DHRUTIKA KHIMANI INTERIOR A RC H I TE C TU RE SEL ECTED WO RK S 2 0 1 8 - 2 0 2 0
01 F I N AL T H E SIS P R O JE C T
E LY S IAN : W E L L N E S S R E T RE AT 2019 - 2020
02 BRAN D S C AP IN G
LOC H C A R R ON R ETA IL STOR E FALL 2018
03 D ETA I L I N G
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T HE VOID SPRING 2018
04 DIGITAL GRAPHICS
PH A SE MA GA ZIN E MA GA ZIN E SU R R EA L SPRING 2018
05 P E RS ON AL ARTW ORKS
PORTRAI TURE & LA NDSCAPES 2015 - 2019
HYDROTHERAPY - OUTDOOR POOL VIEW The sauna and pools are a part of alternative medicine (Hydrotherapy) that involves the use of water for pain relief and treatment; therefore serving as a place of retreat.
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FINAL THESIS PROJECT PR EFA C E
The brief asks to create an in-depth, objective, and well communicated proposal that communicates project aims and objectives, gather and collate all known facts, illustrate thinking and concepts, determine and confirm what is needed, and end by stating the problem but also considering the solution.
F INAL M AJOR PROJE CT 20 19 - 20 2 0
E LY S IAN : W E LLN E S S RE TRE AT 4th Y E AR P ROJ E C T / D E S IGN S TU D IO S OFTWARE S U S E D : AU TOC AD , RE V IT, 3D S M AX + C ORO N A RE N D E RE R, P H OTOS H OP
P R O B L E M S TAT E M E N T It is well established that therapeutic and wellness centres are often branded as ‘dingy’, ‘institutional’ and ‘pretentious’, when in reality spaces designed for treating mental illness should be portrayed as ‘spiritual’, in the sense, they should aim to induce meaningful therapeutic processes through the design of the space. The characteristic of the space that makes users more present and reconnect with their inner world is viewed as ‘spiritual’ and doesn’t necessarily refer to explicit religious connotation. This project aims to answer the current design problem in the healthcare industry by proposing a space that elicits positive health and emotional effects, fosters social interaction and stimulates spiritual experiences among the end-users.
THE BRIEF Aim of the project To facilitate a safe transition to stable mind recovery by introducing a holistic approach to mental health. Objectives of the project (I) To create a space that uses design as a medium to stimulate therapeutic experiences, thereby reducing feelings of depression and anxiety. (II) To encourage the use of positive adaptive coping strategies (art therapy) to overcome depression in at-risk men/women. (III) To help people acknowledge & become aware of being depressed by warranting further research onto this topic (IV) To design a secure talking space which entails active involvement with people in similar circumstances, hence providing a sense of belonging, meaning, support and efficacy (V) To further examine existing case studies to understand the relationship between depression and art therapy (VI) To understand how a natural space can act as a healing environment. The aim of my project is to facilitate a safe transition to stable mind recovery by providing a space that uses design and art therapy to stimulate therapeutic experiences Some of the key issues I wish to address are as follows: (I) Dispel misconceptions regarding mental health and psychology in UAE and increase awareness about the issues faced by people in depression. Moreover, offer a safe space that helps them to open up without the fear of being judged by other people. (II) Attempt to humanize the space by applying design strategies that help personally brand the space rather than to appear “institutionalized”. It should aim to create a warm and homely space that’ll inspire people to come in & seek support. (III) Increase the number of students and researchers in the field of psychology in the UAE.
U S E R A N A LY S I S End-users of the project The end-users of the project are people experiencing mild to moderate depression, who often indulge in maladaptive coping strategies such as alcohol and substance abuse in order to cope with depression/ anxiety.
With little to no access to psychological or therapeutic support, they often suffer in silence or deny their mental health concerns. Language barriers, exhausting work environments and lack of community networks are some of the factors affecting them.
Why the specific user age group? Young emerging adults (20-29) are selected as the graph clearly demonstrates the high level of young patients admitted at the NRC for substance abuse. Additionally, during young adulthood years when identity development remains in flux, conformity to social expectations about gendered behavior is particularly reinforced, which further leads them to not seek help when required. They are also more like-ly to practice maladaptive strategies to cope with depression than older adults. When asked about visiting an art therapy center, a high number of participants between the age of 18 and 25 would visit an art therapy center. Additionally, 63.38% believe art therapy is beneficial in reducing depression and anxiety, while 35.21% think maybe and 1.41% consider its not beneficial.
Why is there a need for a space like this in UAE? Currently, UAE relies heavily on institutionalized care and pharmacotherapy to confront the challenge of mental health. Hence, communitybased well-being center is a required space in the UAE. Major amount of existing research points to how a community/ or at least having one sober person can make an individual 27% less likely to relapse and encourage him/her to adopt positive coping strategies. This space is of special importance in the UAE because of its unique cultural, environmental and social challenges in understanding mental health. Increasing social concerns such as child and elderly abuse, domestic violence, trauma, substance abuse, etc. are some of the challenges with dire psychological consequences that the society has been trying to address. Often such issues require multi-layered solutions such as awareness, psychoeducation, policy planning etc.
Why is mental health awareness important in UAE? Despite having some of the highest per capita incomes in the world, UAE has very little funding and resources dedicated to mental health research. Additionally, lack of government regulations and regulated mental health practices and practitioner further worsens the psychological practice in the UAE. Most critical of these is the stigma & taboo associated with the term “psychology” among the Arab community. Although there have been great strides made toward overcoming the myths, stigma and perceptions associated with “psychology”, it continues to be represented by “craziness” or “insanity”, at least among a minority of the aged or rural arab population. The most disadvantaged group is the large percentage of socio economically deprived migrant unskilled workers from Asia and Africa.
Overall, these studies highlight the need for mental health awareness in a country like UAE. Furthermore, a safe space is required where users can improve their mental well-being, live a stable life and strive to live their full potential. This would not only be beneficial to the users but will also aim to educate the general public about the role psychology plays in a society and dismiss the community’s misconceptions regarding the concept.
S I T E A N A LY S I S Since its well established from a variety of studies about how environment plays a huge role in impacting people’s experiences, the site selected for my therapeutic center is the Wasit Natural Reserve visitor center. Wasit was originally a waste-water and rubbish dump. The rehabilitation process of the damaged eco-system started in 2005, 40,000 metre square of rubbish removed, 35,000 trees been re-planted, healing the land from toxic chemicals and conservation of the unique salt flats and sand dunes. This process of healing and conserving the Wasit Wetlands inspired me to select it as an applicable space for users who are trying to overcome psychological issues and live a stable life. Located in the northern Sharjah suburb of Wasit, the centre runs along the Sharjah/Ajman border and comprises 86 hectares (210 acres) of protected habitat. Healing environment is a vital concept that addresses the interplay between the environment and people’s well-being. A number of studies have assessed the impact of environment on people’s mental health, for example, Linden et al. (2016) notes how relaxing and comfortable environments influence people positively while stressful environments impact them negatively. Hence, it is essential to integrate a soothing environment in the design of my therapeutic art center. Additionally, the center should offer healing potential through its design, where people with similar circumstances could meet and share their experiences. The selected site has low levels of unwanted noise which provides low sensory stimulations required as per my brief. Less traffic and construction, along with low noise pollution from people made this site applicable for my project.
B U I L D I N G A N A LY S I S GROUND FLOOR PLAN - NOT TO SCALE
CONCEPTUAL ENLOGE
CONCEPT Healthcare design is about the users - the needs & wants of the users, experiences of the users and lastly, the recovery of the users. The purpose of a building isn’t served until it fulfils the requirements of the users and assists them to a better life. As buildings evolve to be functionally and sustainably efficient, it is important to focus on the primary client i.e. the end-users who will utilize and occupy the building. The concept of this project is derived from the healing path of the users; starting from stage one - acknowledging and confronting the issue. Once they were able to accept that they were suffering from depression they began to acknowledge what they were experiencing and how their lives were being affected. The second stage was healing with others. Healing with others entailed users sharing their thoughts, feelings, and challenges with others. And lastly, reconnecting with their inner selves and the outside world. This stage shows how the progression from healing alone to healing with others helps them reconnect with the society. STAGE 1 - ACCEPTANCE Users familiarize themselves with the environment and partake in activities predominately in isolation. The aim is to evoke acceptance and assist them to a better mental space. STAGE 2 - RECOVERY The second stage encourages a sense of community through the means of group activities. Routine meetings such as the AA, helps them identify with other people in recovery, thereby providing a sense of belonging, meaning and support. STAGE 3 - RECONNECTION Lastly, the third stage entails active participation to reconnect with the outside world. Public spaces are introduced to facilitate social gathering that’ll help users build relationships and develop their emotional well-being.
CONCEPT DEVELOPMENT L I N K I N G T H E C O N C E P T T O S PA C E S
DESIGN DEVELOPMENT
STAGE 1 STAGE 2 STAGE 3 COURTYARD
DEVELOPMENT 1
DEVELOPMENT 2
DEVELOPMENT 3
DEVELOPMENT 4
DEVELOPMENT 5
DEVELOPMENT 6
FINAL DESIGN
GROUND FLOOR PLAN NOT TO SCALE
FIRST FLOOR PLAN NOT TO SCALE
CENTRAL COURTYARD VIEW Creating a connection between inside and outside; opening towards the natural landscape outside and the shared environment inside.
THE GALLERY SCULPTURE GALLERY WALLS The gallery space has no physical boundaries as it is integrated throughout the centre via the circulation space. Previous research shows how implementation of sensory interventions can foster therapeutic events. For example, how having objects to touch and interact with helped keep users grounded and present. This is the basis for adding the sculpture gallery walls in the design. Moreover, it encourages personal individualism of a space i.e. branding a space with your identity. Such branding initiates ownership, which would then generate a sense of belonging for the user. This is of relevance as it solidifies their reasoning to visit a mental healthcare facility i.e. to improve themselves and their emotional setting. The personally branded space acts as visual reminder for users suffering through mental illness that they are there for the right reason. Initial Gallery Concept - Mesh panels
CAFE VIEW Features bar height seating and additional cafe-style seating to accommodate different user needs.
M A J O R S PA C E C O N T E M P L AT I V E S PA C E
OP EN CO NC E S SI O N S HO P V IE W
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BRAND SCAPING LOC H C ARRON RE TAIL S TORE 3rd Y E AR P ROJ E C T / D E S IGN S TU D IO S OFTWARE S U S E D : AU TOC AD , RE V IT, 3D S M AX + V- RAY, P H OTOS H OP
PR EFA C E
The brief aims to develop a critical approach to the common practice of the design of interiors for the speculatively produced, generic spaces which comprise much of our high streets and shopping malls. Design for retail is unusual in that the starting point for the interior is more likely to be the brand rather than a specific site or building. The brand given to me for the store design was Lochcarron of Scotland. The brand is an online retailer and manufacturer of Scottish tartan. Lochcarron produces traditional and full of heritage knitwear, kilts, ties and scarves. We were asked to design a shop scheme to fit two quite different spaces.
FAL L 20 18
i.Open Concession Area (20 sq/m.), with 2 walls ii. Small Shop (25 sq/m), with no existing walls & a 300x300mm structural column is in the dead centre of the floor space
CONCEPT AND DESIGN DEVELOPMENT
The concept of the design was inspired from the weave pattern in the tartan fabric.
The copper structure represent the intersecting weave threads, that run in all directions throughout the space.
DIFFERENT VIEWPOINTS OF THE STORE
Just like weaving brings the fabric together, these structures connect the floor, ceiling and the walls, bringing the entire space together.
O PEN C O N C E S S IO N S H OP V IE W
SMA L L SH O P VI EW 2
S M AL L S H O P V IE W 1 The signage is displayed on both the entrances. It has the same copper-gold finish as the structure. These structures would merge into the floor and the ceiling. The concession shop would have three hanging racks and two scarves display area. It would even include a small shelving for accessories.
CONCESSION PLAN (NOT TO SCALE)
CONCESSION EAST ELEVATION (NOT TO SCALE)
CONCESSION SOUTH ELEVATION (NOT TO SCALE)
OP E N C O N C ESSI O N SH O P VI EW
DETAIL SECTION SCALE - 1:1
PVC STRUCTURE SCALE - 1:1
DETAIL AXONOMETRIC
DETAIL ISOMETRIC VIEW NOT TO SCALE These copper toned brass sructures are the main elements of my design. The detail displayed shows the brass metal fixing onto the vinyl floor. They are present throughout the space; on the floor, on the ceiling and as retail displays.
The 0.5mm brass strip is wrapped around the PVC structure, which is immersed in the floor along with the vinyl flooring and concrete. Lighting is incorporated into the structural design. The copper-gold structure has few lights fit into it in various places.
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OBJECT DETAILING TH E V OID 2nd Y E AR P ROJ E C T / D E S IGN S TU D IO
PR EFA C E
This project looks at the things which gives ideas corporality – materials. If aesthetics and function are finely balanced in the origination and production of interiors, it could be argued that it is materials and their specific properties which allow designers to make the imagined manifest in the first instance.
SPRING 201 8
The project moves from materials and details at the size of a building through to the more human scale of furniture in order to gain a deeper understanding of the process of selection, choice and detailing at its highest level. The obj ect has to be made of three materi al s, one bei ng concrete.
D ESIGN ELEMEN TS At the beginning, I focused on designing planter pots, which got later developed to table lamps. The deconstructed cube was the initial design prototype which acted as a table lamp plus plant potters. I later developed it to a table lamp with storage facilities. The boxy nature of the design was quite easy to deal with rather than curved elements. While developing this design, I thought of many materials to make the box out of, as well as made quite a few changes to the design. The materials used in the design were Medium-density fibreboard (MDF), cork, concrete and metal hooks.
INITIAL DESIGN SKETCHES
PHASE
PHASE MAGAZINE - PROPOSAL/MOOD
1 4 t h F E B R U A R Y, 2 0 1 8
MOOD
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DIGITAL GRAPHICS P H AS E M IN I - M AGAZ IN E + S U RRE AL M AGAZ IN E 2nd Y E AR P ROJ E C T / D IGITAL AP P LIC ATION S OFTWARE S U S E D : AD OBE ILLU S TRATOR, IN D E S IGN , P H OTOS H OP
PR EFA C E
SPRING 201 8
This brief is designed to further student’s knowledge and skills of promotional graphics as a tool in the marketing and promotion of contemporary fashion and interior design concepts. An investigation of current practices and techniques is considered, exploring the roles which are necessary in successfully developing and realising a professional online output. Project work incorporates photography, graphic and digital manipulation. The first task of the brief was to create a mood/ proposal for a mini-magazine we had to create later.
founded a design collective in M ilan called The M em phis Group. A cting in reaction to the strict and sleek M oder nism that had dom inated the design field in previous decades, the M em phis Group incorporated aspects of radical design into its work, m oving away from functionality in favor of distor tion and irony. The flashy, faux-chic style of the design fir m went on to define the look of the decade, thanks in par t to its aesthetic influence on M TV, which also prem iered in 1981.
MEMPHIS PHASE MAGAZINE - PROPOSAL/MOOD
STORY P e r h a p s n o d e ca de ’s a e s t h e t i c h a s b e e n re v i v e d , re h a s h e d, a n d bu t c h e re d m o re i n re c e n t y e a rs t h a n t h e a e s t h e t i c o f t h e 1 9 8 0 s . W h e t h e r i t ’s a n “ ’ 8 0 s n i g h t ” a t s o m e c o l l e ge ba r o r a pa ro dy o f a j a z z e rc i s e v i de o , t h e l o o k a n d f e e l o f t h a t d e c a d e i s i mme di a t e l y re c o gn i z a b l e : Te a s e d - o u t h a i r, da y -gl o t ra c k s u i t s , a n g u l a r si l h o u e t t e s a ga i n s t l o u d, a b s t r a c t p a t t e r ns . B u t wh e re e x a c t l y di d t h e s e a e s t h e t i c t o u c h s t o n e s c o me f ro m?
M em phis designers had an affection for cheap plastic and a m ishm ash of shapes and colors. The M em phis Group’s design style is unm istakable. The output of the
impact the design world
and closed shop six years later, em bodied the garish appeal of the decade that style forgot.
M o d e r n i s m t h a t h a d do mi n a t e d t h e
t o r t i o n a n d i ro ny. T h e f l a s h y, f a u x -c h i c s t y l e o f t h e d e si gn f i r m we n t o n t o d e f i n e t h e l o o k o f t h e de c a de , t h a n k s i n p a r t t o i t s a e s t he t i c i n f l u e n c e o n MT V, w h i c h a l s o p re m i e re d i n 1 9 8 1 .
MEMPHIS
movement influenced the 80's
the M ilan fur niture fair in 1981
A c t i n g i n re a c t i o n t o t h e s t ri c t a n d s l e e k
a w a y f ro m f u n c t i o n a l i t y i n f a v o r o f di s -
niture design etc. In this issue
collective, which debuted at
c a l l e d T h e M e mph i s Gro u p.
r a d i c a l d e s i g n i n t o i t s wo rk , mo v i n g
Design movements influence
its big shapes and colors had
f o u n d e d a d e s i gn c o l l e c t i v e i n Mi l a n
M e m p h i s G ro u p i n c o rpo ra t e d a s pe c t s o f
that had a great impact on the
shor t-lived, divisive design
I n 1 9 8 1 , I t a l i a n a rc h i t e c t Et t o re So t t s a s s
d e s i g n f i e l d i n pre v i o u s de c a de s , t h e
The vision of the magazine is
DESIGN THROUGH TIME
VISION THE MA
DE S IGN C ON C EPT OF TH E M AGAZ IN E
to talk about various design movements
e aesthetics of that particular decade. world trends, such as fashion trends, fur-
e, We talk about how Memphis Design
s aesthetics. This design movement with a great impact and still continues to
OF AGAZINE
1980s
The main objective of this brief was to design a Mini magazine based on a theme selected by us. Based on a theme, we were asked to deliver a A3 sized proposal and a A5 sized mini magazine. The main theme of my magazine was based on different art movements and how it affected the different fields of art. The proposal mood board takes inspiration from the Memphis design movement; and talks about how it influenced world trends such as fashion design, furniture design, etc. The final aesthetic is created by layering different textures and patterns associated with Memphis design such as laminate and terrazzo materials, squiggles, polka dots; bright colors with unusual shapes and so on. The Memphis Group countered the 1970s minimalistic and structured status quo by creating an unusual aesthetic centered around unpredictability and humor. In its rejection of tradition, Memphis has become a playful part of pop culture, celebrated by today’s trendsetters as a symbol of the ’80s. Numerous designers have noted the influence these oddly shaped pieces had on their career, from Philippe Starck to Ian Schrager.
FURNITURE PIECE OF THE YEAR
BE L AI R C Place of origin: Milan Date: 1982 (designed) A r tist/Maker: Shire, Peter, bor n 1947 Memphis (producer)
Materials and Technique Painted wood, coloured
Issue 1 21st February, 2018
P A G E P H A S E
DESIGN THROUGH TIME
M A G A Z I N E
-
C O V E R
phase
P H A S E
M A G A Z I N E
-
D E S I G N
L A Y O U T S
Created on Adobe Illustrator & Photoshop
M A G A Z I N E D E S I G N L AY O U T
PHOTOGRAPHY & EDIT - DHRUTIKA KHIMANI MODEL - ANUJI JITHMA
The concept behind it is that it is an art inspired magazine that allows local art, design students, working designers, artists to display their work. It acts as a platform to help create awareness about how the art world impacts our reality in terms of fashion and lifestyle.
GEN-Z YELLOW The bright and lively color is fast catching up to be the new major hue i n t h e i n d u s t r y . I t ’s t h e n e w e s t k i d on the block. Most of the designers, influencers and beauty brands are embracing the new ‘it’ color in full s w i n g . M o r e t h a n a c o l o r, i t h a s s t a r t e d t o become a lifestyle. It represents a ray of positivity caught off the color wheel. Gen-Z yellow is synonymous with t o d a y ’s y o u t h a s i t s t a n d s f o r b e i n g brave, bold, joyful and optimistic.
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Gen-Z yellow is synonymous with t o d a y ’s y o u t h a s i t s t a n d s f o r b e i n g brave, bold, joyful and optimistic. The exact shade varies somewhere in between a French mustard and marigold. The color is had to pull off, but once you go down the yellow lane there is no coming back. This collection is designed by Prerana Chavan. The collection was inspired by street style.
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personal works TOOLS U S E D : C H ARC OAL, GRAP H ITE , WAC OM IN TU OS , P H OTOS H OP
My main interest lies in Portraiture using various mediums; in particular charcoal. It helps me evolve my urban sketching skills crucial to Interior Design. To explore & expand my horizons in Interior Design, these fine art pieces help me to develop those skills. The creativity obtained helps me coming up with innovative design concepts. Lately, I’ve been also experimenting with Digital Art to expand my skills in the graphic design component of my work.
ART WOR KS FR OM 2 015- 2019
PR EFA C E
Dhrutika Khimani +971 544288034 dk35@hw.ac.uk www.behance.net/dhrutika.com