Nidhi Ratani Undergraduate Thesis

New Age Ornamentation in Interior realm:

An articulation in Interior spaces through space making elements.

Nidhi Ratani, UI2215 Under graduate Interior design Thesis Faculty of Design | CEPT University Guided by : Kireet Patel

FACULTY OF DESIGN Student Name & Code

:

Nidhi Ratani, UI2215

Thesis Title

:

New Age Ornamentation in Interior realm : An articulation in interior spaces through space making elements.

APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted.

It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Kireet Patel 11/11/2020

Name & Signature of the Guide

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Dean, Faculty of Design

T +91 79 26302470 F +91 79 26302075

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text.

I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No:

Nidhi Ratani , UI2215 Signature of student:

Date: 11/11/2020

Acknowledgments Ornament is a beast of a topic. The literature circling the subject is overwhelming and it would have been certainly impossible to tame a few parts of it, without some help. In the few months on the subject, I have learned more then I hoped for, which was no small amount.

I have the utmost appreciation for my mumma, for her undying love, support and encouragement towards my pursuit of design evolution, even when it has made her slightly nervous at times and also even when times got tough.

I would like to thank my guide, Professor Kireet Patel a.k.a Kp sir for his patience and insight in this inexhaustible topic. His suggestions and ability to illuminate the issue were indispensable. Thank you, for being an amazing and encouraging teacher as well as an approachable guide. Moreover, my sincerest gratitude to have you as a constant support and inspiration throughtout the schooling. Thank you for helping me develop a better perspective towards life, helping me built a school of thought, and guiding through darkest of times.

Thanks to all my faculties and professors for everything I learned at school. Thanks to Krishna ma’am for giving us SID to find the designer in us. Sagara sir for all the fun and learning times. Thanks to Chandra ma’am and KD for their selfless support and lots of sweetness.

Thanks Bansal for being most honest friend and supporter. Chirag to be just there. Priva and Shivani for lots of frienships, love, and learnings. Drasti and Urvashi for being amazing motivaters, great thesis mates, and true friends. Having you guys was a delight.

15’ batch for all the wonderful memories, that sum up my life at CEPT, which I will cherish forever. My entire academical and cultural journey would have been incomplete without you. Thanks for giving me a second home and people I can have for life.

Thank you Pritesh, for being my silent foundation, I am just Grateful. Cheers to our times at MMoser.

To Ravi, none of this would have been even remotely possible without your help and presence. Thank you so much for your undying patience and support. For being my backbone and constantly motivating me to be a better version of myself. For utmost love and care. And of course for bearing all my tantrums and breakdowns.

To my extended family, friends, and my instructors that have inspired me in a multitude of ways, my gratitude extends to you sincerely and specifically.

Mumma and Rav, this one is for you...

At last, to the highest form of energy for blessing me with all of these and I am blessed to possess a fraction of you.

Table of Contents 0.

PROPOSAL 0.1 0.2 0.3 0.4 0.5

1.

Introduction Aim and Objective Scope and Limitations Methodology Use of the study

COMPREHENDING 1.1 Distinct associative terms and definitions 1.2 Interpretations of Ornament 1.2.1 Ornament as Socio Cultural tool 1.2.2 Ornament as Visual Narration 1.2.3 Ornament as Communicational tool 1.2.4 Ornament as Craft 1.3 Historical Overview 1.3.1 Primodial Practices 1.3.2 Classical Ages 1.3.3 Vernacular Times 1.3.4 Era of Industries 1.4 Positioning the continuity 1.4.1 Modernist and Post Modernist Classification 1.4.2 Contemporary Typological Classification

2.

CONTEMPORARY APPROACH 2.1 Shift in Perspective 2.2 New Age Ornamentation 2.2.1 Types of New Age Ornamentation 2.3 New Vocabulary and tools for creating ornaments 2.3.1 The intent of Ornamentation creation 2.4 Interior spaces through elements 2.4.1 Elements composing an interior space 2.4.2 Exemplification on elements

3.

OBSERVATION AND MANIFESTATION 3.1 Overview 3.1.1 Criteria for selection of case study 3.2 Selected Case Study 3.3 Methodogy of the case study 3.4 Store Under Golden Cloud 3.5 Timber Planks by Nishi Building 3.6 Weinhandlung Kreis 3.7 Blue frog Lounge 3.8 Indigo Deli 3.9 Ikibana Paral Restuarant

4.

DAWN OF ORNAMENTATION 4.1 Inference from the study 4.2 Conclusion 4.3 Future scope for research

XX. XX.1 Bibliography XX.2 Illustration Credits XX.3 Review comments

Abstract Interiors and architecture have been part of human habitation for centuries now, through all these times an interior architectural design has been characterized considering all the responsive factors. The design has been both simple and complex in terms of function, organization, characterization, and ornamentation.

Ornamentation has majorly used as a means to express the aesthetics of human activities and senses in interior architectural realms. With the emergence of modern theories, it was evident to called modern design as a result of eliminating adornment, embellishment, and ornamentation.

Such a prominent misconception arises because of strong influences and notions from the past.

This research emerges from some of the following questions; to find out the physical state and perception of ornamentation?

Is it possible for ornamentation to serve the functional requirements of the space? Does the re-emergence of ornamentation have lead designers to create new aesthetics( of effects through various mediums)?

The intention of the study is to examine the potential role of new age ornamentation in the creation of interior architectural spaces and its elements. The study will be conducted by reinterpreting the tools and approaches to create ornamentation in order to generate room to execute new concepts or metaphors for contemporary interior design projects.

KEYWORDS: Contemporary, Ornamentation, aesthetics, interior-architectural elements, interior practice

00 Proposal

0.1 Introduction 0.2 Aim and Objective 0.3 Scope and Limitations 0.4 Methodology 0.5 Significance of the study

00 Proposal

1

2

00 Proposal

0.1

Introduction “The building’s identity resided in the ornament (Sullivan, n.d.)”.

In every civilization, adornment serves people in innumerable ways: identifying groups, belonging to communities, revealing the history, and daily life. Their richness, their tradition, their symbols, and their constantly transforming living expressions are captured in physical reality through ornament and the act of ornamenting; i.e. ornamentation. It is the human mind that gives the matter a meaningful existence, creating and ornamenting his built environment, from shanties by the river to fully luxurious skyscrapers, from hovels to Havelis.

Whenever we consider art, design, and architecture, we associate its existence from the prehistoric time to classical times to modernism and postmodernism. The shift in the philosophy of design and architecture took place in the 20th century and later. The modern movement abandoned the usage of extreme decoration and adornment on a built form.

As a result, there was a need of new aesthetics which suffice the new perception of modern design, and that is achieved by machines, mass production, mass communication, new materials, and technology, All those are a byproduct of industrialization and globalization.

All of these were possible only because of the applied technology on the interior architectural processes. That resulted in consideration of ornament, aesthetics, form, structure, construction, and architecture as a single entity.

The richness of experience gained during the study, has greatly benefited me and has left behind a delighted memoir.

“Architecture begins with Ornament (Semper, 1860)”.

0.1 Introduction

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0.2

Aim The aim of this thesis is to determine the position of ornamentation in contemporary times through its attributes and qualities.

The study focuses on investigating its role and potential in the creation of interior spaces using space making elements.

Objective • Understanding the attributes, qualities, and potential of ornamentation in interiors along with its enhancement in form, structure, and construction.

• The study involves the usage of ornamentation as an approach in contemporary interiors.

• Studying the significance of newage ornamentation with respect to construction, fabrication, materials, technology, and details.

• Understanding distinct expressions achieved through ornamentation and elements in built environments.

• To define the parameters and tools for the creation of ornamentation.

• Investigating the role of ornamentation on space making elements and its construction.

Also, the relationship formed between the space making elements and ornamentation in the interior space.

• Analyzing through case studies, the potential of new-age ornamentation in contemporary interior projects.

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0.2 Aim and Objective

0.3

Scope and Limitations The thesis deals with understanding the impact of ornamentation and study of space making elements in contemporary interior projects.

The study will cover from theories behind ornamentation to ornamentation in space making elements to ornament as a concept and finally evolving ornamentation as a contemporary design style.

The study comprises of diverse typologies of interior projects to question the presence and significance of ornamentation at various scales and hierarchies.

The analysis is done on selected existing projects from the country and abroad. And they could be considered typical representative of current times and typology. The study is limited to projects where space making elements have given the essence of contemporary ornamentation to enhance the spatial experience.

The study largely focuses on the relationship between ornamentation, space-making elements, and interior domain in the architectural envelope.

0.4

Methodology The methodology for this research thesis has been divided into three sections. These sections follow a linear sequence of comprehending, defining contemporariness of approaches, observing, and concluding.

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

0.3 Scope and Limitations

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Archaic Approach

ORNAMENTATION

Shift in Perspective

Notion on Ornamentation

Contemporary Approach

Association & Meaning New Age Meaning

Classification & Categorization

Spatial element to space

6

Interior spaces and elements

Space making elements composing interior environment

0.4 Methodology

Element of Performa

Primordial Practices Historical Overview

Classical Ages

CASE STUDIES

Vernacular Times Industrial Era

New Vocabulary

Intent of Ornamentation Creation

Analyzing the articulation of space making elements through the lens of ornamentation

Two Dimensional

Three Dimensional

Selected Case Study Methodology & Framwork

Identical

Surface modulated

Altering

3D form based

Observations and Diagramming

Observations and Diagramming

Final Case Study

Inference from the study

Connection

ts

Isolation

ance

Attachment

Conclusion and bibliography

Division 0.4 Methodology

7

0.5

Significance of the Study This research thesis is trying to give a position to ornamentation to not just remain into symbolism, but to reflect in the functional, structural, and material aspects of a design project.

This research is legitimizes/decriminalize the use of ornamentation in current times as well as in future times, especially for young design aspirants and practisioners.

As digital tools and fabrication are at the forefront of utilization along with growing industries and advancements in technologies, there is a noticeable change in the mode of ornamentation. This change brings more opportunities for it to flourish in interior environments.

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0.5 Significance of the study

Lets dwell into the Realm of Ornamentation...

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01 Comprehending 1.1 Distinct associative terms 1.2 Interpretations of Ornament 1.2.1 Ornament as Socio-cultural tool 1.2.2 Ornament as Visual Narration 1.2.3 Ornament as Communicational tool 1.2.4 Ornament as Craft 1.3 Historical Overview 1.3.1 Primodial Practices 1.3.2 Classical Ages 1.3.3 Vernacular Times 1.3.4 Era of Industries 1.4 Positioning the continuity 1.4.1 Modernist and Post Modernist Classification 1.4.2 Contemporary Typological Classification 1.0 Comprehending

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Dictionary Meaning of Ornamentation: 1. (Architecture) “the act or process of ornamenting, the state of being ornamented (Webster, n.d.).”

2. (Music) “the embellishment of a melody, either by adding notes or by modifying rhythms (Britannica, 2017).”

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1.0 Comprehending

1.1

Distinct Associative Terms

Fig. 1.1 Development of ornament on elements through basic geometrical principles by Louis Sullivan.

The entire study focuses on the articulation and contemporary interpretation of the term ‘ornament’. If one is studying a word further that has various parallel words and associative perception, it becomes a necessity to study various meanings of each term in the conceptualization process and perception of design for space. Usually, we refer to words differently for various actions and processes, though they are suggestive of different meanings. The word ‘ornament’ has referential words, but they are equally rooted in their strength. So in this section, the meaning of various associated terms with ornament has been studied briefly.

Definitions: The primitive meaning of ornament becomes a useful component for better grasping of the word.

Fig. 1.2 Working model of catanary lines generation by Antoni Gaudi in his studio.

Fig. 1.3 Jaali created in a retail store with modern fabrication processes.

1.1 Distinct associative terms

Adorn: To add beauty or to make something more attractive.

This word is used to define beauty associated with the form of a building and its spatial components or with the entire theme of space.

For example, structures and building forms by Antonio Gaudi as shown in fig 1.2.

Embellish: To beautify something, adorning.

This word is used to describe something with respect to the process and the technique of beautification or something is beautiful is achieved by construction methods. For example, Jaalis and partitions that are carved out by industrial processes as shown in fig 1.3.

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Ornate: Elaborately or high decorated.

This word is used for showing the subject, objects, and places that are exaggerated with decorative elements or it is by adding multiple complex layers of things. For example, Capital and cornice of a column in classical architecture as shown in fig 1.4.

Decorate: make something look more attractive by adding extra items and images to it.

This word is taken when we talk about the look, ambiance, and finishes of the surfaces in a space. For example, adding patterns on the accent walls of a living room as shown in fig 1.5.

Articulate: Symbolizing with apparent joints, to convey logically & distinctly as shown in fig 1.6.

Fig. 1.4 Elaborated ornamentation on the junction of classical column.

Fig. 1.5 Living room wall decorated with wooden log slices.

Ornamentation: The action of adding ornament or enhancing something through its attributes and appearance.

Contemporary: A person or an object belonging or occurring in recent times as another.

Fig. 1.6 A junction in rietveld chair articulated through two linear members with a surface and change of colors.

New age: 1. The advanced period in the 21st century.

2. Existing in the current age or time.

3. Related to the characteristics of the present times.

4. Something which is up to date.

Here, ornamentation is in the totality of these words.

The word ‘ornament’ has many parallel origins in various languages. The Greek word ‘Kosmos’ primarily means ‘to order’ or ‘to arrange’. While secondarily, it means ‘to equip’, adorn, and to dress which references to embellishments.

In Latin English, ‘ornare’ means to equip with fundamentals. Secondarily in latin ‘ornare’ means to embellish or decorate. The classical Sanskrit origin word ‘alamkara’ means to adorn.

In Vedic Sanskrit, alamkara used in phrases

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Fig. 1.7 Drawing of a elborated and embellished element with idea of ordering and construction with shows different idea of ornament than decoration.

1.1 Distinct associative terms

Fig. 1.8 The chariot of sun temple of Konark showing mimicry of nature.

means ability, performing, suitability, etc. Also, another word for ornament ‘bhushana’ in Sanskrit means to glorify or magnify the value of an object or something (Coomaraswamy, 1930).

Thus, it is imperative that ornament was originally an integral part of the functioning and performative aspect of the elements, objects, and people. And later added as a layer of embellishment.

Ornament in Interior Architecture:

Fig. 1.9 The applied ornament on the display surfaces of Louis Vuitton store.

In interior architecture , ornament is any element added to either serve the purpose of being structural form or an element of decoration or embellishment (Britannica, 2008).

Ornament in architecture can be classified into three basic distinctions of mimetic or imitative, applied, and Organic.

Mimetic(Allegorical):

The mimetic or imitative ornament has definite meaning and symbolic significance.

Applied(Embedded): Fig. 1.10 Sagrada Familia’s interior showing organically developed structure.

The applied ornament is an extrinsic layer that is intended to add aesthetics to a structure.

Organic(Structure oriented):

The organic ornament is integral or inherent in the building’s materials and functional systems.

Fig. 1.11 The Human ornament as column in greek architecture.

The ornament should be understood as an articulation of form and elaboration of finely scaled constituent parts. In other words, ornament fails when it’s own proportions and composition do not reflect the character of the work as a whole. To define the language and character of ornament, learning about various categories is essential (Ro, 2020). The ornament can be broken down into seven categories as follows:

Human: Ornament with the depiction of

Fig. 1.12 Use of Figurative animals as building elements.

1.1 Distinct associative terms

figurative humans, which applied to particular areas on the surfaces of the classical building’s interior and exterior spaces. Such examples can be found on the columns of greek architecture, on various elements of Hindu temples, Egyptian temples, etc as shown in fig. 1.11.

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Animal: Figurative animals such as domestic,

wild, sacred, mythical, imaginary, etc and part of their bodies are engraved, carved, and applied on the built forms of various cultures across the world. This kind of ornamentation is used to convey meanings and messages as shown in fig. 1.12.

Botanical: In botanical ornament, we find lots

Fig. 1.13 Botanical ornament on in cast iron elements.

of floral patterns and vegetal motifs. Specifically in classical tradition which symbolizes the various traditional notions. These kinds of ornaments are generally repetitive in the entablature, sculptural pattern, decorative paint, frescos, etc as shown in fig. 1.13.

ManMade: The man-made objects like musical

instruments, weapons, machinery, crowns, shields, royal crest, jewelry, books, compass, poys, etc. become medium of the applied ornament, it’s type is Manmade as shown in fig.

1.14.

Fig. 1.14 Manmade ornament having musical instrument.

Geometrical: In geometrical, we find

composition and combination of various basic geometries like shapes and forms to generate the complex loop of patterns. This ornament is most easily applied/ used across the world as shown in fig. 1.15.

Fig. 1.15 Geometrical pattern in islamic wooden elements.

Typography: Mnemonic or typographic

ornament deals with linguistics, lettering, words, codes, abbreviations, inscriptions, numerical, etc. Its applications are majorly found in the religious and political public buildings as shown in fig. 1.16.

Hybrid: Hybrid ornaments are the most common scenarios, as ornament reflects the human mind and notions. It is hybrid when two or more types are in combination to generate ornament as shown in fig. 1.17.

Ornament can also be divided into three subcategories on the basis of its placement in interior architecture: Surface ornament: Highly decorative images or finishes used to enhance the surfaces or planes in a space using wallpaper, paintings, or reliefs.

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Fig. 1.16 Typography in arabic is embedded on entrance.

Fig. 1.17 Hybrid ornament having manmade, botanical and animal ornament.

1.1 Distinct associative terms

Edge ornament: The corners and edge is

highlighted using colors, linear elements, or natural elements, etc.

Junction ornament: A partiular meeting

condition of two materials, two elements, or objects defines a junction that is elaborated by material techniques, construction techniques, and form techniques to enhance the entire junction of a straircase, furniture, partition, railing, etc.

Fig. 1.18 Highly ornated wooden interior door from classical era.

Why should we do ornamentation?

The history of art reveals that ornamentation has existed in all forms of art. Also it existed in the art of making utility objects of everyday life uses, complex expressions in music, dance, literature, and interior-architecture.

The early ornaments on utilitarian objects were in the form of lines, patterns, and colors on the surfaces. Its function in the art was to enhance the aesthetic quality of the object as well as to serve as a means of expression and communication.

Fig. 1.19 Geometrically adorned wooden panel door from 20th century

The expressions of built environment has the maximum impact on human mind, society, and environment. In architecture and interior design, an ornament displays concepts like function, built space, and its symbolism. It also accomplishes tasks such as exhibiting directions, materializing the boundary between pure and profane (Modi, 2000).

The understanding of the significance of ornamentation requires the recognition of it not being merely functional, determined by utilitarian values, but as an art where cultural, aesthetic, and spiritual values exist.

Man with his involvement in designing a space for himself lends a character which is dependent not only on the motifs, patterns, and articulation of specific ornament.

Fig. 1.20 Contemporary door with linear repetative wooden panels as adornment.

1.1 Distinct associative terms

It is the visual concern in the spatial articulation that leads to a sense of satisfaction and vitality

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in the space. The intentions of ornamentation, its specific form, and its content have been viewed differently at different times in the past as well as the present. However, ornament helps a man to order and organize all the things he creates (Modi, 2000).

1.2

Interpretations of Ornament The various interpretations of ornamentation are nothing but the many themes that man uses to design and adorn his spaces and objects within. Thus, ornamentation is also a means of expressing concepts. They are Sociocultural tools, Visual narrative, Communication symbols, and crafts.

1.2.1

Ornamentation as means of expression

Socio Visual Communic- Crafts cultural Narrative ational Tool Tool Collective Events Ethics Ideas Values Story

Information Resource Knowledge Ability News System

Plate.01 The categories of interpretations with the subjects that they are based on.

Ornament as Socio-cultural Tools The desire to decorate extends from a person to everything that he creates and possesses.

The ornament has existed in all forms of art.

Its presence is felt at all levels of creative expression, which includes simple expression in the art of making utility objects of everyday use to complex expressions in music, dance, literature, and architecture.

Fig. 1.21 Weaving scripting to knit a pattern in textile

Ornament found its first expression in the art of body adornment from very early times, man has delighted in decorating his body, be it with ephemeral paint, indelible tattoo designs, or splendid jewels that add majesty and character to his figure.

The creation of ornament is a means of relieving oneself from the dailiness in life and to attain a more glorious sense of living life.

On the utility objects, the ornament is in the form of lines, patterns, and colors on the surfaces.

It is most important to enhance the aesthetic quality of the object.

Fig. 1.22 The ancient way of tatooing or ornamenting the human body.

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1.2 Interpretations of Ornament

1.2.2

Ornament as Visual Narrative

Fig. 1.23 The cave painting of Ajanta talks about stories of buddhism.

Visual language came into existence much before linguistics. The imagination forms the mental concept of narrative.

Ornaments communicate a very important visual expression of social, cultural, and aesthetic value in the space. These stories are represented through forms and materiality, and that is interpreted as an ornament.

To change the perception of the space through narratives, the skillful use of the elements, figurative and abstract visuals can be used to create ornament through narration with the active use of color, motif, patterns, and light.

An individual or community always urges to manifest their religious beliefs, teachings, and practices through certain visuals.

Fig. 1.24 The persian painting shows the depiction of battle scens on various mediums.

Hence ornament becomes an effective medium to convey their narrative on the surface of a space for the message to inform.

1.2.3

Ornament as Communicational Symbol

Fig. 1.25 The worli painting contains symbols that are conveying meanings of everyday activities and celebrations.

The ornament could become a link between the past and the present. Ornaments serves as a means of expression and communication.

Indeed it is not communicated through the medium of words but it evokes ideas and concepts in the human mind.

These attributes builts a character of the aesthetics that transformed onto an object or surface.

Communicational symbols convey emotions and notions. Words seem to fail, while symbols are successful in conveying the intended meaning.

Hence, symbols are an efficient way of

1.2 Interpretations of Ornament

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communicating the semantic ornament in the interior architectural spaces. Such symbolic aspects have a higher emphasis to inform required meaning than the visual aspects.

1.2.4

Ornament as Craft Every region has it’s own culture and tradition.

Crafts have been an active embedded part of every geographical region and communities.

For centuries, regional communities have associated their notions to the most immediate objects and environment.

Sometimes crafts are perceived as nonfunctional. But everything created using ideas and intention will always have a specific purpose to be served. The function and style of the crafts are intertwined while ornament becomes integral to it.

Various varieties of utilitarian objects are ornamented using different crafts. Also, certain handicrafts are adorned using distinct tools and techniques, that becomes an expression of ornament.

Fig. 1.26 The hand craft of kutch with mirror and weaving work on textile.

Fig. 1.27 The Golden kundan Meenakari work on various objects.

1.3

Historical Overview The creation of ornament is treated as a human need to express himself. Its origin is not very clear but from the time humans initiated the idea of permanence, he started to decorate his buildings and objects of his day to day life. And that is the reason why it becomes essential to look back into the historical premise.

The entire series focuses on the position and premise of ornamentation in interior, architecture, and day to day life. The framework consist of 1. Examples, 2. Description of examples, and 3. Subject and Relevance of ornamentation to show the historical overview of ornamentation.

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1.2 Interpretations of Ornament

1.

32,000 B.C.

12,000 B.C.

2.

3.

Fig. 1.3.1.1, The Chauvet Cave painting, from France shows the hunting and cooking scenes.

Also, different species of animals have been shown.

ENVIRONMENT.

Fig. 1.3.1.2, The cave painting at Bhimbetka depicts some kind of procession or celebration where, people are riding different animals.

COLLECTIVE RELATIONS.

Fig. 1.3.1.3, The ancient painting on the walls of the towb of Irinefer from the fourth dynasty showcases the deceased standing in the barge of the phoenix. It also shows the symbol of the Sun God. POWER AND PROSPERITY.

Fig. 1.3.1.4, The figurative painting in one of the temples of egypt showing their local Gods and Kings at the Service.

INSTITUTION OF BELIEF SYSTEM.

1.3.1

Primodial Practices The amalgamation of place, time, ideas, culture, and behavior clearly concludes the human history which reflects upon the history of ornamentation.

A poetic, folkloric attitude toward the world is reflected in ornament, especially in ancient art forms, where ornamentation is most common and shows their decorative and structural expressiveness. Aesthetic demands of society has subsequent development of ornament: the rhythmic regularity of generalized motifs was an early means of artistic interpretation of the world, permitting comprehension of the orderliness and symmetry of life.

Early examples of ornament are found in caves painting of early men. These paintings were not 1.3 Historical Overview

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2500 B.C.

4000 B.C.

Fig. 1.3.1.5, The early sumerian relief work on the wall shows the war scenes with traditional weapons and tanks, which shows they were quite ahead in time.

EXPANSION AND INVASION.

Fig. 1.3.1.6, This relief work shows the king’s procession post war as a marked of power and victory.

These kind of relief works were on the palace walls.

PROSPERITY.

Fig. 1.3.1.7, These are soap stone seals from indus valley dispalys the usage of text and image in one single thing.

TRANSACTIONS.

Fig. 1.3.1.8, The vase from early pottery items of harppan civilizations has imageries of bison and other animals along with patterns.

UTILITARIAN TRANSITION.

merely decorative but a medium to their way of communication and beliefs. These imageries were used to narrate stories, myths, lifestyles, and their everyday processes.

Narration can not just happen through imageries but also using signs, symbols, and patterns. In ancient Egypt, the tomb walls were painted using hieroglyphic symbols. The Egyptian temples, walls, columns, lintels, furniture, etc depicted life stories of their God and Kings as relief work on the surfaces. The early Sumerian civilizations have wall relief’s on palace walls showing victories, battles, and hunting scenes. The Sumerians used this as a medium for communicating power.

Harappan and Indus valley civilizations have also been marked by the application of decorative appliques on figures, seals, vases, stone tablets, sculptures, etc. The ornamentation remains within the daily life relationship between seasons of nature, elements of nature, and resources from geographic locations.

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1.3 Historical Overview

1200 B.C.

203 B.C.

432 B.C.

Fig. 1.3.2.1, The greek adorned their architectural elements according to the various orders defined.

ABSOLUTE UNITY AND VARIETY.

372 A.D.

Fig. 1.3.2.2, The Parthenon of Acropolis, Greek temple is embellished considering the Doric order. Also, various figurative sculptures are added as human ornament.

MATHEMATICAL PROPOTIONING SYSTEM.

Fig. 1.3.2.3, The triumphal arch in Rome constructed as symbol of their victory over parthians which has complex adornment as a layer combined with geometrical form.

SYMBOLIC SYSTEM.

Fig. 1.3.2.4, Basilica of San Lorenzo in Milan shows early examples of religious with geomrtrical ,botanical embellishment ,and sculptures as identical element.

ORDERING SCALETHE GROUND FIGURE RELATIONSHIP.

1.3.2

Classical Ages Each era, each style, and each culture all around the world consistently developed its own strategies of ornament. Hence, the ornament is considered as reliable evidence of every period and society.

In the classical era, the ornament was influenced by nature, mythical stories, gods, humans, and man-made objects. The Greeks expressed these modes of ornaments through the usage of orders like doric, ionic, and corinthian. The usage of sculpture and paintings in the religious and political buildings became a common practice.

Romans incorporated mathematical calculations to get symmetry and proportion. They focused on making new complex forms, mainly arches in the construction sector to adorn their buildings.

1.3 Historical Overview

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1120 A.D.

1430 A.D.

1356 A.D.

Fig. 1.3.2.5, Chartres Cathedral is gothic cathedral generates structural ornament using original forms and shapes.

REPRESENTATION OF THE BELIEVES.

Fig. 1.3.2.6, Highly embellished elements in Notredam cathedral having animal ornaments and human ornaments in terms of Gargoyles and other architectural elements.

COMBINATION OF CRAFT AND PURPOSE.

1665 A.D.

Fig. 1.3.2.7, Ribbed Vaulting used in the arches and cathedrals at different scales as structural adornament on the interior surfaces to increase structural stability.

ESSENTIAL CONSTRUCTION.

Fig. 1.3.2.8, Jacopo Sansovino, a public library in venice also used as museum and event space.

The facade showcases the renaissance’s language of ornamentation in all the elements.

ARCHITECTURAL TECHNIQUES AND ARTISTIC METHODS.

With the rise of the Gothic Style, Churches and Cathedrals came along. Thus, having more taller and graceful architecture with newly invented pointed arches, flying buttresses, and ribbed vaulting that added to the structural ornament of the building. While adding Gargoyles and other sculpting elements led to practical and decorative functions.

Later in the renaissance and post-renaissance period, ornament in interiors was added as ceiling paintings, frescos, sculptures, ornate building elements, stained glass art, mosaics, wooden carvings on furniture, etc. All these as a whole helped in making the building’s place a memory and identifiabe.

In Indian culture, the ornament is found in religious, social, and political institutions. Wall paintings, sculptures, mosaics, relief work were found in temples, palaces, forts, mosques, tombs, etc. across India as a medium of ornament.

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1.3 Historical Overview

1800 A.D.

1898 A.D.

Tradition

1855 A.D.

Fig. 1.3.3.1, The Pol Houses of Ahmedabad has intricate wooden carving and wooden construction is their local construction method.

CUSTOMISED CRAFTMANSHIP.

Fig. 1.3.3.2, The jharokhas and havelis of jaisalmer is constructed using local sand stones and carving on the stone has been done to increase the ornamental value of the built environment by local laborers and artisans.

ABUNDANT LOCAL MATERIAL CAPACITY.

Fig. 1.3.3.3, The Sekhawati haveli were owned by higher economic class people, so the frescos were done by skilled artisans from distant land.

EXPOSURE IN SHARED PERCEPTIONS.

Fig. 1.3.3.4, The art of ‘Madhubani Painting’ is quite old but people in bihar uses this technique to decorate the interior surfaces of their houses.

PRODUCTION OF NARRATIVE.

1.3.3

Vernacular Times The ornament has been an inseparable part of various cultures and lifestyles worldwide. Houses, furniture, house object, sculpture, jewelery are testimony of the same. Vernacular and traditional build forms respond to their surroundings and environments. They demonstrate empirical knowledge of the materials and construction.

Hence, in vernacular built forms ornament becomes specific and contextual with respect to the climate and culture following common rules of making in all built activities.

In India, many vernacular house forms are excellent examples of ornament. The pol houses of Ahmedabad have intricate wooden carving facades, building elements, and frescos work on the ceiling and around courtyard walls. The Havelis of Jaisalmer constructed using local sandstone 1.3 Historical Overview

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Tradition

1933 A.D.

1769 A.D.

1860 A.D.

Fig. 1.3.3.5, The Chettinad mansions and houses also uses local wooden carving methods to elaborately adorn their spaces and the elements present in it.

NATURE OF SPACES AND ITS ELEMENTS.

Fig. 1.3.3.6, The Islamic and persian architecture has mainly geometrical ornament and botanical ornament which can be taken further into the structure of a monument and also remains as an extrinsic layer to the building elements.

TEXTILENESS OR SURFACE.

Fig. 1.3.3.7, The Kathkuni built form has deeply rooted wooden and stone construction method, which itself becomes the ornament of the entire building.

ACT OF NATURAL FORCES.

Fig. 1.3.3.8, The Chinese architecture takes influence from its mythology and folk stories to create the elements of ornaments and its formal language.

SYSTEM OF MATERIAL JUNCTION.

demonstrate finely ornate windows and jharokhas.

While Shekhavati havelis have elaborated frescos done by artisians and Madhubani houses have miniature paintings in their interiors.

The Chettinad houses in Tamil Nadu also have ornamental wooden carving in interior exterior elements. The Kathkuni construction tradition in Himachal shows elaborate ornament in its construction of temples and houses. In Islamic culture, figurative ornaments are prohibited, so Islamic built forms have intrigued geometrical ornament.

In china and japan, color and adornment were applied to specific parts of the whole building.

Various styles of ornament are applied on the roof and facade, which has been inspired by mythical stories and nature. In Japanese interiors, unpainted wooden screens, papers, and sliding doors were used for adornment. Traditional Korean houses hanok has geometrical ornament applied on walls, facades, and roofs.

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1.3 Historical Overview

1929A.D.

1860 A.D.

1929 A.D.

1907 A.D.

Fig. 1.3.4.1,The structural expressionalism which is highlighting the ornamental qualities of form and shape that are constructed using new materials & technology.

IN SEARCH OF NEW POSSIBILITIES.

Fig. 1.3.4.2, The modern building with amalgamation of classical and modern aesthetic constructed using modern materials by Walter Gropius.

The building is a hospital but designed with traditional landscape giving a modern look to column, pediments, etc.

REALISATION OF DIFFERENCES.

Fig. 1.3.4.3, The barcelona pavilion is free from the exterior ornamentation. Here, architect has used the luxury of material to ornament the space and creates an wonderful pattern using the same.

NATURE IN MAN MADE.

Fig. 1.3.4.4, The building is designed by Juan and Casa O’gorman focusing on structure and proportions of the building and unconsciously creates the ornamental grid for the structure and facade.

INTERIOR THROUGH FACADE TRANSPARENCY.

1.3.4

Era of Industries ‘Industrial revolution’ or ‘Industrialization’ refers to a qualitative & quantitative change occurred in traditional modes of producing and expressing ornament. The extensive usage of machines, material, and energy governed the development in science and technology. The building was a part of a tradition of engineering which used new materials in an unfamiliar functional and undecorated manner.

The main influence on the modern concepts of ornament is driven by the forces of mass production and mass consumption that affected every component of interior design and architecture. The change was driven along the wave of Art and Craft movement, that bring in decoration on objects and elements in modern buildings.

1.3 Historical Overview

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1998 A.D. 1877 A.D.

1920 A.D.

Fig. 1.3.4.5, Casa Butllo is a building by Antonio Gaudi which shows the Art Nouveau adornement style.

This building explores interesting forms and expressions.

FINESSE OF LINES & CONTOURS.

Fig. 1.3.4.6, Art Deco has its unique influence on the built forms and its decoration and adornment style, they are influenced by simple shapes and forms.

CHASTE STRAIGHT LINES.

1978 A.D.

Fig. 1.3.4.7, the japanese interiors are about incorporating nature in minimal interiors. But the color, pattern, and elements used still creates the minimalistic ornamentation in the space.

UNIFICATION.

Fig. 1.3.4.8, Architect James Harris uses fractal geometry as a concept of ornament generation. Here, he uses it for creating structural ornamentation and it is articulating the facade surface.

GENERATIVE INTERPRETATION.

Era of industries is perceived as modernism and Modern aesthetics which refers to the purely functional structure and new attempts of adorning modern structures.

In the 20th century moments like Art Nouveau, Art Deco, De Stijl, Bauhaus, Minimalism, etc led to the application of ornament in a more Abstract way.

This abstract expression of ornament has a traditional grid and proportions in simplified manner.

The modern building of the 20th century mainly has “geometry as an ornament’, “Structure as an ornament”, and “Objects as an ornament”. All of these are communicated through attributes like line, pattern, repetition, and color, etc. The modern design wave were commitment to notion of functionalism, theory of type form, scientific objectivity, concept of universality, standardization, and abstract aesthetics for abhorrence to decortion.

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1.3 Historical Overview

1.4

Positioning the continuity We have looked at the theoritical base, interpretation of ornamentation, and historical overview for comprehending ornament. Having studied the previous sub-chapter, let’s look at the application of ornamentation on actual projects and positioning the base for the next chapter in the continuity of ornament.

For better understanding selected ornaments have been identified in the works of practisioners and designers like Louis Sullivan, Frank Llyod Wright, Mies Van Der Rohe, Carlo Scarpa, Hans Hollein, William Morris, etc and have been put forward in methodical array.

Also, we will be looking at contemporary projects of various varieties of functions, typologies and scales.

Fig. 1.121 Ways of seeing talks about ways people perceive object, impact of technology and the way it has changed over the time and gone into reproduced affects. So we have experienced similar thing with ornament and before we start observing ornament in actual project. Its just way of reminder to accept and perceive all the things with open heart.

1.4 Positioning the continuity

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Casa Vicens Antoni Gaudi, 1885 Craftmnship and structural forces stabilized in the expression through forms of ornamentation.

Sagarda Familia Antoni Gaudi Catanary curve transformed in form finding system to bring organization.

Unity Temple Frank Lloyd Wright, 1908 Corners, edges, vertices, and surfaces establish interwoven visual field and movement.

Millard House Frank Lloyd Wright, 1923 Part to whole approach in relation to scale & light in space ideation of the texture and texile.

Barcelona Pavilion Mies van der rohe, 1929 Cognitive and perceptual capacities of ornamental details created through material sensibility.

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National Assembly Mies van der rohe, 1968 “God is in detail.”, But is detail in ornamentation? with manipulation of balance and proportion.

Prudential Building Louis Sullivan, 1896 Processes and methods of self organizing organic form in the system of ornament.

Sullivan Center Louis Sullivan, 1903 Harmonious relation achieved between building components and interior elements in the capacity of ornamentation.

Olivetti Showroom Carlo Scarpa, 1958 Modernist elements constrasted with classical nature of existing building.

Querini Stampalia Carlo Scarpa, 1869 Local techniques and the venetian approach to ornament, datum, boundary, and measure of construction.

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Maison de verre Pierre Chareau, 1931 Domestic scaling of ornament through industrial material and juxtaposition of transparent forms.

National Assembly Louis Kahn, 1982 Concrete as structurally articulated component employing geometrically determined ornament.

Javits Center I. M. Pei, 1986 Grid and modulation of space frame aids in organizing volume within a volume as a shell of ornament.

Zurich Pavilion Le Corbusier, 1967 Colored panels arranged with the idea of modularity and proportion to perceive ornament in the subdivided frames.

Fagus Factory Walter Gropius, 1911 Ornament at the thresold of interior space in the spirit of Bauhaus aesthetics.

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The picnic Stall 2013 ‘Textile’ inherents the capacity of holding a form to create its space through ornamental layers.

Serpentine Pavilion 2013 Clusters of cube frames as ornament are creating utilitarian voids at the urban scale.

Rohit Bal Prive 2009 Practice of interior design theme by use of contemporary to enhance the product.

SPAR Flagshipstore 2013 Usage of ‘Press fit’ technique as a DIY solution to shape based, form based, and pattern based interiors.

Zhongshuge library, 2016 Ornamented elements helps in programming the space to integrate design decisions.

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Courtyard House 2018 Usage of simple linear patterns, textures, and materials can fulfil the need of domestic ornamentation.

Beijing Airport 2019 Form can be resultant of geometry, structure, and construction can also create ornament at various scales.

Light Of Life Church 2014 Structural forces can regulate technique of construction that derives form based ornamentation.

GC Prostho Museum 2010 Single component in the wisdom of tradition can perform the role of ornamentation in a system of unity, stability,and Balance.

Pancho Arena 2014 Expression of mass produced complex components can fulfil the requirement of holding large scale dimension.

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Tokyo Digital Art Museum, 2013 Intangible technique can lead to creation of sensorial effects in dimensionless ornamentation.

The Chessell Street Office, 2015 Calculated repetition can be used to practice dimension of volumes and furniture for singular character of ornament.

Graffiti Cafe 2011 Ornamentation can adopt to existing context and emerges to particularize the program.

Wire Mesh Installation, 2017 Nostalgia of ornament is revealing the associative meaning in current context.

Versace Store, 2016 Dominance of ornamental expression of overhead plane can provide flexibility in planning of space.

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“Another ‘use’ of ornament is as a so-called scale device: breaking down the overall mass of a building or object into smaller parts that relate comfortably to the human observer (Conway, 1982).”

-Patricia Conway

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02 Contemporary Approach

2.1 Shift in Perspective 2.2 New Age Ornamentation 2.2.1 Types of New Age Ornamentation 2.3 New Vocabulary and tools for creating ornaments 2.3.1 The intent of Ornamentation creation 2.4 Interior spaces through elements 2.4.1 Elements composing an interior space 2.4.2 Exemplification on elements

2.0 Contemporary Approach

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2.0 Contemporary Approach

2.1

Shift In Perspective As the era changes, certain ideas and concepts replace the conventional notion of ornament. In this section of the thesis, we are going to look at various ideologies and theories from masters and designers. Here, exerts from various debates, ideas, beliefs, and critics briefly presented to examine the change in the concept of ornament in the current scenario.

Fig. 2.1.1 A ornamented Gyroscope showing the artistic and scientific principles.

Fig. 2.1.2 The Book cover of “Ornamentation and Crime” that revolutionized the design theories of 20th century.

Fig. 2.1.3 Le corbusier’s sketch showing the romain ruins and primary solids and showing the abstracted classical forms.

2.1 Shift in Perspective

In the center, Brook architects lecture series Kent bloomer says in his lecture ‘why not ornament?’ that “Ornament has been an article of human thought and art; and even before that an article of science, since the beginning of the human settlement. Only in the last 50 years, more or less, has it been overwhelmingly absent in the academy of architecture and arts (Bloomer, 2010).”

At the starting of the 20th century, modernists questioned and pleaded for the elimination of ornamentation. Adolf loos in his famous essay ornament and crime says “ decorative details were for degenerators and men had gone far enough for ornament it’s no longer to arouse feelings and pleasure.” He recognized that people naturally tire of objects, and the need for conception can become a problem. A laborer in the modern era has to work for 24 hours to produce the ornamented objects and added ornament would increase the price of the object which also means wasted material and wasted capital. Hence, Wasted manpower and wasted health.

Therefore, ornament implies the devaluation of the resources and it doesn’t give the further potential for development of any expression.

So, the form of any object should be stripped down to minimal usable surfaces such that an object lasts physically. This radical stance of

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Adolf loos had a profound impact on the wave of modernism in the later decades of the 20th century.

Various modernists and postmodernists in the 20th century influenced the understanding of ornament with their theories and beliefs.

But the entire shift came into existence with technological advancement.

The modernist Augustus Pugin States in his book ‘True principle revives an ornamental style’ that, “The two great rules of design are these: 1st, that there should be no features about a building which are not necessary for convenience, construction, or propriety; 2nd, that all ornament should consist of enrichment of the essential construction of the building.”

Fig. 2.1.4 The evolution of architecture in through influences.

An architectural theorist & critic, Robert Kerr in his lecture at the Royal Institute of British Architects stated, there are four ways of creating architecture by integrating structure and ornament: Structure ornamented Ornament Structuralized Structure Ornamentalized Ornament Constructed

Fig. 2.1.5 An example showing all the four ways of intregrating structure and ornament

These four ways suggest a system that is using ornament with the structure to order and organize the built environment.

An important theorist, Gottfried Semper developed the theory of ‘Four elements of architecture’ mentions ornamentation as a medium of space indicator. Semper mentions the role of fabric as a space dividing element that demarcates and defines the space. This is studied with the reference of the nomadic hut.

Fig. 2.1.6 The weaving technique is inspired by traditional construction techniques.

The fascination and inclination towards local techniques of natural material guided him to develop the ‘theory of dressing’ with the idea and modulation of the textile as an ornament.

So, architectural ornament theory and architecture begins with dressing. He made the principle of dressing by taking textile art

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Fig. 2.1.7 The knot diagram for the weaving techniques bt Gottfried Semper.

2.1 Shift in Perspective

as a metaphor. For Semper, the creation of both textiles and space creates volume, where there was once void. He adds that the decorative fabric and details add a dressing of ornamentation on both textiles and spatial boundaries.

Fig. 2.1.8 ETH Zurich building designed

by Gottfried semper combining all of his developed theories.

Fig. 2.1.9 The Rickmers headquaters designed by Richard Mier showing the simple and clear structure.

Fig. 2.1.10 The techniques of a material to identify a new form as craft.

Semper’s principles of dressing, when incorporated with the concept of tectonics, develops into a theory. The theory implies the precedence of decoration over construction, enclosure, and the system of structures. The principles of tectonics and the theory of dressing have given higher importance than construction, material, and purpose. Hence, the buildings that are made in line with Semper’s theory had very “cleansed” ornament. They abandon the classic concept of ornamentation and use the simpler techniques of tectonics and clear structure.

Later the principles of dressing transform the facades and structure by applying engraved panels, embossed surfaces, ornamented and gilded metal profiles led the architects and designers towards the principles of cladding.

Cladding simply means the ornamentation of the existing surface.

In modernism, the conventional notion of ornament was challenege by many practisioners. Adolf Loos believed that every material should develop into its own forms and grammar and should not claim the forms of other material for itself. His focus was on the relationship of ornament between cladding and space. While for Semper, in his theory of dressing ornamental relationship is between elements and space.

There are various statements by architects talking about “surfaces and materiality as a surface condition, as an interface, as an intermediary, meaningful, medial layer between subject and object.”

Fig. 2.1.11 Ornamental development of Louis Sullivan works by Botanical forms.

2.1 Shift in Perspective

The ornament should aid in expressing the building’s characteristic on an individual mind.

After Semper, Louis Sullivan was trying to put forward an idea of method based technique

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in material or construction. Sullivan’s intention was to incorporate ornament in expressing the building’s character as an individual product. In his works, he found a sensitive mixture of form, structure, and ornament. This mixture produced certain effects in displaying the function and details in the building. This amalgamation of structure and form expressing a character developed surface ornament in his buildings.

In Sullivan’s work, the system of ornament was indeed contained by the structural form. But it has a strong dependence on botanic shapes and growth, which came from the movements in Europe like the art & crafts and Art Nouveau.

The expression of ornament can effectively express and glorify the function of the building. Frank Lloyd Wright was in favor of ornament. FL Wright has used the technique of ornament in order to generate the plan for his buildings. He also used Robert Kerr’s one of the ways to create architecture i.e ‘ornament Structuralized’. He found a new effective way of expressing ornament to glorify the function of the building.

“Structural ornament frees ornament from being an applied decoration. Blurring the strict borders of structure and ornament, the contemporary application of structural ornament emerges as a hybrid element (Lynn, 2004).”

The understanding of ornament in contemporary framework becomes necessary in the inherent part of interior architecture.

For the same, Charles Jencks also introduces the three grades in the extent of newly developed modern ornament - structural & constructional ornament, semantic ornament, and transformational ornament. He added that these ornaments have contributed to the contemporary approach towards the design aspect. Jencks further says ornament is necessary, as it is inherent to architecture and becomes the structural ornament.

While Marjan Colleti states that tectonics and ornament were considered as two different entities until a few years ago. But that due to a lack of technological advancement. He defines

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Fig. 2.1.12 The Imperial hotel by FLW, he is using ornament as a technique for interior element to glorigy the structure and accommodating the function.

Fig. 2.1.13 The Facade design by Greg Lynn where he is ornamenting the structural elements and he is blurring the boundaries between inside and outside.

Fig. 2.1.14 A light well designed in a Thematic house in london by Charles Jencks where he is transforming a plain element into ornamental.

2.1 Shift in Perspective

Fig. 2.1.15 An installation design by Marjan colleti having a sensous effect through the constructed pattern and forms.

Fig. 2.1.16 The layers of elements are stacked to fulfil functional requirement of built system but cohesively it is affecting with sensoriality.

Fig. 2.1.17 The ephimeral experience of ornamented element serving to the functional attribute of the space.

two new paths towards ornament: Ornamental and Pornamentation. He says “ They represent the abstract and exuberant bodies of ornamentation. I try to establish a vocabulary that escapes abstract art and develops a different set of tools and languages, icons and semantics that can be used to develop perhaps its own kind of ornamentation. It’s ornaMental, so it’s mental, intellectual. The second trajectory I would like to discuss is pornamentation. Here, the computer is performing a sensorial task, so it’s not mental. Obviously, it’s graphic, almost pornographic.”

Ornament has also given a sensorial and memorial effect to a person in space but it can never be added without equiping a function to it. Farshid Moussavi in her book, ‘The Function of Ornament’, ‘Functionalism’ has been taken as a modern approach in which beauty was referred to as an ornament, that becomes a functional attribute to the efficiency of a built environment.

She defines a new layer of ornament and it being sensorial that affects individuals in various ways.

Ornament indeed corresponded with the concept of beauty but return of ornament is based on the condition of it being functional.

Robert Levitt has similar beliefs, he explains that ornament has returned from banishment with a condition of it being functional as well. But this doesn’t take away the aesthetic quality referred to as a matter. He adds that there can never be unornamented architecture. The role of ornament is neither just symbolic nor it’s merely functional. Ornamentation was not divorced with utility.

Jacques Herzog in his interview, on the topic of ‘Ornament, structure, and space’ says, that “they do not need to explain the necessity of ornament anymore or apologize for a decorative detail in their works since ornament becomes one with the form of their building (Chevrier & Herzog, 2006).”

Fig. 2.1.18 The Ornamented built structure on cuboidal volumetric building.

2.1 Shift in Perspective

The possibilities for integrating ornament is directly associated with materiality and development in technologies. Rivka Oxman

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in her article, ‘Digital architecture as a challenge for design pedagogy’ says that computational design and digital realms have a strong influence on the advancement of new theoretical, generative, and cognitive approaches. These have been considered as new paradigms in the field of design education and theories. One can continued by saying that the emergence, migration, and crystallization of every new strategy and concepts have been developed under the effect of digital designs for the past decade. Also, the concepts that have been backed by digital methodologies and emerging technologies occupy a pivotal role in present interior architectural dialect and discourse.

Fig. 2.1.19 Generative approach to derive a form from a solid mass is a new strategy and concept in digital designs.

Jörg H. Gleiter, in his book ‘Ornament Today: Digital, Material, Structural’ argues that “ornament has returned to architectural milieu due to the expansion of digital technology with concern on structural and material aspects more than historical discussions of style and taste (Gleiter, 2012).”

The usage of bold aesthectics prevailed an Fig. 2.1.20 The geometrical expansion of attitude towards accepting ornament in a a pattern to become a structure through digital technology. more effective, integral, and truthful manner.

Rober Venturi, in his book ‘ Complexity and contradiction’, provided the most complex understanding of ornament among architects and designers today. There was an essential perspective towards re-educating architects about symbolism. This provided a groundbreaking study on the perceptual and symbolic content of ornament. Till his time the important issue of deriving structural relationship and the meaningfully derived ornament was not fully developed. For him, the perception of modernism was quite orthodox, and challenged it by his words. Robert Venturi’s use of the single ‘Ionic’ column in his addition to the Allen Memorial Art Museum, talks about the manipulation of ornament and ornament found from the traditional orders. “ A successful ornament represents virtue and explains the function, status, structure, and context of the building (Van Raaiji, 2014).”

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Fig. 2.1.21 The bold expression of inserting a column giving it a classical notion of ornament in post modernist building by Robert Venturi.

2.1 Shift in Perspective

Fig. 2.1.22 The ornament has become quite mysterious in the place and yet driving us to sensations of effects in a space.

In interior and architecture, the role of ornament is derived from the need & desire of people and it changes with time and age. But ornamental existence has remained paradoxical. Even today, the ornament has a mysterious role, concealed materiality, camouflaging the scale, and mutating the visual gap between the subject and context. From these theories and discussions, we are about to enter into the world of a new age of ornament where it thoughtfully integrated with a new vocabulary of contemporary concepts and digital mediums.

2.2

New Age Ornamentation “Decoration is a debatable topic, but ornament pure and simple is a thing of significance; it is a synthesis, a result of a process of putting together (Corbusier, n.d.).”

Fig. 2.2.1 Plaza d’italia is designed

by Charles moore in america with different architectural style that shows different cultural notion. This becomes the symbol of history.

The notion of ornament as mere decoration to embellish interior architectural elements have been questioned and challenged by several designers, architects, critics, and theorists. This is towards understanding ornament as an integral part of interior architecture. What ornament achieved in contemporary time is much more than decoration. The act of ornamenting served the purpose of stating and identifying various cultural notions, it had belonging to communities and revealing histories through art, design, and architecture.

With the newly developed aesthetic, the built form remained to its purity and essentials but the initiators of these movements incorporated various aspects and understandings for the conception and execution of an ornament.

The argument between Abbot Suger and Bernard of Clairvaux about associative qualities of materials and also they are critical when designing a form. Hence, Historically ornament has remained to an ecclesiastical dimension till the medieval era. Later in the renaissance, it has been observed as ‘pleasure and delight’.

Fig. 2.2.2 Cast iron and wooden detail to show ecclesisastical dimension of materials in history.

2.2 New Age Ornamentation

Christopher Dresser, in his book ‘The art of decorative design’, says “Ornament in that which superadded to utility, renders the object more acceptable through bestowing upon it an

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amount of beauty which it would not otherwise possess.”

The ornament had such a favorable assessment, that raises the question of how ornament came to be so devalued during the 20th century. According to Siegfried Giedion, the devaluation of ornament is rooted in two critical phenomena. First, the cheap industrial production of adornment. And second, the remarkable absence of a unified world view that could produce a coherent system of design for ornament, that had prevailed in the previous century.

Fig. 2.2.3 The cheap inductrial manufacturing of wallpaper with different 2d pattern degraded the interior’s taste.

Benedetti Gravagnuolo questions that “ Is not proposing the elimination of the ornamental option from architecture equivalent to abolishing- at least in intent the symbolic and representational content that is superimposed on pure and simple construction?”.

In the globalizing world, contemporary interior architecture projects are attempting to create interesting spaces with innovative design solutions. This leads to the development of a new language of ornamentation in current times. The use of color, texture, and the visual qualities inherent in material and structure replace the articulation of surfaces by contemporary ornamentation generated with the notion of functionalism.

Fig. 2.2.4 The intricate jali designed by the italian marble. Transformed and composed into new forms and patten.

So, this can mean, interiors shows insufficiency of material substance without the usage of ornament. And that is something Loos does not wanted. The designers are employed in the organization of form and material. But the question remains whether the used material with its inherent qualities, associational qualities and detailing will give it a expression, which will not be adopted by the attributes of ornament.

The modernist approach did use expensive and ornate materials. Even when modernist advocates deride the use of ornament. At the end of the 20th century, it was observed that ornament can be viewed beyond just surface enrichment, as a particular way leading to organizational methodology. Organizing the

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Fig. 2.2.5 The textured granite is embellished with the brass strip inlay, both the material are adorned in its individuality and composition.

2.2 New Age Ornamentation

Fig. 2.2.6 The tensile connectors details are expressed as structural ornament.

Fig. 2.2.7 Wooden surface with the visible grains of the material.

Fig. 2.2.8 Wooden Joints showing skills in the making.

Fig. 2.2.9 Intricate wooden surface with the explorations of geometry.

Fig. 2.2.10 Interiors by Otto Wagner showing the post modernist spirit of ornamentation and interior design.

2.2 New Age Ornamentation

ornament spatially seems to have a similar approach to how space is organized generally.

The point has already been made that in the 21st century details and materials have become an expression of ornament (at times, the sole ornament). But it is also true that the structure itself has become ornamental.

Structural elements have always expressed that potential. As that is seen on the vaulting of Gothic Cathedral as well as on the connectors of Santiago Calatrava’s work.

Van Zanten says “To carry conviction, the principle of ornamenting must be thought out in relation to contemporaneous techniques and images (Zanten, n.d.).”

The materiality in interiors and architecture have combined substances. Materials have both visible and invisible forces acting upon it.

Manipulating the material in relation to these forces, structures the presence of ornaments.

The new concepts and progress in the field are affiliated with materials and its illustrations in new aesthetical arrangements and affects.

Farshid Moussavi in her book, ‘ The function of ornament’ makes a profound statement that “Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object. It is not a mask determined a priori to create specific meanings (as in Postmodernism), even though it does contribute to contingent or involuntary signification (a characteristic of all forms). It has no intention to decorate, and there is in it no hidden meaning. At the best of times, ornament becomes an “empty sign” capable of generating an unlimited number of resonances. Whereas décor and representation promoted by Postmodernism correspond to a self-limiting movement from the possible to the real which cannot create anything new, ornament is in line with non-representational thought and the creative actualization of the virtual. Decoration is contingent and produces “communication” and resemblance. Ornament

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is necessary and produces affects and resonance (Moussavi & Kubo, 2008).”

The materials when put under certain actions produces affects. Those affect are triggered in the domain of the contemporary interior by distinct materials and ornaments are intrinsically linked to those affect in interior spaces. While the construction system and details also generate certain affects in the space, that are also tied to ornaments. So, we can conclude that ornaments are in seamless continuity with the construction and production of affects through the material for any contemporary interior project. The same materials can generate distinct affects on the basis of created ornament.

Fig. 2.2.11 One of the home decore magazine is used to do the virtual branding of the word decoration.

The ornament can regulate any component of space from it being thinnest to deepest. In the contemporary context, any interior space classified into three components categories in which ornament becomes the most prominent guiding factor.

The first category deal with the spatiality of a volume. Those components are form, structure, screen, and surface. The form includes the overall organization to create building expression. The structure includes the various typologies of structural frameworks. Screens are in between layers within the interior space and between interior and exterior. Surfaces are either independent detached layers in the space or peripherally attached to space.

Fig. 2.2.12 Combination of screen, material and light creates a beautiful effect of shadows in space.

The second category deal with the content and context of the space. It talks about the program, function, branding, color, texture, etc.

The third category deals with the affects. It is the resultant interconnection between spatiality and context that produces the ornaments which transmit unique effects in every interior design project.

New methods and systems of fabrication and construction have opened up the possibilities for contrast and customization. Here we can conclude that these distinct affects can be

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2.2 New Age Ornamentation

created in any interior projects through the medium of the above-mentioned component categories of ornaments in space.

Fig. 2.2.13 Profound expressions given to the structure and facade of a building by Herzog demeuron.

The ornament has resurfaced with its new identity of being functional, structural, and aesthetical. Ornamentation has implied itself for being versatile in designing interior spaces. In contemporary interiors, the digital, visual, tactile, sensuous, representative, structural, functional, and constructional facets justify the usage of ornament metaphorically and directly making ornament a profound mode of concepts and expression.

It is also defined by various architects, designers, and theorists that contemporary era for ornament has begun post 1990s till present day.

Deniz Balik and Acalya Allmer, in their article, says “ As of now, the ornament is elaborated through various attributions, such as “coded ornament”, “dynamic ornament”, “contemporary ornament”, “new ornament”, “ornamentalism”, “ornamatics”, and “digital Nouveau” ”.

The resurgence of ornament is supported by digital means, advancement material, construction techniques, modern expression, and abstract ideas serving the purpose of functionality. These can be termed as NEW AGE (Contemporary) ORNAMENTATION.

Fig. 2.2.14 Circa restaurant design is showing one of the typical example of contemporary ornamentation.

Ornament in current times is full of new prospects, that is broadened by an incorporeal domain of virtual reality using digital tools. The scale of ornament in contemporary notions can vary from a furniture junction detail to the urban fabric. Ornament in contemporary interiors can be applied as an intrinsic and extrinsic layer of a built environment.

The new age is completely falling short of a specific style, yet it is regulated through the model of digital technology that enables designers and architects to create and produce peculiar surface effects and dynamic ornaments. Also, contemporary theories lack a practical and simply justifiable definition of ornament, its experimentation

2.2 New Age Ornamentation

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with digital mediums, innovative materials, unique tectonics, surface affects, sustainable components, effects and sensations, function, branding, etc proves a more convincible role of ornament.

In ‘Ornament: The Politics of Architecture and Subjectivity’ Antoine Picon states that “ornament has returned an indirect relationship with the advancement of digital technology and expanded its content to include texture, pattern, structure, façade plasticity, digital dynamic urban maps, and neuroscientific scans (Picon, 2014).”

In the book, ‘The Articulate Surface: Ornament and Technology in Contemporary Architecture’, Ben Pell says that “There is an apparent split between architectural theory and practice, which, on one hand, relates to representation and symbolic expression, and, on the other hand, comprises technique, utility, material, and architectural detailing. Contemporary ornamental buildings can be categorized in terms of applied, perforated/cut, layered, formed/cast, and stacked/tiled (Pell, Hild, Jacob, & Zaera, 2010).”

Available literature and theories on the ornament while inspecting its sensuous representation and material prospects, welcomes its lateral return to the digital age. The resurfacing of ornament is strongly grounded on the advanced technology and highly performative computational programs in the last two decades. The new age ornamentation is variedly experimenting with the form, structure, and construction by using technology as an active tool.

The reemergence of new-age ornament has kept in line with the new fabrication and manufacturing processes, like CNC cutting, laser cutting, 3D printing, robotics, etc. The unification of CAD and CAM programs initiates the concept of scripture, algorithm, morphology, deformation, distortion, evolution, formation, mutation, generation, transformation, and variation (Lokce & Allmer, 2016).

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Fig. 2.2.15 The Articulation of the surface aiding to the aesthetical purpose and functional purpose of windows.

Fig. 2.2.16 The construction of an object with various new technologies are initiated by drawings of the object.

Fig. 2.2.17 The digital form generation by scripting and modeling through various algorithmic softwares.

2.2 New Age Ornamentation

Moreover, the pattern has been added to the research field of ornament in its most extensive sense. As the pattern consists multiple concepts and notions of ornament like sequential, dynamic, configurative, informative, performative, morphogenetic, and parametric (Lokce & Allmer, 2016).

Fig. 2.2.18 The new methods and language of pattern generation has changed because of digital tools.

Fig. 2.2.19 Calatrava’s buildings shows the expression of structural ornamentation in interiors as well.

Fig. 2.2.20 Peter Zumthor’s building shows the functional aspect of ornamentation.

Fig. 2.2.21 Zaha’s interior shows major influence of digital tools and parametric forms. This more seems like digital ornament.

For more than a century, the most debated issue of ornament has toggled between the positions of being condemned and praised.

Primarily for a very long time ornament has been used as the cultural representative.

Though contemporary design and architecture have received ornament graciously because of its versatile design potentials.

In this particular section, we developed and looked upon a theoretical framework for the re-emergence of ornament. Moreover, the literature and research of the last decade repeatedly highlight that new age ornamentation has a new rationale and interpretation. We tried relocating its position based on its new aspects in the contemporary interior architecture domain. Also, the study suggests ornament has various versatile layers and avatars.

The new age utilization of ornament suggests innovative prospects like a structural ornament, functional ornament, and digital ornament.

It rethinks and accommodates the primitive application as well. The new age ornament is in constant mutation rather than just being an interior architectural element.

2.2.1

Types of New age Ornamentation Primarily, ornamentation starts with two aspects of qualities i.e. associated qualities and inherent qualities. These qualities are in relation to material, shape, and form that later when exposed to interior space and elements generate ornamental characteristics on space making elements and makes the generic

2.2.1 Types of New Age Ornamentation

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ergonomic space into ornamental interior space. These qualities either associates us with some symbolic or aesthetical notion or it becomes the inherent part of the space making elements.

Broadly, today in the contemporary world there are two categories of generating ornaments through various means of evolutionary models and Shape Grammar.

Evolutionary models focus on replicating the rules of natural growth and stimulations such as mutation and reproduction.

Shape grammar provides a sequential approach to generating systems for ornamental designs and also a computational approach to digitally formalize with multiple parameters.

These parameters are related to specific contexts and predefined shapes.

The argument about resurfacing of ornament is strongly grounded on the advanced technology and highly performative computational programs that when optimized, the design is an interrelation of methods of representation and the associated implications of its tools and methods with material and the associated implications of its physical properties with the processes of manufacturing, manipulation, and assembly to derive form resulting into ornamentation.

Fig. 2.2.1.1 The generative L-system diagrams done in various formats of multiple parameters.

For doing the same, there are precedents that are organized around four primary categories of point, line, surface, and mass.

These then each have four subcategories that systemically cover an array of subsystems within their broader geometric boundaries to meet the present requirements of digital production and digital fabrication, without which expansion of ornament would have limited just as applied ornament on the surface and ornament would have not become the surface itself as shown in chart below.

So, it is necessary to see broader possibilities in multiple dimensions of the space.

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Fig. 2.2.1.2 The parametric form generation processes which shows mutation of a form and its distinct iterations.

2.2.1 Types of New Age Ornamentation

Point unit aggregation module network

(node) (element) (Tectonic unitization) (bay) (field effect)

Surface wall facet shell serial

(mesh) (plane) (triangulation) (continuous surface) (superimposition)

Line

(Straight and curved)

stick/member grid frame/cage field effect

(element) (field) (lattice) (array)

Mass

(Volume)

cast/solid void inversion series

(continuity of form) (subtraction) (positive/negative) (unit and aggregation)

Also, in the previous chapter, we have defined the component categories based on Form, structure, surface, and screen. These components refer to the cohesive relationship of elements and ornamentation with respect to materials process and produced affects in the chart below. These affects produced can act as contemporary ornamentation and as various mediums of generating ornamentation.

There are many these kinds of approaches to the way to make the new dimensions of ornament wider that helps in producing ornament in terms of software skills and hardware components and because of these understanding and directions, this thesis has developed a new framework of categories to define types of new-age ornamentation in the current interior realm.

Materials

Affects created by actions

Type

Program

Fluted, aggregated, diverse, modular,

Form & Screen

Construction

Spiral, undulated, latticed, oblique, scaleless, vertical, rusticated,

Form, Structure & Screen

Cladding

Banded, quilted, modular, textured, pleated, weighted discontinuous, deep, differentiated

Form, Structure, Screen, & Surface

Light

dematerialized, geometric, cinematic, luminous

Form & Screen

Shape

Amorphous

Form

Pattern

Random, relief, differentiated, embroidered, complex, tartan, alternating

Structure & Surface

Branding

Kinetic, moired

Screen

Image

Differentiated, gradated, textured, branded, serial

Screen & Surface

Color

Differentiated, tonal

Screen & Surface

Reflection

Camouflaged

Surface

2.2.1 Types of New Age Ornamentation

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The further detailed categorization helps in identifying attributes and qualities of ornamentation. Moreover, it helps in defining different types in current times. These types take inferences from evolutionary models and shape grammar as initialization concepts.

Ornamental designs varying from motifs and patterns generated through its repetition in two dimensions to form and structure in threedimensional explorations.

Hence, the types of contemporary ornamentation are categorized as below:

Two Dimensional

Repetitive Pattern Identical Repetition

Three Dimensional

Surface Modulation Faceted

Altering Repetition

Topological

• Repetative Pattern

Form Formation Geometric Organic Natural

Primarily, hand skills were used to get ornamentation in form of pattern. Machinery techniques using drill machines and woodcut machines can help to achieve desired patterns on the surfaces. Computer-generated representations can help the design to materialized to achieve the desired expression using digital fabrication techniques like laser cutting, CNC milling, etc.

There is also permanence and temporariness techniques in the pattern based ornament.

Lighting can create an ornamental effect that is widely used in laser shows, rock shows, screens in digital shows & narration, also cinematography uses lighting as a technique to create ornamentation in the plays and movie sets. While, permanence deals with the modularity in the system like in panels, tiles,

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2.2.1 Types of New Age Ornamentation

screens, etc. Moreover, the two-dimensional ornament has a wide scope of usage in multiple disciplines because of its associational qualities.

The tools for creating patterns are compositions of point, line, plane, etc that are repeated, arranged, tesselated, and aligned with certain orderson the basis of design principles.

1. Identical Repetition

Fig. 2.2.1.3 The Identical repetative pattern within an interior form.

Patterns can be formed using repetitive shapes to generate ornamentation. While, a material can be engraved or scribed by a defined pattern, making it not contained to surface-based applique. It is generally applied on flat surfaces that can be just like an image, print, pattern, or relief work. This kind of pattern is more typological in its nature that can be generated by simple scripting and rulemaking.

2. Altering Repetition Parametric patterns or associative patterns that are constantly varying in its formation can be controlled using digital techniques. Such techniques like scripting enable us to specify a relationship between each pattern and to create multiple iterations. Talim, a Kashmiri carpets shows a traditional weaving scripting technique to create ornamentation in textiles.

Fig. 2.2.1.4 A curved surface having expression of altering pattern done through tesselleted modules and certain parameters.

Altering patterns that show randomness can also be generated manually through tools like sketching and physical modeling. Such nonuniformity has a huge inclination in today’s designs.

Altering patterns are majorly used in the parametric jalis, parametric facades, generative facades, surfaces, and screens that can be carved out, cladded, and assembled as well.

• Form Formations In the applications of the contemporary context, Three-dimensional forms in the form formation process can be characterized using different scales, from objects and furniture to 2.2.1 Types of New Age Ornamentation

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the construction of interior elements itself. Threedimensional forms are morphological in nature.

All these forms can be achieved through traditional processes and tools to modern, machinery, and fabrication techniques like CNC and 3D printing, etc. All these become the resources for the three-dimensional forms.

For the inspiration to design the processes, these types of forms initiate the process of the formation of the new category. The following types of forms are identified as below:

Fig. 2.2.1.5 Various geometrical morphologies achieved through computational techniques.

1. Geometric Forms Geometries can be created using components like points, lines, shapes, and forms, etc. Any geometric pattern is an amalgamation of such components defined in a specific order or rule.

Such a pattern can be transformed into a threedimensional form. This tendency is called “Deep Ornament “ or “Deep Surface”. These kind forms are often used in all era of interior architectural practices. Such ornamental forces are widely used in structures, door-window elements, partitions, furnitures, etc.

2. Organic Forms

Fig. 2.2.1.6 Geometrical interior expression achieved through triangulated forms.

Organic forms have a strong association with elements like plants, animals, birds, humans, etc. Also to elements like water, fire, wind, etc.

Generated forms bear a resemblance and sometimes direct descendance from the inspired element and the ornament possess strong resemblence to these organic forms and it can be utilized under various different scales.

3. Natural Forms Natural forms include not only the geometric or natural elements but also nature’s law, processes, and mechanism. Such processes and actions can include branching of a tree, growth of a flower, surface tensions on materials, etc. These kind of ornamental form are derived from form finding processes and the natural forces movements. We can see this as an inspiration in furniture, pavillion,

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Fig. 2.2.1.7 Organic form is being reinterpreted and taken into new scales and hierarchies to create structural ornamentation.

2.2.1 Types of New Age Ornamentation

structures, elements, etc.

Fig. 2.2.1.7 Natural forms are generated through nature’s process of form finding with the forces. The example is trying to show the same.

The morphological forms are indeed three dimensional and can be achieved through geometric, organic mutations, and natural processes. But such forms can also be obtained for design development of interior space through processes like form-finding, form derivative, Form propagative, Form diagramming, etc. Moreover, we can also say that three-dimensional forms are based on polyhedra. Sometimes abstract motion diagrams also generate forms based on a particular action that reflects certain behavior in the making as well.

• Surface Modulation

Fig. 2.2.1.8 A particular surface and pattern are overlapping to generate a new typology of structured form and surface.

A surface is a two-dimensional element, but when it is undulated in space it occupies volume in three dimensions. Conceptualization using such modulated surfaces for an interior space can be done by cladding on the architectural shell or suspending from the shell.

When a surface is modulated in multiple axes generates a spatial diagram of surface based form. When polygons are opened or joints together, origami and fractals based surfacial forms are example of surface modulation.

Since, there are multiple surfaces involved joints between two surfaces plays an important role in expressing the entire surfacial form.

1. Faceted Surface When a polygon is opened up to be multiple surfaces joined together from the edges. Such a surface grows and moves in all three axes, which generates a multi-faceted undulating surface.

A faceted surface can be generated using identical or nonidentical tessellating patterns.

Fig. 2.2.1.9 An assembly of various polygonal surface arranged as an enclosed space.

2.2.1 Types of New Age Ornamentation

The idea of tessellations that are used to solve the surface geometry of complex curved surfaces is in several instances used as an ornamental cladding that creates interest and excitement in the interior space.

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2. Topological Surface The manipulation of surfaces using Nurbs meshes. NURBS (nonuniform rational B-splines) are analyticl and airthmetical representations of various simple as well as complex forms like two dimensional or 3 dimensional objects and free form bodies.

NURBS are used as standard way of representation in multimedia graphics and CAD/CAM realms. As per the complexities of design requirements, one can modulate intricately curved surfaces using NURBS surfaces.

Here, surface contortion can be used as an expression of ornamentation in the space.

There can be variations in the ornamental designs as per the varied site conditions and functions assigned to the series of topological surfaces.

All these kinds and types of form formation are used to create contemporary ornamentation in space. Ornamentation today are using topological, generative, and associative processes and approaches to create a generic elements and space to it being ornamental.

Also digital fabrication tools and processes can be both subractive and additive.

Fig. 2.2.1.10 A morphological and and digitally generated form translated into human scale space. Here the form is being topological in nature.

Fig. 2.2.1.11 Digitally generated variations of cube formation.

There is no limitation today to skills and techniques in the creation of ornament using hand skills or machinery techniques or digital fabrication tools.

2.3

Fig. 2.2.1.11 Image showing a complex capacity of the advance technology to create a complex form from a single unit.

New Vocabulary The ornament has effectively become part of the contemporary built system, though its application can be conscious or subconscious. This application is clearly seen in hierarchies of scales while designing interior spaces, the ornament has remain independent of different parts of the built system.

Also, computation technology is playing an

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2.3 New Vocabulary

important role in generating complex ornamentation, and the fabrication technique is taking a shift towards customization with respect to individual parts and components. Therefore, it becomes necessary to define the boundaries between different languages and styles of ornamentation.

Fig. 2.3.1 The digitally generated form can form under various conditions of structure and performance.

The emergence of a new vocabulary for ornament inheritance the relationship between digital form and digital processes with domain knowledge of interior design. Its characteristics can be considered a paradigm shift from the early mediums. Digital tools have transformed the idea of form into the idea of ornament formation. Digital tools are not just used as a medium for generating the complex forms but it is also becoming the medium and tool for conceptualizing form as an ornament.

This means ornamental styles will not remain bound to precise definitions but these new vocabularies will allow the designers and practitioners to experiment and produce ornament at the broader level of interior practice.

The expanded vocabulary can allow designers to incorporate ornament as per their design approach and also to use the ornament as a design approach with varied explorations in materials and construction techniques.

Fig. 2.3.2 The emphimeral experience can be filled in the interior space of Shanghai Pavilion.

The new vocabulary of ornamentation is classified as below:

1. Expressional The expression means laden with symbolic features of experience. It is referred to what one feels, thinks, and images of the material dimensions that they are physical, perceptual, and cognitive experiences.

These experiences built the expressional ornamentation. Here, the ornament has become the inquiry of materiality and the senses. These can be carried forward by the symbolic operations of texture, patterns, and topologies.

Fig. 2.3.3 The light quality versus the tall space can be experienced well with the expressed surfaces.

2.3 New Vocabulary

Symbols provide visual characteristics and ordered methodologies as a tool for expressing form through the sensitive application of textures, patterns, and topologies in various material combinations. Also,

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the materials can be taken further into elemental operations like twisting, bending, layering, stacking, overlapping, folding, etc. And these become the expression in the space that results in expressional ornamentation of the interior surface, edges, and junctions.

The material as a medium can contribute to the overall aesthetics of the space. Every material can be seen as a physical entity. But the aesthetics of expression include scale, proportion, joints, junctions, dimension, and material for the appreciation of the elements and space as a virtue of ornamentation.

All these in current times are deployed through new technologies and their applications.

Fig. 2.3.4 The Swiss pavilion by Peter Zumthor expresses the material used with unique technique of sound.

Expression at times can be defined as ornamented details with inherent or associational consideration of materials. Detail can define both structural functions and ornamental functions that indicate mass or space. The detail is often thought to refer simply to the joining of two or more building elements.

One can see that the designers relish the visible detail because it is visible, it can essentially be ornamental; in this sense, it is not the actual joint that constitutes the detail, but what the designer decides will visually and tactilely occur at that joint. Thus the detail aids in either easing or making significant the visual transition from one element to another. It will be developed into an expressive junction, rather it would become the expression of that surface, edge, and junction.

The adaptation of ideas, concepts, and attributes that achieve ornamental qualities through its production, materiality, and form define the expressional domain of ornament. And, the expressional ornament can be a meaningful and sensual event occurring in the interior space.

Fig. 2.3.5,6,7,8 Various expression of the metal with fabric, Wood, stone, and glass as different language and expression.

Fig. 2.3.9 Hans Hollein in his store uses ornate materials with so post modernist expressions that makes the spaces and junctions look ornamental.

2. Tectonics The tectonic has been taken as ‘the art of joining.’ The art is encompassing the technique of construction to achieve the desired tectonics at the application of the design ideas.

According to Anne Beim, “ the meaning of

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2.3 New Vocabulary

construction in architecture and ‘’tectonic vision’’ is defined as divisional investigations into new materials, technologies structures, and practices of construction.”

In Studies in tectonic culture, Kenneth Frampton has demonstrated through two centuries of material, how architecture is grounded in a tectonic logic that produces its own aesthetic appeal, irrespective of style or time.

Fig. 2.3.10 The Section of Bernini Church recreated by mario botta as memory using Lasercut wooden layers. Here this layer and forms tectonics.

In the last two decades, tectonics has been influenced by digital technologies and formulated as a concept for generating relative to complex forms and topological geometries. That is in reference to the definition and function of new-age becomes the medium or vocabulary for new age ornamentation.

The tectonic and ornament were considered as two different entities because of the technological barrier. But digitality and ornament are running parallel to each other in the idea of design, manufacturing, and use. So, the tectonics with the new material interest and complexity in ornament are united as an inside out folded plane.

Fig. 2.3.11 One of the phenomenal staircase design by eva jerrica with unique constructional and tectonical details..

The amalgamation of distinct layers in terms of form, material, texture, and joineries with the integration of production techniques gains tectonism of ornament yielding aesthetical and functional attributes. The tectonic ornament provides a cohesive perception and constructive apprehension qualities to the user of the space.

“The joint is the beginning of ornament (Kahn, n.d.).”

3. Spatial The evolution of ornament has happened from it being a layer of cosmetics to embellishment to the utilitarian element. However, ornamentation has also played the role of being a spatial informer, which defines and creates the spatial dimension of any volume/space.

Fig. 2.3.12 Tectonism can be explored at a scale of an airport having structure as a mode of creating tectonics.

2.3 New Vocabulary

The ornament merges with the structure where ceilings are kept exposed. This defines the role of ornament to bound a space within a volume and not just remain as a decorative layer. The theory by Robert Kerr mentioned ornament as structure.

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We have also discussed previously that ornamentation can be executed at various scales and hierarchies. The threshold working as transitional elements can act as space or definite elements that contain the volumetric space when exposed to form, material, color, texture, etc transforms the space into ornamentation. So, it’s not the structure but the functional shell to any volume defines ornament as a spatial informer.

The structure or framework of any element can become an ornament and vice versa, that ornament divides and organizes the space within the larger functional domain.

Fig. 2.3.13 The spatial expression inside a venetian church is completely changed by inserting a different volume.

The interior space can be configured by elements, their horizontal and vertical placement in space indicates the spatiality. This spatiality can be constructed or materialized by the virtue of ornamentation.

Sometimes the patterns are extruded in the interior space, to form micro spaces within the larger volume, that informs the spatial configuration and organization of activities, while here the character formed becomes the ornament itself. Ornament here doesn’t remain to the component or layer of embellishment but it informs about the spatial organization, orientations, and demarcates the spatial activities.

Tools like patterns, complex surfaces, and generative forms as ornamentation are used to enhance and elaborate the environmental qualities. These qualities give the image of dematerialization and diminishing the material surfaces. In such situations as well the structure becomes the singular entity with the ornament to manifest the spatiality of the space.

Fig. 2.3.14 The Big patterns is taken as a module to create micro spaces within the big volume.

Hence, we can conclude that ornamentation is not merely a tool of adornment or embellishment but it is used as a means of generating spatial organization and configuration. The ornament becomes the spatial informer and also becomes the space to be inhabited.

Fig. 2.3.15 Spatial organization of the perforated surfaces to romantisize the interiors and its volume.

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2.3 New Vocabulary

2.3.1

The intent of ornamentation creation The categorization of functional ornament is defined in the previous sub-chapter and we have also studied the processes and methods of contemporary times. So, it becomes necessary to determine the driving forces of any interior design project in current practices in terms of its conceptualization and construction.

Forces

Standardized Particularized

Time Economy Design Program

The driving forces are Standardization, Particularization, and Customization. And the factors Customizedthat help in deciding the driving forces are Time, economy, design position, and program brief. Each driving force can lead the design project with a unique approach. But here in this thesis, the design approach for interior practice is entirely based on ornamentation.

Fig. 2.3.1.1 The newly added shell in the interior space is merged well with the existing context.

Fig. 2.3.1.2 The ergonomal requirements are basic necessity and the reason for the existence of the space itself.

As the thesis moves ahead it is necessary to define the intentions taken towards the creation of new age ornament through the articulation of space-making elements.

In designing the built forms, space making element regulates the well functioning of the built environment and validates the existence of the interior as an environment. Every interior space demands importance from certain aspects of elements. These aspects are needed for determining the usage of interior space activities.

The utmost priority of space is ergonomics, an inevitable dimensional relationship. Once, the ergonomic intents are fulfilled, one has to address the spatial narration of volumes that can accommodate the spatial intent of the elements.

That further leads towards generating a cohesive experience for the user to reside in a healthy and appealing environment by providing aesthetic intents. These intangible experiences can only be materialized by adding the layer of constructional intent.

Together as a system, these intents are ordered in the determination of a program to become the design approach for the ornament. Understanding

2.3.1 The intent of Ornamentation Creation

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and applying the dimensional, spatial, aesthetical, and constructional intents are necessary to define the position of a particular element for the required study.

In order to create the articulation of ornamentation of space making in interior domain, above mentioned intents can be considered. These intents become the key medium to initiate the design process. Rather, the combined systematical usage of the intents create a sense of order in space through the articulation of ornaments. We are briefly going to discuss each one of them with respect to their parameters as follows:

1. Spatial Intent.

The spatial intent of an element can be taken in the context of the volume and scale of the space. The parameters to define or create this intent can be taken as a measure for space making element to incorporate ornamentation.

• Purpose in space: The purpose of an element describes the goal in space. Sometimes, it defines the function and requirement of a space making element. It can also describe what does the element doing to the space.

For example, adding a staircase as an element for ornament connects two levels or two volumes. Here, connecting the volumes or levels becomes the purpose of the space making element.

Fig. 2.3.1.3 Spatial intents explains the reason of existence of a space making element.

• Constraints in space: The constraints describe the logic and reason behind the design of a particular element doing with the existence. For example, if a particular element is aiding to resolve the site issues, which hinders better designing can be called as constraints.

Fig. 2.3.1.4 An example of constraint in the space.

• Positioning in space The position describes the orientation and correspondence of an element with another element with a reason to facilitate a function or correspondence of element with the entire space.

The position of a space making element can refer to its existing site condition as well.

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Fig. 2.3.1.5 An example of Position in the space.

2.3 New Vocabulary

2. Dimensional Intent.

The dimensional intent defines the design decision of a particular element to achieve a specific character and fulfill the functional need to articulate the interior space.

• Usability of element:

Fig. 2.3.1.6 Dimensional intent talks about the function and usability of the elements.

Usability describes the utility or usage of an element in space. It can define the individual function a particular element serves. This parameter defines the contribution of a space making element into visual aesthetic and functional requirements.

3. Constructional intent: The constructional intent is about active participation in the unification of materials and components that are stabilizing the structure and form as the ornamental design on space-making elements.

• Fabrication technique This parameter describes the technique of creating the space making element with the idea of ornamentation. The used methods also show the design decision taken to generate visual expression and the structural notion of a particular element.

Fig. 2.3.1.7 The structural system and construction aspects are necessary as well, a section is showing the same.

• Structural System This parameter defines the undergone framework to construct an element. The structural system is inevitable for providing stability and support.

• Assembly This parameter talks about the established part of the whole relationship for the constructional approach.

It also defines the steps or process taken to fix parts and components to generate a form and thus ornament.

Fig. 2.3.1.8 The assembly diagram of the existing exhibition system.

2.3.1 The intent of Ornamentation Creation

• Junctions This parameter defines a connection and intersection happening in between the elements and within the

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components of space making elements. It refers to the visual expression, constructional assemblies, and aesthetic of that particular juncture.

4. Aesthetical Intent The aesthetical intent is about developing a language of space and its elements that should be used as a strategy for composing and making the ornament visually appealing with the context of functionalism.

Fig. 2.3.1.9 The Junctions are the point which decides or helps in deciding the aesthetics of an element.

• Form: The form is the generation of a character using geometry or surfaces to define the volume or articulate the desired plane for a spatial expression of an element in space.

• Material Material as a parameter talks about the utilized material for the constructional purpose and aesthetical purpose within the space making elements for ornamentation.

• Color

Fig. 2.3.1.10 The materials used defines the form, order, and construction system for an element.

Color as a parameter provides harmony and excitement to the monotony of elements and space.

It brings ways to incorporate various design principles through the medium of color on elements as an ornament in space.

• Expression This parameter defines the language and resultant articulation of design decisions made towards the material, form, junction, construction, assembly, etc that can be defined for more appealing aesthetics of space-making element.

Fig. 2.3.1.11 The color adds vibrancy to the space. At times it is used as additional of ornamentation.

These intents and their parameters will be used in analyzing the case studies to study the articulation of ornament. And above-mentioned intents are the ways and tools for creating ornamentation.

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2.3.1 The intent of Ornamentation Creation

2.4

Interior spaces through Elements The inner mass of any volumetric dimension can be referred to as ‘ interiors’. This inner mass, when given with architectural context, is recognized as the ‘interior environment’. An appropriate function can be given to the outer shell by designing the interior environment. In ‘Phenomenology of Perception’, Merleau Ponty has mentioned the engagement of users within a built environment. He says ‘Space is existential and that existence is spatial’. Space remains just a physical space until we experience it. Space is a void created between distinct forms.

Fig. 2.4.1 Example of Schematic diagrams of interior processes to generate spaces using space making elements

Space is intangible, the positioning of elements and objects makes it tangible. These elements combined together with the perception of a user or user groups develops into a spatial experience. The interiority of space has two kinds of components: the space making elements like horizontal-vertical planes, functional objects, etc. and the elements of qualitative attributes like light, threshold, order, organization, etc.

Each element in an organization has symbolic and associative content and is the result of many factors. Elements Bear Physical importance In the experience of space. In any space, the whole depends on parts (elements) and the function of the part is to contribute to experience the whole.

Fig. 2.4.2 Exploded view of the window and facade elements showing part to whole relationship.

The purpose of any design is to organize Its parts Into a coherent whole in order to achieve certain goals. In Interior design, selected elements are arranged Into 3 dimensional patterns according to functional, aesthetic, and behavioral guidelines.

The elements organized, enclosed, and molded give rise to spaces. The organization is an ordering of elements into a harmonized composition by analytically arranging them to form a coherent whole.

2.4 Interior spaces through elements

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Interior space is the composition of the space making elements and the things assisting in the functional arrangements forming a specific relationship between space, object, and spatial elements. They help in adding functions, expressing aesthetics, and forming an experiential narrative of the space. The positioning of any element in a space weaves the space around it.

2.4.1

Fig. 2.4.3 Interior sections with similar kind off modulated elements to generate a space quality.

Elements composing the interior Space An ornament is inhibited in various contexts of interiors. It defines many facets of elements, which come together forming one whole environment. This elemental situation is formed with a specific relation and combination on basis of various utilitarian and spatial requirements.

These elements can be categorized as 1. Space making: These are those elements that make a space. Without these the realization of space is incomplete.

2. Space constituting: These are the elements that don’t make space physically but are important for the space to function according to its program function.

Interior space has an integrated relationship between elements and functions. Every element has a specific role assigned in a built environment as per the pragmatic context.

Spatial roles of elements in interior spaces: • • • • •

Fig. 2.4.4 List of Space making and Space Constituting element where ornamentation can take an active role.

Defining the territory.

Creating paths and guiding movement.

Determining the scale and proportion.

Emphasizing an object or area.

Embellishing a space.

The design of an interior space has to fulfill the programmatic and functional requirements of the given context. Those specifications of the

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2.4.1 Elements composing the interior space

context bring in certain design issues. Designing an interior environment has various components like space planning, organization of space, dimensional needs, scale, proportion, form, light, visual graphics, material, sound, etc.

Fig. 2.4.5 A sketch showing various combination of interior architectural element, in which they are performing different at one end and other role at another end.

At times an element fails to accomplish the component needed for the interior space.

Hence, this failure is referred to as ‘design issue’ in the creation of the built environment.

The design development process usually deals with such design issues and proposes legible solutions. These solutions show resolved design issues in the behavioral action of an element.

Hence, an element can transform a space and its usability by transforming its way of performance in space. We can also conclude that an individual element in a volumetric space is able to control its performative aspect. In such a situation, an element has to accommodate multiple roles for efficient organization.

Elements of performance As discussed above, the role of an element can be defined by its performative aspect. While the expression of performance is determined by design issues in the space.

Space making elements are mainly arranged in two orders: part to whole and whole to part. To generate the coherent essence of the interior space three main components are classified as volumetric compositions, structural systems, and programmatic needs.

The amalgamation of these components and space-making elements in larger units builts relationships between part to whole.

The characters and attributes of space making element changes from it being a part of the spatial system to being an entire basis of the spatial system. Hence, the performance of an element is based on its role in a spatial system.

And that is totally governed by the design issue assigned to a particular element.

Fig. 2.4.6 Exploded view of schematic drawing showing structural system, volumes, programmatic requirements, etc through elements.

So, the categorization of performative elements based on its design issue as follows:

2.4.1 Elements composing the interior space

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• Isolation - The state in which element are not influenced or controlled by any other elements.

The typical variations of isolation in spatial systems as per my understanding.

• Connection - The elements are serving purpose of being joined or linked together.

The typical variations of Connection in spatial systems as per my understanding.

• Division -The elements which leads to separate or divide further into multiple parts.

The typical variations of Division in spatial systems as per my understanding.

• Attachment - The elements that are linched or physcially associated to other elements.

The typical variations of attachment in spatial systems as per my understanding.

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2.4.1 Elements composing the interior space

Apart from the previous system and variations of the space element relationship, these are the other elements that can be considered for ornamentation creation.

2.4.1 Elements composing the interior space

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03 Observation and Manifestation

3.1 Overview 3.1.1 Criteria for selection of case study 3.2 Selected Case Study 3.3 Methodogy of the case study 3.4 Store Under Golden Cloud 3.5 Timber Planks by Nishi Building 3.6 Weinhandlung Kreis 3.7 Blue frog Lounge 3.8 Indigo Deli 3.9 Ikibana Paral Restuarant

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3.1

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

The manifestation of ornamentation on elements has undergone a certain grade of shift with time as the functional requirements for users and spaces are constantly altering.

By studying the current interior design project, it can be implied that these projects are reinterpreting the usage of ornamentation.

The projects are also exploring diverse forms and methods to manifest them in new age adornment.

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

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3.1.1

Criteria For Selecting Case study • The selection of the case studies is based on the design decision taken in an interior project towards the articulation of various space making and functional elements creating spatial attributes.

• An interior space where the importance of ornamentation on elements as a design tool is seen within a volume of pre existing architectural envelope.

• An interior project where design problems and programmatic issues have been resolved using spatial elements and adornment on it.

• Cases that cover different typology like retail, commercial, public, and cafes spaces to understand the functional aspect and application of ornamentation.

• The projects should have a significant role of space making element inserted to form the interior environment within a pre-existing architectural shell.

• Based on the principle of hierarchy in design, space making elements should have been given dominance in terms of scale and function in the selected projects.

• The selection also based on the availability of the resources and documentation present on the design projects.

3.2

Selected case study The selected primary case studies have been mentioned below along with the brief desciptions of the project,designer’s name, and focused elements in space : 76

1 Store Under the Golden Cloud China.

A 32 sqm. jewellery brand collection retail store of POPPEE. Designer / Architect : Atelier Tree Elements to be focused: 1. False ceiling system 2. Suspended Display box units

2 Timber planks in Nishi Building Australia.

A part of entrance lobby using reclaimed timber for Hotel In canberra.

Designer / Architect : March Studios Elements to be focused: 1. Entrance Lobby 2. Staircase

3 Weinhandlung Kreis Stuttgart, Germany.

A 70 sqm retail wine shop of 12,000 bottles of wine and a tasting bar.

Designer / Architect : Furch Gestaltung + Production Elements to be focused: 1. Display system 77

4 Blue Frog Lounge Mumbai.

A leisure space having a restaurant, bar, and a live stage all clubbed together.

Designer / Architect : Serie Architects Elements to be focused: 1. Sitting area system 2. Stage

5 Indigo Deli Mumbai.

A 2800 sqft. Luxury dining restaurant in a high-end shopping mall in Mumbai, India.

Designer / Architect : Sameep Padora + Associates Elements to be focused: 1. Volumetric Ceiling system

6 Ikibana Paral Restaurant Barcelona.

A 260 sqm. Fusion gastronomies restaurant in Barcelona, Spain.

Designer / Architect : El Equipo Creativo Elements to be focused: 1. False ceiling system 2. Seating units

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3.3

Methodology of the case study To understand the presence and articulation of ornament in the contemporary interior realm, six interior projects of different typologies are studied. The space-making elements are classified as elements of performance as per their role and design issue. The case studies will be analyzed through the lens of intents. The intents that were defined as a tool for creating ornamentation in the previous chapter. So we are using those intents to study and examine the presence and articulation of ornament.

The four primary case studies will be analyzed and inferences would be drawn from the defined framework of analysis. In each case, the study will be done with respect to the space making elements. The inference from the analysis leads towards certain observations and those inferences will be analyzed through two secondary case studies as an overview from the observations.

These results in summation for the conclusion of this research thesis.

An Interior Project

Introduction

Information Context Identifying elements

Discussing and classifying types of design issues to particular element

Element of Performance

Isolation

Connection

Articulated ornament in elements of performance

Analyzing

Spatial intent Purpose in space Constraint in space Positioning in space

Division

Aesthetical intent Form Material Expression Color

Constructional intent Fabrication technique Structural system Assembly Junction

Inference diagram from the study

Attachment Element defined by performance to be discussed through the intents of ornamentation creation

Dimensional intent Usability of element

Diagram based on intent articulation

Conclusion

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3.4

Store Under the Golden Cloud Beijing, China.

A 32 sqm. Multiple jewelry brand collection retail store of POPPEE in Beijing, China.

Designer / Architect: Atelier Tree Built: 2016 Elements to be focused on: 1. False ceiling system 2. Suspended Display box units

Fig. 3.4.1 False Ceiling Element

Fig. 3.4.2 Suspended Display Units

Fig. 3.4.3 The entrance of the Store with name ‘Poppee’ displayed

The abstract diagrams showing the space making elements like false ceiling and suspended displays units in the architectural shell that is going to be studied with the idea of articulation of ornamentation and recording observations through the defined framework.

Context: Poppee store is a multi-brand jewelry retail outlet in the shopping mall of Beijing, China.

The site is a very Cuboidal Space which is like a concrete box as it is part of the big complex.

The store is easily accessible to the public as it is beside the entrance of the mall, on the ground floor. As shown in the image, the mall is positioned on the main street and at the very corner of the Liangma River. The store is situated in the most diverse area where there are various restaurants, clubs, Gaming centers, and other high-end malls.

Fig. 3.4.4 Store is Located at Ground Floor of the Topwin Center & context of the entire shopping center .

Also, the store itself becomes quite welcoming as it possesses a bright and attractive ambiance.

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3.4 Store under the golden cloud

Fig. 3.4.5 Poppee Store Interior img.

Fig. 3.4.6 Poppee Store Interior img. Fig. 3.4.7 Poppee Store Interior img.

Fig. 3.4.8 Poppee Store Interior img.

Fig. 3.4.9 Poppee Store Interior img.

issues:

Fig. 3.4.10 Isolated ceiling element

Fig. 3.4.11 Isolated display elements 3.4 Store under the golden cloud

The space-making elements in particular project resolve the performative design issues in their elemental role of Isolation, Division, and Attachment. These elements combined together to regulate the design process of the given volume with the given functional requirements.

Fig. 3.4.12 Attached Celing and display element

Fig. 3.4.13 Display as dividors

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Design Intent: The intention is to create a floating cloud using mesh frame boxes like volume to transform the ceiling from a flat surface to undulating and also to hide the suspended pipes of the display boxes. Also, to exhibit the number of jewelry brands in a single space and to break the constraint of the concrete boxiness of the site through the introduction of the cloud and multiple eye levels.

The design intent also focuses on carving out spaces by composing various racks and boxes of the display unit for effective space planning.

Design Concept: The design concept was to generate a cloud on the basis of the natural phenomenon of the Tyndall effect, which promotes the logical growth of the display racks, and adding a golden finish gives origins type of interior illumination system.

Also, the architect’s concept was to keep the ground space free for interior landscaping.

FIG. 3.4.14 Example of Tyndall effect of light illumination in nature

We will be study each intent described in the previous chapter to analysis the articulation of ornamentation in this project.

Spatial Intent: • Purpose in space

Fig. 3.4.15 The purpose of the frame mesh ceiling element is to express new volume in the existing cuboidal space.

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Fig. 3.4.16 The display elements are aligned to the floor landscape in a particular grid, that is dividing the space into various sub zones nd aiding to the space planning of store.

Fig. 3.4.17 The display boxes at various heights and free from the ground arranged in such a grid that it doesnt hinder the visual connection at any place.

3.4 Store under the golden cloud

The space making elements are serving purposes like volume expression, planning of the space, and visual connectors to solve various functionality issues.

• Constraints in space

Fig. 3.4.18 The existing site provides one major constraint of it being like a concrete box and mundane, that is resolved by the cloud like element that is orienting the linearness of the site.

Fig. 3.4.19 Suspended display boxes are breaking the space into subzones and defining the strong circulation moment throughtout the store. They are also blurring the boundaries and aids in perceives the space as one.

The Constraints of the site to facilitate the functionality is brilliantly tackled by the elements.

• Positioning in space

Fig. 3.4.20 The positions of both the elements: The cloud ceiling and suspended display racks are aligned by the grid. The grid is positioned at the floor to generate the walkway and landscaping, while upper grid is aligning to the lighting system and services.

The Positioning of the upper and lower grid with the orientation of the site. That is accommodating all the functional requirement of the space. The placement of other suspended elements are done on the periphery of the site.

3.4 Store under the golden cloud

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Dimensional Intent: • Usability of the element

The usability of the suspended display boxes are used for the storage and display but spatially it is used as dividers.

Fig. 3.4.21 The suspended acrylic boxes are used for storing and displaying various kind of precious jewellery in the boxes. While the attached shelves are used to keep non costly jewellery for the dispay and other accessories. Also, the boxes are kept at an ergonomical height for human ease.

Constructional Intent: • Fabrication Technique

Fig. 3.4.22 The cloud was designed using linear golden pipes fabricated in the XYZ axis to form clusters of box frames, that generates complex geometrical system into an envelope. These are fabricated using the welding technique and fixed on the ceiling of the store.

The fabrication technique includes making of frames, mesh, clusters, and entire cloud as a whole.

• Structural System

Fig. 3.4.23 The golden suspended rods fixed on ceiling to hold the acrylic boxes and the entire grid is looking becomes the structural system.

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3.4 Store under the golden cloud

The entire framework of rods and mesh becomes the structural system for the space making elements.

• Assembly

• Junction

Fig. 3.4.24 The assembly of the boxes and rods for the entire system of element.

Fig. 3.4.25 The junctions are connected with the threaded sleeves for better fixes.

The Joints and junctions are assembled well for the stability and the aesthetic purposes.

Aesthetical Intent: • Form

Fig. 3.4.26 Zigzagly staggered boxes in the entire to generated undulating form of the display system.

Fig. 3.4.27 The form is cluster is transformed into cloud like form to undulating frame mesh.

• Color

Fig. 3.4.28 The color having golden finish gives origins type of interior illumination system.

3.4 Store under the golden cloud

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• Material Metal Mesh

Linear Rods

Acrylic Sheet

Concrete floor and wall Fig. 3.4.29 The material exploration has been with various different materials.

This composition of various clusters forms an illusion of golden pipes which adds aesthetic illumination, volumetric play, the spatiality of multiple dimensions. This can be defined as ‘ornamentation’. This geometrical clusterbased ornament becomes the concept to facilitate the design issue of attachment,division, and isolation.

This ornamentation aids the entire space organization with the context of space planning, volume division, and function assigning through the cloud and box system. Here, the cloud is acting as a ceiling element. While boxes are acting as partitioning and storage elements in their performance.

False Ceiling Element • • • • •

Ceiling and volume exaggeration Orienting the space Light illumination Hiding services Adding aeshthetics

Inference Chart • • • • •

Functional Aesthetical Spatial Constructional

Intents and New Age Ornamenatation

Space planning Space division Circulation Jewellery display Creating Pocket Spaces

Suspended Displays 86

Isolation

Isolation - Division - Attachment 3.4 Store under the golden cloud

3.5

Timber Planks, Nishi Building Canberra, Australia.

A part of the entrance and hotel lobby using reclaimed timber for Hotel in Nishi building, Canberra, Australia.

Designer / Architect: March Studio Built: 2016 Elements to be focused on: 1. Entrance staircase lobby 2. Facade Elements

Fig. 3.5.3 The entrance area of the hotel and corridor of the Nishi Building.

Fig. 3.5.1 Entrance Staircase lobby

Fig. 3.5.2 Facade Element

The abstract diagrams showing the space making elements explore in space like Entrance Staircase and Facade elements on the ground floor in the architectural shell that is going to be studied with the idea of articulation of ornamentation and recording observations through the defined framework.

Context: Timber planks project is part of a Nishi commercial complex that houses government offices, cinema, cafe, private departments, etc.

The entrance lobby to the hotel, staircase, and facade is designed by the march studio from reclaimed wooden timbers.

Fig. 3.5.4 The store is located in a Business Hub area besides a lake and main road.

3.5 Timber Planks

The site is quite big as a complex, but the project focuses on the specific part where space-making elements are used to get the desired function resolved. Since the project has several other areas within one complex, the complex juxtaposed members add a point of interest and excitement, aids in bringing more visitors.

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Fig. 3.5.5 Timber Planks img.

Fig. 3.5.8 Timber Planks img.

Fig. 3.5.6 Timber Planks img.

Fig. 3.5.7 Timber Planks img.

Fig. 3.5.9 Timber Planks img.

Fig. 3.5.10 Timber Planks

issues: The space-making elements in particular project resolve the performative design issues in their elemental role of Isolation, Connection, and Attachment. These elements combined together to regulate the design process of adding layers of components that suffice the given functional requirements.

Fig. 3.5.11 Isolated facade elements

Fig. 3.5.12 Facade as visual connector

Fig. 3.5.14 Attached lobby planks to existing structure

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Fig. 3.5.13 Staircase as physical coonector

3.5 Timber Planks

Design Intent: The intention is to create a staircase that is in combination with to entrance lobby of a hotel in a commercial complex and a facade to the same part of the building. These are to be achieved using repurposed timber members.

The intention is to blur the boundaries of vision between interior and exterior and within the space, to create capricious patterns on the other plain surfaces of precast concrete pillars.

The design intent also focuses on generating a unique experience from the material which were already in deterioration through a design language.

Design Concept: The design concept was to allow linear timbers to scatter on both the walls and ceiling, to get filtered exterior light and view from and into the interior spaces, and to have capricious pixelated shadows on the adjacent surfaces of the interior area through suspended linear timber members through the steel rods, that is continuously running from ceiling to ground.

Fig. 3.5.15 The design concept of having pixelated shadow with linear lines as backdrop.

We will be study each intent described in the previous chapter to analysis the articulation of ornamentation in this project.

Spatial Intent: • Purpose in space

Fig. 3.5.16 The purpose of the line ceiling is to give enclosure to the lobby space and the staircase as an envelope in existing architectural shell.

3.5 Timber Planks

Fig. 3.5.17 The facade element is acting as a protective layer, a threshold, and provides the intimacy in the interior lobby while maintaincy the connection to exterior.

Fig. 3.5.18 The staircase is an element of connection. Here, its construction and scale makes the grandeur entry to the hotel lobby. It also gives hierarchy to the entrance.

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The space making elements are serving purposes like volume enhancers, enclosure elements, protective layer, and creating hierarchies to solve various functionality issues.

• Constraints in space

• Positioning in space

Fig. 3.5.19 The existing site is the major constraint as this is not a separate volume to interpret the design. It is part of the big complex. So it have to cater to other requirement as well in given context of built system.

Fig. 3.5.20 Suspended display boxes are breaking the space into subzones and defining the strong circulation moment throughtout the store. They are also blurring the boundaries and aids in perceives the space as one.

The Constraints of the site is modulated and tesselleted by a small unit of plank in multiples such that complex volumes and system can be taken resolved efficiently.

Also elements have taken care of inside outside relationship.

The Positioning of all the linear elements are kept parallel to each other in one direction only. This gives the sense of directionality towards the hotel entrance lobby. At times, these planks camouflages so beautifully because of its positions.

Dimensional Intent: • Usability of the element

Fig. 3.5.21 The staircase in the space is acting as an element for connection and isolation but functionally it is being a typical staircase for climbing up. Here, the material used to construct this is same but not the process and expression. They are stacked and fixed together to generate the hierarchies and grandness in the space. And also, the wooden members performs the functionality role of constructing a tread and riser in its existence.

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3.5 Timber Planks

Fig. 3.5.22 The facade is acting as a element of isolation in its being but if we see it as a screen for the inside outside relationship. It is acting as an element of connection. It does provide intimacy but it allows the interaction to happen between two spaces.

Fig. 3.5.23 The overhead plane or surface that is dematerialized with the various linear wooden member is acting as an element of attachment as it being attached to the existing site and creatig enclosure within a shell.

The usability of the staircase is direct and simple. While overhead plane and facade are behaving different in their various role of performance.

Constructional Intent: • Fabrication Technique

Fig. 3.5.24 The stairacse is fabricted or rather constructed with thousand of linear members and planks stacked and fixed together as layers for the steps of the entire staircase.

Fig. 3.5.25 The facade element is fabricated with the same technique of construction. The facade is not just the linear screen its going as 3d form in different orientationa nd dimension.

The fabrication technique includes treating with processe of securing wooden logs and cutting them into the desired permissible dimension as per the design approach.

3.5 Timber Planks

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• Structural System

Fig. 3.5.26 The vertical metal pipes are the key structural element that is holding the all the members together in a irregular array and those pipes are fixed at ground and ceiling level.

The entire framework of pipes becomes the structural system for the space making elements. At times we can say the stacked and fixed wooden members are used as a structural system for staircase.

• Assembly

Fig. 3.5.27 The assembed horizontal members with vertical metal pipes fixed from both top and bottom.

• Junction

Fig. 3.5.28 The junctions are fixed with cross metal sleeve to prevent the movement of the wooden member.

The Joints and junctions are assembled well for the stability and the aesthetic purposes to creates heaviness through lighter members.

Aesthetical Intent: • Form

Fig. 3.5.29 The entire form of the wooden members put together creates a cage like experience and creates soft pixelated shadows. But cohesively the form is cuboidal.

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The horizontal members fixed with vertical pipes as a system creates the expression of dense cage. The overall expression gets quite heavy because of the quantity and irregularity.

3.5 Timber Planks

• Material

• Color Reclaimed wood

Reclaimed wood Metal railing

Fig. 3.5.31 Staricase junction and wall surface

Concrete floor tiles

The Color of all the space making element is burnt brownish because of the reclaimed wood.

Fig. 3.5.30 The material exploration has been done using single material

The juxtaposition of the linear members of the reclaimed wood are creating a simple yet complexly composed pattern to add as an expression to the space making elements. This achieved singular expression of juxtaposed lines can be defined as ‘ornamentation’. This linear member based ornament becomes the concept to facilitate the design issue of isolation, connection, and attachment.

This ornamentation aids the entire space organization, directionality, hierarchy, enclosure formation, and sense of entrance for the context of shopping complex. The overhead surface are enclosures, staircase is entrance, facade is a screen in their performance issue.

Entrance Staircase • • • • •

Space Organization Directionality Accommodating services Sense of Arrival Adding Aesthetics

Inference Chart • • • •

Isolation - Division - Attachment

Functional Aesthetical Spatial Constructional

Intents and New Age Ornamenatation

Enclosure formation Directionality Threshold component Curtain wall

Facade Element 3.5 Timber Planks

Isolation - Division - Attachment

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3.6

Weinhandlung Kreis- wine shop, Stuttgart, Germany.

A 70 sqm retail wine shop of 12,000 bottles of wine and a tasting bar in Stuttgart, Germany.

Designer / Architect: Furch Gestaltung + Production Built: 2012 Elements to be focused on: 1. Display rack system

Fig. 3.6.1 Display Rack System

Fig. 3.6.2 Display Rack System

Fig. 3.6.3 The entrance area and the tasting bar of the wine shop

The abstract diagrams showing the space making elements like displays system in the entire space which is being treated as multiple elements, that is going to be studied with the idea of articulation of ornamentation and recording observations through the defined framework.

Context: Weinhandlung Kreis is a wine shop plus boutique and a tasting bar in Stuttgart, Germany. The site is a simple cuboidal kind of Space which is situated in the basement of a classical building turned into a shopping complex. As shown in the image, It is located in the vicinity of many other markets and tourist places, which makes it an interesting place to visit for wine lovers with a huge collection of wines.

Accommodating a large number of wine bottles in the contemporary context with a fresh feeling becomes the notion of this wine boutique.

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Fig. 3.6.4 The store is located in a shopping complex of a market place.

3.6 Weinhandlung Kreis- wine shop

Fig. 3.6.5 Weinhandlung Kreis- wine shop img

Fig. 3.6.7 Weinhandlung Kreis- wine shop img

Fig. 3.6.6 Weinhandlung Kreis- wine shop img

Fig. 3.6.8 Weinhandlung Kreis- wine shop img

issues: The space-making elements in particular project resolve the performative design issues in their elemental role of Isolation and Attachment.

These elements combined together to regulate the design process to facilitate the given functional requirements by forming clusters of a single element.

Fig. 3.6.9 Racks system as isolated table units 3.7 Weinhandlung Kreis- wine shop

Fig. 3.6.10 Attached rack system

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Design Intent: The intention is to create a wine shop that accommodates 6-12 bottles of 1200 different types of wines that comes to 12,000 wine bottles in a very small area, that has to showcase the contemporary spirit of modern winemakers and should give a fresh look to the small space with a tasting bar and no specific space for storage.

This is to be spread over two levels in the complex without the wastage of any space. The design intent focuses on creating an optimized space with no furniture and just wine, such that the wine storage transforms into a boutique store.

Design Concept: The design concept was to generate modular shelves, which are called ‘386 Fourpointeight’.

They are stacked and bolted together in form of clusters of modular frame meshes across the studio. To give freshness a wide spectrum of Blues, reds, yellows, and purples were used on the modular meshes. These clusters were created by horizontal juxtaposition with vertical clipping of frames with multiple colors to add a stylish vibe.

Fig. 3.6.11 Modular frame meshes of distinct colors

We will be study each intent described in the previous chapter to analysis the articulation of ornamentation in this project.

Spatial Intent: • Purpose in space

Fig. 3.6.12 The purpose of the frame mesh element is to express new volume in the existing cuboidal space.

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Fig. 3.6.13 The display boxes at various heights and free from the ground and aligned to the wall arranged in such a grid.

3.6 Weinhandlung Kreis- wine shop

The space making elements are serving purposes like volume expression, planning of the space, and visual connectors to solve various functionality issues.

• Constraints in space

Fig. 3.6.14 Wire meshes are breaking the space into subzones and defining the strong circulation moment throughtout the store. They are also blurring the boundaries and aids in perceives the space as one.

The Constraints of the site to facilitate the functionality is brilliantly tackled by the elements.

• Positioning in space

Fig. 3.6.15 The positions of both the elements are done in the periphery and in the centre as isolated units.

The Positioning of the upper and lower level with the orientation of the site. That is accommodating all the functional requirement of the space.

3.6 Weinhandlung Kreis- wine shop

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Dimensional Intent: • Usability of the element

Fig. 3.6.16 The storage system within the wire mesh.

Fig. 3.6.17 The mesh boxes are used for storing and displaying various kind of precious wine bottle as a table.

Fig. 3.6.18 The suspended acrylic boxes are used for storing and displaying various kind of precious wine bottle as shelf.

The usability of the frame boxes are used for the storage and display but spatially it is used as dividers.

Constructional Intent: • Fabrication Technique and structural system

Fig. 3.6.19 The meshes are fixed to one another with welding technique and seems as a single big mesh frame.

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3.6 Weinhandlung Kreis- wine shop

The entire framework of rods and mesh becomes the structural system for the space making elements.

• Assembly

• Junction

Fig. 3.6.20 The assembly of the boxes and rods for the entire system of element.

Fig. 3.6.21 The assembly of the boxes and rods for the entire system of element.

The Joints and junctions are assembled well for the stability and the aesthetic purposes.

Aesthetical Intent: • Form Fig. 3.6.22 The junctions are connected with the welding purpose.

• Color

Fig. 3.6.23 , Fig. 3.6.24, and Fig. 3.6.25 The mesh system provides various color options.

3.6 Weinhandlung Kreis- wine shop

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• Material Metal Mesh

Metal Mesh

Metal Mesh

Metal Mesh Fig. 3.6.26 The material has been kept uniform in all the racks and system

This composition of various clusters are arranged orthogonally in an array system to accommodate the 20,000 wine bottles in a very small shop area.

The display rack system have been designed using a frame mesh that was converted in a cuboidal mesh in XY axis. These mesh in multiple combinations of color and system has been spreaded all over the shop. This mesh clusters can be defined as ‘ornamentation’.

Here, ornamentation of space making element is purely functional to facilitate the design issue of attachment and isolation. This ornamentation aids the entire space organization with the context of space planning, volume division, and function assigning through the frame mesh rack system in their performance.

Inference Chart Display Rack System

Isolation - Attachment

• • • • •

Functional Aesthetical Spatial Constructional

Intents and New Age Ornamenatation

Space organization Space planning Volume division Bottle storage Supporting component

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3.6 Weinhandlung Kreis- wine shop

3.7

Blue Frog Lounge, Mumbai, India.

A 1000 sqm. leisure space having a restaurant, bar, and a live stage all clubbed together in one space in Mumbai, India.

Designer / Architect: Serie Architects Built: 2007 Elements to be focused on: 1. Seating area system

Fig. 3.7.2 The entrance area of the blue frog Lounge

Fig. 3.7.1 Sitting Pods

The abstract diagrams showing the space making elements like seating elements along with the stage in the old mill shell that is going to be studied with the idea of articulation of ornamentation and recording observations through the defined framework.

Context: Blue Frog lounge is a leisure space in a large north-lit industrial warehouse within the old mill district in Mumbai, India. The site is an industrial warehouse that possesses strong spatial qualities and that is complimenting the qualities required for the project. So, the architectural envelope is retained and altered as per the needs.

Fig. 3.7.3 The club is located in an old industrial shed in the vicinity of other readapted sites and cafes.

3.7 The Blue Frog Lounge

The site is located in the mill compound which similarly has various defunct mills that are converted into offices, cafes, pubs, gaming areas, and other leisure activities spaces, that provides a strong challenge to the architects and designers of the project to generate a space which is internationally unique in order to make it stand out.

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Fig. 3.7.4 Blue Frog Lounge Img.

Fig. 3.7.5 Blue Frog Lounge Img.

Fig. 3.7.6 Blue Frog Lounge Img.

Fig. 3.7.7 Blue Frog Lounge Img.

issues: The space-making elements in particular project resolve the performative design issues in their elemental role of Connection, Division, and Attachment. These elements combine together to regulate the design process of the given one big collective volume which also divides the larger volume into smaller volumes with the given functional requirements.

Fig. 3.7.8 Connected siiting pods

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Fig. 3.7.9 Volumetric division of cylindrical sitting space

Fig. 3.7.10 Attached pods and open space through singular layer 3.7 The Blue Frog Lounge

Design Intent: The intention is to convert an old mill into a complex of sound recording studios and an acoustic lounge. The major activities to be housed here were a restaurant, bar, and a live stage. Beyond this blend of activities, the lounge area was expected to have an enriched space quality – to stage an acoustic experience par excellence. Also, it has to generate various seating pods as space-making elements within the same configuration of the stage as multiple units in a single system with various other effects created through light and sound.

Design Concept:

Fig. 3.7.11 Conceptualisation of circular pods with activities in it.

The design concept was to create the deep structure of a cellular organization composed of circles of varying sizes in plan approximating a horseshoe configuration. The differential extrusions of these circles encapsulate at different levels as tiered cylindrical seating booths. This allows the eye level of diners and standing users to be distributed across staggered levels that increase in height away from the stage. The overall ambiance is an interesting blend of contemporary ambiance having amazing vibrant lights with the art-deco element in it.

We will be study each intent described in the previous chapter to analysis the articulation of ornamentation in this project.

Spatial Intent: • Purpose in space

Fig. 3.7.12 The purpose of the pod is to create small volumes within space alongwith catering to the circulation of the space. They are also arranged in hierarchy of size and height.

3.7 The Blue Frog Lounge

Fig. 3.7.13 The Main constraint of this project is site as it was to built in an old mill which already has its own architectural language and industrial standards.

Fig. 3.7.14 The pods are designed with the idea of britisth stages. so tackle the site constraints of old mill with multiple level in the old mill volume.

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The space making elements are serving purposes like different volume and micro spaces generators, small semi enclosed spaces, protective layer, etc aiding the functionality of the space with dance floor and stage as part of the configuration of the program.

Dimensional Intent: • Usability of the element

Fig. 3.7.15 The pods are constructed at different height, pods of different sizes, and at different distance from the stage for distinct viewpoints. The seating pods itself becomes an intimate space within the public space.

Fig. 3.7.16 The configuration of the lounge goes in the combination of stage, dance floor, and restuarants seating pods. The stage and dance floor are in the alignment with functionality of the space and design.

The usability of the pods are done used with a inbuilt surface for seating purpose. While There is a stage and dancing area at the front for the entertainment purpose.

Constructional Intent: • Fabrication Technique, structural system ,and assembly

Fig. 3.7.17, Fig. 3.7.18, and Fig. 3.7.19 The top left image shows the placement of the pod in underconstructed position. The top image shows the blue frog site with interpreted forms and human interaction in the spce. The left bottom image show the construction drawing of the seating pod.

The fabrication techniques are cutting, bending, fixing, etc. The structural sytem and framework are same in this case. The under structure becomes the framework to finish the top acrylic surface.

This construction is done in layers of materials and its finishes. Their assembly requires a lot of manpower and precision. The pod also has incorpoated similar form’s seating surface, which is the attached to the vertical curved surface.

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3.7 The Blue Frog Lounge

• Junction

Fig. 3.7.20 The junctions here are seamless and finishes because of the material used. The acrylic and wooden strip led this to be so clean.

The Joints and junctions are installed and fixed with precision to have clean and finish surfaces and edges.

Aesthetical Intent: • Form

Fig. 3.7.21 The form of the seating pattern is derived from stage plus restaurant seating ideas.

Fig. 3.7.22 The form has not remained to flooring or furniture layout , it has moved into 3d to create a spatial element in space.

• Color

Fig. 3.7.23 The colors on the seating pods are quite fascinating and used as a layer of ornamentation.

The Changeable colors on the surface bring excitement everytime one sees it.

3.7 The Blue Frog Lounge

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• Material Acoustical Panels Panels cladded Doors

Transculent acrylic Vinyl finished floor Cladded wooden strips on bent ply Fig. 3.7.24 The material are used as per the form and functional need of the design.

The composition of sliced seating pods are designed taking an inspiration from the british music theatres. The modular layout of the floor is extruded towards height in 3D to organize the given activity which is fulfilling the ergonomic need of the function and space. This pattern of pods extuded in 3d can be defined as ‘ornamentation’. Moreover, the interesting form has incorporated colorful lighting experience that adds to the layer of ornament.

This extruded spatial floor aids in circulation, orientation, space planning, etc which provides various eye level amongst each other and within the space.

And that is oriented towards the stage. and this topological contour based based ornament becomes the concept to facilitate the design issue of connection, division, and attachment.

Inference Chart Sitting Pods

Connection- Division- Attachment

• • • • • •

Functional Aesthetical Spatial Constructional

Intents and New Age Ornamenatation

Space organization Space planning Circulation Space division Sitting orientation Accommodating the services and technical components

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3.7 The Blue Frog Lounge

We have already discussed four primary case studies with the information about site, program, design concept, etc alongwith the detailed understanding of spatial intent, dimensional intent, constructional intent, and aesthetical intent and their parameter as a tool to analyze the articulation of ornament on the space making elements.

We have gathered inferences focusing on space making elements and articulation of ornamentation. So, based on these understanding and observations, we are going to analyze the secondary case studies with respect to those inferences. To check and observe the similar points in other typologies and design projects.

The framework of two secondary case studies are similar to the primary case studies. But methodology and inquires are not as detailed as the primary case studies.

Secondary case studies are more with the idea of validating our observations and inferences for the research and further conclusions.

The two secondary case studies are as follows: 1.

Indigo Delicatessen, Mumbai, India.

2.

Ikibana Paral Restaurant, Barcelona, Spain.

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3.8

Indigo Delicatessen, Mumbai, India.

A 2800 sqft. Luxury dining restaurant in a highend shopping mall in Mumbai, India.

Designer / Architect: Sameep Padora + Associates Built: 2012 Elements to be focused on: 1. Volumetric Ceiling system

Fig. 3.8.1 Volumetric Ceiling system

Fig. 3.8.2 The entrance and overall ambience feel of the space.

The abstract diagram is showing the complex space making element which is acting as a false ceiling and space dividing element in the architectural shell present in a mall as a complex singular surface that is going to be studied with the idea of articulation of ornamentation and recording observations through the defined framework.

Context: Indigo Deli is a luxurious restaurant in the highend shopping mall; Palladium, Mumbai. The site is a very cuboidal space within a mall. Indigo Deli has various other restaurants in the city, which possess individual characters confined in a space keeping focus on the elements.

Since the restaurant in a famous mall is going to encounter a huge footfall.

The design of the restaurant doesn’t have to consider any particular context as it is located Fig. 3.8.3 The store is located in a high end in a mall, which doesn’t have its own character. shopping mall, Palladium in Lower Parel.

So the design is developed from the functional needs to resolves the present site conditions.

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3.8 Indigo Delicatessen

Fig. 3.8.4 Indigo Deli, Palladium img.

Fig. 3.8.5 Indigo Deli, Palladium img.

Fig. 3.8.6 Indigo Deli, Palladium img.

issues: The space-making elements in a particular project resolve the performative design issues in their elemental role of Isolation, connection, and Division through a singular surface. These elements combined together to regulate the design process and generate the form of the given volume with the given functional requirements.

Fig. 3.8.7 Isolated surafces as volume 3.8 Indigo Delicatessen

Fig. 3.8.8 Connection through rack voids

Fig. 3.8.9 Division of the volume

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Design Intent: The intention is to define specific spatial characteristics to accommodate intended activities and giving programs and to resolve the site constraints and given shell. The program has two distinct functions within one project, i.e retail for the wine cellar and a fine dine restaurant. Hence, it is necessary to give versatile character to space making element to facilitate different functions.

Design Concept: The design concept was to generate a surface that is multi-functional, for the wine cellar retail it has to provide a display for wine bottles. While for the restaurant it has to provide an enclosure for the privacy of the visitors. Moreover, the client’s requirement was to have a warm and cozy environment with a focus n interiority of its own. So, the design concept focuses on the creation of the space through composing layers of elements.

Fig. 3.8.10 ideation of Frame grid of the surface and contoration

We have looked at the design philosophy of the project. As per the inferences developed from the primary case studies. We are going to observe those points of inferences and presence of ornamentation in this secondary case study with the similar line of intents.

Spatial Intent and Dimensional Intent: • Purpose in space, Constraints, Positioning in the space, and Usability of element

Fig. 3.8.11 This diagrams show the configuration of the topological surface and the form of the key element of space.

Fig. 3.8.12 Showing the site with existing structural system and surface added as an envelope for the restuarant which serving the purpose of functional element that accomodates the storage at the lower end services towards the ceiling. The surface element is positioned to facilitate the functionality and creates a cosy environment.

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3.8 Indigo Delicatessen

Conctructional Intent and Aesthetical Intent: • Fabrication Technique, Structural system, assembly, form, color, material, and expression

Fig. 3.8.16 Below image shows the material and expression of the surface is expressing the waffle like form which has multiple voids and the junction of the surfaces are fixed using press fit technique.

Fig. 3.8.13 Above Image shows the form of the surface which is the key space making element that is confining the restaurant space. The form’s expression is like a waffle structure.

Fig. 3.8.14 Top left image shows The fabrication technique used is CNC cutting of the wooden surfaces. These layers of surfaces are designed according to the form of the surface.

Fig. 3.8.15 Centre image shows the framework ans structure of the form as well as the assembly steps to generate the form.

Wooden material and its color gives earthy natural vibes.

The surface was designed using linear planes in the XY perpendicular axis forming a complex topological surface into a built environment. This can be defined as ‘ ornamentation’, which generated using CAD/CAM technologies and fabricated using CNC techniques. This ornament aided in the organization of multipurpose spatial and functional requirements which stands similar to the inferences of primary case studies and intents.

Inference Chart

Intents and New Age Ornamenatation

Volumetric Ceiling Element Connection- Division- Isolation

• • • • •

Functional Aesthetical Spatial Constructional

Space organization Display the wine retail Adding aesthetics Orienting the space Accommodating the services and technical components

3.8 Indigo Delicatessen

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3.9

Ikibana Paral Restaurant, Barcelona, Spain.

A 260 sqm. Fusion gastronomies restaurant in Barcelona, Spain.

Designer / Architect: El Equipo Creativo Built: 2012 Elements to be focused on: 1. False ceiling system 2. Seating units

Fig. 3.9.1 False ceiling System

Fig. 3.9.2 Seating units

The abstract diagrams showing the space making elements like false ceiling and seating units in the architectural shell that is going to be studied with the idea of articulation of ornamentation and recording observations through the defined framework.

Fig. 3.9.3 The entrance of the restaurant showing the existing building.

Context: Ikibana Paral restaurant is fusion gastronomy of two varied cultures of Brazil and Japan. The site is a triangular Space which is placed in the corner of a triangular building. The entire architectural style of the building is a mixture of roman and art nouveau. But the interior is very contemporary in its nature.

The building is located at one of the main streets of Barcelona, which has various other expensive restaurants in close vicinity. So, introducing a Fig. 3.9.4 The store is located on corner of strong narrative for the restaurant as well as a building placed on the diagonal grid of the city. for the interiors was vital. Also, Barcelona has a diagonal grid of city planning, the corner of the building or site gets two facades alongside the street. So, the interior has to be powerful and welcoming at first glance, in order to gain popularity.

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3.9 Ikibana Paral Restuarant

Fig. 3.9.5 Ikibana Paral Restaurant img.

Fig. 3.9.6 Ikibana Paral Restaurant img.

Fig. 3.9.7 Ikibana Paral Restaurant img.

Fig. 3.9.8 Ikibana Paral Restaurant img.

issues: The space-making elements in particular project resolve the performative design issues in their elemental role of Isolation and Attachment.

These elements combined together to regulate the design process of the given volume with the given functional requirements.

Fig. 3.9.9 Isolated weaved ceiling 3.9 Ikibana Paral Restuarant

Fig. 3.9.10 Attached seat with the ceiling

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Design Intent: The intention is to create a space that accommodates two cultures that are deeply rooted in the idea of nature in one space.

Planes were introduced as key elements that are interwoven to generate the landscape effect, which makes the false ceiling element which is regulating the entire space as one entity. While the seating elements are designed in the shape of petals and countertops are designed with dried branches and artificial flowers. The design intent also focuses on generating the feeling and ambiance of the natural environment using certain techniques in interior space.

Design Concept: The concept and name of the restaurant are taken from the Japanese word ‘Ikebana’, that means the arrangement of flowers. The core design concept revolves around the fusion gastronomies of Brazillian and Japanese culture. Here, both cultures shared a common focus on Nature. So, the entire concept is wrapped around landscaping, natural effects, and natural forms to be used as direct design inspiration.

Fig. 3.9.11 Design concept of the two tradition and their culture of nature weaved together

We are going to observe those points of inferences and presence of ornamentation in this secondary case study with the similar line of intents.

Spatial Intent and Dimensional Intent: • Purpose in space, Constraints, Positioning in the space, and Usability of element

Fig. 3.9.12 Left image shows the placement of the weaved planes forming an layered envelope like an landscape. Its purpose is to aid in the space planning, making spaces cosy as well as adaptable and accomodating services.

3.9.13 and 3.9.14 Above images shows the positioning of the planes against the existing site considering the site constraints. It is acting as a layer from the existing constraint of the site. This element when attaches to the existing site forms a sitting object.

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3.9 Ikibana Paral Restuarant

Conctructional Intent and Aesthetical Intent: • Fabrication Technique, Structural system, assembly, form, color, material, and expression

Fig. 3.9.15 Left top images shows the expression of the weaved planes created as a symbol of mixture of two different cultures weaves with the idea of symbolic landscape. The fabrication technique of this element is combination of multiple actions like wooden planks cutting and bending with the industrial process and joined to each other with seamless less joint and no visible hardware. While the weave itself becomes the stable surface and planks such that it doesnt require additional structural system.

Fig. 3.9.16 The top image shows the layers of volume created in a space. the volumes as different gradation of provides different expression.

The specific form seems like a weaved surface of textile at a human scale. But here it represents the natural phenoman and natual landscape qualities.

Fig. 3.9.17 Left image shows that the weaved planes are covering the restaurant part and gives opportunity to accommodate various natural forms of seating element and circulation like naturally created paths.

3.9.18 Above image shows the weaved canopy created taking inspirations of trees from two different culture. And the planes are merging into each other like the restuarant’s philosophy.

The weaved surface was designed using wooden planes in the multiple axis and multiple orientation to create a natural landscape in the shell. This can be defined as ‘ ornamentation’, which generated using CAD/CAM technologies, computational tools, 3d modeling and fabricated industrial processes. This ornament aided in the organization of spatial envelop in space and its fulfiling functional requirements, this observations are in same line with the primary case studies and intents.

False Ceiling Element • • • •

Space Organization Creating Envelope and enclosure Accommodating services Adding Aesthetics

Inference Chart • Aesthetics • Unified Sitting attached to wall

Sitting Units 3.9 Ikibana Paral Restuarant

Isolation - Attachment

Intents and New Age Ornamenatation

Functional Aesthetical Spatial Constructional

Isolation - Attachment

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04 Dawn of Ornamentation

4.1 Inference from the study 4.2 Conclusion 4.3 Future scope for research

4.0 Dawn of Ornamentation

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4.1

Inference from the study The subconscious mind reacts to the realms of the already known information. This information acts as a datum for the already embedded information into the functioning of the mind. As a possible engagement of oneself, the conscious mind reads what is out of ordinary and what one needs more datum for an act.

Remaining in this frame of thought, a ornament has an ability to tap this conscious act. These acts are often termed as affects with respect to ornament and material. As objects in space, ornament have a certain understanding of the space and have responses to various attributed like its material, function. etc. This response as seen in the all the six primary and secondary case studies.

A further thought of otnament occupies the user in the function of the program. Being a constituent of a program, the requirement is fulfilled by all the elements of the built, where the articulation of ornamentation plays a vital role in the experience and the feel of the space.

Now that the study has arrived at a point, after looking at various elements within the distinct varieties of projects. The performance of ornamentation in the element is adding to the aesthetical value, constructional value, and functional Value which gives scope for the better design development process.

Space and element relationship became more profound in terms of creating interior architecture spaces. Hence, the application and usage of ornament as a design concept. It is quite evidently observed from the case studies that articulation of ornamentation on the space making elements.

4.1 Inference from the study

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4.2

Conclusion Exactly 100 years after Loos wrote Ornament and crime, literature, and theories supporting the importance of ornamentation in the interior – architecture has resurfaced. As we saw in chapter one, for decades the language of ornamentation remained largely unspoken, but for a few memorable modern design experiments.

When we looked at the early phase of the evolution of ornamentation, in a historical perspective we saw that there is a tremendous input of craftsmanship, which was a way to become tools and techniques of ornament. So that it could open more subjects regionally or geographically by the community and different perceptions of nature and life.

Fig. 4.2.1 Traditional technique of terracotta

used in a transformed style of forms and In practice, there has been an understanding design. of ornament as a separate entity that has the idea of perception, association, and symbolic subject with respect to material, shape, and form. That is why ornament has been practiced in all the skills of objects or design from the past.

Yet from Owen Jones Grammar of ornament to Louis Sullivan and Kent Bloomer, rich vocabularies of opposing and contradictory theories exist to be re-adapted once again in the interior – architecture. Before Modernism, the ornament was isolated from the structure and form as prominent entity. It was with modernism that ornament got integrated as an inherent part of the architecture and the interior space where structure seems like indiviual unit.

With over a century of debate and various perceptions of ornamentation as being a set of principles, isolated from the structure passing through various connotations, such as the carrier of reference and pattern giver to structure, etc. it has finally begun to achieve a rightful place in the interior – architecture

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Fig. 4.2.2 The architectural form converted as distinct interior spaces as a modern layer of space formation through frames and patterns.

4.2 Conclusion

Fig. 4.2.3 The form and structure has been developed as a language of ornamentation as an envelope.

as discussed in the topic ‘Shift in perspective’.

We can also see there is a constant input of technology and the scientific field has a prominent influence on the deeply rooted practice of ornamentation. Ornamentation, as seen in the previous discussions in the second chapter, seems to have transformed. While, its new vocabularies, tools, intents, etc. have been identified and explored. Within a framework of mass production, industrial techniques were used with remarkable precision to turn out the ornamented elements. The attack on the validity of ornamentation in the industrial era was mainly because of the disconnect between the language of ornamentation, the design ideologies, and the economy of construction.

The ornament has come full circle.

During the research, many valuable, new observations were made and conclusions reached. Our understanding of ornament has traditionally been based on historic precedent.

From the perspective of the twenty-first century, a resolution between historic precedents, technology, materiality, and global society comes into focus. Thus, this perspective suggests a new direction in the development of ornament within contemporary design.

As studied in chapter one, earlier there were craftsmen, artisans, performers, etc and the woven unity between all the art forms like music, architecture, dance, etc. So there was a common perception of nature and daily life. Those could develop into subjects to get inspiration from.

Fig. 4.2.4 The ornamentation is a resultant of the synthesis of the technologies and advanced material sciences .

4.2 Conclusion

Today we live in a world where the design fraternity has become open-minded. There are no set rules for the synthesis of a modern ornament; unlike the conventional notions of ornamentation, new mediums and new techniques of manufacturing have allowed it to flourish to new heights. There is the continuous influence of new advanced technologies in the design field and other material sciences and so that is crafts and technique. So few subjects have remained in the practice of interior design.

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Ornamentation undoubtedly has resurfaced.

But today after modernism, the subject finding becomes important. Up to the era of styles, you can see the common subject thread between the art, architecture, and interior spaces. Today, education plays a major role in design tools that are taught where common educational technology is defing the current and upcoming age of design and architecture.

Now one can have an original model in the development methods of patterns or decoration or ornament or embellishment which then looks at the larger activity of the interior domain. As we brought out points for advanced technology and ornament. Now, one can say that with appropriate technology, the ornamental quality has extended from the architecture to interior space and it is once again an integral part of the interior – architecture, inherent in the structure, form, surface, and volumes; characterizing the built spaces.

The material culture, which is a modern tool to express and realize an ornament, has participation with its inherent quality of being in a state of perfect harmony with the need of its requirement. Today, the material is reduced to smaller units with complex techniques, we can see that happening in the parametric or digital fabrication.

Now that material is going to a certain scale and proportion. The very idea of the quantity of material and its combination becomes important. It is not only the perception of The ornament, but it is also in the issues of the environment that we are putting the ornament into. For example, the exposure of material as an ornament in an environment to light and air quality becomes an important factor to decide.

Today, the ornament is not in the eyes but also in the environment with light, temperature, air, etc with the senses. It is the new way that material is going in the fabrication and assembly of an element. It is playing a role in both the environment and the physicality of the

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Fig. 4.2.5 The image shows the transformation of a 2d pattern which results into 3d form that later turns into grammer of ornamentation.

Fig. 4.2.6 The material put under the ephimeral effect through light and space creates intangible affect of ornamentation.

4.2 Conclusion

spatial elements.

The technique in material and element together play the role of ornament. But now one is not looking at the ornament by just the shape, pattern, and form. It is also an envelope, enclosure, boundary with interior Light, air quality, temperature, etc. This is the new Sensibility where ornament is being performative. So, we can strongly say that ornamentation is aiding in governing the performance of the space by articulating the space making elements to fulfill the functional requirements, improving light qualities, efficiently dividing the volumes, incorporating the services, and efficient space planning. The performance of ornamentation in any element Fig. 4.2.7 The space and enclosure created is adding to the aesthetic value, constructional in interior space where the material is value, and functional Value which gives scope acting as space making elements that is performing various activities. for the better design development process.

Now we are going to raise few points based on the developed understanding from the thesis for the extent of ornamentation.

Fig. 4.2.14 The Plaster brick wall as ornament.

Fig. 4.2.15 The fresco as ornament on the plaster wall.

Fig. 4.2.16 The exposed brick wall constructed in specific order which results into ornamented surface.

Fig. 4.2.17 Modulation of brick unit through computational technique to generate new forms.

These above images discuss the entire range of natural materials. It means we have a twodimensional ornament in brick. We have a 4.2 Conclusion

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plastering technique applied to it, that gives the surface theory of ornament. We have also painted it as a fresco with interesting stories.

While we have also kept it exposed and generated patterns from the module itself. On the other hand, columns have multiple units to shape grammar that is created by different tools and operations. If we manipulate the brick sizes and forms, then a three-dimensional ornament can be created. This kind of threedimensional ornament can also be created by digital programming. These techniques and operations can have a scope of ornament in single natural material.

Until now, we considered brick as a solid module by its materiality. But if we change the physical constituents and matter of the brick some perforated or porous kind of new brick can be created. By doing so, the performance of the brick will change and it will bring in new patterns, expression, and behavior. The advantages of such new innovations will be ultimately beneficial to the occupant of the space that will result in a saving of lighting, energy, and economy, etc. Hence, ornamentation through a single material can have various modes and directions in its practice.

Fig. 4.2.8 All the tangible elements and materials have given expression using a single material wood in various other qualities.

When merging the language of the material with the thought of the design, the elements of interior space are started getting defined by the virtue of ornament. In the second and third chapters, we have defined the relationship between space and elements as well as ornamentation and space-making elements.

While we also discussed the articulation of space making elements through the intents of ornament creation to make a point on the presence of ornamentation in contemporary projects.

From the discussed theories and inferences from the four primary case studies and two secondary case studies, one can say that the Space and element relationship became more profound in terms of creating interior spaces with the application and usage of ornament as a design concept. Also we discussed the idea

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Fig. 4.2.9 The newly inserted material and elements shows an unique language of ornamentation with the respect of old structure and new technique.

4.2 Conclusion

of elements of performance which composes a space with design issues of space making elements.

The inferences from the primary and secondary case study clearly notify the presence of ornament with respect to their intent in all the cases. And it also proves that articulation of ornamentation on the space making elements are not just symbolic in nature but it is translating the functional features in the space with respect to function and requirement of the space.

Fig. 4.2.10 The computational techniques have become a medium to generate entire narrative of the space.

Till now we were talking about space-making elements and the role of an element with the idea of ornamentation. In the space, we were looking at the entire narrative, journey, evolution, and influences of new age ornamentation till today. Having said that, we can now say that there is a new upcoming shift with the same computational process and fabrication technique and that is of space making to space production.

Now we can see that the new age uses the word production in teams of the making of the form and formation. It is a continuous engagement in terms of individual stages in the design process. The conventional straightline design process used to Separate out these stages in terms of form, material, construction, aesthetics dimensions, ergonomics, drawing details, etc. Now we see that the new age processes by the Idea of production show continuous engagement and involvement till the realization of space takes place. Hence, We can now see that there is a future from space making to space production. Here the role of ornament is in the formation of the element form and detail of the element.

Fig. 4.2.11 The detail and parts of the materials and expressions creates an ornamented junctions in space.

4.2 Conclusion

When elements are joined together, the idea of the detail becomes important (both joining of the elements and joining of the combinations of elements). For example, the Junction of attached elements joins to connected elements or space making elements as a medium of connection.

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If we talk about the enhancement of detail and junction it becomes mandatory to discuss the records of eye fixation, which discusses all the added joints, all the recorded joints in terms of visual enhancements, and maximum gradation of eye movement.

When any element, or element makes a combination that is the place where the maximum of transition points are because that is the one place where element transiting into another element. So that definition could be modified to the state that ornamental detail is the meaningful sensual event that occurs where designed elements joined.

In this sense, it is not the actual joint that constitutes the detail but the designer decides visually and tactility what will occur at the Joint.

Thus the detail aids in either easing and making significant visual transitions from one element to another element.

On the same line, Thomas Beebay says that the perceptive and cognitive capacity such that it leads to a new understanding of ornamental detail is important. The Miesian aesthetic lies on an ornamental framework are not so strong elements in the process of formation of forms through space making to space production.

A German architect and archaeologist, Karl Botticher. He developed principles of generating forms that are in resemblance to nature with its own tectonics. If we are talking about forms, every form or constructional element in all the contexts is of two categories and they are generic functional form and generic aesthetical form. These can be understood by Boetticher’s theory of form and tectonics, it says “core form” (Kernform) and art form Kunstform. He defines these components as follows “The core form of every element is the mechanically necessary, the structurally functioning scheme, the art form, on the other hand, is merely the characteristic that explains this function. The core form is an abstraction, the immaterial diagrammatic image of the constructional component. The art form, on the other hand, is not pure decoration but, rather,

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Fig. 4.2.12 The form posses certain function, but that generic form has given aesthetical feature to create ornamentation.

4.2 Conclusion

the visually perceptible appearance of this component which not only is full but also has to symbolically represent the structural function.

This helps in generating space production with the idea of ornamentation which emerges from computation and mechanical requirements.

Hence we can say ornament as an element is with the idea of organization and production processes of the Space. And this is the big shift in interiors today, in the capacity of space production.

In today’s situation, the interior design paradigm is going through various shifts and we are considering this shift from space making to shape forming with the process of new form formation. By exploring ornament as form, ornament becomes applicable in contemporary society, as a way to evaluate and discuss new forms of design in ways our current design language does not completely reveal.

Fig. 4.2.13 Ornament is not a random output, its a sensible evolution of ideas. Similar example shown in the image where output is intangible ornamentation.

Sometimes the ornamental elements in a space are not merely sampled from a palette of random choices but evolve directly from content and are integrated at a deeper level with the concept. They do as much work as a word or an image in communicating and characterizing. The intricacy necessary to construct an ornament suggests that real attention is being paid to the art of making and detailing. What is required at this point is that the discourse of ornamentation needs to be engaged with that of contemporary rational design.

The exploration of ornament that has spanned over centuries is a platform to think about ornament in contemporary society and its linkage to prior notions in design. The forgotten – and once forbidden subject - can offer new ways of creating new interiors. Ornamentation can be a useful tool in both methodological and practical aspects of interior-architecture.

The idea of ornamenting carries with it much intellectual and emotional quality.

4.2 Conclusion

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4.3

Future Scope for Research With the reference to the discussion in chapter two and conclusion, the new age ornament is a result of different programs and functions coming in as part of the interior realm. Interior design practices will also have a public space domain to be designed and they are also picking up ornament as a requirement and Skill for such large-scale projects.

At the same time, we can see that there are smaller practices as well as small shops, cafes, restaurants, or shopping malls where typical modules as units are sold as property. They also bring in ornamentation as scope for the interior design projects.

The future of ornamentation is direct towards new technological paradigms with advanced techniques of creation and production.

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4.3 Future scope for research

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XX.1 Bibliography XX.2 Illustration Credits XX.3 Review Comments

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XX.1

Bibliography

Books | Research Papers Ahani, F., Etessam, I., & Islami, S. (2017). The Distinction of Ornament and Decoration in Architecture. Retrieved November 12, 2020.

Azizi, M., & Torabi, Z. (2015). The Role of Structure in Creating Architectural Space. Current World Environment, 10(Special-Issue1), 131-137. doi:10.12944/cwe.10.special-issue1.18 Bédard, J. (2017). Ornament in Architecture. Companion to the History of Architecture, 1-21. doi:10.1002/9781118887226.wbcha032 Bloomer, K. (2000). The nature of ornament: Rhythm and metamorphosis in architecture. New York, NY, New York: W.W. Norton.

Brooker, G., & Stone, S. (2016). Form and structure in interior architecture. New York, New York: Fairchild Books.

Conway, P., & Jensen, R. (1983). Ornamentalism: The new decorativeness in architecture and design. Yonkers, New York: Hudson River Museum.

Coomaraswamy, A. (1930). Figures of Speech or Figures of Thought? World Wisdom.

Gavra, H. (2013). Diploma thesis-based draft 2013: Contemporary Ornament: Towards a quasiobject. Retrieved November 12, 2020, from https://www.academia.edu/2298603/Diploma_ thesis_based_draft_2013_Contemporary_Ornament_Towards_a_quasi_object Gleiniger, A., & Vrachliotis, G. (2009). Pattern: Ornament, structure, and behavior. Basel, Switzerland: Birkhäuser.

Gleiter, J. H. (2012). Ornament today: Digital material structural. Bolzano, Italy: Bolzano University Press.

Hakan, S. (2013). Re-thinking the Concept of “Ornament ” in Architectural Design. Retrieved November 12, 2020.

Hvattum, M. (2004). Gottfried Semper and the problem of historicism. Cambridge, England: Cambridge University Press.

Jencks, C., & Jencks, C. (2002). The new paradigm in architecture: The language of postmodern architecture. New Haven, Yale: Yale University Press.

Jones, O., & Waring, J. B. (2017). The grammar of ornament. Delhi, New Delhi: Kalpaz.

Levit, R. (2008). Contemporary Ornament: Return of the Symbolic Repressed. Retrieved November 12, 2020, from https://www.academia.edu/9582191/Contemporary_Ornament_ Return_of_the_Symbolic_Repressed Lokce, D., & Allmer, A. (2016). A critical review of ornament in contemporary architectural theory and practice.

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Lynn, G. (2004). The structure of ornament. In N. Leach, D. Turnbull & C.Williams, (Eds.). Digital tectonics (63-68). West Sussex: John Wiley & Sons Ltd. Malnar, J. M., & Vodvarka, F. (1992). The interior dimension: A theoretical approach to enclosed space. New York, New York: Van Nostrand Reinhold.

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Miller, K. (2011). Organized Crime: The Role of Ornament in Contemporary Architecture.

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Moravánszky, Á. (2016). Metamorphism material change in architecture. Basel, Switzerland: Birkhäuser.

Moussavi, F., & Kubo, M. (2008). The function of ornament. Barcelona, Barcelona: Actar.

Oxman, R. (2007). Digital architecture as a challenge for design pedagogy: Theory, knowledge, models and medium. Retrieved November 12, 2020.

Pandya, Y. (2007). Elements of spacemaking. Ahmedabad, Gujarat: Mapin Pub. Payne, A. A. (2012). From ornament to object: Genealogies of architectural modernism. New Haven, Yale: Yale University Press.

Reiser, J., & Umemoto, N. (2012). Atlas of novel tectonics. New York, NY, New York: Princeton Architectural Press.

Pell, B., Hild, A., Jacob, S., & Zaera, A. (2010). The articulate surface: Ornament and technology in contemporary architecture. Basel, Switzerland: Birkhäuser.

Picon, A. (n.d.). ORNAMENT AND ITS USERS: FROM THE VITRUVIAN TRADITION TO THE DIGITAL AGE. Retrieved November 12, 2020.

Picon, A. (2014). Ornament: The Politics of Architecture and Subjectivity. Somerset, Somerset: Wiley.

Ramage, M. (n.d.). What is, and what is not, ornament? What is its use? Retrieved November 12, 2020.

Risburg, V., & Munch, A. (2015). Decoration and Durability: Ornaments and their ‘appropriateness’ from fashion and design to architecture. Retrieved November 12, 2020.

Sankovitch, A. (1998). Structure/Ornament and the Modern Figuration of Architecture. The Art Bulletin, 80(4), 687. doi:10.2307/3051319 Schumacher, P. (2014). Tectonic Articulation – Making Engineering Logics Speak. Retrieved November 12, 2020.

Spuybroek, L. (2010). The matter of ornament. Retrieved November 12, 2020.

Starvic, M. (2008). The Intelligence of ornaments: Exploring ornamental ways of Affordable NonStandard Building Envelopes. Retrieved November 12, 2020.

Sullivan, L. H., Wit, W. D., & Zanten, D. V. (1986). The Function of ornament: The architecture of Louis Sullivan. New York, New York: Chicago Historical Society and the Saint Louis Art Museum in association with W.W. Norton.

Trilling, J. (2003). Ornament a modern perspective. Seattle, Seattle: University of Washington Press.

Online Websites Baltus, R. (n.d.). The return of ornamentation in architecture: For what purpose? To express what?

Retrieved November 12, 2020, from https://www.vmzinc.com/news78/10000275-the-return-ofornamentation-in-architecture-for-what-purpose-to-express-what.html Celani, M. (2017). Arquitextos 204.01 digital technology. Retrieved November 12, 2020, from https:// www.vitruvius.com.br/revistas/read/arquitextos/17.204/6549 Conway, P., & Jensen, R. (1982, November 14). DESIGN; ORNAMENTATION. Retrieved November 12, 2020, from https://www.nytimes.com/1982/11/14/magazine/design-ornamentation.html

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De meuron, H. (2006). ORNAMENT, STRUCTURE, SPACE. Retrieved November 12, 2020, from https://www. herzogdemeuron.com/index/projects/writings/conversations/chevrier-en.html Eye, M. (2005). Eye Magazine. Retrieved November 12, 2020, from http://www.eyemagazine.com/ feature/article/the-decriminalisation-of-ornament-full-text Fantoni, M. (2016). Senses and perceptions: The importance of ornament in Carlo Scarpa work.

Retrieved November 12, 2020, from https://issuu.com/marco_fantoni/docs/marco_fantoni_essayissu Heathcote, E. (2020, September 28). The problem with ornament. Retrieved November 12, 2020, from https://www.architectural-review.com/essays/ornament/ornament-is-the-language-through-whicharchitecture-communicates-with-a-broader-public Heathcote, E. (2008). Become an FT subscriber to read: The argument for ornament. Retrieved November 12, 2020, from https://www.ft.com/content/696796d0-e009-11dc-8073-0000779fd2ac Hout, J. (2012). SVA MA Design Research. Retrieved November 12, 2020, from https://designresearch. sva.edu/research/patterns-of-ornament-technology-and-theory-in-contemporary-architecturaldecoration-2/ Icon, M. (2009, December 17). Conversation: Jencks, Moussavi and Colletti. Retrieved November 12, 2020, from https://www.iconeye.com/architecture/features/conversation-jencks-moussavi-and-colletti Kfynm, P. (2017, August 20). Tectonics: Ornament & Austerity. Retrieved November 12, 2020, from https://kfynm.wordpress.com/2017/08/01/tectonics-ornament-austerity/ Matt, N. (2011, November 13). Topological [Pupa by Lazerian]. Retrieved October 06, 2020, from https:// www.dezeen.com/2011/11/13/pupa-by-lazerian/ Qasim, S. (n.d.). Spatial Ornamentation. Retrieved November 12, 2020, from https://www.academia. edu/12417765/Spatial_Ornamentation Shyqeriu, B. (2010). Ornament and Structure - New Biological Paradigm. Retrieved November 12, 2020, from https://issuu.com/banush/docs/_ornament_and__as__structure_-banush_shyqeriu__m.a Van Raaiji, M. (2014, October 16). Building As Ornament: Iconography In Contemporary Architecture.

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Unpublished thesis Anjaria, A. (2011). Details : Construing significance (Unpublished bachelor’s thesis). CEPT University.

Banker, N. (2014). Study of changing modes of ornamentation in dwellings in Ahmedabad (Unpublished bachelor’s thesis). CEPT University.

Chhaabra, C. (2018). Defining details : Study of element - space relationship in a designed environment (Unpublished bachelor’s thesis). CEPT University.

Gardner, G. (2019). Interface/Ornament: Enabling Engagement Through Digital Design and Fabrication (Unpublished master’s thesis). University of Calgary.

Miskinyte, M. (2019). Anxious ornament: Ornament in contemporary architecture (Unpublished master’s thesis). Waterloo University.

Modi, A. (2000). Ornamentation to abstraction (Unpublished Bachelor’s thesis). CEPT University.

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Panchaal, P. (2014). Rethinking Ornamentation (Unpublished bachelor’s thesis). CEPT University.

Panchaal, R. (2017). Space as an elemental construct;understanding role of space making elements in spatial narration (Unpublished bachelor’s thesis). CEPT University.

Pontius, D., & Brown, N. C. (2003). Ornament as narrative: A framework for reading ornament in the twenty-first century (Unpublished master’s thesis). Washington State University.

Sangeetha, P. (2012). Ornamentation in the digital age : Understanding the influence of digital technology on the language of ornamentation in contemporary interior architecture in India (Unpublished master’s thesis). CEPT University.

Shah, N. (1999). Ornamentation- As a Means for Expression and Communication (Unpublished bachelor’s thesis). CEPT University.

Videos | Online Talks Architects, C. (2010, February 12). Kent Bloomer, “Why Not Ornament”. Retrieved November 06, 2020, from https://vimeo.com/10404280 Jegede, T. (Director). (2020). Indigenous Ornamentation In Contemporary Architecture [Video file].

Retrieved November 12, 2020, from https://www.youtube.com/watch?v=YNs_xN5ogj4 Ro, B. (2020, April 02). Ornament in Architecture – A Brief Introduction. Retrieved November 04, 2020, from https://www.youtube.com/watch?v=-0YWpMte2FY

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Illustration Credits Chapter 01 Fig. 1.1https://4.bp.blogspot.com/-Dijue1llKRU/UO8u-VogjtI/AAAAAAAABQw/ OCG6QLt9qEg/s1600/Inspiration-Louis-Sullivan-03.jpg Fig. 1.2https://99percentinvisible.org/episode/la-sagrada-familia/ Fig. 1.3https://www.interiordesign.net/slideshows/detail/9918-peter-marino-delves-intoitalian-history-to-renovate-bulgari-new-york Fig. 1.4https://www.art.com/products/p1200966526-sa-i3572958/vision-studio-corinthiandetail-iii.htm?RFID=990319 Fig. 1.5https://www.etsy.com/uk/listing/531570260/log-wall-tiles-natural-whole-style Fig. 1.6https://www.pamono.co.uk/red-and-blue-chair-by-gerrit-thomas-rietveld-forcassina-1978-1 Fig. 1.7https://faulkner.guidele.com/p/NjkxODY1NTYxNDk1NDAzMTI5 Fig. 1.8https://en.wikipedia.org/wiki/Konark_Sun_Temple Fig. 1.9https://www.gettyimages.in/photos/louis-vuitton-flagship-store-inlondon?mediatype=photography&phrase=louis%20vuitton%20flagship%20store%20in%20 london&sort=mostpopular Fig. 1.10https://peapix.com/bing/15894 Fig. 1.11http://pixdaus.com/index.php?pageno=35&tag=greece&sort=tag Fig. 1.12https://www.flickr.com/photos/judith_knibbe/5684886016/ Fig. 1.13https://www.instagram.com/p/CGWbo8eH37J/ Fig. 1.14https://www.youtube.com/watch?v=-0YWpMte2FY Fig. 1.15https://djcadteam6.wordpress.com/2012/01/28/islamic-art-pattern-light-andstructure/ Fig. 1.16https://www.instagram.com/p/CG8_5MXnQdQ/ Fig. 1.17https://www.instagram.com/p/CG6YweznTTt/ Fig. 1.18https://www.pinterest.com.au/pin/333688653618143731/ Fig. 1.19https://lapuertaoriginals.com/project-galleries/ Fig. 1.20https://thearchitectsdiary.com/refurbishing-to-the-breezy-and-earthy-interiorsspda/ Fig. 1.21https://handweaving.net/PatternDisplay.aspx?PATTERNID=42583 Fig. 1.22https://www.tattoolife.com/berber-tattooing-felix-loretta-leu Fig. 1.23https://www.ancient.eu/article/849/the-ajanta-caves/ Fig. 1.24https://www.flickr.com/photos/persianpainting/31324168011 Fig. 1.25https://www.amazon.in/Warli-Art-Painting-Canvas-Jungle/dp/B01KDU6Z64 Fig. 1.26https://www.dreamstime.com/multicolour-ethnic-embroidery-gujarat-india-craftclose-up-view-traditional-indian-fashionable-handicrafts-image180160076 Fig. 1.27https://gaatha.com/meenakari-jaipur/ Fig. 1.28https://dailyartfixx.com/2016/06/25/antoni-gaudi-1852-1926/ Fig. 1.29https://www.archdaily.com/868863/first-house-designed-by-gaudi-to-open-asmuseum/58a1a85fe58ecea9f900040e-first-house-designed-by-gaudi-to-open-as-museumphoto Fig. 1.30https://www.theculturemap.com/inside-gaudis-casa-vicens-in-barcelona-boldbright-beautiful/ Fig. 1.31https://www.architecturaldigest.com/story/sagrada-familia-antoni-gaudi-2026 Fig. 1.32https://www.travel-holiday.net/sagrada-familia-basilica-in-barcelona/ Fig. 1.33https://www.expedia.com/pictures Fig. 1.34https://www.thoughtco.com/frank-lloyd-wright-interiors-inside-architecture-177552 Fig. 1.35https://www.alamy.com/stock-photo-unity-temple-oak-park-illinois-frank-lloydwright-37485554.html Fig. 1.36http://byricardomarcenaroi.blogspot.com/2012/07/architecture-arquitecturafrank-lloyd.html Fig. 1.37http://cdn.home-designing.com/wp-content/uploads/2013/03/Frank-LloydWright-Millard-House-master-bedroom-interior-exterior.jpeg Fig. 1.38http://cdn.home-designing.com/wp-content/uploads/2013/03/Frank-LloydWright-Millard-House-high-ceiling-living-doors-to-terrace.jpeg Fig. 1.39https://en.wikiarquitectura.com/building/Alice-Millard-House/ Fig. 1.40https://www.departures.com/art-culture/things-to-do-in-barcelona-spain/12

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Fig. 1.41https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-derrohe/54c6abfce58ece9901000001-mies7-jpg?next_project=no Fig. 1.42https://www.wallpaper.com/architecture/mies-van-der-rohes-barcelonapavilion-celebrates-30th-anniversary Fig. 1.43https://www.architectural-photographer.eu/wordpress/?portfolio=berlin Fig. 1.44https://www.laprairie.com/en-us/editorial-component?psortb1=ranksort&psortd1=2 Fig. 1.45https://architectural-review.tumblr.com/post/134261615721/column-roof-neuenationalgalerie-berlin Fig. 1.46https://www.cannondesign.com/our-work/work/guaranty-building/ Fig. 1.47https://www.cannondesign.com/our-work/work/guaranty-building/ Fig. 1.48https://www.llworldtour.com/a-weekend-in-buffalo/ Fig. 1.49http://www.walshgroup.com/ourexperience/building/retail/ targetstatestreetstore.html Fig. 1.50https://projectecologyonline.com/wp/2019/04/a-powerful-tool-fororganizational-analysis-and-design-part-1/ Fig. 1.51https://memoriastoica.tumblr.com/post/7469762754 Fig. 1.52https://www.yellowtrace.com.au/carlo-scarpa-olivetti-showroomvenice/#foobox-1/26/Olivetti-Showroom-Venice-Carlo-Scarpa-Yellowtrace-29.jpg Fig. 1.53https://www.yellowtrace.com.au/carlo-scarpa-olivetti-showroom-venice/ Fig. 1.54https://www.yellowtrace.com.au/carlo-scarpa-olivetti-showroomvenice/#foobox-1/0/Olivetti-Showroom-Venice-Carlo-Scarpa-Yellowtrace-17.jpg Fig. 1.55https://arquiscopio.com/archivo/2013/08/24/fundacion-querinistampalia/?lang=en Fig. 1.56https://arquiscopio.com/archivo/2013/08/24/fundacion-querinistampalia/?lang=en Fig. 1.57https://arquiscopio.com/archivo/2013/08/24/fundacion-querinistampalia/?lang=en Fig. 1.58https://atlasofplaces.com/architecture/maison-de-verre/ Fig. 1.59https://www.metalocus.es/en/news/pierre-chareau-modern-architecture-anddesign Fig. 1.60https://texnh.tumblr.com/post/38374461725/pierre-chareau-maison-de-verreparis Fig. 1.61https://www.ikekligermanbarkley.com/posts/Louis-Kahn-The-QuintessentialArchitect Fig. 1.62https://www.ikekligermanbarkley.com/posts/Louis-Kahn-The-QuintessentialArchitect Fig. 1.63https://www.ikekligermanbarkley.com/posts/Louis-Kahn-The-QuintessentialArchitect Fig. 1.64https://winifredphillips.wordpress.com/tag/jacob-javits-center/ Fig. 1.65https://heintges.com/jacob-javits-convention-center/ Fig. 1.66http://siny.org/project/javits-center/ Fig. 1.67https://theculturetrip.com/europe/united-kingdom/articles/15-places-that-looklike-theyve-come-straight-out-of-a-movie/ Fig. 1.68https://www.lonelyplanet.com/articles/pavillion-le-corbusier-zurich-open Fig. 1.69https://www.floornature.com/reopening-pavillon-le-corbusier-zurich-exhibitionmon-univer-14678 Fig. 1.70http://smspostcard3.blogspot.com/2010/06/missing-germany-fagus-factory-inalfeld.html.

Fig. 1.71http://smspostcard3.blogspot.com/2010/06/missing-germany-fagus-factory-inalfeld.html.

Fig. 1.72https://mattarchitecture.files.wordpress.com/2019/05/fagus-image-1-windows. jpg?strip=info&w=1000 Fig. 1.73https://www.dezeen.com/2013/02/27/the-picnic-by-raw-edges-for-kvadrat/ Fig. 1.74https://www.pinterest.com.au/pin/121175046207060198/ Fig. 1.75https://liliinwonderland.fr/maison-et-objets-partie-2/?doing_wp_cron=1604327813 .6288011074066162109375 Fig. 1.76https://www.archdaily.com/386292/2013-serpentine-gallery-pavilion-sou-fujimotophotos-by-danica-kus/51b6b76fb3fc4b63760000e1-2013-serpentine-gallery-pavilion-sou-fujimoto-photos-by-danica-kus-photo Fig. 1.77https://www.archdaily.com/386292/2013-serpentine-gallery-pavilion-sou-fujimotophotos-by-danica-kus/51b6b784b3fc4b63760000e3-2013-serpentine-gallery-pavilion-sou-fujimoto-photos-by-danica-kus-photo?next_project=no Fig. 1.78https://www.archdaily.com/386292/2013-serpentine-gallery-pavilion-sou-fujimoto-

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Fig. 1.116https://www.archdaily.com/871641/edoardo-tresoldi-wire-mesh-installationfeatures-architectural-fragments-constructed-at-1-1/591da084e58ecef317000039-edoardotresoldi-wire-mesh-installation-features-architectural-fragments-constructed-at-1-1-photo?next_ project=no Fig. 1.117https://www.archdaily.com/871641/edoardo-tresoldi-wire-mesh-installationfeatures-architectural-fragments-constructed-at-1-1/591da170e58ecef31700004a-edoardotresoldi-wire-mesh-installation-features-architectural-fragments-constructed-at-1-1-photo?next_ project=no Fig. 1.118https://www.versace.com/gb/en-gb/world-of-versace/stories/sustainability/ new-sustainable-concept/ Fig. 1.119https://www.versace.com/gb/en-gb/world-of-versace/stories/sustainability/ new-sustainable-concept/ Fig. 1.120https://cpp-luxury.com/versace-opens-new-store-in-miami-at-bal-harbourshops/ Fig. 1.121https://www.goodreads.com/book/show/2784.Ways_of_Seeing Fig. 1.3.1.1- https://annadoherty.wordpress.com/2012/10/06/history-of-animation-cavepaintings Fig. 1.3.1.2- https://www.touropia.com/prehistoric-cave-paintings Fig. 1.3.1.3- https://www.ancienthistorylists.com/egypt-history/top-10-outstanding-ancientegyptian-paintings Fig. 1.3.1.4- https://www.ancienthistorylists.com/egypt-history/top-10-outstanding-ancientegyptian-paintings Fig.1.3.1.5- https://www.look4ward.co.uk/archeology/11-things-you-may-not-know-aboutthe-ancient-sumerians Fig. 1.3.1.6- https://laudatortemporisacti.blogspot.com/2010_07_01_archive.html Fig. 1.3.1.7- https://medium.com/type-faster/a-shallow-history-of-humans-andcommunication-design-f29f8095bb49/ Fig. 1.3.1.8- https://www.flickr.com/photos/gemstories/6871619213 Fig. 1.3.2.1- https://www.dreamstime.com/stock-illustration-types-capital-classical-ordervector-hand-drawn-illustration-set-five-architectural-orders-engraved-showing-tuscanimage66710216 Fig. 1.3.2.2- https://etc.usf.edu/clipart/19400/19401/parthenon_19401.htm Fig. 1.3.2.3- https://brewminate.com/relieving-arches-of-roman-structures Fig. 1.3.2.4- https://en.wikipedia.org/wiki/Basilica_of_San_Lorenzo,_Milan#/media/ File:Milano_-_Basilica_san_Lorenzo_a_porta_Ticinese.jpg Fig. 1.3.2.5- https://www.traveloompa.com/gothic-cathedrals-of-medieval-europe Fig. 1.3.2.6- https://www.sah.org/publications-and-research/sah-blog/sah-blog/2017/05/08/ awe-chitecture-and-ornamentation-of-gothic-cathedrals Fig. 1.3.2.7- https://steemit.com/photography/@casphotography/another-gloucestercathedral-rib-vault-england Fig. 1.3.2.8- https://historyten.com/renaissance/best-renaissance-architecture Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig.

1.3.3.11.3.3.21.3.3.31.3.3.41.3.3.51.3.3.61.3.3.71.3.3.8-

https://talesalongtheway.com/2013/07/20/the-pols-of-ahmedabad https://miraimages.photoshelter.com/image/I0000i.nWHJ9pgcU https://www.travelhippies.in/places-to-see-at-mandawa-a-shekhawati-village http://www.dsource.in/resource/madhubani-paintings-bihar/place https://sarathavilas.com/mansion https://www.dangerous-business.com/photos-islamic-world/ https://www.zehren.com/portfolio-view/kata-kuli-hotel https://historyplex.com/ancient-chinese-traditional-customs

Fig. 1.3.4.1- https://fineartamerica.com/featured/eugene-viollet-le-duc-granger.html Fig. 1.3.4.2- https://lynnbecker.com/repeat/reese/city_trashing_history_aGropius_at_Michael_ Reese.htm Fig. 1.3.4.3- https://www.flickr.com/photos/peterjsieger/8718144304/in/photostream/ Fig. 1.3.4.4- https://archive.curbed.com/2017/6/7/15758888/ornament-is-crime-bookphaidon-modern-architecture Fig. 1.3.4.5- https://www.robertharding.com/preview/698-3170/casa-batll-modernist-building-

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antoni-gaud-passeig-de Fig. 1.3.4.6- https://in.pinterest.com/pin/545217098623380927 Fig. 1.3.4.7- https://www.tripadvisor.in/Hotel_Review-g298115-d1090032-Reviews-Motoyu_ Ishiya-Kanazawa_Ishikawa_Prefecture_Hokuriku_Chubu.html Fig. 1.3.4.8- https://www.vitruvius.com.br/revistas/read/arquitextos/17.204/6549

Chapter 02 Fig. 2.1.1 https://commons.wikimedia.org/wiki/File:Astrolabe_Sphere_(9541169465).jpg Fig. 2.1.2 https://www.goodreads.com/book/show/600203.Ornament_and_Crime Fig. 2.1.3 https://www.architectural-review.com/architects/louis-kahn/louis-kahn-thespace-of-ideas Fig. 2.1.4 http://kase.co.za/patterns/print/print_document.htm Fig. 2.1.5 https://www.architectmagazine.com/technology/detail/la-cigarra-cafe-entrypavilion_o Fig. 2.1.6 https://www.pinterest.fr/pin/291467407108068679/ Fig. 2.1.7 https://www.researchgate.net/figure/arious-knots-seam-and-twining-fromGottfried-Semper-Der-Stil-1860_fig3_250172844/download Fig. 2.1.8 https://in.pinterest.com/pin/380272762281920272/ Fig. 2.1.9 https://www.richardmeier.com/?projects=rickmers-headquarters-2 Fig. 2.1.10 https://www.jcrafts.com/eg/shop/special.asp?id=arimakago Fig. 2.1.11 https://in.pinterest.com/pin/56646907784234347/ Fig. 2.1.12 https://www.intltravelnews.com/2018/frank-lloyd-wright-meiji-mura Fig. 2.1.13 http://glform.com/buildings/transformation-of-the-kleiburg-block/ Fig. 2.1.14 https://www.apollo-magazine.com/remembering-charles-jencks/ Fig. 2.1.15 http://4.bp.blogspot.com/-LMzg0aQmTLU/UA8OT1_IaMI/AAAAAAAAB2o/ kSHeqgwE_vc/s1600/335968_10151281372872345_1413389845_o.jpg Fig. 2.1.16 https://thefunambulistdotnet.files.wordpress.com/2011/01/farshid_moussavi0031. jpg Fig. 2.1.17 http://art-now-and-then.blogspot.com/2015/05/notre-dame-du-haut-ronchampfrance.html Fig. 2.1.18 http://afasiaarchzine.com/2016/10/herzog-de-meuron-112/herzog-de-meuronelbphilharmonie-hamburg-21/ Fig. 2.1.19 https://spatialstructures.tumblr.com/post/77302267279/ecoarch-voronoimorphologies-matsys-voronoi Fig. 2.1.20 https://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itkeuniversity-of-stuttgart/572b5bb8e58ece4544000024-icd-itke-research-pavilion-2015-16-icd-itkeuniversity-of-stuttgart-photo Fig. 2.1.21 https://www.an-onymous.com/denis-scott-brown Fig. 2.1.22 https://designawards.core77.com/Built-Environment/86633/Atmosphere

Fig. 2.2.1 http://dezeen.com/2015/08/21/postmodern-architecture-piazza-d-italia-charlesmoore-new-orleans Fig. 2.2.2 http://atimber.com/the-depot/ Fig. 2.2.3 https://www.theinside.com/c/home-decor/peel-and-stick-wallpaper Fig. 2.2.4 https://in.pinterest.com/pin/66217057007620455/ Fig. 2.2.5 https://onin.london/designer-offices-making-an-entrance/ Fig. 2.2.6 https://arcspace.com/feature/three-bridges-over-the-hoofdvaart/ Fig. 2.2.7 https://www.photos-public-domain.com/2018/08/23/wood-grain-texture-4/ Fig. 2.2.8 https://simenggu.wordpress.com/2015/02/03/wood-joints/ Fig. 2.2.9 https://www.alhambradesigns.co.uk/ Fig. 2.2.10 https://ottowagnervienna.wordpress.com/otto-wagner-the-person/projects/ Fig. 2.2.11 https://www.elledecoration.co.uk/magazine/elle-decoration-reader-pollnewsstand-covers/ Fig. 2.2.12 https://www.lonny.com/Museums+That+Give+Us+Major+Interior+Envy/articles/ GYJfjNi1WlK/Dappled+Light Fig. 2.2.13 https://www.architectmagazine.com/practice/the-importance-of-materiality-forherzog-de-meurons-tai-kwun-center-for-heritage-and-arts_o Fig. 2.2.14 https://www.flickr.com/photos/3six0/3102474285/sizes/l/

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https://in.pinterest.com/pin/535506211937750467/ http://designjournalsos.blogspot.com/2012/06/working-drawing-components.html http://junmitani.hatenablog.com/ https://archimorph.com/2010/11/09/spotlight-jason-hopkins-abhominal/ https://www.arch2o.com/lyon-saint-exupery-airport-railway-station-santiagohttps://www.archute.com/kolumba-museum-peter-zumthor/ http://www.ecomanta.com/2014/09/galaxy-soho-zaha-hadid-in-beijing.html

Fig. 2.2.1.1 https://generativelandscapes.wordpress.com/2014/10/07/fractal-trees-basic-lsystem-example-9-4/ Fig. 2.2.1.2 https://www.grasshopper3d.com/photo/opening-chronometry-2?context=latest Fig. 2.2.1.3 http://blog.lightingvanguard.com/2012/03/pko-bank-polski.html Fig. 2.2.1.4 https://in.pinterest.com/pin/493214596671062348/ Fig. 2.2.1.5 http://www.arch.rpi.edu/2011/11/carvalho-jeremy/ Fig. 2.2.1.6 https://australianinteriordesignawards.com/2021_holding.html Fig. 2.2.1.7 https://vintagetopia.co/2018/02/10/best-25-modern-architecture/ Fig. 2.2.1.8 https://www.ignant.com/2016/02/19/giant-spider-webs-woven-from-tape-andstring/ Fig. 2.2.1.9 https://www.archdaily.com/902478/boolean-operator-marc-fornes-theverymany/ 5ba542e5f197cc375900000b-boolean-operator-marc-fornes-theverymany-photo Fig. 2.2.1.10 http://www.davestasiuk.com/d161ortion-pavilion/ Fig. 2.2.1.11 http://marco-verde.blogspot.com/2009/11/research-files.html

Fig. 2.3.1 https://aasarchitecture.com/2015/09/convention-center-in-cairo-by-mohamedelbangy.html/convention-center-by-mohamed-elbangy-08/ Fig. 2.3.2 https://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010heatherwick-studio/ukpavilionsh0013 Fig. 2.3.3 https://divisare.com/projects/349303-peter-zumthor-rasmus-hjortshoj-bruderklaus-feldkapelle?utm_campaign=journal&utm_content=image-project-id-349303&utm_ medium=email&utm_source=journal-id-187 Fig. 2.3.4 http://espaciosenconstruccion.blogspot.com/2012/05/peter-zumthor-pabellonsuizo-expo.html Fig. 2.3.5 http://www.architectmagazine.com/cultural-projects/gerber-architekten-unveilsboth-form-and-function_o.aspx?dfpzone=products Fig. 2.3.6 https://www.dezeen.com/2018/03/20/field-architecture-sentinel-ridge-gabledvineyard-house-napa-valley-northern-california/ Fig. 2.3.7 https://www.bearchitecture.com/projects/ Fig. 2.3.8 https://www.ssmglass.com/productshow-98-163-1.html Fig. 2.3.9 https://mikasavela.tumblr.com/post/12235523367/early-and-small-by-hans-hollein Fig. 2.3.10 https://in.pinterest.com/pin/128563764336835358/ Fig. 2.3.11 https://www.interiordesign.net/projects/10143-eva-jiricnas-uhpc-stairs-for-londonssomerset-hous/ Fig. 2.3.12 https://www.pinterest.com.au/pin/58265388904123055/ Fig. 2.3.13 https://www.pinterest.co.kr/pin/820358888343051993/ Fig. 2.3.14 https://cricursa.com/en/p164/prada-aoyama-epicenter Fig. 2.3.15 https://www.architonic.com/en/story/nora-schmidt-organic-network/7000041

Fig. 2.3.1.1 https://www.flickr.com/photos/lentexx/3402055847/ Fig. 2.3.1.2 https://in.pinterest.com/pin/545428204854039416/ Fig. 2.3.1.3 https://in.pinterest.com/pin/813814595144196590/ Fig. 2.3.1.4 Form + structure Book By Sally Stone Fig. 2.3.1.5 Form + structure Book By Sally Stone Fig. 2.3.1.6 https://www.archdaily.com/917578/whatever-art-space-whatever-designoffice/5ce49f17284dd102040005ff-whatever-art-space-whatever-design-office-photo Fig. 2.3.1.7 https://www.heyarqui.com/maquetas-arquitectonicas/ Fig. 2.3.1.8 https://www.ebay.com/sch/i.html?_nkw=modernize%20old%20furniture Fig. 2.3.1.9 https://www.pinterest.co.uk/pin/548454060845559571/

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Fig. 2.3.1.10 https://kkaa.co.jp/works/architecture/sakenohana/ Fig. 2.3.1.11 https://www.interiordesign.net/slideshows/detail/9644-6-global-media-and-techheadquarters/

Fig. 2.4.1 https://www.archdaily.com/70453/m-hahn-design Fig. 2.4.2 https://www.dwell.com/article/heliotrace-robotic-facade-a7b58cd2 Fig. 2.4.3 https://nexttoparchitects.org/post/142704862331/nextarch-by-davidgogonexttoparchitects Fig. 2.4.6 https://www.houzz.com/hznb/photos/modern-modular-the-prefab-houses-ofresolution-4-architecture-modern-rendering-phvw-vp~6610643

Chapter 03 Fig. 3.4.3https://www.e-architect.co.uk/beijing/poppee-designers-brands-collectionstore-in-beijing Fig. 3.4.4https://www.bing.com/s?q=Topwin+Center%2c+No.1+South+Sanlitun+Road%2c +Beijing%2c+China&FORM=HDRSC4 Fig. 3.4.5https://www.e-architect.co.uk/beijing/poppee-designers-brands-collectionstore-in-beijing Fig. 3.4.6https://www.archdaily.com/883863/the-designers-brands-collection-storeunder-the-golden-cloud-atelier-tree/5a0eefe7b22e386e180001e5-the-designers-brandscollection-store-under-the-golden-cloud-atelier-tree-photo?next_project=no Fig. 3.4.7https://www.e-architect.co.uk/beijing/poppee-designers-brands-collectionstore-in-beijing Fig. 3.4.8https://www.e-architect.co.uk/beijing/poppee-designers-brands-collectionstore-in-beijing Fig. 3.4.9https://www.e-architect.co.uk/beijing/poppee-designers-brands-collectionstore-in-beijing Fig. 3.4.14https://www.scienceabc.com/pure-sciences/what-is-tyndall-effect.html Fig. 3.4.15http://www.laser-cutz.com/materials/acrylic-sheets-clear/

Fig. 3.5.3https://www.arch2o.com/timber-planks-march-studio/ Fig. 3.5.4https://www.google.com/maps/search/timber+planks+in+nishi+building/@35.2851401,149.1226941,382m/data=!3m1!1e3 Fig. 3.5.5https://www.archdaily.com/515326/hotel-hotel-lobby-and-nishi-grand-stairinterior-march-studio/53990552c07a805cea0006c2-hotel-hotel-lobby-and-nishi-grand-stairinterior-march-studio-image?next_project=no Fig. 3.5.6https://www.archdaily.com/515326/hotel-hotel-lobby-and-nishi-grand-stairinterior-march-studio/5399051dc07a803df400068a-hotel-hotel-lobby-and-nishi-grand-stairinterior-march-studio-image?next_project=no Fig. 3.5.7https://in.pinterest.com/pin/519813981982046041/ Fig. 3.5.8https://in.pinterest.com/pin/519813981982046041/ Fig. 3.5.9http://www.arch2o.com/timber-planks-march-studio/ Fig. 3.5.10https://www.dezeen.com/2014/05/14/grand-staircase-hotel-nishi-buildingcanberra-march-studio/ Fig. 3.5.15https://www.materialist.com/tag/wood/

Fig. 3.6.2https://archello.com/story/19219/attachments/photos-videos/4 Fig. 3.6.3https://www.google.com/maps/ place/+Lower+Parel,+Mumbai,+Maharashtra+400013/@18.9939401,72.8240576,335m/ Fig. 3.6.4https://archello.com/story/19219/attachments/photos-videos/1 Fig. 3.6.5https://archello.com/story/19219/attachments/photos-videos/2

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https://archello.com/story/19219/attachments/photos-videos/3 https://architecturelive.in/indigo-deli-at-palladium-sameep-padora-andhttps://architecturelive.in/indigo-deli-at-palladium-sameep-padora-and-

Fig. 3.7.3https://www.interiordesign.net/slideshows/detail/7325-rack-up-the-creativitypoints-furch-gestaltung-rei/ Fig. 3.7.4https://www.google.com/maps/search/ Weinhandlung+Kreis+by+furch+Gestaltung+%2B+Produktion/@48.7768633,9.1784057,341m/ data=!3m1!1e3 Fig. 3.7.5https://in.pinterest.com/pin/431501208021664546/ Fig. 3.7.6https://www.weinplaces.de/weinplaces/weinplace_/nr/weinhandlung-kreis.html Fig. 3.7.7https://www.archilovers.com/projects/112648/weinhandlung-kreis.html Fig. 3.7.8https://www.archilovers.com/projects/112648/weinhandlung-kreis.html Fig. 3.7.15https://vinumvine.wordpress.com/page/16/ Fig. 3.7.18https://in.pinterest.com/pin/491666484324372470/ Fig. 3.7.20https://in.pinterest.com/pin/390898442635700864/ Fig. 3.7.23https://architecturelive.in/indigo-deli-at-palladium-sameep-padora-andassociates/ Fig. 3.7.24https://www.bookeventz.com/banquets/mumbai/lower-parel/blue-frog

Fig. 3.8.2https://www.flickr.com/photos/bluefrogmusic/2477431239 Fig. 3.8.3Google maps Fig. 3.8.4https://www.vrutikadoshi.com/work/aakashreshma-weddingphotography/ Fig. 3.8.5https://archide.wordpress.com/2008/11/04/london-design-festival-08%E2%80%98portrait%E2%80%99-fredrikson-stallard/ Fig. 3.8.6https://www.evadesigns.com/interior-design/hospitality/blue-frod-restaurant-abar Fig. 3.8.7https://archide.wordpress.com/2008/11/04/london-design-festival-08%E2%80%98portrait%E2%80%99-fredrikson-stallard/l Fig. 3.8.11Courtsey of Ishita Shah, Shah, I. (2012). Relevance of Design Processes Today A Study of Contemporary Interiors in India (Unpublished bachelor’s thesis). CEPT University. https://www.designboom.com/architecture/serie-architects-working-in-series-exhibition-2010young-architects-of-the-year-award/ https://www.serie.co.uk/projects/398/bluefrog-acoustic-lounge https://architizer.com/idea/152613/ https://ebuild.in/gallery/bluefrog-music-club-mumbai-serie-architects?id=33261 https://3.bp.blogspot.com/_p0SiaVlfkm0/TDxvOGHkmxI/AAAAAAAACLA/mHrR-Tz2k5M/s1600/ Blue+Frog+8.jpg

Fig. 3.9.3https://www.archdaily.com/370913/ikibana-paral-restaurant-el-equipo-creativo/ 518be9d9b3fc4b7efc000025-ikibana-paral-restaurant-el-equipo-creativo-phot Fig. 3.9.4https://www.google.com/maps/place/o/@41.3754293,2.157355,371m/3!4m5!3m4 !1s0x12a4a2646c1a5423:0xbf32c27437e1f13f!8m2!3d41.3753433!4d2.1583299 Fig. 3.9.5https://www.archdaily.com/370913/ikibana-paral-restaurant-el-equipo-creat ivo/518be9f0b3fc4ba1bf000025-ikibana-paral-restaurant-el-equipo-creativo-photo?next_ project=no Fig. 3.9.6https://www.archdaily.com/370913/ikibana-paral-restaurant-el-equipo-creat ivo/518be9c5b3fc4bf34d000022-ikibana-paral-restaurant-el-equipo-creativo-photo?next_ project=no Fig. 3.9.7https://www.archdaily.com/370913/ikibana-paral-restaurant-el-equipo-creat ivo/518be9cfb3fc4bf34d000023-ikibana-paral-restaurant-el-equipo-creativo-photo?next_ project=no Fig. 3.9.8https://www.archdaily.com/370913/ikibana-paral-restaurant-el-equipo-creat ivo/518be9f4b3fc4ba1bf000026-ikibana-paral-restaurant-el-equipo-creativo-photo?next_ project=no Fig. 3.9.11- https://www.behance.net/gallery/43484237/Ikibana-Sarria

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Chapter 04 Fig. 4.2.1 https://www.designboom.com/art/hector-zamora-solo-houses-exhibit-bricklabyrinth-natural-gallery-space-08-21-2019/ Fig. 4.2.2 https://in.pinterest.com/pin/319755642272724851/ Fig. 4.2.3 https://in.pinterest.com/pin/468796642437203629/ Fig. 4.2.4 http://www.iaacblog.com/programs/3d-printing-l-group-5/ Fig. 4.2.5 https://www.cambridge.org/core/journals/mrs-bulletin/news/kirigami-honeycombmaterial-exhibits-a-poisson-s-switch Fig. 4.2.6 https://www.designboom.com/design/citizen-installation-milan-designweek-2016-04-19-2016/ Fig. 4.2.7 https://www.dsigners.net/2017/01/26/inventive-design-made-with-ropes/ Fig. 4.2.8 https://www.urdesignmag.com/architecture/2015/10/07/eat-rice-noodlerestaurant-in-bangkok-by-onion/ Fig. 4.2.9 http://hicarquitectura.com/2020/01/carles-enrich-merolas-tower/ Fig. 4.2.10 https://www.arketipomagazine.it/en/the-italian-pavilion-at-expo-2015nemesipartners/ Fig. 4.2.11 https://www.archdaily.com/877432/peter-zumthors-kolumba-museum-throughthe-lens-of-rasmus-hjortshoj/598b7b12b22e38dac600044d-peter-zumthors-kolumba-museumthrough-the-lens-of-rasmus-hjortshoj-photo?next_project=no Fig. 4.2.12 https://www.gooood.cn/tori-tori-santa-fe-mexico-by-esrawe-studio.htm Fig. 4.2.13 https://www.spaceist.co.uk/blog/ Fig. 4.2.14 https://www.bunnings.com.au/diy-advice/home-improvement/walls/how-to-hardplaster-a-brick-wall Fig. 4.2.15 https://www.inditales.com/shekhawati-haveli-paintings-art-rajasthan/ Fig. 4.2.16 http://www.tanktronic.com/happiness/ Fig. 4.2.17 https://3dearthworkshopiscteiul.wordpress.com/2013/01/29/the-programmedcolumn-2-eth-zurich-2010-the-course-was-conducted-in-collaboration-with-block-researchgroup-assistant-chair-of-building-structure-philippe-block/

The diagrams and figures that doesnot have any mention in this section are original work of the author created by herself with the help of Ravi Rangholiya.

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Review Comments Review.01 Working Title: Investigation of contemporary ornamentation in the articulation of interior architectural space and its elements 1. The reviewers approved the topic and the framework. But questions were raised on the the methodology of the study and what will be area of study and with what parameters.

2. Questions was on my understanding and articulation of the word ornamentation and how am i going to bind it together?

3. How will I define the ornamentation on a particular project to analyze it with the lens of its articulation?

4. What will be the probable outcome of this thesis?

5. There were various topics and ideas that was discussed but there was no common tie to them to get any synthesis out of this.

Reflections: 1. The entire thesis is divided into three parts to make demarcate the understanding and synthesis out of each subtopic.

2. Understanding of ornamenation have been done through various mediums and perspective possible.

3. To analyze and define the articulation of ornament, certain measures and tools have been identified from theoritical understanding.

4. The entire thesis is binded towards ornamentation and space making elements and studies.

5. The outcome is generating possibilities for the conceptualization process of ornamentation for new interior projects.

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Review Comments Review.02 Working Title: Investigation of contemporary ornamentation in the articulation of interior architectural space and its elements 1. The topic and title seemed very lengthy and exhaustic for a Ug thesis. So reviewers asked me to narrow it done.

2. Rather than taking too many inquiry points,I was suggested to keep few or one inquiry point for the case study and thesis.

Reflections: 1. The focus and inquiries were narrowed down and the inquiry on articulation of ornamentation is done with the intents of ornamentation creation.

2. Rather than dwelling upon an every possible aspect of ornament I focused on few of them briefly. The few aspects to be decided by my area of research on articulation of space making elements.

Review.03 Working Title: Investigation of contemporary ornamentation in the articulation of interior architectural space and its elements 1. The points presented for the inline conclusion are clearly were clearly stating my intentions and research of the topic. The concluding points were making sense to the reviewers.

2. The framework and structure was appreciated by the reviewers.

They suggested to elaborate it and finish it off.

3. The difference between a generic form and ornamented form was asked. Along with the ways of creating the ornamentation.

Reflections: 1. Differences between the generic form and ornamented form is described in the conclusion.

2. Also, the ways of identifying and creating contemporary ornament has been stated in the second chapter.

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