FLOW A diploma documentation book Tushar Satyanath
‘Art In Transit’, is a project in which aspiring artists and designers (students) of Srishti School of Art, Design & Technology, were given an opportunity to create an art/ design intervention in the metro station located in the Peenya industrial area. This project is in collaboration
with the BMRC- Bangalore Metro Rail Corporation. ‘Flow’ is my personal diploma project which is a part of ‘Art in Transit’ and it showcases my journey as an artist. This book contains the documentation of my process and my personal contributions.
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Context And Approach Research And Inspiration Analysing the Possibilities
Contents
Prototype/ Ideation Proposal For The Exhibition
Preface
Manifestation And Outcome
I) Art In Transit
Learning From The Exhibition
II) Previous Work
Way Forward - Flow
III) Thoughts And Concerns
Acknowledgements And Bibliography
Preface: I) Art In Transit
The method of using art and design tools in a public space is something I am still developing as a skill. ‘Art in Transit’, is a pilot project in which I was able to better my knowledge. In all honesty, this is still something that I am developing, and I would be biased to think that I have learned everything I need to know. Although I have come a long way. InitiaIly, I had little knowledge about what it takes to be an artist or designer for a community. My plan was to pick a diploma project that could possibly enable me to bridge the gap between product design and public art. I chose this course because I felt it could broaden my viewpoint of product design in public spaces and how it can be used as a reflection of the surrounding community .
Art and design should enable the community to feel safe and secure. It should also be inspirational. Good art and design can create a vibrance to the public space and should make the commuters feel welcomed. Half of our class of 37 students are fellow diploma students, who are graduating by the end of the December 2014. We started by gathering information about the people who are either residents or industrial workers or those who often commute from other locations to the Peenya industrial area. Peenya is a place which comprises of small, medium and large scale industries. I started thinking about the cultures that might exist in the community and how that could be an integral part of the design process.
Inside the metro compartment
The possibilities of collaboration and teamwork, is something I learnt along the way. I also learnt the benefits of experimentation with material and concepts to better understand myself as an artist/designer and push those boundaries. I would like to thank everyone who has been a part of this journey and wish the rest of the team the very best.
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‘‘We believe the quality of our surroundings can lift the quality of our lives.’’ - Foster + Partners Peenya is the industrial hub of the city and has been for many years. It is possibly one of the biggest factory areas in Asia, with multiple disciplines, from textile to machine part construction. I found the Peenya station to be very intriguing as an
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opportunity. It is one of the larger stations on the purple line of the Namma Metro campaign. I asked myself, ‘What would be a worthy intervention in such a vast public space? How can we enhance the surroundings of the people?’
I was not sure of the viewers’ background and how they would perceive a piece of art in their routine walk. What interested me the most was the questions or thoughts one could create just by intervening in a place they would least expect. For example, breaking the monotony of commuting on foot by creating a visual experience like a mural, that has a significant impact on a commuter passing by. The challenge would be to create a response that is apt to Peenya. Transformation of the ‘space’ into a ‘place’ would be crucial in order to create a certain level of importance to the locations in Peenya that are accessible to the public. I noticed that not too many people use the metro to travel to and from the Peenya station to the inner ring. They use other means of transport.
Staircases from the platform
How can we as designers and artists enhance the experience in and around the metro station and invite people to use this means of transport, without being too forceful? Well, this was the question that I started off with, which led me to many inquiries along the way.
Peenya metro station
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Escalators leading to the platform
I noticed that the spaces in the metro are quite large. Considering the building is quite massive, I had a wide variety of spaces I could use for my art installation. When I looked at the surrounding space outside, I noticed the flow of people and the regular commotion of traffic. It is very drab due to the industrial processes that occur around the area.
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The projects that Srishti have offered have made me explore different kinds of natural building and sustainable design. Using these projects to my advantage would be the starting point of a process of learning new things and improving my skills as an artist. I began analysing the waste materials outside the station, and how I can re-use them so as to prolong the life cycle, whilst reducing the negative effects on the environment. This process has been referred to, time and time again, and designers have been trying to figure out ways in which we as humans can achieve this goal. It would create a utility that will last for years to come. We can insert this aspect into the industrial culture without disrupting the flow of activities that are prevalent.
“Solutions which meet the needs of today without compromising the ability of future generations to fulfil their own needs” - Christel Vaenerberg – Product Portfolio Director/Littala
How could we as artists or designers inspire people to think, not only about their community, but also what they can do as individuals to enhance the environment without destroying it?
The use of certain materials that is causing the depletion of resources in our ecosystem. One major reason for the maintenance of our ecosystem is to have a healthy future generation.
Platform
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Preface: II)Previous work 10
In the past year I have worked on concept design and concept development in Politecnico di Milano. This experience was truly influential as I was exposed to a very direct method of conception of ideas. In one of the modules, we were split into teams to develop a usage for abandoned tunnels wherein the public could possibly benefit from the intervention. Our team decided to create a bicycle system which could run through the abandoned tunnels of the underground metro. The analysis of the movement in the metro was very insightful. The moments of pause, rest, food stalls and others had an irregularity to it. The process of using a ticket machine also allowed us to think of movement patterns that just had to be modified to incorporate the system design.
Creating a system for the metro in Milan, helped me analyse what currently exists at the Peenya metro station and the viability of creating a system of pause and rest for the regular commuter inside and outside the station. Top: Mapping abandoned metro lines Bottom: BikeMi positions in Area C
Sustainable design : Projection (Top right: Simapro graph sheet)
Top: Bicycle points for rest inclusive of food points Bottom: Compartment with bicycle accommodation
Another project in Milan was the sustainable design project. In this course I discovered a new software Simapro, in which one can calculate the environmental impact that different materials have, when they are used in a product. We designed a product that reduces the amount of material wastage and energy consumption via solar
power. This project inspired me to think of ways in which I could re-use waste material that comes out the Peenya Industrial area and implement other sustainable methods of construction of my art installation. Creating solutions for ecological problems in an industrial hub would be a nice way of moving forward with my ideas. 11
Preface: iii) Thoughts And Concerns 12
Regular flow of traffic and pedestrians. Lack of Pause.
When I approached Peenya for the first time I noticed that there is so much industrial work going on. Sure there are trees and small parks but its definitely not the highlight of the place. The feeling I got when I first entered Peenya was that of an industrially structured community. Factories overpowered residences, at least in the phases 1,2 and 3 on the opposite side of the metro station (adjacent to the
Tumkur highway). The houses on the same side as the metro seemed to have middle-high income citizens as there were large apartments. The divide was quite evident. The abundance of abandoned factories made me believe that the survival of businesses was a priority. I was glad to know that this was not a personal judgment on my part, as I spoke to a few people who concurred with this opinion.
I got an insight, that at least 10% of the factories had been listed to close down or to be taken over by March 2015, due to increase in taxes. This is definitely a concern. The atmosphere of the industrial zone was such that I noticed the systems of industrial work and the flow of material. I wanted to see how the material was treated in the industrial area to see if it was re-used. I began questioning the ways in which people use a transient space like a metro station. Are there regular moments of pause where they can simply appreciate their surroundings?
Layout Plan of Peenya Industrial
Does this moment have any significance to their regular commute? It made me curious about the lives of the people and I started empathizing with the rushed on-goers, who seemed so focused on their destination. I think that by installing artwork in a public space, it would be a welcome change. I started thinking about the general health of the people in the area and how they lives are affected by living in an industrial zone. The intervention would have to be so starkly different to the monotony of industrial sights and sounds one would find in Peenya.
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Approach To Design 14
The projects that I attended prior to this particular one, gave me a specific approach to my design process. It gave me a lens to look at Peenya in a similar manner and be open to new discoveries. The first part of the project included the understanding of Namma Metro and how it functions. This in itself was a very good experience and beneficial to me to understand the metro system of the city. I looked at the metro in one perspective, but having other members of the team around was very helpful. Travelling on the metro with them made me notice the small details that I would have definitely missed out if I had travelled alone or even in my prior experiences of commuting between metro stations.
We analysed the ‘Green line’ of the metro that runs from the Bypanahalli to M.G. road (Purple line) . Sketches of the stations made me noticed the differences in scale, shape, etc. that made each station unique. Even the movement of the people and the traffic on the road varied. I engaged with the Trinity station using metaphors. The ambience of the station had two different stages. Night seemed to be way more relaxed than the regularity of traffic and flow of people during the day. Hence, my metaphor comprised of images that show the contrast during the day and night. The activation and deactivation of the space is like a circulatory system that regulates the flow of blood (people) at night when it is more relaxed.
Metaphor for the Trinity metro station
Sketches: Trinity metro station
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Mapping Yelahanka: Pie Map (18 slices)
The next part of the process was the use of mapping as a tool for our research in the future. We could generate a lot of information by just observing the space and patterns would emerge. Yelahanka New town was the start of the mapping exercise 16
wherein we looked at places of rest, stalls, places of worship, roads, by-lanes, movement patterns of vehicles, people and much more. The whole class created a final piece comprising of multiple slices of a pie. It became a pie chart of
multiple lenses, which made it easier to understand the area we were mapping. This exercise was good part of the process as we really got to understand how mapping is a tool that can be used to know how we can design for the local people. The exercises helped us understand the community before we approached Peenya. As mentioned earlier I had done a project on abandoned spaces and how one could design for the people that might inhabit the spaces around them. I approached Peenya with the idea of looking for such spaces knowing that it is the industrial hub of the city. Abandoned factories were positioned in different parts of the area. The different phases had factories that had government notices on the front of the buildings stating that it had to be shut down. Mapping Yelahanka: Map slice
“Great design is about creating a true, living reflection of the people who live in the space.�
- Michael Menn AIA Chicago, IL
I tried to experience through other senses like sounds of machinery. The intensity of the higher pitch noises indicated the kind of machinery that was being used and which factories were fully operational in the phases of Peenya industrial.
It was quite interesting to see that the main road almost created a divide between the industries and houses. This led to the reperesentation of the observations in the map, which includes the location of shops, industries and residential areas.
Mapping Peenya
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‘Monotony’ - Group Metaphor
The class then divided into teams to create metaphors for the Peenya metro station. Our team decided to create a board game by adding a spin to the board game Monopoly. The concept of ‘Monotony’, came from the repetitions and regularities in the process of using the public transportation. We questioned the ways in which people 18
would lose time due to various quirky reasons. The game is a fun and interactive way to get the sense of utopia by winning, with a constant set back of dystopia along the way. The currency of the game is ‘time’ as it is the most important factor of beating monotony. This exercise was a good way of creating team ideologies. Peenya Sketches
“I think of the universe as an engine. Perhaps we are a very small, yet very important part of this engine. What this engine drives—its purpose for expanding and contracting— that’s what I’m curious about. It’s unlikely that human beings are even capable of understanding purpose; like a tiny cell in our body, it has no idea why it functions, it simply does.”
- Aaron B. Powell, Quixotic
My personal metaphor for this metro is that it is like the bellows of the city’s engine, located away from the central hub. It functions as it expands and contracts, transporting people into and out of the heart of the city.
Another exercise was the relation of Peenya as a station to the whole line (Green). Observations from the Sandal Soap Factory station reveal displacement due to the proximity of the station to the neighbouring buildings.
Top: Bellows of the city’s engine. Bottom: Proximity metaphor for displacement
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Research And Inspiration
My research comprised of the multiple interventions people had done in public spaces. The usage of eco-friendly material or even the sustainable nature of the physical form helped me better figure out the reasons for certain pieces. Various artists have done pieces based on environmental design or at least trying to send a message to the public.
INSPIRATIONS
As new ideas came in, I started digressing, and the variety of my concepts were too vast. The context was being lost in the accumulation of more ideas. This was definitely the case for my first and second iterations for my proposal (1 & 1.5).
Iteration 1 and 1.5: Summary
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The Inspiration chart (left) shows the first few inspirations that gave me ideas for the intervention. The ideas incuded were looked at based on the kind of interactions one could create in the artform. Re-use of waste material through systems design and other sustainable methods were considered. Electronics like a bicycle dynamo and speakers made of bamboo were another. I even looked at the kind of interactions that could be created by using plant material in the form of vertical gardens. These were all very abstract ideas that eventually had to be simplified due to the complexity of the making process and the shortage of time. Iteration 2 - Denver Water made an interesting public art piece which questions Top: Bus stand in Baltimore - MMMM... Bottom: Denver Water guerrilla marketing
the usage of the material we have at our disposal. This was a method of guerrilla marketing that I found very interesting. How can we create awareness through art pieces in a similar manner? What is the level of interaction we can create so that the public is engaged in the intervention? I started asking myself, the kind of experience one would get if they just had to walk by. Would people just walk by the piece regardless of its function? ‘MMMM...’ is a Spanish collaborative that created a bus stand in Baltimore. The idea of making something of this nature would implicate so many social benefits. Even the idea of just waiting or pause in transit is such a promising thought I felt. This was an inspirational piece of urban furniture.
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made me look at experiences that I could possibly create inside the metro station.
Top: Nimbus - Berndnaut Smilde Bottom: Hydroponic Herb Garden - Ken Rinaldo
The cloud installation ‘Nimbus’ by Berndnaut Smilde helped me better understand the possibility of human perception. The idea of provoking thought by the creation of a cloud indoors 22
‘Hydroponic Herb Garden’ by Ken Rinaldo was also something I came across when I was looking into sustainable art structures. This project consisted of building self-sustaining living botanical gardens. The hydroponic plants survive because of solar energy and distributes the level of water. Each plant gets just enough light. Rinaldo states that his work focuses on the intersection and co-evolution between nature and technology. The grass path titles ‘Tapis Rouge!’ was created by Gaëlle Villedary in a small French town to celebrate a decade of art and nature activities. She hoped to create a “resurgence of life over the asphalt.’’
“Road margin space for planting is identified as a measure, one that is sure to help retain the green title of Bangalore.’’
– Kauser Jabeen.
Iteration 2 was more fixated on one notion. It comprised of a theme within which I narrowed down a few possibilities of design interventions. The basic idea was to juxtapose natural material with waste material in a way that the narrative of the piece would be stronger.
Grass path:‘Tapis Rouge’ - Gaëlle Villedary
This is where the I came up with the title of ‘Rebuilding the Garden city’ . Initially, this was the observation I made and began asking questions about the environment, and whether people had the notion that Bangalore was still the ‘garden city’. Does this city still have its green title?
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“The role of the artist is to ask questions, not answer them.” - Anton Chekhov I started off by creating inquiries about the industrial spaces and the surrounding environment near the Peenya metro station. • How do the people of Peenya engage with their surrounding environment? • How can we as artists and designers create an intervention that can influence the community and benefit them? • How can sustainable thinking influence the industrial workers in their practice? • How can we re-use industrial waste? • What are the industrial wastes? • How are they accumulated? • Who sanctions them to be re-used? (metal mainly, concrete is land filled) • Are they privatized? • Does the Peenya station have a method of re-using scrap metal? • How can industrial and natural material be used together? • Where should this intervention be placed? 24
Chris Engman’s work of using filters and mirrors to create a bluer sky made me think of ways that can make the observer more engaged in the piece, the more they look. The ‘Guerrilla Man’ is an anonymous artist who’s work consists of giant metal sculptures that are ‘‘about creating heightened environments and experiences.” His work ‘Centerpiece’ located under a freeway overpass in Washington, was an inspiration for me due to the location he chose i.e., one that would normally be unused.
Tetris-shaped public furniture - Designo Patagonia Studio
Argentine studio ‘Designo Patagonia’ created tetris-shaped furniture that was designed as a recreation to teach the passerby about sustainability issues. It showcases recyclable materials like plastic bottles, cans, and paper.
Top: Dualities, Omissions, Loops, and Ruptures - Chris Engman Bottom: Centerpiece - Guerrilla Man
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appreciation of other cultures in the global village.
In the book ‘Designing The World’s Best Public Art’ (2002), written by Garrison Roots, he explains that, ‘‘Public art should be about inclusion, tolerance, friendship, community, the environment, ritual, and an
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It must challenge the subversive for all the right reasons, rather than conform to a package that does not disturb the prevailing physical or emotional state. Artists should act as the conscience of the culture. The role of the public artist has evolved, but continues to be underscored by a need to communicate the experience of a particular community. However, if one bases theory about art on the idea that is derived from an emotional state tempered by the viewer’s experience, then perhaps much of what is public art has little to do with public art.’’
Carlo Vezzoli talks about environmental sustainability and industrial ecology in his book, ‘Design for Environmental Sustainability’ (2008). He explains, ’’Environmental sustainability is achievable without any traumatic phenomena only if such living conditions are foreseen and put into practice during the transition, and the community perceives them as achievements compared with the actual living standards. In fact, this is the precondition to catalyse necessary energy for ‘‘voluntary’’ transition: nobody would ever choose to go in the direction of a destination considered worse than the starting point.
Thus, the possibility of putting into action a painless course towards sustainability is based on the capacity to envision it as a new and attractive quality of life that would also be a sustainable quality of life.’’
MP Ranjan’s ‘Flow of Culture: Material thinking & design in the human synthesis of form’ (2007), explains how design is a process that is an integral part in the systems level in the multiplicity of sectors. The technological advancements have not shaped our environment. It is rather the village people and culture that comes from them. He explains how the design processes have evolved over the years and how it is an important factor in the shaping of human ideas and innovations. He also mentions how the bridging of cultures can create a unique human interaction that really develops the communal value of a place. It also develops the economic and social value of the country.
Mr. Ranjan then uses the prehistoric time as an example of how culture development can lead to multiple new ideas of creation, for example, a Neanderthal discovers fire and uses it as a tool to scare predators and that in turn gives a sense of security. This concept of usage of fire has developed over the years and the cultural understanding of its usage has allowed an improvement in the execution of a variety of concepts. There has been shift in ideation that goes beyond from material thinking including the creative outbreak about societies, cultures, form, aesthetics, etc. that will generate interesting possibilities to improve the quality of design and help shape the lives of the people.
MP Ranjan : Design Thinking
Unfortunately, over the years, ever since our independence, the importance given to design as a process has been lackluster. It is only recently that the government feels the urgency to get more design perspectives due to vast globalization and industrialization. We should make it accessible to everyone in order to improve the flow of culture.
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Analysing the Possibilities 28
The process that followed involved thinking through material, concept, form and function: Material: The analysis began by listing the possible materials. I felt that the use of natural and industrial materials would benefit the concept of sustainable design. We were introduced to the possibility of using waste materials from the metro scrap yard. This made me believe that the idea of restoring metal and other industrial material might be an interesting approach. The improbability of getting all kinds of waste, gave the importance to the access of the metro scrap yard. Moss Graffiti
What kind of natural material can be used? Plant growth like moss and other smaller plants was my first exploration. It would be a method of creating guerrilla art (graffiti) in the metro station so that the awareness of the environment is showcased. I noticed that this process would require too many requires a lot of maintenance. I looked at other material like rust and aging of metal to see if I could create a narrative through the use of industrial waste. By combining the two together it would create more relevance to my approach. I started exploring controlled rusting processes (right). Top: Ron Arad - Holon Museum Bottom: Thomas Heatherwick - Staircase
Moss wall found in Peenya Industrial Area
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Concept:
Form:
Conceptualizing the art piece included illusions, surreal art, natural building, structures and more. This was done in context to the concept of Bangalore’s ‘green city’ title. I also considered the various spaces my piece could inhabit in or outside the metro station whether it was the walls, floor, ground spaces outside, the facade of the building and the platform. Should the piece be complemented by another art piece? How can it create a story about the space? How can it stand out from the regular monotony?
I began exploring different ways in which I can create the response I desired. Here I thought the form could really vary. My initial plan was to make a walkway in which people will be able to get a tactile and visual sense of the piece. The forms based on function varied from abstract seats located outside to structural installations inside the station. I started noting down the shapes and sizes I could possibly build on my own.
Walkway Drawings
Function: The function is something that I really had to think through. What will be the interaction with the piece? Would the public want to experience with the structure or art form?
I used design tools such as systems thinking, to analyse the ways in which the community is enabled to immerse themselves into the function. The notion of places of rest and the interaction being outdoors seemed to be the best.
NYC Pavillion
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Prototype/ Ideation
The ideation of the intervention progressed into a particular form. A cocoon or egg-shaped structure that is a representation of sustainability was the first. It involved creating a walkway through which people could pass through the space adjacent to the entrance. An added function of seating would further give an added purpose of pausing and engaging. I started by creating a few models of a form by prototyping the walkway. It was an arching structure of metal wire and thermocol as a base.
Wire Prototypes and Drawings
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Another idea was the possibility of creating a bench that could accommodate the people who pass-by or wait for buses outside the station. After a process of visualization through sketch, I noticed how the extravagance of the work had to be reduced in order to improve on the simplicity of the construction methods of the structure. It had to be done so that the execution of the idea was plausible. The experience in the Namma metro scrap yard was very useful for my project. Looking at the waste materials like metal and rubber and incorporating them into my piece for the work-in-progress exhibition was a catalyst for more ideas that followed. I decided to work with the waste
Metro Scrap Yard
materials suitable that could be merged with found natural materials in a way that the representation was evident and narration could be told through material usage.
Visualisation of Walkway
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Proposal For The Exhibition
Iterations of Splash Bench
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The idea was to create a sculptural seat made of scrap materials and industrially produced materials like resin. It consisted of a 2D form with a 3D structure: an illusion of flow/splash. It had to be simplified in order to reduce costs and increase the feasibility of the structure. I had proposed to make a sculptural seat that could make people think about the usage of industrial waste material with natural material i.e. the juxtaposition of contrasting material. Bijin Davis had a similar idea about the visual of her piece. She was also in the same project exhibition. Her notion of Peenya is that it is a symbol of growth, hence the representation of a splash from the ground. She had previous experience in using resin, and I realized that it would be ideal to experiment with my idea and gain from a learning experience. 36
We decided to merge our form and function of the flow/splash and work together for the exhibition. The ideation process started off by taking inspiration of different splash forms. We looked at different fluids and their viscosity and how difficult it would be to make specific shapes and sizes. This was followed up by multiple scrap yard (metro) visits and even discovered a scrap wood seller in Peenya. This helped us choose the exact wood we wanted and the ideal material to be embedded. We chose to use a combination of metal strips and rods from the scrap yard and sourced e-waste, so that it could diffuse just enough light when it is illuminated. Prototpye of Proposal
A test piece of Araldite embedded with pins, screws bolts and washers was created so that a visual understanding about the translucent effect of resin was created. We gathered and prepared various other materials including a tarpaulin and plastic sheets for the resin spillage. We also proposed to use P.O.P and clay for the resin leg mould. The metal pieces that we chose had been brought in with many more elements form the scrap yard. Once this was done we could actually see if we required more of any material or a replacement of any sort in case the metal chosen was not usable.
Araldite prototype of embedding metal
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After multiple sketches we simplified the concept to a flow-form for the bench, in which resin looks like it pours from above, flows across the bench and drips down from the opposite corner as one of the legs. This was a much simplified version of iterations we had made before. Unfortunately it needed to be done due to the time constraint and material selection. A 3D model was created in order to understand the fluidity of the art piece. The 3D model was done for the project panels which read ’ The Greens and the Greys’ with a few sketches to boot.
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The placement off the bench open-ended. This allowed us to place it in the most convenient place. We proposed to fabricate everything on our own to save on expenses. We also got permission to use the workshop late in order to finish the woodwork as efficiently as possible. Another decision was that wherein the resin pouring and would be done inside to avoid any problems of dust and/or other hazards. We purchased masks and gloves to keep all safety precautions intact.
3D Models of Sculptural Seat
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Manifestation And Outcome
In the process of making we used power tools such as the planer to remove the bark, sander to smoothen the top and bottom and then the angle grinder along the contoured edge to achieve the finish of the wooden slab. The next step was to cut the wood with a jigsaw in a predetermined organic flowing form. This required the use of a longer saw blade due to the thickness of the wood. Once the wood was cut, holes were drilled along the inner walls of the cut pieces (the thickness) to accommodate metal rods that could give the resin additional support before being poured. The wood slab was set up with tarpaulin on the bottom The tarpaulin had to be coated with mustard oil and soap so that the resin wont stick to the surface of the wood Fabrication of Wood
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Positioning of metal rods
easily in case of seepage. After setting up the slab (face down), the e-waste and metal strips were laid out. Green motherboards were chosen specifically because some had a better translucence. Next, was the preparation of the resin. Resin is prepared in the ratio 1 mug of resin = 1 cap of accelerator = 3/4 hardener. The pouring process of the resin got a bit messy as we didn’t have a proper barrier for seepage due to the organic shape of the wood. The process of the resin was a completely new experience. The methods were interesting yet sometimes very time-consuming and finicky. The portion at the top of the bench did not come as expected and we lacked the amount of resin necessary (budget indecision).
Drying process of resin
Placement of e-waste and scrap
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The process of the resin was a completely new experience. The methods were interesting yet sometimes very timeconsuming and finicky. The portion at the top of the bench did not come as expected and we lacked the amount of resin necessary (budget restraint). We had purchased 30 kilos already. Hence the suspended paint can idea had to be discarded so that the focus was mainly put on the resin bench. The resin process took a lot longer than expected as mentioned earlier. The weather conditions also played a great part in the drying process. Since we had no choice but to wait. We started the clay sculpture that would cast a P.O.P mould for the leg.
Bench set up on first floor
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Images of lighting during the day
“Affordability goes beyond first cost; considerations for greater durability, Lower operating costs & superior performance must be included when it comes to calculating affordability.�
- Ron Jones, One of the fathers of the green building movement
This exhibition really helped me understand what it takes to be a public artist or designer. I explored the boundaries of my ability by experimenting with material, simplifying concepts and even changing technical methods of fabrication. We purchased LED light strips to use for the bench because we felt that the effect would be more dramatic than a spot light. The LEDs also doubled up as the beginning of the flow i.e. the drop in place of the paint can idea. It still looked very
appealing. The bench on the same floor as where we were working as the weight had doubled. The wooden legs were placed in the respectful corners and we turned it over. Soon after we set up the lights. The bottom surface of the resin had a few projecting metal strips that were used to weave the LEDs in a manner that it flowed the pattern of the flow. The lights were set up and we were happy to get good reactions from the commuters minutes after we completed the set up in the station.
Close up of the lit resin bench
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Learning From The Exhibition
“You learn more from your mistakes than you do from your successes.� -T. Berry Brazelton
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Once the exhibition was done and I had time to think in retrospect, I felt that my ideas had not changed necessarily but progressed. The project had come a long way, and although I still felt strongly about sustainability, I noticed how my approach had bettered over the past few months. The regularity of work keeps the momentum going, which is something I failed to grasp in the beginning. The randomness of ideas had reduced and through these errors I had a bit more clarity on what I was doing. The mould-making, simplification during crisis’, etc. were things that we could completely learn only by failing to achieve what we set out to do.
It was a gradual process but by the end of it, we had become familiar with the possibilities of fixing it, by working in unison for a solution. After getting feedback from faculty, students and even the passengers, I noticed how our piece might not have completely achieved what was expected. Although the concept was evident, i.e. the juxtaposition of industrial waste and natural material, there were some additions in the form that could have improved the narrative of the piece. Different usage of material in certain parts such as the wooden legs or even hiding the source of lighting could have enhanced the quality of the finish.
“Don’t build bigger than you need. Better to stay small and spend any extra on the details.”
- Rick O’Leary, design
The P.O.P cast was ineffective because of its consistency and we needed an alternative to make the leg. The strategy had to be changed. We decided to use an old industrial air filter as a mould as a replacement. The method was effective but we could only achieve a cylindrical leg versus the organic form we had imagined. It was a lot of effort that was put it but I am very glad that I had the experience of using the material to know how to treat it. The Flow bench prototype helped me understand that resin is not such an easy material to use, and it needs to be done so in small batches.. We had accomplished a lot in the time we had remaining.
It helped me understand the importance of scale, and what it takes to scale-up a miniature model. During the exhibiton, I felt that sometimes even though Bijin and I were making unintentional errors in judgement due to the scale at which we were using the material, especially the resin. I learnt that if I work out of my comfort zone, I can really learn from mistakes and think of solutions to avoid the repetition of the problem. The more I worked, the more familiar I was getting with the regularity of the process of making. During the process of exploring material through form, I feel Bijin and I really made an immense effort on the method of creating a self-made piece.
Clay sculpture for resin leg
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Way Forward
“Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable.� - T.S. Eliot
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The conception of flow came from the notion of time. People move about regularly, commuting from place to place but there is rarely that moment of pause wherein the individual stops, observes, sits and appreciates their surroundings. Why not give the public that opportunity? My aim as an artist is to create a form that can be a representation of the industrial culture of Peenya. The narrative occurs through the use of industrial material in a way that the user will be inspired. The art of using e-waste in resin also has a message of the possibilities of using the industrial waste for art purposes and to reconsider the way it is disposed. Scrap metal is also good material to re-use for the benefit of art and design.
Bangalore produces 86,000 tons of e-waste per year, 15% of which is produced by houses alone. This kind of material wastage can really cause a problem in the long run so why not create a system by which art becomes a solution? It is the material of our time and to use it in such a manner would be an archeological way of displaying what it was once, and how it is preserved today. In a place which is in a constant state of flux, it would be an interesting intervention to showcase the timelessness of certain materials. This would be a sustainable approach to conserve the materials we use and throw. We as artists and designers should use these opportunities to remind the people that a simple effort can create a big difference to the community at large.
I have been inspired by bamboo as a material and have decided to use it in place of the wooden slab which was used in the exhibit piece. ‘Nanchang Nanchang’ by Kengo Kuma is a beautiful example of the of installation art. He created a walkway made completely of bamboo including the flooring of the space. The Lofoten Lounger by Corey Baker is also a good example of the strength bamboo can withhold. Rattan bench by Alvin Tjitrowirjo displays the elegance of craftsmanship that can be achieved. Pablo Reinoso created an imaginative organic bench. Although this particular piece is made out of steam bent plywood, the fluidity of the from was quite inspirational.
Rattan bench by Alvin Tjitrowirjo
From top to bottom: ‘Nanchang Nanchang’ by Kengo Kuma Lofoten Lounger by Corey Baker Organic bench by Pablo Reinoso
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The platform of the station is a good location for placing this seat for the commuters who is waiting for the next metro train. Why not give them the opportuntity to enjoy that moment of pause as a time of rest? It will give the commuter a sense of enjoyment on their travel and not be restless about the time they lose by waiting. Even if the engagement with the art installation is for roughly four minutes, the purpose of designing for that moment of pause will be fulfilled. The space outside would be an even better location for the placement of this art installation. Given the way the art piece will be lit up at night, it will draw the pedestrians to take a closer look. This is something I hope to achieve as an artist. 48
Bamboo is a very versatile material. It is also very sustainable and durable. My proposal is to use bent bamboo and metal to create the framework for the seat. Using the same concept of embedding e-waste in resin, I plan to use the sections of the bamboo as the mould for the structure. The joineries can be incorporated by also embedding a metal rod that can be welded on either side.
Another option is the use of bamboo joineries that can withhold the weight of the resin slab. Artists have used this material to showcase these properties and portrayed not only the durability but also the fluidity one can achieve by using bamboo in structures. I have made models of the same with osilin and diesel oil if termite prevention is necessary. It turns the bamboo black in colour.
Top: 3D renders without pest control Bottom: 3D Render with pest control
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Mihaly explains that it is rare to experience the state of ‘‘flow’’ when at rest. He explains that a worker who has had a long day of work will lose his or her state of flow in the process of relaxing at home soon after. Similarly a student is in a better state of flow while playing sport, working, or taking part in other activities rather than just ‘hanging around’.
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Mihaly Csikszentmihalyi, a renowned positive psychologist, explains ‘flow’ as the optimal experience in his book. He asks, “What makes a life worth living?” He talks about understanding of happiness, creativity, human fulfillment and the notion of “flow” - a state of heightened focus and imersion in activities such as art, play and work.
What if the place of rest is positioned in a place mid-way through the cycle of daily activities? Would they be able to heighten the state of ‘‘flow’’ if they take a moments rest in the heat of things to appreciate the art piece? Will this relief give the user an opportunity to reflect on their surroundings. Although Mihaly mentions that it is rare to experience the state of ‘‘flow’’ when at rest, I would like to inspire the commuter to take a moments pause to the experience the flow.
Top: Cantilever without pest control Bottom: Cantilever with pest control
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Budget Estimate 2
Budget Estimate 1 Metal:
Welding Bending
6000
Joineries:
Cane Metal
1000
Bamboo:
Lengths Sections Cutting Stripping
Resin:
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Welding Bending
6000
Joineries:
Cane Metal
1000
Cane:
Lengths Sections Cutting Stripping
10000
Safety Gear Tarpoulin Epoxy resin Hardener Mustard oil Hand soap
10000
5000 Resin:
Safety Gear Tarpoulin Epoxy resin Hardener Mustard oil Hand soap
10000
E-waste:
Sourcing
1000
Lighting:
LED strips Plastic tube
2400
Miscellaneous:
Osilin Diesel oil
1600
Total
Metal:
27000
E-waste:
Sourcing
1000
Lighting:
LED strips Plastic tube
2400
Miscellaneous:
Osilin Diesel oil
1600
Total
32000
Acknowledgements
I would like to thank Mr. Vasath Rao for creating this collaborative project with Srishti School of Art, Design and Technology. His idea of intiating the ‘art station’ is a great one, and I hope that it carries forward in the years to come. A special thanks to my faculty and peers, without whom I would be misguided and have a bad sense of art and design in public spaces. The metro staff’s help is very commendable, and whoever was involved in the exhibition has to be given admiration for their services. Last but not least, a big thank you to my family, for the moral support every time my workload was up to the brim.
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Bibliography
Images: http://www.mymodernmet.com/profiles/blogs/chrisengman-optical-illusion-installation-art
http://www.studiogblog.com/plants/vertical-gardening-inspiration-diy/
http://hypernatural.com/hydropon.html
file://localhost/Users/Tushar/Desktop/Documentation%20book%20photos/figment%20nyc%20pavilion. jpg
http://www.instructables.com/id/How-to-Make-MossGraffiti-1/ http://hovercraftdoggy.com/2012/10/18/we-follow/ http://www.treehugger.com/urban-design/londondesign-festivals-spectacular-prism-eco-view-londonusing-open-data.html http://www.treehugger.com/slideshows/urban-design/ waiting-bus-special-bus-shaped-stop-baltimore/ http://www.treehugger.com/green-food/5-simpleways-to-create-a-diy-living-wall.html http://imgfave.com/search/green%20planters%20 wall%20eco%20friendly%20nature%20design%20idea http://design-for-india.blogspot.in/)
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file://localhost/Users/Tushar/Desktop/Documentation%20book%20photos/Leisure%20and%20cultural%20services%20department%20hong%20kong.jpg file://localhost/Users/Tushar/Desktop/Documentation%20book%20photos/Pablo%20reinoso%20organic%20bench.png file://localhost/Users/Tushar/Desktop/Documentation%20book%20photos/3D-Street-Painting-byGregor-Wosik.jpg file:///Users/Tushar/Desktop/Documentation%20 book%20photos/staircase%20heatherwick.jpg file://localhost/Users/Tushar/Desktop/Documentation%20book%20photos/Designo-Patagonia-TetrisRecyclable-Public-Furniture-1-537x358.jpg
http://static.dezeen.com/uploads/2013/09/dezeen_Telepathy-bamboo-installation-by-Kengo-Kuma_6.jpg http://www.decodir.com/wp-content/uploads//2009/12/Linger-Bench-Rattan-Furniture-ideaAlvin-Tjitrowirjo.jpg http://www.pabloreinoso.com/stock/images_1383932811_images1383931175images13833304722008010spaghettible01hd.jpg Readings: http://books.google.co.in/books?id=Qv-cmRMEwG0 C&printsec=frontcover&dq=design+for+sustainabili ty&hl=en&sa=X&ei=mrliVOGaIsa2mQXjlIHYCw&ved =0CD8Q6AEwAw#v=onepage&q=design%20for%20 sustainability&f=false
Quotes: http://www.brendasemanick.com/art/great-art-quotes. html http://www.goodreads.com/quotes/51892-time-present-and-time-past-are-both-perhaps-present-in http://davidreport.com/200709/sustainable-designquotes/ http://www.goodreads.com/quotes/ tag?utf8=%E2%9C%93&id=art http://www.searchquotes.com/search/Public_Art/
http://books.google.co.in/books?id=vPL3DkihxqcC&pr intsec=frontcover&dq=the+worlds+best+public+art& hl=en&sa=X&ei=FMBjVLTuIoqjugSX0ILADw&ved=0CB4 Q6wEwAA#v=onepage&q=the%20worlds%20best%20 public%20art&f=false http://www.academia.edu/7274277/Flow_of_Culture_2007
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