FURNITURE AN INTEGRAL ELEMENT IN SPACE MAKING
ADITI AGRAWAL - UI0215 Guided by Prof. Kaulav Bhagat
Thesis submitted as a part of undergraduate course for the degree of Bachelor of interior design
FACULTY OF DESIGN Student Name & Code
:
ADITI AGARWAL – UI0215
Thesis Title
:
FURNITURE AS AN INTEGRAL ELEMENT IN SPACE MAKING
APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.
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Student Name & Code No:
Date:
ADITI AGRAWAL – UI0215
08-05-2020
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ACKNOWLEDGEMENTS I am grateful for my guide Prof. Kaulav Bhagat for accepting to guide me throughout the process and for being extremely patient. I am grateful for my thesis co-ordinator, ICD faculty, history faculty, studio faculty, Prof. Amal Shah for being the most diverse mentor, and for pushing me till my breaking point only for me to realise a new breaking point. I am grateful for my sketching faculty, Prof. Rajesh Sagara for setting a strong base during my foundation year by introducing me to various materials and techniques in the most joyful manner. I am grateful for my year long studio faculty, Prof. Jay Thakkar for making me question every design decision with ‘What if’ and encouraging me to explore beyond the boundaries of design. I am grateful for my studio faculty and mentor of various subjects, Prof. Kireet Patel for dedicating your greater part of life to all of us. I am grateful for Prof. Rishav Jain for giving me space to produce some of my best works in elective courses and provoking my interest in crafts. I am grateful to Vishal Wadhwani, Niyati patel, Rachita Sareen, Mridul Mitra, Hamid Raj, and Pocho living for sparking my interest in furniture design. I am grateful to Ismet Khambhatta for her time offered in the initial phase of thesis and support by letting me visit TDW furntiure. I am grateful to Rajdeep Routh and Mansi Sathyanarayan for conducting the summer school to Sri Lanka. The works of Geoffrrey Bawa conveyed me the power of architecture and helped me trust the process in my initial years. I am grateful for all the faculty members that I had studios with or attended any mandatory and elective courses, it all combined has shaped my learning curve. I am grateful for and dedicate this to my family, my mom for packing me lunch every single day of my life, my dad for paying the heavy fees even when I said on the last day, my younger brother for always supporting and showing me that there is more to life than my submission deadlines and my masi for being my psychological mother throughout this journey. I am grateful for Jhaloo, Madhu, Jinii, Silver, Dust, Parrot, Blushy that made this journey simpler and more joyous. I am grateful for all the wonderful friendships I made along the way. I am grateful to all the seniors and juniors for the time spent all these years. I am grateful for the campus of CEPT UNIVERSITY that provided with learning in both tangible and intangible ways.
ABSTRACT Built forms designed by architects holds itself up in solidarity and individuality with realm of design. The respect to urban context is clear in its approach and method of designing. Similarly such built forms demand its interior spaces to hold itself up independently. A lot of factors become the idea towards space creating process but in such cases furniture design have been perceived as interior design to a whole, while interior design being a parent field. The idea of being ‘integral’ becomes crucial when a singular object takes up the responsibility to define interior spaces. Furniture pieces that holds itself up, desires an extension to permanence, analogous to build forms. These pieces of furniture travelled to wider geographical ranges and decades in time with being integral to every space and time. The idea of being integral is seen through the parallels drawn between space and furniture. These parallels, blurs strict line between furniture and space. The piece then becomes a tool for creating a specific environment instead of a static object.
CHAPTERIZATION 00. INTRODUCTION 0.1 0.2 0.3 0.4
AIM AND OBJECTIVES SCOPE AND LIMITATIONS METHODOLOGY IMPLICATIONS
01. SETTING BASE 1.1 1.2 1.3 1.4
FURNITURE - INTEGRAL - SPACE EFFECT OF MODERNISM ON 20TH CENTURY A DEBATE ON INTEGRALITY INTEGRALITY AS MULTIFARIOUS
02. CREATING FRAMEWORK 2.1 2.2 2.3 2.4
MODERNIST CASE OF ALVAR AALTO MODERNIST CASE OF CHARLES RAY EAMES POST MODERNIST CASE OF KONSTANTIN GRCIC POST MODERNIST CASE OF THOMAS HEATHERWICK
03. BUILDING UP 3.1 3.2 3.3 3.4
ECONOMICAL CHAIR BY GAJANAN UPADHYAYA LILAVATI LALBHAI LIBRARY, CEPT UNIVERSITY AHMEDABAD MANAGEMENT ASSOCIATION (AMA) RACHANA SCHOOL LIBRARY, AHMEDABAD
04. CONCLUSION REVIEW FEEDBACK AND FUTURE RESEARCH APPENDICES BIBLIOGRAPHY AND IMAGE CREDITS GLOSSARY OF TERMS
12 14 14 15 15
16 18 22 28 34
38 40 46 60 68
76 78 86 96 106
114 117 120 124 130
‘SOMETIMES COLOURS CAN BLIND YOU WHILE BLACK AND WHITE CAN ENLIGHTEN YOU’
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0.0
INTRODUCTION
Built forms designed by architects holds itself up in solidarity and individuality with realm of design. The respect to urban context is clear in its approach and method of designing. Similarly such built forms demand its interior spaces to hold itself up independently while following up on the language of existing. In such cases a lot of factors become the idea towards space creating process. The idea of being ‘integral’ becomes crucial when a singular object takes up the responsibility to define interior spaces. These spaces could be defined by multiple ‘integral’ objects which then becomes chaotic. Here, ‘integral’ is defined by elements or objects that ‘makes’ the space rather than ‘uses’ the space. Hence, in the multiplicity of elements in a space, that makes it complete or whole becomes essential. In such cases furniture design have been perceived as interior design to a whole, while interior design being a parent field to a lot of other magnified fields. Furniture pieces that holds itself up, desires an extension to permanence analogous to built forms. These pieces of furniture travelled to wider geographical ranges and decades in time with being integral to every space and time. The idea of being integral is seen through the parallels drawn between the space and furniture. These parallels blurring strict lines between the two will help achieve underlying factors that would resonate between furniture and space. The underlying factors that helped them achieve this state of “integral” and timeless quality is emphasized in this research. The piece then becomes a tool for creating a specific environment instead of a static object. Hence, research will provide analogy for furniture pieces being spatial space creating elements.
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0.1 AIM AND OBJECTIVES The aim of this thesis is to see how furniture becomes an integral element in a space. The underlying aspects that co-exists between a classic furniture piece and a designed space. The nature of study being exploratory, would try to achieve the following objectives: 1. To understand how Architects designed buildings and simultaneously designed furniture pieces. This idea brought parallels between the two fields. 2. To understand possible scenarios where furniture piece is designed by one person and space is designed by another and yet they tend to co-exist. 3. Studying such varied cases and developing common underlying factors that would further help in addressing layers of complexity, existing between boundaries of integrality. These layers will further draw the research with parallel to two domains - Furniture and Interior design. Hence, providing additional perspective to the idea of space design with the idea of furniture. 0.2 SCOPE AND LIMITATIONS The classic furniture pieces developed and produced during modernism are still in use till today. These timeless classics have been analyzed with the idea of materiality and form, Aesthetics and function, mass production and customization. The idea of analyzing furniture with a space, in order to create unified environments has been looked majorly through the research. Hence, providing it with the maximum weightage and scope throughout the research. The amount of time being in the research carried out limits to the number of cases considered and the number of underlying factors achieved from them. Every case holds an individual and diverse value to the research. The study doesn’t look with the idea of furniture making or its construction techniques unless that helps in understanding or constructing the spatial language of space. Ch-3 limits itself to information achieved through internet sources due to coronavirus outbreak. 14
0.3 METHODOLOGY Setting base Understanding the three major keywords used in the thesis throughout, furniture - integral - space. Looking at 20th century for understanding the parallels drawn betweeen furniture and spaces through different perspectives. This will address the questions such as: Why some furniture pieces designed in 20th century are still relevant for 21st century interior spaces? It shall impose multiple questions for creating wider base for framework. Creating framework Analyzing classic furniture pieces by designers and their relation to designed architectural spaces by architects. This provides a compound layer to the research in understanding the aesthetical, functional and material preferences of both. The selection of these classic pieces are done by the idea of timeless factor and how far the piece travelled, from the type of spaces to the classification of spaces. Also, the pieces that provokes a different perception for the relation between furniture and space. These factors helps in creating a framework that shall provide basis for building up. Building up Adding layers of complexity to the research. A detailed in depth study of a project provides with the understanding of a single furniture piece and its existence in spaces with different functions and varied design language. An overall overview of analyzing one single piece of furniture and understanding when and how does it become ‘integral’ to a space and why. This exploratory process shall lead by the underlying common factors that were formerly derived. 0.4 IMPLICATION The thesis intends to provide the students, educators and practitioners from interior design discipline to conceptualize furniture as an approach to space making process. Hence, the idea of furniture as an integral element to the space.
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01.
16
SETTING BASE
1.1 FURNITURE - INTEGRAL - SPACE (EXPLAINING THE THREE KEYWORDS)
1.2 EFFECT OF MODERNISM ON 20TH CENTURY (WHEN ARCHITECTS STARTED DEFINING FURNITURE FOR THEIR SPACES)
1.3 A DEBATE ON INTEGRALITY (LE’ CORBUSIER AND FRANK LLYOD WRIGHT)
1.4 INTEGRALITY AS MULTIFARIOUS (IMPOSING QUESTIONS ON THE IDEA OF BEING ‘INTEGRAL’)
1.1
FURNITURE - INTEGRAL - SPACE (EXPLAINING THE THREE KEYWORDS) FURNITURE
Definition of furniture (noun) 1. The movable articles that are used to make a room or building suitable for living or working in, such as tables, chairs, or desks. 2. The small accessories or fittings that are required for a particular task or function. Furniture helps in making a space function or helps in fulfilling its functional requirements. Functional requirements like sitting, storing, working, eating, sleeping and resting. Furniture also undertakes the aspects of aesthetic appeal of the space, the feel of the space along with the functional aspects. Furniture includes objects such as tables, chairs, beds, desks, backpacks, dressers, and cupboards. These objects are usually kept in a house or other built forms to make it suitable or comfortable for living or working in. Hence, furniture is a medium to fulfill the function, for which a space is made. Furniture is a huge and varied range. Here, in the thesis furniture is confined to chairs. Because as Witold Rybczynski says in his book ‘Now I sit me down’, chairs are affected by and reflect changes in technology, materials, and economic and social conditions yet they remain intimately connected to pecularities of the human body, after all we sit on them. At the same time, chairs communicate a lot about our attitudes toward comfort, status and our physical surroundings. Hence, providing the thesis with a wholesome view towards furniture. Definition of chair (noun) A chair is a separate seat for one person, typically with four legs and a backrest.
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SPACE
Definition of space (noun) 1. Position two or more items at a distance from one another. 2. A part or division of a building enclosed by walls, floor and ceiling. 3. Space that can be occupied or available where something can be done. Built forms or spaces are designed to support human functional activities. Functional requirements like sitting, storing, working, eating, sleeping and resting. Different activities requires different kind of spaces and every space is made with the idea of fulfilling that activity or function. Hence, these spaces are made to fulfill the requirements and serve a purpose. Few questions arises whether, Is architecture regarded as a space? Is interior regarded as a space? Is furniture regarded as space? Furniture interacts with the interior spaces and then the architecture of the built. Hence, the space here, is regarded as interior and then the architecture of the built. Concept of space making There are a lot of factors that contributes in making a space. Such factors when come together, they make a whole complete. Hence they become integral to the space. Out of which the research looks at the facet of how does a furniture piece or multiple pieces of furniture becomes integral to a space.
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INTEGRAL
Definition of integral (adjective) 1. Fundamental or essential 2. Necessary to make a whole complete Integrality is the aspect of being integral. Throughout the thesis, it talks about furniture being integral to the space and checks whether a furniture piece is integral to that space or not. Initially integrality was seen as a yes or no answer. Whether furniture is integral to a space or its not. But it came to an understanding that the aspect of integral has many layers to it and not every layer could be an objective decision. Hence, aspect of being integral should not be seen as a black or white approach but rather a percentage of grey area.
Low integrality It is very similar to how science measures porosity, quality of being porous. Liquids can go through things that have high porosity and vice versa. It is always regarded as a value that determines the percentage of any thing, whether it is highly porous or has low porosity. It doesn’t have a simple yes or no answer rather a complex percent value associated to it. Similarly, grey towards white shows low integrality and grey towards black shows high integrality. When a furniture show low integrality it means, it might belong to the space but is not essential to make the whole complete. While a darker grey indicates that furniture helps in making the whole space complete. The measurement of the aspect ‘integral’ could be done through five or more than five grey stages between black and white. 20
High integrality
Integrality is seen as a comparative process throughout the thesis. Hence, is measured through five different stages shown below. (The data collected is through the research done with the projects chosen, in the time being)
Visual aspects like colour, texture and intangible aspects like hierarchy, photogenic furniture. Angularity, adjacency (positioning provocative or instinctive feelings.
of
furniture),
Materiality, form and language, proportionality, visual weight, a flexible common approach. Psychological aspects associated, user centric approach and underlying common philosophy. Functionality, dual functionality and transcend user centric approach.
A furniture with respect to the space could also have various factors associated with it, these combined factors would define the term ‘integral’ for that furnitue and space. The minimum common factors between the furniture piece and the space are regarded as pointers that blur the clear line, dividing the two individually.
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1.2
EFFECT OF MODERNISM ON 20TH CENTURY
(WHEN ARCHITECTS STARTED DEFINING FURNITURE FOR THEIR SPACES)
Architects started producing drawings for the furniture pieces required by the late 19th century, this lead to influence of architectural principles on the domain of furniture design. Furniture got built for the built forms that architects were making for this century. This was the first time when furniture was seen as ‘integral’ because of its functional requirements for the space and then came aesthetics in the picture. Though it was not only about the functional requirements, a lot of other factors as discussed in the previous century’s influence, were considered here. This was the bar where the idea of ‘integral’ was perceived a little differently for the coming years. The 20th century began with Charles Rennie Mackintosh’s furniture, the oak dining chair with elongated forms and restrained ornament. It was originated by Catherine Cranston a Glasgow-based businesswoman, with a passion for the arts, came up with the idea of opening a series of tea rooms in the city with artistic interiors. She was an important part in influencing of the long backrest furniture by giving Charles Rennie Mackintosh an opportunity to showcase his talent as a designer. Hence, the use of furniture to create a feeling of enclosure and spatial separation within a room was created.
Fig 1.2.1
Fig 1.2.2 22
Then the red-blue chair by Gerrit Reitveld was designed during the First World War by a leading member of the Dutch de stijl group as a deliberate break with existing traditions. These designs were the beginning of the modern era in the 20th century. The chair is made out of pieces of standard lumber simply screwed together with no dovetail joints or mortise and tenon joints. The seat and back were flat wooden planks. Reitveld painted the back red, the seat blue and the frame black and yellow, which made it look like a three dimensional mondrain painting. (Reitveld and Mondrian both belonged to the De Stijl art group.) It was made with the idea of mass production with the standard pieces of lumbar and was not to be seen as handcrafted.
Fig 1.2.3
The chair is used in the schroder house designed by Gerrit Reitveld. Except for the strong primary colours that make the chair looks as if it belongs to the space, there are other factors like underlying philosophy, use of flat plates and sections, and standardised components adds to the belongingness. This red blue chair was ergonomically uncomfortable with edges so sharp and seat hard and steeply angled. The chair was designed as a piece of art rather than being functional. The space was questioned as the idea of addressing few problems, but it required more issues to be addressed in order to define the aspect of integral.
Fig 1.2.4 23
Walter gropius founded the Bauhaus art and crafts school to teach his universalist preposition. One of his first students was a young hungarian, Marcel Breuer. He got inspired by Gerrit Reitveld’s red and blue chair which led to making Wassily chair.
This was inspired by the steeped angle but was a little more comfortable with the fabric and metal armrests. Reitveld’s chair was made of wood while wassily chair was made out of tubular steel. This was the first technical innovation in furniture making since Michael Thonet developed bentwood sixty five years earlier. As the World War 1 ended there was a demand for mass production of objects. The use of new technology was crucial in the development of furniture and thus reflecting the newness of the era by breaking away from the historical styles of 19th century. Hence, the chair got all the attention but it had a lot of functional shortcomings. The angle of the chair did not allow much movement and was uncomfortable for longer sittings. The chair was not made for a specific space but was a result of experimentation. Wassily chair is now questioned to be an classic to which philip johnson once observed. “I think that comfort is a function of whether you think the chair is goodlooking or not.” He also revealed what people said when they had to get up from Mies’s Barcelona chair which were very low and lacked arms, probably “oof!” A lot of furniture was seen produced using metal with simpler forms and minimal sections which was inspired mostly from last centuries. Marel breuer’s chair, gerrit reitveld’s chair were all made as an individual furniture pieces and then were adopted by a space, while in Mies’s barcelona chair was made specifically for the barcelona pavilion. Many architects along with Mies were experiementing with newer materials and technology which could easily be done and tested on smaller scales like furniture pieces. 24
Fig 1.2.5
Barcelona pavilion and Barcelona chair were made for an exposition in 1929 by Mies Van Der Rohe.
Fig 1.2.6
Fig 1.2.7
The approach towards the architecture of Barcelona pavilion could be derived as minimal and modern. Similarly, furniture is approached and was made for the king and queen of Spain, expected to be attending it. Hence, the space has two chairs facing towards interiors.
This furniture piece made around a hundred years back is still used for the designed spaces of 21st century. For any space drawing parallels with philosophy of Mies’s design automatically aligns with the furniture piece and can behold it in its space. Few aspects that align with Barcelona chair and Barcelona pavilion are as followsProportions are not directly related to the built form but proportions as a system work towards maintaining the underline geometry. The size of the space was kept a little more as compared to any single height space since the space would be used by more number of people. The size of chair was kept according to the end users (King and queen of Spain). Scale or Size did matter in creating the space and furniture. Structure of the built is kept minimal with columns and walls supporting the ceiling. The side stainless steel curves and the flat eight strips supporting the seat and backrest. These are adequate to the usage of material and comprehensive response towards the functional requirements.
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Scissors shaped collapsible folding chair which was a symbol of power among Egyptian rulers is reinterpreted in the Barcelona chair. The cyma recta curve of the back leg and seat. The form of the built was kept perpendicular and offset in various places. Form is not the aim of work but only the result. Also, the saber legs of Klismos chair from Greece influenced Mies Van der Rohe’s design.
Language of the furniture piece and space are both highly inspired from the modernism movement. Use of advanced technology helped Mies to develop this cantilever Barcelona metal chair. The idea of organizing the disorganized material travertine in the pavilion was used. Both of these techniques were a hint towards the world moving onto mass production of interior elements. The underlying idea of lightness in the project was conveyed by both the space and furniture piece inside. Erno Goldfinger a hungarian born architect and furniture designer with modernist movement, had his own views with regards to furniture. A very high standards of materials and workmanship was demanded by Erno Goldfinger for his furniture designs. This was his instance on furniture an extension of his desire for permanence in his architecture. He believed furniture should be made in accordance for human needs and not with formulae derived from five orders of architecture principles. It should be made for human use and not for the room it is designed for. He believed in standardized furniture types which were conceived independently of specific interiors. In his case, his built in and freestanding cupboards became pieces of architecture rather than furniture pieces. They took on the role of walls and partitions in addition to its primary function as storage. He believed the primary function of both furniture and architecture is to fulfill human needs.
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Fig 1.2.8
Erno Goldfinger was more comfortable in designing chairs because it needed an understanding of mass rather than space. He was keen at incorporating ergonomic principles into his designs for cupboards, desks, wardrobes and chairs. This can be simply explained by the fact that designing storage was not so different from designing buildings. Both storage systems and built forms require the manipulation of space by means of horizontal and vertical elements to provide ‘An ordered enclosure for human activities’. An attempt to what most architects associated modern movement was the realization of a new way of living to the 20th century and desire to furnish their interiors with furniture of their own design was a very common approach. A lot of architects designed furniture for their own spaces with their design philosophies. A distinct philosophy for the same has been seen between Le’corbusier’s approach and Frank Llyod Wright’s approach for furnishing their spaces.
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1.3
A DEBATE ON INTEGRALITY
(LE’ CORBUSIER AND FRANK LLYOD WRIGHT )
While designers in Germany worked with curiosity and ingenuity to find solutions for the new possibilities afforded by industry, they remained concerned with integrity under all circumstances and their interest lay mainly in the creation of the design itself. Le Corbusier on the other hand saw the problem of design not as an isolated one but as a technical, social and economic problem for which a general applicable solution can be found. He replaced the term furniture with a new one: equipment, thereby not only abandoning traditional but also all the usual associations with individual, personal and limited use. He reduced all furniture to three categories: chairs, tables, and open or closed shelves and went onto design standard forms for each category. A multi-use table, standardized sectional cabinets and chairs for various purposes, working, relaxing. These equipment’s could be used in any of his architectural settings and in fact it contributed to the architectonic effect. In addition to the mobile furniture, open shelves of concrete often appear in Le Corbusier’s interiors as an integral part of the architectonic setting. They represent furniture in a new sense, for they are fully integrated with the architecture. They have been freed from the stigma of being ‘artistic’ and from the emotional demands of the ‘artistic’ object. Equipment in the house was to be a commonplace, part of the machine for living, so that the msn, disencumbered of ‘personal’ possessions and could turn his thoughts to nobler things. (Hayward, 1965) 28
This frugality is in marked contrast to the practice of Frank Lloyd Wright in America. Wright demanded the ‘integral’ design, which meant that all furniture was to be designed by the architect as a natural part of the whole building. But while Le Corbusier designed standardized universal ‘equipment’ which could be used in all houses equally well, Wright saw each house as a particular creation and his furniture suited each one individually. We can refer to the Le Corbusier table or chair but we can only choose an example of Wright and illustrate with it one solution of a particular artistic problem. Any other would be equally valid but notably different. In making furniture an integral part of an overall artistic solution, he often treated tables, benches, desks, and cabinets as structural details of the building itself and even where they are not built in, they appeared to be. (Hayward, 1965)
The two equally strong and contradictory ideas could be more elaborated and understood through their works as examples. Both talked about ‘furniture being an integral element to the space’ in their own subtle way. However the 20th century benefited from both.
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JOHNSON WAX BUILDING BY FRANK LLYOD WRIGHT Johnson wax building constructed in 1939 has the most unique dedriform columns, a name used by Wright because of its tree like shape. These mushrooms like columns or lilypads taper as it goes down covering a huge commercial space. The circular lily pads of concrete are woven together by a membrane of Pyrex glass tubing that illuminate spaces with natural light. The large workspace is well lit with indirect light and very little glare that resulted in a better work environment. With a lot of architectural elements, Wright furnished the interior spaces with 40 furniture pieces. The inspiration of circular form, curved corner profiles and glass details were also incorporated with furniture pieces. The divisioning system is kept proportional while working with elements of various scales. The entire workstation comes out as an individual entity working towards a singular purpose. The use of Pyrex glass tubing extending beyond roofing materials for wall dividers and hence replacing conventional windows. Similarly, the idea of having different desk levels and linear metal elements to a furniture piece (that helps in personalizing the workstation) was very original in its nature.
Fig 1.3.1
Fig 1.3.2 30
Fig 1.3.3
WINGSPREAD BUILDING BY FRANK LLYOD WRIGHT The Wingspread also known as the Herbert F. Johnson House represents many of the key elements of Frank Llyod Wright’s architecture. The chimney in the centre of the living room creates the unison of the house. From here the house parts into four different directions using spaces for different functions. While in the barrel chair the seat is cushioned as a centre piece with wooden elements coming towards it. This makes it easy for changing the soft furnishing and keeping the structural element intact. Barrel chairs were customized and specifically designed for the wingspread building. The form of the space and furniture are both curved from the corners. The materials are exploited outside of their natural forms, brickwork is done in a curved manner and wood is used in a way it seems that it is made from a single piece. The roofing of the living area is done with ample of natural light coming in the space. Concrete flooring is done to ease the amount of heat and for cooling the floor. Furniture is made with the corresponding language and materiality of that to the space. Frank Llyod Wright strongly believed that furniture has to be designed by the architect as a natural part of the whole building for it to be considered ‘integral’.
Fig 1.3.4
Fig 1.3.5 31
LC FURNITURE RANGE BY LE’CORBUSIER Le Corbusier developed a series of furniture pieces called LC1 - a steep angled sitting chair, LC2 AND LC3 a cushiony seat with two different widths, and LC4 - a chaise lounge chair in 1930’s. The materiality is similar in all the pieces, made up of tubular steel with leather sittings. They all give a feeling of plush and comfort. None of which were made for a specific space rather could be personlized for different spaces. These furniture pieces have seen to be used in multiple spaces and in multiple number. LC 1 was first used in villa church made in 1928 but later was seen in a lot of other projects of le’corbusier like villa savoye. It is also seen used in interior spaces in the 2011 american famous t.v. series ‘suits’.
LC2 and LC3 were developed with the idea of minimal use of structural element. They were created with different breadths which is why it has two versions called LC2 and LC3 for the same chair. These chairs were used in offices and are still used now. They are also seen in a different coloured cushion in the 2010 t.v. series called ‘sherlock holmes’. These chairs are still in use in many offices of the 21st century.
Fig 1.3.6
Fig 1.3.7 LC4 chair was made as a leisure furniture piece. The main aspect was to create a piece for lounging that supports body’s natural curves. This was used in a lot of residential projects back then and uptil now. These furniture pieces crossed boundaries of time and geography.
Fig 1.3.8
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Fig 1.3.9
Fig 1.3.10 In both the above images, the use of LC range is seen in the office of Matharoo Associates. The interior space is used for informal meetings and sometimes as a relaxation space. Furniture was made in 1920’s-30’s and is used in spaces of 2020 because of the underlying philosophy of both furniture and space or by personal whimes and fansies. However, this chair crossed boundaries of time and geography.
INFERENCE FROM BOTH CASES The contradictory ideas of both the architects works in regards of their own underline ideology. The bar of integrality is higher in Frank Llyod Wright’s works but Le’corbusier’s furniture manages to be integral in its own tiny space created around. In Wright’s case the exterior built form, guides the form of the furniture while in Le’corbusier’s case the furniture piece guides the interior space. Integrality is seen here as two different concepts but is actually conceived as multifarious.
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1.4
INTEGRALITY AS MULTIFARIOUS
(IMPOSING QUESTIONS ON THE IDEA OF BEING ‘INTEGRAL’)
Since modernism architects have been building structures and also the furniture pieces for their built forms. Every modernist architect’s methodology and philosophy is diverse yet unified in designing spaces and furniture. The way Erno Goldfinger quoted, “The primary objective of furniture and architecture was the same – To meet human needs”. (Ed, 2002) An ordered enclosure for human activities’ or indeed for human possessions. His method of furniture being an integral element in space is merely his representation of a new way of living. The attempt towards the modern movement by most of the prominent architects was to find a new and appropriate way of living in the 20th century.
Neil Cummings adds to ‘Furniturization’ by design historian Reyner Banham who coined this term that chairs reserve parking spaces in the streets, hold doors open, become cloth racks, baby changing platforms or step ladders. In fact sitting seems one of the uses we least require of chairs compared to the time they spend fulfilling other unintended functions. (Ed, 2002) The question that arises here is, Can multipurpose be an important aspect in defining furniture to space?
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On the contrary, Alvaro Siza contemplates that a piece of furniture must stand well in a particular space but it must also have strength and quality which will allow it to go anywhere in the world. While Kenneth Frampton refers Alvaro Siza as a critical regionalist, his perspective towards dealing with furniture is more flexible. For e.g. Chair designed for Santa Maria church at Marco De Canaveses. by Alvaro Siza. As shown in the picture the scale of the built form demonstrates the higher form of experience to the deity with singular materiality. While furniture has been developed with the quality of groundedness in response towards the space with singular materiality. Fig 1.4.1
In this building he combines elements of the local baroque style that influenced church with his characteristic Sparta Mediterranean architectonic language. While with response towards furniture his space defines human ergonometric character with 400 wooden chairs. The spatial quality of the church elevates one’s spirit while sitting on the chair, stabilizes oneself. In this case furniture (chairs specifically and other elements) has taken up vital responsibility to create space within a space. Hence, is seen as a space creating element which is integral to the space while has the capability as an individual piece to go anywhere in the world. The question that arises here is, Can one piece of furniture be integral to a space or multiple pieces are required for them to be integral?
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Eero Saarinen quoted, “If the problem is chair then its solution must be found in the way it relates to the room. “ Few of his furniture designs are seen to be more sculptural designs. Following two prominent examples explains his sculptural furniture designs(1) Tulip stool – It works well with multiple functions such as desks or kitchen counters. It is compact in terms of size and can easily fit into tight spaces. The materials used are plastic and metal which gives a hint towards the age its meant to fit in.
Fig 1.4.2
(2) Womb chair – A perfect modernist chair, follows the underlying modernist theories and hence goes with all modern homes. Comfort is the key aspect, which is demanded for every space. Highly adaptable in terms of space configuration like industrial, classical, replacing overstuffed upholstered pieces. The question that arises here is, does furniture needs to be flexible to take up more responsibility than what it is meant to be, in order to be integral to the space?
Fig 1.4.3
Charles and Ray Eames plastic shell armchair developed as a result of experimenting with stamped steel and aluminium, which proved too expensive. Earlier the shell came in three colours - beige, grey, and parchment, later brighter colours were introduced as well as fabrics and vinyl upholstery. Over time these ubiquitous shells were used with bar stool stands, stacking classroom chairs and auditorium seatings. Today, Eames shell chairs are also made of injection molded polypropylene and are mass produced in huge varieties. The chair is considered a true modern classic. It fulfilled the idea of combining new processes and new materials to produce new forms. The forms are not simply aesthetic inventions but are result of considerable technical rennovation and refinement. The question that arises here is, does furniture needs to flexible enough to be a high stool and a low sitting too, and also should be technologically advanced in order to be integral to the space and to that time?
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Fig 1.4.4
Hans Wegner made this shell chair in 1950’s - 1960’s by sanding modernism’s sharp edges and clean straight lines. The chair is composed of two major curves made of moulded plywood as seat and backrest. It rests on three legs out of which two front legs are made out of a single piece of laminated wood. Upholstered pads are attached to the seat with brass fasteners. The swooping curves of the chair gives a very dramatic feel to the chair. The flair of the wings like the seat is a place for temporary handrest and to push up against in order to get up. Fig 1.4.5
The question that arises here is, does furniture needs to be a piece of art or look sculptural in that manner, in order to be integral to the space?
Marcel Breuer’s Cesca chair is a profound example of a furniture piece to be cantilevered and yet perfectly balanced for sitting. The seat and back are beechwood frames with woven cane inserts which is considered more comfortable and durable than stretched fabric or leather. Different versions of the same chair were made and is considered a simple combination of tradition and innovation in furniture design.
Fig 1.4.6
The question that arises here is, does furniture needs to contradict the laws of physics or have different interpretation in order to be integral to the space?
Integrality is defined in multiple ways and it depends upon various factors. When an architect designs furniture for his spaces or when furniture and spaces are designed by two different people. They are designed by two different people and in different time zones and yet are co-existing. All these complex layers and aspects define the layer of integrality by examining four critical examples of both modern and post modern design era.
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02.
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CREATING FRAMEWORK
FURNITURE
SPACES
2.1 MODERNIST CASE OF ALVAR AALTO (PAIMIO CHAIR FOR PAIMIO SANATORIUM)
2.2 MODERNIST CASE OF CHARLES RAY EAMES (EAMES LOUNGE CHAIR FOR EAMES HOUSE AND OTHER SPACES)
2.3 POST MODERNIST CASE OF KONSTANTIN GRCIC (OUTDOOR CHAIR FOR OUTDOOR SPACES)
2.4 POST MODERNIST CASE OF THOMAS HEATHERWICK (SPUN CHAIR FOR SPACES WITH CHANGE IN PERCEPTION)
2.1 MODERNIST CASE OF ALVAR AALTO (PAIMIO CHAIR FOR PAIMIO SANATORIUM) When an architect designs both
furniture
Architects have been designing built forms and since modernism architects have also been furnishing their own structures with furniture. This practice helped them align their interiors to their exteriors. There are several reasons associated with architects defining their own furniture. Similar ideology, experimentation in materiality, financial benefits, exploratory forms at comparatively smaller scale, idea of industrialization to mass production are the prominent ones. They were keen to design furniture and to experiment their work with industrial processes. Architects typically saw furniture as a scaled down version of any built form, hence was treated with similar attention. Their pieces worked for their spaces and few classic pieces of 20th century are still relevant for the 21st century. These pieces were made with the approach to the built form either to justify the structure or to create a piece that could facilitate a lot of other spaces with similar parallel ideologies. Every architect has their own methodology for designing or approaching a furniture piece. Their ideology shall provide this research with a base work to analyze more complex situations. An amalgamation of different ideologies and decades studied together shall provide with a broader base work for the next step towards research. The idea of co relation between space to furniture shall be understood finest when both the approaches are done by single hand, here architects. For the underline aspect that both of them belong together and hence architect’s furniture is integral to an architect’s designed space shall be explored further.
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and
space
In modern buildings, sensing objects simultaneously from many vantage points maybe one of the reason behind the aesthetic consciousness of modern architects like Le Corbusier, Mies van der rohe, Marcel Breuer and Alvar Aalto – which led them to design furniture. They also viewed furniture as integral to unified architectural schemes. Whether these architects were impelled by idealism, rebellion, vanity, or even arrogance there can be little doubt that they changed people’s way of looking at the furniture just as Picasso changed the way of looking at a painting. (Prajapati, 1998) AALTO’S DESIGN PHILOSOPHY As discussed above different architects had different and personal reasons for designing furniture for their built forms. Aalto saw the need of functional innovation as a modernist approach to the built forms and furniture during early 20th century in Finland. Working with wood was an integral part of Finland’s architecture and interior spaces. Aalto worked with wood in a modernist approach, breaking free from the romanticism of 19th century. This clearly defines that Aalto used the primitive and natural materials but in a very inventive way and scientifically exploited plywood as to make it virtually a new material. His furniture designs shows clear inventive use of plywood. Birch and pine forests in finland are the source of the country’s industries and the basis of its economy. (Richards) Hence, interpreting modernism as use of local materials and highly functional for the user. This created the modernist approach of Aalto setting him apart from other modernist architects of the early 20th century.
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AALTO’S TAKE ON FORM AND FUNCTION, MATERIALS AND PSYCHOLOGY OF ARCHITECTURE Alvar Aalto argued forcefully for the functionalist design method: “Instead of form based interior design, which starts exclusively from forms and then attempts to serve the practical purpose to the extent permitted by this constraint, the functionalist method starts out from the real demands of life and then creates forms to suit needs.” (Pallasmaa, 1998) The idea of developing Paimio chair for the Paimio sanatorium also goes back to the fact that, Aalto was psychologically grounded in terms of design. He believed the design should be functional for the user. This lead to creation of the built form to the minutest detail that would help a patient recover fastest. The noiseless basins, paint of the ceiling to absorb light considering the perspective of lying patient, furniture pieces that not only supported the spine but also helped in breathing. This approach of synthetic functionalism helps the furniture pieces to become integral to the space without considering the visual aspects yet. His designs clearly approached with the principle - ‘FORM FOLLOWS FUNCTION’. The apparent whims, improvisations and complexities of his designs derive from his personal rationality that was extended to include the psychological and mental realm of architecture. (Pallasmaa, 1998)
This is also the justified reason for Aalto entering into a competition for designing a space for tuberculosis patients. This lead to defining the field of design as extended rationalism. It clearly addresses to deal with all the problems related to the object or project concerned. Henceforth, designing every detail of the built form to the interiors. Furniture was crucially and typically made for this space to suite the environment created already for tuberculosis patients.
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He quoted, “Technical functionalism is correct only if enlarged to cover even the psychophysical field. That is the only way to humanize architecture.” (Pallasmaa, 1998)
This lead to the usage of materials to their most truest and natural forms. Minimalism and functionalism dominated his design thinking with an approach to humanize the designs.
ANGULARITY The angle of paimio chair is 45 degrees to 110 degrees (ideal for a resting position) which are the two major angles on which the sitting works. These angles helps in breathing of a tuberculosis patient. The angle of block ‘B to block ‘A’ is 20 degrees and the angle of block ‘C’ to block ‘A’ is 20 degrees in the opposite direction. This helps in facing the south side of all the three blocks with gaining maximum sun light in a cold country like finland. Alvar Aalto was a lot concerned and careful in designing the angles of his built forms and furniture. Fig 2.1.1 Side elevation of paimio chair
c B
A Fig 2.1.2 Plan of paimio sanatorium 43
USER CENTRIC The sitting angle (curve) of the paimio chair helps the tuberculosis patient in sitting as well as breathing. This makes it essential for a tuberculosis patient.
The interior spaces of the patient’s room is made with the idea of a sleeping person. The spaces in the side are tight but there is less visual barrier in the room above the eye level of the patient. Hence, the interior space makes it essential for the patient to heal faster and better. Fig 2.1.3
Fig 2.1.4 Interior of a typical patient’s room
FORM
Before vaccinations and antibiotics were invented, the cures for tuberculosis included good hygiene, clean air, and light therapy. This was all minutely detailed out by Alvar Aalto in the sanatorium. Hence, form became an important aspect in making of the space after function. The idea of curved form was created to avoid any sharp corners in the sanatorium, which got translated into furniture as well. Fig 2.1.5
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As tuberculosis is transmitted by bacteria, it was important that all the surfaces were easy to clean and the spaces could be easily aired. No sharp edges, unnecessary ornaments, or shelves that gather dust were used. The indoor surface materials were durable against wear and washing; rubber flooring, linoleum, ceramic slates and shiny painted surfaces. Hence, circular columns, circular diffused lights and curved partitions were made. Fig 2.1.6 Office space (information desk) MATERIALITY The use of wood and plywood in the chair feels natural to touch as it does not react to the temperature outside unlike metals. Curve of the handrest is suitable for a patient to get up from the chair. As it is made from wood and plywood, it doesn’t make noise when moved. Hence, it is soothing to the sense of sound.
Fig 2.1.7
The ceiling of interior space does not reflect light which works well for the sense of sight. This diffused light used throughout the sanatorium calms the senses. Rubber flooring is also done that is not slippery and does not produce a sound with any kind of footwear. The corners of the flooring are curved uptil the wall that helps in no accumulation of dust and is easy to clean.
Fig 2.1.8 waiting area
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2.2 MODERNIST CASE OF CHARLES RAY EAMES (EAMES LOUNGE CHAIR FOR EAMES HOUSE AND OTHER SPACES) When a designer designs
furniture
for their
own space
CHARLES AND RAY EAMES DESIGN PHILOSOPHY Charles and ray Eames believed in the principles of modernism. They believed ‘design’ as an everyday lifestyle rather than a medium to use occasionally. Typically from their simple clothing style to their minimal and simplistic approach in space and furniture designing is evident in many of their projects. They worked longer hours on a daily basis which justifies their simplified clothing sense. When they were shifted to California, they drove a simple American black car when people around them were driving internationally marketed vehicles. They also decided upon living informally in the outskirts of the city with their house and office as an unanimous function. Their approach towards their design principles can be clearly seen from their way of living, minimal and simple yet functional and aesthetical. The interesting aspect in their living in Californian home was, they never really changed anything inside their house. Be it any form of interior decoration or an electrical appliance. They once had to change their refrigerator in 40 years due to its malfunctioning but not anything majorly. This brings us to the fact that they longed for a permanent ability in non-permanent objects rather than temporary solutions on an everyday basis, which is clearly seen in their work too. The furniture pieces that they made during their span of design professionals, crossed the boundaries of both geography and time.
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and
other spaces
PSYCHOLOGICAL APPROACH Ray did a lot of what they called ‘functional decoration’, to which Robert Venturi said, “Modern architects wanted everything to be neat and clean while Eames’s came along and spread eclectic assemblages over an interior.” Charles and Ray Eames also believed in “timeless appropriateness”. A furniture piece or an element that is designed should speak for itself, let alone for the cultures that produced them. For this quality to an object it required detailing in a manner that helps it to cross boundaries of geography and time. (Kirkham, 2001)
For this belief that was embedded in both of them, subconsciously helped them make furniture pieces that were regarded as having the quality of ‘timeless’.
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USER - CENTRIC Human backbone is divided into four parts - Cervical, Thoraci, Lumbar and Pelvic from top to bottom. Out of which first three of them help us to comfortably sit in any position we want to. Eames divided the chair into three different segments for the maximum benefit of comfort.
Fig 2.2.1
Fig 2.2.2
Backbone adjusts itself in these two parts differently, accordingly the chair adjusts itself too. The gap between the three segments helps it to breathe so that one can sit on it for a longer period. Hence, tailoring to the individual needs of the user.
Fig 2.2.3 48
Fig 2.2.4
FUNCTIONALITY - LOUNGING The ‘integral’ aspect of Eames lounge chair lies in the idea of function – ‘lounging’ provided with the maximum comfort and flexibility to it. These chairs are seen in places with a relaxed and peaceful spaces. Spaces that indicates distinctiveness on a personal level. A book collection space, record collection studio, television room and spaces that require lounging activity. The user can pick a book, read it for some time or pick a record and play it for a while with lounging on the Eames lounge chair. Also, can sit, relax and observe the nature around. This specific function ‘lounging’ is the major aspect in these spaces with other aspects like aesthetics, organization, geometry, scale are seen as secondary with respect to furniture and space. Hence, it is being suited to this specific function. READING WHILE LOUNGING
LISTENING MUSIC WHILE LOUNGING
Fig 2.2.5 OBSERVING NATURE WHILE LOUNGING
Fig 2.2.7
Fig 2.2.6 49
MATERIALS
Fig 2.2.8 Foam covered with leather here, black leather buttoned
Moulded plywood Cast aluminium legs and back supports Laminated rosewood veneer used with rubber spacers
All materials combined provides a warm, comfortable, plush, relaxing and welcoming feeling.
The materials used in the above Eames lounge chair are a classic example of the furniture piece. But alterations and various customisable options are possible in this luxurious furniture piece. Though it was made with the idea of mass production, it still has an option of customization in terms of choice of material. The cushioning and moulded plywood are both customizable options for the user. This feature helps in the response to the touch and feel factor of the furniture piece. Metal, plywood, plastic, wood, regardless of the material choices the furniture came out to be fluid or had qualities like plasticity to it. It can be customized with the idea of personal whims and fancies, and also with the idea of space. The interior environment can determine the outlook of the furniture piece.
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MATERIALITY A - Lounge chairs are also found accompained with the sofa sets in the living spaces. It is because of the luxurious comfort that the chair provides without the use of ottoman. The wine red coloured upholstery done in the chair makes it work with the colour palette of the space and works well with the cushioning and the decor of interior space. It carries a soft feeling when touched. B - The idea of customization also helps in bringing in ones own desires and fancies with the plush furniture pieces. The pink cushioning cover with light coloured plywood makes it very specific for a single user with a subtle emotion of peace.
A
C - When customized according to a specific use it can provide a feeling, the space demands. The use of leather found in vintage cars for the Eames lounge chair assisted the mood of the space to look vintage.
c
Fig 2.2.9
B
Fig 2.2.11
Fig 2.2.10 51
EAMES OWN HOUSE EAMES LOUNGE CHAIR IN EAMES HOUSE The architecture is done by both Charles and Ray eames and it defines the influence of modernism with an overlap of their own design philosophies. Their house was built with prefabricated elements. The house was built largely of standard components, such as the windows which measure a standard width of 3-feet 4-inches. The rooms flowed into each other with no clear division of private and semi public spaces. The house is an extension of Mondrian painting and reflects simplicity with the use of materials. The proportions in the built are given a higher degree of value. Furniture that Charles and Ray Eames made was also experimented with the use of materials and technology. It was advanced with the times and was highly functional. The proportions used created a visual balance throughout the space. The piece was used by one of them or Ray would sit on the chair and Charles would come and sit on the ottomon. This depicts the flexibity they took in the usage. Along with proportionality, materiality, functionality, user centric design and the spatial quality to it made this piece sit in the living room. As discussed earlier they both believed in the quality of ‘timeless’. This timeless quality has been translated in both the furniture and the space they lived in. This made them bought different pieces arranged everywhere in house with an intangible tied belief system. They did not made many architectural buildings, while they did a lot of furniture designs, products and short films. The concepts and ideologies that they had for furniture and built forms were under the same umbrella, just varying scales which made it all integral to each other.
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PROPORTIONALITY AND PHILOSOPHY Solid lines show the major divisioning system used in both furniture piece and the built form. Dotted lines are reffered as the secondary divisioning system used to proportionally divide . Both the furniture and space use similar divisioning system with the idea of scale associated to it. Also, when it sits in the interior space it is mass against the frame structure of the built. This provides with the sense of foreground, background to the space. The lightness that the space beholds is also seen in the furniture piece. This is achieved through the divisioning of chair in three parts. Fig 2.2.12
Fig 2.2.13
Fig 2.2.14 53
INTANGIBLE ASPECTS Other than proportionality, materiality, functionality, user centric design and the spatial quality, there are multiple other intangible factors with which the lounge chair has been associated. Rather than a flat two dimensional way, it is more looked in all the 360 degrees. Below is a manhattan’s commercial office This chair is also used in office spaces, where lounging is not the major concern. But when a small group of people meet for long hours in a meeting, this lounge chair without the ottoman provides with the degree of relaxation, the user demands. Lounge chairs used here as an hierarchy or status symbol of the company and business people. The chair in this picture seems very uncomfortable sitting for a formal meeting to take place. This defines the use of lounge chair more than a ‘furniture’ duty as a sitting element.
HIERARCHY - STATUS SYMBOL
The same way 17th century talks about furniture taking up more responsibility for it being integral to the space. The other aspects that furniture pieces took in order to be in the space.
Fig 2.2.15
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17TH CENTURY This century was ruled by kings and queens of different regions, trying to embrace their power of reign. The palaces were filled with overly ornamented objects in interior spaces. For this to justify more, furniture was depicted as a symbol of power and pride in the process of belonging to the space. The idea of functionality to a furniture piece was given a back seat when it comes to aesthetic visual property of the piece.
Fig 2.2.16 A roman folding tripod.
The artistic craftsmanship of the middle ages was expressed in a stylistic language with which we are no longer familiar in our daily lives, but their furniture was often conceived and executed with the same painstaking devotion as was lavished on a grander scale, upon the churches and cathedrals which were the glory of medieval Europe. (Hayward, 1965) This summarizes the fact that furniture was looked upon to provoke emotions. This lead in furniture taking up more responsibilities than ever in order to be part of the space. Integrality was secondary when furniture was only being part of a space. Furniture was often used to reflect the strong hierarchy this era was imitating. The sitting elements of kings and queens were given the tallest backrest and reducing the height of the backrest as the hierarchy went down. Also, chairs with lavish walnut wood carving was used with straight backrest, curved backrest which provide comfort to the spine and a less rigid pose were not yet introduced. This is the clear demarcation towards visual values like aesthetics, organization values like hierarchy, were all kept over personal comfort like functionality for a furniture in order to be a part of the space.
Fig 2.2.17 Walnut wood carved chair with straight backrest for higher authorities.
Also, a lot of influences of different craft forms were seen with furniture to create finest pieces during those times. Exchange of craft form was seen as exchange of bond with different regions through furniture which added another layer of responsibility to the furniture piece.
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INTANGIBLE ASPECTS The leather is used off white in colour for tight spaces that cannot facilitate a huge furniture piece. To merge this huge chair in with the white walls, a colour change helps in reduction of the visual weight of the chair. The functional aspect of it being lounging in the corner of a space remains important with customization factor. The chair was also advertised as a gift for father’s day which implies it to be seen as a more masculine product. Though the leather options are available in many colour ranges but the overall form of the chair comes out as a bold figure. Hence, a whole new range with white leather upholstery and light coloured wood was used to break away from this stereotype. These associations with a furniture piece were last seen in the 18th century where furniture was given additional responsibilities more than defining its functional responsibilities.
STEREOTYPICAL ASSOCIATIONS
Fig 2.2.18
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18TH CENTURY
Fig 2.2.19 Louis XV chair with straight backrest and upholestry made for hooped dresses.
Chairs were no longer all set against the wall but were adapted to the needs of conversation. The cabriole legs were enlivened by feet in the form of goats hooves while stretches became supple in shape before disappearing altogether. The fashion for wearing hooped dresses which was introduced about 1720 caused the arms of chairs to be set back by a quarter of the length of the side rails. At the end of the regence period, a new method of upholstering had come into use which enabled chair seats to be changed according to the season. (Hayward, 1965) The change of wave in fashion touched furniture in the sense it had to adjust to it for being in the space and habitable. Asymmetrical forms were explored with subtle curves carved from single wood in order to achieve their provocative charm. Furniture making was often works of sculptor than a furniture or cabinet maker with which aesthetics and use of sculpted curves can be justified. However, a hint towards multi functionality of furniture has been noticed in this era in examples like day bed and working desk.
Fig 2.2.20 Floral motives were considered to make a heavy furniture piece look visually soft, more feminine.
Furniture was also identified more as feminine with the use of floral motives used in making the piece. This clearly states the notions for floral as feminine and hence the social constructs that existed in 18th century. As the centuries passed and we were free from these social constructs, floral motives left furniture and all furniture now needed was to be functional and aesthetically parallel to a space for it to be integral. However, in the last two decades of 18th century a shift in furniture pieces from overly decorated animal shaped like legs were being replaced by simple square tapered leg for chairs and tables.
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INTANGIBLE ASPECTS The Eames lounge chair in the picture below is kept in the space for documentation and will be removed after that. This tells Eames lounge chair was used to make the pictures of the interior space look aesthetically pleasing and would be easy to attract clients. This false marketing was also an intangible part of the chair that came along with it. This points out the fact that the chair makes the space look modern which might be the intend of the space. Hence, an easy way to say the interior quality out loud, this chair was used as a means to it. Many such attempts of the chair being used like this have been seen. This hypes the economical value of the built. This led to a lot of non-architects using designed chairs and borrowing them for their spaces. These kind of attempts has been seen in the beginning of the 19th century when things were changing a lot especially in terms of furniture and interior spaces. But later took a shift when architects started furnishing their own built forms.
PHOTOGENIC CHAIR
Fig 2.2.21
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19TH CENTURY The extreme artificiality of manners were reduced by tendencies of casualties and informality. Furniture was arranged less ceremonially and a demand arose for a greater number of small pieces such as ‘quartetto’ tables, in sets of four to serve people in their casual occupations of reading, playing games, tea drinking, sewing and embroidery. In her novel persuasion Jane Austen spoke of young people using small articles of furniture to give ‘the proper air of confusion’. (Hayward, 1965) With the art and crafts movement booming in the later part of the century people found the need of working in groups and collaborations. Free exchanges between artists, architects and craftsmen of all kinds happened, they believed little could be achieved by working in isolation. This lead creative fields get influenced by each other. In the initial two decades of the century the number of furniture makers dropped from ten thousand to 88 people. Despite the continental blockade, English colonies stopped exporting mahogany wood to French countries. This then lead increase in the value of mahogany wood and the use of other indigenous woods including walnut, oak, ash, maple, plane, yew and beech. Before putting these woods into use, cabinet makers turned for guidance to the study of furniture designers either in the form of drawings or engraved patterns. These were supplied by architects, who thus continued to play a vital role in moulding the domain of furniture. (Hayward, 1965) Architects started producing drawings for the furniture pieces required, this lead to influence of architectural principles on the domain of furniture design. Furniture got built for the built forms that architects were making for this century. This was the first time when furniture was seen as ‘integral’ because of its functional requirements for the space and then came aesthetics in the picture. Though it wasn’t only about the functional requirements, a lot of other factors as discussed in the previous century’s influence, were considered here. This was the bar where the idea of ‘integral’ was perceived a little differently for the coming years. 59
2.3
POST MODERNIST CASE OF KONSTANTIN GRCIC (OUTDOOR CHAIR FOR OUTDOOR SPACES)
When a designer designs
furniture
for specific kind of spaces
PAARISH MUSEUM BY HERZOG AND DE MEURON Herzog De Meuron design philosophy They believed in using materials to their truest forms which can be seen in a lot of their works. Initially one perceives built forms as rectangular solid forms with horizontal and vertical elements to it. Herzog De Meuron explored the idea of mass to void with these walls that make a built form. Their inventory approach to gabions explained how a vineyard requires a stone wall that provides with an ancient feeling of stone caves with air constantly moving in and out. This lets the wine and space breathe while being enclosed in a space. They constantly believed in materials taking their own form, and are rooted in modern tradition. If there is any help from the outside world that can be useful to architects, it comes from the experiences of artists. The relation between architecture and painting has given rise to a broad field of study. That this relation can extend to our times is an attractive idea and makes the work of Herzog de Meuron interesting in a way that transcends the purely disciplinary. Theirs is not a common attitude and to affirm this one has only to compare them to Rem Koolhass – the closest to Herzog de Meuron chronologically to the architects discussed in these lectures. Although it is possible to trace ties between Koohlass’s architecture and some contemporary artists, the Dutch architect has never expressly proclaimed a connection to any aesthetic current, whereas Herzog de Meuron frequently allude their debt to contemporary art styles. (Moneo, 2004) 60
CHAIRS IN PAARISH MUSEUM BY KONSTANTIN GRCIC Konstantin Grcic design philosophy Konstantin Grcic’s design philosophy includes designing with keeping the function as first. Function here refers to user needs, production process, storage, transport, packaging and beauty (aesthetics) of a furniture piece. A lot of experimentation and research goes in history and technology of design process initially. Design is seen as a material or a structure that grows from scratch and not mass that is later scooped into the final outcome. The simplicity in Konstantin Grcic’s designs comes from his experience with working with Jasper Morrison. According to him simplicity means stripping things down to its essentials. He also believes in the disposal of an object in the life cycle of the piece and hence designs accordingly. PARALLELS BETWEEN THE TWO Konstantin Grcic has a philosophical approach to design, especially when it comes to seating products, his favourite objects to tackle. He quotes, “Designing chairs touches issues of society, and how we live.” Herzog de meuron carry out an “organic” philosophy, which means that their buildings are design to fit its natural surroundings. (marroquin, 2010) This approach helps them in creation of organic design philosophy that embodies it’s natural surroundings. Both the philosophies have an underline value of giving back to the society in terms of its direct and indirect values. The value system of two different designers helps in creating spaces and furniture pieces that are integral to each other. 61
MATERIALITY AND POSITIONING Opened on November 10, 2012 located near artist’s colony, water mill, New York. Two long, shed like wings run parallel along a central circulation spine amidst a natural setting. With its east and west orientation and north facing skylights, the structure is placed in a diagonal alignment vis-à-vis the site. There are 10 main galleries, but the design allows for partition walls to be rearranged. A lobby, shop and café are part of the design, as is a flexible multipurpose and educational space.
Fig 2.3.1 Furniture used in parish museum which is designed by Konstantin Grcic and Emeco’s Parrish collection that includes a table, chair and lounge chair, all with curving legs made from recycled aluminum and seats made of reclaimed pine. The idea of making an outdoor sitting for an exhibition space or gallery includes both functional and psychological aspects. Functional and aesthetic factors are covered with the use of materiality and form development. Aluminum pipe bending is used to make the framework of the chair with reclaimed pine for seating. The use of reclaimed pine in a tractor shaped seat gives a very country like feeling to the chair. The site is located two miles from the current site in the village of Water Mill, on the north side of Montauk Highway. Hence, the idea of bridging the aspects of the village life through the usage of materials and their form.
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Fig 2.3.2
TRANSCEND USER CENTRIC APPROACH The exploitation of the handrest and backrest helps in providing with the psychological aspect to a furniture piece. Backrest is developed as an encircling aluminum pipe that defines space for a user. It helps in defining a personal space in a public space. This makes a person comfortable and feel protected. This additional psychological aspect is associated with the furniture for the user. Similarly, Herzog and De Meuron designed the space in such a manner where the built form is flexible enough to resonate to the exhibition gallery design function and is adaptable to other functions as well.
Fig 2.3.3
In such pre-cast concrete walls serve as “bookends“ for the structures, whose large roof overhangs allow for a good deal of covered outdoor space. Seven sky lit galleries are devoted to the permanent collection concerning the eastern long island artists’ colony. This long linear built form is supported with in built sitting throughout the interior and exterior of the space. This acts as an additional benefit for the user. This underline flexibility of space and the furniture piece enables it to be integral to the space.
Fig 2.3.4
Fig 2.3.5
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FLEXIBLE APPROACH
The built form is made with the idea of a flexible interior space. The openness in the space could be used for different functions. The open blank rooms can be used for any kind of inside function. This flexibility in the built form allows itself to be adaptable to this function exhibition. The large circulation space ‘B’ makes it easy for an user to move freely in the spaces ‘A’.
The idea of backrest is manipulated from a functional aspect towards a more psychological aspect of the user. Also, the idea of ‘life cycle’ is observed in the below picture. The way the parts can be assembled and dissembled and packed in order to be shipped for the next outdoor space. Hence, this furniture piece can be used in multiple outdoor or rather public spaces making the user comfortable psychologically. The chair is made in a way where the seat material could be replaced and made integral to the next environment it goes to. Fig 2.3.6
Fig 2.3.7
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VISUAL WEIGHT
The architecture is done with the idea of frame structure with two thick concrete walls on the sides. This makes the space come out as a visually light built form. Frame structure as visual weight plays an important role here because of the huge size of the built. Similarly, furniture with minimal usage of material as a frame structure helps in reducing the visual weight of the whole. Generally in outdoor spaces furniture pieces are used in bulk quantities, in such a case scenario, visual weight becomes an important factor. Hence, in a large gathering of mass, a frame structure in the built and furniture is favourable.
Fig 2.3.8
Fig 2.3.9
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OUTDOOR SPACES AND FURNITURE RELATIONSHIP
Architecture is often the spatial container for the relationship, however concrete physical engagement between individual bodies and the group condition of the city is most directly achieved through furniture and act of furnishing. We have become increasingly conscious of the role of furniture in relation to the architecture, to the urban environment and to the way in which spaces are occupied and inhabited. The arrangement of furniture can make an urban or architectural space and it can also reveal something about the nature of that space by suggesting and responding to the ways in which we might physically engage with it as individuals and small groups. Loose furniture is generally considered subsidiary to the building envelope, which itself is subsidiary to the master plan or urban structure. However, it is possible to think of furniture as creating urban structure or at least of a bottom up process where furniture, building enclosure and urban condition are considered simultaneously and evenly. The act of furnishing clarifies aspects of the existing condition and also of the nature of the activities that take place in this architectural workspace. Loose furniture particularly is a powerful tool in a public or semi-public context as it can be moved and respond in real time to changing circumstances. (Bertram, 2013) Furniture elements can thus help in defining a sense of boundary and protection to an individual in an open or semi-open space filled with strangers. This additional layer of boundary helps in making the furniture piece ‘integral’ to an unknown space or open environment.
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WHAT IF PAARISH MUSEUM CHAIR IS USED BY SBR SOCIAL SBR socials in ahmedabad is an eatery outlet with an average 500 footfall. This space accomodates a huge crowd with plastic tables and chairs. The chairs have no handrests and has a linear backrest. In a public space a little more minimal backrest and handrest in a chair would work better. This would help in reducing the visual weight of a space where there is a huge footfall expected. Also, be easy to shift and easily stackable. Hence, the idea of paarish museum chair by Konstantin Grcic could be accomodated by a lot of open and semi-open spaces.
Fig 2.3.10
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2.4
POST MODERNIST CASE OF THOMAS HEATHERWICK (SPUN CHAIR FOR SPACES WITH CHANGE IN PERCEPTION)
When an architect/designer designs furniture with a change in perception, will perception changing spaces adapt it?
A BRIEF ABOUT POST MODERNISM A complete contradiction to Mies Van Der Rohe’s doctrine ‘less is more’, Robert Venturi stated, ‘less is bore’. This clearly explains that post-modernism encouraged explorations in free thinking and breaking free from simplicity that modernism offered. It focused on experimentation with materials, forms, textures, colors, processes, and fortified asymmetry. Humor was an important aspect too. It demanded solving more than one problem with the designs. It also addressed fragmentation of forms that come together to create a whole. These aspects hence created complexity which were essential to pivot away from the uniformity of modernism. A blend of varying styles and fusion of historic styles was tested and implemented with various built forms while considering functionality. Manipulated of scale was seen which assisted in breaking perceptions of certain things and in the ways they were done in past. These practices of seeing and doing things boldly in an eclectic way sowed new seeds for the 21st century. THOMAS HEATHERWICK - DESIGN PHILOSOPHY The idea of material exploration and to break through from the monotony of site are the key elements of heatherwick studio design philosophy. The idea of experimenting with material, making and testing. This sets the base of their design philosophy. A lot of research is done behind every project the studio does. This helps the studio to achieve the innovative use of materials and engineering. Experimentation with manufacturing processes and constant prototyping is also a core idea of their design philosophy. 68
As quoted by Thomas Heatherwick, “If you manage that gravity, your designs can be as light as you want.” The quality of lightness is an essential quality in their work. The spun chair looks visually heavy but its light when moved and used. It came out of research into the geometric simplification of a familiar object type. Could a completely rotationally symmetrical form make a comfortable chair? The process of metal-spinning - which involves pressing flat sheets of metal against a shape formed while they both rotate - is traditionally used to make circular metal objects, such as timpani drums and gas cylinders. Heatherwick wondered if the same process could be used to create a chair. But could it also be comfortable to sit in? The way chair is looked as parts coming together, legs, seat and backrest typically. The exploitation of these parts and seeing them as a whole lead to the development to spun chair. The core function is to experience this piece in a manner that one has never experienced furniture before. The spun chair is made with the core idea of material exploration and exploring new perception towards the idea of ‘chair’. (breaking perceptions towards a furniture piece or a sitting element)
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PROPORTIONALITY AND MATERIALITY The solid horizontal line depicts ground line and solid vertical line depicts the balance and centre of gravity. Every other dotted line is proportionally balanced with the solid line that helps in the rotational movement of the chair. The two main material decisions are the moulded polypropylene that is used to make the entire chair and the other are the fine ridges done throughout the chair. They help in griping to the chair without the user sliding off or losing the balance. They act as handrests like any other sitting element. The feel of the chair for the first time when one sits on it is comfortable with few questions. Then its excitement and fear of tripping over the furniture. This ends with a joyous ride and a little shift in perception towards furniture.
Fig 2.4.1
Fig 2.4.2
Moulded polypropylene
Fine ridges Fig 2.4.3 70
TRANSCEND USER CENTRIC APPROACH ‘Spun chair’ seating was open in a public space at coal drops yard in London, UK. This newness when tested in outdoor public spaces initiates conversations. People were initially reluctant to sit on the chair and then spin around. But slowly they subconsciously trusted the gravitational forces, also holding the chair tightly. They moved around in the chair and laughed as they found this perception breaking chair thrilling. This led to a spark of conversations between strangers. The public space then came alive with this new function given to this simple furniture piece. Spun chair as an element of interaction
Fig 2.4.4
The idea of merging the roof in the built in order to make a bridge is again perception changing with the idea of using roof as a bridge. The built and the chair are both done by Thomas Heatherwick studio. Hence, the are both given a perception changing quality. Roof as an element of bridge
Fig 2.4.5 Coal drops yard in London
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Spun chair in NID library Spun chairs used in NID library came out as contradictory function. It is suitably functional as any typical chair would. NID library in Ahmedabad uses two spun chairs as sitting elements and are used during the time. People sit and read on it while some people quietly take a swirl around. Hence integrality of the furniture is measured through its versatile nature of crossing boundaries of geography.
Fig 2.4.6
WHAT IF SPUN CHAIR IS USED BY NBA MUMBAI
WORK + PLAY Fig 2.4.7
Fig 2.4.8 72
Nba Mumbai by M Moser associates. ‘Translating dynamic movement of the game into design’ was their key goal towards designing the interior spaces. As a fast-paced and energetic sport that requires great speed and agility, which led to no further than the game itself for design inspiration. Design fluidity in the NBA office was achieved through space planning, the use of transparent materials as well as fluid forms and shapes. “This concept enabled us to create a seamless transition between the experience centre and office space,” Neha Sethi, the project’s Lead Designer, highlights. A 360 DEGREE BRAND EXPERIENCE. Hence, the spun chair with 360 degree experience could be an essential furniture choice for portraying such brand identity. WORK MEETS PLAY Here the perception of office as an work place is seen as work + play concept. Similarly the spun chair is seen as sitting + play concept. This additional underlying concept of ‘play’ helps them to be integral. For NBA, workplace is a direct reflection of the game. This provides an opportunity for employees to interact and play between work. The new workspace also maintains privacy by providing a quiet, acoustically considered work environment to help employees work efficiently. The ceiling, flooring and other interior elements have been defined under similar manner.
Fig 2.4.9
Fig 2.4.10 73
WHAT IF SPUN CHAIR IS USED BY MICROSOFT Microsoft headquarters in Ireland are designed by Gensler. In designing the new headquarters for microsoft, the main idea was to break down barriers of working and defining new ways and methods of an working environment. The 330,000-square-foot campus connects employees from 72 different nationalities with different workstyles and cultural preferences to strengthen relationships, build community connections, and fuel innovation under the new ‘One Microsoft’ vision. They decided to come up with a human centric approach for say ‘user centric approach’. This led into creating these different kind of spaces where they have social space, personal working space, collaboration space, play space. This new campus focused on helping this cultural work shift and developing collaborative ways of working.
A scooter as an element of play
Fig 2.4.11
A furniture as an element of play Fig 2.4.12 74
INFERENCES The combined inference from all the four secondary case studies resulted in these factors which would be further used to analyze the primry case studies. 1. Dual functionality 2. Functionality 3. Transcend user centric approach 4. User centric approach 5. Underlying philosophy 6. Psychological approach 7. Flexible approach 8. Materiality 9. Proportionality 10. Visual weight 11. Form and language 12. Angularity 13. Adjacency 14. Intangible aspects 15. Visual aspects
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03.
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BUILDING UP
3.1 ECONOMICAL CHAIR (GAJANAN UPADHYAYA’S DESIGN PHILOSOPHY)
3.2 LILAVATI LALBHAI LIBRARY, CEPT UNIVERSITY (RAHUL MEHROTRA’S DESIGN PHILOSOPHY)
3.3 AHMEDABAD MANAGEMENT ASSOCIATION (HCP’S DESIGN PHILOSOPHY)
3.4 RACHANA SCHOOL LIBRARY (HCP’S DESIGN PHILOSOPHY)
3.1
ECONOMICAL CHAIR BY GAJANAN UPADHYAYA
GAJANAN UPADHYAYA’S DESIGN PHILOSOPHY In childhood gajanan Upadhyaya did well in geometry. His early interest in geometry shows that he liked the idea of proportionality and angularity. This later got translated in his works too. He further studied architecture and along with that worked in a metal workshop where he learned different production tools and the nature of metals. These were the foundations for his knowledge of structure and material usage. While working part time he came across Frank Llyod Wright’s portfolio and he traced every single drawing in order to understand his design approach. He realized the idea of functionality in a built form, the purpose behind it. In 1962, when he joined NID (national institute of design) he was suggested to remake Hans Wegner’s cow horn chair. In doing this he developed the sense of material and construction. He further adopted the similar techniques to develop his own furniture pieces. In order to reduce the cost he used 24*42 dimensioning style as recommended by Hans Gugelot. This led in creation of furniture range with less material usage and canvas seats. Fig 3.1..1
Fig 3.1.2 24/42 furniture made in 1964, materials used - teak wood, canvas and stone.
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Later on, he went on studying furniture design from royal Danish academy of fine arts in Copenhagen. There one of his faculty was Paul Kjaerholm whom he admired in his college days. Gajanan Upadhyaya developed under his guidance a double wooden folding stool and is still kept right next to Paul Kjaerholm’s metal folding stool.
Fig 3.1.3
Fig 3.1.4 This allowed him to understand the mechanisms behind furniture design and which later on helped him to design a lot of furniture for nid campus. This included NID hostel chair made from teak wood and cafeteria chair made from mild steel, both were made foldable and with minimal material usage. A lot of furniture that still exists in NID and is used on a daily basis was designed by Gajanan Upadhaya.
Fig 3.1.5 NID Hostel chair made in 1984 materials used - teak wood
Fig 3.1.6 Cafeteria chair made in 1982 materials used - mild steel (It is inspired from michael thonet’s cafe chair.) 79
In 1993, he was appointed to design furniture for Gujarat high court where the lead architecture firm was HCP Design and project management pvt. Ltd. (HCPDPM). This one project developed mutual respect between the two and then Gajanan joined the firm. This led to developing individual furniture range TDW furniture where he developed a lot of furniture pieces like Economical chair, Lounge chair, folding chair and lot of other furniture pieces. These have been supplied to a lot of buildings and are still in use.
Fig 3.1.7 Gujarat high court room sitting materials used - teak wood and mild steel The interesting insight about his furniture design is the layer of architecture, the understanding of structure in it. This is the finest seen in Gujarat high court chairs where mild steel creates the frame structure to hold on the teak wood chair structure consisting of seat and back rest. His earlier knowledge and experience in architecture helped him to create his distinct furniture style that seems like mini built forms. Gajanan Upadhyaya said, “Design is about reaching a level of simplicity that it shows very little designing.� Out of all the furniture pieces that Gajanan Upadhyaya’s been worked upon, Economical chair has been chosen as a case study for two reasons. One being availability and accessibility of data and second being the adaptability of this chair in variety of spaces. (Other chairs like lounge chairs were used by private homes which were not accessible.) The idea is to observe a single furniture piece being used in spaces designed by different architects and in different time zones.
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ECONOMICAL CHAIR Economical chair was made in 2000 with teak wood. The chair is a tribute to George Nakashima, who taught GU (Gajanan Upadhyaya) the difference between working by hand and by machine. 1 - The subtle curve provided in the two horizontal members of backrest helps in leaning back comfortably. 2 - The angle created in the back legs of chair helps in supporting the spine. Both the legs rest on horizontal frame, which helps in the structural system of the chair and also visually looks balanced. 3 - All the members of the seat have been given a subtle curve and space between two members, this helps to sit on the chair for long hours. 4 - The tie below the seat is designed with a gentle curve so that ones legs can fit comfortably under it. 5 - The front two legs support the seat structurally and rests inwards to the connecting member. 6 - The side stretchers support all the four legs, while two back legs resting onto it. All the members come together to visually balance the chair with minimal usage of material.
1 2
3 4
5
6
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USER CENTRIC The Economical chair is devoid of arm rests which enables it, to not be unidirectional chair. This provides with a sense of freeness to the chair with more movability. The chair is devoid of wheels which is why the absence of arm rests makes it easy for users to move. For e.g. - Two users sitting on the chair and doing their desk work. For some quick discussion they don’t need to slide the chair back and come out of it. They simply as in the diagram shown below can move sideways and discuss with each other. This also reduces noise created with the movement of furniture and hence makes it useful for quiet spaces like libraries. A user can also tuck their legs sideways into the square frame for support. The chair is highly user centric and enables movement along the user.
MULTIDIRECTIONAL
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FUNCTIONALITY The chair needs to be used with a horizontal surface (table or desk) so that one can rest their hands onto that surface as it is devoid of arm rests. The chair is functional as a sitting element but for it to be functional as a working chair, it needs needs to be accompanied with a horizontal surface. For e.g. - Two users sitting on the chair and doing their work with the support of a desk. The horizontal surface becomes the arm rest and makes the chair functional for working spaces. The spaces between the members and angles created helps the user to enable movements for longer sitting purposes. Hence, Economical chair is functional for a working chair too.
HORIZONTAL SURFACE
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RATIONAL CONSTRUCTION The angle of backrest is calculated for maximum comfort and yet maintain a position for working. The non visible angle in the seat is 5 degree, for one does not sit on completely straight surface. The chair is composed of 18 pieces and every piece is rationally constructed. Curved, bent, chamfered, sized, and joined from the places it needs to be and is individually thought an worked upon.
The height from groung to seat is 430 mm which is 20 mm less than standard norms. This is because norms are universally made and for specifically indian standards, 430mm works better. Hence the chair is regional with the use of local materials and rational construction methods. It is suitable for human sitting postures and curves.
PROPORTIONALITY Economical chair is made with equal proportioning system which helps in creating the visual balance that a chair demands.
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430 mm
UNDERLYING PHILOSOPHY Its stackable nature makes it easy to clean, easy to store and is lightweight due to its simplicity of mobility. It is a unique feature in a wooden chair to be stackable, generally metal and plastic chairs are seen to be stackable. The sections used in a typical metal chair are minimal and deduct weight of the furniture piece, while in the economical chair it’s the smart use of wooden sections that makes it reduce to the bare minimum material. As Gajanan Upadhyaya says Design is about achieving a level of simplicity where nothing more can be removed from it.
The chair is a representation of box in a box, the back legs and back rest makes the visual outer frame while the seat and front legs makes the visual inner frame. The idea is to make a piece that is physically and visually light.
MATERIALITY AND ADAPTABILITY Economical chair is made entirely of teak wood. This creates a space within a space when a number of chairs are used. With respect to materiality they either blend in the space or they stand out, depending upon the interior space. They adapt to newer settings easily and are made to last longer.
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3.2
LILAVATI LALBHAI LIBRARY, CEPT UNIVERSITY
Economical chair
RAHUL MEHROTRA’S DESIGN PHILOSOPHY Rahul Mehrotra design philosophy revolves around the methods of building that are relevant to the locality, sustainable by approach and founded by the local knowledge. While designing for CEPT library, the major part was to accommodate a modern building with the existing architectural expression of the campus. This coexistence could have been possible with the alignment of the built forms around, while having its own expression. This architectural pluralism was achieved through materiality and proportionality being the major factors of the exterior. Rahul mehrotra writes and talks about the learnings from west should accommodate the local paradigm. Hence, the library building acts as a hands-on laboratory for students to experiment with the principles of passive ventilation, lighting, and traditional cooling systems in South Asia. He also talks about culturally specific design solutions for each unique context. Hence, the niches created with the concrete tectonics become these bridges for connections and encourages engagement into social interactions. The learning of campus is derived with hands-on practices and social engagement which have been taken care off in the new building. He also believes functionality to be a key element in design considering present and future needs. For the same building fulfils the need of storage of books along with varied sitting arrangements. It also accommodates exhibition space and presentation spaces to establish more interaction within the building. The built form is made with the idea of shell in a shell and the interior spaces are done with the similar idea of space in a space. (This is further discussed in detail through the chapter.) 86
in
lilavati lalbhai library
The levels and sub-levels inside it forms a strong connection between each other in that shell. Thus, what one perceives from the exterior is the blending of the built with the context while as one moves inside, it is a different solitary experience. Mehrotra also believed in keeping the honesty of the materials used, which is why every material used in the built form is kept in its original form. The touch and feel of the built and interior spaces depicts truthfulness of materiality. Also, the articulation of floor system in an enclosed building is skillfully done with levels intertwining with each other. The multi floor levels would be otherwise segregated but Mehrotra believes in unison. The way floors merge with each other so does the building with the existing built forms on campus. The Economical chair is used throughout in the interior spaces of the building. The chapter aims in findings of the parallels that exist between furniture and space, even though they are done by two different people and in different time range. It looks at the degree of integrality with the furniture and spaces.
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PROPORTIONALITY The exterior of the built form (has similar divisioning from all the four sides) is vertically divided equally into a grid by metal I-columns. This is further sub divided by wooden louvers. The horizontal division is done equally, with louvers standing on concrete built. Proportions are done similar to the built forms around it. Proportionally is a major factor associated with the campus buildings and the library building.
Fig 3.2.1 Lilavati lalbhai library
MATERIALITY 2 3
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5
Fig 3.2.2
1 - The angles created with hollow concrete walls adds to the sense of playfulness in the built. A connectivity between library and spaces around. Concrete is exposed in its original manner giving the feeling of warmth while sitting in one of the niches. 2 and 3 - Skylights bring in the natural light softly, while wooden louvers adds to the use of natural materials throughout the building. 4 - Libraries are closed and dense, with a material like glass used in library brings a character of being connected with the outside. 5 - White board makes the inner shell with cuttings for natural light to pour inside the building. 6 - Ceiling done with concrete and flooring with polished kota stone brings in warmth to the place. 8 - The books open storage made of plywood is painted brown (using wood throughout would not be cost effective) to go with the overall concept of built form. 7, 9 and 10 - Wooden flooring is done in the small compartments and partitioning with plywood. When one walks from kota stone flooring to enter the compartment, it gives a sense of being in a different space in the existing space. This helps the user to differentiate between spaces in a space. Hence, all the materials are used in their truest forms similar to the ideology of existing campus buildings. 6
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Fig 3.2.3
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FUNCTIONALITY The ground floor plan had multiple entrances, as the building sits in the middle of the campus. This floor also holds a space for exhibition in the center which makes it easy to have three different entrances. If one needs to move from north to south and vice versa, library becomes a pass way. Hence, having exhibition space on the ground floor makes it functional for a design campus.
In the entire building, service bay is kept on the south side mostly covered which works with the hot and humid climate of Ahmedabad. The circulation space moves around the book storage being in the center of the space on 2 basement floor. One can take a book and quietly sit in the corner without human interference under filtered daylight. All the floors are assigned their specific function.
Ground floor plan Fig 3.2.4
Circulation
service bay
Basement floor plan 2 Fig 3.2.5 While on the upper floors, filtered light coming from wooden louvers provides users with daylight on all the four sides. The building needed to accommodate a number of students for reading and working purposes in the library, which is why upper floors are dedicated for sitting spaces. The secondary staircase connecting first and second floor could also be converted into a presentation space.
Second floor plan Fig 3.2.6 90
UNDERLYING CONCEPT 1 - The exterior built is composed with the idea of SHELL IN A SHELL (inner shell composed of white board and concrete is offset of the outer shell that is composed of concrete and wooden louvers) 2 - The interior is further composed with the idea of SPACE IN A SPACE (inner spaces are small cubicles that defines personal spaces for reading and working in the semi-public space) 3 - The furniture is composed with the idea of BOX IN A BOX (inner frame of seat and front legs seems covered by outer frame of backrest and back legs. This is seen in economical chair as well as metal chair used in the upper floors.) 1
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Fig 3.2.7 Basement floor 1 91
USER CENTRIC APPROACH FURNITURE IN BOTH THE OPEN SPACES (Fig 3.2.7 & Fig 3.2.9) The furniture pieces like desk on both the floors are long linear singular tables with charging points and additional light sources on the top. These kind of tables implies that the arrangement of the interior spaces cannot be changed because already the exterior lighting facilities are changing rapidly. Similarly chairs are made using minimal sections that reduces the weight, for one to move it easily and gives visual lightness to the space. The form and language are kept similar while the change of materials depicts change in the interior spaces. FURNITURE IN BOTH THE SECLUDED SPACES (Fig 3.2.8 & Fig 3.2.10) Unlike the interactive spaces with the linear long tables, it also caters isolated spaces. These box like spaces that create a shell around the user for them to secluded spaces. The space is created like an element of mass in which the element of frame, the chairs sit perfectly. Desks in such cases are simple horizontal elements attached to the wall with no legs. Hence, becomes a space saving technique. Despite of the materials used the form, language and functionality becomes integral for the furniture to the space. The positioning of the furniture is kept very strict with not much arrangements possible, this helps in maintaining the strong circulation path in all the spaces. This clearly tells that the space should be used for temporary purposes unlike studios where one can personalize their own space. This also allows in controlling the number of people using this building at a time which allows the existing users to have the environment for which they came in here for. Hence, furniture used here would be kept in the same place as it was, being a user centric interior space.
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UPPER FLOORS (1 &2) Fig 3.2.7 & Fig 3.2.8
COMPLIMENTARY CONTRADICTION
BASEMENT FLOORS (1 & 2) Fig 3.2.9 & Fig 3.2.10
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LIGHT AND SHADOW The idea of bringing in natural light is addressed differently in both the spaces. Upper floor has sharp light coming from the sides, from louvers that are arranged accordingly for the interior space. While basement floors have diffused light coming in from panels of glass placed in the ceiling and becoming a backdrop for the space. (As seen in the previous images)
COMPLIMENTARY CONTRADICTION IN FURNITURE The Mint chair made by TDW furniture is being used on the first and second floors of library building. Resembling a lot to the economical chair, it is stackable, visually light weight, has similar underlying approach of box in a box, made with indian standards of dimensioning, devoid of handrests and easy to move.
Fig 3.2.11
Fig 3.2.12
Fig 3.2.13 First floor
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PSYCHOLOGICAL APPROACH There is a play of levels as one moves inside the library. Here, in this picture shown below one could see three different levels from standing at a single point. This is the key element of the space where spaces merge into each other through visual perception. In such a case it becomes crucial for furniture to be visually light and not a mass structure by blocking all the views that architect desired for users to experience. The economical chair with minimal usage of material in sections align with the idea of space.
Fig 3.2.14 Inside of the library from basement floor 1
CONCLUSION All the factors like proportionality, materiality, functionality, underlying philosophy, psychological approach and user centric approach helps in blurring the boundary between furniture and space. This clearly informs that Economical chair is an ‘integral’ element of the interior spaces of Lilavati Lalbhal Library.
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3.3
AHMEDABAD MANAGEMENT ASSOCIATION
Economical chair
in
Ahmedabad Management Association
HCP’S DESIGN PHILOSOPHY The firm is based on a very strong belief that design is essentially a problem solving process. The entire design solutions revolves around it. It was established by Ar. Hasmukh Patel and is now run by Dr. Bimal Patel carrying forward his foundations of design philosophies. He did not had any particular philosophy but they were considered human centric. He considered functionality and user centric approach as two most important elements in his designing. ‘A building should serve a purpose’ is something he believed. His designs were very regional and he had a modernist way of building. He was keen in developing an aesthetic sense and visual language which could be clearly seen in the plans. The use of geometric forms were between the practical and the aesthetic. These geometric forms are seen in the Ahmedabad Management Association building too with the idea of larger openings and distinctive architectural method. A lot of platonic forms and technological advancements were witnessed in his works. Sustainability was also a key component in the design approach of HCP. Also, materials were chosen in their natural state. Ahmedabad is a city that has been highly influenced and shaped by his architecture. A lot of buildings like residential spaces, banks, commercial spaces have been witnessed here. The ideology is distinct in every way and tells about the philosophy that he might have thought of while building and ideating. Here, the AMA building (Ahmedabad Management Association) is been looked upon with the aspect of furniture used in it, Economical chair.
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Located in the ATIRA campus, the Ahmedabad Management Association (AMA) is a public institution at the forefront of management education. The AMA building was conceived as functional, modern and economical building. The design was centred on the premise that a public institution of this nature should be open and transparent. This notion is translated into the spatial organization of the building as well as the articulation of the faรงade. The building is designed as a linear, two-storeyed, cast in-situ exposed concrete structure, parallel to the trees. A pedestrian promenade under the trees leads to the ceremonial, double-height foyer which provides access to the classrooms, seminar halls, boardroom and bookshop on the ground floor. It also connects to the processional ramp leading to the first floor, where a library, an exhibition space and a 250-seat auditorium are housed. The large glazed openings of the building enable even and deep penetration of daylight, which render the building more transparent. The trees on site are used to shade these large openings, thus doing away with the need for traditional articulation of the faรงade. (HCP , 2010)
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PROPORTIONALITY
The plan is divided into two zones as soon as you enter with a ramp leading to the upper floor. On your left are offices and on the right are classrooms or seminar rooms which ends up at the auditorium. Every space is equally divided into rectangular boxes with the help of underline grid. The east elevation is similarly and proportionally divided into a grid. As the firm believes in geometric play of forms, a lot of openings have been cut out in the different geometric shapes. Multiple lines in the elevation depicts the rhythm of the system of the built form. Proportionality is not defined by the unequal divisioning but by the visual balance of lines.
Fig 3.3.1
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MATERIALITY
1 - Exposed false ceiling helps in providing more visual height to the offices space. 2 - Similarly the wide circular openings provide with transparency through office spaces and to the natural setting around. This became the aesthetic expression of the building. 3 - Concrete is used in the built form entirely and is exposed to its natural form. Technical advancements were used to make geometric cut outs in the built. 4 - The use of subdivisioning in the form helps in opening a part of it in order to pass notes in other offices quickly. 5 - Kota stone flooring makes it region specific design and is chosen based on the grid of the built.
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5 Fig 3.3.2
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OFFICES
The offices are divided into cubicles for different departments working together. It was furnished with economical chairs partially and the rest were upholstered wheel chairs. Now only two economical chairs were in use, one was kept at the common computer desk for temporary purposes as shown in the image below and other was used as a substitute chair.
Upholstered chairs with wheels Economical chair used only at the common computer desk Fig 3.3.3 Economical chair is comfortable for longer working hours too but when it is a desk, office work it seems a misfit in the space. There are a lot of tiny bodily movements while working constantly which requires an upholstered chair with wheels probably. This is the reason why ‘world chair’ by Niels Diffrient became a huge commercial success. Further followed by different versions of it especially the chairs used in conference room.
Fig 3.3.4
Ground floor plan 100
LIBRARY
The library chair used by the librarian is an economical chair, but he had covered it with two cushions. One for backrest and one for the seat. He claims that for longer sitting hours at one place he requires cushions. On asking him that why does he uses economical chair on the first place and rather get a upholstered chair like in other spaces. He replied, ‘sometimes i remove the padding and sit on it for the feeling of wood and the floor to seat height, it is very comfortable for me.’
Fig 3.3.5
Other chairs used in the library space were metal framed chairs with upholstery and wooden hand rests. They were placed long the tables with orderly manner. They aligned with the exposed beam structure of the interior spaces. Also with the tables and book shelves in respect of their materiality. While economical chairs in this space were not in use. Mild steel upholstered chairs with wooden handrests used in the library.
Fig 3.3.6
first floor plan 101
CONVENTION CENTRE
The Chair used in the library are also seen in the convention centre strictly arranged in horizontal lines aligning with the beam structure of the interior space. The way strong grid of lines is softened by the use of circular openings in the built, similarly the used of curved wood on the hand rest softens the strict outlook of the chair. The chairs used here are integral for this specific space.
Similar chairs used in convention centre as that of library
Fig 3.3.7 The space is used for larger gatherings and meetings and for the same, scale becomes an important aspect. The group of chairs lowers the eye level and makes it seem suppressed. This suppression helps in making the space feel larger than what it actually is. These many economical chairs would be considered an over usage of the material-wood, which could be the reason to not use economical chairs here.
first floor plan 102
AUDITORIUM
A newer version of economical chair has been used here for the auditorium. A long metal section supports three to four chairs reducing the use of material. Metal sections making the hand rest and seat dividers with wood on the top of it. The backrest of the economical chair is kept as it is while the seat is changed into the cushioned pivoted seat. This new integrated function into the chair makes it integral to the auditorium space.
Fig 3.3.8 Fig 3.3.9 The materials usage of wood and fabric throughout the space makes it warm and welcoming. The chairs are customized for this space which is clearly visible. A small iteration for a different kind of space makes the furniture integral to the space.
ground floor plan 103
CLASSROOMS All the classrooms are arranged in line in the center of the plan on both the floors. They hold sessions for short term courses and hence this space planning helps the users to quickly find their respective classrooms.
They are furnished with cushioned chairs with partial desk attached to it on one of its handrest. This helps in taking notes and for sitting in long lectures. They give a feeling of being informal in this formal setting. Furniture pieces in the classroom follows the invisible grid imposed by the built form. The windows bring in ample of daylight and a view of natural surrounding.
Fig 3.3.10
Classroom chairs with a one sided desk attached to the handrest
Fig 3.3.11
both first and second floor plan 104
CONFERENCE ROOMS The seminar rooms or conference rooms had these similar ‘world chairs’ encircled around a huge oval shaped table. The chairs fulfill the function of having a comfortable seat in a conference room but the idea of ‘functionality’ roots deeper than this which questions the aspect of ‘integrality’ as well.
Fig 3.3.12 ground floor plan
CONCLUSION There are different chairs used in different kinds of spaces in a single building. The chair used in auditorium are integral to that space and similarly every chair used in its respective space. They work for their own space by fulfilling the functional requirements while economical chair is not integral to this space.
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3.4
RACHANA SCHOOL LIBRARY
Economical chair
in
Rachana school library
Rachana school library is designed by HCP Design, planning and management Pvt. ltd. in 2005 and the philosophy of designing remains similar to the previous chapter. Rachana school library located in Ahmedabad is situated adjacent to the play grounds of the school. The school decided to have a separate block for their library. 1 - Library block 2- Basketball court 3 - Tennis court 4 - Volleyball court
The building is placed at the end of this open fields, this enables the ground floor of the built to open to the exteriors. Function assigned on both the floors1 - Hall 2 - Stage 3- Storage space 4- Library 5 - Computer room 6 - Toilets
Fig 3.4.2 106
Fig 3.4.1
first floor plan
ground floor plan
The highlight of the built is the staircase with a circular cut out in the concrete wall that draws attention onto the first floor because the library is placed on the first floor. This circular form breaks free from the strong linear grid of the built and encourages one to climb up the staircase as intended by the firm.
Fig 3.4.3
PROPORTIONALITY The north elevation on the top, south elevation on the bottom and short sectional elevation are shown below which clearly defines the primary equal divisioning as representation with dotted lines. It is proportional in the exterior of the built.
Fig 3.4.4 107
MATERIALITY AND LIGHT QUALITY The entire structure is built with concrete and brick which are exposed both on the outside and inside, kept in their natural form. Also, flooring has been done using kota stone on the ground floor and polished sandstone for the first floor. The image is taken from the south side which is covered with brick walls while the north facade has filtered light coming in the library.
The interior furnishing have been done with plywood open storages for books and tables made of teak wood and mild steel. Economical chairs has been used for sitting and a different scaled down version of the same are made for school aged children. The entire material palette is done using natural materials kept in their true forms with visually light furniture. The artificial light have been covered partially with wood to avoid direct strict light and provides less glare while reading.
Fig 3.4.5
Also, skylights have been installed for bringing in ample amount of light from different sources. All the furniture is arranged in alignment similar to the built. The brick as shown in the above picture has recessed slit opening similar to openings in the furniture elements. The furniture elements like chairs and tables together create a spatial space within a space. As analyzed in the chapter 3.1 & 3.2, economical chair is like a box in a box.
Fig 3.4.6
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SPACE WITHIN A SPACE The space with economical chairs and tables is created within the existing space. Other elements like book shelves on the right helps the users to come back to the space and read. Openings on the left provides with natural light and false ceiling provides with artifical light when needed and ventilation. It seems that all the other parts come along together to benefit the interior space.
SPACE CREATED BY ECONOMICAL CHAIRS
Fig 3.4.7
CONCLUSION The space is small compared to other built forms studied earlier, but the parallels drawn from both the built and furniture overlap. These factors like idea of functionality, materiality, underlying philosophy, proportionality, and user centric approach makes it integral to the space. The question that arises here, Is economical chair integral for libraries? for testing this a library that is distinct in its nature is explored as an example further. What if economical chair is used in Free university’s philology library in Berlin?
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FREE UNIVERSITY’s PHILOLOGY LIBRARY LOCATED IN BERLIN, GERMANY BY NORMAN FOSTER AND PARTNERS
DESIGN PHILOSOPHY Foster’s design philosophy majorly involves integration, regeneration, adaptability, flexibility, technology, and ecology. His architecture is a combination of these principles. High tech architecture could be another term used to define his buildings. Foster believes that buildings have to be sustainable and should be able to conserve energy which could be later used. His design philosophy emphasizes the idea of ecologically smart buildings, that provides with natural light and ventilation. He also talks about the junction between old and the new, the new built has a distinct and newer approach than the old but is connected to the old in some way that they seem to belong together. When it comes to materials foster uses a lot of steel and glass, that helps in creating spaces that are slender and transparent in nature. He believes that architecture is the synthesis of a lot of elements that come together to form the built. These are structure, services that help to function, its ecology, quality of light, symbolism of form, relationship of the built with the surroundings and user centric humanized buildings. His ideas revolve round user centric approach in a technologically advanced way and which is highly functional in a form that is newly generated. He made Free university’s philology library under the same approach, inculcating almost everything mentioned above and is a building that is ecologically very advanced. 110
Fig 3.4.8
The building is Norman foster and partners most ecologically advanced buildings that utilizes active and passive technologies to increase energy efficiency and reduce the impact on environment. The building enclosure consists of three parts. The external shell is alternately clad in opaque aluminium and transparent glazed panels that corresponds to the solar path and helps in regulating the internal temperature. In the supporting steel frame - which is formed of radial geometries is painted yellow, acting as the cavity between the inner and outer skins. A translucent glass fibre inner membrane acts as a diffuser to spread natural light, in a play of reflections and patterns over its surface. Views through the transparent panels and openings allow glimpses of the sky above. Both the built and chair are made with similar underline concept but yet seem like a misfit. The concept of economical chair as discussed earlier is BOX IN A BOX. The library is built with a concept of SHELL IN A SHELL similar to Lilavati lalbhai library as discussed in chapter 3.2.
Fig 3.4.9 111
FORM AND LANGUAGE As seen before the library’s aerodynamic water-drop shaped enclosure was developed to achieve maximum amount of floor area within the minimum building envelope and also remain in scale with the surrounding buildings. All the floor plates are made like series of undulating curves and in different lengths for a double height sense of play in the library. Similarly the entrance door is made organic in nature which helps in achieving the dynamism of the built. The entire built has a free expression of form and unstrict curves. Furniture is chosen with similar curved form and the same chairs are used everywhere in the interior spaces of library. While desk follows the floor plate form.
Fig 3.4.10 Entrance door
Fig 3.4.11 The floor plates evolved with a series of undulating curves that creates spacious double height mezzanine spaces on all sides.
Fig 3.4.13 Furniture follows a form that is functional and is integral to the built. It is supported with slender metal legs diagonally going down from the seat. Fig 3.4.12 sectional elevation 112
FUNCTIONALITY The desks are arranged parallel to the floor plate which helps in getting the maximum daylight. Also, every desk has individual charging points and lamps. They encircle the entire floor which enables users to pick book from a shelf and find a nearest desk to it. The chairs are minimal with no handrests that helps in free movement in a space like library. (As discussed earlier in chapter 3.1) Hence, the concept of no sharp edges follows in furniture elements too. MATERIALITY Fig 3.4.14
Light metal sections makes the chair light weight which is than easier to move. The slender outlook of metal sections are used throughout the space along with furniture and fixture. Chairs are chosen as black in colour in order to blend in with the dark carpeted areas. This creates less visual disturbance and a boundary is maintained between the furniture and built. The use of aluminium is common in furniture and architecture.
Fig 3.4.15 CONCLUSION The economical chair has similar underline philosophy and is highly functional but when it comes to strong form and language of the Free University’s philology library, it seems a misfit. Also in terms of materiality the space demands a specific material palette which is fit for the space or ‘integral’ to this space. Though the chairs used here in this library had similar grounds to economical chair like no handrests, visually light, and minimal structure, it is not integral for this library.
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0.4
CONCLUSION
CHAPTER 1 It explained the three keywords that provided with the perspective on looking at the research. Hence, leaving no space for misinterpretation. The idea of looking in the past where the two keywords ‘furniture’ and ‘space’ began to come closer and were started using in a single sentence. The 20th century began to think about both the terms simultaneously and in ones personal perception. In that scenario Frank Llyod Wright clearly stated that furniture in order to be ‘integral’ to a space, needs to be designed by the architect and must be personalized for that space. While debated by Le’corbusier that a single furniture piece could be used in many different spaces. This debate in history opened up two different and opposite meanings for a single word ‘integral’. Hence, the last part provokes ideas by asking questions on the multifarious attitude of integrality and the parameters to define it and concluding numerous perceptions. CHAPTER 2 The idea of creating framework derives from refining process of selection of varied examples. These examples further help in deriving a set of underlying common factors that could be used to analyze other examples. The first example of Alvar Aalto’s paimio sanatorium and paimio chair for it, is an accepted example of being integral. This helped in deriving factors like angularity, user centric, form and language, materiality and functionality. The second example of Charles Ray Eames and their Eames lounge chair is a vivid example on the huge number of spaces the furniture piece travelled. This helped in deriving factors like functionality, materiality, underlying philosophy, proportionality and other intangible factors. The difference between materiality in Aalto’s example is the touch and feel of material to the user while in Eames’s case it is the touch and feel of material to the space. Also, functionality in Aalto’s case defines a targeted single purpose of healing the patient while in Eames’s case it is the function of lounging. Other intangible factors exists that were observed in 17th 18th centuries as well but then the idea was outgrown of it. Hence, those factors informs ‘what is considered as not integral’ or are far from the idea of integral that this thesis looks at. 114
The third example of Konstantin Grcic’s Parrish museum chair for Parrish museum by Herzog de Meuron defines furniture and space that are done by two different hands and yet co-exist. This helped in deriving factors like transcend user centric approach, positioning, common flexible approach, visual weight and psychological approach. The basic function of a chair is to provide with comfort, correct ergonomics and materiality while in parrish museum chair, by simply exploiting hand rests and backrest, it provided an encircling frame which makes psychologically comforting for an user in outdoor space like parrish museum. Similarly the basic function of a built form is to fulfill the function and take in consideration of all the factors affecting it while this long shed of parrish museum was provided with in-built sitting running along the long shed. Hence, the user centric approach is taken beyond its range. The fourth example of Thomas Heatherwick’s studio, Spun chair made as an result of experimentation with materials and processes. This helped in deriving factors like Materiality, proportionality, transcend user centric approach and dual functionality. The idea of dual functionality refers to the fact work+play. The spun chair is functional as a chair and can also be a playful piece in a space with the spin character. Similarly spaces like NBA Mumbai that are blurring boundaries between work and play could inherit spun chair. These varied four examples provides with a list of common underlying factors between a furniture piece and space that are further used to analyze case studies. CHAPTER 3 The Economical chair by Gajanana Upadhyaya taken as a primary case study is observed in three distinctive spaces. Before that analysis of economical chair is done which makes it easy to draw parallels with the selected projects. The first example of Lilavati Lalbhai Library of CEPT University depicts various factors that are common between economical chair. There are few factors like underlying philosophy, functionality, and materiality that informs that economical chair is integral to the space.
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The second example of Ahmedabad Management Association (AMA) designed by HCP is analyzed with the similar underlying factors but the parallels drawn between them are not enough to define the term integral. There are multiple spaces that have their own defined furniture pieces. In auditorium, an alteration done with the economical chair by removing the seat and replacing it with cushioned seat and making it pivotal makes it integral to the space. The third example Rachana school library in ahmedabad designed by HCP is analyzed with the underlying common factors and it resulted in being integral to the space. This lead to the question that if economical chair is integral to rachana school’s library and CEPT library than is it integral to other libraries as well? In order to test that another varied example of Free university’s philology library designed by Norman foster and partners was taken into consideration and examined. It resulted in being not integral to the space even though few aspects were parallel in both cases. The idea of form and language, materiality and underlying philosophy were factors that highly differed from each other and could not be overlooked over any other aspect. The underlying common factors derived in the research are bounded by the examples or cases studied. These factors holds different values in different cases. For egform and language in one case could be overlooked with the idea of defining ‘integral’ while in other case it could not be overlooked. The factors derived set a framework to analyze cases but every case needs to be analyzed individually. The idea of quantification could lead to inaccurate answers. Hence, the idea of being ‘integral’ lies in the number of blurring lines between furniture and space.
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REVIEW FEEDBACK FIRST REVIEW It demanded a clear abstract, introduction, aim and objectives, scope and limitations of ones research, methodology, an attempt at chapterization, literature reviews, and supplementary readings. The major points discussed and actions taken were 1. It demanded a matrix to be created before addressing the final chapter. It could also be referred in this case as common underlying factors between furniture and space. These were derived with four distinct examples in chapter 2 called creating framework. The underlying factors further helped in analyzing the final chapter. 2. It could also be done with the idea of taking two or three different types of furniture in different spaces and testing them out on the matrix created. This idea was dropped because the thesis looks at readily existing examples and not creating one. The idea was to analyze existing furniture piece in a space and derive an understanding on those underlying factors that help them to co-exist. SECOND REVIEW It demanded a clearer abstract, introduction, aim and objectives, scope and limitations of one’s research, Methodology, an attempt at chapterization, literature reviews, supplementary readings and first chapter. The major points discussed and actions taken were 1. The review reflected on the importance of working less with the idea of quantification. Initially with chapterization the research was filled with multiple examples of architects and designers with their permutations and combinations of furniture pieces. The idea of ‘integral’ varies from case to case, hence quantification was reduced to quality examples providing with maximum magnitude to the research.
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2. An interesting question addressing the three keywords - furniture, integral and space should be initially derived in the thesis. This helped the reader to narrow down these broader words to the meaning this research aims at. This shall also help in deviating the discussion above the meanings of words and provide with richer feedback. 3. History chapters were not considered necessary rather study after 1900’s would bring more light on the aspect of relation of furniture to space. THESIS VIVA ACTION REPORT The major concerns discussed and actions taken were 1. The review reflected upon few technical aspects which have been addressed in the document. 2. The need for adding a chart explaining semiotics (the language of signs to create and communicate meaning) that have been worked out for the thesis. Hence, it is attached with the appendices so that while one reads the thesis, it is still open for interpretation.
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FUTURE RESEARCH The research derived common underlying factors to analyze integrality between furniture and space. These could further be done by understanding other varied works and could be layered with more underline factors. A further complex research could be carried out by detailing every single underlying factor and creating sub-factors. Here, furniture is confined to chairs (sitting elements) it could further be looked at other designed furniture elements. OR As discussed earlier in the thesis, a space is made with a combination of a lot of factors. Furniture was chosen as one aspect which was detailed out throughout the research. Other aspects could be taken into consideration that are singular potential space making elements.
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APPENDICES The research looked at two major aspects - one where furniture and space is made by a single hand and the other where furniture and space are done by two different hands. Also, this multiplicity of perspectives that one could get through the study. The number of cases that were considered were1 - Mies van der Rohe (space over mass) 2 - Le’corbusier (mass over space) 3 - Alvar Aalto (functionality) 4 - Shigeru Ban (materiality) 5 - Zaha Hadid (form development) 6 - Thomas Heatherwick (research and processes) 7 - Gerrit Reitveld (mass production) 8 - Charles Ray Eames (function and timeless) 9 - Konstantic Grcic (compact approach) 10 - Patricia Urquiola (piece as environment creator) 11 - Jasper Morrison (organic and synthetic materials) 12 - Naoto Fukasawa (instinctual feel) The idea was not to pick one factor from every case rather pick more factors from fewer cases looked in depth.
The chart shows images of paimio chair and paimio sanatorium by Alvar Aalto. These charts were prepared initially, to collect as much information as possible of the selected four secondary case studies. Further analyzing these images, few were chosen on the basis of providing maximum information in the thesis. Images were chosen black and white in order to look into integral aspects that were beyond colour coding. Hence, there was this constant process of filtering through every step that lead to the final outcome. 120
EXPLAINING SEMIOTICS The circle here is depicted as a furniture piece that fits perfectly in the circular void of a square which represents a space.
The idea of integral means necessary to complete the whole, hence a blank circle is left which would be completed by a furniture piece.
Hence, furniture an integral element in space making.
As the 20th century began, architects started defining furniture pieces for their spaces. Here, furniture is depicted as a triangle, a circle and a rectangle that fits in the specific space designed by the architect.
A debate between Le corbusier and Frank Llyod Wright suggested two opposite views. Le corbusier said a furniture piece can fit in many spaces, hence double rectangle that fits into a square. While Wright suggested the building should have its own furniture designed specifically for that building, hence a square for a square. The middle square with a square void is depicted as a space.
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The circles are representing different perceptions of furniture pieces that could be considered ‘integral’.
For chapter 2, four distinct cases are explained. First where a single furniture piece represented as a solid circle fits in a specific case represented as a square with a circular void.
The second where a single flexible furniture piece depicted as a lined circular object fits into the designers space depicted as a square with the same void and many other spaces that have similar voids for the piece.
Third where a furniture piece has a lock system as depicted as a circle, fits into spaces differently and gets locked. The spaces are of specific kinds, here only outdoor spaces and hence are representated as only triangular objects.
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The fourth case describes the idea of dual functionality through the circle as furniture piece which then gets adapted into different spaces that possess that dual functionality.
For chapter 3, economical chair by Gajanan Upadhyaya is taken as a primary case study and is depicted as a solid coloured circle. In the first case, it is observed in Lilavati Lalbhai Library which is depicted as rhombus with a circular void.
In the second case, it is observed in Ahmedabad Management Association which is depicted as a circle with a circular void.
In the third case, it is observed in Rachana school Library which is depicted as a rectangle with a circular void.
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BIBLIOGRAPHY Bertram, N. (2013). Furniture, Structure, Infrastructure - making and using the urban environment. England: Ashgate publishing limited. Crafti, S. (2013). Furniture by architects. Victoria: Images publishing group Pvt. Ltd. Ed, H. a. (2002). Furniture + Architecture. Great britain: John Wiley & Sons ltd. . Emery, M. (1988). furniture by architects : international master pieces of twentieth century design and where to buy them. New york: Harry N abrams incorporated. Fiell, c. (1945). Modern furniture classics. washington DC: american insitute of architecture press. Frampton, K. (1980). Modern architecture : a critical history. london and new york: Thames and hudson. Hayward, H. (1965). World furniture : An illustrated history from earliest times. Modern metropolis : its origins growth blumenfeld, Hans. London, United kingdom: The hamlyn publishing group limited. HCP. (2020, April). Hcp. Retrieved from HCP design, planning and management Pvt. Ltd.: https:// www.hcp.co.in/project/ahmedabad-management-association Kirkham, P. (2001). Charles and Ray Eames - Designers of the twentieth century. london: The MIT press cambridge. Marroquin, A. (2010, may). Culture of design - global design in the 21st century. Retrieved from cultureofdesign.wordpress.com: https://cultureofdesign.wordpress.com/2010/05/04/herzog-demeuron-by-ana-marroquin/ Moneo, R. (2004). Theoretical anxiety and design strategies in the work of eight contemporary architects. London, England: The MIT press cambridge, massachusetts. Pallasmaa, J. (1998). Encounters 2 - architectural essays. helsinki, Finland: Rakennustieto publishing. Patel, B. (2009). Gajanan Upadhyaya : furniture designer. Ahmedabad: HCP Design and Project Management Pvt. Ltd. and TDW Pvt. Ltd. Prajapati, D. (1998). Understanding Attitudes: Furniture and architecture. A study of furniture ad architectural examples by Mies Van Der Rohe and Le Corbusier. Ahmedabad, Gujarat, India: Cept University. Richards, J. (n.d.). 800 years of finnish architecture. canada: Douglas david and charles limited. Roth, M. (2012). Master and their pieces. Berlin: Braun publishing AG. 124
Rybczynski, W. (2017). Now I sit me down : from klismos to plastic chair a natural history. New York: Farrar, Straux, Giroux. Schildt, G. (1994). Alvar Aalto : the complete catalogue of architecture, design and art. New york: Rizzoli international pub. Toromanoff, A. (2016). Chairs by architects. London: Thames and hudson. Yudina, A. (2016). Furnitecture : Furniture that transforms space. London: Thames and hudson. IMAGE CREDITS CH-1.2 Fig 1.2.1 https://www.1843magazine.com/culture/look-closer/willow-talk-charles-rennie-mackintoshand-friends Fig 1.2.2 https://www.glasgowlive.co.uk/whats-on/food-drink-news/glasgow-institution-willowtearooms-buchanan-16820814 Fig 1.2.3 https://www.steeldomus.com/en/red_blue_armchair_rietveld.htm Fig 1.2.4 https://www.archdaily.com/99698/ad-classics-rietveld-schroder-house-gerrit-rietveld/5037f33 528ba0d599b000625-ad-classics-rietveld-schroder-house-gerrit-rietveld-photo Fig 1.2.5 https://uk.phaidon.com/agenda/design/articles/2016/june/09/how-marcel-breuer-and-his-bikechanged-the-chair/ Fig 1.2.6 http://zeitgeist.jp/en/delusion-barcelona-chair/ Fig 1.2.7 https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-derrohe/54c6abfce58ece9901000001-mies7-jpg?next_project=no Fig 1.2.8 https://jamb.co.uk/furniture/seating/chairs/klismos-chair/
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CH-1.3 Fig 1.3.1 - Fig 1.3.2 - Fig 1.3.3 https://www.archdaily.com/90519/ad-classics-s-c-johnson-and-son-administration-buildingfrank-lloyd-wright Fig 1.3.4 - Fig 1.3.5 https://www.archdaily.com/115102/ad-classics-wingspread-frank-lloyd-wright Fig 1.3.6 - Fig 1.3.7 - Fig 1.3.8 https://www.cassina.com/en/lc-collection/lecorbusier-furniture Fig 1.3.9 - Fig 1.3.10 Clicked from one plus six during a visit to matharoo associates in Ahmedabad, february 2020 CH-1.4 Fig 1.4.1 https://www.archdaily.com/112535/ad-classics-santa-maria-church-de-canaveses-alvarosiza/503800af28ba0d599b00086b-ad-classics-santa-maria-church-de-canaveses-alvarosiza-image Fig 1.4.2 https://www.conranshop.co.uk/tulip-stool-white-swivel-cush-fabric-cat-s-spec.html Fig 1.4.3 https://www.kardiel.com/womb-chair-ottoman-caribbean-boucle-cashmere-wool/ Fig 1.4.4 https://www.vitra.com/en-se/public/product/details/eames-plastic-armchair-daw Fig 1.4.5 https://www.smow.com/en/products/seating/lounge-waiting/ch07-shell-chair-oiled-walnutleather-black.html Fig 1.4.6 https://www.knoll.com/product/cesca-chair-with-arms CH-2.1 Fig 2.1.1 - Fig 2.1.3 https://www.nordicnew.nl/en/artek-poster-icon-paimio.html Fig 2.1.2 https://paimiosanatorium.wordpress.com/2016/02/10/alvar-aalto-floor-plans-and-drawings/
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Fig 2.1.4 - Fig 2.1.5 - Fig 2.1.6 - Fig 2.1.7 - Fig 2.1.8 https://www.finnishdesignshop.com/design-stories/architecture/alvar-aalto-and-the-colors-of-the-paimio-sanatorium CH-2.2 Fig 2.2.1 - Fig 2.2.3 https://my.clevelandclinic.org/health/articles/8399-spine-overview Fig 2.2.2 - Fig 2.2.4 - Fig 2.2.8 https://www.hermanmiller.com/en_in/products/seating/lounge-seating/eames-lounge-chairand-ottoman/ Fig 2.2.5 - Fig 2.2.7 https://eternitymodern.com/blogs/blogs/top-10-ideas-on-where-to-place-your-eames-chairreplica Fig 2.2.6 https://www.gq.com/story/the-12-most-iconic-chairs-of-all-time Fig 2.2.9 - Fig 2.2.10 - Fig 2.2.11 - Fig 2.2.18 https://luxesource.com/15-eames-chairs-trend-slideshow/#.Xqi-r2gzbIX Fig 2.2.12 - Fig 2.2.13 - Fig 2.2.14 https://www.eamesoffice.com/the-work/eames-house-case-study-house-8/ Fig 2.2.15 https://vintage-room.com/how-to-use-the-eames-chair-replica-for-work-spaces/ Fig 2.2.16 https://honorthegods.tumblr.com/post/172737344526/folding-bronze-tripod-stand-romanfound-at-mount Fig 2.2.17 https://www.alamy.com/ Fig 2.2.19 https://www.metmuseum.org/toah/hd/sfurn/hd_sfurn.htm Fig 2.2.20 http://www.faccents.com/glossaryTOC.html Fig 2.2.21 https://freshome.com/inspiration/30-eye-catching-interiors-featuring-the-iconic-eames-lounge-chair/
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CH-2.3 Fig 2.3.1 - Fig 2.3.2 - Fig 2.3.4 - Fig 2.3.5 - Fig 2.3.8 https://www.dezeen.com/2012/11/14/parrish-art-museum-by-herzog-de-meuron-2/ Fig 2.3.3 - Fig 2.3.6 - Fig 2.3.9 https://www.archdaily.com/294936/parrish-art-museum-herzog-de-meuron-2 Fig 2.3.7 https://leibal.com/leibal_parrish_grcic_9/ Fig 2.3.10 CH-2.4 Fig 2.4.1 - Fig 2.4.2 - Fig 2.4.3 http://www.heatherwick.com/projects/objects/spun/ Fig 2.4.4 https://hydeparknow.uk/2019/05/22/coal-drops-yard-a-confused-outlook/ Fig 2.4.5 http://www.heatherwick.com/projects/buildings/coal-drops-yard/ Fig 2.4.6 https://www.slideshare.net/YashKotgirwar/nid-ahmedabad-primary-case-study Fig 2.4.7 - Fig 2.4.8 - Fig 2.4.9 - Fig 2.4.10 https://www.mmoser.com/en/work/nba-mumbai Fig 2.4.11 - Fig 2.4.12 https://www.gensler.com/projects/one-microsoft-place-ireland CH-3.1 Fig 3.1.1 - Fig 3.1.2 - Fig 3.1.3 - Fig 3.1.4 - Fig 3.1.5 - Fig 3.1.6 - Fig 3.1.7 - Fig 3.1.8 Monograph of Gajanan Upadhyaya published by HCP design, planning and management Pvt. Ltd and TDW Pvt. Ltd. CH-3.2 Fig 3.2.1 - Fig 3.2.2 - Fig 3.2.3 - Fig 3.2.4 - Fig 3.2.5 - Fig 3.2.6 - Fig 3.2.7 - Fig 3.2.8 - Fig 3.2.9 - Fig 3.2.10 - Fig 3.2.14 https://www.archdaily.com/911812/lilavati-lalbhai-library-rma-architects
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Fig 3.2.11 - Fig 3.2.12 - Fig 3.2.13 https://tdwfurniture.com/studio#/mint-chair/ CH-3.3 Fig 3.3.1 - Fig 3.3.2 - Fig 3.3.3 - Fig 3.3.4 - Fig 3.3.5 - Fig 3.3.6 - Fig 3.3.7 - Fig 3.3.8 - Fig 3.3.9 Fig 3.3.10 - Fig 3.3.11 - Fig 3.3.12 - Fig 3.3.13 https://www.hcp.co.in/project/ahmedabad-management-association CH-3.4 Fig 3.4.1 - Fig 3.4.2 - Fig 3.4.3 - Fig 3.4.4 - Fig 3.4.5 - Fig 3.4.6 - Fig 3.4.7 https://www.hcp.co.in/project/rachana-school-library Fig 3.4.8 - Fig 3.4.9 - Fig 3.4.10 - Fig 3.4.11 - Fig 3.4.12 - Fig 3.4.13 - Fig 3.4.14 - Fig 3.4.15 https://www.archdaily.com/438400/free-university-of-berlin-foster-partners
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GLOSSARY Angularity - (noun) it describes specific orientation of one feature to another at a reference angle Architectonic - (adjective) having a clearly defined structure, especially one that is artistically pleasing Cyma recta curve - a curve in which the upper section is concave and the lower section is convex Dedriform - (adjective) resembling a tree in structure Disencumbered - (verb) free from a restricted action or movement Eclectic - (adjective) deriving ideas, style or taste from a broad and diverse range of sources Functionality - (noun) the quality of being suited to serve a purpose well Integrality - (noun) idea of being integral Materiality - (noun) a material quality referring to the touch and feel of it Multifarious - (adjective) many and of various types Rationalism - (noun) the practise o basing opinions or actions on reasoning rather than emotions Spatial quality - (adjective) it is about strategies, design and effective creation and use of space Synthetic functionalism - (adjective) having truth or falsify determinable by recourse of experience Transcend - (verb) be or go beyond the range or limits of Travertine - (noun) white or light coloured rocks deposited from mineral spring User centric - (adjective) it starts with an individual and tailors to the needs of an individual
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