The Paradise Pavilion - A Graduation Project Document

DEGREE PROJECT Designing a Branded Pavilion for Paradise Group Sponsor : Thoughtrains Design Pvt Ltd, Navi Mumbai

Volume : 1 of 1 STUDENT : MEGHANA THAKKAR PROGRAMME : Bachelor of Design (B.Des) GUIDE : MAYANK LOONKER

2017 VISUAL COMMUNICATION FACULTY (EXHIBITION DESIGN)

National Institute of Design Ahmedabad

COPYRIGHT ©2017 Student Document publication meant for private circulation only.

All rights reserved.

Bachelor of Design, Exhibition Design, 2013 – 2017 National Institute Of Design, Ahmedabad, India.

No part of this document will be reproduced or transmitted in any form or any means including photocopying, xerography, photography and video recording without written permission from the publisher, Meghana Thakkar and The National Institute of Design.

All illustrations and photographs in this document are Copyright ©2017 by respective people/organizations.

Edited and designed by: Meghana Thakkar meghana.thakkar95@gmail.com Processed at: The National Institute of Design (NID) Paldi, Ahmedabad – 380007 Gujarat, India. www.nid.edu Digitally published in Ahmedabad, India November, 2017

The Evaluation Jury recommends MEGHANA THAKKAR for the

Degree of the National Institute of Design IN VISUAL COMMUNICATION (EXHIBITION DESIGN)

herewith, for the project titled "DESIGNING A BRANDED PAVILION FOR PARADISE GROUP" on fulfilling the further requirements by*

Chairman Members :

Jury Grade : *Subsequent remarks regarding fulfilling the requirements :

Activity Chairperson, Education

COPYRIGHT STATEMENT

ORIGINALITY STATEMENT

I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/ dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material.

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgement is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement.

I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course.

Meghana Thakkar Student Name in Full

Signature

Date

Meghana Thakkar Student Name in Full

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B.Des Graduation Project Student: Meghana Thakkar Guide: Mayank Loonker Sponsor: Thoughtrains Design Pvt Ltd Programme: Bachelors in Design Discipline: Exhibition Design (Visual Communication) University: National Institute of Design, India

DESIGNING A BR ANDED PAVILION FOR PAR ADISE GROUP

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A SHORT SYNOPSIS OF THE PROJECT

This document narrates the journey I took in order to design a pavilion for a real estate company based out of Navi Mumbai, Maharashtra, India, for an annual real estate trade fair, in the same locality, under the sponsorship of Thoughtrains Design Pvt Ltd. The client is a prominent real estate developer in Navi Mumbai, going by the name Paradise Group. The pavilion had to showcase the client's work and brand identity at this fair.

The pavilion had to showcase a number of project posters and two project models, along with a few audio visual display systems. After studying the brand and the brand identity, however, I decided to add a few more layers of communication in the pavilion. The pavilion, thus, also showcased a brand installation and several other aesthetic, brand interventions.

The task of building a communicative space is a big one, as it must take into consideration, almost an unrealistic number of factors. The project was hence tackled very strategically and followed a strict process, starting from internal and external research; moving on to the brand development of a luxury real estate company; progressing to strategic development of the project – figuring out all the necessary systems and spatial requirements; moving on to developing ideas for the pavilion, and then finally finding the best way to execute them.

The final outcome of the project is the design of a pavilion that expresses the brand through a large abstract form driven façade, and continues this language in juxtaposition with display elements and accessories in the form of home elements following the Art Nouveau architectural style, inside the pavilion, which expresses the subject matter and brand identity in a more direct fashion.

The brand installation consists of artefacts associated with luxury living, assembled in display boxes to show the audience the life the client (Paradise Group) intends to offer them. There is a huge emphasis on spatial strategy and spatial narratives in this project, but they all come together for a single purpose – to communicate the brand.

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A SHORT ANALYSIS OF EXHIBITION DESIGN

Exhibition Design can essentially be described as communication through spaces. I believe the key is to look at space as a medium. Think about any field of design whose goal is communication; Think about the mediums designers use to achieve these goals of communication. One can combine all the mediums used by designers to communicate any sort of subject matter, add some more, and that will give you the plethora of possibilities that exhibition design has. The way I see it, when you design a space, an experience, you design to the highest possible degree. You not only design the element that communicates a certain subject, you design the context in which it is being consumed; you design the light, the sound, the smell, the touch – the entirety of the atmosphere that comes together to communicate to the audience a single piece of information.

But maybe I'm getting ahead of myself – all these sentiments are great, but what is it, exactly, that qualifies as exhibition design, what real world applications does it have and how does it affect human life?

As I stated before, Exhibition Design is basically, communication through space.

An exhibition designer, does not simply design a space, say a house, a retail store or a theatre simply as a functional space or environment. He would design the environment so that the visitor, will be able to understand it's purpose inherently, so that the visitor can be affected by the space, on a cognitive and emotional level, that he or she may make relevant associations that better communicate the subject matter of the space. These associations can be tailored using different mediums, such as form, colour, light, shadow, sound, smell, touch, depth, distance, scale, type and many more such mediums. The fact is, that anything in the world can be a potential tool of communication in exhibition design, depending on the intent of communication.

A certain type of lighting, for instance, can make a person feel more at peace and open to powerful emotions, a certain colour may make a person feel gloomy and hence, bring them to a position to empathize with potentially dark or morbid subject matter.

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"I don't think that architecture is only about shelter, is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think."

Zaha Hadid

Of course we see the use of such techniques in several fields of design like film and graphic design; The difference is, when you design a space, you design a real time experience that one can experience with all their senses, in a three dimensional manner.

We, hence, see the use of exhibition design in spaces such as museums, where the subject matter is of utmost importance; trade fairs, where the space must communicate brand values; set design, where the space must set the appropriate mood for the film/theatre/musical content so that audiences receive it better; retail spaces, where once again, brand and product values have to be conveyed; and other spaces such as restaurants, galleries, outdoor spatial interventions, learning spaces, and many more, that require the audience to be in a certain frame of mind that can be dictated by the environment.

Too often, these spaces are designed with little empathy for users, and this is where exhibition designers can contribute to these public spaces by bringing an overall perspective of spatial communication to the table. Exhibition designers create experiences that are physical but also emotional and psychological and this is where they have something extremely unique to offer.

The aim of the discipline is to equip students with an understanding of planning for built or open spaces to provide an appropriate environment for communication, and to create a contextual experience that supports communication and interpretation of ideas to audiences by creating a multi-modal and multi-sensory experience.

Exhibition Design is a synthesis of multiple design disciplines that come together to communicate objects, information and ideas across a range of three-dimensional environments. Simply understood, it means communication and storytelling through environmental experiences that inform, entertain, and inspire. The discipline considers the exhibition from the perspectives of communication, design and fabrication that involve a mastery of spatial planning, image manipulation, narrative, colour, lighting, and multimedia, and working knowledge of structures, typography, combined with an understanding of audience and human factors, to shape storytelling experiences across multiple exhibition venues. This can include staging of representative and experiential spaces; interior-design environments and for festivities; museums, galleries and trade exhibitions; and cultural and theatrical events.

In a country that is becoming rapidly urban and metropolitan, Indians increasingly find themselves having to navigate through vast buildings, concrete cities and massive transport hubs, but there is a distinct lack of communication design (signages/wayfinding) guiding them on their way.

Magic Cube | Kids Museum of Glass by COORDINATION ASIA

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MY COLLEGE & MY SPONSOR

T H E N AT I O N A L INSTITUTE OF DESIGN National Institute of Design was established in September, 1961 as an autonomous all-India body by the Government of India with the assistance of the Ford Foundation and the Sarabhai family, based on the recommendations made by Charles and Ray Eames in the India Report (1958). The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity.

Gautam Sarabhai and his sister Gira played a major role in the establishment and early years of NID. Gautam Sarabhai sidestepped the accepted wisdom and conventional method of education. He revived the philosophy of the Bauhaus design era which was learning by doing. This unique curriculum and revolutionary educational philosophy remain part of NID to the present day.

Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design.

It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014.

It is also recognized by the Department of Scientific and Industrial Research, Government of India as a Scientific and Industrial Research Organization. The institute has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make ‘Designed in India, Made for the World’ a reality.

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The mandate for NID is to offer worldclass design education and to promote design awareness and application towards raising the quality of life by and through education to create design professionals of excellence to help meet India's diverse design needs. The institute aims to become a repository of design knowledge, experience and information on products, systems, materials, design and production processes related to traditional as well as modern technologies. The institute believes in encouraging the design of products and systems of everyday use in a spirit of restless search for indigenous design solutions by focusing on affordable design for the masses. For this purpose, it undertakes fundamental and applied research to create cutting edge knowledge in the areas of design especially those concerned with user understanding and trends.

Over a span of the last 50 years, the institution has made it a point to lay emphasis on learning and to pursue innovation led designs through the development of the mind and skills of designers. The institute's client servicing team facilitates students in getting involved with real life projects, which in turn adds value to the upcoming professionals giving them a taste of actual situations.

newer opportunities for the development of people and industry. Currently, NID offers professional education programmes at Bachelors and Masters Level with five faculty streams and 20 diverse design domains. NID has also established exchange programmes and ongoing pedagogic relationships with more than 55 overseas institutions. NID has also been playing a significant role in promoting design.

NID is a unique institution with many problem-solving capabilities, depths of intellect and a time-tested creative educational culture in promoting design competencies and setting standards of design education. The rigorous development of the designer’s skills and knowledge through a process of ‘hands on-minds on’ is what makes the difference. The overall structure of NID’s programme is a combination of theory, skills, design projects and field experiences.

MY SPONSOR Thoughtrains Design Pvt Ltd is a design firm based in Vashi, Navi Mumbai, Maharashtra, India. They engage in many disciplines of design such as graphic design, advertising and spatial design, in addition to marketing and social media services.

The spatial design department is a separate department of the firm headed by my boss John D'souza, called Thoughtspaces. I worked in this section of the design firm.

Thoughtspaces consisted of a small group of designers and 3D model and render experts.

John D'souza, the leader of this team is an architect by profession and has acquired a masters diploma in toy design from the National Institute of Design, Ahmedabad, India. This gives him a unique insight into the field of space design. While he can anticipate design needs, he is also aware of architectural constraints and requirements in a spatial design project.

These valuable insights helped me progress through this project and do it some degree of justice.

This vision acknowledges that higher education in design will have greater responsibilities to meet the needs of society both in India and abroad. At the same time NID anchors itself to cultural strengths of India and fosters strategic design linkages of innovation and entrepreneurship with the various sectors of industry.

The institute also acknowledges that as the external environment changes, it must reshape existing programmes or initiate new programmes to maintain or gain leadership positions. NID will also have to identify opportunities for newer linkages across institutional, national and cultural boundaries in order to create

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ACKNOWLEDGEMENTS

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THOUGHTRAINS

MY FRIENDS

I would like to thank my sponsor company for taking me on for this project and providing me with the resources to execute it. I would especially like to thank Aishick Hazra, for letting me come and work here and overseeing my time at Thoughtrains Design Pvt. Ltd, and John D'souza, for guiding me throughout the project, and overseeing every phase of it. I am very grateful for the opportunity and support I was given at my sponsor company.

Throughout the project I took counsel with my friends at different stages of the project. I would like to thank Amrasha Bafna for her help and guidance on basically anything I needed; Mariyam Kherodawala for helping me understand the architectural aspect of design; Ananya Khaitan for all his guidance on this document, Ayesha Kanga for her help through phases of the project I couldn't quite grasp; Kajal Patel for her counsel on ideas; Shivaranjani Ravishankar Iyer for the undying support and counsel she gave me through this project; and Salil Parekh for his help and critique on my document.

MY GUIDE I am truly grateful to Mayank Loonker, for having guided me, on the academic side of things, so well and for providing me clarity whenever I was most lost; for tolerating every disaster that came with the project and for helping me find my way out. I would literally not have been able to do this without the wisdom, kind words, help, and encouragement he provided me.

MY COLLEGE The National Institute of Design provided me with a tremendous amount of support, especially toward the end of my project.

They gave me technical guidance and educational support when I was stuck, and I couldn't have completed the project without it. I would especially like to thank the Design Vision Centre Team on campus for giving me this support, and Chirag Bhai specifically, for all his help with the final outcome of my project – I learned a great deal from him, and will always be grateful for the part he played in my project.

M Y FA M I LY As with every endeavour in life, my family had a huge role to play in it's success. I am always grateful for their support, guidance, and their general tolerance of me when I get into a project. My mother, for always being the cheerleader and feeding me; my father for his silent support and unending understanding and wisdom; my brother for literally taking care of everything I needed him to and for always being the perfect sounding board; my sister for all the support and well wishes she sends my way; and Fudge for his slobbery love.

B A N G TA N SONE YODAN (BT S) Because they are all I listened to during the project, and I'm not sure if I would've gotten through it without their incredible music, that inspired energy, passion, and basically all the things that are right with the world.

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TABLE OF CONTENTS

Synopsis

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Exhibition Design

iv

Places and People National Institute of Design The Sponsor Acknowledgements

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1.0 1.1 1.2 1.3

Understanding The Project Branded Spaces Scope of Work Brief/Project Proposal

1 2 4 6

1.4 1.5 1.6 1.7 1.8 1.9 1.10 1.11 1.12

Areas of Research Location and Site Analysis Brand and Client Research Redefining the Brand Identity Paradise Pavilions of The Past New Goals Case Study Methodology Case Studies Inferences

8 10 12 16 20 22 24 26 42

1.13 1.14

New Brief Thoughts and Reflections

48 49

2.0 2.1 2.2 2.3 2.4 2.5 2.6

Initial Groundwork Scope Location and Zoning Narrative Matrix Design Proposal Brand Concept Metaphors Thoughts and Reflections

51 52 54 56 58 60 68

3.0 3.1

Ideation Ideation Process

71 72

3.2 3.3 3.4 3.5

External Ideation About 100 Sketches Scale Models Expanding 3 Directions Chosen Direction

74 82 86 92

3.6 3.7

Ideation for the Interiors Understanding Luxury Aesthetic Concept

94 95

3.8 3.9 3.10

Interior Elements Sketches for Interior Elements Thoughts and Reflections

96 98 104 107 108 110 118 124 134 142

4.7

Design Development Scope Plan Explorations Refined Plans and Elevations Final Plans and Elevations 3D Model : Visualising the Space Material Mood Board and Plan and Test Renders Final Visualisations (Renders)

5.0 5.1 5.2

Wrapping Up Thoughts and Reflections References

159 160 163

4.0 4.1 4.2 4.3 4.4 4.5 4.6

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GET TING AND DECODING THE PROJECT /

1

BRANDED SPACES IN EXHIBITION DESIGN

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Exhibition Design, at the end of the day, comes down to communication. Branded spaces, very much fall into this category of spatial design. It is, however, a much more specific type of communication.

Whereas most exhibition design spaces communicated some sort of content, with the use of several mediums that space allows for, branded spaces almost always have two layers of communication as the primary goal of the design solution. They usually contain some sort of content, but also have the larger purpose of communicating the company's brand identity and values, inherently in the space. The space essentially has to be a complex collateral of the brand.

It was very important for me to consider this sector of exhibition design as it would be where my design project would fall. As you will see, the project is essentially a branded space. A temporary structure (a pavilion), for a company to showcase it's products and brand at an expo of sorts.

I had to hence, understand the function of branded spaces and how they are made to be effective in order to even begin to attempt this project, and having done that, I was ready to dive into the project head-first.

It is hence very, important, in a project where a brand must be showcased, to try and effectively understand the brand first.

This, and other understandings about space, mediums, materials, communication, synaesthesia and architecture, help design a successful branded space.

Imagine taking a brand identity, accentuating it, and then exploding it into a space, however, with nuance. That is how I have always thought of branded spaces, to put it quite simply.

In a lot of exhibitions, branded spaces use only surface graphics to communicate the brand identity of a company. An effective brand spatial strategy however, would use several mediums to communicate its intent, some being more important than others, depending on the space and the brand.

Each element of the space must follow the same brand identity so that the visitors are constantly interacting with the brand at every stage and touch point. It is only when a space does this, that a visitor is left with a lasting impression of the brand and all it has to offer him.

Some spaces rely on the heavy use of materials as you will see later in this project, in some of the case studies. Some are heavily dependent on light or a colour palette that evokes certain moods in the space there by reinforcing the brand identity.

Stiebel Eltron | ISH | Frankfurt 2017

Top: Laufen Stand Design by Atelier Oi | ISH | Frankfurt 2015 Bottom: Chanel Stand Design by Peter Marino | Baselworld 2013

Understanding The Project

1.1

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PROJECT PHASES Research – Brand Research, Location Research, Company Projects

SCOPE OF WORK & DELIVERABLES FOR THE PROJECT

Brand Development – Modification of Brand Identity, Extension of brand Identity

Initial Groundwork – Strategy, Spatial Zoning, Design proposal etcetera

Ideation for the External Structure of Pavilion – Sketches, Models, Concepts

Ideation for the Interior – Concepts, Display Systems

Design Development – Final Plan, Elevations, Material Specifications, Final Renders

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TIME LINE

DESCRIPTION

PROCESS OUTPUT

FINAL OUTPUT

Six to Eight weeks : – Three to four Weeks for Internal Research – Three to four Weeks External Research

Internal research would consist of location and brand research along with analysis on past projects.

External research consists of case studies

– Analysis of brand and brand visual cues – Location maps and info and movement diagrams –Analysis of previous paradise pavilions.

– Case study cards

– A set of new goals for the project – A set of inferences on the case studies – A set of inferences on relevant phenomena: media, branding, pavilions

Two to Three Weeks : – One week for logo modification and colour palette development – One to Two weeks for brand collaterals

In brand development I will have to revamp the logo to make for a stronger brand identity and colour palate to project into the space

–Logo sketches and logo development

– Final logo – Brand colour palette – Brand collaterals

Three to Four Weeks : – Two weeks for location and zoning, and strategic development – One to two weeks for Design proposal

Initial groundwork will help me develop a spatial strategy, through zone diagrams, a narrative matrix and a design proposal

Three to Four Weeks : – One to two weeks for sketches – One week for models – One week for overall concept development

In the ideation phase, I will explore ideas for the pavilion structure through sketches and form based scale models.

–100 sketches – About 20 form based scale models

– A specific topology from the sketches – 3 directions from the scale models – Expansion of directions – Final Direction

Three to Four Weeks : – One to two weeks for Display Systems – One to two weeks for overall concept development

For the ideation of the interior of the pavilion, I would explore concepts and display elements, for effective communication of the content.

– Ideation on display elements – Ideation on other interior elements

– Aesthetic concept – List of display elements – Final ideas for display and general interior elements

Eight Weeks : – Two weeks for plan explorations – Two weeks for Materials – Four weeks for 3D model and renders

For the design development, keeping all the concepts in mind, I will explore plans, elevations. I will work on a 3D models and renders.

– Plan explorations and elevations – Material options –Rough 3D models – White renders: spatial strategy

– Final plan and elevations – Final 3D model and spatial strategy – Final material specifications –Final renders

– Movement and zone diagram.

– Location limitations and requirements list.

–Narrative Matrix – Design Proposal

Understanding The Project

1.2

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THE INITIAL PROJECT BRIEF

THE PROJECT PROPOSAL Project Brief: The project brief is to come up with a spatial design for a pavilion for the Paradise Group (a real estate developer) at the annual Real Estate Fair held in Vashi, Navi Mumbai, Maharashtra, India.

The spatial solution must include an overall concept and thematic framework for the pavilion, a display system for the content within, a design for the experience of it, and provision and design of transitional and intermediary spaces such as the reception, filler spaces etcetera. Each of these areas and all the sections of the pavilion within the fair must follow the one theme. The spatial planning, movement in the pavilion, and overall experience must also be designed in detail.

Motivations: My motivation to pursue this project mainly rides on the scale of the task.

As I haven’t had the chance to really work on any live projects, any live spatial project would be interesting to pursue; however, with a fair like this, the learning opportunity is very different than any hypothetical or classroom projects that I have done.

The topics and scale of those projects have been far more specific and relied heavily on theoretical subjects/principles/ philosophies. As this project would largely serve a commercial function, it would allow me to look at spatial design from a completely different lens while still providing opportunity for me to use previous learnings.

Moreover, the project appeals to me for reasons even outside the realm of design, as I am deeply interested in business, and specifically in the monetary transactions of property, specifically in the city of Mumbai.

I believe this project will allow me to explore many facets — absolute, commercial, individual, collaborative — of spatial design.

I also believe the output of this project and the methodology it will follow will be significantly different from any design process I have previously followed.

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Research: The research for the project would mainly consist of collating data from previous property fairs as well as other kinds of big exhibition spaces.

I will study the different zone requirements in the pavilion, and the system in which they exist.

Logistic research will be a big part of research, such as, the number of people attending, movement of people, etcetera, as this will heavily affect the final design of the space. Another significant portion of the research would be studying material and structural solutions for temporary structures as that is the riding factor for the spatial design of the pavilion.

At the end of the process of coming up with a project proposal I was left with many questions about the project.

SCHEDULE • Research and Investigation: 4 weeks • Initial ideas, spatial and strategic planning: 4 weeks • Explorations, iterations, concept presentations: 4 weeks • Refinement and detailing of final selected design solution: 4 weeks • Documentation will happen simultaneously and another 4 to 6 weeks after the completion of the project with the company.

"Who is the client and what does their brand stand for?"

"How does one go about effectively communicating a brand in a space?"

"What is the location like? How will it affect my project design?"

"What kind of work does the sponsor expect me to deliver? Does it follow a pattern, from the exhibitions from previous years?"

There were yet, many gaps to be filled.

I will also study the architectural temporary structures around the world and styles undertaken by different designers in order to narrow down a concept for the pavilion.

Design Investigations: METHODOLOGY • Research and collation of references.

Understanding the key functions and requirements of the pavilion and the system it will embody.

• Generating spatial strategies and systems for the pavilion.

• Explorations for conceptual frameworks and design.

• Bringing together conceptual and functional exploration to design certain sectors of the space to form iterations for spatial design.

• Final design of certain spaces.

DELIVERABLES • Conceptual framework in form of visual representations and references.

• Estimated size of area and basic plans and elevations.

• Detailed visualizations of certain spaces in the pavilion along with indication of structural designs and material details.

• Layouts for spatial strategies and movement of the audience within the exhibition space.

Understanding The Project

1.3

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BROAD AREAS OF RESEARCH

CASE STUDIES In trying to understand branded spaces and how I can make it work for my project, it was imperative that I conduct research outside the company and look to the world for a set of relevant examples in the same field.

It was, however, also important that I study different kinds of spaces. Spaces that play different and distinct roles and are driven by varied forces, such as form, communication, colour, structure, use of media, sequence, etcetera, in order to come up with a database for the kinds of topologies and elements that one can use in branded exhibition spaces.

Another reason to look for relevant, distinct, and varied case studies, that aren't always from India, was the nature of the domain of exhibition design in the country. India being a commercial hub, world wide, and Bombay being the economic hub of the country, it is easy to find a plethora of exhibitions, fairs, and expos through out the city, thriving with large audience and resulting in significant economic gain. We hence see tremendous potential for large scale design intervention.

From a purely design standpoint, the quality of exhibitions, is far from optimal and hardly inspiring. I thus, decided that studying and analysing spaces from India and countries outside would help me find a better more concrete direction for the project. It's always good to learn from anywhere you can.

External Research

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LO C AT I O N & S I T E A N A LY S I S

CLIENT & BRAND RESEARCH

EARLIER VERSIONS OF THE PROJECT

This section of the research would focus primarily on the location of the property fair which is held in Vashi, Navi Mumbai.

The analysis would include the crowd movement within the space with respect to the client's pavilion in the property fair, the movement of audience and how they would approach the CIDCO Exhibition Centre, and the location of the exhibition centre with respect to the city, and its urban elements.

This section of the research is extremely vital in order to understand the client and its brand. This will help determine what is to be expected of the pavilion. The main intent of the pavilion is to communicate the projects the client wishes to showcase, and the entire brand identity that it embodies.

In order to understand the way forward, it is sometimes very important to look back. This also holds true for design, if we should hope it changes and evolves.

This branch of research is very important as it defines the kind of audience that will be attending the fair (people are more likely to come to a fair if its easy to access), how they will move outside and inside the exhibition space, how they will approach the pavilion, and what they will have experienced, more or less, before they finally reach the client's pavilion. This will play a large role in trying to determine the pavilion design, especially the outer facade (the first look at the pavilion — the first and arguably the most important instance of brand communication).

It would also dictate other decisions, like for instance, where to place the entrance,how big it should be, where to place key outer elements such as, external posters, name, reception desk, etcetera.

Having a successful brand identity would do several things— it would attract the right kind of audience to come to the pavilion, it would leave a carefully tailored impression of the company and what it has to offer the audience, it would communicate the client's key values and principles, and it would give the client's showcased projects a very rich and thorough context.

It is, of course, completely vital to research the client, themselves, the kinds of projects they undertake and showcase, their place in the market and it's value proposition, it also becomes, very important, as a designer, to find a way to embody, not the mere facts of the company, but also the essence that is the client's brand, in the expression, story, structure and presence of the pavilion Thus, this segment of research will be the driving force for the process and final out put of the design for the pavilion.

To get a better understanding of my role as a designer, in my place of work, it was very important for me to understand the work of my employers, especially in regard to my project.

As the before mentioned property fair is an annual fair, and the client has been a long standing client of the sponsor, I had the rare opportunity to look at the earlier versions of the project I was about to undertake. Having understood these projects, and their intent, I would find a more definite direction for the current project. It would steer me to either stick to the format that has been followed or recognize that I needed to break the pattern and come up with something fresh, or even something in between these two ends of the spectrum. At any rate, I was thankful to have the opportunity to look at these old projects, with an eye of scrutiny and awe.

Internal Research

Research

Understanding The Project

1.4

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LO C AT I O N & S I T E A N A LY S I S

MUMBAI

10

NAVI MUMBAI

This map of the location shows that it is in the city of Navi Mumbai, on the outskirts of Mumbai.

The CIDCO Exhibition Centre in located off the highway connecting the two, and is hence easy to access, for audiences coming from Mumbai and Navi Mumbai.

We also see here that it is a very accessible location from within Vashi, Navi Mumbai, as this main Highway segments of into many exits that go into different parts of the city

Having understood the kind and variety of interested buyers that would visit the fair, we also see that it is a very large space and is bound to attract very large crowds. The pavilion design will have to account for this.

Meghana Thakkar

Graduation Project

The CIDCO Exhibtion Centre: The site of the BANM (Builder's Association of Navi Mumbai) property fair, is the CIDCO (City and Industrial Development Corporation) Exhibition Centre in Vashi, Navi Mumbai, Mahrashtra, India.

It is located off the highway that connects Navi Mumbai to Mumbai. This makes the location easily accessible from both cities, and attracts favourable audiences to the exhibition centre.

The Exhibition Centre is about 21,562 sq. m in area with two exhibition blocks and a common hall. It has a lot of parking space outside the hall that would also affect the circulation of visitors and how they would enter the pavilion.

The Paradise Pavilion would be placed on one end of the pavilion. This pavilion would be the largest in the exhibition centre. Given these two facts one would have to seriously consider the circulation of the crowd in the space to get to the Paradise Pavilion.

The pavilion has a 5 metre path in front of it before the space for other pavilions in the exhibition centre. It is important to note that the pavilion cannot infringe on this 5 metre path, to allow for proper circulation in the Exhibition Centre.

The position of the pavilion would automatically make the faรงade of the pavilion the most important aspect of the pavilion as it would be the most prominent part of the pavilion to viewers.

I had to design the pavilion keeping all these factors in mind. I would later expand on the location analysis in the upcoming phases of the project.

The Paradise Pavilion

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Understanding The Project

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The Paradise Pavilion

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CLIENT AND BRAND RESEARCH

Paradise Group Residential Project | Sai World Empire | Inspired by history's great rulers and empires

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CLIENT

KEY BR AND VALUES

The Paradise Group is a real estate development company in Vashi, Navi Mumbai. They undertake extremely large scale projects. Their development area mostly covers Vashi and they are a trusted brand in the area. The company focuses on providing lifestyle experiences through their building projects. They provide lifestyle amenities such as swimming pools, gyms, playgrounds, spas, shopping complexes, and many more, in all their property projects.

After reviewing the client's housing and lifestyle projects, and understanding their primary line of brand communication, I had to come up with a definite set of brand values that would later very, strongly define the design concept for the pavilion, upon conceptualisation and ideation.

The client is a winner of several awards for their work and is among the most trusted real estate developers in Navi Mumbai.

The clients have a long standing relationship with my sponsors at Thoughtrains, and hence, have come to expect a certain standard with previously identified goals.

The client also commissions all its design work to teams at Thoughtrains (the sponsor), and the company is very well acquainted with their design work. The Paradise Group strives to create a unique experience at their pavilion at the annual property fair and would expect no less this time around.

THEIR BRAND The Paradise Group brand is a rather definite one. Their identity is composed of luxury, ease, and complete and healthy living. They propagate values of royalty, culture, joy of life and large living.

It was however, not enough to understand the brand in terms of words. Words are subject to different kinds of perception.

As a designer, it was important to understand these values in visual terms.

Luxury: Luxury is a very strong brand value for the Paradise Group's brand identity.

It is one of their main value propositions.

They tend to work with large scales that are almost intimidating but glamorous.

Global: Global living is something that the client's brand propagates in all its communication with it's audience. It takes concepts from around the world, as pieces of a puzzle, to form their brand.

Comfort: The client strives to provide a comfortable and convenient lifestyle to its customers.

Royalty: The Paradise Group hopes to give their customers a sense of royalty when they live at one of their properties. A sense of largeness and exclusivity. They hope to provide a regal lifestyle.

After having identified the client's key brand values, it was important to abstract these values to understand them in design terms. I, hence, identified these key words to help this process of abstraction: organic, intimidating, flowing.

Another principle that strongly resonates with the brand and what they're trying to do with their projects, is that of globalisation.

Paradise Group's primary brand proposition is to provide global experiences to customers through living experiences. Most of their projects are based on the premise of taking renowned phenomena from different cities or countries and providing it to customers.

They also have large projects that are based of global historical figures (famous rulers) and historical epochs. Keeping these facts in mind, it was important for me to break down the brand as a set of values.

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Understanding The Project

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VISUAL CUES FOR BRAND Visual cues can help people understand the abstraction of brand values in a visual sense.

It is important to have visual cues as they give a better sense of how these brand values will affect the evolution and final output of the design.

It is much easier to visualise the space during the process of designing, and this is necessary because the visual medium of communication is a primary one.

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Left Page Clockwise: Turquoise chandelier by Roast Designs | Our Interwoven Lives by Helen Wells | Forget Me Nots by Irene Karisa | Golden Glitter Lights by Elton Menezes | Textile Design

by Liubov Popova | La Florentina, Ground works

by David Hicks | Lim by Christoph Bader | Poster

by Cocorrina | Pleated Works by Richard Sweeny | Painting by Karin Meyn | Typographic Fashion

by Kalle Gustafsson | EYE - Dutch Film Institute

by Delugan Meissl Associated Architects Right Page Clockwise: Wake by Phil Jones | Ponce De Leon Inlet, FL Light Station by Peter | Pattern and Disorder by Yayoi Kusama | Blue flowers by the Hunker | Brushstroke by Freepik | Azulejo by Idee Parquet | New Your by Robu | Gesture of Love by Catbird | K by Slavka Paulikova

Branding

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REDEFINING THE BRAND IDENTIT Y

THE PROCESS OF REFINING THE LOGO I decided to delve into a small exercise of refining the Brand identity in order to extend the logo and its collaterals into more articulate and memorable associations. I was not allowed to entirely change the logo and I hence only refined it. I made a series of sketches and options before I found the right one for the task. This new identity would be more prominent in the paivilion space.

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P A R A D I S E

P A R

A D I S E

G R O U P

G R O U P

The final selected logo with the typeface and colour palette. These would help me extend and solidify the brand identity, so that I can use it to design the pavilion and brand communication in the space more effectively. Visitors will now be left with more clear and direct visual associations with the brand that fit with their values.

Branding

Understanding The Project

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The Paradise Pavilion

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THE FINAL BRAND IDENTIT Y W I T H CO L L AT E R A L S

The final modified brand identity colour palate and its application. Above are the possible collaterals for the brand. This would help me get a sense of how the surface branding will look in the final pavilion space by way of branded objects (stationary, brochures etcetera) placed in the pavilion.

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Branding

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EARLIER VERSIONS OF THE PROJECT

This pavilion was modelled after the famous Russian "St. Basil's Cathedral" The pavilion mainly consists of posters, the reception and the sales seating area. The pavilion, with its dome is taking advantage of all the volume that is provided.

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In the executed live version of the Russian Cathedral, I saw how the material and lighting really affect all the colours in the spaces.

This pavilion was modelled on the Roman Colosseum.

Here we see how the entire area of the given space is being used by the pavilion.

In seeing these pictures I also got a sense of the size of the crowd that visits the fair and in turn, the pavilion.

The pavilion consists of posters, the reception, the sales seating area and a V.I.P room at the back.

"Since this is a proposal project, and we need some change, you can really go in any direction you like following a design process. So go crazy" J o h n D ' S o u z a (m y B o s s)

THE PAR ADISE PAVILIONS OF THE PA S T When I first looked at the pavilions from the previous years, I didn't quite understand them. They seemed extravagant and like it was following some sort of theme. However, I later came to understand that they were in some manner trying to communicate the client's brand identity and the intent of the project through the pavilion.

As mentioned previously the client tries to advocate and sell the concept of global living through their real estate. They strive to provide global living experiences. They also focus on royalty, specifically, certain reference points in history, whether they are people, monuments, or concepts – Romans, the Egyptian Civilisation, the Colosseum, Gaudi architecture, the British Empire, the Spanish Empire etcetera.

Hence, the concept emerged, of taking royal, important, historical monuments from around the world, and making a structure that resembles them to give the visitors the sense of royalty and global living.

In the executed live version of the Colosseum.

The back light on the posters had a different colour and carpet flooring instead of stones. Here I realised things may not always go according to the original design plan.

It was a pretty straight forward concept and was executed in a standardised fashion each year. The main focus of these pavilions were always the posters of the client's properties.

They were large and in plain sight for everyone to see immediately. The posters are also the only display systems in place in the pavilion. The posters are back lit to attract more attention. The rest of the pavilion is also well lit with an array of different lights.

Research

The surface branding in the space, is mostly by way of the large back lit company logo on main panel in the space. They also had some brochures around the space in the sales area of the pavilion, to serve as information aids and provide brand take aways.

Another important communication tool in the pavilion, are the people themselves. The client had people stationed at a reception and in the sales area to communicate to the audience details about the company, brand, projects, and of course to sell visitors their properties on current projects.

The pavilions are built with a metal frame of the entire structure, backed by wooden reinforcement, covered with plasticine and painted for the final finish. The pavilion also usually has some sort of water body in it.

After studying these pavilions, though, I was convinced I had to break the pattern. The concepts were straightforward and easy to grasp, but I thought it could be much more nuanced and inherent, in the structure. I also thought it possible to include more and more interactive display systems in the large pavilion space.

I spoke to my boss regarding this tangent and he was completely supportive in letting me explore a completely different direction.

I was completely sure that I could improve upon the communication strategy and make the pavilion more expressive and inherent to the brand, and with the given freedom, I was very excited to begin doing just that.

Understanding The Project

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The Paradise Pavilion

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THE NEW GOALS IDENTIFIED FOR THE PROJECT

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THE CONCLUSION OF THE INTERNAL RESEARCH PHASE After concluding the internal research I was left with several thoughts that aided several decisions. The research led me to redefine my goals for the project and really get me to narrow in on a direction for designing. I very suddenly found myself having intentions and a certain attachment and responsibility toward the project. I was now invested in the project as I started to have a vision for it and saw it going somewhere. So I sat down and decided to define my new goals.

Area: After learning that the client pays a lot of money for the amount of space in the fair that they have, I decided it would be best to use as much of the area as possible. I also decided this, because large open spaces can be key in communicating a sense of luxury and grandeur. It would also help in the circulation of the large crowd that visits the fair and pavilion.

Brand Communication: I decided that the brand in the pavilion would have to be more apparent in the biology of the pavilion, if you will. In the earlier pavilions the brand was showcased through the concept and all the surface branding.

I also realised that the facade will be the first view of the pavilion and will make the first impression on the visitors. Hence, the facade will do the heavy lifting in terms of expression of the brand through form.

Having concluded the internal research and drawing relative conclusions from it, I was still left with questions about how I had to actually design the space.

I had now found a more concrete direction, but I still had to widen my horizons...

Breaking Away from the Pattern: After going through the earlier projects, I concluded that the client needed to change the way they were presenting their work to visitors. This was a very intentional decision I wanted to implement.

Use of Mediums: I decided to use different kinds of mediums in the pavilion. Having more than just posters to communicate the client's projects. The inclusion of some audio visual elements, a brand installation of some sort, and other elements such as furniture. I also decided to use every element in the area as a communication tool.

Colours and Lighting: The colour in the space would be in compliance with a brand colour palette, but otherwise, be following the pavilion concept that will be driven by the brand identity. I decided that because the exhibition centre would have it's own lighting, and pavilion wouldn't have a roof, the lighting in the pavilion would need to be functional and balance out the lighting in the exhibition centre.

I thought, however, I could make the brand identity more inherent in the expression of the structure of the pavilion. This expression would evolve, but continue to exist among all the internal structures and elements also.

I decided that surface branding would not be as important as this other inherent brand identity communication.

Use of Form: As mentioned above, I had to make the branding in the space inherent to the structure and all it's elements. I realised early on, that the effective use of form would be aid this goal immensely. It would be an effective way of communicating with the visitors upon first glance, in an instinctive manner, what the brand is, what it stands for, and how it is meant to make them feel. I belived that, form would be the best way, to invoke the appropriate emotions from visitors.

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EXTERNAL RESEARCH: CASE STUDIES

C A SE S TUDY METHODOLOGY To understand the requirements of pavilions better, I had to look at other case studies. The question, however, remained, which case studies would I pick and how and why. So before I could actually get into the studies, I had to come up with a methodology to pick them and study them.

Form Driven Spaces: First I decided to study spaces that were almost entirely driven by form. This is so that I could take pure formal understandings and apply those to my design. As mentioned earlier, form was to play a big role in the design of the pavilion and in the communication of the brand. Given that the external structure of the pavilion would be solely form based, it was very important for me to study such types of spaces for reference.

Content Driven Spaces: Given that the sole intent of my pavilion is to communicate the client's brand and projects for sale, it was clear there was content to be showcased in the space. I hence also wanted to look at the kinds of spaces and pavilions that are solely driven by content and intentions to fully communicate it effectively.

Branding: As mentioned earlier, branding is a primary goal in the communication strategy of the pavilion. So I decided it was also important for me to study certain brand projects to understand the ways of branding before one can project it into a space.

Branded Spaces: After going through case studies from the three categories mentioned above, I realised that the understandings of all of those, would converge to provide a more concise understanding of branded spaces, which is what the Paradise Pavilion would be. In that, form + content + brand = branded spaces. This is the approach I have taken in selecting my case studies.

It is of course imperative this converging category be studied as here, I would find case studies relating directly to the intent of my pavilion.

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PHYSIC AL SPACES

After I decided the methodology to choose and undertake these case studies, all I had to do was jump straight into in and begin.

B R A N D CO M M U N I C AT I O N

I started with form driven spaces, went on to content driven spaces, then studied branding and finally the converging category – branded spaces. I picked two examples from each category and drew inferences from them.

Human Behaviour and Psychological Considerations.

combine Spatial Brand Communication

Brand Communication

Spatial Brand Communication

Form & Function Based Spaces

Content Driven Spaces

Top: This diagram describes an approach to the case studies that combines physical spaces and branding to give you branding spaces.

Bottom: This diagram describes the approach I finally took for the case studies. It combines understandings from content driven spaces, form driven spaces, and branding, to give a more coherent picture of branded spaces, which is the category, the Paradise Pavilion would fall into.

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SOU FUJIMOTO: SERPENTINE GALLERY 2013

FORM DRIVEN SPACES Purpose: The pavilion must serve as a forum for architectural exploration.

Specifically, in this pavilion, the purpose is for it to be a space that communicates a weaving of architecture and nature. It is a pavilion that allows people to interact with both these aspects in its experience, through it’s spatial structure. It also serves as a space to relax and meet people. The pavilion must also have provisions for a cafeteria for people to visit and receive refreshments.

Time Line: DURATION: About 5 months.

TIME SPENT AT PAVILION: The pavilion doesn’t take much time to get through but people are free to stay there for hours and relax or enjoy the cafeteria..

Communication Strategy: MEDIUMS: The basic mediums used in the pavilion to communicate were formal and structural ones. A small amount of hand held graphics were used to communicate in the cafeteria. The architect has however focused on using material, structural and formal expressions to communicate the idea behind the pavilion - the harmony between architecture and nature.

THE IDEA: The concept behind the pavilion was to create an almost transparent structure that is light, that explored the relationship between architecture and nature. The structure was light so as to avoid heavily interfere with the surrounding nature, keeping it visible, while having a sense of architectural gravitas. So it is based on a cloud due to its lightness and form.

Physical Intervention: A significant zone in the pavilion is the cafeteria.

Here people are free to sit for long periods of time and enjoy refreshments. This zone is located under an overarching part of the pavilion structure and forms almost a cosy cave, that is quite open from one side and allows views of nature and light to stream in through the grid structure around it

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“Re-defining everything related to architecture such as boundaries, steps, walls – re-defines how we interact with day-to-day architecture; and shows a variety of potential that exists if we open our eyes.”

Sou Fujimoto

The pavilion offers alternate light solutions at night in the absence of day light. The main lights that have been used are yellow something lights which are in line with the grid of the structure.

Construction of the cloud with pre assembled segments of the structure made with a grid of steel pipes.

The pavilion allows visitors the opportunity to climb levels of it and interact with the structure and exploring different views. In some cases a person looks like he is floating within the pavilion.

Although the structure is visually light, it is sturdy because of the structure of the grid and the 20 mm steel pipes used to build it.

Polycarbonate sheets fill the frame to allow for walking.

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JEAN NOUVEL SERPENTINE GALLERY 2010

FORM DRIVEN SPACES Purpose : The pavilion must serve as a forum for architectural exploration.

Specifically, in this pavilion, the purpose is to create a sense of drama as a stark contrast to its surroundings, making the structure a landmark of sorts, parts of which can be viewed from quite far. It is meant to attract people to come and explore the space. It also serves as a space to relax and meet people. The pavilion must also have provisions for a cafeteria for people to visit and receive refreshments.

Time Line: DURATION: About 5 months.

TIME SPENT AT PAVILION: The pavilion doesn’t take much time to get through but people are free to stay there for hours and relax or enjoy the cafeteria Communication Strategy: MEDIUMS: The basic mediums used in the pavilion to communicate were formal and structural ones. A small amount of hand held graphics were used to communicate in the cafeteria. The architect has however focused on using material, structural and formal expressions to communicate the idea behind the pavilion - Light, Drama, Colour.

THE IDEA: The concept behind the pavilion was to create a space, that while being architecturally exploratory, pays a tribute to London (where the pavilion is located), using the concepts of the traditional red phone booths of London.

The pavilion encourages people to interact with is through its space division and varying levels from different view points.

Physical Intervention: Left: The cafeteria space is quite open while still maintaining its ambient lighting due to the material used in the pavilion.

A semi transparent cubicle of sorts on one end of the provides an interesting seating space within the space.

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"Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age."

Jean Nouvel

Having concluded the two case studies from the category of form driven spaces, I went on to undertake the next to case studies in the category of ''"content driven spaces'.

The light inside the pavilion is very interesting as the material turns the sunlight into soothing red light which provides a unique ambience in the pavilion.

Here we see how the pavilion plays with levels and terrain as it looks completely different form different viewpoints.

Here we see the different layers in the construction of the pavilion in the form of a series of plan, section and perspective drawings of the pavilion. We see just how structurally and formally sound this dramatic, contrasting pavilion is.

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HOME ECONOMICS BRITISH PAVILION BIENNALE 2016

CONTENT DRIVEN SPACES Purpose: The purpose of the British Pavilion in the Venice Biennale, was to discuss the housing crisis in Britain, as the housing systems have a flaw, in that they do cannot adapt to modern times, and are not evolving to cater to new requirements. The exhibition, titled ‘Home Economics’ attempts to talk about this problem. It tries to address the mobility of the newer generation and the different (varying in time frames), kind of home systems. It attempts to redefine ‘a home’.

Time Line: DURATION: 6 Months TIME SPENT AT THE PAVILION : To understand and experience each rooms of the pavilion, one would require to spend at least an hour at the pavilion, although one could stay much longer.

Communication Strategy: MEDIUMS: The mediums used in this exhibition/pavilion are basically objects and spatial interventions and expressions. These are cleverly used to portray living situations for different durations of time. The medium relies heavily on association, pre-requisites and attempts, primarily to provoke visitors to think; to understand, reflect and interpret and consider, rather than simply receive information.

THE IDEA: The idea consists of five rooms designed by five different designers/ architects, for living for different durations of time, i.e. the hours room, the days room, the months room, the years room, and the decade room. These rooms are designed differently to address modern needs.

Physical Intervention: Left: The last, room for decades, is a place with added meaning from just a place to live.

Functionality is not the only factor. The room has still, however, been designed with a fresh perspective on modern permanent homes.

Right: Each room has text in one line to explain the idea for each room and provoke thought.

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The fourth, home for years shows a home with all its amenities but nothing more or less, as it is merely an investment. Door mats announcing each room are also a constant graphic element in the exhibition

The first, room for hours is a minimal space in which nothing belongs to anyone - everything is shared. There is no privacy and few required elements.

The room for months is a private space but is small, modular and only with basic requirements.

The second room for days talks about how, in this span it is not where we go but what we bring with us, that makes a place home while saying ‘ home is where the WiFi is’

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THE POOL AUS TR ALIA PAVILION BIENNALE 2016

CONTENT DRIVEN SPACES Purpose: The purpose of the Australian pavilion at the Venice Biennale 2015 was to talk about architectural, social, and cultural aspects of Australia through the lens of a single topology - ‘the pool,’ as it has been very significant in shaping these spheres of Australian life through time. National pavilions at the Venice Biennale must strive to showcase a sense of their nation while building on the ideas the nation holds, or rejecting them, and here, we see it building on ideas.

Time Line: DURATION: 6 Months.

TIME SPENT AT THE PAVILION: It would take about 30 minutes at the pavilion to understand it well enough. The pavilion encourages its audiences to relax and listen for longer though.

Communication Strategy: MEDIUMS: The pavilion makes use of the pool itself as its main medium for communication. Around the pool one will find environmental graphics and hand held graphics. Another important medium of communication in the pavilion is that of surrounding audio and light.

THE IDEA: The idea of the pavilion is to explore architecture, culture and societies of Australia through the idea of the pool, whether its natural or man made, coastal or inland, permanent or temporary. It talks about Australian identity through this lens by having prominent cultural persons share their stories based around pools.

We see how pools have shaped Australian society -as a democratic space to deteriorate cultural divisions, or for leisure and sport.

Physical Intervention: The exhibition uses minimalist pool elements to further instil the idea and present detailed information in the exhibition. There are various types of seating at the exhibition, where people interact with different aspects of the exhibition. We also see how external light is used effectively to create a relaxing atmosphere.

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Having concluded the two case studies from the category of content driven spaces, I went on to undertake the next to case studies in the category of 'branding'.

The outer building of the pavilion is meant to be a space ideal for exhibitions - ‘A white box within a black box’. The large flap-like window allows for ample amount of light to enter the exhibition space and is put to good use.

A small amount of impactfull but minimalistic environmental graphics, highlights details of significant pools, giving a nod to it’s history and cultural importance (Fitzroy Pool, Melbourne)

There are various types of seating at the exhibition, where people may interact with different aspects of the exhibition. We also see how the external light is used effectively to create an atmosphere to complement the idea of an outdoor pool while the room along with it’s lighting gives one a sense of being in relaxing indoors

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F I LT E R C H O C O L AT E BR ANDING BY ALOK NANDA & CO

BRANDING Purpose: The packaging design must communicate the identity and give consumers a sense of what the product is going to be like. It must attract consumers to buy the chocolate and give it a competitive edge over other chocolate brands. It must also create solutions that allow consumers to distinguish between their different product variations (flavours), while keeping a uniform identity and system across all products.

Context: The context for the project is mainly that of Indian products and audience. The chocolate introduces new, Indian flavour combinations with chocolate.

So while being traditional Indian flavours, the fusion was contemporary but specific to the Indian market.

Communication Strategy: The basic idea for the packaging design for the chocolates is to use a fusion aesthetic. While communicating that the new chocolates have traditional Indian flavours, the brand must maintain decadence. While India and Indian graphics are often associated with loud, bright colours, and delicate patterns, the graphic designs wanted to stray slightly away from those associations while still maintaining the context for the packaging.

They, thus, used Indian motifs for the branding of the chocolate, however, keeping it in monochrome, making it a very classy and sleek packaging solution. Each flavour of chocolate is illustrated with motifs typical to the state in which they are most commonly found.

Specific Interventions: Left: The back of the packaging includes details about the chocolate and the Filter logo, and while being a contrast to the front, complements the different motifs (for different flavours) well as a standard.

Right: Here the motifs are typical to those found in Kerela, also where ‘ dalchini’ comes from

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Here we see motifs typical to Gujarat where Mangoes are famously grown and made into ‘aamras’ (mango nectar)

This particular flavour isn’t particularly typical to any region and is an urban phenomenon which is reflected in the motifs.

Rose is typically used in Parsi, or Irani dishes, we see patterns with a slightly foreign inclination typical to Parsis in India.

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BOT TURA R E S TA U R A N T BRANDING BY FOREIGN POLICY

BRANDING Purpose: The project is to brand a restaurant in Singapore that serves Italian food. The restaurant brand must give it a strong visual identity and communicate the ideas and philosophy. It must also give people a sense of the kind and quality of food they will receive at the restaurant. It must also speak to the kind of space the restaurant will be, and relate with/ complement it well in terms of aesthetics, functions, ambience, and philosophy.

Context: The branding is for a modern restaurant serving traditional Italian food, in Singapore. Singapore being a cosmopolitan city would attract a crowd from a very wide range of people to the restaurant. This, along with the modernity, will play a big role in the design.

Communication Strategy: The basic idea behind the branding of Bottura - the restaurant, is ‘the meeting of old and new’.

We see, in the basic type logo a combination of traditional European typography in juxtaposition with and complementing new modern typography to form a harmonious logo. Another striking feature in the branding is the use of colours and patterns.

Here too we see bright colours, however modernized to form a contemporary colour palate while capturing the spirit of bold and lively Italian food.

The patterns are also lively while being used in a modern way to give a similar impression. The space of the restaurant has also been transformed to better communicate the brand. We also see, many Italian food and cultural references in the branding deliverables, engaging consumers with the food and brand.

Specific Interventions: Left: All the deliverables of the branding project, with take away boxes, coasters, menus, pizza box etcetera, with bold typography, colours, and interesting pattern combinations, to form a unique, and characteristic brand identity.

Right: Use of bright, colourful, contemporary pattern. We also see in the bottom most card, a pattern using the colours of the Italian flag.

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Having concluded the two case studies from the category of branding, I went on to undertake the next to case studies in the category of 'branded spaces'.

The main logo with a fusion of traditional and modern typeface. The main brand colour is also this bright yet soothing yellow.

An example of how the brand translates into the publication of the menu using the same typographic identity with some illustrations, to explain details of the food..

Translation of the brand into the restaurant space, in form of signage, complementing the light, furniture and interiors. We see the same colour, use of typeface, fusion of old and new interior s tyles and overall brand language.

Research

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HERMÈS BASEL WORLD 2015

BRANDED SPACES Purpose: The purpose for the Hermès pavilion is to exhibit it’s products at the Basel World watch and jewellery fair.

Its primary goal is to attract potential customers, as well as showcase the brand’s identity and philosophy and establish it, in the fair, as it will be in competition with other brands at the fair. The pavilion must provide an easy to access spatial solution which impressively and innovatively highlights it’s products. The fair may be looked as an opportunity to find new meaning and ways to express the brand outside usual boundaries.

Time Line: DURATION: 7 Days TIME SPENT AT THE PAVILION: Visitors at the pavilion are expected to spend close to 20-40 minutes at the pavilion to fully experience the pavilion. Buyers are likely to stay longer.

Communication Strategy: MEDIUMS: The pavilion primarily used formal mediums and a small amount of graphic mediums. The design focuses on communicating brand identity and philosophy through the space itself by way of colour, material, form, and spatial arrangement.

THE IDEA: Drawing on traditional Japanese tea-house structures, architect Toyo Ito took an organic approach that also embodies the Hermès values of natural materials and hand worked craft. His main drive was to suggest different eras and forms; a fusion of heritage and modernity. The two-storey ‘box’ sprawls over 1,040 sq m.

Physical Intervention: Left: The pavilion is made out of wood and other natural material to reflect the brand philosophy. Plants and the organic structure of the wall convey this identity.

Right: The display units outside give visitors a glance of products, providing them incentive to enter the pavilion.

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" Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand."

To y o I t o

A large wooden staircase, in the two storey pavilion, which leads to a mezzanine, gives the space a largeness that is inviting and easy to access.

Inside the pavilion, pods are used as display units for the watches. They emerge from the floor like a plant would and visitors are free to roam among them to see the products.

The Hermès pavilion at Basel world, with soft yellow light, natural materials, organic structure, while giving a sense of class and grandeur, leaves visitors with a sense of warmth and comfort and trust in the brand. The display pods are easy to access and visitors will necessarily walk among them naturally and do not really have to go look at them.

Research

Understanding The Project

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MAKE IN INDIA HANNOVER MESSE 2015

BRANDED SPACES Purpose: The main purpose of the Make in India Pavilion in the Hannover Messe 2015 was to display the country’s industrial strength and the depth of it’s resources, art and craft culture, and it’s potential as a nation. The pavilion is meant to showcase the various and impressive projects which the country has undertaken in recent times, as well as displaying plans for the future, justifying it’s potential. India was also the official partner of the host country at the Hannover Messe, and the pavilion had to fulfil the status of being so, at a prestigious industrial fair.

Time Line: DURATION: 4 Days TIME SPENT AT THE PAVILION: The pavilion, being quite large and with four wings, with plenty of information, may take a good 1-2 hours to cover. People may of course view fewer projects.

Communication Strategy: MEDIUMS: The pavilion primarily used info-graphics for its micro communication.

It also uses material and craft expressions, and modern materials. The pavilion also uses audio visual media, in various parts of the exhibition.

THE IDEA: At the macro level, the layout of the pavilion is that of a ‘chakra’ (petals of a flower), where each petal turns into an exhibition pod. At the micro level the pavilion host craft techniques, such as carpet making, metal work, wood work, textile work (weaving) etcetera, with more modern materials such as steel for ‘jaalis’ and contemporary materials and patters for the carpets. The brand is show with the lion mascot, to show industrial strength.

Physical Intervention: Here we see the strong brand identity of the pavilion and the Make in India project – The Lion which shows the industrial strength and defines the brand identity of the project. We also see the carpet made by traditional weavers across the exhibition, tying the space together.

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Having concluded the two case studies from the category of branded spaces, I went on to reflect upon all the case studies and come up with a concise set of inferences that I drew from each case study in all the categories.

Here we see how a combination of infographics and visual media are used to communicated the content in the gallery as you walk through it.

The use of colour and big, bold environmental graphics is a very important aspect of the strategy for communication in the gallery. Once again we also see the lion mascot that is used in different ways throughout the exhibition pods, much like the carpet, that we see here as well.

Research

Understanding The Project

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INFERENCES DRAWN FROM THE CASE STUDIES

BR ANDED SPACES HermĂŠs: I learned a lot by studying this pavilion in particular. It was a very subtle and cleverly communicated branded space.

What I thought was most fascinating about the pavilion was its use of material to convey brand values. Unlike the other case studies, this pavilion also had a size restriction and very effectively used the given volume. I also enjoyed how the display systems, in their very existence, were created in tandem with the brand identity of the company and the concept of the rest of the pavilion. Another valuable observation I made was the organic shape of the external structure that still managed to use the entire area given.

Make In India: From this case study the most significant take away has been the use of environmental graphics. This pavilion is very heavily dependant on these environmental graphics and bright, bold, contrasting colours.

In the pavilion, I also saw an interesting spatial strategy — from macro to micro. On the macro scale the exhibition plan is that of a lotus and on a micro level there were many separate displays. This was an interesting strategy to use, I thought, but at the same time, I also acknowledged that this strategy is the kind, one can apply to a large space. I also thought the use of a mascot was rather interesting, and aided the brand identity.

The mascot is also present in campaigns.

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FORM DRIVEN SPACES

CONTENT DRIVEN SPACES

Sou Fujimoto's Cloud Pavilion: Here I was more focused on the formal understandings this pavilion brought. Here the pavilion uses exclusively, only form to communicate and function. There wasn't any significant use of colour in the pavilion, either.

British Pavilion: The British Pavilion at the Venice Biennale quickly became one of my favourite case studies. I was genuinely quite blown away by the way the content was handled and how the message was delivered effortlessly. There was very little use of text and very few graphic elements. The subject matter was quite complex, but was somehow conveyed mostly through the effective use of artefacts. In most content driven exhibitions one sees the heavy use of text, especially when tackling a complex issue like this. The pavilion was seamless in its communication and creative at every instance. I hoped I could take the learnings from this and apply them to The Paradise Pavilion.

Another significant inference was seeing the treatment of architecture and form with respect to the environment. As mentioned earlier this was a large focus of the pavilion and its intent.

The modularity and collapsibility of the structure was also something to note. It made the construction of the pavilion much easier, and was a learning I could potentially bring into the Paradise Pavilion.

Jean Nouvel's Serpentine Gallery Pavilion: With this case study, I observed Nouvel's use of dramatic colour in contrast to the pavilion's surroundings. In a different way, but Nouvel, like Fujimoto, also kept the environment in mind — Fujimoto to inter-weave and Nouvel to contrast with. We also see how the dramatic colour affects the overall lighting of the pavilion.

Nouvel's use of levels is fascinating and makes the space so much more dynamic in viewing it from different angles.

Australian Pavilion: Significant things to note in this pavilion, would be the heavy use of alternate mediums to convey the bulk of the content. While there was some amount of environmental graphic work in the space, the content was largely communicated via audio, in the form of stories. The physical space itself was also interesting as it was entirely about one topology/phenomenon. It was clear what the exhibition was about and this was conveyed through a minimalistic setting, with flexible seating. Another factor of note was the effective use of lighting which was a key take away for me with this particular case study.

Research

BRANDING Filter Chocolate: In this brand case study it was fairly clear what the intent of the brand was — to create an identity for fusion chocolates with Indian flavours in a modern, elegant way, however, with Indian aesthetic associations. This was executed well in the packaging of the chocolate which is the only instance where we come across this brand identity. This made me reflect upon the role of contextualisation and how to effectively take something from a particular context, maintain it, which also adapting it to it's new purpose. This, I thought would be a useful tool in the making of The Paradise Pavilion as they use many references from around the world to communicate their brand values and, going into design, I hoped to be able to communicate these references in a new, more nuanced context.

Bottura Restaurant Brading: The thing of most note in this case study was the way the brand identity fuses the old and the new, something I believe I would have to do with the Paradise Pavilion as the client, with their projects, often look to the past, at great empires and monuments and also often look to the exciting present, with security technology, a sense of being cosmopolitan, globalisation and other technological advancements. Aside from this inference, I also noted the heavy and effective use of patterns in this case study, which could be something I may apply in my design.

Understanding The Project

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Fusion of Old and New

Contemporary Trends

Use of Contemporary Colours & Patterns to Invoke Tradition

Use of Context and Association in a Contemporary & Modern Way

Capturing the Spirit of a Culture

Simple Brand Identity

BOT TUR A

F I LT E R B R A N D CO M M U N I C AT I O N

Expression Only Through Form

Use of Dramatic Colour

Use of the Environment

Juxtaposition with Environment

Prefabricated Construction Methods

Changing the Landscape of the Space

Abstraction & Movement of Form

Layered Construction

Form Based

SOU FUJIMOTO

JEAN NOUVEL

PHYSIC AL SPACES

BIENNALE B R I TA I N

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Content Driven

BIENNALE AUSTR ALIA

Use of Objects and Artefacts

Minimalism

Modern and Subtle Colour Palates

Use of Light to Create an Environment

Conveying Content in Space with Minimum Graphics and Text

Heavy Use of Alternate Mediums Light, Audio, Environment etcetera

Conceptual Resolution

Treatment of Indoor Water Bodies

Graduation Project

Use of Material in Branding Transforming a Pavilion into a Small but Dynamic Space Use of Form and Spatial Strategy in Branding Strategic Viewing and Placement of Products Use of a Mezzanine - Structural Relevance Organic Form Construction

HERMĂˆS S PAT I A L B R A N D CO M M U N I C AT I O N

MAKE IN INDIA Macro and Micro Communication Strategy Branding with a Mascot Use of a Myriad of Skills & Materials for Branding Traditional Techniques with Modern Materials Conceptual Resolution Through Large Spaces A Heavy Use of Environmental Graphics Conveying Varied Information in One Brand

Research

Understanding The Project

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GENERAL INFERENCES ON RELEVANT PHENOMENA

Pavilions: There were several inferences I drew on pavilions as structures and means of communication — ­ Pavilions may be of varying durability base on the time frame of the exhibition. The Paradise Pavilion would only exist for 3 days and hence, durability wouldn't be a big concern. I also decided it would be wise to use the entire volume and area of the space, given the money spent on it. The pavilion would have strong formal expressions as the external structure itself would carry little content. The pavilion must also use alternate, non construction material that would make it easier to put together and disassemble.

Branding: After considering the brand objectives of the pavilion, I decided that I would have to use materials, heavily to convey brand identity. Apart from the form, which will be the primary brand medium, I thought it would be great to use materials, spatial strategy, home artefacts and colours to define the brand in the space.

I decided that the space and the elements within, should follow a predefined brand colour palette, which I would later develop.

I would also like the space to follow a brand narrative, to decide the sequence in which the audience receives information.

Mediums: For the pavilion and the content that must be communicated in it, I decided it would be helpful to use a variety of mediums and systems. The design must provide for the presence of such mediums as audio-visual mediums and artefacts. The primary role of communication will be played by form, then spatial graphics and artefacts,and then the audio-visual mediums and hand held graphics. The reason the pavilion must have such a hierarchy of media, is so that I can decide, as a designer, what the pavilion will be driven by, and what will aid this driving force, to give a complete sense of the brand.

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PAV I L I O N S

After the conclusion of the research phase I was feeling much more at ease about how I should go about the project in the following phases. I was already starting to get a few ideas for the pavilion and the display systems but I just wanted to get all my ground work in order before I went ahead.

Varying structural strength based on time frame.

A pavilion must have strong formal expressions.

Use of the entire volume of given space, not just area.

A pavilion must use alternate materials.

The pavilion must stay true to the brand.

BRANDING

Use of materials for brand identity, not just imagery.

Use of form based structures for brand identity.

The pavilion must abide by a brand colour palette.

Focus on movement of visitors & viewpoints for brand experience.

MEDIUMS

Use of spatial strategy to effectively convey brand.

The pavilion must follow a spatial brand narrative.

Spatial branding strategy to be he primary concern.

Design space to provide for audio-visual mediums.

Secondary medium to be spatial graphics.

Elements like furniture will also serve to communicate.

Tertiary mediums to be audio visual media & graphics

Primary communication mediums to be form & material.

Research

Understanding The Project

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The Paradise Pavilion

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THE NEW REDEFINED BRIEF

The initial project brief had left me with a lot of questions. After the research, however, I was much more certain about things and the direction I could take with the project. I had to first summarise all my findings and redefine the project brief.

The task is to design a pavilion for the client – Paradise Group, which is a real estate development company in Vashi, Navi Mumbai, Maharashtra, India. The pavilion must showcase the client's work and properties, in innovative ways.

It must also convey the client's brand identity which embodies the concept of luxury and global lifestyle. There must be use of multiple mediums throughout the pavilion. The structure must be a temporary one, and made from non– construction material. The pavilion must use as much of the given volume and area as possible, and provide a spatial strategy that follows the brand identity, and also allows large crowds to circulate through it, with relative ease. The pavilion must display 16-18 project posters which will be the main content in the pavilion. Also, in addition to these posters, the pavilion must contain other display systems in the space that would provide an interactive edge to the communication strategy. A brand installation must also be developed to give audiences a complete sense of the brand at one touch point in the pavilion.

Additionally the pavilion must have a reception and a VIP room (VIP room, not to be designed). The pavilion must also have a dedicated sales area where the company (client) representatives will conduct the sale of houses, to customers.

Having concluded the research phase and redefining the brief, now that I understood the project better, I was almost ready to move on to the next phase of the project.

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1.13

THE END OF RESEARCH: THOUGHTS & REFLECTIONS

The research for this project had taught me a lot about the project an the nature of exhibition design and branded spaces in general. Because I was given such an open brief, it took me a while to grasp what exactly my task was – what did I have to do? What rules did I have to follow?

After spending about a week in utter confusion I realised, I had to narrow down this brief so that I can follow some sort of direction. I had to make my own rules. And these rules would have to be based on valid research and design requirements.

After settling upon a concise design process, I found it much easier to get through every step of the project without worrying, at every stage, about the final outcome of the project.

Having a process also allowed me to stray from it effectively – something I now had the luxury to do. I realised that exploring a few tangents can be very valuable and can later enrich and modify the design process, but it was very important to have a process I could take tangents from – it became a sort of chaotic harmony as opposed to just plain chaos that impossible to navigate through.

Following the process, I discovered more information about the client which allowed me to refurbish its brand identity, understand what its brand stands for and what they need to showcase, understand the location and the audience it would draw, and understand how I had to move forward from the Paradise Pavilions of the past.

With these new understandings that dictated new goals, coupled with case study research to understand, better the nature of different kinds of temporary spaces, I was left with a new set of inferences that defined my project and my objectives in much more refined manner.

Since this was my first external live project that I was solely in charge of, I wasn't being told what to do – I wasn't being told to follow a specific design process like in the classroom. But I needed one anyway and I took it upon myself to tailor one suited for this project. I had found in myself, a new respect for 'design process'.

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The Paradise Pavilion

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GET TING AROUND THE INITIAL GROUND WORK /

The Paradise Pavilion

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DUE DILIGENCE & STRATEGIC DEVELOPMENT

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Strategic Development would help me to form what will essentially become the main skeleton of the project. It is an entire design strategy that would emerge from the use of certain spatial design tools. It would help me understand what the final outcomes of the design must be, what is required of the space in terms of zoning and experience, and most importantly it would help me tailor the structure of a precise and intentional experience for the audience, that will later be designed to detail in subsequent phases.

LO C AT I O N Although, I had already conducted a site and location analysis, it was important for me to understand, in greater detail the nature of the location — the dimension of the space I was given, the limitations and requirements of the space, and other logistic issue that may arise from the nature of the exhibition space, in which the pavilion will be built.

N A R R AT I V E M AT R I X This particular strategic tool has proven to be an incredibly important one. It has allowed me to build a spatial narrative and define this narrative in spatial zones. The first step is to identify the different zones (from the location study) and set it to a rough sequence. The second is to form the matrix that must take into consideration the main purpose, importance, characteristics, and the use of mediums of these zones.

DESIGN PROPOSAL I used this tool as a sort of response to the new project brief. Creating a design proposal addresses a lot of questions one may have about the project. It made me think about the project in a systematic way in order to answer the questions a design proposal forces you to ask regarding the purpose of the project, the client, the audience, the use of mediums , the communication strategy, the main message of the project and the designer's personal ambitions. This paves the way, for ideas that work in design, clear thinking, and a well informed final output.

CONCEPT M E TA P H O R S This particular exercise stood out from the others in that, this relied on imagery and concept building. Before diving into ideation I decided to come up with key brand concept ideas, in the form of objects or phenomena.

These were concept metaphors and were closely connected to the brand philosophy and identity. After having narrowed down a few concept metaphors, I decided to give myself some visual reference for these metaphors by way of expressive collages. I believed having original visual references, going into ideation, would be extremely helpful in coming up with ideas, closely related to the brand concept and identity.

Initial Ground Work

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LOCATION REQUIREMENTS, LIMITATIONS, & ZONING

REQUIREMENTS Ventilation: The pavilion had specific needs for ventilation. The air conditioning in the exhibition hall was at the height of 2 meters.

There would be air conditioners on both sides of the pavilion at this height. So I had to make sure the air was coming through the sides at around the same height.

Self-Standing: The structure of the pavilion needed to be self standing. That is a one of the requirements that the fair had given it's participants.

Quick Assembly: The Pavilion needed to be assembled and disassembled quickly, as the exhibition is only for 3 days.

DIMENSIONS The space given to the Paradise Group was at the end of the gallery, and was the largest pavilion in the exhibition centre. Here are the dimensions for the pavilion.

25000mm 27000mm

A 5 metre, path is provided in front of the space, for circulation within the exhibition centre. Hence, the pavilion had to strictly stick to these dimensions.

Later on in the project, however, there is a change in the dimensions of the space, that subsequently affects design decisions down the road. But for the time being, I continued to design with the current dimensions.

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L I M I TAT I O N S Ceiling: No part of the pavilion must touch or physically interact with the ceiling. This means that nothing can hang from the ceiling – reiterating that the structure had to be self standing.

CIDCO Entry Outdoors

Lighting: The pavilion is not supposed to have a ceiling, as directed by my boss. This dictates, that the lighting of the exhibition centre will play a big role in the lighting of the pavilion. Hence the lighting in the space will have to take into consideration the ambient lighting.

Stalls

IDENTIFYING S PAT I A L ZO N E S

Pavilion Entry First View

Reception

In order to tailor a proper experience, it was important to identify spatial zones and their functions and properties.

Pavilion Entry: This is the first point of entry and interaction with the audience.

This also includes the facade of the pavilion — which is really the first visual indication of the existence of the pavilion, and it's formal brand expression.

Reception: This is the first place where the audience gets to physically interact with the pavilion. This is a touch point for consumers to get information about the company.

Brand Initiation: In this zone of the space, the audience is introduced to the brand and their values through form and graphics, and the content presented in the pavilion.

Exit

Brand Initiation

Sales Area

Filler Spaces

VIP Room

Sales Area: This is the zone of the pavilion in which the sale of the client's properties takes place.

VIP Room: This is the zone of the pavilion in which important clients of the Paradise Group are catered to.

Filler Spaces: These are the spaces in the pavilion that act as fillers. These zones act as aids of the more vital communication zones in the pavilion.

This diagram describes the strategic movement of visitors in the exhibition fair, with respect to the Paradise Pavilion. It also describes the importance of each zone and their relationship with each other through size, sequence, and positioning.

Initial Ground Work

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EVENTS

Pavilion Entry

SPECIFIC ZONE FUNCTIONS & QUALITIES: NARRATIVE MATRIX

Reception

Brand Initiation

Sales

VIP Room

Filler Spaces

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SIGNIFICANCE

This will be the key view point for the pavilion. It must attract visitors and will be the first thing they see. It must convey a sense of brand identity in one glance.

This will be where visitors are given initial information about the pavilion and the brand, by agents of the brand sitting at the desk. Visitors my inquire about the pavilion and brand.

This will be the area where visitors will be initiated to brand upon entering the pavilion before moving to the sales area.

This is the area where visitors will interact with agents of the brand for the buying of properties and inquiries regarding projects etc.

This is where preferred customers of the brand will conduct business with brand agents. This will be a separate enclose/ semi enclosed area of the pavilion.

These will act as non functional areas that support the purpose of the pavilion and provide a pleasant ambience in the pavilion.

CONTENT

VISITOR EXPERIENCE

MODES OF REP

QUALIT Y OF SPACE

This area will contain a small view of the brand identity. And a sense of grandeur and trust will be communicated.

The key experience in this zone will be that of curiosity and a mild sense of being overwhelmed, but comforted and interested.

The primary modes of representation to be used here will be form and material.

The space will be grand and large and almost a landmark of sorts. It will be well defined. The space must be open and welcoming.

This area will contain all information about the brand, projects by the client and details about sales procedure that visitors may choose to engage with as they pass by.

The key experience in this space will be that of trust and reliance. The visitors must feel comforted and welcome to inter the pavilion or to get brand and project details.

Here the pavilion will use hand held graphics and people for communication.

The space in this zone will be warm and pleasant.

It will be comforting and use comforting colours and materials that make the area approachable.

This area will contain easily communicated brand information, brand values, and client project highlights.

Here the visitors must feel a certain allure toward the brand. The visitors must also feel desire for the lifestyle the brand if offering, in this zone.

Here, the modes of representation will include form, material, environmental graphics, hand held graphics, audio visual media and light.

The space will be grand and interesting and make people want to linger in the pavilion. It will be a fairly open space that welcomes people to explore it

This is where the business transactions will take place and will thus be the area where details regarding the same will be communicated to visitors.

Here visitors must primarily feel trustful and comfortable. They must feel a sense of grandeur and an allure to the brand.

Here, the modes of representation will be form, material, graphics, other elements such as furniture and objects (glasses etc) and people at the sales desk.

The space in this zone will be slightly intimate and restricted while still being organic. It will be a space that allows private conversation and contemplation.

This is also where business transactions take place, however more lucrative, and information regarding this is provided here.

Here visitors must feel trustful and well taken care of. They must feel a sense of exclusivity and grandeur.

Visitors, must be in awe of this space.

Here, the modes of representation will also | be form, material, graphics, other elements such as furniture and objects (glasses etc) and people at the sales desk.

The space in this zone will be much more intimate and grand. It will be exclusive and special. It will be curious and very interesting and intimate.

No content of much significance will be provided here. However, it will be an area where supported brand communication will be provided through alternate media.

Here the visitors must continue to experience primary experiences provided by other zones subtly. It must act as a stop gap for these emotional responses.

Here the pavilion will use alternate media like water, materials, form, and audio visual media.

This zone must be primarily open, interesting and comforting.

Initial Ground Work

After completing the narrative matrix, I had much more clarity about the communication strategy for the pavilion. With a clear idea about how each zone would work, what kind of activities take place in each zone, and how the mood is, I could eventually come up with pavilion ideas, with a better sense of what it must achieve.

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THE FORMULATION OF A DETAILED DESIGN PROPOSAL

Subject: The subject for this particular fair would have to be defined as modern, luxurious and global living in the realm of property and real estate and lifestyle development. The fair must communicate, the brand identity of the client.

Intent: To create a space, to attract and sell to buyers, property by the client (Paradise Group). It must be a touch point for the client to showcase their real estate ventures and latest projects, in order to sell their developed houses to potential buyers who would be visiting the fair for this purpose.

It should be a comfortable, formal place where business can be conducted and buyers feel welcome. It should allow buyers to sit, make decisions and ask questions. It should primarily function as a retail and advertising space for the client.

Context: The property fair will be held in Vashi, Navi Mumbai. It is primarily a pavilion of sorts that will act as a kiosk and selling point for the client. It is not a travelling pavilion but still is a temporary structure. The main cultural context for the fair, will be that of the urban lifestyle and modern living, in addition to the way in which architecture is being practiced in the city. The client also believes in global living which will also provide significant context for the design concept of the pavilion and the way in which the audience will expect when approaching the fair and the client. The context must thus reflect a global understanding of the modern lifestyles.

Client: The client is Paradise Group.

Paradise Group is a prominent real estate developer in Navi Mumbai and Mumbai and has most of it’s projects around the area. The group strives to create not only houses and homes but rather, entire lifestyle and community ecosystems. Most of their developments include not just buildings and flats to live in, but other facilities and spaces that would comprise of an entire city/ township, such as medical facilities, spaces of entertainment, green spaces, shopping complexes, centres for business, etcetera.

The group is also the most trusted developer in Navi Mumbai. Another essential aspect

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of the client profile is the brand identity the clients strive to maintain/create. The brand strongly believes in the notion of big, global living and this identity is one of its USPs in the proposal of any project it undertakes. This identity that actively strives to give global experiences, will be a prime consideration in the planning, and design of this project.

tackling different priorities and ambitions as a project itself and as its such a large venture these will affect the design process.

I am keen on exploring such a method of decision making and learning how to do it properly. Also the project will require a quality and finesse which I would like to achieve and master.

Audience: The primary audience for the property fair is people who will buy houses made by the client. Potential buyers would include, generally speaking the affluent upper middle and upper class of Mumbai.

The age of the audience will range from 30–60 years of age, and is also expected to be of both genders more or less equally. The audience will also expect a certain level of service from the client and the fair.

Key Message: The key message that is to be communicated in this fair is to buy the client’s developed houses and to communicate it’s core brand identity —“We create luxurious global homes and lifestyle experiences for you and your families.”

Communication Strategy: The primary and biggest layer of communication would be that of the form and formal elements of the pavilion itself. The pavilion must reflect all the values of the client, along with serving its function as a place for display and selling. Formal communication must extend to the inner structure and experience of the pavilion as well as, in other elements such as the seating systems and other furniture. Apart from this, there will also be communication in way of graphics such as posters, environmental graphics, AV, catalogues etcetera. Another relevant factor in the communication strategy will be the people present at the fair and interacting with the audience and handling the final phase communication.

Designer's Ambition: My main ambition in this project is to understand brand identity and how it affects the design of a space in form and as well as in philosophy. It is also a commercial project and thus requires a very different approach than anything else I have worked on in the past. It will also be

Initial Ground Work

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THE BRAND AS A CONCEPTUAL PHENOMENON

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BRAND CONCEPT BUILDING

BRAND CONCEPT M E TA P H O R S

After gaining an understanding about the pavilion and the strategy it must adopt, I had to start building a brand concept. Building a concept is something that I found to be helpful in tying the pavilion together. It is an underlying, well reasoned, intellectual bond that connects the varied elements in the pavilion together.

After deciding the process I had to follow to come up with relevant brand concept metaphors, I went ahead and came up with three relevant metaphors in tandem with the client's key brand identity and values.

The process of building a pavilion with a specific brand concept must be a sound and rational one. I did this by assimilating some of the key characteristics of the brand — specific phenomena that is driven by their core values of luxury, grandeur, comfort and global living.

I then considered each phenomenon, and came up with a pragmatic equivalent for them, which became my concept metaphors, which were visually represented,as that was their final purpose – intellectual justifications for visual and sensory design decisions. From these, one metaphor or a combination of two three metaphors was chosen. These metaphors are an easy way to communicate with audiences, about the inherent intellectual phenomenon that ties the pavilion together – since they are associative in nature. For instance, if a space wanted to communicate the theory of not having any choice in our actions, a possible concept metaphor would be that of feeling trapped like in a prison. One can then use this metaphor and abstract it in to the space and the elements within it, to bring about intellectual coherence.

Puzzles/Fusion: This metaphor represents the phenomenon where the client tries to piece together all good things from around the globe (global living) and provide it in one big, grand living experience, through their properties and housing.

Ecosystem: This metaphor is symbolic of the wholeness of life, and lifestyle needs the client strives to fulfil through their projects (comfort). The properties have everything a person may require to carry out day to day activities, such as shopping, cooking, eating, exercising etcetera, and hence represents, in itself, a thriving ecosystem.

Seamlessness: I chose this metaphor specifically because I felt it had tremendous visual potential. It represents how the client strives to provide the seamless lifestyle to its home buyers by way of facilities, security, quality, convenience and overall standard of living (comfort and grandeur).

Of course, design decisions aren't taken solely on the basis of these concept, metaphors — the designer must consider all other factors, such as functionality, mood, inherent associations to form and colour, synaesthesia etcetera — but the chosen concept metaphor is a helpful reference point to make certain design decisions and bring intellectual coherence to otherwise somewhat intuitive aesthetic decisions.

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PUZZLES/FUSION

Mood board Collage for Brand Concept Metaphor: Puzzles/Fusion

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ECOSYSTEM

Mood board Collage for Brand Concept Metaphor: Ecosystem

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SEAMLESSNESS

Mood board Collage for Brand Concept Metaphor: Seamlessness

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COMBINING T WO CONCEPT M E TA P H O R S

Although the metaphors were decided upon, I thought it would do me good to have more visual references, before moving on to the next phase of the project. Hence keeping the two concept metaphors in mind, I indulged in one last activity, to aid my visual vocabulary.

I decided to combine two metaphors, to give a more concise sense of the brand. As Global living is one of the brand's biggest value propositions, I thought it important to use the puzzles/fusion metaphor. I chose to use the Seamlessness metaphor as it take elements from the ecosystem metaphor and adds to it more layers of nuanced meaning.

The two would combine to give a more evolved, stimulating metaphor, combining key brand values and systems – A Seamless Fusion. I also believed the two metaphors would work well visually and provide many interesting design opportunities. I believe the inherent aesthetic association that these two metaphors bring, gel very well together and can make for exciting visual language.

It must however, be kept in mind that, the concept metaphor is only a starting point for ideation – which as a process is a fairly free and abstract one that should be devoid of too many preconceived notions. The brand concept metaphors simply provide intellectually justified, properly curated and original visual cues for the ideation process.

After having settled on these, I was ready to abandon all preconceived notions, let my subconscious mind do the associative work and delve into ideation with a certain sense of freedom. I would then once again look at these concepts at later stages in design and make retrospective connections to dictate my design decisions.

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VISUAL CUES F O R M E TA P H O R S After finalising my brand concept metaphor I decided it was time to update my visual vocabulary — I had to widen in and narrow it down, to get a better sense of what the brand meant visually and what the pavilion had to represent in expression.

It is important to keep having fresh visual cues as the project evolves, to keep track of the visual journey taken by projects, driven by the design process that dictates it.

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Left Page Clockwise: Fine Lines Porcelain Dinnerware Collection by Cheeky Home | Parametric Wall by Karl Singline | Light and Shadows by Anonymous | Hatert Tower Building by 24H Architecture | I Have This Thing With Floors by Moon to Moon | Fashion Design by Gi Kim | We're All Just Humans by Lost Website | Geometric Seamless Patterns

by Creative Market | Stairs by Rasheed Singaby | One – Design Inspiration | Architectural Perspective on Wordpress | Thesis Project by Andrew Wagner Right Page Clockwise: Mapping 2013 by Jeremy Tourvieille | Blush Pink Leaves by Prints Projects | Typography by Anonymous | Man Walking Down The Stairs by Tom Cuppens | Architectural Photography in Spain by Fubiz Media | Cardiff Bay Car Park by Scott Brownrigg | Artisan Tile Edgewater Studio | Canopy by Axel Paredes and Ana Almeman | Light and Dark Architecture by Anonymous | Book Cover Hong Kong by Fan Ho | Interior of the Rosenblum Collection in Paris by Joseph Dirand | Agglomerato by Giacomo Costa

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THE END OF INITIAL GROUNDWORK: THOUGHTS & REFLECTIONS

This phase of the project came almost effortlessly to me. I am at my happiest when strategizing. Following the design process I had set into motion in the previous research phase, I looked at each exercise of the initial ground work as individual task that I had to effectively undertake, with the previous task informing the current one. It was really like building a structure from the ground up. I think that I what I really enjoy about design strategy – it is a perfectly logical journey that you can easily communicate to anyone who asks about it (in this case, you the reader).

This new found love for design strategy also triggered many thoughts about design and the nature of designers – I have always envied people who can delve into the chaos that is design, art, and creativity, and come up with creative ideas effortlessly. However, I realised that there is so much more to design. I once again reminded myself of the difference between art and design – art is a form of creativity and self-expression, whereas design must fulfil a specific need that has little to do with the designer. The designer in any project, has a voice, but only second to his client's primary needs. The creativity embraced by the field of design is not necessarily that of an expression, but also that of the nature of the solution and the forming of a strategy followed by the same chaotic creativity that is required of an artist in order to come up with design solutions that not only fulfil requirements but also inspire and affect culture, as art does.

So I guess what I was wondering is, are there two kinds of designers? The strategic thinker and the creative genius? The design process requires both of these skills, so could one designer be both, or are these natures mutually exclusive – I certainly felt that I had a stronger suit in strategic thinking. I suppose I could only find out through time, experience and interaction with more and more people.

For now, I would take these thoughts and put them aside, because I had to now, move on to the much feared phase of chaotic creativity – ideation.

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THE PROCESS & TASK THAT IS IDEATION /

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SYSTEMATIC IDEATION: FROM THE EXTERNAL TO THE INTERNAL STRUCTURE

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100 SKETCHES Abandoning all preconceived notions about the project and the process I had followed to acquire these notions, I decided to forget about strategy for a while, let the creative juices flow, and get right to sketching freely, about a hundred sketches. I think it was vital for me to have this volume of sketches to get past the obvious ideas to come to the more relevant and interesting ones. The sketches are meant to be simple clear form driven expressions that can then be taken forward in the next few stages of ideation.

SCALE MODELS After the sketches, I decided to choose similar sketches to form a single topology.

Using this topology with its parameters, I made scale models of the pavilion to explore ideas for the external structure – primarily the façade. I found it very helpful to explore through physical models because I wasn't just sketching something on a 2D surface, but actually exploring form in 3D which gave me a better understanding of how it would affect the outcome of the pavilion. There is something wonderful about using ones hands to manipulate material, not keeping a concrete goal in mind, and have a beautiful form emerge from it.

Keeping all these things in mind, I began to come up with ideas in the natural way a designer does — through many many little sketches. These would serve as the starting point of the actual process of abstract thinking and design.

is mostly visual. To tackle these necessities I realised I would have to come up with an aesthetic concept that can accommodate all these needs. Along with form, I also thought it important, to have an aesthetic concept that directly correlates with luxury living and housing, hence creating a deeper, more layered narrative connection with the brand and what it offers. Defining this aesthetic will dictate the look and feel of every single element in the space, which will in turn communicate to the visitors, at every touch point what the pavilion and brand are about.

Moving From The Outside to The Inside: Since the external structure will be entirely form driven, with minimal graphics, and the inside of the pavilion will be following a very strong, purpose defining aesthetic, it is very important to keep in mind the resulting transition and how it must be handled. In that the juxtaposition of the two, will, in itself, form the evolved concept for the full Paradise Pavilion, along with the aesthetic.

Keeping this in mind, it was important for me to track the evolution of this aesthetic and how the external and internal structure affected each other. The key was to make sure they go hand in hand with each other, and at the same time are both conveying the client's brand, core values, and of course, the rest content in the space.

INSIDE THE PAVILION Representing Luxurious Lifestyle: A key challenge with this project was trying to figure out how to display luxurious lifestyle in the context of real estate. Figuring out this would be vital in deciding what additional display elements will be put in the pavilion, and how they will aid communication of the brand. Communication this essential brand value will dictate many design decisions.

The Aesthetic Direction: The pavilion from the outside, is going to have a minimal, form driven structure. On the inside, however, the space will have information and content that

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ABOUT A HUNDRED SKETCHES DAY 1 & T H E TA S K S EE M ED A L I T T L E B I T I N T I M I DAT I N G

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CO M E DAY 2 , I WA S GET TING IN THE FLOW

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DAY 3 , A N D I S TA R T ED TO FIND MY RHYTHM

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BY DAY 3 , S K E TC H I N G WAS ORGANIC TO ME

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BY DAY 4 , I WA S FEEL I N G PRETTY BOLD

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A N D BY DAY 5 , W EL L , I WA S J U S T A N AT U R A L

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CHOOSING A TOPOLOGY

Using this topology along with its parameters, I decide to start thinking and exploring more in detail, however, this time, in 3D. Basic Topology

After going through the exercise of sketching without any preconceived notions, it was time for me to look back at the sketches and evaluate them. I had to see, practically, which ones I could use, and which ones would make for good expressions.

In starting to choose the sketches, I looked, once again at the brief of the project to make strategic choices among the sketches. After reading the brief again, and keeping the strategic development in mind, I decided to narrow in on a few sketches that followed a very specific topology. The parameters that were followed by the chosen topology are simple, but very important.

Large Area: Since the client spent a lot of money per square foot of the space, in the fair, hence having the biggest pavilion in the exhibition, I wanted to really take advantage of the area I was given. I wanted to use as much of it as possible. I also thought that a large space was very much in tandem with the brand identity that promised grandeur.

Large Volume: One striking aspect of the CIDCO Exhibition Centre (site of the fair) is it's immensely tall ceiling height at about 18 metres. I was very keen on taking advantage of this height. The large intimidating height of the pavilion would create a promising notion of large, luxurious and grand living.

Large Entrances: This was a factor I simply had to take into account. Given the number of people that visit the fair and pavilion every year, I decided, there had to be a large/ wide entrance, to maintain systematic crowd circulation throughout the pavilion.

Rhythmic/Seamless Expression: The pavilion structure, being entirely form driven and large, must have a compelling and comforting expression, In tandem with the brand values, it must be organic and comfortable, yet intimidating and large.

Keeping these factors in mind, I decided that having a certain rhythm in the façade’s expression would help the cause.

Ideation

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TOPOLOGY EXPLORATIONS THROUGH ROUGH SCALE MODELS

When I started this exercise and followed the chosen topology, I was mostly looking at the space and the faรงade as a surface. Hence the resultant explorations weren't exciting.

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I slowly started to bring some for to the surface to add expression, but this was still only a surface expression . The form and structure of the pavilion weren't saying much at all.

Then I started to move entire walls in the structure of the pavilion. These subtle movements were now starting to give more meaningful expressions.

I later started considering transparency and white space in the structure of the pavilion.

I also wanted to explore how the white space could be functional for ventilation and act as an entrance to the pavilion.

Although, I was sticking to purely formal expressions, I also wanted to explore how material would affect form, in at least some of my models

Ideation

3.3

Toward the end, I was looking at large scale formal interventions that made the pavilion, intriguing, bold, organic and rhythmic. My ideas were more evolved and much more in coherence with the client's brand values.

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THE THREE CHOSEN DIRECTIONS FOR THE EXTERNAL STRUCTURE

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DIRECTION 1

After choosing the three directions, I had to consider them seriously and work on each of them to a certain degree before making the final choice of external structure.

In this version of the pavilion, the main expression is that of the reflective faรงade, which communicated a sense of grandeur and luxury by way of the material itself.

The scope for more specific expression was present in this idea, as the expression will change with the treatment of the material, which is something I will go on to explore.

This direction, is the most efficient one, in terms of space utility and volume. There would be certain changes required in the structure itself to provide for ventilation within the pavilion (a requirement of the space, as previously mentioned).

DIRECTION 2 In this version of the pavilion the main strength lies in the bold expression of the faรงade. Here I really wanted to emphasise on the organic luxurious nature of the brand.

It makes for a grand, but inviting pavilion.

Although the side walls have a provision for ventilation, I wanted to explore options for these walls. How different walls would affect the main expression. I would also later have to provide a large entrance and I would have to see how this might affect the form and expression of the pavilion. Although the expression is a very powerful one, this idea isn't as space conserving as the other two.

DIRECTION 3 What I find most interesting about this version of the pavilion is the fusion of strict rigidity and an organic expression.

The rigidity is brought out by the tall erect structures that are equidistant (except at entry points), and the organic expression is brought about by the movement with in these erect structures. This makes for a very intimidating and yet inviting pavilion with promises of luxury. The faรงade also follows a very strict rhythm that is only broken by the movement created by the bends, giving the faรงade a whole new direction in movement.

Here, I would have to change the side walls.

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3.3

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DIRECTION 1

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This particular direction, was driven by the reflective surface material. The treatment of this material would hence, entirely define the expression of the pavilion. The material would likely be a reflective and light metal and hence the possibilities were endless.

So I decided to explore the ways in which the reflective materials can be fragmented, into a sort of mosaic , to give different expressions. The form of these fragments and how they interact with each other will determine the outcome of this expression.

I tried forming different patterns on this reflective surface to give different kinds of expressions. I explored regular, irregular and organic patterns to apply in the walls, I also had to explore a ventilation option that I got to, toward the end. At this stage, I wanted to make about five iterations per direction before making a decision about the final direction of the external structure.

Ideation

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DIRECTION 2

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With this direction I was quite happy with the faรงade and the expression it was giving, but I thought the side walls were worth exploring. My boss also felt, that the side walls didn't quite work with the faรงade. Thus I went about exploring different options for the walls.

I explored with a plain regular wall, but shorter (to bring lightness to the structure, and for ventilation), with stronger sharper expressions, and with other mostly regular expressions to compliment the very organic and curvy structure of the faรงade.

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DIRECTION 3

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With this direction it was very important for the walls to compliment the faรงade as the faรงade is relatively lighter as an expression in form. I had to make sure that there was provision for ventilation on the side walls.

I explored the idea of having an organically shaped wall, but I mostly wanted regular shapes for the side walls so as to not interfere too much with the rhythm and expression created by the faรงade. My iterations, hence focused on a variety of sombre, regular walls that were more or less neutral or in coherence with the expression of the faรงade.

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THE FINAL DIRECTION OF THE EXTERNAL STRUCTURE: CONCEPTS & REASONS

THE CONCEPT The pavilion focuses on expressing key brand values – luxury, global living, comfort, largeness and grandeur. To abstract these values, I followed certain key words while developing forms for the pavilion (facade) –organic, bold, intimidating, rhythmic and flow. This, with the strategic requirements of the space, led me through the exploration.

This particular direction, embodies these values very well through key words. The height of the façade along with the rhythmic repetitive formal expression makes for a very powerful and intimidating expression, alluring to the fact that some thing large and grand is at play. The breaking of this strict erect rhythm, by the bending of the segment at different heights and to different degrees, gives the façade, a different sort of rhythm and movement that is organic and has flow, inspiring the feeling of comfort and luxury.

SELECTING THE I T E R AT I O N This particular iteration of the idea was chosen because of the simplicity of the wall.

It is a plain wall with a gap for ventilation that then transitions into a wall with glass panels. Given the significant height (12m) of the pavilion, it was important to make sure the structure remained light. Glass would be able to fulfil this role, while making the pavilion look more finished and expensive.

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DIMENSIONS The most important reason for choosing direction 3 for the pavilion was the change in dimension. In the middle of the project, I was told the dimensions of the space given to us, had changed, making for a very wide facade and narrow pavilion. The dimensions were now 12000 x 28000mm. back

12000mm 28000mm

front

Although my boss and I were already leaning toward the chosen direction, this change in dimension solidified our decision immediately. We realised that, of the three directions, the expression brought out by the chosen direction would work best in the new spatial dimensions. Not just that, we saw it actually being enhanced and working better with the new dimensions, as the new width of the faรงade would bring out the rhythm and allow for a more organic expression in the concept in much more powerful way.

T H E CO N C E P T, THE BRAND & T H E M E TA P H O R S I felt that this formal expression was not only in coherence with the client's brand values but also in coherence with the selected brand concept metaphor. The form with its movement and dual direction, gives the sense of balance and trust, while the strict linearity of the expression along with the size of the faรงade (height and width) would give a sense of largeness, intimidation, awe, and strength. The rhythm of the pavilion gives it a sense of comfort and luxury.

Apart from these formal justifications, the concept in this direction, also tied in very well with the brand concept metaphor as previously mentioned. The rhythm, linearity and movement in the expression tied in extremely well with the concept of seamlessness which was a very important part of the metaphor (seamless fusion). It also fit into the metaphor for fusion as it inspires two very distinct kinds of emotions upon viewing the facade.

EFFICIENCY This direction is not just conceptually sound and visually compelling, but also spatially efficient. Unlike direction 2, the faรงade does not take up much space.

EXPRESSION Despite the powerful expression that was brought out in direction 2 and the possibility of tailoring specific expressions in direction 1, upon reflection, the formal expression in this direction, was much more in sync with the brand and its values. It created a fine balance between comfort and intimidation, awe and warmth. It also sparks curiosity.

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EXTENSION OF THE CONCEPT: INTERIOR STYLE & AESTHETIC

HOW TO CO M M U N I C AT E LUXURY LIFEST YLE? One of the key challenges for me with this project was to find an effective way to convey luxury lifestyle. Unlike with luxury lifestyle accessories, such as watches and jewellery, with real estate, there was really no product to be displayed around which the space would be modelled and designed. The challenge was to find a way to communicate the subject of the pavilion – real estate. Thus, I decide, that in the interior of the pavilion, I would include luxurious home elements to make the subject matter known at any given touch point of the pavilion.

T H E J U X TA P O S I T I O N :ABSTRACT & HOME ELEMENTS Now that I had decided to include home elements in the pavilion, it would be a factor that heavily dictates the aesthetic outcome and communication strategy of the pavilion.

It was important to bring the minimal form driven aesthetic and the aesthetic that the home elements would bring, together in harmony, and to handle this transition well.

The concept of the pavilion, hence evolved as a juxtaposition between pure abstract formal expressions that communicated the brand identity in more subtle inherent synaesthetic ways, and home elements that would define the aesthetic of certain display systems and internal elements, and convey the subject matter with more depth, detail, through association with artefacts. It would also bring a blend between modern and traditional design, which is something that falls in place with what the client is trying to achieve through it's projects.

It was very important to create a balance between the two aesthetic directions. I did not want to completely leave out abstract form from the interior of the pavilion.

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3.6

"I like elegance. I like art nouveau; a stretched line or curve. These things are very much in the foreground of my work."

H. R. Giger

THE INTERIOR ST YLE : ART NOUVEAU Now that the basic concept of the entire pavilion was decided — a juxtaposition of abstract form with home elements, it was important to understand how I must design, or choose these home elements in the space.

In order for the home elements, as artefacts, to make the right association it became vital follow a single interior aesthetic style and for it to be the right one. After some research I decided that Art Nouveau was the most appropriate style, for a number of reasons.

It is a very lavish and intricate style of art, and interior design. It is an ornate style that is inspired by the intricate forms in nature, making for very free flowing, organic, and beautiful elements, in any medium. These values and aesthetic characteristics blend in very well with the values of the client's brand and brand identity. It conveys a sense of being special and royal because of the adorned and elaborate nature of the style.

Aside from the aesthetic, the style also blends with the brand conceptually. One of the significant characteristics of Art Nouveau, especially in architecture, is the successful use of a variety of materials and finishes in the design. It brings together a fusion of techniques and materials to perfect any architectural expression. This concept fits in very well with the brand concept metaphor – Seamless fusion. The other way in which the movement is the right one for the pavilion, is the historical context of it – The movement arose in France around 1890 in a period of prosperity. The style is very intrinsically associated with wealth and luxury and is hence the perfect style for the home elements in the Paradise Pavilion.

It was important for me to understand some of the key aesthetic principles that drove the Art Nouveau style, in order for me to use the style in the pavilion successfully. It was also important to establish certain principles followed by the Art Nouveau style that would affect the design of the pavilion.

Nature Influenced: The Art Nouveau style is inspired heavily by nature and motifs from it. It uses a combination of straight lines and curves inspired by fauna.

Use of Materials: The Art Nouveau style was conceived in a time of prosperity. The artists wanted to take advantage of this and use a variety of materials that are treated with a great degree of craftsmanship.

Contrast: The Art Nouveau style of architecture tends to use light flooring and has dark elements in the space as contrast to make both stand out.

Colour: The style used a lot of colours in contrast to the spaces. Art Nouveau uses a lot of pastels. It also uses a wide but definite colour palette, that arises from the use of materials such as gold, iron, wood, stone, plaster, glass etcetera.

Clockwise: Agen Art Nouveau Gate And Door

by Georgia Fowler | Victor Horta, staircase in the Van Eetvelde House, Brussels Belgium | Palma de Mallorca, Spain | Catalan House by Antonio Gaudi, Barcelona | Art Nouveau Door in Barcelona | La terrasse de l'Elysée Palace, France | Art Nouveau by Antonio Schubert, Havana, Cuba

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THE INTERIOR ELEMENTS: REQUIREMENTS & IDEAS

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REQUIRED INTERIOR ELEMENTS Sales Area Seating: This is the area in the pavilion where the sales of the client's properties will take place. Each seating system would consist of one small circular table surrounded by four chairs.

General Seating (Furniture): This is the seating that is required for visitors to sit down and relax and take their time to go through additional client information by reading brochures etcetera.

Property Posters: The client's property posters are the main display elements in the space and would be the bulk of the content.

Scale Models of Main Projects: The client has two main large projects that will be given importance within the poster display system. These projects will also have scale models that need to be displayed.

AV Installations: It is required of the space for there to be at least four audio-visual displays to showcase any films and other ineractive content the client may wish to share with the visitors.

RECOMMENDED INTERIOR ELEMENTS After considering the revised brief once more and the brand identity requirements, it became clear to me that additional layers of communication were required to make the brand communication and subject matter more interesting to audiences.

Brand Installation: I realised a brand installation would be an excellent way to showcase, in a more direct way what the client has to offer. It would be a single touch point in the space for the audience to experience the brand.

AV Room: This is a provision I want to include in the installation in case the client has any interactive media to showcase.

I D E AT I O N Now that I had a list of elements that needed to go into the pavilion, I had to come up with ideas for each of them. All the elements would have to contribute to the overall brand communication in the space.

Poster & Models: This is the primary medium to communicate the content in the pavilion. I wanted this display system to follow the art nouveau home element aesthetic, and be slightly more interactive, than the posters from the previous years.

They could be audio visual in nature and so I wanted them to be wall mounted to provide for this opportunity.

Sales Seating: The space needs to be organically divided into different seating zones. Given that visitors would be discussing their potential home in this space I decided the space needed to be intimate and comfortable.

Brand Installation: I started thinking of ways in which to represent the brand at this single touch point. I was also thinking of a solid way to communicate what the brand offers and how to communicate the proposition of luxurious living, since in real estate there is no product to be displayed.

I then thought, maybe there could be a product, in fact, there could be many. When one thinks of a luxurious lifestyle, one can think of many objects in association with it.

For instance, people always think of pools, large open spaces, luxury products etcetera.

So I decided to quite literally show what the brand is offering, through an installation made up of artefacts in association with luxury living. This installation can be nicely wrapped up with minimal text explaining what it is meant to represent. The ideation for this element would revolve around how the artefacts must be displayed.

Furniture: The furniture in the pavilion, provides an excellent opportunity to hone in on the art nouveau home elements aesthetic and accentuate the interiors of the pavilion.

What will become an important decision, is how the furniture will be placed, in a way it demands a certain amount of gravitas.

Ideation

3.8

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POSTERS & MODELS

I had decided that the posters would serve as home elements in the spaces and follow the Art Nouveau aesthetic. Hence, the posters would be represented as paintings hanging in a grand house. They would hence be put in frame to fulfil this purpose.

I explored many ways to make the posters more interactive – having the audience pull the canvas out of the slot of the frame to reveal a new layer of information, either through text or in the form of some audio– visual material etcetera. I wanted there to be more information about each project on the poster, especially because the poster would be rendered as a painting, and would hence create curiosity, later to be fulfilled by more information and photo-realistic representations of each project.

At the end, however, I decided it was best to have the poster be a matte screen that looks like a canvas, to be framed and mounted on a wall. This way, the displays will be constantly moving and keep the audience better engaged with the projects.

It would provide opportunity for the client to communicate as much as they can, to the audience, about each project.

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G E N E R A L S E AT I N G : FURNITURE

When it came to furniture, it was a simple matter of figuring out the aesthetic of the seating. At the end, I would have to select the appropriate furniture for the space, and not design it myself. But to get a general sense of the aesthetic I was looking for I explored a few options through sketches.

The type of furniture I settled on however, was a sofa, because it would demand presence in the space and really accentuate the Art Nouveau aesthetic. I came to find, through the project that, a lot of work would go into the final selection of material, light, finishes, furniture etcetera.

Ideation

3.9

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S A L E S S E AT I N G : S E AT I N G & S E PA R ATO R S

For the sales seating area, my main task was to decide how the separators would be, in order to organically and lightly divide the space into different seating zones, and to decide the furniture, and what aesthetic it would be following.

After some explorations I decided that the small circular tables in the seating area would follow the minimal form driven abstract aesthetic, while the chairs would very much follow the Art Nouveau home elements aesthetic. This would ensure a balance, in the juxtaposition of these two concepts in the sales area.

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The main expression that would emerge from the separators and how they define the space they occupy. The furniture (the chairs) would be a matter of selection, the separators, however, by the nature of their function, would naturally fall into the abstract minimal aesthetic, as it would provide an interesting opportunity for expression, of not only the brand, but also to invoke specific emotions in the zone, that would allow customers to feel comfortable and safe, when discussing the purchase of their homes.

I explored several types of forms to operate as the separators, to compliment the form driven faรงade of the pavilion, I finalised a very organic form that would make visitors feel comfortable, and would compliment the movement of the facade well.

Ideation

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BRAND I N S TA L L AT I O N

For the brand installation, I wanted to showcase lifestyle in the form of products.

I hence decided to put all the artefacts associated with luxury lifestyle in small display boxes, to make an immediate connection with luxury products that the consumers can purchase.

The idea was to showcase, in the form of artefacts in little boxes, the lifestyle (the product) the client and their brand is offering visitors of the pavilion, and say, "This lifestyle is up for purchase, and can be yours."

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I explored many ways in which to arrange the cubes that contained the artefacts.

They ranged from hanging cubes that one can walk around, to cubes hanging from a mobile, cubes arranged in a curving wall, small pods that emerge from the ground and other such structures.

I finally decided to keep the installation simple and minimalistic because, real estate artefacts showcased as products, already requires the audience to make one layer of association. I didn't want to make it too complicated by adding another layer of association, and risking the key message of the brand installation getting lost.

Hence, the installation would be a stack of cubes that will be about 2000x2000 mm, with each cube being 20x20 mm. The brand installation would hence comprise of about a hundred cubes.

Ideation

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THE END OF IDEATION: CREATIVE CHALLENGES, THOUGHTS & LEARNINGS

Easily the most challenging phase of the project, I was stumped for weeks when it came to the ideation. I had created a rough outline for how I was to go about it, but it really wasn't coming together in my head.

Through the initial sketching I wasn't really thinking strategically about the pavilion as the objective was to just let go. However, toward the end, the ideas had to be solidified and work in tandem with the strategy. I had to come up with a creative solution that had considered all the communication and functional requirements on every level and point of interaction – essentially it all had to come together and just work.

In my time in office, I mostly worked alone.

In this time of solo work, I realised how much I missed the presence of colleagues I could discuss projects with (like back in the classroom), even if they were individual projects. If I ever got stuck, creatively, I would remain stuck for weeks before I found a way out. I simply couldn't come up with a system that encompassed all the brand communication and logistic requirements with a specific aesthetic style.

I found solace in some friends who were also pursuing fields such as architecture and fashion – both require design process.

I discussed the ideas I had with them. We tried to find ways to resolve them. I found here that, what I couldn't do in two weeks I could suddenly actually accomplish in two hours over a long lunch with sketching and explaining. I actually decided it would be worth it to miss a day of office and meet my friend who was only in town for a day and discuss the project with her – and I was right. In explaining someone who speaks the same language essentially, and getting a response and feedback, I found a whole new layer of clarity to my project.

It was then that I realised that design, especially exhibition design, is not just one person figuring it all out – it requires interaction, feedback, and collaboration, Every task in the project was undertaken by me personally, but because designing spaces is such a complex activity with so many layers of communication and functionality, sometimes, you just need to talk to someone.

3.10

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MOVING ON TO THE ACTUAL DESIGN /

The Paradise Pavilion

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DESIGN DEVELOPMENT PLAN

PLAN E X P LO R AT I O N S: S PAT I A L P L A N N I N G The final design development, started with the process of deciding where and how to place all the elements of the pavilion in the space. This basic spatial planning would go a long way in solidifying the final design out come. It dictates, the narrative of the space, how visitors will move within the space, what they will experience in what sequence, and how each element will exist in relation to the others. Here it was important for me to keep in mind, how visitors would view the space from each touch point in the pavilion.

Other strategic decisions, like the placement of the entry, placement of the reception and facade branding, would be key in getting visitors to enter the pavilion. I explored many plan options and finally chose one to design and define in further detail.

REFINED PLAN & E L E VAT I O N S: A D D I N G D E TA I L S Once the basic spatial strategy of the space was finalised I had to add details and see how the plan translated into elevations.

These details would include certain lighting and decor details and give me a better understanding of how the space would look visually. It would also let me explore details of the pavilion structure – dimensions, entrance, panel details etcetera.

It would allow me to see, in a certain sense how the pavilion is turning out, visually, which will help me make decisions about the materials, finishes, colours etcetera in the pavilion. Making these refined plans and elevations would also allow my boss to have a look at the pavilion design, and give me practical feedback on the actual design, even though he's been on board with the project so far, conceptually.

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FINAL PLANS & E L E VAT I O N S After getting the plans and elevations and design approved by my boss I had to make the final plans and elevation drawings. Here I had to include details and dimensions, so that they could be understood as an industry standard. The plans and elevation had to follow general industry conventions, even though I had chosen to work in millimetres, and in India, people usually work with inches and feet as a standard. These final plan and elevations were then approved by my boss, before I could move on to the next phase of design development. It was very important for me to get these exactly correct, as these drawings would be the basis for my material decisions, 3D model, visual exploration and the final rendered outcome.

The plan and elevations were the skeleton of the design development.

M AT E R I A L M O O D BOARDS & PLANS After finalising the plan and elevations, I had an idea of what my space was actually going to look – in white. I still had to start visualising the materials in the space and communicate them to my boss for his approval on the design. Although, deciding the interior concept gave me an idea of what sort of materials I had to use for my design, I still had to finalise every material and finish on every material, roughly, to give a proper sense of the design and design proposal.

So I looked at my plan and started to label each object in it and assign to it, a material. I came up with two material options following the same interior concept. My boss approved of these, and we decided to finalise one after looking at the rough 3D renders of the space.

I hence moved on to making my 3D model based on the final plan and elevations, so I could see how the space looked in 3D, and how the elements worked with each other.

3D MODEL: VISUALISING THE SPACE In order to make the 3D model accurate, I had to follow the plans and elevations to the dot. This was a particularly challenging exercise for me, as I wasn't used to the software I was using (3ds Max), and had to spend quite a bit of time learning it.

Once I got a hang of the software, though, I could really design the details of the space and define the final aesthetic and spatial strategy of the pavilion. I would visually see if an idea was working or not, or whether a particular piece of furniture was in coherence with the space and other elements in the space. The process of selecting the right furniture to put into the space took me a significant amount of time. This really helped me see whether the juxtaposition of abstract form with Art Nouveau home elements worked, and which elements I had to tweak to make it work.

RENDERS: VISUAL E X P LO R AT I O N & FINAL OUTCOME After the final 3D model was in place, I was free to explore the two material options I had decided for the space. This was, for me a very challenging part of the project, again, because I was very unfamiliar with the software (V-Ray) and it was a fairly complex one to pick up. I had to play around with lighting, considering how the light from the exhibition centre would affect the lighting in the pavilion. Getting the lighting right was particularly challenging because of my limited knowledge of lighting. It took a lot of trial and error, to get the renders looking halfway decent, and a proper representation of the design. After exploring the material options, one was chosen as the final material set, with which I made the final renders.

Design Development

4.1

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P L A N E X P LO R AT I O N : S PAT I A L P L A N N I N G

I explored a variety of spatial strategies. They varied in the placement of zones and entrance, and how people would approach the pavilion and circulate within the space. This would dictate, or in some cases be dictated by different spatial and brand narratives, that I wanted to implement in the Paradise Pavilion.

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In the initial stages of spatial exploration, the brand installation was a the very centre of the space, tying the rest of the exhibition around it. This changed in later iterations.

Design Development

4.2

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A rough front elevation of the pavilion. I wanted to get an idea of the scale of a human with respect to the height of the pavilion before moving on to more concrete plan explorations.

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The plan explorations mostly looked at different spatial strategies and then went on to look at the smaller details in later stages.

I explored different ways to place all the elements in the space, making for a variety of spatial narratives.

I used different zones and their interaction with each other as a base point for my exploration, keeping in mind the visitor's experience as I did.

I had to take into consideration, how the crowd is most likely to move through a space, and accordingly plan the space, in such a way that all the content in the space is easy to access, in a natural movement flow, and the main bits of content are given most importance by way of spatial strategy. After some exploring one spatial strategy was chosen for me to work on, in further detail.

ENTRY

Sales Seating Area Display Systems (Posters & Models)

ENTRY

Reception Main Seating Area Brand Installation Interactive Media Room (AV)

Design Development

4.2

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ENTRY

ENTRY In these explorations I was sticking to more or less the same layout incorporating minor changes in the space, such as the size of the entrance, the angle of the wall, and a small exploration of different kinds of separators in the sales seating area.

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ENTRY

Sales Seating Area Display Systems (Posters & Models) Reception Main Seating Area

ENTRY

Brand Installation Interactive Media Room (AV)

Design Development

4.2

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ENTRY

ENTRY

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After exploring a few different layout options the last option was picked (right page, bottom right). It allowed the audience to see the main projects first and the spatial strategy allowed visitors to easily move through the space and view the content, installation and access the seating and interactive media room.

ENTRY

Sales Seating Area Display Systems (Posters & Models) Reception Main Seating Area

ENTRY

Brand Installation Interactive Media Room (AV)

Design Development

4.2

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REFINED PLAN & E L E VAT I O N S: A D D I N G D E TA I L

PL AN WITH VISITOR MOVEMENT According to the exhibition layout, visitors approach the pavilion almost exclusively from the left side, and this hence dictates the placement of the reception and entrance. In the chosen plan the sequence of pillars and chandeliers in the centre of the pavilion are meant to give a subconscious direction to the visitors so that they go around the area enclosed by the pillars, in order to view all the projects (posters). Visitors may choose to head directly to the seating, or to the sales area. The Interactive Room is easy to access, but not necessarily the first instinct of a visitor. Through these paths the visitors are always likely to look at the two main projects (posters and models).

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B

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P L A N W I T H FAร A D E & S E PA R ATO R S

Design Development

4.3

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Faรงade

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Pillar

F R O N T E L E VAT I O N

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Faรงade

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Sales Seating Area

Posters

Interactive Media Room

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R E V E R S E F R O N T E L E VAT I O N

Design Development

4.3

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Sales Seating Area

Sales Seating Area Chandelier Posters

Posters

Seating

Models Brand Installation

SEC TION A A'

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Pillar

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Design Development

4.3

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FINAL PLAN & E L E VAT I O N S

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PA R A D I S E PAV I L I O N : D E TA I L ED D R AW I N G D E S I G N E D A N D D R AW N BY : M EG H A N A T H A K K A R

D AT E : 24/0 9/ 2 0 1 7

S P O N S O R : T H O U G H T R A I N S D E S I G N P V T LT D

S C A L E : N .T. S .

D EG R E E P R O J EC T : PAV I L I O N F O R PA R A D I S E G R O U P F O R R E A L E S TAT E FA I R ALL DIMENSIONS ARE IN MM

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Faรงade

Reception Posters Entry

F R O N T E L E VAT I O N

PA R A D I S E PAV I L I O N : D E TA I L ED D R AW I N G D E S I G N E D A N D D R AW N BY : M EG H A N A T H A K K A R

D AT E : 24/0 9/ 2 0 1 7

S P O N S O R : T H O U G H T R A I N S D E S I G N P V T LT D

S C A L E : N .T. S .

D EG R E E P R O J EC T : PAV I L I O N F O R PA R A D I S E G R O U P F O R R E A L E S TAT E FA I R ALL DIMENSIONS ARE IN MM

Design Development

4.4

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Faรงade

Posters Interactive Media Room

Sales Seating Area

Entry

Sales Seating Area

R E V E R S E F R O N T E L E VAT I O N

PA R A D I S E PAV I L I O N : D E TA I L ED D R AW I N G D E S I G N E D A N D D R AW N BY : M EG H A N A T H A K K A R

D AT E : 24/0 9/ 2 0 1 7

S P O N S O R : T H O U G H T R A I N S D E S I G N P V T LT D

S C A L E : N .T. S .

D EG R E E P R O J EC T : PAV I L I O N F O R PA R A D I S E G R O U P F O R R E A L E S TAT E FA I R ALL DIMENSIONS ARE IN MM

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Sales Seating Area

Sales Seating Area Posters

Posters

Seating Models

Brand Installation

SEC TION A A'

PA R A D I S E PAV I L I O N : D E TA I L ED D R AW I N G D E S I G N E D A N D D R AW N BY : M EG H A N A T H A K K A R

D AT E : 24/0 9/ 2 0 1 7

S P O N S O R : T H O U G H T R A I N S D E S I G N P V T LT D

S C A L E : N .T. S .

D EG R E E P R O J EC T : PAV I L I O N F O R PA R A D I S E G R O U P F O R R E A L E S TAT E FA I R ALL DIMENSIONS ARE IN MM

Design Development

4.4

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Faรงade

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Seating

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PA R A D I S E PAV I L I O N : D E TA I L ED D R AW I N G D E S I G N E D A N D D R AW N BY : M EG H A N A T H A K K A R

D AT E : 24/0 9/ 2 0 1 7

S P O N S O R : T H O U G H T R A I N S D E S I G N P V T LT D

S C A L E : N .T. S .

D EG R E E P R O J EC T : PAV I L I O N F O R PA R A D I S E G R O U P F O R R E A L E S TAT E FA I R ALL DIMENSIONS ARE IN MM

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D EG R E E P R O J EC T : PAV I L I O N F O R PA R A D I S E G R O U P F O R R E A L E S TAT E FA I R ALL DIMENSIONS ARE IN MM

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4.4

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3D Model: External View 1 of The Paradise Pavilion, with details

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3D Model External View 2 of The Paradise Pavilion.

Addition of extra display system on the right side of the facade in order to make the space more interactive and for additional communication opportunities.

Design Development

4.5

The Paradise Pavilion

135

3D Model: Detailed view of Reception. Client Poster/Audio-visual element on the back wall of the reception. (External View 3)

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3D Model: Internal View 1 with details. Addition of arch between the pillars to accentuate the direction guided by the pillars decided in the spatial strategy as mentioned before (page 118). Glass panel side walls to allow for more light into the pavilion.

Design Development

4.5

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3D Model: Internal View 2

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3D Model: Internal View 3

Design Development

4.5

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3D Model: Internal View 4. Isolated view of Sales Seating Area

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Graduation Project

3D Model: Internal View 5. Isolated view of Sales Seating Area detail.

Design Development

4.5

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M AT E R I A L P L A N & MOOD BOARD

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poster/ carved golden frame +canvas poster

main poster wall/ pastel grey brown wallpaper or paint

3 poster walls/cream paint 10 meter wall/white paint, half carved from bottom

bench/ pastel grey brown glossy brand installation/glass+ matte typography

separators/matte white finish chair/metal

pillars/ metal table/matte white finish

sofa/wood+upholstery

high table/wood coffee table/wood flooring/ black & white geometric tiles

small seat/wood +upholstery

reception wall/ matte white

outer wall/white paint

reception table/ glass+wood

screen

screen

chandelier/ metal+crystal

wall/white paint

wall/ white paint wall/ pastel grey paint brand wall/ pastel blue+ gold typography

faรงade/white matte

model display box/ glass

poster/ carved golden frame +canvas poster

8 poster wall/pastel blue paint

F LO O R P L A N | M AT E R I A L D E TA I L S: O P T I O N 1

Design Development

4.6

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M AT E R I A L O P T I O N # 1

With this material option, the black and white tiles are meant to provide conceptual coherence with the idea of seamlessness. It also falls into the art nouveau aesthetic and follows the brand colour palette. I had to, however, discard this material palette. After I actually saw it in the space, I realised, that the tiles would be quite jarring across such a large surface area, and that any other sort of tile expression would take too much precedence in the space. I also felt, upon viewing it in the actual 3D space, it didn't fit with the art nouveau style as well as I thought it would ,and as well as it could. I hence, had to look or a new direction.

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Right Page, Bottom Right: Trying to use more wood in the space to better accentuate the colour palette. This did not work either.

Design Development

4.6

The Paradise Pavilion

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Graduation Project

poster/ carved golden frame +canvas poster

main poster wall/ pastel blue wallpaper or paint

3 poster walls/pastel blue paint 10 meter wall/white paint, half carved from bottom

bench/ pastel grey brown glossy brand installation/glass+ matte typography

separators/matte white finish chair/metal

pillars/wood table/matte white finish

sofa/wood+upholstery

high table/wood coffee table/wood flooring/ wooden flooring

small seat/wood +upholstery

reception wall/ matte white

outer wall/white paint

reception table/ wood

screen

screen

chandelier/ metal+crystal

wall/white paint

wall/ white paint wall/ white paint brand wall/ white wall with golden typography

faรงade/white matte

model display box/ glass

poster/ carved golden frame +canvas poster

8 poster wall/pastel blue paint

F LO O R P L A N | M AT E R I A L D E TA I L S: O P T I O N 2

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M AT E R I A L O P T I O N #2

This material option, falls better into the Art Nouveau style by using a light wooden flooring, a darker wood element (pillars) to contrast and accentuate it. There is a striking colour splash in the space to follow the brand identity and highlight the projects. The colours are also in tandem with the Art Nouveau style.

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In this version of the second option, the colours are toned down to better match the brand and Art Nouveau Aesthetic

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THE FINAL RENDERS OF THE PAR ADISE PAVILION

3D Model: External View 1 of The Paradise Pavilion, with details

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Final Design

3D Model External View 2 of The Paradise Pavilion.

Addition of extra display system on the right side of the faรงade in order to make the space more interactive and for additional communication opportunities.

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3D Model: Detailed view of Reception. Client Poster/Audio-visual element on the back wall of the reception. (External View 3)

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Final Design

Final Renders: Internal View 1 with details. Addition of arch between the pillars to accentuate the direction guided by the pillars decided in the spatial strategy as mentioned before (page 118). Glass panel side walls to allow for more light into the pavilion.

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Final Renders: Internal View 2

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Final Renders: Internal View 3

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Final Renders: Internal View 4. Detailed View of Brand Installation

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Final Renders: Internal View 5. Isolated view of Sales Seating Area

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WR APPING UP AF TER A LONG JOURNEY /

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THE END OF A LONG JOURNEY: THOUGHTS, LEARNINGS & SENTIMENTS

It is said that one can never truly be satisfied with one's own work, and one should always strive to be better.

There is nothing better that can capture the essence of the sentiments I am left with, than this thought, when I look back at this project and wonder.

If I am to be honest, this project took me much longer than I had anticipated, for reasons, some which were in my control, and some that simply weren't. In this long journey, I have had a whole plethora of emotions, isolated to this project alone – really, there was nothing else going on with my life. I felt such great excitement, anxiety, pride, hopelessness, ambition and apathy through this project, it makes me wonder, whether it was all the same project at all. I truly did find myself to grow. In the face of some significant amount of adversity, I was forced to keep myself calm and just keep going. As a person, I have never been able to drag things on for very long, but through this project I found a version of me that could keep at something for so long even while facing potential failure, without too much sorrow.

This project inspired a great ambition in me and when I think retrospectively, I have to say that I did enjoy it and I was happy with how it turned out. What I also realise, is I am not nearly as content with it as to qualify for 'a job well done'. Because I learned so many things through this project – skills, software, communication strategies, design tools and processes etcetera, I was able to produce a better result than in any project I have undertaken in the past. The knowledge of this growth, has made a very profound difference in the way I now look at design, and the potential for more growth. A taste of simply, 'getting noticeably better', has whetted my appetite to keep growing – because now I know now, more than I ever have before, that I can.

So it is with this sentiment that I say – this project, was fun, challenging, depressing, joyous and motivating, but I am not remotely happy with it. I am no where close to being done.

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