Design Project-5
DESIGN FOR SPACE
G u i d e : Aarti Srivastava Ujjval Shah
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CONTENTS
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WEEK 1 GANDHI ASHRAM IM PEI WEEK 2 SPACE MAPING WEEK 3 CAMPUS ANALYSIS WEEK 4 ONWARDS FINAL SPACE DESIGN BRIEF INITIAL IDEAS SKETCHES EXPLORATIONS FINAL DIRECTION NATURE SKETCHES EXPLORATIONS FINAL COMPOSITION MATERIAL COST FINAL TECHNIQUES FINAL SIMULATION USER STUDY PRODUCT COSTING
4-5 6-7 8-9 10 - 14 15 16 16 - 19 20 - 23 24 - 25 26 - 27 28 - 37 38 - 39 40 41 42 - 47 48 49 3
WEEK-1
GANDHI ASHRAM Upon entering the ashram, it breaks the essence of the city, the noise the pollution, and transforms one into another environment. Calling it peaceful is an understatement. The museum is very open and its structure resembles that of a typical community village living, with a water pool at the center. Its open hut structure allows one to see a far distance and through the curves. The big white louvered windows, with green views, and its well ventilated air. Being right next to the Sabarmati, the temperature is cooler than that of the city. The open huts, with its two poles at two ends serve as a panoramic framed view of the greens around. The spaces between the huts is also well utilized. Some have rocks, some green plantation so one does not always see concrete, and around the perimeter are trimmed grass and bushes at the border.
What was new and came as a surprise was how spaced out and open the washroom was. Its grill extension at the top allowed for natural light. Even the separate compartments were open from the top and so did not require for artificial lighting.
The scale of the place is very ergonomic.
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For its role as a museum, it informs. But what’s unique is it does not tie you down. You are free to roam around, sit, eat, spend some quality time. For me I felt it was more than just a museum. It was a very comfortable space, for all. It was well reflective of the Gandhian ways of life. Today this ashram feels nothing short of if Gandhi were to have us over at his place himself.
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WEEK-1
IM PEI AND HIS WORKS
I.M. Pei took the core belief of modernism that form follows function, and added his own interpretation. Pei believes that form follows intention (which incorporates function). His work reflects this philosophy by his incorporation of functional symbols into all his great works. I.M. Pei also rejects the Internationalist vision of architecture as future vs. past, and instead sees his role as creating a bridge between the present and the past. These core beliefs explain how Pei designs a wide variety of structures that are all consistent to his vision.
“Modern architecture needed to be part of an evolutionary, not a revolutionary, process.” This Assignment was an eye opener. It made me realise the work and thought process that goes into designing a building and how much its outcome can impact its users. The importance of space, and its further relevence to its components inside add value and context. Its not individually the structure, but also what goes with it. Also it made me realise that the process to design for a space, starts from the very structure of the space. Its openings, light and shodow, geography, useage, etc.
His architecture is identifiable through its strict geometries – combinations of circles, squares and triangles that manifest in both two and three dimensions in plan, section and elevation. Geometric shapes, carefully planned public spaces, and use of glass and concrete soon became his trademark. 6
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WEEK-2
S PAC E MAPPI N G MICA AUDITORIUM
For this assignment we had to make models of the architecture spaces in mica. Our group was modelling the auditorium and its surrounding Acadamic Block. It was a tidious and calculative process. First a rought plan was made along with measurements of each and every wall, poll, and additions. To replicate the space into a structure of foam sheets and paper, a lot of precision was required. Over the week we realised with every visit and draft, which measurements are important to take, and also the right unit for it. Making the model was the final step.
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WEEK-3
CAMPUS ANALYSIS
The next step was to understand the campus and it’s activities to the maximum. For this we spent the initial days of the week to observe and sketch around the campus. It is much like NID in its approch but yet it was interesting to observe how people use the spaces in the campus and t derive what might the reasons for that be.
The main enterence. Upon entering the campus, its very eveident how green and clean the space is. Very inviting and we felt much at home as the visual feed was similar to our campus.
Trees had names of the people who planted them on boards place in front.
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One newly built space was the recception area. Prominent in the colour red and recently renovated. It had some unused spaces around it, and was a well lit space.
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One of the most favored places, and one close to the hearts of Micans is the Chhota Canteen. Hot during the daytime and occupied at night, the essence of the space is very social and desi.
Their Auditorium is a unique space. With seating on steps that replicate the seating of an open air theater. Circular round seats covered with plain/ printed cotton fabric were colourful, much like the panels hung at the side walls. The Digicom, also known as the radio station, is a space mostly used by the faculties. It has a beautiful open aangan with an amla tree.
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WEEK-4 ONWARDS
F I NAL S PAC E ANALYSIS AND DESIGN SOLUTION
The space i chose finally was the reception area. This space was recently covered and made into the reception that it is now, which was initially an open space. I wanted to connect it back to its closure from the rich greens on campus but at the same time keeping in mind the stark reds and geometry already present. Also the space is currently a long area that extends into the entries to the auditorium.
Amother unique space is their library, KEIC. Huge glass walls with green views. The silence and convinience of accesability ( open 24/7 ) make it a great space to study. Also because in the ahmedabad heat, unlike the hostels, this space is centrally cooled!
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DESIGN BRIEF To design a panel for space division between the enterence of the auditrium and the reception that also adds to the visual interest of the space.
INITIAL IDEA The idea to make the panel using textile tecniques was to somewhere make an inbetween of a curtain and the direct use of hardcore materials like wood, as for the present available panels for space division in the market. The advantage of using textile materials for panels is that i could attain properties from a wide range of options. Weather sheer, foldable, etc. I wanted to attain the visual division because of the panel but not to block the view completely as to make the space seem any more ‘heavy’. A seamless addition indeed. I also had to be careful about how to bring in nature back into the room. Against the stark reds and pointy traingles, the organic forms may look forceful and out of place. Hence began my journey of finding the perfect match, the right inbetween.
Trying to make a composition out of geometric drawings of
Board for sharing work so far with possible ideas for panels.
parrots. 16
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These are some of the initial ideas and form explorations. 18
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I N ITIAL E X PLO RATI O N S
The geometric forms were not coming off as very appealing so then i somehow deviated and these were my first set of explorations. Here i have tried to achive different techniques that will replicate a leaf ’s organic form. For these explorations, the visual identification and characteristics of a basic leaf is what i have tried in a variety of material combinations and textile techniques like embrodary, applique, etc.
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I realised these explorations are more in terms of surface manipulations only had were really not taking me ahead so i started over and this time with a more concreate start.
board for the mid term review.
I redid my moodboards according to what i had in mind. These are stylised organic forms, making them different and yet retain its natural essence and recognition.
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DERIVING FORMS
THE FINAL DIRECTION When deciding which forms to incorporate in my panel, i had a few reasons for picking the Parrot and a Mango tree. Firstly, their presence on the campus. There is an abundance of parrots on the trees in Mica. I could relate the parrots to the senario there. Much like the parrot, the campus is also very green allowing it a comfortable camouflage. Even for the ring neck parrots, the Indian variety, its identity and most prominent feature is its red beak, also which resembles the conical form along with the identity of the red mica logo with triangles. Also parrots are a human friendly bird so having it on a panel at eye level distance seamed only natural. Parrots as a totem represent a world full of magic and possibilities. People with this totem see the world from a different perspective, that is more positive than what others see. They are full of energy. Also are very productive and thinking of new ideas. This i could relate to Mica and its priciples for education. When deciding on the parrots i began to wonder what goes well with them. Instantly i was reminded of the mango tree i saw on campus. Parrots happen to happily feast upon mangoes and these trees are a favourite spot for them. Mango trees are also auspicious and its bark is used to light the havan kund in the hindu religious ceremonies. Such luck and good will could also be a reason for a mango tree.
KEY WORDS
Also this reminded me of a story i knew from when i was younger of a talking parrot and a mango that could give eternal youth. It costed the parrot its life when no one believed him, but later they find out all along he was only telling the truth.
ORGANIC TRANSLUCENT
Much like the story, many miniature paintings showcase parrots on a mango tree, clearly a well celebrated combination of a bird and its favored tree.
DOUBLE SIDED VISUAL APPEAL STYLISED NATU R E
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These were the initial form explorations. Including the study of the components, the mango tree and the ring neck parrot. Also the leaves, its clusters and starting to see the interesting forms of the silhouette of the tree itself. The parrot form was also explored in terms of how to be stylised.
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E X PLO RATI O N S
BACK: Sheer polyester organza (white)
BACK: Dense Organza (off white)
FRONT: Sheer polyester organza (white)
FRONT: Dense Organza (off white)
FUSING: Both sides
FUSING: Both sides
CUT OUT: Two laters fused cotton for more 3D effect ( light blue )
CUT OUT: Individual shapes from different texture from Asahi Kasei fabrics (off white )
EMBELISHMENT: None
EMBELISHMENT: mother of pearl triangle beads, both sides
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BACK: Chanderi (white)
BACK: Sheer polyester organza
FRONT: Polyester Net (white)
CENTER: Chanderi
FUSING: Both sides
FRONT: Polyester Net
CUT OUT: Cotton varieties cut out individually in shades of blue.
FUSING: 4 layers fusing
EMBELISHMENT: more cutouts of fabric on top for leaves and birds wings.
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CUT OUT: Cotton varieties cut out individually in shades of blue and yellow EMBELISHMENT: None
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BACK: Chanderi (white)
BACK: Dense Organza (off white)
FRONT: Polyester Net (white)
FRONT: Polyester Net (white)
FUSING: Both sides
FUSING: Both sides
CUT OUT: Cotton varieties cut out individually in shades of blue.
CUT OUT: Differnt textures of Asahi Kasei Fabrics ( off white )
EMBELISHMENT: more cutouts of fabric on top for leaves and birds wings.
EMBELISHMENT: None
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BACK: Blue Organdi
BACK: Dense Organza (off white)
FRONT: Blue Organdi
FRONT: Sheer Polyester Organza (white)
FUSING: Both sides
FUSING: In the back only
CUT OUT: Dark blue Organdi
CUT OUT: Asahi Kasei Fabrics of differnt texture ( off white )
EMBELISHMENT: None
EMBELISHMENT: None
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BACK: Polyester Organza
BACK: Chanderi (white)
FRONT: Polyester Organza
FRONT: Polyester Net (white)
FUSING: Both sides
FUSING: Both sides
CUT OUT: Fused Organdi
CUT OUT: Cotton (blue)
EMBELISHMENT: None
EMBELISHMENT: Running stitch so its same on both sides
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FINAL COMPOSITION
OTH E R E X PLO RATI O N S
After exploring different compositions, as shown on the right hand side page, this was the final Composition. There are a few reasons for choosing this over any other. Firstly this placement of objects is such that there is less negative space in between. As both the outer fabrics are gauzy, when fused together formed a ripple effect in the negative spaces. To avoid this overpowering the composition, it is a more overall filled look. To make hand embelishment of the pearls easier, the flowers are place near the edges so they can be worked on without compromising any possible chance of messing the fused fabric. Also the mangoes and the leaves have a vertical eye movement. The birds are placed spaced from the leaves and on the sides so that they look both individual and are visible clearly. 38
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MATE R IAL C O ST ( b r e a k d o w n )
F I NAL S U R FAC E TR EATM E NT
MATE R IAL
QUANTITY
ORGANDI
7 METERS
7X70
490
PEARLS
20 GRAMS
80 X 2
160
DOUBLE SIDED FUSING
5 METERS
5X60
300
CASHMETT
2.5 METERS
2.5X150
375
Firstly the fused fabric was generated. The individual components were drawn and cut manually. The leaf bunches have further cut outs as suggestions of the inside structure of a leaf. Different for every leaf. The components were in 2 shades, white and offwhite, each having a different effect visually against or in light.
COST
CANVAS FUSING
CANVAS FUSING(Single)
2.5METERS
2.5X80
200
THINNER FUSING(Single)
2METERS
2X30
60
MUSLIN
5METERS
5X80
400
SCISSORS
A PAI R
1X110
110
The Final surface was a series of treatments to achive this outcome.
After the basic panel, next step was the embelishments. Khadi is used to paint on the leaves in the forms of the bunching of the leaves in a zoomed out size on top of the larger leaves itself. Khadi allowed for a matt finish and colour interaction with the two whites. Pearls, both small and big are used to suggest the flowering of the plant. Pearls on the different whites give a different look. They keep the delicacy of the flowers intact.
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TRAVEL COST (break down) D E STI NATI O N
COST
NID - DHALGARWAD
50
DHALGARWAD-AMBAVADI
50
AMBAVADI-NID
25 125
TOTAL
2220 40
CASHMETT
ORGANDI
PAPE R F U S I N G
SINGLE FUSING 41
PAN E L F O R S PAC E D I V I S I O N
S I M U LAT I O N I N S PAC E
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S I M U LAT I O N I N S PAC E
B L I N D S F O R LI G H T D I F U S I O N AGAI N S T G LAS S
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