INTERIOR DESIGN GRADUATION PROJECT by anweshaguha05

GRADUATION PROJECT INTERIOR DESIGN (BACHELOR OF DESIGN)

Vol. 1 of 1

Project Title:

‘Ryokan’- A Japanese Inn

Name:

Anwesha Guha (7622950637) Project Mentor:

Timcy Mehta 2020

The Graduation Project Evaluation Jury recommends ANWESHA GUHA from Interior Design Department for the Master’s/Bachelor’s Graduation Degree of Unitedworld Institute of Design, Karnavati University, Gandhinagar, India herewith, for the project titled ‘Ryokan’- A Japanese Inn. The project is complete in every aspect in accordance to the guidelines set by the institution.

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Student document publication, meant for private circulation only. All rights reserved. No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Anwesha Guha and Unitedworld Institute of Design. All Illustrations and photographs in this document are Copyright © 2018 by respective people and organizations. Written and designed by Anwesha Guha, under the guidance of Timcy Mehta. Printed digitally in Name the Place May, 2020.

ORIGINALITY STATEMENT

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this degree project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this degree project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the Unitedworld Institute of Design the right to archive and to make available my degree project/thesis/dissertation in whole or in part in the Institutes’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have neither used any substantial portions of copyright material in any document nor have I obtained permission to use copyright material. Student Name in Full: Date:

Student Name in Full: Signature: Date:

CONTENTS 1. ACKNOWLEDGEMENT........................................................................................................................................8 2. SYNOPSIS...........................................................................................................................................................9 3. INTRODUCTION...............................................................................................................................................18 3. RESEARCH.......................................................................................................................................................19 4. CASE STUDIES.................................................................................................................................................36 5. SITE ANALYSIS..................................................................................................................................................47 6. CONCEPT..........................................................................................................................................................50 7. DESIGN DEVELOPMENT...................................................................................................................................53 8. BIBILIOGRAPHY..............................................................................................................................................172

ACKNOWLEDGEMENT I am extremely grateful towards various people because of whom I was able to complete my Graduation Project. Firstly, I would like to thank my father who inntroduced me to interior design and made me realise my interest in this field and my mother who brought my passion for design. Then, I would like to thank my institute and university, UnitedWorld Institute of Design and Karnavati University, respectively, for providing me with knowledge and nurturing my skills. Next, I want to thank my foundation faculty for providing me with a strong base to go forward in this field and my department faculty for expanding my knowldege about interior design, always being available for guidance and letting the students explore all types of spatial designs. I especially want to thank my internal mentor, Timcy Mehta, for guiding me throughout the process of the project and providing me with helpful insights to tackle the challenges and improve my design. Thank you.

SYNOPSIS AIM: The Graduation Project aims at designing a traditional Japanese Inn which is known as “Ryokan” in Japanese. A ryokan exists to provide an experience of Japanese culture and hospitality and make foreigners become familiar with the culture. It typically features tatami-matted rooms, communal (sento) and private baths or hot springs, known as onsen. But the hypothetical ryokan to be designed will also have a Japanese restaurant, a tea cafe for for tea and tea related products and zen landscape. A ryokan is just not a place to sleep and relax but an opportunity for people to experience the traditional Japanese lifestyle and hospitality. It aims at creating a peaceful and comfortable atmosphere for enjoyment and relaxation. Taking this as the core value of my project, I want to provide a glimpse of the authentic world of Japanese and not just it’s westernized or modern version. Even though, Japan is a country made of small islands, its culture is quite diverse and is more than just being a country with strict ideologies. At it’s core lies fundamental design principles based on religion which promote peace and tranquillity. Accompanied with it are various interesting arts that other cultures might not think are important. Even though Japan is far ahead of the current time and has huge futuristic

impact on the world, it still upholds its traditional practices strongly. OBJECTIVE: Through the ryokan, I want to promote the diversity and authenticity of this ethnicity and clarify the vague and constricted idea people have regarding this culture. Also, I want to focus on the Japanese concept of relationships forming through space and giving space a more important meaning than just being a three-dimensional factor. In India, a lot of westernization is happening and people like to follow the modern society in comparison to traditions which is getting lost. Being an Asian country, we don’t know much about the rest of the neighbouring Asian countries whereas we know more about the far-off Western ones. Just like India, Japan also takes pride in its traditions. Traditions are all about upholding your core values and keeping in touch with your roots, and when one does form a bond with their core values, they find peace and serenity in it. If being in India, we are getting to experience so many Western cultures then we should also have the privilege to experience Eastern cultures through their architecture, design and arts. Also, being a design student, I want to be able to promote other styles of designs and types of arts and what can be better than Japan which has various philosophies like zen,

wabi sabi, ikigai, mono no aware and many others to mention from, that are utilised not only in daily lives but also in design and several beautiful art forms that emerge from these philosophies. SCOPE: As the ryokan is something which is an unknown concept beyond Japan, it will be of interest to people who like to explore and travel. Targeted across people of all ages, it will attract especially those people who are take interest in Japan. The ryokan will also be promoting tea and its value and as tea is something that is becoming more in trend, the audience will feel connected to it. The audience will also be able to experience completely new things which are absent in India, through the ryokan. LIMITATION: The limitation of the project resides on the factor that I will not be working on the architecture or construction part of the ryokan and also the tea house which has significance in Japanese design. According to the availability of the building and site, the ryokan will be designed. The landscape will itself be a limitation due to geographical differences. Another limitation will be that not everyone will relate to the project due to differences in

preferences or might find it better to visit the country itself due to the differences in the scenic beauty and non-availability of onsen which plays an important role in the ryokan. JUSTIFICATION: Spaces are the best method to make people experience a country’s culture and values without actually having to go there. This will also promote Japan in India and people will form a deeper understanding of what Japan is about, beyond just it’s technological advancements and how one should stay connected to their roots even in the modern world. And as Japanese design is known for its mixing of traditional and contemporary elements, it promotes the idea of being grounded while being open-minded. Being able to bring another culture in India will increase its diversity and also its open-mindedness and friendliness towards other cultures. METHODOLOGY: For the Graduation Project, I shall be researching on the cultural aspects of Japan, the various philosophies and art forms it has and the different types of spaces that are important to the Japanese. My major focus will be on the styling of the spaces while also looking at the standards of Japanese interior

design as I have to recreate a mini Japan through the ryokan. I will be interviewing my friend who is Japanese and lives in Tokyo about the life in Japan and the essential values and do’s and don’ts that they follow. I will also go through books and articles to help myself with the research. The flow chart on the next page shows the process of how research and case studies will be done. The names of the books and the links to the articles used in the research and case studies are mentioned in the bibliography. TIMELINE: By the end of February, I shall be completely done with the research and start formulating my concepts. After that I will start working on my layouts and sections and then focus on styling. By mid-march, I shall be done with my layouts, sections and 3D. After that I will be working on any final changes I need to make or additions I would be required of. Finally, by mid-April I will be almost done with my final design complete with layouts, sectional elevations, renderings, 3D and sketches.

CONCLUSION: By the end of the project, a clear and precise understanding of the Japanese culture will be formed and based on that the space will be designed to create the essence of the culture. Living in a world where people are busy with themselves and falling behind in relations, different philosophies from various cultures should be adopted to improve relationships with not only others but the self and the way of living a true and complete life where one has experienced almost everything and has lived to the fullest. And through design we can achieve that.

FLOW CHART FOR METHODOLOGY

JAPAN

RESEARCH

CULTURE

ART

RYOKAN

ARCHITECTURE AND DESIGN

SPACES

RESTAURANT

TEA HOUSE, CAFÉ AND STORE

CASE STUDIES

INTERVIEW

LIFESTYLE

ONLINE

LIVE

CAFÉ AND STORE

ZEN LANDSCAPE

BATHHOUSE

RESTAURANT

RYOKAN

CAFÉ AND STORE

RESTAURANT

BATHHOUSE

ABOUT UID Unitedworld Institute of Design offers world-class design education to create professionals, who can help meet India’s diverse design needs. UID aims at fostering strategic design linkages of innovation and entrepreneurship with various sectors of the industry. We encourage our students to pursue innovation led designs that have a radical and new meaning. The learning model at UID is incubated to create and adapt to an appropriate environment of learning that facilitates our students with new experiences. We make sure our learning model engages the learner into new dimensions of work. This model provides an environment for interactive student engagement and enhances the system thinking ability. At UID, we believe that the experiential gained while developing and implementing this unique learning model is transferable to other disciplines as well.

interiors. You work with faculty, peers, and outside professionals designing interior environments that reflect an understanding of sustainability, cultural differences, and human need for comfort and well-being. It guides you through the study of materiality, 2D and 3D form and space. Studio sequences introduce interior and architectural issues of increasing complexity, with a focus on product design, lighting, colour, and textile. Designs are developed using hand drawings, physical models, collage, and digital renderings. This course enables you to develop critical, innovative, technical, and managerial skills with respect to interior design of residential, hospitality, commercial, and retail environments and exhibition amidst shifting identities, sensibilities, values, and socio-cultural systems.

School of Interior Design The Interior Design programme empowers you to create harmonious interior spaces which reflect a balance of individual aspirations, aesthetics, sustainability and commercial viability, imbibing a spirit of inquiry, sensitivityand responsibility. This research-based, design-intensive major prepares you for careers in which you create comfortable, imaginative, and intelligently designed

ABOUT ME

Anwesha Guha is a fresher in the field of interior design. She has forever been passionate for art and wanted to become a designer since a very young age. She also has a keen interest in fashion design and dreams of bringing interior and fashion together someday. She believes design is a tool for solving problems and making the lives of people more effective and easy. Having livead at several places since young, she takes a keen interest is exploring different cutures to know about their design philosophies and experiment with the different types of styles. She feels that through a particular culture or philosophy in interior design, one can make people experience that and widen their knowledge regarding things that they have limited idea about. Through this way, she believes, design can unite the world amd make them see one another in a new light. She feels that design plays a role in making the surroundings aesthetically pleasing and enhance the beauty that already exists around us.

ABOUT MY GUIDE

Timcy Mehta is an architect and interior designer; she graduated with a Master’s degree in Architecture (Interior Design) from JNAFAU Hyderabad. She was a university topper in her B. Architecture from the same university. She has been in architectural practice since 2004 and her expertise is in designing architectural and interior spaces for habitation, hospitality, and health care. She believes that “Creativity” is a powerful skill, an intriguing ability evolving from our original perspective. She has also been involved in academics since 2012 in various design and architecture institutes. She focuses on teaching her students, both theoretical and practical approach towards design. She has been involved in research in the areas of environmental psychology focusing on the proxemics and territoriality in interior public spaces. Currently, her studies are focused in the hospitality arena.

INTRODUCTION

INTRODUCTION The Graduation Project strives at designing a “Ryokan” which is a Japanese Inn. The ryokan is essential to the Japanese culture as it provides a glimpse of Japan and its hospitality. This space upholds the true values and beauty of the culture. Through the project, I will form a better understanding of the culture and the philosophies that are the basis of Japanese design and the way of life Japanese believe in. I will also be able to understand why spaces have a deeper meaning in Japan and how they are designed to bring people together with others and as well as nature. Being an interior design student, I want to be able to understand the value of space in Japanese culture and how it plays a function in forming relationships. Thus, the ryokan has to be the best form through which it can be achieved as it will showcase the various important spaces that the culture puts importance in and at the same time, it shall promote the culture and its philosophies to direct us towards finding beauty in simplicity. Therefore, my major focus will be on styling to recreate the essence of Japan while keeping in mind the major space requirements that the Japanese enforce upon.

PROJECT PROPOSAL To design a space through which the Japanese culture can be highlighted and enforce upon the idea of relationships forming through space.

RESEARCH • ABOUT JAPAN...........................................................................................................20 • JAPANESE ART..........................................................................................................22 • JAPANESE ARCHITECTURE AND DESIGN...............................................................24 • JAPANESE SPACE.....................................................................................................27 • RYOKAN....................................................................................................................28 • JAPANESE RESTAURANT..........................................................................................29 • TEA HOUSE...............................................................................................................30 • SENTO.......................................................................................................................33 • ZEN LANDSCAPE......................................................................................................34 19

RESEARCH JAPAN

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Celebrations

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Japan, pronounced in Japanese as “Nippon” or “Nihon”, is a Pacific Ocean island nation off the coast of mainland Asia. It is comprised of approximately 6,900 islands.

In Japan, the largest holiday is the New Year’s celebration. During spring and summer, celebrations for the gods of the land and sea, or Matsuri, take place.

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Language

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Sports

The national language is Japanese. It developed during the Edo period, between 1603 and 1868.

Sumo, judo and karate are traditional Japanese sports and baseball, soccer and rugby have been adopted from other cultures.

Modern Japanese consists of three alphabets: Kanji Hiragana Katakana

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Rice has been an essential food and has been used to make various products.

Culture

Early Japanese culture was heavily influenced by China. During the Edo era, Japan exercised a strict isolationist policy. After the fall of that era in 1868, Japan reversed this practice, adopting cultural practices from all over the world. •

Religion

There are two main religions in Japan: Shinto and Buddhism. Shinto is a Japanese religion, while Buddhism was imported in the 6th century from China.

Cuisine

Japan is the number one fish importer in the world.

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Japan is a nation shaped by its rapid transition from isolationism to globalism. It represents a fusion of old world culture with newer Western practices.

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Japanese culture has many interesting aspects, both modern and traditional, such as: cuisine, architecture, performing arts, fashion, anime, manga and Geisha.

A friend of mine performing the tea ceremony Koyasan shukubo

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Temple Lodging (Shukubo)

Temples and shrines offer accommodation to visitors and serve traditional vegetarian food. Koyasan has more than 50 temples. It has been awarded as part of the “Sacred Sites and Pilgrimage Routes in the Kii Mountain Range”, a place on UNESCO’s prestigious world heritage list. •

Noh artist

Geisha

The Geisha are one of the symbols of Japan. They are performing artists, adept at playing a range of musical instruments, traditional dance and mannered conversation.

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Kimono street wear

Tea Ceremony

A ceremonial and cultural presentation of matcha (powdered green tea). The ceremony is to form a bond between host and guest that demonstrates the spirit of generosity and respect.

types: Genzai no (realistic Noh) and Mugen no (fantasy Noh). It has been designated as an “Intangible Cultural Heritage” by UNESCO.

Sen no Rikyu, a tea master, introduced the four principles of Chanoyu, Wa Kei Sei Jaku (harmony, respect, purity and tranquillity).

Japanese fashion has influenced the global world of style. It has inspired futuristic, avant-garde and the exotic, in all parts of the world.

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Noh

Noh or Nogaku is a one of the oldest traditional Japanese theatres which has two

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Fashion

From the traditional kimono, street fashion in Harajuku or luxury brands: the Japanese have created their own unique designs.

Shodo

Famous ukiyo-e painting“The Great Wave off Kanagawa”

Ikebana

JAPANESE ART Traditional Japanese art forms have been a source of fascination and inspiration for centuries. Japanese art was one of the inspirations for the Impressionist movement in Europe and America.

women or the courtesans and geisha of the entertainment districts.

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Its influence can be seen in modern art forms such as tattoo and fashion design.

Ikebana (Flower arrangement)

Some traditional Japanese art forms are•

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It is one of the most admired Japanese arts. It mostly evolved at temples and was greatly influenced by Japanese Buddhism.

Shikki

Shodo works often look vaguely like a landscape painting.

Ikebana is more simplistic than modern flower arranging as different parts of the plant are emphasized rather than just the colourful blooms.

Shodo (Calligraphy)

“Sotori Hime” by Eishi Hosado

Ukiyo-e (Wood block printing)

Ukiyo-e means ‘pictures of the floating world’, and refers to the subject matter of the prints. The subjects of ukiyo-e were often, beautiful

It also influenced European artists like Vincent van Gogh. •

Shikki (Lacquerware)

Japanese lacquerware is known for its beauty and durability. Lacquer has been used in Japan for thousands of years to protect and preserve the natural beauty of wood.

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Origami

Origami is the Japanese art of folding paper to create decorative art. The classic origami is the crane as the Japanese believe that if you string 1000 cranes then your wish will be granted. •

Kodo

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Kodo (Incense appreciation)

Before modern perfumes and scents, incense played a vital role in upper-class Japanese society. Part of kodo includes ‘incense-comparing games’ or kumiko. •

Bonseki

Buddha of Todaiji

Sculpture

Japanese sculpture is traditionally associated with religion. Wooden sculptures of protectors of Buddha such as Nio and Shitenno guard the gates to

Japanese fans

The folding fan was invented in Japan. It is considered as a cultural item that is used during rituals, dance and festivals. It was historically used as a weapon of war by the samurai.

many temples. One of the most priceless cultural artefacts is the Buddha of Todaiji. •

Bonseki

Bonseki are miniature landscapes on black lacquer trays that make use of white sand, pebbles and small rocks. It is viewed as a temporary work of art as it is considered impermanent according to the Japanese aesthetic of mono no aware which suggests that things are more attractive that don’t last.

Also known as sensu, it often features original art. •

Manga

Manga are Japanese comic books. Japan started producing dark, irreverent, sensual, violent graphic novels as early as the 1760s. These books were largely banned in 1787. Nowadays, mangas represent a vibrant and popular form of art and writing.

JAPANESE ARCHITCTURE AND DESIGN

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In Japan, building architecture always has taken consideration of human behaviour.

Movable screens (shoji) and sliding doors (fusuma) were used in many old Japanese houses. The screens were typically made from paper, to allow light and shadows to pass through.

Contemporary Japanese architecture is a mixture of traditional design practices and modern Western aesthetics. The origins of Japanese architecture Prior to the 1st century B.C.E., Japanese homes looked much like any other home across the world, consisting mainly of wood with thatched roofs and earthen floors. Built before the 6th century, some of Japan’s first shrines looked similar to ancient storehouses or homes. It wasn’t until the 7th century that Japanese architecture developed its own distinct style, having been heavily influenced by other Asian nations. •

Wood

Wood emerged as a preferred building material for Japanese architecture. This is due to a lack of stone available at the time due to volcanic activity, as well as wood’s proven resistance to earthquakes.

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Screens and sliding doors

Genkan

Common in traditional and contemporary Japanese houses, genkan refers to a small part of the floor plan where there is a sunken space between the front door and the rest of the house. This is where shoes are placed before entering. Genkan

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Verandas

Older Japanese houses usually have a wooden veranda (called an engawa) that runs around the outside of the house. •

Nature

Connection to nature has always been an important feature of Japanese architecture. This can be attributed to Japan’s Shinto and Buddhist beliefs, which have had a significant influence on its architecture. This can be clearly seen in the focus on natural light and the use of raw wood as a building material. Veranda

Modern house

Asia Museum of Modern Art

Towada Art Centre

GC Prostho Museum Research Centre

Famous contemporary Japanese architectsTadao Ando

Ryue Nishizawa

Kengo Kuma

Born in 1941, Ando is considered one of Japan’s best architects, despite having no formal training in architecture.

Tokyo-based architect Ryue Nishizawa was born in 1966, and became the youngest winner of the Pritzker Prize in 2010.

Born in 1954, Kengo Kuma is known for his innovative use of materials and technological advancements in his designs.

His work is best-known for the creative use of natural light and concrete, as well as strong homage to the natural landscape.

He founded Tezuka Architects with his wife Yui Tezuka in 2009.

An architect and professor at the Graduate School of Architecture at the University of Tokyo, his goal was to reinterpret traditional Japanese architecture for the 21st century. One of his best-known buildings is the GC Prostho Museum Research Center in Kasugai, Japan, which features an impressive system of interlocking wooden elements.

Some of his best-known buildings are the Asia Museum of Modern Art and the Langen Foundation in Germany.

He is best known for creations such as the Towada Art Centre, Teshima Art Museum and the Funabashi apartment building.

Famous Japanese buildings Yakushi-Ji Temple, Nishinokyo - built by Emperor Tenmu in 680 A.D.

Himeji Castle, Himeji – built by Akamatsu Norimura in 1333, rebuilt by Akamatsu Sadanori in 1349

Hoki Museum, Chiba – designed by Nikken Sekkei, completed in 2010

This historical temple is one of the most famous imperial and ancient Buddhist temples in Japan.

The largest and most-visited castle in Japan, Himeji Castle is considered the finest surviving example of prototypical Japanese castle architecture.

The Hoki Museum is Japan’s first museum dedicated to Realist painting.

Once one of the Seven Great Temples of Nanto, the temple is now the headquarters of the Hosso school of Japanese Buddhism. Part of the “Historic Monuments of Ancient Nara”, the temple is a UNESCO World Heritage Site.

The castle includes a network of 83 rooms with advanced defensive systems from the feudal period. It was registered in 1993 as one of Japan’s first UNESCO World Heritage Sites.

This is a private museum to exhibit and preserve painting and wines that Mr. Hoki has collected. The galleries are slightly curved and people can recognize positions of all the paintings at a glance.

JAPANESE SPACE

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In Japan, spaces have meanings prior to any activity that happens within them as a space in Japanese culture is understood by how it shapes relationships.

Wa is often translated as harmony. It is an awareness of interpersonal connection and is often described in terms of moving air.

If wa configures our relationships in space, tokoro situates that activity within a bigger story.

For example, long days at the office are often followed by a long night of revelry, drinking, and conversation. One reason that colleagues go out together is to maintain wa and reinforce their relationships.

In Japan, a building can’t be in Tokyo without Tokyo being in the building.

The Japanese concept of space is about the relationships among people. Japanese ideas of spaceJapanese concepts of space derive from two foundational traditions: Shinto (an indigenous spiritual tradition in Japan) and Buddhism (imported from mainland Asia). From Shinto came the high value placed on harmony in relationships and a focus on the connections—spoken and unspoken—that tie people together. From Buddhism came the ideas of emptiness and selflessness. Japanese spaces tend to focus on structuring interactions, contingency, and connections to other people and to society. The Japanese build spaces as extensions of culture and values, rather than as places where culture happens. The Japanese words for space centre on the interactions and relationships among people.

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Relational space (wa)

Knowledge-mobilizing space (ba)

Ba is about the arrangement of elements to create connections that are more likely to produce new knowledge or experiences. While wa focuses on relationships, it is concerned with how knowledge is formed and shared. The open-office concept is a reflection of ba as a design principal. Japanese offices are often very open with many workers sharing a large table and workspace. This arrangement allows for the rapid sharing of information, sometimes by accident. •

Location (tokoro)

Tokoro is used to describe the location or site of something, but it is also used to describe a

state of being.

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Negative space (ma)

Ma is often translated as negative space. However, it is better understood as a free zone that allows for dissimilar things to co-exist. The Japanese idea of ma is that we need to create interruptions or absences that allow for difference to be reconciled. Designing for ma is about creating moments of awareness and quiet. For example, in Japan, shrines are often built at the end of long uphill hikes; the long and tiring walk prepares the mind to enter the shrine and leave behind other distractions and worries. Building spaces that deepen relationships (wa), generate new knowledge (ba), connect to the world around us (tokoro), and allow moments of quiet and integration (ma) can enrich our experience of the world and that of those around us.

an engawa (a glass enclosed sitting area separated from the room by a shoji)

RYOKAN

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A typical ryokan is a Japanese-style inn. It is for travellers who wish to experience Japanese culture and enjoy the comforts of Japanese hospitality and service.

Many ryokans are composed of different buildings such as:

Ryokans were built to welcome the weary travellers who needed to rest before continuing on their long journey.

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Honkan (original building)

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Shinkan or Bekkan (secondary or annex buildings)

A ryokan guest room consists of: •

the agari-kamachi (after opening the door guests step into this small area and take off their shoes)

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shoji (sliding paper doors) which separates the agari-kamachi from the room

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tatami mat flooring (reed floor matting)

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low wooden tables

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zabuton (sitting cushions)

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futon (sleeping quilts)

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a tokonoma (an ornamental alcove built into the wall used for placing flower vases and hanging scrolls)

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an oshiire (a closet for futon quilts)

Staying at a typical ryokan is a traditional Japanese cultural experience, and it is unlike staying at a Western-style hotel. Ryokans do not have central heating.

Hoshinoya Tokyo

Many ryokan owners wish to preserve the traditional atmosphere of their properties, and this means maintaining old fashioned heating systems in order to preserve the traditional architecture, design, and atmosphere of the ryokan. Ryokans are only available in Japan. Ryokans charge per guests and not per room. The average price of a one night stay at a ryokan is about 15,000 yen per guest plus tax.

Gora Kadan

RESTAURANT Japanese cuisine has a lot of variety due to which there is not one but 30 different types of Japanese restaurants present in Japan. Many restaurants provide illustrated menus, other restaurants may only have Japanese text based menus, or the restaurant’s offerings may instead be posted on the walls.

Tokoshima, Tokyo (Yakitori Restaurant)

Meat Yazawa, Tokyo (Hambagu Restaurant)

Iyaiya Sanbai, Tokyo (Izakaya)

Tsugu Sushimasa, Tokyo (Sushi Restaurant)

Enraku, Tokyo (Tonkatsu Restaurant)

Shabu Shabu Let Us, Tokyo (Shabu Shabu)

In many ramen and gyudon restaurants, “meal tickets” are bought at a vending machine near the store’s entrance and handed over to the staff who then prepare and serve the meal. Restaurant Interior Design It is very important for the Japanese people to get aesthetic pleasure from the space during a meal. Some of the features are: Window dressing with food replicas made out of plastic or wax in traditional restaurants. Zashiki seating which is a low traditional table with cushions (zabuton) on tatami flooring. Sunken floor for leg space. Automated sushi counters/ conveyer belt sushi.

TEA HOUSE Japanese tea house, chashitsu in Japanese, is where chado, the tea ceremony takes place, which expresses Japanese sentimentality and aesthetics through the act of drinking tea. The design of tea houses is heavily influenced by Zen philosophy. They were built mostly by Zen monks or by daimyo (Japanese feudal lord), samurai, and merchants who practiced the tea ceremony. They sought simplicity and tranquillity which is the central tenets of Zen philosophy. So materials were limited to simple and rustic.

Traditional tea house

Usually, the tea house architecture is referred to as the sukiya-zukuri which was developed for tea gatherings. While the style is traditionally simple, with subdued colours; to build a tea house or tea room, one must enlist the help of a wide variety of highly skilled workers. The structure of the Japanese tea house usually consists of two rooms: one is the mizuya where the host prepares food and snacks and tea supplies are stored, and the other is the main room where tea is served. In front of the tea house is a garden referred to

Dewy ground

as the roji, meaning a dewy ground. To enter the tea house, one has to crawl through a low and small entrance way which is called nijiri-guchi regardless of rank, which makes everyone in the house equal. It’s designed to make one discard their title or position, but to be pure as when one was born. So the tea house often described as the inside of the womb as an analogy.

Nijiri-guchi

TEA HOUSE INTERIOR The standard size for a traditional Japanese tea house is 8.2 square meters, which is four and a half tatami mats. The smaller than four and a half tatami mats houses are called koma and larger ones are called hiroma. All doors and windows are traditional Japanese shoji which are the sliding doors made of a wooden lattice covered with translucent Japanese paper. There is no furniture, except for that which is required for the preparation of tea. Usually, there is a charcoal pit in the centre of the room which is used to boil water.

Tokonoma

From November to April, a hearth is installed in the pit. From May to October, the hearth is covered back up with tatami. An alcove known as tokonoma is decorated with a hanging scroll and flowers, is an essential part of the tea house design. The wall of the alcove is plastered and the floor of the alcove is made with wooden panelling or tatami. It is where the guests sense of feel a connection with nature and its beauty.

Shoji screens

Tea house interior

Furo on charcoal pit

MODERN TEA HOUSES

Tou-An Glass Tea House

Tea House

by Tokujin Yoshioka

by Kengo Kuma

Bamboo Tea House by Sun Wei

SENTO In the past, many homes in Japan were not equipped with a bathtub. To fill this void, the neighbourhood public bath was a place where the locals could go to wash themselves, soak in a tub and socialize with neighbours. Nowadays, a new type of public bath has emerged. Much larger than the traditional sento, these bathing complexes feature a range of pools, saunas and fitness facilities. Some of the largest resemble small theme parks and offer various dining, entertainment and relaxation services.

Oedo onsen Monogatari

Public baths are segregated by gender, and swimsuits are not worn. Some sento, typically in hot spring resort towns, utilize natural hot spring water for their baths. More commonly, however, public baths simply use heated tap water instead. Some Japanese find social importance in going to public baths, out of the theory that physical proximity/intimacy brings emotional intimacy, which is termed skin ship. The sento includes an entrance area, a changing room, a bathing area, a boiler room and a sauna. Fukunoyu

Tsukino-yu

ZEN LANDSCAPE The Japanese rock garden or “dry landscape” garden, is a miniature stylized landscape made through careful arrangements of rocks, water features, moss, pruned trees and bushes, and uses gravel or sand. Classical zen gardens were created at temples of Zen Buddhism in Kyoto, Japan during the Muromachi Period. They were intended to serve as an aid to meditation about the true meaning of life. The rocks and sand (or gravel) are the chief elements of the garden, which generally creates the scene of islands in the sea. The sand or gravel represents the sea or ocean and is used instead of water. It is carefully raked by tending monks to create the impression of waves on the surface of a body of water. It is a highly difficult practice, raking the sand into waves or ripple patterns is a practice originally used by Zen Buddhists in the attempt to focus one`s mind and aid him in concentration. One of the primary differences between a zen garden and most other varieties is the lack of living elements.

A zen garden is not designed to be simply gazed at, every stone and sand pattern is shaped to obey certain perspective points thus creating balance. They have no certain scale, they`re present in huge expansive spaces just as they are in miniature desktop gardens. They are meant to help one find peace, it is traditionally a focus point used in Buddhist thought and meditation. In a highly fast-paced world it represents a beautiful point in which one chooses to simply stand still, to concentrate and focus, to find peace.

INFERENCES Japan has a lot of variety within its culture and the basis of most of them come from the Shinto and Buddhism beliefs. Japanese put emphasis in relationships and like to bring their community together, be it through arts, daily activities or spaces.

The country is a mixture of traditions and modernity. Japan strives towards maintaining its arts and culture by redefining their meaning with time. The country keeps its track with time while walking along with its fundamentals.

Even though Japan is ahead in technological advancements, it still is attached to its roots and philosophies. Japanese are quite artistic and spiritual in nature and tend to combine these two things together. Most of the arts performed in Japan and the public spaces designed are for forming relations and connections with people and nature. Japanese adhere to their core values strongly. They like to see beauty in everything and prefer things and spaces to be simple as they find beauty and serenity in simplicity. Being a land full of spiritual philosophies, it has a lot to offer to the world.

CASE STUDY • RYOKAN....................................................................................................................37 • RESTAURANT............................................................................................................39 • TEA CAFE & STORE..................................................................................................42 • BATHHOUSE.............................................................................................................45

GORA KADAN

Natural rocks used in the bedrock bath emit far infrared rays, which are said to have a strong detox effect.

This is a traditional kaiseki restaurant which gives the feel of colonial period. The food here is prepared with strictly seasonal ingredients.

Every room has a private bath or onsen. Some of them are located indoors whereas some of them are located outside of the veranda in nature.

The long passage is covered with a wooden pergola like structure at the back of the ryokan. On the side is a terrace overlooking the scenic beauty of Gora.

Gora Kadan is located on the grounds of Kan’in-no-miya Villa, the former summer villa of a member of the Imperial Family in the town of Gora in Hakone. The villa blends Japanese tradition along with modern design elements. Guests can leisurely soak in the hot spring bath, relax with a massage treatment or enjoy the karaoke sessions. All the rooms are offered with mountainous views and have balconies to relax at.

The family spa created within nature has a steam sauna adjacent to it. While taking a bath here, guests will feel connected to nature and find serenity in the silence.

Every room follows traditional Japanese design and has a bedroom, balcony, a dining area and an alcove. The rooms also have screens within the ceiling for light to filter in the like a natural pendant light.

The large public spa has abundant and mildly alkaline hot spring water which wells up from private sources on the premises. The spa is separated for men and women.

THE ORIENTAL GRILL

The restaurant has tried to recreate a bar like counter where food is made and served as found in most Japanese traditional restaurants. The Oriental Grill is a Japanese restaurant located at Hyatt in Ahmedabad. It is a fine dining restaurant which serves mostly all types of Japanese food. It is a westernized version of a Japanese restaurant.

The Japanese food does feel authentic which is served at the restaurant. The presentation is not like how Japanese people put an emphasis on but is still quite admirable.

There is also outdoor seating at the restaurant which looks elegant at night due to the lighting.

The orange coloured fabric wall provides a more Indian vibe than Japanese.

The private dining is separated from the rest of the restaurant through the diagonally placed wooden strips partition.

The restaurant is unable to recreate the Japanese essence and vibe despite of its elements being present.

Entrance to the restaurant is accompanied with sophisticated cove lighting and geometrical partitions forming the main design of the restaurant.

The serving dishes are quite simple and does not give the feel of Japanese. The chopsticks were also big than the actual Japanese ones.

Banana Banoffee Pie is not a Japanese dish but the restaurant makes continental desserts. The presentation was really nice.

Underneath the bar counter there is cove lighting to create a sophisticated atmosphere.

TOUZON

The walls of the sleek, soft-lit bar are literally made out of books.

The furniture at the restaurant are very simple and minimal in detail to cater to the idea of creating Japanese style.

One of the semi-private rooms has a view of the garden to provide guests with a scenic pleasure while dining. Each private room differs in styling which makes them different and provide a completely different experience.

Touzon is a well-known Michelin star restaurant located at Hyatt Regency in Tokyo. It has minimal interiors with a earthy colour palette which offers authentic Japanese dishes. The lighting creates a warm and cosy atmosphere.

It is designed to resemble an old Japanese styled house. It has five semi private rooms which can cater up to 16 people.

The bar of the restaurant is located at the basement but due to it’s warm ambience it hardly feels like a bar.

The private rooms are divided by intricately designed wooden partitions.

HONKE KANOYA

The restaurant also provides the customers with kimono jackets to make them feel cosy and comfortable while eating, especially during winters.

There are indoor and outdoor kotatsu (Japanese traditional tables equipped with electrical heaters) which will make the guests feel cosy.

The inside traditional seating is surrounded by small calligraphy poster walls and is separated the Japanese hanging cloth screens.

Located in the quiet backstreets of Tokyo’s Yoyogi area, Honke Kanoya, a Kagoshima-styled izakaya, brings a fresh spin on Kagoshima food. As this place serves Japan's southern comfort food the ambience matches the feel of the seaside region of Kyushu with wide open spaces for one to get cosy at. The restaurant has an expansive open-air terrace, a view from the third floor and a spacious interior and bar lined with shochu (Japanese liquor) bottles.

The concept of the restaurant is to make guests feel like they are dining at their homes through the warm and fuzzy ambience and décor.

The bar is decorated with many shochu bottles and contemporary calligraphy posters hanging for the ceiling over the counter.

The styling is quite contemporary, showcasing the modern Japan but still retains the traditional Japanese elements to make people of all ages feel welcomed.

SALON DE THE LUVOND

Salon De The Luvond is a tea café owned by Takashi Ito who is one of Japan's best tea masters. Through tea and his café he wanted to bring a sense of balance that builds a new genre while alternating between tradition and innovation. the café takes inspiration from a tea house but presents it with a modern perspective.

The interior is based on sophisticated modern Japanese design. Even though the space is small, it has clean lines and is very organized. The colour palette will make one feel grounded and provide a sense of familiarity with tea.

The tea counter is intentionally designed to look like a bar as Takashi Ito wanted to converse with his customers while making and serving them tea to break the cultural barrier of tea as people regard tea and tea ceremony to be difficult and instead show them the fun side it holds.

HIGASHIYA

Higashiya is based on the concept of “daily confectionaries” and aspires to bring traditional Japanese confectionaries into daily lives. The concept of the shop is based on the Japanese seasonal turning points. The shop sells seasonal wagashi, original tea blends and tableware products.

Many different materials occupy the space such as wood, steel, bronze and glass. The store was designed by Shinichiro Ogata who has a ‘sense of simplicity’ and remained meticulous about every detail from the glass pendant lights to the bronze menu clasps that mimicked vintage newspaper holders. The layout is very clean and organized and divided into different sections.

The sabo, Japanese Tea Salon, can seat up to 40 people. Customers can experience the scenic beauty of cherry blossoms blooming during spring through the French windows.

THE KETTLERY

The storage table at the centre of the café acts as a partition and also has tea products displayed on it.

The tea is brewed on spot at the table if front of the customers.

At the backside of the café is a bar like counter made of wood and metal where the tea is prepared.

The Kettlery is a tea café and store in Ahmedabad. It offers all types of teas from the Indian chais to exotic teas from South Africa. The café has a lively vibe and has it’s own customized kettleryware which can be bought from the café. The back wall of the store with the caption “Be Thirs(tea)” provides quirkiness to the store.

This is at the entrance of the store where all different types of tea products are stacked for customers to view and choose from.

The customized tea serving products of The Kettlery.

The façade is the store is quite elegant, made of clear glass and wood..

The seating at the back has tables made of cork and wood. The background is a chalk wall where illustration related to tea is made.

BUNKA GAKUEN

Bath sets such as towels, soap and shampoo can be bought at the bathhouse which is located right after entering the bathhouse.

The common lounge where guests can relax and watch tv. On either sides are lockers where guests can keep their belongings.

The bathhouse has a sauna consisting of wooden bleachers and surrounded by tiled walls. There is also a laundromat adjacent to the sauna.

The wooden ceiling looks simple yet grand, providing a glimpse of traditional Japan.

Opened in 1928, the bathhouse is a local favourite and has been used as a filming location for television dramas. It is one of the famous art bathhouses’ which was restored by architect Kentaro Imai. The lighting at the entrance creates a warm and cosy atmosphere.

The communal bath is divided based on gender. At the centre are washing areas where guests can take shower. Right at the back, is the sento highlighted by the mural wall.

The corner of the lounge has an alcove which is decorated with ikebana and calligraphy. It is changed from time to time.

There are three types of baths- massage, nanobubble and cold water. The walls are adorned with calligraphy writings.

NAOSHIMA BATH HOUSE

The façade is designed with various bright patterned tiles which enhances the artistic concept of the bathhouse.

The bathhouse has a ticket machine at the entrance which act as passes to the bathhouse. The shower area has a giant elephant on top of it. And the roof above it is made of brightly coloursplattered glass which adds artistic beauty to the interior.

Located in the artistic island of Naoshima, the bathhouse, Naoshima Bath ‘I Love Yu’, is an art facility designed by Japanese artist, Shinro Ohtake. Shinro Ohtake is a contemporary artist and the bathhouse can be considered as one of his artworks. The bathhouse stands out from its surroundings due to the brightly coloured tiles and columns, palm trees and neon lights. All of the columns are different in colour. There is also a globe sticking out at the top like an antenna. The roof is also designed creatively as it looks like a woman sitting in an elegant pose. The exterior and fittings of the bathhouse, all reflect the universe of the artist. Ohtake ha applied his scrapbook methodologies across three- dimensions from the exterior to interior spaces.

The bottom of the bath has a retro collage and the shutter above the window is made of a as underwater mosaic.

Original Naoshima Bath ‘I Love Yu’ products are available for purchase at the bandai (front counter). The varied products include T-shirts, colourful towels, and other bath-related items.

There are wooden lockers at either side of the bandai for guests to keep their belongings. A wooden roof above the counter has the design of ‘I Love Yu’ made onto it.

SITE ANALYSIS • IMAGES.....................................................................................................................48 • ABOUT SITE..............................................................................................................49

LOCATION: KOLKATA TYPE: BOUTIQUE HOTEL FLOORS: 8 ROOMS: 63 FACILITIES: CLUB LOUNGE, CAFÉ, RESTAUARANT, ROOFTOP SIMMING POOL, ROOFTOP BAR, GYMNASIUM, BUSINESS CENTRE

GROUND FLOOR- RECEPTION, LOUNGE, CAFÉ, SERVICE AREA FIRST FLOOR- RESTAURANT SECONG FLOOR- SERVICES THIRD TO SIXTH FLOOR- STANDARD AND SUITE ROOMS SEVENTH FLOOR- SWIMMING POOL, GYM, BAR

THE EXISTING HOTEL IS A BOUTIQUE HOTEL HAVING CONTEMPORARY DESIGN WITH A RETRO TOUCH. THE ORIGINAL DESIGN HAS A LOT OF CURVES AND DIAGNOLS. THE HOTEL IS LOCATED ON THE MAIN ROAD AND IS SURROUNDED BY OFFICE BUILINGS AND STORES.

CONCEPT DEVELOPMENT • DESIGN BRIEF............................................................................................................51 • CONCEPT NOTE........................................................................................................52

DESIGN BRIEF As the Japanese believe in forming relations through spaces through their Shinto and Buddhism beliefs, the design of the Graduation Project will be based on this concept and use some popular philosophies used in Japanese design such as wabi sabi and zen. Wabi Sabi means, to appreciate any work of beauty while being aware of its impermanence. The design language of wabi sabi is earthy interior design which is balanced, organic, free from clutter and chaos and somehow quite beautiful in its simple presentation, never appearing ostentatious or decorated.

In the process of designing, the materials used would be mostly natural as the Japanese believe that “nature is god” as nothing is stronger and greater than the force of nature. The colour palette will also be muted or earthy to symbolize peace, tranquillity and bound to one’s roots. Japanese never overly decorate their spaces, they keep it as simple as possible, keeping their key elements in mind and decorating it with just the right amount to execute beauty and serenity through simplicity.

In zen aesthetics, there are seven principles which are: kanso (simplicity or elimination of clutter), fukinsei (achieving balance through asymmetry or irregularity), shibui/shibumi (beautiful by being understated, or by being precisely what is was meant to be and not elaborated upon), shizen (naturalness, an absence of pretence or artificiality, full creative intent unforced), yugen (profundity or suggestion rather than revelation), datsuzoku (freedom from habit or formula) and seijaku (tranquillity or an energized calm, stillness and solitude).

CONCEPT NOTE Wabi Sabi

Plenty of negative space

Acceptance of transience and imperfection

Décor having functional purpose

•

Earthy hues

Aesthetical characteristics

Asymmetry

Textures of bamboo, rattan and wood

Roughness

Zen

Simplicity

Minimalist philosophy

Economy

Natural materials

Austerity

Patterns of light and space

Modesty

Clutter free

Intimacy

Visually balanced and appealing

Nothing lasts, nothing is finished, nothing is perfect

Open space, no to minimal ornamentation

Wabi- rustic simplicity, freshness or quietness Sabi- beauty or serenity that comes with age, flawed beauty •

Elements

Clutter free Simple Natural materials

Lots of light Soft neutral colours Hint of bright tone Good storage for keeping things organized and out of sight Rustic look

S L A T E

WOOD R A T T A N BAMBOO

S T Y L E B O A R D

DESIGN DEVELOPMENT • LOBBY & RECEPTION...............................................................................................54 • TEA CAFE..................................................................................................................77 • RESTAURANT............................................................................................................96 • SUITE & STANDARD ROOMS.................................................................................122

LOBBY & RECEPTION • DESIGN DEVELOPMENT..........................................................................................55 • WORKING DRAWINGS.............................................................................................56 • RENDERED DRAWINGS...........................................................................................65 • 3D IMAGES...............................................................................................................70

DESIGN DEVELOPMENT Working on the concept of zen and wabi sabi, the layout of the lobby has been designed to have an open circulation with clean and linear movement. As one enters the space, there is a central landscape which divides the space in two parts of lobby on the right and reception on the left causing the circulation to happen all around it. Various Japanese elements and it’s diverse arts has been utilised in the design. The diagonal wall is used as a highlighting feature for the lobby which has a mountain range frame with back lighting as it covers the double heighted wall. There is zen landscape happening across the lobby while emphasizing the factor of serenity and tranquility within the space. A wall has been added to create division within the space and exclude the lobby from the rest of the space. The wall has various niches which showcase raking on the wall with back lighting and Japanese ceramics.

WABI

On the other side is the reception which has a calligraphy screen behind it to highlight the area as well as imply on the diversity of Japanese arts. To add to the highlight, the false ceiling has been designed to have a niche with wallpaper displaying the pattern of Japanese waves. The entrie area has been designed keeping in mind to display the vrious factions of the culture.

Z E N SABI 55

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RYOKAN ENTRANCE

DRG. TITLE : GROUND FLOOR

DEMOLITION LAYOUT

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

LIFT

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Carpet area 9382 sq. f t. DEMOLISHED WALL

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EXISTING WALL

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DRG. TITLE : GROUND FLOOR

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Name: Anwesha Guha semester : 08 ENTRANCE

ROCK LANDSCAPE

Specifications COMMON TOILET

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm ROCK LANDSCAPE

ROCK LANDSCAPE

Sill: 900 mm

LOBBY

LANDSCAPE

RECEPTION

ROCK LANDSCAPE DISPLAY

CLOAKROOM

TEA CAFE AND STORE

LIFT

TEA BAR SEATING

LVL +150 MM

LIFT

TEA AND SNACKS DISPLAY/ PREPARATION AREA

TEA AND WAGASHI DISPLAY + CASH COUNTER

TEA DISPLAY

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TEA BAR SEATING

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ROCK LANDSCAPE

semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

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DRG. TITLE : LOBBY & RECEPTION

FLOORING LAYOUT

Name: Anwesha Guha

3 4

semester : 08

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Beam depth: 300 mm

Lintil: 2700 mm

9 10 11 12 13 14 15 16 CLOAKROOM

17 18 19

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VITRIFIED TILE

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AREA LOBBY AND RECEPTION

SIZE 600 X 1200

THICKNESS

FLOOR LEGEND

FINISH GLOSSY

TYPE VITRIFIED

NAME PGVT EMPERADOR GREY LIGHT

COMPANY ORIENT BELL LTD.

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UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : LOBBY & RECEPTION

FALSE CEILING LAYOUT

Name: Anwesha Guha semester : 08 Specifications LVL +300 MM

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

LVL +120 MM

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Carpet area 9382 sq. f t.

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Sheet

FINISH: ORIENT BELL TILE- OMANI BEIGE

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Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

FINISH:ORIENT BELL TILE- OMANI BEIGE FINISH: ORIENT BELL TILE- EMPERADOR GREY ZEN SAND RAKING YELLOW BACKLIGHTING ROCK LANDSCAPE MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATE- RW08

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CALLIGRAPHY SCREEN PRINTING FINISH: ORIENT BELL TILE- OMANI BEIGE FINISH: ORIENT BELL TILE- BOTTACHINO MATERIAL: PLYWOOD COVERED WITH CONCRETE BOARD FINISH: ORIENT BELL TILE- PGVT MILANO BROWN F.F. LVL 3600 MM

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DRG. TITLE : LOBBY & RECEPTION

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

MATERIAL: CUSTOM MADE WITH BACKLIGHTING

ROCK LANDSCAPE JAPANESE LANTERN MATERIAL: PLYWOOD COVERED WITH CEMENT BOARD FINISH: ORIENT BELL TILE- VENEZIA MATERIAL: TEAK WOOD AND GLASS FINISH: ORIENT BELL TILE- SD MOSAKA F.F. LVL 3600 MM

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TEA CAFE • DESIGN DEVELOPMENT...........................................................................................78 • WORKING DRAWINGS..............................................................................................79 • RENDERED DRAWINGS............................................................................................86 • 3D IMAGES................................................................................................................91

DESIGN DEVELOPMENT Japanese tea houses have their own architectural style within which the ceremony takes place. Here, instead of creating a tea house, a tea cafe is designed which emphasizes on the value of tea. The layout is simple and open with two entrances within the area- one for customers which is the front entrance and one for the staff which is the back entrance and is closer to the service area. After entering the cafe, on the right is the preparation and display area with a small display of tea products for the purpose of selling while on the left is the seating area where three sections have been designed consisting of three different types of seatingsofa seating on the level up, booth seating with a roof and paritions; designed to segregate the area and counter seating. There is also tea bar seating at the preparation area. As the space is double-heighted, the main wall has been taken as a highlight feature by decorating it with vertical garden which implies the naturality of the product. The colour pallette is made up of neutral tones with hints of pink and green.

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DRG. TITLE : TEA CAFE

FURNITURE LAYOUT

Name: Anwesha Guha LVL +150 MM

semester : 08 Specifications

TEA CAFE AND STORE

TEA BAR SEATING

LVL +150 MM

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm TEA AND SNACKS DISPLAY/ PREPARATION AREA

TEA AND WAGASHI DISPLAY + CASH COUNTER

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DRG. TITLE : TEA CAFE FLOORING LAYOUT

Name: Anwesha Guha semester : 08 Specifications

Clear height: 3600 mm

Beam depth: 300 mm

Lintil: 2700 mm Sill: 900 mm

11 R

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NAME OTF GEOMETRIC

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ORIENT BELL LTD.

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DRG. TITLE : TEA CAFE FALSE

CEILING LAYOUT

Name: Anwesha Guha

semester : 08

Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

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DRG. TITLE : TEA CAFE

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

FINISH: ORIENT BELL TILEOTF GEOMETRIC

FINISH: SLATE WALLPAPER + ORIENT BELL TILE- SDM MATERIAL: FLEXI PLY FINISH: ROYALE TOUCHE WILDBERRY WITH LED LIGHTING F.F. LVL 3600 MM

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DRG. TITLE : TEA CAFE

SECTIONAL ELEVATION

Name: Anwesha Guha

FINISH: ROYALE TOUCHE SHINOKU FAKE VERTICAL GRASS

semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

FINISH: ORIENT BELL TILESDM

MATERIAL: RECYCLED WOOD

F.F. LVL 3600 MM

SECTION BB' Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

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RYOKAN

DRG. TITLE : TEA CAFE

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

FINISH: ORIENT BELL TILE- BBS MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE SV1666

FINISH: ROYALE TOUCHE SV1666

F.F. LVL 3600 MM

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Note :· All Dimensions are in mm.

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UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : TEA CAFE

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

MATERIAL: TEAK WOOD FINISH: GOLD PAINT FINISH: ORIENT BELL TILE- SDM FINISH: ASIAN PAINTS NEVADA

FINISH: ROYALE TOUCHE WILDBERRY MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATES F.F. LVL 3600 MM

SECTION DD'

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

TEA CAFE LAYOUT

TEA CAFE SECTIONAL ELEVATION 01

TEA CAFE SECTIONAL ELEVATION 02

TEA CAFE SECTIONAL ELEVATION 03

TEA CAFE SECTIONAL ELEVATION 04

RESTAURANT • DESIGN DEVELOPMENT...........................................................................................97 • WORKING DRAWINGS.............................................................................................98 • RENDERED DRAWINGS..........................................................................................107 • 3D IMAGES..............................................................................................................112

DESIGN DEVELOPMENT Outside of Japan, most Japanese restaurants are generally the westernized version from food to interior. To be able to portray a certain type of style, the best way to do it is to adopt elements from that style and incorporating them as much as possible, so as to stay true to that form and design. Thus, the restaurant designed uses most of the Japanese elements present in a restaurant. But as Japan has 30 types of restaurants catering to a particular food item, elements have been taken from everywhere and mixed together to come up with a design which gives the overview of an authentic Japanese restaurant; straying away from the weatern version and sticking to the original form. The entrance is a wooden arched door which leads to a clear passage with two firepit walls on either sides; dividing the space in two areas- floor seating and table seating. The table seating is on the right with booth seating divided by wooden partitions. At the front is a sushi bar with wooden roof (yosemune zukuri) to recreate a traditional sushi restaurant. On the left side is floor seating which has two types of seating- zashiki and sunken floor seating. Beside it is a private dining area with sunken floor seating and tokonoma. Both the sides have wooden circular arched door-like partitions to lead the way. The colours used are mainly browns and blues with hints of green.

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

ENTRANCE

DRG. TITLE : FIRST FLOOR DEMOLITION LAYOUT

Name: Anwesha Guha semester : 08 Specifications

DOUBLE HEIGHT

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

DOUBLE HEIGHT

LIFT

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

DEMOLISHED WALL

EXISTING WALL Note :· All Dimensions are in mm.

NEW WALL DATE SCALE

25.05.20 NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

ROCK LANDSCAPE

TOKONOMA

DRG. TITLE : FIRST FLOOR

FURNITURE LAYOUT

Name: Anwesha Guha ZASHIKI SEATING WITH SUNKEN FLOORING

semester : 08 Specifications

ROCK LANDSCAPE

BONSAI DISPLAY

ROCK LANDSCAPE

KITCHEN

Clear height: 3600 mm

LVL UP +450MM

SERVICE COUNTER

LOBBY

LANDSCAPE

Beam depth: 300 mm

ZASHIKI SEATING WITH SUNKEN FLOORING PRIVATE DINING LVL UP +450MM

Lintil: 2700 mm Sill: 900 mm

ROCK LANDSCAPE

ENTRANCE

JAPANESE RESTAURANT

FEMALE TOILET

HELPDESK SOFA SEATING

SUSHI COUNTER

CENTRAL SEATING

LVL +150 MM

LIFT

SOFA SEATING MALE TOILET

Sheet

SERVICE COUNTER

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE SCALE

25.05.20 NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

400

RYOKAN

580

TOKONOMA 800

800

1100

1460

900

776

1100

1050

1200

DRG. TITLE : RESTAURANT

500

FURNITURE LAYOUT

500 1900

800

Name: Anwesha Guha semester : 08

2400

6910

1800

ZASHIKI SEATING WITH SUNKEN FLOORING

1200

700

Specifications

1852

2800 BONSAI DISPLAY

2500

PRIVATE DINING

Lintil: 2700 mm

LVL UP +450MM 1500

1950

Sill: 900 mm

1553

1763

1310

1553

Beam depth: 300 mm

ZASHIKI SEATING WITH SUNKEN FLOORING 1599

600

1258

1900

1258

3500

SERVICE COUNTER

500

1150

Clear height: 3600 mm

500

LVL UP +450MM

A 5605

1730 900

2191

906

2265

ENTRANCE

550

JAPANESE RESTAURANT

FEMALE TOILET

1974

937

1200

1488

1200

2500

1000

4250

600

900

600

900

600

Sheet 300 300

600

1000

CENTRAL SEATING 50

1030

1488 937

1500

3050

1500

5500

SUSHI COUNTER

1199

SOFA SEATING

2130

4095

1000

2230

Faculty: Ms. Timcy Mehta

698 1199

1437 2410

4203

MALE TOILET 911

8599

550

1837

SOFA SEATING

Carpet area 9382 sq. f t.

SERVICE COUNTER

100

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

AREA RESTAURANT

S R

SIZE 800 X 1200

THICKNESS

FLOOR LEGEND

FINISH MATT

TYPE CERAMIC

NAME BDM ALIKI BROWN

COMPANY ORIENT BELL LTD.

RYOKAN

..\..\..\desktop\sem 08\suite room\arador.jpg

LEVEL UP

800 X 1200

MATT

CERAMIC

BROOKLYN WOOD

KAJARIA CERAMICS ..\..\..\desktop\sem 08\suite room\brooklyn wood.jpg

TOILET

600 X 600

MATT

CERAMIC

TRUFF BIANCA

KAJARIA CERAMICS

3 4

Specifications

5 6

Clear height: 3600 mm

6 7 R

Beam depth: 300 mm

Name: Anwesha Guha semester : 08

4 5

LVL UP +450MM

DRG. TITLE : RESTAURANT

FLOORING LAYOUT

FLOORING DEATILS

Lintil: 2700 mm

LVL UP +450MM

8 R

CERAMIC TILE CERAMIC TILE

Sill: 900 mm

MORTAR CONCRETE

R S 14

S 1

13 R

2 3

4 5

6 7

8 R

R 8

5 7

Faculty: Ms. Timcy Mehta

3 2

Carpet area 9382 sq. f t.

5 4

Sheet

9 R

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

101

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN SPACE FOR WIRING POP

DRG. TITLE : RESTAURANT FALSE CEILING LAYOUT

Name: Anwesha Guha semester : 08 SPACE FOR WIRING POP

Specifications Clear height: 3600 mm

POP SERVICE COUNTER

LVL UP +450MM

Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

102

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : RESTAURANT

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

150

500

Sill: 900 mm

MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATES- BHUJ & SV 1667

2650

FINISH: KAJARIA CERAMICS TILE- GP01321 WITH BACK LED LIGHTING MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATE- BG 1655 FINISH: KAJARIA CERAMICS TILE- BROOKLYN WOOD

450

3750

FINISH: KAJARIA CERAMICS TILE- GP01321

F.F. LVL 3600 MM

SECTION AA'

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

103

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : RESTAURANT

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

150

400

500

Sill: 900 mm

MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATE- NEW VO

1050

3750

200 400

FINISH: THIN WOODEN STRIPS

100

850

100

MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATE- BG 1654

100

FINISH: ORIENT BELL TILETREVI CAFE F.F. LVL 3600 MM

SECTION BB'

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

104

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : RESTAURANT

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

500

150

900

JAPANESE ROOF (YOSUMUNE ZUKURI) MATERIAL: 19 MM PLYWOOD

3750

JAPANESE LANTERN

1500

FINISH: WALLPAPER FINISH: ROYALE TOUCHE LAMINATE- BL 1643

450 250

MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATE- SV1667 F.F. LVL 3600 MM

SECTION CC'

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

105

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : RESTAURANT

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 900 mm

1900

MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATES- BHUJ & KP 1604 FINISH: ORIENT BELL TILETREVI CAFE MATERIAL: 19 MM PLYWOOD FINISH: ROYALE TOUCHE LAMINATE- BG 1654

875

3750

500

150

325

BONSAI

F.F. LVL 3600 MM

SECTION DD'

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

106

DATE

25.05.20

SCALE

NOT TO SCALE

RESTAURANT LAYOUT

107

RESTAURANT SECTIONAL ELEVATION 01

108

RESTAURANT SECTIONAL ELEVATION 02

109

RESTAURANT SECTIONAL ELEVATION 03

110

RESTAURANT SECTIONAL ELEVATION 04

111

112

113

114

115

116

117

118

119

120

121

SUITE AND STANDARD ROOMS • DESIGN DEVELOPMENT.........................................................................................123 • SUITE ROOM • WORKING DRAWINGS...........................................................................................124 • RENDERED DRAWINGS.........................................................................................138 • 3D IMAGES..............................................................................................................147 • STANDARD ROOM • WORKING DRAWINGS...........................................................................................153 • RENDERED DRAWINGS.........................................................................................163 • 3D IMAGES.............................................................................................................170 122

DESIGN DEVELOPMENT T

The ideaology behind the design of the rooms was adopted from Japanese houses and their style of interior. Due to this, elements like genkan (entry area), tokonoma (aclove), zashiki and zabuton (low seating), and futon (floor bed) have been used. The two types of rooms designed are suite and standard. The suite room is divided into two areas- living and bedroom. Both the rooms have a linear and simple layout. The original rooms had angular walls which were all redifined to simple and straight lines. Based on the concept of wabi sabi and zen, the rooms are designed to provide the sense of relaxation and piece of mind. The colours used are neutral along with blue being the highlight colour.

123

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : ROOMS DEMOLITION LAYOUT Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm SUITE ROOM 2

SUITE ROOM 1

Beam depth: 300 mm

STANDARD ROOM

Lintil: 2700 mm Sill: 300 mm

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

DEMOLISHED WALL

EXISTING WALL

Note :· All Dimensions are in mm.

NEW WALL

124

DATE

25.05.20

SCALE

NOT TO SCALE

UNITEDWORLD INSTITUTE OF DESIGN

UID RYOKAN

DRG. TITLE : COMMON FLOOR LAYOUT ZASHIKI SEATING

ZASHIKI SEATING

TV DISPLAY + STORAGE

FLOOR DOUBLE BED

DRESSER

STANDARD ROOM

SLIDING WARDROBE

STANDARD ROOM

DRESSER

TV DISPLAY

TV DISPLAY + STORAGE

TV DISPLAY

TV AMD DISPLAY UNIT

DRESSER

STANDARD ROOM

DRESSER

STANDARD ROOM

SLIDING WARDROBE

TV AMD DISPLAY UNIT

TV DISPLAY + STORAGE

FLOOR DOUBLE BED

TV DISPLAY + STORAGE

FLOOR DOUBLE BED

SLIDING WARDROBE

TOKONOMA

GENKAN

SLIDING WARDROBE + DRESSER

TOKONOMA

SLIDING WARDROBE + DRESSER

TOKONOMA

BATHROOM

DISPLAY UNIT

GENKAN

SUITE ROOM 2 VARIATION 1

TOKONOMA

SLIDING WARDROBE + DRESSER

TOKONOMA

SLIDING WARDROBE + DRESSER

TOKONOMA

TV DISPLAY

TV AMD DISPLAY UNIT

TV DISPLAY

DRESSER

STANDARD ROOM

TV AMD DISPLAY UNIT

FLOOR DOUBLE BED

TV AMD DISPLAY UNIT

SLIDING WARDROBE

DRESSER

STANDARD ROOM

TOKONOMA

Sheet SUITE ROOM 1

ZASHIKI SEATING

SUITE ROOM 1

LVL +150 MM ZASHIKI SEATING LVL +150 MM LVL +150 MM LVL +150 MM

LIFT LIFT

BEDROOM BEDROOM

LIVING AREA FLOOR QUEEN BED LIVING AREA

BATHROOM BATHROOM BATHROOM BATHROOM

FLOOR QUEEN BED

GENKAN GENKAN TOKONOMA

BATHROOM BATHROOM BATHROOM

GENKAN

Sill: 300 mm BATHROOM BATHROOM

LIVING AREA FLOOR QUEEN BED LIVING AREA FLOOR QUEEN BED

GENKAN GENKAN GENKAN GENKAN GENKAN

Lintil: 2700 mm TV DISPLAY + STORAGE

BATHROOM BATHROOM

Beam depth: 300 mm LVL +150 MM

Specifications BEDROOM BEDROOM FLOOR QUEEN BED

LVL +150 MM LVL +150 MM

Clear height: 3600 mm ZASHIKI SEATING

semester : 08 LVL +150 MM LVL +150 MM LVL +150 MM

SUITE ROOM 1 SUITE ROOM 1

ZASHIKI SEATING LVL +150 MM ZASHIKI SEATING LVL +150 MM SLIDING WARDROBE

Name: Anwesha Guha

Carpet area 9382 sq. f t.

Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20 SCALE

NOT TO SCALE

125

UID

UNITEDWORLD INSTITUTE OF DESIGN

100

TV DISPLAY

3191

TOKONOMA

2350

225

2492

RYOKAN

750 1275

510

536

150

DRG. TITLE : SUITE ROOM 01

FURNITURE LAYOUT

GENKAN

semester : 08 Specifications

LIVING AREA

700

1800

500

1101

Name: Anwesha Guha

Clear height: 3600 mm

B' 900

Beam depth: 300 mm Lintil: 2700 mm

ZASHIKI SEATING

1400

2150

Sill: 300 mm

SUITE ROOM 1 2900 440

1865 50

700

2000

700

BEDROOM

1500 1000

2000

Sheet

FLOOR QUEEN BED 1468

SLIDING WARDROBE + DRESSER

1022

BATHROOM

2000

2250

LVL +150 MM

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

760

320

760

320 270

2050

180

324

173

1250

1008

1250

750

310 320

500

300

TV AND DISPLAY UNIT D'

Note :· All Dimensions are in mm.

126

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

S R

RYOKAN

DRG. TITLE : SUITE ROOM 1 SECTION

Name: Anwesha Guha semester : 08

S 8

1 2

FLOORING DEATILS 3 CERAMIC TILE

CERAMIC TILE

MORTAR

CONCRETE

FLOORING LAYOUT

Sheet

FLOOR LEGEND AREA LIVING ROOM

SIZE 600 X 600

BEDROOM

800 X 1200

THICKNESS

FINISH MATT

TYPE CERAMIC

NAME ARADOR BEIGE

COMPANY ORIENT BELL LTD.

MATT

CERAMIC

BROOKLYN WOOD

KAJARIA CERAMICS

Carpet area 98 3 2 sq .f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25. 05.20

SCALE

NOT TO SCALE

127

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

A LVL +550 MM

DRG. TITLE : SUITE ROOM

FALSE CEILING LAYOUT

Name: Anwesha Guha B

LVL +500 MM

semester : 08

WOOD

POP

LVL +200 MM

LVL +500 MM

A D

SPACE FOR WIRING POP WOODEN BATTEN

FALSE CEILING LAYOUT B

SPACE FOR WIRING POP

Sheet

Carpet area 98 3 2 sq .f t. SPACE FOR WIRING POP

Faculty: Ms. Timcy Mehta

INDIRECT LIGHT WALLPAPER D

SPACE FOR WIRING POP

128

Note :· All Dimensions are in mm. DATE

25. 05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : SUITE ROOM 01

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm

150

Beam depth: 300 mm

300

Lintil: 2700 mm Sill: 300 mm

200

1425

MATERIAL: 30 MM WOODEN BATTEN FINISH: 1MM ROYALE TOUCHE LAMINATECRYSTAL Z

3750

FINISH: ORIENT BELL TILE- ARADOR BEIGE MIRROR 975

FINISH: ORIENT BELL TILE- AMTICO GRIS

390 310

MATERIAL:19 MM PLYWOOD FINISH: 1MM ROYALE TOUCHE LAMINATESV 1666

SECTION AA'

F.F. LVL 3600 MM Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

129

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : SUITE ROOM 01

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm

150

Beam depth: 300 mm

300

Lintil: 2700 mm Sill: 300 mm

FINISH: ORIENT BELL TILEAMTICO GRIS

2330

3750

200

ZAHA LIGHTS MATERIAL: METAL AND WOOD

770

MATERIAL: 19 MM PLYWOOD FINISH: 1MM ROYALE TOUCHE LAMINATE- BR 1653

SECTION BB'

F.F. LVL 3600 MM Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

130

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : SUITE ROOM 01

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm

150

Beam depth: 300 mm

300

Lintil: 2700 mm Sill: 300 mm

200

2050

FINISH: ASIAN PAINTS WALLPAPERJAPANESE LEAF WOODEN DOOR

MATERIAL: 19 MM PLYWOOD 550

3750

FINISH: ORIENT BELL TILEAMTICO GRIS

FINISH: 1 MM ROYALE TOUCHE LAMINATES- SV 1666, CRYSTAL Z

200 150 150

SECTION CC'

F.F. LVL 3600 MM Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

131

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : SUITE ROOM 01

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm

150

Beam depth: 300 mm

300

Lintil: 2700 mm Sill: 300 mm

MATERIAL: 25 MM WOODEN BATTEN FINISH: 1MM ROYALE TOUCHE LAMINATE- CRYSTAL Z

1650

FINISH: ORIENT BELL TILEARADOR BEIGE

MATERIAL: 19 MM PLYWOOD FINISH: 1MM ROYALE TOUCHE LAMINATES- SV 1666, CRYSTAL Z

750

3750

550

200

150

SECTION DD'

F.F. LVL 3600 MM Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

132

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

200

1560 1500

RYOKAN

880

640

200

LVL +250 MM

DRG. TITLE : SUITE BATHROOM 01

LAYOUTS

Name: Anwesha Guha

semester : 08

250

Clear height: 3600 mm Beam depth: 300 mm

840

BATHROOM

Specifications

1660

830

200

3 530 950

1240

LVL +100 MM

LVL +250 MM

S B

Lintil: 2700 mm

LVL +500 MM

R 2

Sill: 300 mm

PLAN

FLOORING LAYOUT

FALSE CEILING LAYOUT

SOEL WATER WASTE WATER HOT WATER COLD WATER

AREA BATHROOM

SIZE 600 X 600

Sheet

THICKNESS

FLOOR LEGEND

FINISH HD HIGH GLOSS

TYPE CERAMIC

Carpet area 9382 sq. f t.

NAME RIVEIRA NATURAL

COMPANY KAJARIA CERAMICS

Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

133

UID

UNITEDWORLD INSTITUTE OF DESIGN

150

RYOKAN

DRG. TITLE : SUITE BATHROOM 01

500

SECTIONAL ELEVATION

Name: Anwesha Guha

150

2 R

9 R

Specifications

Clear height: 3600 mm

FINISH: KAJARIA CERAMICS TILEPULPIS NATURAL

Lintil: 2700 mm Sill: 300 mm

Sheet

F.F. LVL 3600 MM

100

Beam depth: 300 mm

982

semester : 08

S 1 2

436

1100

2040

3750

1750

S 1 2

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

SECTION AA' Note :· All Dimensions are in mm.

134

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

150

RYOKAN

DRG. TITLE : SUITE BATHROOM 01

500

SECTIONAL ELEVATION

Name: Anwesha Guha

3750

3 600

2 300

1750

semester : 08

S 1 2

Specifications

Clear height: 3600 mm

FINISH: KAJARIA CERAMICS TILERIVEIRA NATURAL

Beam depth: 300 mm Lintil: 2700 mm Sill: 300 mm

4 5 6

WOODEN DOOR

150

8 9

1250

1100

100

Sheet

F.F. LVL 3600 MM

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

SECTION BB' Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

135

UID

UNITEDWORLD INSTITUTE OF DESIGN

150

RYOKAN

DRG. TITLE : SUITE BATHROOM 01

500

SECTIONAL ELEVATION

Name: Anwesha Guha

3750

1763

semester : 08

1 2

Specifications

Clear height: 3600 mm

FINISH: KAJARIA CERAMICS TILE- RIVEIRA NATURAL

Beam depth: 300 mm Lintil: 2700 mm Sill: 300 mm

4 5

8 9

1035

1351

1070

100

2040

MATERIAL: FINISH: KAJARIA CERAMICS TILE- FLORA STONE RUST

Sheet

10 F.F. LVL 3600 MM

100

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

SECTION CC' Note :· All Dimensions are in mm.

136

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

150

RYOKAN

DRG. TITLE : SUITE BATHROOM 01

500

SECTIONAL ELEVATION

Name: Anwesha Guha

150 100

S 1 R 2

1 2

9 R

9 10

880

250 300 362

625

475

3750

1713

175

semester : 08

1 2

6 7 8 9 R

Specifications

FINISH: KAJARIA CERAMICS TILE- FLORA STONE RUST FINISH: KAJARIA CERAMICS TILE- RIVEIRA NATURAL

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 300 mm

FINISH: KAJARIA CERAMICS TILE- PULPIS NATURAL MATERIAL: CONCRETE FINISH: KAJARIA CERAMICS TILE- FLORA STONE RUST MATERIAL: 19 MM PLYWOOD FINISH: 1 MM ROYALE TOUCHE LAMINAT- SV 1666 F.F. LVL 3600 MM

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

SECTION DD' Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

137

SUITE ROOM LAYOUT

138

SUITE ROOM SECTIONAL ELEVATION 01

139

SUITE ROOM SECTIONAL ELEVATION 02

140

SUITE ROOM SECTIONAL ELEVATION 03

141

SUITE ROOM SECTIONAL ELEVATION 04

142

SUITE BATHROOM SECTIONAL ELEVATION 01

143

SUITE BATHROOM SECTIONAL ELEVATION 02

144

SUITE BATHROOM SECTIONAL ELEVATION 03

145

SUITE BATHROOM SECTIONAL ELEVATION 04

146

147

148

149

150

151

152

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : STANDARD ROOM

FURNITURE LAYOUT

Name: Anwesha Guha semester : 08

150

Specifications

700

1620

700

SLIDING WARDROBE

2000

2183

500

1193

Sill: 300 mm

BATHROOM

FLOOR DOUBLE BED

1200

1006

1115

700

STANDARD ROOM

1234

Beam depth: 300 mm Lintil: 2700 mm

ZASHIKI SEATING 700

Clear height: 3600 mm

1500

LVL +150 MM

100

1262

TV UNIT

DRESSER

2245

537

GENKAN 3021

1504

TOKONOMA

225 150

1275 150

510

150

750

B' Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

153

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

R DRG. TITLE : STANDARD ROOM

FLOORING LAYOUT

Name: Anwesha Guha BATHROOM

2 A

semester : 08

S 5

1 2

FLOORING DEATILS FLOORING LAYOUT

CERAMIC TILE

MORTAR CONCRETE

AREA ROOM

SIZE 600 X 600

LEVEL UP

800 X 1200

THICKNESS

FLOOR LEGEND

FINISH MATT

TYPE CERAMIC

NAME AMTICO GRIS

COMPANY ORIENT BELL LTD.

MATT

CERAMIC

BROOKLYN WOOD

KAJARIA CERAMICS

Sheet

Carpet area 98 3 2 sq .f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

154

DATE

25. 05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : STANDARD ROOM

FALSE CEILING LAYOUT

2200

1620

2850

LVL +200 MM

Name: Anwesha Guha 2200

WOOD

semester : 08

POP

1150

150

LVL +550 MM B' 150

750

FALSE CEILING LAYOUT

WOODEN BATTEN SPACE FOR WIRING POP INDIRECT LIGHT WALLPAPER

Sheet

SPACE FOR WIRING POP

Carpet area 98 3 2 sq .f t. Faculty: Ms. Timcy Mehta

SPACE FOR WIRING POP

Note :· All Dimensions are in mm. DATE

25. 05.20

SCALE

NOT TO SCALE

155

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : STANDARD ROOM

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm

150 300

Beam depth: 300 mm Lintil: 2700 mm

200

FINISH: ORIENT BELL TILE- AMTICO GRIS

Sill: 300 mm

2200

3750

MATERIAL: 30 MM WOODEN BATTEN FINISH: 1 MM ROYALE TOUCHE LAMINATECRYSTAL Z MIRROR MATERIAL: 19 MM PLYWOOD FINISH: 1 MM ROYALE TOUCHE LAMINATESWILD BERRY, CRYSTAL Z FINISH: ASIAN PAINTS WALLPAPER- COLLISION 750

MATERIAL: 19 MM PLYWOOD FINISH: 1 MM ROYALE TOUCHE LAMINATESWILD BERRY, CRYSTAL Z

150

SECTION AA'

F.F. LVL 3600 MM Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

156

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : STANDARD ROOM

SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08 Specifications Clear height: 3600 mm

150 300

Beam depth: 300 mm Lintil: 2700 mm Sill: 300 mm

200

2600

FINISH: ORIENT BELL TILEAMTICO GRIS

FINISH: KAJARIA CERAMICS TILEOXIDO METAL MATERIAL: 19 MM PLYWOOD FINISH: 1 MM ROYALE TOUCHE LAMINATES- WILD BERRY, CRYSTAL Z

500

3750

MATERIAL: 30 MM WOODEN BATTEN FINISH: 1 MM ROYALE TOUCHE LAMINATE-

SECTION BB'

F.F. LVL 3600 MM Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

157

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

DRG. TITLE : STANDARD ROOM

SECTIONAL ELEVATION

Name: Anwesha Guha

150

semester : 08

300

Specifications Clear height: 3600 mm Beam depth: 300 mm

200

1000

Lintil: 2700 mm

3750

FINISH: ORIENT BELL TILE- AMTICO GRIS

Sill: 300 mm

SLIDING

1800

SLIDING

MATERIAL: 19 MM PLYWOOD FINISH: 1 MM ROYALE TOUCHE LAMINATE- BR 1653

150

MATERIAL: METAL AND WOOD Sheet

150

SECTION CC'

F.F. LVL 3600 MM

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm.

158

DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

C DRG. TITLE : STANDARD BATHROOM LAYOUTS

1318

449

527

529

Name: Anwesha Guha

semester : 08

533

1341

Clear height: 3600 mm Beam depth: 300 mm

LVL +150 MM

1048

R 1

BATHROOM

Specifications

LVL +500 MM

Lintil: 2700 mm

Sill: 300 mm

PLAN

FLOORING LAYOUT

FALSE CEILING LAYOUT

SOEL WATER WASTE WATER HOT WATER COLD WATER Sheet

AREA BATHROOM

SIZE 600 X 600

THICKNESS

FLOOR LEGEND

FINISH MATT

TYPE CERAMIC

Carpet area 9382 sq. f t.

NAME TRUFF BIANCA

COMPANY KAJARIA CERAMICS

Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

159

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

150

DRG. TITLE : STANDARD BATHROOM

500

SECTIONAL ELEVATION

Name: Anwesha Guha

200

8 9 10 R

1353 1039

1042

SECTION AA'

160

S 1

Specifications

Clear height: 3600 mm

FINISH: KAJARIA CERAMICS TILE- TRUFF GRIS

Beam depth: 300 mm Lintil: 2700 mm Sill: 300 mm

FINISH: KAJARIA CERAMICS TILE- TRUFF BIANCA 2040

250 300

550

362

880

3750

1108

semester : 08

Sheet

9 R

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

F.F. LVL 3600 MM

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

UID

UNITEDWORLD INSTITUTE OF DESIGN

RYOKAN

150

DRG. TITLE : STANDARD BATHROOM

500

SECTIONAL ELEVATION

Name: Anwesha Guha

2 2350

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm

600

FINISH: KAJARIA CERAMICS TILETRUFF BIANCA

MATERIAL: CONCRETE FINISH: KAJARIA CERAMICS TILETRUFF GRIS

7 8

175

Sill: 300 mm

5 6

9 10 R

Sheet

750

575

3750

300

S 1

semester : 08 Specifications

175

SECTION BB'

MATERIAL: 19 MM PLYWOOD FINISH: 1 MM ROYALE TOUCHE LAMINATEWILD BERRY F.F. LVL 3600 MM

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

161

UID

UNITEDWORLD INSTITUTE OF DESIGN

150

RYOKAN

300

DRG. TITLE : STANDARD BATHROOM SECTIONAL ELEVATION

Name: Anwesha Guha semester : 08

2664 436

3750

200

S 1

S R 1

9 10 R

9 R

Specifications

SECTION CC'

162

Clear height: 3600 mm Beam depth: 300 mm Lintil: 2700 mm Sill: 300 mm

FINISH: KAJARIA CERAMICS TILETRUFF GRIS FINISH: KAJARIA CERAMICS TILETRUFF BIANCA

Sheet

Carpet area 9382 sq. f t. Faculty: Ms. Timcy Mehta

F.F. LVL 3600 MM

Note :· All Dimensions are in mm. DATE

25.05.20

SCALE

NOT TO SCALE

STANDARD ROOM LAYOUT

163

STANDARD ROOM SECTIONAL ELEVATION 01

164

STANDARD ROOM SECTIONAL ELEVATION 02

165

STANDARD ROOM SECTIONAL ELEVATION 03

166

STANDARD BATHROOM SECTIONAL ELEVATION 01

167

STANDARD BATHROOM SECTIONAL ELEVATION 02

168

STANDARD BATHROOM SECTIONAL ELEVATION 03

169

170

171

BIBLIOGRAPHY

https://www.japan-talk.com/jt/new/japanese-restaurants https://www.scribd.com/doc/114794881/Public-Space-in-Japan-A-Catalog-of-Typologies-and-Brief-Discussion-of-the-Role-of-Public-Space https://www.google.com/amp/s/qz.com/1181019/the-japanese-words-for-space-could-change-your-viewof-the-world/amp/ https://theculturetrip.com/asia/japan/articles/a-guide-to-traditional-japanese-art-forms/ https://www.japan-talk.com/jt/new/japanese-arts https://www.japaneseguesthouses.com/about-ryokans/ https://www.patternz.jp/japanese-tea-house-architecture/ https://www.patternz.jp/tokonoma-japanese-alcove-design-styles/ https://www.japan-guide.com/e/e2036.html https://www.archdaily.com/151551/the-evolution-of-the-japanese-tea-house https://www.opentable.jp/r/touzan-hyatt-regency-kyoto-higashiyama-ku-kyoto-shi?lang=en https://hoshinoya.com/tokyo/

http://www.ippodo-tea.co.jp/en/shop/marunouchi-tokyo.html https://luvond.net/salon.html https://www.japan-talk.com/jt/new/mono-no-aware https://www.japan-guide.com/e/e2074.html https://www.artsy.net/article/artsy-editorial-6-modern-teahouses-architectural-wonders http://benesse-artsite.jp/en/art/naoshimasento.html https://www.japantravel-centre.com/japan_guide/traditional-culture-vs-new-culture/ https://www.commisceo-global.com/resources/country-guides/japan-guide https://www.architectureanddesign.com.au/features/list/japanese-architecture-and-buildings https://santorinidave.com/japan-ryokan

172

THANK YOU

173

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