Khushali Chawda - Selected Works

Page 1

K H U S H A L I C H AW DA S e l e c t e d

W o r k s


KHUSHALI S e l e c t e


I C H AW DA d

W o r k s


Philosophy: Design is understanding the psychology of the human mind.

Designing spaces that tell a story and take you on a journey is one of the take the user through an experience and inculcate knowledge at the sam successful.

Catering to the curiosity of the human mind is what drives me to spatial body to behave in a particular way with the help of tangible and intangib

The journey that the concept goes through is the most exciting part, a g product, this is possible with collaborations, conversations, team work a

About: Until recently an Architectural Designer at 59 Productions, my key respo - Initial Research - Concept design sketches / 3D modelling - Working closely with the production and technical team and the video - Design Development which includes preparing drawings and coordinat - Preparing the detail design document, includes to diagrams to detail d - Liaise with the workshop/ contractors executing the job - Execution of the project to the highest possible standard

With over 4 years of Experience in the Design Industry, the scale of proj - Small scale: Furniture design - Medium scale: - Installations - Exhibition design - Set design - Window Displays - Large scale: - Retail Interiors (Includes brands like Christian Louboutin and Herm - Hospitality Interiors and - Residential Interiors

Before moving to London, I worked at Rooshad Shroff Architecture + De sector. The scale of the projects ranged from an architecture scale to int As the practice was based in India, we immensely focused on the upliftin generating prototypes was an important aspect of the job. Which entail


e key aspects of being a spatial designer. To formulate a narrative and me time without them being conscious of it, that is when a display is

design. The design can determine or persuade the human mind or ble resources.

good and interesting process will definitely lead to a well thought out and critiques.

onsibilities include, but were not restricted to,

o design team to work up the concept ting with the teams for a delivery package drawings

jects that I have worked on range from

mes)

esign for almost 3 years. Mainly focusing on the Retail and Hospitality terior and furniture. ng the local crafts. Thus working actively with craftsmen and led coordinating and overseeing production for projects.

Khushali Chawda


K H U S H A L I C H AW DA e: khushalichawda@gmail.com m: +91-9820089698

Wo rk J u l y 2 0 17 - P re s e n t

59 Productions, Lo n d o n A rc h i te c t u r a l D e s i g n e r

S e l e c te d P ro j e c t s

A r a s h i n o - i e , Yo r k s h i re , U K I m m e r s i ve I n s t a l l a ti o n Fa ce s - R oya l O p e r a H o u s e , Lo n d o n I n s t a l l a ti o n D e s i g n T h e L a s t S h i p, I n te r n a ti o n a l To u r Set Design - Musical M a d e I n S p a ce , C o p e n h a g e n , D e n m a r k A s tro n o my E x h i b iti o n (5 Ye a r E x h i b iti o n) M o m e n t s o f S i l e n ce , I m p e r i a l Wa r M u s e u m , Lo n d o n E x h i b iti o n D e s i g n (O n u n ti l M a rc h)

D e c 2 0 1 2 - M ay 2 0 1 5

Rooshad Shroff Architecture + Design, Mumbai Designer

S e l e c te d P ro j e c t s

Hermes, India W i n d ow D i s p l ay C h r i s t i a n L o u b o u t i n , B a n g ko k R e t a i l I n te r i o r a n d Fu r n it u re Christian Louboutin, Mumbai R e t a i l I n te r i o r (w ith 2 1 2 B ox , N ew Yo r k) a n d Fu r n it u re Jaipur Modern, Jaipur R e t a i l a n d H o s p it a l it y I n te r i o r


Ed u c ati o n 2 0 1 5 - 2 0 17

R oya l C o l l e g e o f A r t , Lo n d o n M A I n te r i o r D e s i g n

20019 - 2013

N a t i o n a l I n s t i t u t e o f Fa s h i o n Te c h n o l o g y, I n d i a B . D e s , P ro d u c t a n d Fu r n it u re D e s i g n

Summer School

N u ova Ac a d e m i a D i B e l l e A r ti , M i l a n

H o n o u r s & Awa rd s M ay, 2 0 1 3

B e s t G r a d u a t i o n P r o j e c t Awa r d , B . D e s , Fu r n it u re a n d P ro d u c t D e s i g n

M ay, 2 0 1 3

B e s t O ve r a l l P e r f o r m e r Awa r d , B . D e s , Fu r n it u re a n d P ro d u c t D e s i g n


K H U S H A L I C H AW DA e: khushalichawda@gmail.com m: +91-9820089698

04 19

Years

Projec t s

09

Countries

8000

H ours

of

R e s e a rc h C o n ce pt D e s i g n D e s i g n D eve l o p m e n t S ite / P ro g re s s C o m p l e ti o n


Re s p o n s i b iliti e s D i s c u s s i n g th e d e s i g n b r i e f w ith th e p ro j e c t ’s C re a ti ve Le a d s a n d H e a d of D e p a r tm e n t R e s p o n d i n g to th e d e s i g n b r i e f u s i n g 3 d m o d e l l i n g , d r a f ti n g a n d s ke tc h i n g P re s e n ti n g a n d d i s c u s s i n g d e s i g n i d e a s w ith 5 9 te a m a n d c l i e n t s , re s p o n d i n g to f e e d b a c k P re p a r i n g p re s e n t a ti o n s to i l l u s tr a te d e s i g n i d e a s O ve r l o o k i n g exe c u ti o n of p ro j e c t o n s ite

S k ill s Rhino Grasshopper for Rhino V- R ay f o r R h i n o Au to C A D 3Ds Max Indesign I l l u s tr a to r P h oto s h o p

4


ARASHI NO-IE 59

P RO D U C TI O N S

I M M E R S I V E L o c a t i o n : H awo r t h Ye a r :

I N S TA L L ATI O N

B r o n t e

P a r s o n a g e

M u s e u m ,

2 01 8

ROLE: Creative Lead _ R e s e a rc h _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n Fo l l ow U p s _ F it U p a n d Te c h

A B O U T: Stormy House/Arashi no ie is a walk-in video and sound installation which immerses visitors in text fragments and hauntings from the ghost world of Wuthering Heights and a parallel universe of kaidan (Japanese ghost tales). The uncanny elements of Emily Brontë’s novel are explored in an extended comparison with these ancient tales, which were collected and translated over a hundred years ago by Greco-Irish author Patrick Lafcadio Hearn. In a space inspired by a Japanese tea house, visitors find themselves between two writers and their writing rooms. Their words and drawings are the source of the immersive experience, which plays out in the form of multiple projections across several screens. Stormy House/Arashi no ie is an installation by Whitestone Arts and 59 Productions, in partnership with Brontë Parsonage Museum and Theatre in the Mill. It is supported by Arts Council England, British Council, Bradford Metropolitan District Council, The Japan Society and Wabi Sabi Design.

Arashi no ie || Installation Design || November, 2018


Khushalil Chawda || khushalichawda@gmail.com


DESIG N OVE RVIEW DESIG N OVE RVIEW

Key elements to Japanese Architecture are the floor and the roof. traditional tea houses are set out toelements the tatami The floor determines and architecture of thetea teahouses house.are Theset roof Key tomats. Japanese Architecture are the the interior floor and the roof. traditional outis that holds all the walls in place. Following principles thetea installation was setisout to to the the element tatami mats. The floor determines the interior and these architecture of the house. The roof tatami mats and the roof is an extension the fibrous spun paper walls, which extends a world the element that holds all the walls in place.ofFollowing these principles the installation wasinto set out to of strings. tatami mats and the roof is an extension of the fibrous spun paper walls, which extends into a world of strings.

N O TI C CE N JE A IO O RF CT CE PR SU JE FA O R PR SU

PR O SU JPE R RCOT FSA JI E UC O RE CNT FA I C ON E

7.7M 7.7M

PR O SU JPE R RCOT FSA JI UC OEC RE NT FA I C ON E

PR O SU JPE R RCOT FSA JI UC OEC RE NT FA I C ON E

N O TI C W N JE O IO O IND CT W PR W JE DO O IN PR W

N O TI C CE N JE A IO O RF CT CE PR SU JE FA O R PR SU

N O TI C CE N JE A IO O RF CT CE PR SU JE FA O R PR SU

PR O W JPE IN RCO DW TJI OI OEC N NT W D I O O W N

8.2M 8.2M

Proportions of the window are in resonance with the windows of Yorkshire

E C N E A C TR AN TR EN

EN

2.5M~ 2.5M~

USER EXPERIENCE: USER EXPERIENCE: Suggested Capacity: 12 People @2Sqm. / Person Suggested Capacity: 1230mins People @2Sqm. / Person Average Dwell Time: Average Dwell Time: 30mins

Arashi no ie || Installation Design || November, 2018 Arashi no ie || Installation Design || November, 2018

INSTALLATION MINIMUM AREA REQUIRED INSTALLATION MINIMUM AREA REQUIRED SPECTATOR AREA REQUIRED SPECTATOR AREA REQUIRED MINIMUM HEIGHT REQUIRED: 3.4M MINIMUM HEIGHT REQUIRED: 3.4M


Stringed Roof

Proportions of the window are in resonance with the windows of Japan

Installation is set out to the Tatami Mats. Like traditional Japanese Tea Houses

Shoji Screen walls. Made of Spun Paper and BP

Khushalil Chawda || khushali.chawda@network.rca.ac.uk Khushalil Chawda || khushalichawda@gmail.com


PROCESS

Arashi no ie || Installation Design || November, 2018


Ima Tenko, Butoh Dancer

Filming in Double Silhouette

Calligraphy development by Misuzu Kosaka

Diptych of stills taken from filed sequence of performance calligraphy by Misuzu Kosaka

Khushalil Chawda || khushalichawda@gmail.com


PRODUCTION PHOTOGRAPH

Arashi no ie || Installation Design || November, 2018


Khushalil Chawda || khushalichawda@gmail.com


PRODUCTION PHOTOGRAPH

Arashi no ie || Installation Design || November, 2018


Khushalil Chawda || khushalichawda@gmail.com


BERGEN 2020 59

P RO D U C TI O N S

I N T SA L L ATI O N L o c a t i o n : Ye a r :

(CO N F E D E NTIAL)

D E S I G N

B E R G E N ,

-

K I N E TI C

N O RWAY

2 02 0

ROLE: Designer _ C o n c e pt D e s i g n

A B O U T: This concept design for a kinetic pavilion for an annual International Arts Festival in Norway has enabled us to explore a typology we believe to be truly innovative – creating architectural form with the inbuilt capacity to help tell different stories, as well as creating spectacular ‘show’ moments. Inspired by a provocation to help the people of Bergen see their city slightly differently, (as well as the extraordinary surrounding landscape), the sculptural form contains 400 independently controlled rotating mirrored panels which can be programmed in myriad different ways. The pavilion form is both inward and outward looking – enabling it to become an intimate space for reflection, a space for small scale performance or the backdrop to a large scale performance for thousands – it is intended to be programmed to support many different artists and audiences throughout the day and night.

Bergen Pavilion || Installation Design || 2020


Khushalil Chawda || khushalichawda@gmail.com


K I N E T I C PAV I L I O N D E S I G N OV E R V I E W Grasshopper was used as a tool to understand and explore the idea of the rotational mirrors on the surface of the pavilion.

Grasshopper Script

Bergen Pavilion || Installation Design || 2020


Khushalil Chawda || khushalichawda@gmail.com


S TA G I N G A N D E V E N T S DUAL STAGE ARRANGEMENTS

DAILY PROGRAMME

08:00 BREAKFAST TALK

11:00

09:00 REFLECTIONS

08:00

09:00

10:00

TIME

Bergen Pavilion || Installation Design || 2020

14:00

AMBIENT MODE

12:00 SHADOW PLAY

11:00

12:00

13:00

PROGRAMMING

15:00 A

14:00

15:00


COMPETITION

17:00

20:00 EVENING CONCERT

ACOUSTIC CONCERT

16:00

CORPORATE HOSPITALITY

17:00

18:00

19:00

20:00

Khushalil Chawda || khushalichawda@gmail.com


B U I L D U P A N D M AT E R I A L I T Y

Site

Seating and Base

Vertical Structure

Horizontal Connectors

Fixed Mirror Panels

Kinetic Mirrors

Bergen Pavilion || Installation Design || 2020


Materiality Detail

MIRROR • PERSPEX / DI-BOND

COLOUR • GRADIENT COLOUR • DICHROIC EFFECT • STRONG PLAIN COLOUR

Khushalil Chawda || khushalichawda@gmail.com


K I N E T I C PAV I L I O N C O N C E P T D E S I G N

Bergen Pavilion || Installation Design || 2020


Khushalil Chawda || khushalichawda@gmail.com


THE LAST SHIP 59

S E T

P RO D U C TI O N S

D E S I G N

-

M U S I C A L

L o c a t i o n : N E WC A S T L E , C U R R E N T LY O N I N T E R N ATI O N A L Ye a r :

2 01 8

-

TO U R

2 01 9

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ D e t a i l D r aw i n g s _ S e t C o n s tr u c ti o n _Te c h o n S i te

A B O U T: Set during the Thatcher years, this political and passionate musical tells the story of Giddeon, a sailor returning home to Wallsend after 17 years away. He soon discovers the ship-building life he left behind in chaos, the yard is closing and no one knows what will come next. With the engine fired and pistons in motion, picket lines are drawn as foreman Jackie White and his wife Peggy fight to hold their community together in the face of the gathering storm. Execution: A set which represents the world inside a shipyard and the world above. A work in progress ship building yard, which then transforms into interior spaces, quickly with the help of gauze and projection. The materiality of the set mimics the finish of an defunct but not entirely obsolete shipyard.

The Last Ship || Set Design || March, 2018


Khushalil Chawda || khushalichawda@gmail.com


PROCESS

Sketches

The Last Ship || Set Design || March, 2018

White Card

Visuali


sations

Build Progress

Khushalil Chawda || khushalichawda@gmail.com


PRODUCTION PHOTOGRAPH

The Last Ship || Set Design || March, 2018


Khushalil Chawda || khushalichawda@gmail.com


S H A D OW FAC TO RY 59

S E T

P RO D U C TI O N S

D E S I G N

L o c a t i o n : Ye a r :

2 01 8

-

M U S I C A L

S O U T H A M P TO N , -

2 01 9

ROLE: Designer _ D e s i g n D eve l o p m e n t _ D e t a i l D r aw i n g s

A B O U T: Autumn 1940. The Battle of Britain rages. Southampton is home to our only hope of victory: the Spitfire. But when the Luftwaffe drops 2,300 bombs in three devastating raids, the city goes up in flames and the Woolston Supermarine Spitfire factory is destroyed. From the ashes, a story of chaos, courage and community spirit emerges. Jackie is the third generation of Dimmock at her family-run laundry. Polly is the first and only draughtswoman in the Spitfire design office. How will each woman forge her own path in this evolving landscape? One of Britain’s greatest living playwrights, Hampshire-born Howard Brenton, (Anne Boleyn, Shakespeare’s Globe; Pravda, National Theatre) tells the remarkable and little known story of how Southampton stepped up when the chips were down.

Shadow Factory || Set Design || February, 2018


Khushalil Chawda || khushalichawda@gmail.com


KINETIC LIGHTS

MAX DROP APPROX 8700MM

NANO WINCHES RIGGED TO FLY BARS

POWER & DATA IN CABLES

CENTRAL PIVOT

RGBW LED PROGRAMMABLE LIGHT 6000MM FULL WIDTH 3000MM

Shadow Factory || Set Design || February, 2018


Act 1 Scene 6, The Shadow Factory, NST City.

Khushalil Chawda || khushalichawda@gmail.com


PRODUCTION PHOTOGRAPH

Shadow Factory || Set Design || February, 2018


Khushalil Chawda || khushalichawda@gmail.com


M A D E I N S PAC E 59

P RO D U C TI O N S

A S T R O N O M Y

E X H I B ITI O N

L o c a t i o n : Tyc h o Co p e n h a g e n Ye a r :

B ra h e

P l a n e t a ri u m ,

2 01 8

ROLE: Architectural Designer _ C o n c e pt D e s i g n ( Fu r n it u re , d e t a i l s a n d m a te r i a l i t y) _ D e s i g n D eve l o p m e n t _ D e t a i l D r aw i n g s

A B O U T: In February, 2018, the Tycho Brahe Planetarium opened its doors to a new exciting exhibition: Made in Space – Your Cosmic History. Made in Space is about awe, inspiration and wonder. It is the story of you, and your cosmic history. It’s about the building blocks of life and their origins in some of the grandest and most extraordinary places in the Universe. Made in Space is a thrilling collaboration that asks some of the biggest of all questions: where did life come from? Where did the universe come from? The answers to these questions are jaw-dropping in their scale and scope. In trying to answer some of these vast, fundamental questions, 59 Productions has designed a unique exhibition space using an exciting array of cutting-edge interactive and immersive technologies. The exhibition will ignite wonder and inspire people to learn more about the cosmos. Using large scale projections and digital interactive exhibits it tells an epic story on a grand scale.

Made in Space || Exhibition Design || February, 2018


Khushalil Chawda || khushalichawda@gmail.com


DESIGN INVERVENTION

BEFORE

TBP Venue, Before, Isometric View

TBP Venue, Before, Plan

TBP Venue, Before

Made in Space || Exhibition Design || February, 2018


AFTER Copyright Fifty Nine Productions 2017 Reproduction or transmission in any form is strictly forbidden unless prior permission is obtained in writing from 59. All dimensions in millimetres unless otherwise noted. Do not scale. Drawings are not for construction.

Notes

Valchromat cladding returns along reveals and soffit, to abut existing door frame with 10mm shadow gap

· Do not scale from this drawing. Check all

dimensions and conditions on site. Existing drawings are based on survey information supplied/produced by others.

fac

et doo to sui r ope t exi nin stin g g

Valchromat faced double doors to close flush with adjacent Valchromat wall finishes, square edge architraves to plastered side of wall

· All works to be carried out strictly in accordance with relevant manufacturers instructions. · All dimensions are to finishes unless noted

100

0 doo

r leaf 0 doo 170

347

AV.02.01 BENQ 55"

G.01C.02 G.01C.03

T LIN

TO

E

200

1

· All Valchromat panel joints to be light sealed from

SET ARC OUT A

STE

ALO

AV.01B.02 SAMSUNG 85"

01

Bench

Type

· Partitions flanking existing walls to be mechanically fixed back to existing walls for additional stability to Contractor detail

A

Bench Type

ARC

EQ

existing concrete beams with secret fixing to Contractor detail

G.01B.07

G.03.02

01

G.01B.06B

UT

AV.03.01 BLACKBOX 32"

SETO

90.00°

acet

2200f

Partition to be retained against existing wall behind to Contractor's detail for additional stability

R 9815

G.03.03

AREA 03 THE FIRST MOMENTS

behind to Contractor detail; mastics/sealants or other light seals applied to the outer face will not be acceptable.

· Tops of partitions to be mechanically fixed to

et

EQ

NB: Finished facete dimensions to be adhered to, studwork behind to be built against and follow geometry of existing wall

G.01B.06C

0fac

AREA 01C BUILDING BLOCKS OF LIFE

CO

220

CL

to partition setout, ref. RCP for beam and ceiling arrangements.

AV.01B.03 SAMSUNG 85"

G.01C.07

OU

N

LUM

NG

SETOUT LINE 1.

2395

All joints between faceted Valchromat panels to intersect with SETOUT ARC A

AREA 02 BIG BANG

· Existing beams above only shown where relevant

et

EQ

fac

G.02.00 G.02.01 Partition to be retained against existing wall behind to Contractor's detail for additional stability

pan

G.01C.00 G.01C.01

0

1200

el

at

om

chr

5 Val

· All radial partitions setout to be mirrored across

220

1 E ) LIN line ror

UT TO mir SE t tou (se

°

239

studwork unless noted otherwise, alternative Contractor proposals acceptable, to be approved by architect.

G.01C.04 G.01C.05

60.46

1200

sub

· All partitions assumed from 50x100mm timber 3 45 et fac

Blank door leaf w/ square edge architraves both sides

2395

otherwise.

s

r leaf

New partition to follow curve of existing stairwell wall

AV.01B.01 SAMSUNG 85"

G.03.00 G.03.01

Legend

e 01 ° 90.00

ed circle paint R 3000

sub

SETOUT ARC A

200

4995 plinth to centr

69°

AV.07.01 BLACKBOX 15"

93.

49°

87.

90.0

e

Type

01

38.4

SETOUT POINT A

G.07.00

44

.68

pe

38.54°

02 °

.23

52

AREA 00 ENTRANCE 90.00°

ar

cle

.00

89

3

AV.09.01 BLACKBOX 15"

°

49

94

00

13

G.10.00

90

2033

AREA 13 WHAT IS LIFE?

N

Ty

°

tre cen e A) th plin Lin 0 to Setout 524 ng (alo

nth

Pli

300 Mirror panel to be flush w/ adjacent Valchromat wall finish, to terminate w/ 10mm shadow gap

G.13.00

AREA 07 SMALL STARS

°

TIO

plin

TILA

to tre 45 cen th

47

90.00°

5175 to plinth centre

2.57°

116.50

VEN

AREA 11 BLACK HOLES

mm R 6597finish wall

G.11.00

2403

Plinth

G.12.00 G.12.01 AV.12.01 BENQ 55"

90.00°

existing to suit facet door opening

Partition to be retained against existing wall behind to Contractor's detail for additional stability

Removable perforated panel for ventilation shaft maintenance

Finished face of partition align with to face of beam above

Existing Beams above (only shown where critical to partition setout)

AREA 12 NEWS FROM THE UNIVERSE

1727 facet

1500

1000

1000 door leaf

Partition to run parallel to existing beam above

976

SETOUT POINT B

NB: Finished faceted dimensions to be adhered to, studwork behind to be built against and follow geometry of existing wall

- Sub woofer behind perforated removable panel

G.04.00

G.06.01b

Valchromat cladding returns along reveals and soffit, to abut existing door frame with 10mm shadow gap

- TV screen / monitor sub

°

G.05.00 G.05.01

1645 door leafs

- Graphics panels

Plin

finish floor

sub

01 Bench Type

5 to 474 centre h

plint

44.76

60.46°

G.06.00b

G.01B.00 G.01B.01

th Typ

A

AREA 06 STAR FORMATION

1733 facet

INT

AREA 05 DARK ENERGY

- Existing building fabric

AREA 01B YOUR COSMIC HISTORY

AV.04.01 BLACKBOX 15"

B

PO

STE

CO

ALO

401 face of beam to wall finish

Ben

UT

1

G.06.00a

INT

TO

Valchromat faced doors to close flush with adjacent Valchromat wall finishes, square edge architraves to plastered side of wall

TO

PO

SE

UT

New partition to follow curve of existing stairwell wall

CL

LUM

NG

EQ

AREA 04 DARK MATTER AND GALAXIES

TO

4 to

E

T LIN

OU

N

STORAGE CONF FURNITURE

G.06.01a

SE

700

4 to

Removable acoustically transparent framed black fabric in front of all sub woofers

FIRE ESCAPE

453 facet

553

ch

Typ

e 01

G.01B.06A

G.09.00

Typ

e 01

te

face

th

Plin Partitions to run parallel to existing beam above

90.00° Plinth Type

R 7171m m wall finish

AREA 09 LARGE STARS

LIFT

Finish partitioed face of face n to align of beam with above

90.00°

Partition to run as close to column as possible

G.14.02 G.14.03

Val alig chr to ned omat fac e of with pan ellin ope and n doopar g alle r l

Inward opening Valchromat faced door to close flush with adjacent Valchromat wall finishes

AREA 14 ARE WE ALONE?

G.00.02a

180.00°

G.14.04

g llin rallel ne pa d pa or at an do rom with en op lch d Va ne e of alig fac to

68

33

CONTROL ROOM

119.33°

Removable perforated panel for ventilation shaft maintenance G.00.00 G.14.05a G.14.05B G.14.06

1:50 @ A1 (1:100 @ A3)

g ellin llel at panpara r hrom and n doo Valc with ope of ned alig to face

t panelling Valchroma parallel with and door aligned of open to face

Proposed Floor Plan

2017-10-13 2017-10-12

Conference Projector and Screen added Updates to wall setouts and graphics Updates to wall setouts and graphics

Date

Revision Notes

Astronomy Exhibition Venue:

Tycho Brahe Planetarium Drawing Title:

GA PLAN

VENTILATION

01

2017-10-20

B A

Project:

13

Astronomy Exhibition, After, Isometric View

C

Rev

0

cle

30

ar

00

RACK ROOM

f 800 lea r d doo tre ll cen wa on

28

AV.13.01 SAMSUNG 40"

G.14.00 G.14.01

1 E ) LIN line UT ror TO mir SE t tou (se

ete

2 fac

193

°

.48

125

73

G.00.03

G.00.02b

AREA 10 SUPERNOVA

mm R 7678finish wall

sub

AREA 13 WHAT IS LIFE?

92

34

03

36.59°

90.00

G.13.01

Drawing Number:

Rev:

Issue Date: 2017-10-20

Phase: DD

C

59_AE_TBP_GA_00 Scale:

1:50 @ A1 / 1:100 @ A3

Drawn By:

WW

Checked By: JM

London: Unit 8/9 Benwell Studios 11-13 Benwell Road London N7 7BL United Kingdom

Astronomy Exhibition, After, Plan

New York: 257 West 52nd St Fl 4 New York, NY 10019 USA

+44 20 3137 3807

info@fiftynineproductions.co.uk

Astronomy Exhibition, After

Khushalil Chawda || khushalichawda@gmail.com


FURNITURE The space needed to achieve as much light lock as possible, to allow for the projection to have a maximum effect, but at the same time we needed to make sure there was a good visibility balance for circulation. The materials that were chosen were essentially in tones of black. The primary material being Black Valchromat and plaster board which was finished to match the shade of the black walls. The furniture and details in the space were finished with black brushed aluminium frames, recessing the screens and ipads where necessary.

Made in Space || Exhibition Design || February, 2018


Khushalil Chawda || khushalichawda@gmail.com


DESIGN INTERVENTION A large concrete space was intervened into to form a circular movement astronomy exhibition. The circulation was set up so as to divide various chapters of the journey, and the content of each of these chapters formulated the design and area occupied by it.

What are you made of?, Interactive Display

Big Bang Area

Made in Space || Exhibition Design || February, 2018


Overview of Area 02

Viewer Experience

Khushalil Chawda || khushalichawda@gmail.com


EXHIBITION PHOTOGRAPH

Made in Space || Exhibition Design || February, 2018


Khushalil Chawda || khushalichawda@gmail.com


C L O U D S O B S E R VAT O R Y ROYAL

M A

CO LLEG E

I N T E R I O R

O F

D E S I G N

-

AR T

T H E S I S

L o c a t i o n : S u b t e r ra n e a n R e s e r vo i r, G r e e nw i c h P a r k , L o n d o n Ye a r :

2 017

-

2 01 8

P L AT F O R M : O b s o l e s c e n c e , R e - i n v e n t a n O b s o l e t e Architecture

BRIEF: Obsolescence to un-obsolescence, the opportunity to repurpose and re-imagine an obsolete interior/ architecture was the emergence of the Clouds Observatory. The site is a subterranean reservoir in Greenwich Park, and the proposed programme is that of an Observatory for Clouds. An interesting juxtaposition of using a space that is subterranean to observe something in the sky. The close proximity to the Royal Observatory provided an opportunity for it to be intervened into as an observatory. As Rabindranath Tagore puts it, “Clouds come floating into my life, no longer to carry rain or usher storm, but to add colour to my sunset sky.” The journey is programmed in a way to let you appreciate, experience and observe clouds, a step by step process to immerse oneself completely into the beauty of clouds. Watching clouds is known as a day dreamer’s science, this project aims to make people enjoy the beauty of the cumulus to cumulonimbus. It is an attempt to encourage people to pause for a moment from their busy lives in the city and look up and either choose to identify the category of clouds or build castles in the clouds. As G.K. Chesterton said, “There are no rules of architecture for a castle in the clouds.” Architecture is an attempt to separate one from the weather. Artificial weather conditions are created to make one feel more comfortable, which is leading to the gradual obsolescence of the natural weatheric conditions. We are highly dependent on technology today to watch the weather, but in the earlier days, people would observe clouds to forecast weather conditions. Watching weather is a crucial part of our daily routine in London, today we use technology to keep us updated with the weatheric conditions outside, but a few decades ago, we would observe the movement of the clouds and forecast the weather conditions. Observing clouds is not only a science but an inspiration for art as well. Observing clouds is what led to being the guiding point. Clouds are poetic as well as scientific. They give you information about the weather and inspire you to imagine at the same time. Gavin Pretor-Pinney, said, Clouds are nature’s own Rorschach Blots.

Clouds Observatory || MA Thesis || 2017 - 2018


Y

Khushalil Chawda || khushalichawda@gmail.com


PROCESS D R AW I N G A N D M A K I N G A S T H I N K I N G

Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


OBSERVE

EXPERIENCE A P P R E C I AT E

C I R C U L AT I O N

Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


The proposed observatory would be in fragments, giving the visitor an experience of not only observing clouds but also understanding and learning about clouds. Moments of visual and physical contact with the clouds would be experienced. To utilise the advantages of the site, which are: - Landscape - Height (View) - Juxtaposition Site

Section and Plan: Showing primarily the Experiences spaces, which comprise of: - Head in the Clouds - Mediated Clouds - Magnified Clouds

Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


A P P R E C I AT I O N R O O M

Clouds Observatory || MA Thesis || 2017 - 2018 Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushali.chawda@network.rca.ac.uk Khushalil Chawda || khushalichawda@gmail.com


EXPERIENCE

Clouds Observatory || MA Thesis || 2017 - 2018

Head in the Clouds

M

Put your head among a mist of clouds and experience the feeling of being in a cloud

D o s


Mediated Clouds

Magnified Clouds

Digitised Clouds, projections of clouds acompanied with sound of thunder and rain.

See the clouds and the sky closer to you as you see them throught the magnifying glass in the skylight.

Khushalil Chawda || khushalichawda@gmail.com


OBSERVE

Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


LIBRARY OF CLOUDS

Clouds Observatory || MA Thesis || 2017 - 2018 Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushali.chawda@network.rca.ac.uk Khushalil Chawda || khushalichawda@gmail.com


Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


MODEL PHOTOGRAPH

Clouds Observatory || MA Thesis || 2017 - 2018


Khushalil Chawda || khushalichawda@gmail.com


READING ROOM ROYAL

CO LLEG E

R E A D I N G

AR T

R O O M

L o c a t i o n : Ye a r :

O F

M a r g a t e

2 01 6

BRIEF: Purpose: Design a reading room for an architect’s office. Design Brief: With a set of pre determined materials, the purpose of the project was to design a reading room for an architects office. The project required the design to be realised from a scale of 1:50 - 1:1. The strategy used was Installation. The modules of furniture designed which can hold books on one side and provide a seating and a table on the other side. Allowing two activities taking place simultaneously. That of reading and browsing. The materials used: birch faces ply, white sheet metal and grey felt. The colours of all the materials emoting a sense of calmness allowing one to step into a state of reading in zen mode.

Existing

Reading Room || Royal College of Art || Summer 2016

Installation Strategy

Private Reading Pods


Reading Room Insertion Module, Scale - 1:10

Horizontal Division - Reading -Browsing

Louvred Panels - allowing lightness in the structure

Walls of Fabric Created to ceate a space between the existing and the new

Khushalil Chawda || khushalichawda@gmail.com


D E TA I L

Birch Faced Ply Grey Felt White Powder Coated Metal

Reading Room || Royal College of Art || Summer 2016


Furniture Detail Section, Scale - 1:1

Khushalil Chawda || khushalichawda@gmail.com


SHIRO MIDORI ROYAL

P U B L I C

CO LLEG E

P O P

L o c a t i o n : Ye a r :

-

N o t

O F

AR T

U P S i t e

S p e c i f i c

2 01 6

BRIEF: Purpose: Installation - open ended Design Brief: The set of materials used were the determining factor for the design. The materials being, Birch faced ply, grey felt, white powder coated metal sheet and fabric. The materials each resonate a quality that emotes a certain level of comfort and calmness to the human body and mind. Wood as a material has the quality to make us feel warm and comfortable, the fabric is a poetic material that has the power to create architecture without making noise. And white - Shiro (Japanese) the sensory experience of white, where the white appears to be white against the other colours present around it. White is not a colour, it is a feeling of purity.

Pop Up Installation|| Royal College of Art || Summer 2016


Khushalil Chawda || khushalichawda@gmail.com


CHRISTIAN LOUBOUTIN ROOS HAD

R E TA I L

I N T E R I O R

L o c a t i o n : Ye a r :

S H RO F F

C e n t ra l

ARCH ITEC TU R E

+

D E S I G N

D E S I G N E m b a s s y

M a l l ,

B a n g ko k

2 014

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ Details Design _ M a te r i a l D eve l o p m e n t _ P ro d u c ti o n

BRIEF: Retail Space accommodating a selection for the display for all their product categories: Women’s Shoes, Women’s Bags, Men’s Shoes and Men’s Bags. Execution: The space was categorised into sections as per the product categories of Men’s and Women’s. Incorporation of various different materials and techniques for the design of the store such as: Leather clad wall tiles, use of Indian craft of Tikri Work, as wall cladding and the use of copper sequins STAFF STORAGE for the Cash Desk.

SECURITY EQUIPMENT

STORAGE ROOM 204 15 14 16 13

1800

FREE STANDIN PARTITION WALL OF HT 2400MM

1255

Christian Louboutin Boutique|| Retail Interior || 2014


N

THE AUTHOR TAKES OBTAINED BY SCALI IS SHOWN THE RECI SPECIFICALLY FROM AND MAY NOT RELY

CONSTR 1.

SIGNATURE NICHE WALL

LEATHER WALL

MEN'S ROOM 203 11 10 12 9

WOMEN'S ROOM #2 202 6

7 5

8

WOMEN'S ROOM #1

PROVIDE FOR ALL MILLWOR 2. PROVIDE TRANSIT UNLESS 3. CHECK A PRIOR TO ARCHITE 4. ALL INTE SQUARE OTHERW 5. PATCH A DURING TO ITS O 6. SEE ELE SPECS. F BOARD, E PROVIDE NEEDED. 7. CONTRA LOCATE AFTER IN DUCTS, P LOCATIO ARCHITE 8. CONTRA BARRICA PROVISIO 9. VERIFY A BUILT-IN PRIOR TO 10. CONTRA FIRE EXT DURING 11. CONTRA INSPECT MALL MA CLOSING

201 2

3 1

4

NG CASH DESK

LEATHER WALL

SIGNATURE NICHE WALL

Khushalil Chawda || khushalichawda@gmail.com

2

6/12/2013

1

7/11/2013

DD SET

DATE

REVISION

REV

STATUS:

CD SET

FOR INFORMAT


WOMEN’S ROOM

+

Pari sia n G a rd en s i ns p i re d Pat te rns

Christian Louboutin Boutique|| Retail Interior || 2014

=


Khushalil Chawda || khushalichawda@gmail.com


Christian Louboutin Boutique|| Retail Interior || 2014


Khushalil Chawda || khushalichawda@gmail.com


MEN’S ROOM

+ m ater ia l L E AT HE R

+ i ns p i rat i o n TAT TO O

= te ch n iqu e B LO CK PRINT ING

B lock pr inti ng and e mbroide r y o n l eather

TILES CENTERED TO 77x77MM GRID

50MM PLYWOOD SKIRTING PAINTED BLACK PUSHED BACK 50MM

LEATHE

1:2.5

LEATHER WALL ELEVATION- ROOM 203

02

1:25

LEATHER WALL SECTION

1:25

LEATHE MDF PA

03

PLAN D 1:2.5 BLOCKING AND STRUCTURE AS REQUIRED

BLOCKING AND STRUCTURE AS REQUIRED

PLAN ROOM 203

01

1:25

PAINT FINISHED WALL EDGE

PANEL CENTERED WITH THE GRID

TILE B

FINISH GRADE PLYWOOD BACKING PANEL PAINTED GREY BLOCKING AS REQUIRED

GREY PAINTED FINISH GRADE PLYWOOD BACKING PANEL, BEYOND

TILE D TILE A PRINTED EMBROIDERED LEATHER WRAPPED MDF PANEL

PLAN DETAIL - TYPICAL EDGE 1:2.5

05

Christian Louboutin Boutique|| Retail Interior || 2014

ELEVATION DETAIL - TYPICAL REVEAL 1:10

06

ELEVATION DETAIL - TYPICAL PANEL ARRANGEMENT 1:20


THE AUTHOR TAKES NO RESPONSIBILITY FOR ANY DIMENSIONS OBTAINED BY SCALING FROM THIS DRAWING. IF NO DIMENSION IS SHOWN THE RECIPIENT MUST ASCERTAIN THE DIMENSION SPECIFICALLY FROM THE ARCHITECT OR BY SITE MEASURMENT AND MAY NOT RELY UPON THE DRAWING.

LEATHER DISPLAY NOTES: 1.

MATERIAL PROVIDED BY OWNER AS INDICATED; ALL MATERIAL INSTALLED BY GC. 2. DRAWERS PULLS PROVIDED AND INSTALLED BY GC. 3. SPIKES TO BE STAINLESS STEEL ±13mm SCREW ON SPIKES, ±8mm IN DIAMETER. 4. WORK SHALL INCLUDE CAREFUL EXAMINATION OF THE DRAWINGS AND SITE CONDITIONS TO DETERMINE THE QUANTITIES, LOCATION, SIZES, TYPES AND DETAILS OF THE CUSTOM WORK. CONFIRM ALL GIVEN AND NON GIVEN DIMENSIONS, VERIFY IN FIELD, INFORM ARCHITECT OF ANY DISCREPANCIES. 5. COORDINATE WORK WITH THAT OF ALL OTHER TRADES AFFECTING OR AFFECTED BY WORK OF THIS SECTION. 6. SHOP DRAWINGS MUST BE SUBMITTED TO ARCHITECT AND SHALL SHOW PLANS, ELEVATIONS, DETAILS, JOB CONDITIONS, RELATIONSHIP TO OTHER WORK, AND FINISHES. TAKE MEASUREMENTS IN THE FIELD AND VERIFY ALL DIMENSIONS BEFORE SUBMITTING SHOP DRAWINGS. 7. SAMPLES MUST BE SUBMITTED TO ARCHITECT PRIOR TO ORDERING MATERIALS, FURNISH TWO (2) SAMPLES OF ALL FINISHES FOR THE REQUIRED PROJECT. 8. UNLESS OTHERWISE INDICATED, THE MILLWORK MANUFACTURER SHALL CONFORM TO THE "CUSTOM GRADE" REQUIREMENTS OF QUALITY STANDARDS OF THE ARCHITECTURAL WOODWORK INSTITUTE, "AWI". 9. PROVIDE ALL BUILT-IN BLOCKING REQUIRED TO INSTALL ITEMS SPECIFIED HEREIN. SUCH BLOCKING SHALL BE INSTALLED IN CLOSE COORDINATION WITH RESPECTIVE TRADES. 10. EMBROIDERED LEATHER, PLEATED SHELF LEATHER, AND SHELF SUBSTRATE PROVIDED BY OWNER AND INSTALLED BY GC. DIAMOND PANEL SUBSTRATE, LIGHTS, BACKING PANEL AND MIRROR TO BE PROVIDED AND INSTALLED BY GC. 11. BASE PLYWOOD TO BE PAINTED GREY PRIOR INSTALLING.

LINE OF FINISHED SOFFIT BLOCKING AS REQUIRED FINISH GRADE PLYWOOD BACKING PANEL PAINTED GREY LEATHER WRAPPED MDF PANEL

3 MM REVEAL STAINLESS STEEL (M1) SHELF

SCREW FIXED TO PLYWOOD FOR MOUNTING SHELF

BLOCKING AS REQUIRED

LEATHER WRAPPED MDF PANEL

STAINLESS STEEL(M1) CABINETRY TOP

ER WALL SECTION- ROOM 203

ER WRAPPED ANEL

04

MDF PANEL WITH BUTT JOINED

DETAIL - TILE D

2

6/12/2013

CD SET

RS

1

7/11/2013

DD SET

RS

DATE

REVISION

SIGNED BY

REV

08

STATUS:

FOR INFORMATION

PROJECT

CL-BKK

Design Architect ROOSHAD SHROFF

Client CHRISTIAN LOUBOUTIN

ARCHITECTURE + DESIGN

TILE A - 452 X 452 MM

TILE C LIGHT FIXTURE TO BE CONFIRMED

302, DALAMAL CAMBERS, 29,NEW MARINE LINES, MUMBAI 400 020

19 RUE JEAN JACQUES ROUSSEAV 75001 PARIS

TEL : +91 22 2203 7745 FAX : +91 22 2200 7229 EMAIL : info@rooshadshroff.com www.rooshadsroff.com

TEL : +91 22 FAX : +91 22 EMAIL :

Contractor -

Consultants xxx

-

TILE B - 302 X 302 MM Consultants xxx

TILE C - 152 X152 MM

07

LEATHER PANEL SIZES

1:20

PROJECT NUMBER : 13002

TILE D - 77 X 77 MM

Consultants xxx

FORMAT : A3

SCALE : N/A

LEVEL DATUM : DRAWING NUMBER :

09

DETAILS: LEATHER WALL DRAWN BY / DATE RS / 10.02.2014

A-606 A

INDEX :

13002

DD

A-606 A

-

PROJECT

STAGE

NUMBER

REV

CHECKED BY / DATE RS / 10.02.2014

Khushalil Chawda || khushalichawda@gmail.com


Christian Louboutin Boutique|| Retail Interior || 2014


Khushalil Chawda || khushalichawda@gmail.com


HERMES ROOS HAD

W I N D OW

ARCH ITEC TU R E

D I S P L AY

L o c a t i o n : Ye a r :

S H RO F F

2 01 3

M u m b a i -

&

D e l h i

2 01 5

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n _ O n S ite F i t U p

BRIEF: Design Brief: Follow the Hermes theme of the year and interpret it into the Windows for the season. Theme: ‘METAMORPHOSIS’ Execution: Taking inspiration from the tessellations of M. C. Escher, and combining it with the iconic logos of the brand, like: The ‘H’, Kelly Lock, Chainlink, Horse and Horse Shoe. The 6 windows are considered in totality with a gradual progression of one pattern slowly morphing into another thereby creating a movement of tessellated patterns across all windows. Further- the two windows on either side of the entrance, take on an image, where the patterns morph to form a horse within.

Hermes India|| Window Display || 2013 - 2015

+

D E S I G N


Khushalil Chawda || khushalichawda@gmail.com


M E TA M O R P H O S I S - E S C H E R

MUMBAI - WINDOW 1 A

B

C

D

E

F

G

H

I

J

K

L

M

N

1 2 3 4 5 6 7 8 9 10 11 12 13

Equestria n

Women’s A pparel

Hermes India|| Window Display || 2013 - 2015


Wom e n ’s A c c e ssor i es

Men’s A ccessories

H ome

S ilk

Khushalil Chawda || khushalichawda@gmail.com


HERMES ROOS HAD

W I N D OW

ARCH ITEC TU R E

D I S P L AY

L o c a t i o n : Ye a r :

S H RO F F

2 01 3

M u m b a i -

&

D e l h i

2 01 5

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n _ O n S ite F i t U p

BRIEF: Design Brief: Follow the Hermes theme of the year and interpret it into the Windows for the season. Theme: ‘METAMORPHOSIS’ Execution: Morphing from reality to fantasy with the help of Magic! Each window depicts a trick where an object is trasnfromed through the line between reality and fantasy. The windows also incorporate the use of local handicraft of embroidery. The aim for the december windows for India was to uplift the local crafts and create magic as it is the season for joy.

Hermes India|| Window Display || 2013 - 2015

+

D E S I G N


Khushalil Chawda || khushalichawda@gmail.com


M E TA M O R P H O S I S - M A G I C

Leather

Silk

Hermes India|| Window Display || 2013 - 2015


E q u e st r ia n

Silk

E n a me l

Leather

Khushalil Chawda || khushalichawda@gmail.com


HERMES ROOS HAD

W I N D OW

ARCH ITEC TU R E

D I S P L AY

L o c a t i o n : Ye a r :

S H RO F F

2 01 3

M u m b a i -

&

D e l h i

2 01 5

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n _ O n S ite F i t U p

BRIEF: Design Brief: Follow the Hermes theme of the year and interpret it into the Windows for the season. Theme: ‘METAMORPHOSIS’ Being inspired from nature, the concept is an ideation of ice crystals forming in nature. The forms being that of stalactites, stalacmites, icebergs and various crystals that metamorph fue to the force of nature.

Hermes India|| Window Display || 2013 - 2015

+

D E S I G N


Khushalil Chawda || khushalichawda@gmail.com


HERMES ROOS HAD

W I N D OW

ARCH ITEC TU R E

D I S P L AY

L o c a t i o n : Ye a r :

S H RO F F

2 01 3

M u m b a i -

&

D e l h i

2 01 5

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n _ O n S ite F i t U p

BRIEF: Design Brief: Follow the Hermes theme of the year and interpret it into the Windows for the season. Theme: ‘FLANEUR’ Execution: Formulating a story of a detective and a theif, the journey progresses across the 6 windows, where the detective is seen resting at home, then onto a scene of voyuerism, the polaroid showcases the crime scene photographs. The tea cup and the detective in disguise, the next window show the chase between the detective and the thief and lastly the scene of crime, open for further investigation.

Hermes India|| Window Display || 2013 - 2015

+

D E S I G N


Khushalil Chawda || khushalichawda@gmail.com


JAIPUR MODERN ROOS HAD

R E TA I L

+

ARCH ITEC TU R E

H O S P ITA L IT Y

L o c a t i o n : Ye a r :

S H RO F F

J a i p u r

2 01 3

ROLE: Designer _ C o n c e pt D e s i g n _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n _ O n S ite F i t U p

BRIEF: Location: Jaipur, Rajasthan, India Project Purpose: Design of the Retail and Cafe, interior design as well as graphic design. Role: Design Concept - Design Development - Working Drawings Design Brief: Jaipur Modern needed to be a homage to the craft of the India karigar (craftsman) ; honouring designers working at the highest level of excellence and innovation. Execution: Located in a 1940’s bungalow, the space is used to amplify its original characteristics; conscious of retaining the original layout and spirit. Respecting the old structure and not imposing superfluous design elements. The cafÊ wall is entirely constructed from 400 wooden bricks, each one requiring three hours to. The exterior verandah and garden allowed for more distinct graphics; the Louise Bourgeois inspired verandah design was crafted by marble inlay Karigars from Agra.

Jaipur Modern || Retail + Hospitality || 2013

+

D E S I G N


Khushalil Chawda || khushalichawda@gmail.com


CHRISTIAN LOUBOUTIN ROOS HAD

S H RO F F

ARCH ITEC TU R E

R E TA I L L o c a t i o n : Ye a r :

M u m b a i

2 01 3

ROLE: Designer _ D e s i g n D eve l o p m e n t _ P ro d u c ti o n _ O n S ite F i t U p

BRIEF: Location: Christian Louboutin Boutique, Mumbai, India Project Purpose: Local Architect for Christian Louboutin in Mumbai. Role: Wall Set Up Material: Recycled Old Burma Teak Wood / Cotton Thread Polish: Water based PU - no added colour Wooden tiles: Hand cut without any power tools by skilled carpenters from Rajasthan. Dimensions: 2.75” x 2.75” X 1” thk tiles, with a concave and convex face A basic pattern is embroidered onto a module of 16 tiles and then repeated throughout the wall. Zardosi + French knot embroidery techniques- used for Christian’s logo in varying sizes.

Christian Louboutin Boutique|| Retail Interior || 2013

+

D E S I G N


N

Khushalil Chawda || khushalichawda@gmail.com


Christian Louboutin Boutique|| Retail Interior || 2013


Khushalil Chawda || khushalichawda@gmail.com


WOOD + RESIN FI NAL

P ROJ EC T,

P R O D U C T

+

BA

P R O C E S S

BRIEF: Design Philosophy: Create not only a new product with a new form and an innovative shape, but, to create a new and innovative process of using materials. Design Strategy: To create a process of production, use existing techniques,combine them, experiment with materials and design products. Further more the technique used can not only create one product, but can be used to create an end number of products. Thus the strategy behind this collection was to experiment, think, innovate. Keeping in mind the above strategy, the process of brainstorming on what could be the approach to satisfy the philosophy began. Materials Chosen: Wood : A traditional material. Resin : An enginered material Wood + Resin, combining these materials traditional and modern and experimenting with them till a particular direction is favoured upon or struck upon. No specific form was thought so as to begin with the experiment, other than the fact that wood and resign should be combined to cast. Process: Taking some planks of wood, they were put in a plastic container (being used as a mould), then the resin was poured between the planks of wood, helped in filling up the negative spaces. Once resin had solidified, the block of wood and resin, needed a function, adding another step of process to it, the block of resin and wood is turned on the Lathe machine, to five the block a form and function. Product Possibilities: Lamps, Candle Holders, Pen Stands, Stools.

Wood + Resin || BA Final Project || 2012


Khushalil Chawda || khushalichawda@gmail.com


K HU SHALI CHAWDA E : khusha lic hawda @gm a il.com M : +91-9820089698


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