curves - Strong sense of geometry - Influences: Nature and natural geometries and forms

Ito does not strive to make monumental structures and has described his work as ephemeral and temporary.

Tod’s Omotesando Buiding Tokyo, Japan 2004

Attributes and Qualities

The International Museum of Baroque Puebla, Mexico 2016

Sendai Mediatheque Sendai, Japan 2001

National Stadium (World Games Stadium) Kaohsiung, Taiwan 2009

Thirteen non-uniform tubes of varying diameters, inspired by large trunks of rainforest trees support the building’s structure and house utilities like elavators and staircases.

While the overall form of the stadium resembles a flowing river, it is covered in solar panels that are capable of powering the stadium at full capacity and much of the surrounding areas when inactive.

Mikimoto Ginza 2 Tokyo, Japan 2005

Inspiration Geometry and Parametrics Context and Problem Statement

White U Nakano, Japan, 1976

Toyo Ito primarily designs public spaces including libraries, theatres, stadiums, museums, although some of his work includes commercial spaces and offices.

Meiso no Mori Cremetorium and Funeral Hall (Forest of Meditation) Kakamigahara, Japan 2006

Partitions are used in large open spaces to define a function and visually or auditory separate smaller spaces. Often, partitions used in libraries and reading rooms use an opaque material that completely blocks any visual and makes the space seem small and constricting; such spaces would also require its own light source contributing to higher energy usage. Alternatively, partitions also use transparent material like glass that fails to give any privacy or comfort.

Geometry The relationship between Horizontal and Vertical elements While in certain works, the roof, or the dome, seems to be resting, almost lightly, on the vertical strcuture of walls or columns. In other works, the vertical and horizontal members have been integrated into a single form like arches. While both seem too evoke lightness and airiness, the inegrated forms are arguably more fluid and seem to be more elegant.

Concept Statement The proposed partition provides a system that is lightweight and porous with appropriate use of transparent and translucent material. It can be easily assembled and disassembled and is available in various configurations of modules.

Yatsushiro Municipal Museum Yatsushiro, Japan 1991

It allows breathable, light spaces that, while creating internal, private areas and preserves the sense of having an intimate reading or study environment which isn’t disconnected from the larger space of the library. It allows interaction and activity through the partition.

National Taiwan University Library Taipei, Taiwan 2014

The Silver Hut Tokyo, Japan 1984

Nipro Hachiko Dome Odate, Akita, Japan 1997

Tama Art University Library Tokyo, Japan 2007

National Taichung Theater Taichung, Taiwan 2014

Serpentine Pavillion Westminster, United Kingdom 2002

Continuous and fluid interior spaces made by series of ‘catnoids’ tube-like forms made from rotating a caternary curve around an axis.

Pattern derived from an algorithm of a cube as it expanded and rotated. It originated in a sketch connecting a half and a third of adjacent sides of a square, resulting in many criss-cross patterns.

The dimensions of the partition would be such that it can be used to create individual or shared reading areas and would not interfere with any external light sources, which is also eased by having a good proportion of transparent and light-permeable translucent materials

Elements of Form and Space Studio BD 2004

Plan (part)

Tower of Winds Yokohama, Japan, 1986

Analysis & Interpretation Problem & Concept

Final Design Exercise

Fluid and Weightless

Catalyst

Light | Unfinished All radii manipulation explorations of this form give very different result, with different attributes, thus it would be a versatile form.

CEPT University Faculty of Design

The diagram shows how the motherform developed from a set of heavy blocks to a dynamic form with four distinct corners in different directions. The middle step is a balance between a hard sturdy form and an active, lively one.

Bansari Shah UG180103.

3-DIMENSIONAL RADII MANIPULATION

Exploring integration of 2 dimensional forms using radii manipulation and visulaising a transformation of form in 3 dimensions

Initial Design Processes : Gestalt Infographics, 2D & 3D Radii Manipulation, Endforms, Deconstruction of Space

2-DIMENSIONAL RADII MANIPULATION

Elements of Form and Space Studio BD 2004

GESTALT LAWS OF VISUAL PERCEPTION Gestalt is a german word for ‘form’. Within the larger Gestalt Psychology come the Principles of Grouping called Pragananz. Pragnanz or The Law of Simplicity states that we perceive visuals in its simplest form, removing all complexities and unfamiliarities when we subconsciously group a set of objects based on certain laws as shown here.

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CONCEPT STATEMENT The proposed partition provides a system that is lightweight & porous with appropriate use of transparent and translucent material. It can be easily assembled and disassembled and is available in various configurations of modules. It allows breathable, light spaces that, while creating internal, private areas and preserves the sense of having an intimate reading environment which isn’t disconnected from the larger space of the library. It allows interaction and activity.

CMF : COLOUR, MATERIALS, FINISH

COLOUR

Bansari Shah UG180103.

PROBLEM STATEMENT Partitions are used in large open spaces to define a function and visually or auditory separate smaller spaces. Often, partitions used in libraries and reading rooms use an opaque material that completely blocks any visual and makes the space seem small and constricting; such spaces would also require its own light source contributing to higher energy usage. Alternatively, partitions also use transparent material like glass that fails to give any privacy or comfort.

Pragmatic/Program requirements: Versatile and neutral colours that can work with various context and backgrounds

A Porous Partition System

Concept: Lightweight and porous. So light and subtle colours are required

Toyo Ito: Colour and Material Palette

Emotions and attributes associated with the colour palette: calm, elegant, clean, formal

DESIGN PROCESS

PANTONE 11-0601 TPG Bright White

PANTONE 537 C

PANTONE 7506 C

PANTONE 411 C

PANTONE 664 C

PANTONE 4184 C

PANTONE 2707 C

PANTONE 400 C

MATERIAL Concept: Porosity and lightwieight, using porous and translucent materials

Steel, Aluminium Sheets (Planar): sharp, edgy, clean, cold

Grey 1 (Pantone 4135 C, Hex 828B9E): heavy, stormy

Steel (Volume): heavy, solid

FINISH

Grey 2 (Pantone 422 C, Hex 9AA2A4): neutral, dull

Perforated metal sheet - Steel, Aluminium (Planar): light, free, ambigious

Brown (Pantone 466 C, Hex C3A776): rough, woody

Concrete (Planar, Volume): heavy, rigid, sturdy, solid

Lavender (Pantone 665 C, Hex C6BBCE): subtle. elegant

Wood (Linear, Planar): lightweight, rough, textured

Grey 3 (Pantone 656 C, Hex BCC4D0): ambigious, soft

Glass (Planar): light, clear

MDF: Smooth and matte, laminated

MATERIAL PALETTE 1

Acrylic: Smooth and anti-reflective/non-glare for clear visibility, clear and tinted

MDF/HDF, clear acrylic, perforated metal sheet (aluminium), wood

Ideation & Development

Initial idea for a connected partition system, ref. tangram puzzle

Pantone Bright White (Hex F5F7F6) : ligtweight, clean, cold, pure

Perforted aluminium: Custom perforation pattern Shoji paper: Basic Professional Shoji Paper (0.14 mm thickness, 48% Light permeation

Perforation pattern 1:5 Scale

Wood: Stained, preserve grains and texture MATERIAL PALETTE 2 MDF/HDF, tinted acrylic, Shoji paper (washi), wood

Geometry explored to produce modules using the concept of the Sierpinski Triangle with right-angled triangles Model to demonstrate differnt material qualities

Material Palette 1

Components derived fom the geometry with dimensions

Material Palette 1

Material Palette 2

Perforation pattern for metal sheet derived from the original geometry

Combinations with different modules to make a single 1200mm x 2400mm panel. More combinations are possible and only one has been explored further to detail.

Corresponding Colour Palette

Scale drawing after adding radius. Radii were removed from the part frames eventually and only an internal radius maintained.

Corresponding Colour Palette

254

Renders with different material and colour palettes

Catalyst

Emotions and attributes associated with colours and materials used by Toyo Ito

Neutral colours and light and dulled colours as used by architect

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Elements of Form and Space Studio BD 2004

- Opaque materials (25%): wood (plywood, MDF, HDF), metal, concrete, stone, polymers/plastics

CEPT University Faculty of Design

- Transparent materials (25%): glass and acrylic

Final Design Exercise

- Translucent materials (50%): perforated sheets, Shoji paper (washi), frosted glass, translucent/tinted acrylic

Different parts would be made of different materials : transparent, translucent, and opaque. Radius added to corners of individual parts and a gap is introduced to reinforce idea of porosity

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Bansari Shah UG180103.

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Elements of Form and Space Studio BD 2004

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Further in this design, I would like to explore porosity and transparency in the third axis as the product here is still quite two- dimensional. Functionally, I would like to add a display system that can be used to showcase new arrivals at the library or be used to place objects temporarily while in use in reading areas

ELEVATION 35 15

Component details and joining to main frame

Junction and joinery details Ø90 Ø80 Ø30 Ø20

15 PLAN

CEPT University Faculty of Design

Frame: Whitewash stained wood Cross-section 30 mm x 55 mm

Elements of Form and Space Studio

STELANA by Maitreya Pathak

Product: Suspension Chair | Context: Garden Areas Design Inspiration: Luigi Colani

Form Manipulation

Mother Forms

Gestalt principles are laws that describe how we as humans group similar elements, recognize patterns, and simplify complex visuals.

These forms were generated from a 3 by 3 base grid using basic subtraction. The grid was further divided to get more ﬂexibility.

End Forms

Maitreya Pathak UG180328

2D Form Manipulation

Gestalt’s Principles of Psychology “Perceptive Sense in a Chaotic World”

This Exercise was transition of two or more End forms in a visually striking manner. This taught us about the transition in surfaces and how does it visually affect a certain form and how do two different end forms come together.

Mother Forms

These were made by subtracting mass from a 3 X 3 X 3 cube. The aim was to achieve simple forms with enough mass to manipulate.

Law of Similarity Selected Forms

“Elements which are similar in term of color,shape and attributes are grouped together”

5 Step Radii Manipulation Here we saw how to incorporate radii manipulation and how it changes the character of the form in just 5 steps where we see a rapid transition between two forms.

Radii Manipulation Sketches

Initial Design Processes : Gestalt Infographics, 2D & 3D Radii Manipulation, Endforms, Deconstruction of Space

Here we had to visualize and perform radii manipulation on paper thus deepening our understanding of the subject matter. As well as knowing what is impossible and cant is done.

Lorem ip You dolor sit amet, see sectetuer adipis Ang elit, Red nonu Arrowmmy. You see a red cross due to the law of similarity, you also read “ You see a red cross” out of the random text.

Law of Proximity “Elements which are in close proximity are grouped together.”

Two types of teeth is clearly identiﬁed due to proximity, that to subconsciously

Law of Continuity

21 Step Final Form Manipulation We had to ﬁnalize a particular form and then manipulate the form in 21 steps to observe how the form slowly evolves into the ﬁnal form.

“ Human eye follows the path which is smooth obstructed by elements”

3D Models and Rendering Based on the sketches , we made these forms in 3d on softwares like rhino and rendered it using keyshot for effect of light and shadow and how do these forms look in a 3d context.

We tend too turn the package around due to continued graphics along the four faces, due to law of similarity.

Law of Closure

After ﬁnalizing the form, it had an aggressive feel to it, with a sense of direction to it. For me, it felt like the forked tongue of a snake thus tried expressing the form that brings out that.

This form has a front directional, swift, dynamic character where as the mother form is static, symetrical in nature.

Form has less visual bulk and is much sleeker and elegant inpired from sting ray with its curves and a belly to the form.

The form has a dynamic look which makes it look much lighter and the bottom radius makes it look in motion.

The form has a smooth , transitional character where as the mother form is jagged.

Elements of Form and Space Studio BD 2004

Inspiration and Concept Statement

“ Human mind tends to ﬁll in the incomplete silhouette “

6 and letter B is clearly visible cause our mind ﬁlls the gaps for us

Law of Figure and Ground “ Human eye needs a ground to identify ﬁgure in a given visual”

Figure differentiation between red and black triangle is difﬁcult due to ﬁgure ground

Law of Focal Point

Materiality and Form

“ Whatever stands out visually in a composition will grab viewers attention ﬁrst”

Model made out of laminated MDF and black acrylic ( wanted to use green but was viewers attention.

The Colour and ﬁnish of the form adds to the futuristic vibe and extra-terristrial vibe of this form.

not available). And laser cut peices in form of a snake stance.

Maitreya Pathak UG180328

The black line is the focal point of this composition and it grabs

CEPT University Faculty of Design

I wanted to have look how does material , Finish and environment affect how do you perceive form thus few exploration below.

Luigi Colani

Luigi colani was born in Berlin and is considered as father of bio-design. As a child his fascinations included planes, trains and was influenced by streamline fluid forms. Colani started study sculpture at art academy, Berlin in 1945. He was an excellent sculptor which reflects into his models. He also went on to study aerodynamics at Paris.

Final Design Exercise

Analysis & Interpretation Problem & Concept

Conclusions

Problem Statement

Inspiration in all of colani’s work is nature and specifically animals like sharks, Beetles, Whales, Frogs, and even snails. The influence of nature and moreover many products like the universal charger relates to beetle directly in terms of visual design but on functional design in terms of the pincers which hold the phone in its place. Colani is usually drawn to aquatic animals in terms of aesthetics due to their free-flowing nature and they are most evolved in terms of performance and wonderful curves.

Sculptural Aesthetics Colani was a sculptor and then went on to study aerodynamics in Paris, but his root was still in sculptures and is well reﬂected in his work. His work has a profound three-dimensional quality and exploration and ideation are done in three dimensions. These result in very beautiful yet performance-based forms which are derived from a deep understanding of aerodynamics and in born talent as a sculptor. This quality is reﬂected at any scale of his work.

Futuristic Forms Forms which he produced was way ahead of its time and made a statement which had a lot of criticism, but he held on to his language and made on making extravagant forms. Then later on he was considered the father of bio-design. His forms are still futuristic in today's time and still stand out.

Perforation and Voids

Exageration of Curves And streamline forms

colani integrates voids and perforation in his forms, visually

colani is known for his extravagant forms and exaggeration of curves to achieve a visual and functional aesthetic. His forms are usually very aerodynamic and streamline which also translates to a certain degree of ﬂatness in his design, which is reﬂected In his work.

to make the form overall lighter and technically creates efﬁciency and gives a sense of performance. His forms were crafted to achieve these unreal speeds that no one has ever reached.

With brainstorming is done we ﬁnalize upon Indoor/outdoor swing as my building product of choice. As researching a monotony was seen in terms of overall design thus, the need for a visual and aesthetic overhaul of the product which makes a statement and grabs attention was the aim of the project.

Concept Statement We established a few insights and key takeaways f rom the research part of the process and derived upon the idea of sculptural aesthetic, Inspiration f rom nature, streamline designs. I wanted to add the idea of seamlessness and exaggeration of the forms and curves into the design of a traditional hanging swing and went on developing the idea through the visual language and materials through the lens of Luigi colani.

Elements of Form and Space Studio BD 2004

Inspiration in all of colani’s work is nature and specifically animals like sharks, Beetles, Whales, Frogs and even snails.

Inspiration from Nature

Stelena

Reﬂective Sketches

Body of Work

CEPT University Faculty of Design

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187

Initial Explorations

CONCEPT STATEMENT We established a few insights and key takeaways from the research part of the process and derived upon the idea of sculptural aesthetic, inspiration from nature, streamline designs. I wanted to add the idea of seamlessness and exaggeration of the forms and curves into the design of a traditional hanging swing and went on developing the idea through the visual language and materials through the lens of Luigi Colani.

Further Development

As we decided on taking up our door swing I started my design process by looking at various styles and sizes of swings available. And leading up to the idea of being aﬂoat.

This doodle inspired me to carry on the idea of being aﬂoat with pole suspension and future design development came into being.

Reﬁnement in Form

Colour Material Finish

With dolphine as an inpiration i started visualising the forms with inclusion arm rests which transtion seamlessly from the back made from a single surface.

This Board envisons the material choices, Finishes related and the colour on both pragmatic and emotional stand, and how do these affect the user of the product or how it affect the environment they are in.

Maitreya Pathak UG180328

PROBLEM STATEMENT While researching, as a monotony was seen in terms of overall design and thus, the need for a visual and aesthetic overhaul of the product which makes a statement and grabs attention was the aim of the project. JOURNEY Our journey was from dot, then to lines then to planes, and then seeing the planes turn into solid and then manipulating the solids using various tools now we are acknowledged with like radii manipulation. The visualization of form and how to appreciate good form was learned during this studio.

Product

Product is a suspension chair inspired by works of Prof. Luigi Colani which has two major components, the pole and the single surface chair. These two components have diffrent material choice as per the program need such as one being structural and other being free ﬂowing.

Calming Feel to the Whole Form

As colani makes me think of movement I tried a pod like design which is ﬁxed at the seat and the shell of rest can revolve so it has two viewing sides

Sense of energy which resonates with the form

Stelena

Final Design Exercise

Sense of performance and mystery

Lightness:

Thinner Material or Transparency

Speed:

Highlights on the surface along the length of the form, aerodynamic form

Seamless:

Material which can be curved and allows moulding

Ideation & Development

Emotions

Surfaces I tried ﬂat bench swings inspired by aquatic forms with curves and which are comfortable to sit on.

Carbon Fiber

Fiber Glass

Good strength even at thinner proﬁles and overall more than ﬁberglass.

Easy to mould maintaining thin cross section Surface quality medium ( Or high with excess resin)

Excellent surface quality with little post manufacturing processes.

Colour options possible.

Easily Moldable

Easily moldable with some constraints

Colours limited

Structure Inspiration

Aluminium

Stainless Steel

Investment casting

Members and assembly (pipe extrusion mainly)

Surface ﬁnish native matte untouched

Brushed ﬁnish on the members

Why investment cause ability to have voids within the members and have a smooth transition.

Natural colour metallic silver which has greater contrast than aluminum

Colour natural metallic silver

Context

Carbon steel for its high structural strength and fatigue tolerance

201.0- T43 insulated mould cast aluminium

The context of the product was an outdoor garden where this product would stand out and will make a visual statement in terms of its design. I wanted the product to be close to nature but wanted a sharp contrast in the feel of the product in the space, so it would stand out and grab people's attention and would be compelled to interact with it. Thus my context is an outdoor garden.

CEPT University Faculty of Design 150

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Maitreya Pathak UG180328

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Final Design Exercise

Steel Pipe Outside Ø33.8. Class B - medium duty wall thickness 3.25MM IS:1239 Joinery : base to central spine is Gas Tungsten Arc Welding Finish: Brushed

Stelena

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Body Surface: 6 layer carbon fiber surface : 210g woven fabric and 300g unidirectional. Surface is Axalta spectra master metallic paint (BM064)

Journey Our journey was from dot, then to lines then to planes, and then seeing the planes turn into solid and then manipulating the solids using various tools now we are acknowledged with like radii manipulation. The visualization of form and how to appreciate good form was learned during this studio.

Elements of Form and Space Studio BD 2004

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Cacoon inspired swing ideas with the idea of being aﬂoat.

Here I revisited the works of Luigi colani and saw the inﬂuence on his designs. There was a very profound impact on aquatic animals and the translation of their form and movement into the forms he designed. I looked at dolphins and as my inspiration and began sketching. As the design progressed, here armrests were integrated into the body design, and the idea of over-exaggeration of the forms and curves was explored.

CEPT University Faculty of Design

As colani uses curves I thought of a single sheet FRP outdoor swing, which integrates the idea of seamlessness.

Elements of Form and Space Studio BD 2004

Final Form

Concrete (Planar, Volume): Concrete heavy,(Planar, rigid, Volume): heavy, rigid, Brown (Pantone 466 C, Brown Hex C3A776): (Pantone 466 C, Hex C3A776): sturdy, solid sturdy, solid rough, woody rough, woody Shoji paper: Basic Professiona Shoji p mm thickness, 48% Light mm perm th Lavender (Pantone 665 Lavender C, Hex (Pantone Wood 665 C,(Linear, Hex Planar): lightweight, Wood (Linear, Planar): lightweight, C6BBCE): subtle. elegant C6BBCE): subtle. elegant rough, textured rough, textured Wood: Stained, preserveWood: grain

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S C A L E M O D E L I N C O N T Grey EX T 656 C, Grey 3 (Pantone Hex BCC4D0): 3 (Pantone 656 Glass C, Hex (Planar): BCC4D0): light, clear Glass (Planar): light, clear L O C A T I O N : M O N D E A L H E I G H T Sambigious, soft

yules explored using the to produce conceptmodules using the concept angled rpinskitriangles Triangle with right-angled triangles

ambigious, soft

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY VERSION AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT

ELEMENTS OF FORM AND SPACE

Model to demonstrate differnt Model to demonstrate differnt material qualities material qualities

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION PRODUCED

Perforation pattern for metal sheet Perforation pattern for metal sheet derived from the original geometry derived from the original geometry

STUDIO BD 2004

etry nts with derived dimensions fom the geometry with dimensions

PRODUCED BY AN AUTODESK STUDENT VERSION

Material Palette 1

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Our journey was from dot, then to lines then to planes, and then seeing the planes turn into solid and then manipulating the solids using various tools now we are acknowledged with like radii manipulation. The visualization of form and how to appreciate good form was learned during this studio.

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ALLaround MEASUREMENTS IN MM This studio was based form generation andARE form development, bow this project should be looked at critically in terms of various joineries and materials which are to be used in the current project. I feel this is one thing lacking in my project is the joinery and speciﬁc joineries related to that material.

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Body Surface: 6 layer carbon fiber surface : 210g woven fabric and 300g unidirectional. Surface is Axalta spectra master metallic paint (BM064)

PARTS AND IT

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DESIGN DEVELOPMENT Corresponding Colour Palette

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tions s to make with different a single modules to make a single mbinations x 2400mm panel. are possible More combinations are possible one her to has detail. been explored furtherScale to detail. drawing after addingScale radius. Radii after adding radius.Renders drawing Radii with different Renders with different were removed from the partwere frames removed from the partmaterial frames and colour palettes material and colour palettes eventually and only an internal radiusand only an internal radius eventually maintained. maintained.

RSION

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Swing inspired from a

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Chrome finished stool legs

Rubber gaskets

CLEAR RED GLOSSY FINISH

CLEAR BLUE GLOSSY FINISH

CLEAR GREEN GLOSSY FINISH

CLEAR MATT FINISH

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Product Pallet

Ice Cube

Suhani Nathan UG180601

Final Design Exercise

Mellow- A Seating Artefact Final Design Exercise

PRODUCT CONTEXT

This seating artefact is designed for the SID plaza and space around library for students and faculties for leisure and various different purposes. This bench is designed by minimalistic approach and comfort of the user. The use to material in its own way creates a natural essence that Products Developed connects the user with nature and its PRODUCT CONTEXT surrounding place. MODEL (Scale : 1:20) Moreover, this is a two seating artefact designed for its universal use

Mellow- A Seating Artefact

H CONTEXT

Elements of Form and Space Studio BD 2004

Vaishnavi Borkar UG191457

3D RENDERS

iversity f Design

3- DIMENSIONAL RENDERS

Vaishnavi Borkar UG191457

3D RENDERS

Mazortal

Final Design Exercise

Studio BD 2004

orm and Space BD 2004

Elements of Form and Space

Isha Shah UG180205

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Elements of Form and Space Studio

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BD2004 Elements of Form and Space Studio Booklet

Academic Year 2020 - 2021

Tutors: Gaurang Shah and Amal Shah Studio Assistant: Shikha Mehta