Identifying Luxury Indian Interiors - Through decoding space making elements

Identifying Luxury Indian Interiors A study of decoding space-making elements in Hospitality Domain

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ACKNOWLEDGMENT

Firstly, I would like to express my special thanks of gratitude to my guide, Prof. Harsha Shamnani for providing me with her persistent guidance and support. I would like to thank her for all the valuable feedback and critiques which she has given not only for this project but throughout my academics starting in GLSID. Her guidance has always helped me evolve my learning throughout my academic Ijourney.wouldlike to thank my mentor Vaibhavi Thakkar Desai, her passion for design is truly inspiring and our conversations always left me excited and curious about the interior design in academic field. She has helped me become a more critical thinker and has sharpened my analytical skills. Without her continuous mentoring and support, this thesis would not have been completed. She has instilled in me the desire to understand contemporary design within an historical context; this new perspective has left me with a greater understanding of contemporary design typology and further, the possibility of solutions in practical field.

I would like to thank my most gratitude to TV Studio Designs and Consultants, Ahmedabad for giving me an opportunity to learn and work with them. Through the help of this research, it helped me to develop and refine my Finally,knowledge.Iwould like to thank my truly amazing family. Whether I am in need of some encouragement or looking to celebrate, you never disappoint. I would like to thank my parents and my brother Jaimil shah for always supporting and believing me throughout my life. They have always been my strength and encouraged me to explore new things. I would also like to thank Rahil Parikh for constantly motivating and supporting me throughout the project. Lastly I would like to thank my friends Jash, Raveena, Vaidehi, Sejal, Priyal and Sayani for their suggestions and critiques during the project which helped me to complete the project. Even their smallest advice and contribution has helped me.

The purpose of Environment and Space design is to seek the environment or space and to enhance it with its relatability with nature, user, social, culture and physical environment of a particular area. It enables us to realize the connection is not just with the space or the building, but also with the society and community that we serve as a duty for the welfare of the environment. Space designing is a fundamental element for interior designing, it starts with an in-depth analysis of how the maximum utilization of space can be done.

NAME: GRADUATION ENROLMENT NUMBER: 2022 Environment and Space Design TV Studio Designs and Lajja IntegratedShah201701718010017Master

ABOUT GLS INSTITUTE OF DESIGN

The institute achieves this purpose through attaching theory and practical knowledge to understand the academic knowledge and work Experience.

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Prof. Harsha Shamnani

Environment and Space Design

GLS Institute of Design is a well known institute under GLS University, Ahmedabad promoted under the vision of Shri I.M. Nanavati guided by the leading minds in the Indian design education, with a plan to develop its identity as a research & training institution of highest international quality, with the specialization in the discipline of Product, Environment and Space, Communication, Jewelery and Fashion Design by offering 4 years Bachelors of Design Programme and 5 years of Integrated Masters of Design Program. It is into this kind of stimulating and inspirational environment that guides from various design related disciplines are invited to interact with the design learners and challenge their young minds to explore new territories that should complement and reinforce their ongoing design learning. It focuses on understanding, designing, planning, constructing and dealing with human habitants.

Identifying Indian A study of decoding space-making

TV Studio Designs and Consultants LLP is an Interior Design, Art and Architecture firm holding expertise in Retail, Residential, commercial, hospitality, and healthcare. It was established in 2015 by Principal Designer Vaibhavi Thakkar in Ahmedabad, Gujarat. The name of the studio is the initial letters of the principal designer but this initials also speak of the media - TeleVision. Television assumes a significant job in the structure of a general public. It has changed the social orders of world so much that we cannot disregard its significance. Design similarly has developed an environment where it plays a subconscious or conscious noteworthy job in everybody's life. In the present current society, Design and media has turned into a major pieces of our life. Its obligation is to illuminate, instruct and engage. Design, like television is an incredible and adaptable instrument that impacts people in general, all things considered. Both are the voice of the voiceless and an incredible power in structure of surrounding. With this philosophy our Team mission is simple, developing efficient and quirky spaces to not just make a living but creating experiences. Prof. Harsha Shamnani is an Architect with over 11 years of academic and professional experience. She has instructed in areas like as retail and exhibition spaces, as well as furniture design. She has worked in the Environment and Space Design department of GLS Institute of Design from its beginnings. Elements of Form, Design Project, Material & Processes, and technical modules are her key courses. She is interested in undertaking a Related Study Program that focuses on Social, Culture, and Built Form in order to promote holistic learning. Worked as a Lead Architect at Architectural Design Studios. Her zeal is evident in the way she manages the whole design project cycle.

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3.1 3.1.1ComponentsFoodand Beverages Sector 3.2 Ahmedabad as a City 3.3 Case studies 3.3.1 Secondary And Primary 2.1 Elements and typologies 2.1.1 Space Making 2.1.2 Space Constituting 2.2 Factors representing luxury 2.3 Association of luxury with experience HOSPITALITY 1.1 1.1.1EtymologyGlobal Approach 1.1.2 Indian Approach 1.1.2.1 Designer’s Perspective 1.1.2.2 Study on Attributes IDENTIFYING LUXURY SPATIAL "LUXURYRESTAURANTELEMENTSREVAMPASAIMPORTANT ASPECT OF HOSPITALITY" CONTENTS I Abstract II Aim & Objectives III Methodology IV Framework of the study V List of Figures VI List of Diagrams VII Bibliography 01 09 27 57 69 8304050302 4.1 4.1.1AboutRevamping Elements 4.2 Luxury through Elements 4.3 Conceptual Pitch 5.1 Inference from the study 5.2 Conclusion 5.3 Future scope of research

Yatin Pandya Space itself has no definition or meaning unless visual objects or elements are placed inside it, establishing a relationship between space and the elements and between elements themselves. “ ”

As hospitality sector is growing sector the chosen area is of luxury restaurants where the study of decoding “luxury” will be through the spatial elements. It is an approach to highlight the detailed elements throughout the space.

ThisABSTRACTresearch is an attempt to understand ‘luxury’ in terms of an approach to interior design through space-making elements in the Hospitality sector. The study would look into the three sub-element types, oriented with structure, surface, and products through the lenses of hotel interiors. The elements of interiors are further looked upon as spacemaking, space-constituting and the aesthetics of the space. It begins with the etymology and history of luxury through global approach further narrowing it down to the Indian context and famous architects which gives a base to the study of luxury and its attribution, taking references from a detailed study of their approachable spaces.

Keywords: Luxury, Indian Interiors, Elements, Hospitality, Restaurants.

The broad aim of this study is to understand luxury Indian interiors, decoding them through space-making elements, and to develop an understanding of the association of luxury with the experience of the space.

Aim

Understandinginteriors.distinct expressions achieved through luxury and space-making elements in built Decodingenvironments.theassociation of luxury with spatial elements and narrating with the

The study comprises diverse typologies of hotels in hospitality interior projects to question the presence and significance of luxury through elements at various scales and hierarchies Objective

The study surrounds the understanding of luxury through multiple facets such as elements, surface treatments, materials, craftsmanship, furnishing, and finishes.

To understand the aspects, attributes, and potential of luxury in interiors along with its enhancement through space-making Toelements.studythe elements of interiors and to examine their influence on parameters for luxurious

Scope Aim & Objective02 ●●●●●● ● ●

The study by nature is exploratory and it is an attempt to establish these relationships through the stated objectives:

Theexperience.studyevaluates hospitality spaces based on the space-making elements incorporated in the interiors.

The study and analysis will be thoroughly supported by in-depth study of relevant references, literature review, and other resources like book, article, unpublished thesis, magazines, design blog, website, research papers, etc.

The methodology for this research thesis has been divided into three parts. These divisions follow a sequence of understanding, defining luxury through the study of space and its elements, observing and concluding.

Limitations Methodology Methodology 03 ●●● ●

The study largely focuses on the relationship between luxury, space-making elements, and the hospitality domain in the interiors.

The study is limited to projects where spacemaking elements have given the essence of contemporary luxury to enhance the spatial Modern/Contemporaryexperience. examples of luxury in the context of hotels in the city of Ahmedabad are focused upon due to time and accessibility constraints.

Luxury ElementsSpatialLuxurySpace Answering exampleDocumentationAnsweringComponent’sDefinition’sWHATHOWofbydifferenttypologies Answering CategorizationWHYbypurposeTheoreticaldataexamplesandanalysis Part I Part II HospitalityInterior’sIndianElementsSector RestaurantEtymology Methodology Flowchart04 ●

Part II ApproachGlobalSpaceMaking ConstitutingSpace Aesthetics Time-line DesignsNotable StructuralElements structuralNonelements Finishes PerspectiveDesignersMaterial& ContextTodays ApproachIndian elementsarticulationAnalyzingStudiesCasetheofspacemakingthroughthelensofluxurySelectedCaseStudyMethodology&FrameworkFinalCasestudyInferencefromThestudyConclusionAndBibliography Methodology Flowchart 05● StructuralElements StructuralNonElements MaterialsFinishes&

The study is broadly an attempt to understand the ‘Luxury through space making elements in interior spaces’. With the elements and space, both being interrelated, this study is confined to a smaller and narrowed aspect; Restaurant in Hospitality Sector and Elements of space, both are presented from the point of view of the other. The space is understood by the ‘perspective of decoding luxury’, and the elements is understood from its ‘effect on the space’.The two sections are then integrated to form the third part of the study, ‘the experience’. This section takes into consideration the role of the three entities, namely the space, luxury and the elements of space, to formulate the practical stages for the same.

Framework

Chapter 1 The initial chapter focuses on defining and understanding "luxury" through global and Indian approach. Where the main aim of studying the global approach is to find out how the meaning of luxury changes from different civilizations, through different regions and a different time line. Indian approach on the other hand intents to justify the leading architects and their philosophies which lead to developing the nation and how luxury is taken into consideration by the designers and the users/ public. This helps to understand the impact of the believed luxury of that point and time and how it has influenced the society and the people. of the study

Framework of the study06 ● LUXURY

The case studies explain the theoretical approach applied in a practical setting. The case studies aid in the direction of forming the guidelines as well as concluding the later part of the study from the perspective of the user, through behavioral understanding and the field observations. the

study 07● ELEMENTS SPACE

The focus is laid on space making and space constituting elements, that integrates luxury as a part of the space. The space making elements are adopted from the book on Elements of space making by Yatin Pandya. Space constituting elements are also taken into consideration and examined. This parts looks at the elements as well as aesthetics to simplify and decoding of the luxury factor in the space. The intent of the study is to understand the luxury in the choose space which is restaurants in hospitality domain. The detail study on the importance of restaurant in hospitality has been looked into which translates the aim to study restaurants for identifying Indian luxury. Taken data and understanding is done by considering Ahmedabad as the city of food hub and its growing culture and industry of restaurants.

Chapter 2 Chapter 3 Chapter 4 Framework of

CASE-HOSPITALITYSTUDIES

This association with opulence and wealth led to the world’s most recent meaning, the one that refers to something nonessential or indulgent something extra that is a welcome change that is not always possible or available, as in “going out to dinner was a rare luxury for them.”

1.1 Etymology Diagram 1.1 Etymology of word Luxury OldLatinLatin Mid 17th Century OldLuxuriaLuxusFrench Luxury A state of great comfort or elegance Excess Luxurie / Luxure

Identifying Luxury10 ●

The word “luxury” comes from the Latin word luxuria meaning” excess”. The French term luxe came to have the meaning “wealth” and “indulgence,” which we now associate with luxury. The English term deluxe was derived from the French phase deluxe, which means “of luxury.” Luxure, on the other hand, evolved to mean unrestrained sexual activities and became a synonym for lasciviousness, as well as adjectives like debauchery and perversity. This is how the term “luxury” was first used in English. Over time, the term “luxury” came to mean “ rich surroundings,” relating to food, clothing, and an opulent lifestyle, as in the statement “they lived in luxury.”

Identifying Luxury 11●

“Design is nothing but a humble understanding of materials, a natural instinct for solutions and respect for nature.”

— B.V Doshi Luxury is also about having a very personal feeling that represents a lifestyle, it is about achieving a high level of aesthetic quality about both aesthetics and materials. Luxury is often associated with fashion and accessories but is also fundamental to many of the greatest schemes of architecture, furnishings, and interior spaces. In the late 16th and 17th centuries, the invention of free-standing furniture and upholstery added an extra layer of comfort. Perhaps more than any other space, the home has long been a place of luxury and display. There was a rise in fashionable interiors significantly. Over time, the size of habitations grew dramatically, with rooms becoming increasingly specialized. The current versions of luxury should be viewed not as some ‘absolute’, but in light of the concept’s lengthy historical evolution and the changing material and social practices that it has assumed over time. Although this is not denied, some of the features of contemporary also attracted new consumers. Its success is founded on satisfying what we may term the ‘aspirational society’, an increasingly global culture in which consumers believe they have a right to luxury. The word “luxury” is on everyone’s lips in the 21st century because it is seen as symbolizing the growing economic gap between a confined global elite and the majority: “the affluent” vs “the rest”.

Understanding luxury through different regions, and development on term luxury through different movement’s Civilization’s Movement’s

Western Culture was influenced by many older civilizations of ancient Egypt, Mesopotamia, the Byzantine Empire, Ancient Greece and Rome. The influence was also seen in the interiors, such as in furniture, decorated bowls etc. The role of different elements in interiors of the houses or places in different Western part says much about the growth and the necessity of the interior designing elements. Luxury here can be traced back in the civilization in different elements of the space, be it surface oriented, structure oriented or in the decoration. For example : Luxury in ancient Egypt was seen in high ornamentation detailing in the houses or palaces, where as in create the sophistication and the skill in applied decoration can be seen in the palace of Knossos.

The meaning of luxury can be changed from civilizations to civilizations, but the elements have remained common and sometimes like in Rome, the start of importing marbles, stones were found for inlaying in painting or etc. Which continued in Byzantine and Gothic as well, the richly carved or painted ceilings through fresco’s technique of using natural colors or marble were quite regionally famous. Thus, the meaning differs through the time and civilizations of different regions but there are common elements in the space which are believed to make the space look luxurious, be it with the selection of material, the use of material or through different techniques.

The Global approach is divided into two major segments throughout the time line, which is study on ancient civilizations or empires through the west starting from ancient age till 18th century and second is studying the historical design movements in the late 19th and 20th century. Global Approach

Global Approach12 ● Diagram 1.2 Global Approach Flow

1.1.1 Global Approach

HighDetailedartworkinfashion

measuredhowwhy,attributesDifferentonquestioningwhatandluxurywasinearlycivilization's.

Wall of glazed brick wallsusageCeramicdecoratedandceilingtilesforbothandfloor Skill in decorationapplied arrangementsImportedOrientedTextilesIndoorforbathroom

Talking about art Nouveau and art deco in France and America respectively are considered to be movements with luxury style, as they were inspired by luxury, curved lines, whiplash, detailed artworks, antitraditional elegance and symbolizing wealth as well as sophistication. Where luxury can be seen in elements as well as structurally oriented elements such as the facade of the buildings. Then comes the first design school ‘Bauhaus’ which gave birth to modern objects which become later artistic luxury objects as they were one of the one of a type and were accessible to only few. Hence from here, the meaning of luxury started differing considering it to be not the basic products, which gave the difference through its functions, design and this shape.

modernhowwhy,attributesDifferentonquestioningwhatandluxurywasmeasuredindesignmovements. attributes

Civilization and Movements 13●

As in the late 19th and 20th century design movement started as reactions to the previous civilizations, starting with the neoclassical which started in Rome, which emphasis on order, symmetry, elegant, simplicity and subtle colors. While the progress of furniture’s with light and elegant style started to grew more purposefully luxurious. Where as in Victorian style, the use of bold and floral print wallpapers and use of textile in heavily carved furniture including bed covers and cushions were considered to be luxurious. Not just the furnishing in the space, but in arts and craft movement the craftsmanship in reaction to revival of industrial revolution which made the products less in number and unique in character, giving birth to luxury not for beauty’s sake.

MovementsSophistication

Diagram 1.3 Understanding the

RichTextilesDecoratedfurnitureandwallpapersModernobjectsartistic

OrnamentationCivilization

It favored the extensive use of large domes and vaults in basilica churches. The Islamic luxury glass, Persian and Islamic carpets were considered luxury items. Luxurious expresswasbaroquechâteaux,buildingnewofinstyleadmirabletotheideaofluxuryandpomp.

Diagram 1.4 Global Fig

Exotic imported marbles, polished slabs,colored stone were Rome.playedinExtravagancefound.andluxuryleisureanddiningamajorrolein

Crete Gothic Early Late Byzantine Islamic Mesopotamia Rome Europe Global DevelopmentTime-lineinInterior design have been traced historically, when the excavations in ancient Mesopotamia and Egypt suggesting the furnitures consisting of bricks, which served as chairs, tables, and bed. 2: Decorated

walls Fig 1: Ornamentation Detail Fig 3: Showcasing Rome Luxe Fig 5: Byzantine Large Dome Fig 8: Islamic glass luxury Fig 10: France Châteaux Luxe Fig 9: Rich Ceiling Luxury Fig 6 and 7 : Showcasing Europe early and late luxury Fig 4: Crete Decor Luxury

France Egypt Ancient Age Middle Age 18th Centuryout.decoratedtilesandbrickBrilliantlywayevincehomeschairs,beautifullysimplerangedcolors,InlayingTellatOrnamentationHouseofel-amama,innaturalFurniturefromthebenchestodesignedbedetcinoftherichaluxuriousoflife.coloredglazeddecoration,panelsfreezesofceramicinvividcolorsthewallsinside

Brick

Oriental luxuriousbeganVeniceimportedtextiles,throughandGenoa,tobefoundinEuropean interiors. arrangementsIndoor for washing and bathing were considered as a luxury. Tiles as luxury for walls.

The palace of king Mirrors at Knossos gives an evidence of sophisticated society with taste of luxury and skill in decoration.applied Ceilings were richly painted, they are heavily scrolled carved and gilt cornices as a touch of Baroque style in Venice

As the luxurious.morethroughout,mostlydesign,progressed,revolutionfurniturewhichhadbeenlightandeleganthadgrewpurposefully

Arts & Craft (1850 - 1915) Art Deco (1920-1937) International(1930’s) Art (1880Nouveau-1910) Bauhaus- First Design School(1920’s) Victorian (1837 - 1900)

The streamlined,clean, geometric attributes of the International Style came to dominate the thearchitectureskyscraperduring1950sand1960s,inanerawhen corporate modernism and analysiscost-benefitwerehighfashion.

Production of textiles like bold and floral printed wallpapers, bed covers with cushions and heavily carved Furniture. Luxury style before world war 1.Inspired From luxury, curved lines, whiplash, nature and florals like lavish peacock rooms, staircase of hotel tassel and etc. Reproduction of modern objects started as in rejection of art’s and craft emphasis on individual luxury objects. Evolved into artistic luxury objects which were accessibility to onlyfew. (1830)Neoclassical

19th and 20th Century

Return to craftsmanship, as a reaction of industrial revolution. Characterized by vivid colors and daring geometry that led to extremely luxurious and detailed artworks. Intention was to create a sleek and antitraditional elegance that symbolized wealth and sophistication. During its heyday, it represented luxury, glamour, faith in technological and social progress.

Traces of Luxury 15● Different Ages & &CivilizationsCenturyMovementsFig 12: Floral Printed Luxe Fig 14: Nature inspired Luxe Fig 16:Artistic ObjectsLuxe Fig 15: Technological Luxury Fig 13: Craftsmanship Luxury Fig 11: Neoclassical Furniture Luxury in Detail Global Time line

Indian Approach16 ●

Leading Architect’s Famous Work Kahn managed to reintroduce a feeling of magnificence into modern works. He also managed to create a sense of grandeur in his designs rarely seen in modern architecture. B. V. Doshi being inspired from Kahn and Corbusier both contributed through his designs where according to him “Le corbusier’s building are made of forms, lights and fluidity. His buildings are beautiful objects. Kahn, on the other hand, were typically built as groups and campuses. Le corbusier’s building were isolated,but full of richness, volume, light and space”. This leading architects and their values, ideologies, materials and method of working gave India a better vision in the field of infrastructure and hence richness, bold textures and materials were introduced. Approach

Understanding luxury in their principles, philosophy and way of working.

Diagram 1.5 Indian

1.1.2 Indian Approach

During Nehru’s period, Industrialization, modernization and westernization were the key themes of economic and social development. He’s progressive industrial and urban policies provided Indian architects with the opportunity to design and build. India is the first country in the world to request Le Corbusier to build the new capital of Punjab, Chandigarh, as a physical representation of his beliefs. Jawaharlal Nehru, India’s first Prime Minister, was a friendly and imaginative sponsor for Le Corbusier. His work in India has left an indelible mark on modern architecture not just in India, but around the world. Charles Correa being influenced by Corbusier adapted the principles of modernism to suit a non-western culture. He didn’t see tradition and modernity as mutually exclusive he honored the ‘sacred gestures’ and ‘mythic beliefs’ that have informed Indian architecture for thousands of years and wanted to ‘reinvent them in terms of new aspirations’.Louis Kahn, being the top architect came to India for several projects. Indian Approach

Flow

Louis Kahn B.V.Doshi

– Winston Churchill Le Corbusier Charles Correa

Fig Famous Architects

In the 21st century, as we adopt more trends and new styles in every professional area we recognize that the human mind is getting more multifaceted as he or she discovers new methods of dealing with various elements of the structures. The same can be said for the architectural realm, where we see and visit building constructions that are exceptional in Todesign.understand the thinking process behind some of today's architectural marvels, one may trace the theme of the structures on which they were constructed, which has put the fate of architecture in India on a new tangent, revealing fresh light on how architectural and interior elements can be played with.

Modernism in India took a great start with this four famous architects; Le corbusier , Louis Kahn, Balkrishna Doshi and Charles Correa. This architects have different philosophies , way of working, choosing materials and its articulation yet their work possess the nature to develop a language which speaks about different attributes that relates and are connected to luxury for the society. Along with the definition, the perception for contextualizing Indian luxury through interiors has also been changed. The study of their work and philosophies will lead to decode the attributes which can be compared to today's context with taking inferences from the case studies.

1.1.2.1 Through the Designer's Perspective Through Designer's Perspective 17●

“The farther backward you can look, the farther forward you are likely to see.”

17:

Le Corbusier's

Work18 ●

Fig 18: Palace of Assembly,FigChandigarh.19,20,21&22: Mill Owner's Building, Ahmedabad.

Le corbusier is known as the 'Father of Modern Architecture in India. He worked on his five principles- 1.Pilotis, 2.Free Floor plan, 3.Roof Garden's, 4.Horizontal Windows and 5.Free Facades. The early fifties saw the beginning of Le Corbusier's association with India. His contribution to both form and technique is truly one-of-a-kind. His work reflects both rationality and humanism, and it was primarily a social activity aimed at creating solutions to man's problems. His very presence in India was to radically transform the image and status of architects as well as architecture as a profession. However, the most significant change was related to the aesthetic content of the formal training courses of architects in the schools of architecture. Along with Chandigarh, the palace of assembly, some important buildings were designed by him in the city of Ahmedabad including Sankara Kendra, Villa Sodhan, Villa Sarabhai and Mill owner's building. The mill owners building is a symbol as its build to response to the Indian climate and contains all of his formal inventions in this regard, e.g.,pilotis, free plan, free facade, horizontal windows and a roof-garden combining form and function.

Together, Kahn’s rethinking of the traditional principles of India’s educational system along with a group of ambitious industrialists helped create one of the most sought after, influential, and elite business schools in the world.

Louis Kahn was believed be able to envision a new, modern school for India’s best and brightest. He chose not to singularly focus on the classroom as the center of academic thought but rather as the formal setting for the beginning of learning; the hallways and Kahn’s Plaza became new hubs for learning and discourse. The significant element of his work is natural light, which adds life to the space and developing timeless architecture by using traditional and local material such as bricks. Monumentality through the design elements like arches and following the symmetry. The solidity of the space is defined through the scale. Along with material, it is also perceived due to large window opening where importance of sunlight is given. The building includes free standing lecture rooms and blocks of faculty office with opposite sides of a great central courtyard, linked not by corridors but by shady walkways that offered many places to stop and talk.

Louis Kahn's work Indian Institute of Management,Ahmedabad.

19● Fig 23,24,25 & 26:

Balkrishna Doshi's Work20 ● B. V. Doshi works, yearns to stay rooted to where he comes from. The courts, the verandas, the internal gardens, the spaces for community assembly – which form a spine to all his designs. In his architectural and literary works, he refers to three main characteristics of a functioning built environment: identity, attitude and value. He understands a primary dialogue of the built environment with influencing factors such as environment, climate and geographical location, and a subsequent secondary dialogue with economic and social conditions in customs, everyday structures and religion. His focus implies the sensitivity of architecture to the inhabitant, he emphasizes the importance of innovation and radical new forms. The priority is the acceptance of society and the resulting habitability, so he insists on the importance of participation and inclusion. In his opinion, however, tradition does not exclude innovation. As long as the needs of the inhabitants are taken into account, a space per se wants to be used flexibly in its function. This stands in contrast to the rigid definition of spaces in modern architecture as “modernism relates to function”.

Fig 29: Interior of Ahmedabad ni Gufa. Fig 27 & 28: Sangath, Ahmedabad.

Fig 31 & 32: Kanchanjunga Apartments, Mumbai. Fig 33: Interior of Gandhi Ashram, Ahmedabad.

The first building to bring him international attention was the Gandhi Ashram in Ahmedabad, Gujarat, a brick and concrete, stone-floored grouping of pitched-roofed pavilions. The museum, which houses Mahatma Gandhi’s letters, photos and documents of the freedom movement, has no glass windows. Ventilation and light is controlled by operable wooden louvers. Correa placed five distinctly programmed interior spaces within the asymmetrical grid plan. The plan of the museum has also been compared to village houses in India’s Banni region. Instead of a single volume, the houses consist of five huts with different functions surrounding a courtyard.

Charles Correa's work 21●

Fig 30: Gandhi Memorial Museum, Ahmedabad.

The Kanchanjunga Apartments are a direct response to the present culture, the escalating urbanization, and the climatic conditions for the region. He pushed his capacity for ingenious cellular planning to the limit, as is evident from the interlock of four different apartment typologies varying from 3 to 6 bedrooms each. However, the garden terraces of the Kanchanjunga Apartments are actually a modern interpretation of a feature of the traditional Indian bungalow: the veranda. Correa is celebrated for his sensitivity to the urban poor’s needs and his use of traditional methods and materials.

-Brick

Diagram 1.6

Fig

•Infrastructure•VolumeAttributes•Flexibility•Elegance•Timelessness Study on Attributes22 1.1.2.2● Study on Attributes • Case Analysis Attributes decoded here are from the study of the previous architects, who have contributed to the modern India. Following are the sub attributes to the main: •Volume - Open to sky, Scale and ratio • Elegance - Aesthetics, Finishes and Design •Timelessness - Long lasting trends and materials. •Flexibility - Free space planning and fluidity. •Infrastructure - Monumentality, Solidity and Symbolism. Hence, this attributes are further compared with todays context and are related and studied with the case studies, which leads into defining and pursuing luxury through different aspects of different time and designers.

1. Open

Prestige University Building: A 32-acre university campus in Indore, the project echoes traditional Indian architecture. The red brick screens enveloping the project are also a climate adaptation meant to reduce heat gain. Decoded Attributes 34, 35 & 36: Prestige University Building Sanjay Puri Architects Ongoing 2022 Attributes to be focused on: to Sky Volumes with material

,Indore. Designer/Architect:

Built:

2. Different

Green Terrace 3. Timeless

Case Study on Attributes ●

Fig 40, 41 & 42: TIC Art Centre, China.

TIC Art Center: It is an iconic symbol that represents the image of the maker town in China, which embarks on a new journey of refined product-oriented long-term development. The upper and lower levels are intertwined to create a rich, multidirectional, and intuitive experiential route.

23

Dong & Martin Public Art Space: A 230 m2 area located in Dongjiao Memory, China. The barrel-shaped units formed by the lap of the bricks in response to the forces of the arches enclose the linear path space; the vesicular membrane masses supported by the natural and lively form of the handmade bamboo weaving.

Fig 37, 38 & 39: Miss Dong and Martin public art space, China Designer/Architect: Zaixing Design Built: 2020 Attributes to be focused on: 1. Open to Sky 2. Free Planning 3. Timeless material with solidity -Brick & Hand weaved Bamboo. Designer/Architect: Domani Built: 2021 Attributes to be focused on: 1. Infrastructure-Monumentality, Solidity 2.Symbolism.Volume

Designer/Architect: Zaha Hadid Built: 2013 Attributes to be focused on: 1. Volume 2. Infrastructure-Monumentality, Solidity 3.Symbolism.Elegance

Fig 46, 47 & 48: Hyder Aliyev Center, Azerbaijan Fig 43, 44 & 45: House of Terraces, Bangalore. Architect: Architecture paradigm Built: 2018 Attributes to be focused on: 1. Volume 2. Elegance Case Study on Attributes24 ● Heydar Aliyev Center: The Center, designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture aspiring the sensibilities of culture and the optimism of a nation that looks to the future.

House of Terraces: Situated on a small hillock, from the main city center in Bangalore. The design for the house rested on five principles of views, vegetation, layering, terraces, and interconnection of inside and outside.

The horizontal layering is part of the strategy to extend the indoors to the outside towards the horizon and have vegetation engage in this space.

25●Indian Approach Tracing of Luxury The Understanding From the global design attentionGivingprogressfocusingmovement'sontheofIndianinfrastructureImportancetotactilenatureofmaterialsandtodetailsorcraftsmanshipIndianArchitectsgettinginspiredleadingtosomegreatdesignsFocusing on leadingSuchaddselements,thatkeyvaluetotheinteriorsGlobalArchitectsapproachedfordesigninginIndiaspatialexperiencetoluxuriousnessinthespace Diagram 1.7 Understanding Luxury through both approaches Starting globally from civilizations to design movements and then architects leading India becoming contemporary in designs focusing on key elements and craftsmanship detailing, perceiving luxuriousness in space became a major aspect.

2.1 Elements and typologies

The inner mass of any volumetric dimension can be referred to as 'interiors'.This inner mass, when given with architectural context is recognized as the 'interior environment'.

In 'Phenomenology of perception', Merlean Ponty has mentioned the engagement of users within a built environment. He says, 'Space is existential and that existence is spatial'. Space remains just a physical space until we experience it, It is a void created between distinct forms. Space is intangible, the element's and objects make it tangible. These elements combined together with the perception of a user develops into a spatial experience. The interiority of space has two kinds of component: 1.The Space Making elements, like horizontal-vertical planes which holds structural importance to the space. 2.The Space Constituting, with qualitative attributes like light, organization and are non structural elements

Spatial Elements Typologies28 ●

Interior is the composition of the space making elements and the things assisting in the functional arrangements forming a specific relationship between space, object and spatial elements. They help in adding functions and forming an experiential narrative of the space. Each element in an organization has symbolic and associative content and is the result of many factors. Elements bear physical importance in the experience of the space. In any space, the whole depends on parts (elements) and the function of the part is to contribute to experience the whole. The purpose of any design is to organize its parts into a coherent whole in order to achieve certain goals. In Interior design, selected elements are arranged into 3 dimensional patterns according to functional, aesthetic, and behavioral guidelines. The elements give rise to spaces when enclosed and organized. Space Making Floor, Column, Wall and Ceiling

Diagram 1.9 Space Making Elements

“In architectural design, these elements are organized to give a building form, differentiate between inside and outside, and define boundaries of interior space.” – Francis. D. K. Ching

The components and functions of interior space are strongly intertwined. In a constructed environment, each element is allocated a certain purpose based on the operational context. This are structural elements without which a space is in-complete. They consist of Floor, Column, Wall and Ceiling which holds the interiors of the space together.

The components of space making elements here focuses from its evolution to its typologies also defining its spatial role and where are its applications and why it is important and how it is related to luxury of the interior Space Making Elements

space!EvolutionComponentsTypologiesSpatialroleApplicationsImportance 29●

2.1.1 Space Making Elements

FloorColumnCeilingWall

Diagram 2.0 The components of elements

Floor EVOLUTION RicherMosaicVictorianHardwood1700'sFlooringErawoodinlays,birthofsyntheticflooring20thCenturywoodenflooring,Checkeredflooring

Floors are the flat, level foundations on which everything in the interior space is built. In Sanskrit, it's called "Bhutal," where Bhu refers to the Earth or Ground and Tal to the Bottom or Base structure. Hardness and stability might be sought from flooring. Floors are the physical foundation of a structure, both practically and aesthetically. They are used as a walking, sitting, and sleeping platform. The floor may be necessary to offer sound and heat insulation as well as to resist heavy traffic, and it serves as a foundation for the placement of furniture and valuables.

Industrial

A systematic approach to flooring design, selection, and maintenance is essential. The type of floor chosen has an influence on the character of the house. The floor is a vital surface in a place for visual appeal as well as a basic surface in construction. It serves both an aesthetic and an utilitarian purpose. It can be effectively used to accentuate movement patterns. Floor patterns are often used to punctuate pauses, emphasis movement directions or plainly to generate a 'place' through continuous texture.

Flooring as an Element30 ●

OrnamentalEratileinlay,Planks1900'sLuxuryvinyltiles,laminateflooring21stCenturyNatural,Syntheticflooring Diagram 2.1 Evolution Time-line of flooring

Because it covers a considerable amount of the surface area of any space, its color, pattern, and texture will have a great influence on the ornamental design.

1.Defination Of Space 2. Solid Ground and Reference 3. MovementGuide 4.ExpressThreshold 5.Communicator 31●Typologies and Spatial Role

Column as an Element

CarvedcolumnsStonesupportGreekColumnsColumnsformonumentalityandstabilityOrnamentedColumnsHighlyElaborateddecoration ColumnsWoodenColumnasPillars(Piers/Pilasters)ModernColumnsR.C.CandSteelage Diagram 2.3 Evolution Time-line of Column

32 ● Column EVOLUTION

A sturdy, relatively slender structural element intended to support stresses applied along its axis at its ends. Depending on the term of need and desire architecture began as a shelter. The statement " A roof over head" leads to the major problem of how can the roof stand?. Transforming from shelter to architecture, the form of huts made of branches or saplings set close together in the sand as a palisade, then braced o the outside by a ring or large stones within the long axis was lined with larger posts to help hold up the roof. Supporting tents was the first beginning of columns in architecture. Development of various construction materials and applications, architecture today has various diversities in Thecolumns.column always consists of three parts, a base, a shaft and a capital. Columns used as a spiritual isolation at the interior space, and to make a semi-space between the inside and outside making the view looking like it had been framed in a way of getting multiple aesthetic pictures from different vision angles. Often used as a technical or functional reasons, such as dividing one space or two, three and four spaces depending o the columns location in each case, giving the space entirely different relations and directions. Now a days, many styles have appeared with totally different principles of form and proportions, which changed its standards but it didn't change the column as an aesthetical element.

Egyptian

Diagram 2.5 Spatial Roles 2. DefinitionSpace 33●Typologies and Spatial Role

Wall are vertical plane, which defines an enclosure. One of its primary purpose through time, even before the column, is that of taking structural load of the roof. Walls are essential architectural elements of any building or space. They have traditionally served as structural supports for above grade floors and ceilings. They form the facade, protect, enclose and separates the interior spaces they create. Exterior walls should control air , hear, moisture and sound and interior walls are used for subdividing the space into different areas while providing privacy and controlling noise, heat and light from one another. Walls can be articulated in many different ways through colors, texture shape, size and patterns. When the design and materials of a wall excite visual attention, especially if they indicate movement, the wall becomes active. When these walls are utilized for storage or exhibition of collections, as well as when they are merged with built-in furniture, they attract special attention. The dynamic walls are those that attract visual attention owing to their design and material choices. The space illusion is influenced by the scale of the walls in relation to the size of the area, the character of the furniture, and the personalities of the inhabitants. The space illusion is influenced by the scale of the walls in relation to the size of the area, the character of the furniture, and the personalities of the inhabitants.

34 ● Wall EVOLUTION RightPrehistoricCavesCircularMasonryangledDwelling Load-bearingCivilizationClusterdwellingTowerDwelling Diagram 2.6

Column as an Element Evolution Time-line of Walls

35●Typologies and Spatial Role

Ceiling being the major element of interior space making. Although usually out of our reach and not used in the ways floors and walls are, the ceiling plays an important visual role in shaping interior and limiting its vertical dimension. Primitive men tried to protect himself from adverse weather conditions, other dangers, creating a comfortable environment, optimal for existence. The ceilings can be decorated to taste; example of frescoes and artwork on ceilings especially in religious buildings. All of these various treatments can bring a new dynamic or aspect to the area. By changing the finish or shape of the ceiling, we may create a lot more intriguing impression and/ or inspire a new atmosphere. As a result, when designing the ceiling, care must be taken to consider the services that may be carried through it. These may include ventilation and heating ducts, electrical and data cabling, recessed lighting, and areas for mounting suspended lighting. Plumbing and, to a lesser extent, drainage from the bathroom or kitchen above may be carried in the ceiling, and adequate heat and noise or sound insulation should be used in these cases. This might be in the shape of lagging or a fiberglass blanket. The services should always be linked to the supporting structure rather than the ceiling itself. as an Element

Ceiling

36 ● Diagram 2.9 Evolution Time-line of Ceiling EVOLUTION Paleolithic Age Painting Stretch19thRomanceilingonVaultscenturyceilingwithfabrics Egyptian & 20thMesopotamiaHorizontalGreekwoodenRomeArchcenturyPVCSheets 21stParaboloidsHyperbolic,Conceptualcenturyceiling Ceiling

Ceiling is the spatial enclosure of the space, which when designed gives meaning to the interiors. Ceiling defines the volume of the space. Spatially, ceiling is the element which sub-consciously plays an important role in the interiors and adds on to the experience of the people. Ceilings are now-a-days treated with many different materials ,sometimes also known as "the fifth wall," has the power to elevate an ordinary interior space to the extraordinary. There are themes designed for the ceiling according to functionality, which builds the image of the space of the

MetalR.C.CExposed Metal,Translucent ˂ ˂ 37●Typologies and Spatial Role

Applications and Aesthetics38 Applications● Aesthetics Fig 53: Mood Board of Application elements Ceiling ColumnColumn and Wall Wall TreatmentsFlooring Wall Treatments

39●

Craftsmanship

MIPORTANCE

AuthenticityAestheticsMaterialUsage

This space making elements holds importance and are the one which helps in building the interiors. The authenticity in designing of this elements leads to the uniqueness and makes the element standalone as a design statement. Here, the type of materials and design used for floor and ceiling, textures on walls, and detailing given to columns, creates luxuriousness which is complemented by its customized design making it unique, not only due to the chosen expensive materials but also due to its process of making and craftsmanship.

The craftsmanship becomes an essential part for the elements to become luxurious as the making process and the designing factor leads the luxury factor and narrates the space.

Starting with the Mesopotamia time till now, the aesthetics of this spatial elements also have played important role, which sometimes defines its application and functionality. Space inherits the sensual and aesthetic characteristics of the elements in its field. Importance and Relation with Luxury Diagram 3.2: Importance of space making elements

FunctionalityWhy?

ApplicationsComponentsDesignTypologiesSpatialroleandImportance Space Constituting Elements40 ● “

As explained above components in the interiors reasons to a certain purpose which adds to the experience. This are non-structural elements without which a space cannot be functioned. These are the elements that don't make space physically but are importance for the space to function according to its program function. They consist of Partition, Furniture, Door, Window, Lighting and Staircase which holds the interiors of the space together. 3.3 Space Constituting Elements

Diagram 3.3 The components of elements

2.1.2 Space Constituting Elements

The details are not the details. They make the design. – Charles Eames

The components of space constituting elements here focuses from its design to its types, also defining its role in interiors giving the importance to the element and where are its applications and how it is related to luxury of the interior space!

Diagram

StaircaseLightingDoorFurniturePartition“

41●

Nowadays, the interiors has divisions of several rooms that are separated by partition walls. Partition walls are considered to be the finest choice for occupying room privacy and service, and they can be built for a variety of functions forms and shapes. However, partition walls can be of many types based on the construction materials, design, and requirements. Above mentioned are the types of partitions used in interiors according to the assumed function.

A partition wall is a wall or division composed of bricks, studding, glass, or other similar material that is used to separate one room or portion of a room from another. Partition walls are intended to be non-load bearing. It might be a fold-able, collapsible, or immovable wall. They add flexibility to the plan and layouts as well.

Partition

1.Used as a Space Divider

Spatial Role of Partitions

In the era of open layouts, privacy is something one can't afford to disregard, which is why partitions or partition walls play such an important role in the interiors. But they do more than simply provide privacy; the right kind of partition designs allows to divide a room, create clean floor plan, and even enrich the aesthetic and gives a statement through its design in the interiors. It is for those who wish to clearly define spaces without using brick walls will want this type of customizable solution. Sleek partition designs may be used to demarcate spaces without totally enclosing them. Because traditional partitions can no longer match the demands of modern partitions, the above mentioned partitions have taken their place. With the advancement of partition requirements and the ongoing innovation of partitions, it also provide advantages. Spatially, partitions can be used as a space dividing element which can provide certain level of privacy depending upon the type and material used. It also have options and varieties in design according to different functional use. It occupies less floor space than a wall as its characteristic is to be rigid, where as partitions can be made up of metal for using less space, can be designed as folded or movable partitions giving importance to the floor plan and meaning to the interiors. The interiors now-a-days are conceptually designed hence it can also be customized with the designs and materials for any specific use or showcase that elevates the whole essence of the space and becomes a design statement.

2. 4.3.privacyProvidestotheinmatesfromsightSelf-weightOccupieslessfloorspaceandcanbefoldedormoved.5.DesignStatement

Diagram 3.5 Spatial Roles Spatial Roles42 ● Privacy Wall ˂FoldingLegs

55: Furniture

Figure Typologies

Spatial Role of Furniture

Diagram 3.7 Spatial Roles Spatial Roles44 ● ˂˂ � ˂ ˂�

For interiors furniture are the most important element without them the space is incomplete. Furniture brings function to a space. Furniture and functionality works together in the space planning phase of interior design. Space planning is allocation and division of interior space for required needs and activities. How to place a furniture is an essential part of space planning, where the maximum usage is considered in the arrangement of the furniture, by this circulation can also be defined in the space. Hence, furniture works as functional and circulatory element in interior design. The arrangement of furniture in a room influences how the space is utilized and perceived. Furniture may simply be put in space as sculptural pieces. However, most furniture is divided into functional groupings. These clusters can then be arranged to organize and structure space. Furniture satisfies a wide range of human requirements and aspirations, exhibiting the most recent ideas about function and social usage. Human body supports, Activities, Confining, and Defining space are some of the most common functions and societal uses of furniture, through spatial planning which allows free movement in the space giving a sense of comfort to the users. It also plays important role as a design element, where the furniture is given the required detailing and is designed in a way where it can be functional as well as become a statement piece.

1.DeterminesFunctionalitymovement3.SenseofComfort4.DesignElement

The design of the door and its treatment of the entrance can modify the scale and character of a doorway. Doors serve as a connecting connection between the house's numerous internal areas. It provides the property a pleasing appearance. Interior doors, like other design and decor elements in a space, should compliment and improve the room's design while also match the unique style. The placement of the door is be a point of access in the interior space, which can also be the guide for movement as an easy access. It also play role of threshold in exteriors as well as interiors. Any door construction is not just an architectural element of the room. A door is a section of a wall that deviates from the wall's regulations. The wall establishes limits; the door dismantles them. Depending on its placement, the door connects and yet separates spaces or areas. A door can give a human scale to a proportion or sequence that might otherwise be incomprehensible. What's behind or through a door creates a sense of expectancy. A door, unlike paintings on a wall, presents a fictitious representation of what is beyond. We subconsciously see doors as gaps in the constraining edge of space when we travel through interior places. Image Making through is seen when the design of the door speaks for itself, also behaves as a statement for the space.

Spatial Role of Partitions Point of 4.3.threshold2.AccessAsGuidetoMovementImageMaker5.ModulatorofFacade

Spatial Roles46 ● Diagram 3.9 Spatial Roles

1.As

Artificial and natural illumination both have physiological and psychological effects on how individuals perceive space. The lively and everpresent interaction of light and sound with the interior environment is addressed by lighting.

Spatial Role of Partitions

1.4.2.FunctionalityIllusionofSpaceGuidanceinSpace5.DesignStatement

The rising usage of LEDs and lighting controls, as well as recent modifications in the process of lighting design and daylighting, are discussed.

The lighting industry's current changes are examined. One of the most important aspects of interior design is lighting. It may be utilized in a variety of ways. Light is used by professionals to alter the size and ambiance of a location. Different forms of lighting may elicit various emotions in a space. The sort of lighting used and where it is placed are both important parts of interior design. They function in combination with the furniture you choose, the amount of natural light you have, the size of the space, and the color you choose. Professionals can combine these aspects to create the perfect lighting for any room, transforming it into a seamless and highly practical blend of aesthetic and functionality. Lighting can be a guidance in the space, where the major role is given to its functionality. Enhancement of the surfaces are also done through the selected types of lighting and its fixtures. Through the type of fixtures the illusion of the space is perceived. Lighting helps produce attractive, productive, and comfortable interior environments that reflect the space's vital mood.

Diagram 4.1 Spatial Roles Spatial Roles48 ●

Diagram 4.3 Spatial Roles Spatial Roles50 ●

Spatial Role of Partitions

1. MovementGuide

2. Functional 3. Aesthetic and as Decor

Staircases as stand alone sculptural forms. If a building can be thought of as the architect's manifesto for construction, then the staircase can be thought of as the designer's hallmark ,a signature flourish that may encompass the complete design statement for a building in a single component. Staircases can be flashy or subtle in design, polished or rustic in construction, and traditional or innovative in the materials used to make them. Whatever their orientation, all of the stairs in this collection make a statement about the structure, whether they are meant to fit in gently or to capture attention and inspire.

Stairs primary function is to trans locate from one plane to another at a different level. It is a physical link between the various floors. In this process of connecting, the location and arrangement of the stair also disciplines and directs movement. Due to this advantage of being aesthetically integrated into the building through the continuity of stylizations and entablature. The location of the stair by itself becomes visual as well as physical; pause point to attract movement towards it and space within which it is located. It also plays a role of steps which create subtle boundary between two realms of inside out. Nowadays staircases hold an important role in interiors aesthetically and functionally. Designer staircase are now ornamented detail in interiors.

ApplicationsAestheticFig 59: Mood Board of Application elements 51●Application and Aesthetic Door Lights Lights Furniture PartitionsStaircase

Diagram 4.4: Importance of space making elements

Why? Importance52 ● Usage OrnamentationScale DesignProportionandFactor Sustainability

The functionality of the room defines its interior space. Using the available space in an efficient manner is the main essence of this space constituting elements in the interiors. This elements when highly ornamented and designed the space, this ornamental quality has extended from the architecture to interior space and it is an integral part of the interiorarchitecture, inherent in the structure, form, surface, material and finishes; characterizing the built space. When merging the language of the material with the thought of the deign, the elements of interior space are stated getting defined by the virtue of ornament. Here the space and space constituting elements as well as ornamentation defines the relationship towards making it luxury. Through the discussed theories and inferences, it can be said that this relationship became more profound in terms of creating interior spaces with the application and usage of ornament as a design concept. When elements are put together, the idea of the detail becomes important.

MIPORTANCE

MaterialsComplementMoreEnvisioningthewholeComfortisthekeyaboutexperienceeachstyleGodisindetailsandsustainability{ {

53●Relation of Luxury with experience and its factors Diagram 4.5: Factors representing Luxury 2.1.3 Factors representing Luxury

Today we live in a world where the design fraternity has become open-minded. Understanding the true essence of luxury interiors, the term luxury living cannot ever truly be given a specific definition. The Hi-end interior design is more than arranging chandeliers and furniture to the preconceived pattern of symmetry. It is about bringing forth the real diamond that shines within us all; authenticity. The authentic design is a canvas for creativity, inspiration and exploration this three are the context and the story that forms the reel footing in the art of luxury interiors. The depth of detail is what pushes design boundaries further to the sources of authenticity. Hence “customized design” has the magic power in both luxurious residential and commercial interiors that are created according to the client’s needs and taste; from tailored furniture and art to custom flooring and window treatments, etc.

Association of Luxury with Experience

2.1.4

When luxury interior design is rooted in the cohesive combination of shapes, colors, textures and proportions it always feels right and greatly enhances an experience in which all the human senses are engaged. At every stage of the design process, every element is crucial; from a functional layout to the final decor touches. The modern luxury design explores new ideas, pays close attention to every detail and carefully considers materials and finishes. To make the concept of “luxury” strong, the overall design should be well-executed without losing authenticity — and should reflect the user’s personal needs and taste, improve their quality of life and the experience of their interior environment.

“Luxury in modernism was simply a continuation of certain traditions already prevalent in society and architectural culture alike . – Luxury and Modernism “ Relation of Luxury with experience and its factors54 ●

The gift of luxury means living in a state of comfort and convenience; where the interior environment and the systems that make it function smoothly, serve the users. It should feel warm, inviting, and unique in its characteristics and at the same time invoke an emotion of extreme well-being. Luxury Interior design can offer inspiration and bring personality to various design styles. There isn’t a one-fitsall solution this is especially prominent in the hi-end sector where people want to embrace their passions and adjust the interior design to suit their lifestyle. What remains consistent and perhaps the most important experience the one when you walk into the room and instantly feel relaxed.

Page Left Intentionally

Hospitality SectorBeverageFoodComponentsandTravelTourismand Recreation Lodging �˂�˂� ˂ Hospitality and its Components58 ● Diagram 4.6: Hospitality Components

Given the breadth of the hospitality industry, several distinguishing features are essential for understanding. The hospitality sector is a large group of service industries that encompasses accommodation, event organizing, theme parks, transportation, cruise lines, and other tourism-related areas. The hotel sector is a huge multinational industry that relies on leisure time, cash to spend, and total client satisfaction. The hospitality sector is divided into four segments: Food and beverage ,Travel and Tourism, Lodging (hotel), and Recreation.

Sector

Restaurants are a major part of the hotel's income from non-residential guests. Their deigns and positioning depend on the selected hotel. The HRACC guideline demands that every 5-Star hotel has a 24 Hour Coffee shop and an All Day Dining facility for the guests ( HRACC, 2011). The resulting growth of the restaurant industry was spectacular to say the least. The industry was worth a whopping Rs. 43,000 crores in 2010 and has been registering a healthy 1520 percent growth annually, according to the National Restaurant Association of India (NRAI).

A study conducted by the Federation of Hotels & Restaurant Association of India (FH&RA) estimated that there were approximately 2.2 million or 22 lakh hotel and restaurant establishments in India in 2002 and the hungry Indian wants more (The Rise of Restaurant Industry in India | AIMS Institutes, Bangalore, N.D..)

The food and beverage sector which is professionally known by its initials as F&B is the largest segment of the hospitality industry.

3.1 3.1.1ComponentsFoodandBeverages

13%11%16%Hotel and Catering Diagram 4.7: Ahmedabad City Map Diagram 4.8: Statistics Data Chart 59●

Ahmedabad Other sectors of the Tourism Industry Travel EventsIndustryManagement

Leisure and Entertainment 3.2 Ahmedabad as a City Ahmedabad is well-known for its many traditions. Ahmedabad people are amicable enough to enjoy every major event, such as Navrati and others. The residents of Ahmedabad consume a lot of vegetarian food. Ahmedabad has a rich cultural tradition. Ahmedabad is a paradise for food lovers. The cuisine of Ahmedabad, India has a peculiar taste. A different kind of sweet flavor is prevalent in almost all the food items. Ahmedabad cuisine mainly consists of vegetarian dishes. However, non vegetarian delicacies are also available in theAfterrestaurants.nearlytwo years of slow business amid pandemic-induced disruptions, the city's hospitality sector is finally seeing a silver lining. Three new hotels – ITC Narmada, Vivanta by Taj and Sheraton – are expected to set foot and start operations in the Ahmedabad market in the next two years. Top industry sources revealed that ITC Narmada is set to be inaugurated by June this year. ITC Narmada will be one of ITC's 11 luxury-segment hotels in India. Since the pandemic, hotel occupancies have remained at an average level of 60%. During some months when the Covid-19 spread was faster, the occupancy levels plunged to as low as 20% in certain properties, suggest estimates by Hotels and Restaurants Association (HRA) – Gujarat. Since the pandemic, six major properties were launched in Ahmedabad and Gandhinagar namely, Taj Skyline and Courtyard by Marriott –both at Sindhu Bhavan Road in Ahmedabad and Leela in Gandhinagar.

“Hospitality sector to get boost with new hotels.”-Times of India, (Feb'22.) 50% Ahmedabad as a City

10%

1) Secondary Case Study and 2) Primary Case Study, where hotels in Ahmedabad, given 5 star ratings are analyses and studied its design elements in interiors recognizes how luxury is shaped and given a meaning through spatial Caseselements.that cover same typology like hotels and its restaurant spaces to understand the functional aspect and application of the elements. The projects should have a significant role of spatial elements inserted to form the interior environment within a pre-existing architectural shell.

The selection is also based on the availability of the resources and documentation. The case studies have been mentioned below along with the brief descriptions of the project, schematic layouts and focused elements in the space.

The criteria of the case studies is based on the hospitality sector in two categories:

3.3 Case Study Case Study60 ● 3.3.1 Overview 3.3.2 Criteria for selection

Previous chapters have establish, a detailed understanding of the role and potential of luxury in a space, where it states that space making and space constituting elements have played a vital role in giving a unique characteristic and existence of the built environment.

This chapter aims to study the elements that have been examined within the previous chapter through selected projects. Analyzing their manifestations to understand the transformation and adaption that they have undergone from the traditional methods to contemporary approaches.

Methodology

To understand the presence and articulation of luxury through spatial elements in the contemporary restaurant interiors realm, three restaurants from 5 star rated hotels of different typology and design are studied. This primary case studies will be analyzed and inferences would be drawn from the defined framework of analysis. In each case, the study will be done with the respect to the space making and space constituting elements. The inference from the analysis leads towards certain observations and those inferences will be further applied to the Studio project on "Revamping restaurantLuxury through space making elements". These results in summation for the conclusion of this research thesis.

SpatialIntent Context ConceptTheme Floor FurniturePartitionDoor&WindowLightingStaircaseMakingSpaceColumnWallCeiling ConstitutingSpace ExpressionMaterialFormTechnique Elements AestheticsScale& Diagram 4.9: Methodology Flow Chart RestaurantLuxuryIndianInterior 61●Methodology

Location: Chandigarh, India Year: 2018 Designers: Loop Design Studio 1. Flooring Details 2. Wall Treatments 3. Door 4. Contemporary take with traditional materials Elements Focused On: It is inspired by the architectural styles of rural Punjabi haveli's and cottages. The goal was to create an up-cycled place using traditional materials found in the area. The entry lane is a monolithic axis made of mud plaster/phuska that reflects the bazaar street-scape through various volumes, features, and layers. Masons and craftsmen from neighbouring towns were called in to make the phuska mixture and apply it on the walls and surfaces. Wooden Columns on Mud Wall Mud Wall level Display Carved wooden Traditional Door Terracotta Wall Display Traditional Niche ConceptContext Case Study62 ● A. Baba's Restaurant Fig 61: Elevation A and B with highlighted elements Fig 60: Entrance Door Details �˂�˂˂� ˂ � ˂ �˂ Traditional Door

Flooring Details

63●Focused Elements

Fig 68, 69 & 70 : Wall Treatment Details

Fig 62, 63 & 64: Interior Flooring Details Fig 65, 66 & 67: Brick Herringbone, Yellow Kota and Terrazzo Tile

Wall Treatments

Fig 71, 72, 73 & 74: Nanakshi Bricks, Mud wall, Intricate carving and Terraccotta products

The space's old-world appeal is enhanced by the alley's herringbone brick flooring. The alley continues into the interior seating area, which uses the same spatial language. In most parts, the old yellow kota flooring was kept, with patches of terrazzo placed naturally where the kota had been broken. The addition of terrazzo to the kota flooring was symbolic of India's incremental building style, where successive layers are added over time by various clients. The courtyard walls are made of Nanakshahi bricks, which were once the most common cladding material for rural structures. Local potters constructed terracotta pots in various sizes that are piled against the masonry and serve as wall washing light fixtures.

Location: Jaipur, India Year: 2016 Designers: Studio Lotus 1. Reinterpreting Crafts 2. Flooring Details 3. Lightings and Furniture Elements Focused On: Reinterpreting Crafts

ConceptContext Baradari Restaurant Fig 77, 78 & 79: Thikri work, Fluted marble and Stone Cladding Fig 80, 81 & 82 : Reinterpreting Crafts Fig 75 & 76: Indoor and Outdoor Pavilion

Case Study64 ● B.

Bringing inherent value to a place where conventions on conservation and adaptive reuse are looked at through design, the royal family of Jaipur commissioned Studio Lotus to transform it into a fine-dining venue. The emotional impact of the design technique of opening and connecting is achieved by persuading both visitors and residents to see the older space in a new light. The interventions attempted to do this by reflecting Jaipur's architecture and workmanship in a way that would inextricably link it to the area while being modern. The interaction of historical discoveries and contemporary additions, relying on and interpreting Jaipur's architectural history's and roots. Thikri work, custom casting and foundry work, furniture, and masonry, all traditional Jaipur crafts, have been recreated in a contemporary language. New Thikri work patterns are used on walls, ceilings, and niches, infusing modernism and artisan skills into the language. Stone masonry and inlay may be seen everywhere, from the structure to the flooring to the furniture components.

in Interiors

Furniture Flooring Detail

For the flooring, the Pavilion, dado work, benches, table tops, and more, local craftsman's exceptional expertise in marble as a material has been employed in a modern syntax. The modern Baradari-inspired Pavilion, which houses the island bar, is made of metal, fluted marble, and mirrors, adding to the historical lexicon of the existing structures.

and Fabric Material Fig 83 &

For bespoke lighting and door design, mild steel and brass are incorporated. Due to economic constraints, the design team decided to employ a mix of new and salvaged furniture from the Palace. Upholstery and weaving designs were created in response to the hybrid influences, giving them a new lease on life. 91 93, 94 95: Traditional Light, Furniture 84: 86 & 87: Different traditional Marbles

Interior Flooring Details Fig 85,

& 92 : Lights and Fabric Details Fig

and patterns

&

65●Focused Elements Fig 89, 90,

Lightings and

Restuarant Fig 99: Location of Taj Skyline

Location: Ahmedabad, India Year: 2020 Designers: ARK Reza Kabul Architects 1. Differentiated Ceiling 2. Column Treatment 3. Lightings and Material Elements Focused On: Differentiated Ceiling

It is based on inferences drawn from Ahmedabad cultural landmarks and a color motif based on our national bird, the peacock. It is a totally personalized conceptual design for the restaurant that incorporates various components that complement the area, making it authentic and distinct by drawing inspiration from the past and creating a magnificent space and environment. Every design prioritises the visitor experience, comfort, and convenience. The mood and feel are incredibly attractive, pleasant, and practical. Here, the ceiling is divided into three different parts using different materials and design too. It gives an sense of division for the space to the users and narrates the story of the space. For the ceiling the material used is P.O.P and wooden rafters. Below first image showcases the intricate embossed customized details of jali on the ceiling, second showcases the different levels in the ceiling and third gives definition of traditionality as the concept speaks with wooden rafters in a corner where the wall has the photographer of historic Ahmedabad. 96, 97 & 98: P.O.P Designed , In & 100: Shamiana

Levels

ConceptContext Case Study66 C.● Shamiana - Taj Skyline Fig

Interior of

Wooden Ceiling Fig 101, 102 & 103 : 3 Different Ceiling Type & Design Fig

Lightings and

67●Focused Elements Fig

For bespoke lighting design, the authenticated antique inspired shape in blown glass are incorporated. The used lighting gives an effect of traditional chandelier through contemporary modern design and used materials. The authenticity is continued in the fabrics in furniture with a royal color scheme and giving details on ceiling as well as paneling on wall. Here, the concept is showcased very well where the city Ahmedabad and its traditionalism is observed through this spatial elements, with a twist in the contemporary designs and inferences from the past. 106, 107 & 108 : Lighting Details Fig 109, 110 & 111: Traditional Light, Furniture and Fabric Material 104 & 105: Interior Column Details

Fig

ColumnObservations:MaterialsTreatments

For the Ceiling, there are two different materials used which defines the craftsmanship as well as talks about the expensiveness of the resources. The fluted stone and rose gold mirror cladding on the column defines the concept as well as the richness in the treatment of the given space.

4.1 About Studio project on "Revamping restaurantLuxury through space making elements". The project features Ahmedabad Ideally located hotel in the central business district, it has 208 generously-sized guest-rooms, and awardwinning luxury restaurants to choose from. The projects focuses on revamping the existing spatial elements revolving around luxury craftsmanship and materials, which represents Ahmedabad city into a "Luxury Gujarati Restaurant." SPATIAL ELEMENTS: 1.-FurnitureTraditional Side Table - Spandrels - Carved Banding - Damachia 2. Installation Treatment - Lacquer Finish ( Reinterpreted Columns ) 3. Craftsmanship and Traditional Arts - Mata ni Pachedi - Thikri Work - Wooden Block 4. Lighting and Decor - Blown Glass Hanging - Brass Artifacts 5. Tapestry - Traditional Block Print 4.1.1 Revamping Elements “Experiencing luxury through skilled craftsmanship and intricacy of detailing, experienced as rare, antique and exclusive . “ About the project70 ●

71●

4.2 Conceptual Pitch

Conceptual Pitch

Main entrance having the signage and side tables with everyday décor. On right wall showcasing the wooden carved banding and Mata ni pachedi (200 years old Ahmedabad kalamkari artwork). Added wooden spandrels on the four corners of the main door. AfterBefore Fig 112: Morphed Image 1 of Entrance

The Pitch presentation is made after understanding the clients needs and requirement. Here the luxury is showcased through different spatial elements mentioned earlier through morphing them into the actual real site photographs, doing that give the clients a rough understanding on the concept of "Luxury through Elements" through the Revamp of the existing restaurant. The requirement is firstly fulfilled through the conceptual pitch by showcasing the elements into the photos and then the budgeting for the same is decided, which leads to finalizing the required changes procuring of furniture and other elements.

Partly covered the existing partition with the Thikri work (Mirror work), bringing in the glam factor to the luxury restaurant. It will also act as a photo space for the social media

Afterplatforms.

LifestyleBefore décor on the side table. Damachia as the reception podium giving the essence of traditional console table. After having the signage and side tables with everyday décor. On right wall showcasing the wooden carved banding and Mata ni pachedi (200 years old Ahmedabad kalamkari artwork). Added wooden spandrels on the four corners of the main door. AfterBefore Conceptual Morphed Images72 Fig 113 and 114: Morphed Image 2,3 of Reception Desk and Partition

MainBeforeentrance

●

Bringing in the iconic feature of wooden lacquer turnery replacing the character of dim sum baskets.

AfterBefore Reference Images

Main entrance having the signage and side tables with everyday décor. On right wall showcasing the wooden carved banding and Mata ni pachedi (200 years old Ahmedabad kalamkari artwork). Added wooden spandrels on the four corners of the main door. AfterBefore 73Conceptual Morphed Images Fig 115 and 116: Morphed Image 4,5 of Brass artifacts and revamp of Column

●

Replacing the ceramic’s of China house with brass artifacts, utensils and decor to bring in the character of the space. AfterBringingBefore in the iconic feature of wooden lacquer turnery replacing the character of dim sum baskets.

AfterBefore Reference Images

After

ByBeforeadding

Conceptual Morphed Images74 ● Fig

After

Partly covering the ceiling filaments with blown glass domes. These blown glass will act as central focal area for the diners. Before After a block printed fabric over the chandelier lamp can change the product language. Just a reference of carved wooden blocks used for block printing as an installation in the niche. Main entrance having the signage and side tables with everyday décor. On right wall showcasing the wooden carved banding and Mata ni pachedi (200 years old Ahmedabad kalamkari artwork). Added wooden spandrels on the four corners of the main door. Before 117 and 118: Morphed Image 6,7 of Wooden Installation and Blown Glass lighting

AfterBefore Reference Images Main entrance having the signage and side tables with everyday décor. On right wall showcasing the wooden carved banding and Mata ni pachedi (200 years old Ahmedabad kalamkari artwork). Added wooden spandrels on the four corners of the main door. Before Images 119 and 120: Morphed Image 8,9 of Traditional Tapestry and Table styling

75●Conceptual Morphed

AfterBeforeChanging the tapestry from the existing furniture. Tapestry shown here is from Sabyasachi..... Table set up Proposed products and décor items for the table styling. Bringing in the iconic feature of wooden lacquer turnery replacing the character of dim sum baskets.

After

Fig

Therestaurant.traditional

damachia (Traditional Console) is Wooden carved which is one such prevalent feature of Indian cultural diversity which adds to the richness of art. It includes both useful objects and decorative items. It is a form of woodworking by means of a cutting tool (knife) in one hand or a chisel with a mallet, resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden object making it original and authentic. Damachia

for reception

1. Damachia

The selection of furniture is done according to the concept of showcasing luxury through the concept of authentic craftsmanship including Gujarat which will help in enhancing the originality and traditional aspect of the Gujarati

1. OptionDamachia2Option1 Option 3 Procuring Furniture76 ● Option 1 Option 3 Option 2 Fig 121: Shortlisted Options of

4.3 Procuring Furniture

Fig 122:

Woodblock printing remains one of India’s leading heritage crafts which enjoys a strong visual identity worldwide. It is a traditional craft, exists in a parallel universe to the modern world. It’s an art that stubbornly resists industrialization. To this day, artisans practice block printing without machines or computers. Indian wood block prints today span the spectrum of traditional pattern to modern style. In essence, the prints simultaneously reflect past and present. Hence for banding and as an installation wooden carved and blocks are selected. 123: Options of Wooden Blocks for Installation Options of carved for

77●Procuring Furniture Banding2. BlocksWooden3. Banding2. BlocksWooden3. 2. Banding 3. Wooden Blocks Fig

wooden

banding

1. Mata ni Pachedi The Importance on crafts is showcased through adding elements like Mata ni Pachedi, Thiki Work, Lacquer Finish and Blown Glass Light. The crafts becomes the luxurious element for the project as they require high skill craftsmanship through the process which is time consuming but gives the richness in the details. When the nomadic Vaghari population of Gujarat was denied access to temples, they created their own shrines using fabric images of the Mother Goddess. Mata ni pachedi, literally means "behind the mother goddess," is a fabric that serves as a deity's temple. It is a handcrafted Gujarati textile intended for use as a gift in temple shrines dedicated to the Mother Goddess. The name comes from the Gujarati words 'Mata', which means 'mother goddess,' 'Ni,' which means 'belonging to,' and 'Pachedi,' which means 'back.' The goddess is the focal point of the design, surrounded by various tale components. Only 3 families in the entire world practice this craft. All three live in Ahmedabad. Mata ni Pachedi Making Process

Details Fig 125:

Procurring Furniture78 ● Fig 124:

4.3.1 Details on Arts & Crafts

The traditional furniture using various turned and lacquered elements is called Sankheda and it is dated back to the 18th century. Lacquer is to apply the sap of lacquer trees to make wooden objects shiny, and it is a leading craft technique also in Korea. It is possible to express various colors, and the colors change over time, so we often find artists who use lacquer in contemporary art. The bright colors are applied using dry lacquer sticks, transferring the color through friction of the piece spinning on the lathe.

79●Procurring Furniture 2. Lacquer Work Fig 125, 126 and 127 : Wooden Lacquer Details

3. Thikri

Fig 128 and 129 : Thikri Work Details Traditional Arts and Crafts details80 ●

Thikri art is regarded as a treasure trove of Indian art and skill. It tells the narrative of a brilliantly detailed example of multicolored glass inlay work, complete with a rich and regal design that comes to life on palace walls. This Rajasthani ancient art style has been embellishing and adorning the walls, ceilings, and recesses of a house, as well as panels, tiles, and furniture, for centuries. In reality, several of Rajasthan's major palaces and historic kothis, such as the famed Amer Fort and Jaipur's City Palace, bear witness to this legacy art form. The old art is a rich legacy that has been passed down through the centuries in order to preserve it alive in current times. Thikri art can also be termed as an eternal artistic technique from the bygone era, which uses hand blown glass pieces on a powdered limestone base for creating intricate geometric mirror patterns. These art pieces are studded with meticulous attention and skilled craftsmanship, to add a tinge of an unworldly charm to them which make them highly decorative. Work

Blown glass is a type of Art glass that is manufactured by pushing air into molten glass to create creative glasses. A blowpipe or blow tube is used to blow the molten glass. Hand blown methods were used to create a few varieties of blown glasses or art glasses in the past. Blown glass may be made in a variety of forms and colors, and it can be colored using a variety of processes. The process is spellbinding. It looks effortless; but the reality is, it's fiendishly hard and anything can go wrong at any moment.

81●Traditional Arts and Crafts details 4. Blown Glass Lights Fig 125, 126 and 127 : Wooden Lacquer Details

Now that the study has arrived at a point, after looking at various elements within the distinct varieties of projects and the study of 2 major divisions of elements space making and space constituting, the explained elements adds to the aesthetic, constructional and functional value of luxury through the ornamented designs, originality in craftsmanship and concept, A grade quality in material which gives scope for the better design development process of luxirsm in an interior space. Space and elements relationship became more profound in terms of creating interior architectural spaces. Hence, the role of authenticity, ornamentation, craftsmanship and finishing aesthetics works as a design concept for the new age luxirsm. It is quite evidently observed through the spatial roles of elements where it fulfills the requirement of the space as well as to the concept of luxury.

Though the collected data luxury is questioned as a concept as well as a topic to practice, its associations with different styles and interior elements with respect to the changing trends.

5.1

The studied data informs about the three keywords that provides the perspective while looking into the research. Hence, leaving no space for misinterpretation.

Inferences from the study84 ● Inference from the Study

The idea of looking in the past where the word "Luxury" came into existence, given more defined meaning to the term. The term is understood through the past as well as how it acts in todays context decoding the process to evolve luxury as an approach for the new-age design process for interior spaces through the studied research , inferences from the famous architects and their representation.

The hospitality sector provides luxury through different aspects of interior. Here through the above case studies the luxurism of this new age is seen mainly through the spatial elements which narrates the spaces at the first glance. Hence, Resources, craftsmanship and Ornamentation are given equally importance when talked about luxury in hospitality sector.

85●Conclusion

In practice, there has been an understanding of luxury as a separate entity that has the idea of perception, association, and symbolic subject with respect to material, elements and their shape and form. It was seen in the middle ages the term luxury was seen through the minimalism, where the materials were used according to the availability and keeping sustainability in mind, which has resulted in many famous building by famous architects giving timeless architecture and luxury through materials and volume of the project. During the research, many valuable, new observations were made and conclusions reached. The understanding of luxury and decoding it as an important aspect has traditionally been based on historic precedent. From the perspective of 21st century, a resolution between historic values, technology, materiality and global society comes into focus. Thus, this perspective suggests a new direction in the development of ornament within contemporary design. Today we live in a world where the design fraternity has become open minded. There are no set rules on how the spaces is considered luxury, the experience of the space and the perception of the user defines luxury on an individual level.

5.2 Conclusion

As we saw in chapter one, for decades the language of luxury remained largely unspoken, but for a few memorable modern design experiments. When we looked at the early phase of the evolution of luxury, in a historical perspective we saw that there is a tremendous input of craftsmanship, which was a way to become tools and techniques for the ornamentation. So that it could open more subjects regionally or geographically by the community traditional and different perceptions of nature and the standard of life.

RESOURCES: Where the material is choose as per the concept and its availability. The future can be seen here where only the availability of the resources will be considered as a luxury. CRAFTSMANSHIP: Where the detailing through the skills and traditional methods or a customized method makes the element unique. AUTHENTICITY: Hence the uniqueness in the ornamentation given an authenticity which rises its value and its richness as an element of design in a space.

Conclusion86 ●

Talking about the hospitality sector there are certain stars given to an individual or a group of hotels. This stars talks about the luxuriousness and the comfort of the hotel hence, without speaking of luxury, it is always present when talked about the hospitality sector hotels and to their restaurants. The research here has focused upon the food and beverage sector, where the restaurants plays important role.

In Ahmedabad, where the focus of the study lies in the large hotel group having a large role through its luxury. The interiors of restaurants have many factors affecting the experience of the consumers, one of the major factor here talked about is the interior elements using the proper resources giving an essence of luxury in the details of the space through the craftsmanship, making the user feel the new age luxirsm. Luxury is expressed by its rarity, exclusivity and antiquity. This perception is created after studies various aspects and understanding the need of experiential design for the space. Luxury is also seen when low quality materials are exchange with expensive materials, or in a custom made or customized designed furniture with their traditional or modern technique of making design and their efforts. Luxury is making a custom made elements and finishes with unique techniques and efforts. The role of luxury as a new age vocabulary is explored in spaces and its elements in the interior space. This can be the further study for future research. Hence, luxury is decoded through three main aspects of a space.

87●Future Scope of the research 5.3 Future Scope of the Research

With the reference to the discussion in chapter two and conclusion, the new age ornament is a result of different programs and functions coming in as part of the interior realm. Interior design practices will focus now on the role of luxury as a new age vocabulary. It can be proposed as the concept for the strategic articulatory utilization of luxury and its differentiation that emerges from the expression, tectonic, and spatial articulations.

The focus on attempt to understand it through different techniques of creating luxury, in this new age and modern century. The future of luxury is direct towards new techniques of craftsmanship and authenticity.

Fig 1: Ornamentation Detail Fig 2: Brick Decorated walls Fig 3: Showcasing Rome Luxe Fig 4: Crete Decor Luxury Fig 5: Byzantine Large Dome Fig 6 and 7 : Showcasing Europe early and late luxury Fig 8: Islamic glass luxury Fig 9: Rich Ceiling Luxury Fig 10: France Châteaux Luxe Fig 11: Neoclassical Furniture Luxury in Detail Fig 12: Floral Printed Luxe Fig 13: Craftsmanship Luxury Fig 14: Nature inspired Luxe Fig 15: Technological Luxury Fig 16:Artistic Objects Luxe Fig 17: Famous Architects Fig 18: Palace of Assembly, Chandigarh. Fig 19,20,21 &22: Mill Owner's Building, Ahmedabad. Fig 23,24,25 & 26: Indian Institute of Management,Ahmedabad. Fig 27 & 28: Sangath, Ahmedabad. Fig 29: Interior of Ahmedabad ni Gufa Fig 30: Gandhi Memorial Museum, Ahmedabad Fig 31 & 32: Kanchanjunga Apartments, Mumbai. Fig 33: Interior of Gandhi Ashram, Ahmedabad. Fig 34, 35 & 36: Prestige University Building ,Indore Fig 37, 38 & 39: Miss Dong and Martin public art space, China Fig 40, 41 & 42: TIC Art Centre, Chin Fig 43, 44 & 45: House of Terraces, Bangalore. Fig 46, 47 & 48: Hyder Aliyev Center, Azerbaijan Fig 49: Flooring element in the interior space Fig 50: Column as an element in the interior space Fig 51: Wall as an element in the interior space Fig 52: Ceiling as an element in the interior space Fig 53: Mood Board of Application elements Figure 54: Partitions in Interior Space Figure 55: Furniture Typologies Fig 56: Doors in Interior Space Fig 57: Lightings in Interior Space Fig 58: Staircase in Interior Space Fig 59: Mood Board of Application elements Fig 60: Entrance Door Detail Fig 61: Elevation A and B with highlighted elements Fig 62, 63 & 64: Interior Flooring Details Fig 65, 66 & 67: Brick Herringbone, Yellow Kota and Terrazzo Tile Fig 68, 69 & 70 : Wall Treatment Details Fig 71, 72, 73 & 74: Nanakshi Bricks, Mud wall, Intricate carving and Terraccotta products Fig 75 & 76: Indoor and Outdoor Pavilion V List of Figures

Fig 77, 78 & 79: Thikri work, Fluted marble and Stone Cladding Fig 80, 81 & 82 : Reinterpreting Crafts in Interiors Fig 83 & 84: Interior Flooring Details Fig 85, 86 & 87: Different traditional Marbles and patterns Fig 89, 90, 91 & 92 : Lights and Fabric Details Fig 93, 94 & 95: Traditional Light, Furniture and Fabric Material Fig 96, 97 & 98: P.O.P Designed , In Levels & Wooden Ceiling Fig 99: Location of Taj Skyline Fig 100: Interior of Shamiana Restuarant Fig 101, 102 & 103 : 3 Different Ceiling Type & Design Fig 104 & 105: Interior Column Details Fig 106, 107 & 108 : Lighting Details Fig 109, 110 & 111: Traditional Light, Furniture and Fabric Material Fig 112: Morphed Image 1 of Entrance Fig 113 and 114: Morphed Image 2,3 of Reception Desk and Partition Fig 115 and 116: Morphed Image 4,5 of Brass artifacts and revamp of column Fig 117 and 118: Morphed Image 6,7 of Wooden Installation and Blown Glass lighting Fig 11 9 and 120: Morphed Image 8,9 of traditional Tapestry and Table styling Fig 121: Shortlisted Options of Damachia for reception Fig 122: Options of wooden carved for banding Fig 123: Options of Wooden Blocks for Installation Fig 124: Mata ni Pachedi Details Fig 124 A: Making Process Fig 125, 126 and 127 : Wooden Lacquer Detail Fig 128 and 129 : Thikri Work Details Fig 125, 126 and 127 : Wooden Lacquer Details Diagram 1.1 Etymology of word Luxury Diagram 1.2 Global Approach Flow Diagram 1.3 Understanding the attributes Diagram 1.4 Global Time line Diagram 1.5 Indian Approach Flow Diagram 1.6 Decoded Attribute Diagram 1.7 Understanding Luxury through both approaches Diagram 1.8 Spatial Elements Typology Diagram 1.9 Space Making Elements Diagram 2.0 The components of elements Diagram 2.1Evolution Time-line of flooring Diagram 2.1 Flooring Types Diagram 2.2 Spatial Role Diagram 2.3 Evolution Time-line of Column Diagram 2.4 Column Types Diagram 2.5 Spatial Roles Diagram 2.6 Evolution Time-line of Walls Diagram 2.7 Wall Type VI List of Diagrams

VI Bibliography Diagram 2.8 Spatial Roles Diagram 2.9 Evolution Time-line of Ceiling Diagram 3.0 Ceiling Types Diagram 3.1 Spatial Roles Diagram 3.2: Importance of space making elements Diagram 3.3 The components of elements Diagram 3.3 Space Constituting Elements Diagram 3.4 Types of partitions in Interior Diagram 3.5 Spatial Roles Diagram 3.6 Furniture type chart Diagram 3.7 Spatial Roles Diagram 3.8 Types of Door in Interior Diagram 3.9 Spatial Roles Diagram 4.0 Lighting type chart Diagram 4.1 Spatial Roles Diagram 4.2 Types of staircase in Interior Diagram 4.3 Spatial Roles Diagram 4.4: Importance of space making elements Diagram 4.5: Factors representing Luxury Diagram 4.6: Hospitality Component Diagram 4.7: Ahmedabad City Map Diagram 4.8: Statistics Data Chart Diagram 4.9: Methodology Flow Chart

Books: Luxury A Rich History by Peter McNeil, Giorgio Riello Luxury and modernism architecture and the object in Germany, 1900-1933 by Schuldenfrei, Robin Literature and the Idea of Luxury in Early Modern England by Alison V. Scott Architecture Form, Space, and Order by Francis D. K. Ching

Introduction to Indian Architecture by Bindia Thaper

The Idea of Luxury A Conceptual and Historical Investigation by Christopher J. Berry

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Graduation Project I Lajja Shah I I.M.Design (2017-22)