• The studio focuses on ‘design’ role of ornamentation in the interior realm. The studio will investigate the definitions, notions, and theories of luxury and its influence on the design process.
• To Evaluate the necessary approaches of making and construction, that can be studied with the idea of ornamentation and its related processes.
• To utilize ornamentation in the given syntaxes such as materiality and construction of elements, functional and structural attributes of a system, form, and material, etc. for the various spatial interventions in interior space.
• Derive the relationship between ornamentation and function - construction - aesthetics of interior design practices = ornamented articulation in interior realm.
The studio will focus on ornamentation as a medium to represent syntax between the use of color, texture, and the visual qualities inherent in material and structure to articulate the interior elements to generate ornamentation with the notion of functionalism.
The ornament has resurfaced with its new identity of being functional, structural, and aesthetical.
The interior project is served by digital means, advanced material, construction techniques, modern expression, and abstract ideas achieving the purpose of functionality.
The studio will be conducted through reinterpreting the tools and approaches to create ornamentation which executes new concepts and metaphors of the space formation process.
The students will develop the ability to experiment, explore, and generative methods to fabricate an interior design project that represents the visual and tactile outcome of ornamentation.
Students will learn to develop and explore ‘ornamentation’ through research, inference, and representation in 2D and 3D mediums.
Students will learn to develop an experimental attitude to apply explorative and generative approaches for developing ornamentation for the given context through a scaled outcome in a contemporary program requirement.
Students will learn to test and resolve the conceptualization of the newer design positions and newer design approaches for ornamentation to be a complex system for design development processes.
Students will learn to formulate a design process and use it in generating a design with various spatial complexities.
The students will be able to build an interior system as an ornated space that learns to synthesize interior design issues of the activities, users, and services.
The focus of the exercise is to establish a powerful visual identity for ornare. The exercise is carried forward to comprehend the history, symbolism, material culture, techniques, attributes, design concept, design theme, attributes, Principles, technologies, etc. of ORNAMENTATION. This is going to be achieved by collecting 101 visuals and it is represented through orthogonal drawings, diagrams, illustrations, 3d drawings, photos, etc.
The selected visuals will help to understand the classification and categorization of ornamentation in its existence. While they can be from the below-mentioned categories: Interior, Furniture, Architecture, Places, Built Environment, Spaces, Products, Nature, Worldly perception, Structure, Detail, etc. Every selected example should make Ornamentation visible.
Attempt:
To understand various aspects of ornare through its classification and categorization in different fields and scales.
Learning Outcomes:
Identification of ornare in the tangible and intangible environment. Observation and segregation of ornamentation at various scales, functions, and utilities. Skill to grasp the expression and articulation of ornare in various interior and exterior domains.
Exercise Brief:
The focus of this exercise is to collect Reading Material from reliable sources such as thesis, journal articles and books focusing on the relationship between ornamentation and design.
These readings are used to understand different aspects of ornamentation. This is done through identifying key quotes.
Attempt:
To understand the approach taken towards ornaments, the identified quotes need to be organized into the relevant information they provide.
Learning Outcomes: Learning different perceptions of ornamentation.
Identifying any new categories/classifications/ types of ornamentation.
Understanding approach towards ornaments to identify it in the space.
• I see ornament in architecture as having a dual function. On the one hand it offers support to the construction and draws attention to the means it employs; on the other... It brings life into a uniformly illuminated space by the interplay of light and shade.
- Henry Van de Velde• In a similar fashion, ornament can be described as a holarchy, or holonic structure. Autonomous as it can be, ornament does not function exclusively without assistance or contribution from something like pattern or color. Ornament serves as a universal framework for the contingent individual holons of embellishment such as Figure, Image, Pattern, Color, Support, Text, and Rhythm etc. In a larger composition (i.e. architecture), these elements come together to collectively present and represent ornament, but concurrently are considered ornament individually.
• Pattern, decoration, [and] ornament attaches people to things. Pattern links us in more intimate ways to our surroundings, in a way that undecorated surfaces do not. If ornamentation is a fundamental element in world artistic traditions, and a fundamental aspect of human visual cultures, it is because at root it is linked to questions of identity – individual identity and collective or social identity.
• The language of ornament speaks to us of such concepts as function, space and symbolism, but also performs such work as direction, the designation of profound transition (e.g. between the sacred and profane), and expression of movement, among other roles.
• Ornament as “the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth” and distinguished it from decoration which communicates through a common language.
- Farshid Moussavi and Mikael Kubo, book-Function of Ornamentation
• Decoration “implies a pleasing arrangement of things and a suggestion of the decorous, marked by propriety, good taste, good conduct, and good appearance” while ornament evoke natural forces that originate deeply beyond (in the cosmos) or deeply within (the micro cosmos) of a body.
• “Ornament is decoration in which the visual pleasure of form significantly outweighs the communicative value of content” (Trilling,2003). A viewpoint, implicitly supported by Moussavi and Kubo in ‘Function of Ornament’(2006); where they claim that decoration produces “communication” and ornament create “affects and resonance”. (Moussavi & Kubo, 2006)
• Another practical use of ornament in architecture is as a scale device: breaking down the overall mass of a building into smaller pieces that relate comfortably to the human observer.
• Ornament can never be reduced to a question of function and is incomparable as a category with that which simply functions or is the product of the technical logic of construction or craftsmanship. (Levit,2008)
• Making an element functional and a part that signifies the significance of the space through ornamentation.
• Ornamentation helps us to identify and locate, tell or communicate, remind and organize our action, they guide our attention, express and individualist, can generate an experience, beautify as well as represent.
• Manipulation pf a natural substance in the interest of putting our human stamp upon it.
• It signifies the status and position of the building.
• Ornamentation is also a result of scaling through assembly of elements into a spatial-grid and geometry.
• From a perspective of changing methodology of ornamentation towards the modern era, i would like to call it as Re-ornamentation, where I want to explore more of ornamentation by not changing it’s meaning and function and making re-ornamentation as bridge between traditional and contemporary.
• One definition of ornamentation is a creative way to tell a story.
• Representation of natural sources through interior design of the space.
•The ornamentation in design also serves as the piece of technology through which people acquire, store, and assess information about the spatial conditions of the space.
• Although I believe that space should look appealing in order for anyone to want to enter, ornamentation should serve a purpose. The phrase “beautification of the space” is used in its most basic sense.
• It’s essential to learn how to maintain ornamental balance, which involves keeping the interior of the shuttle in mind in terms of both appearance and function, so that someone can easily determine that the ornamentation served as a function in this space.
• “Ornament is an abstract rhythm of structure and it belongs to the interior world of constructive elements” by Frank Lloyd Wright.
• An ornament can be a property in a built architecture that can interpret spaces efficiently to perceive them as a coherent wall.
• I learned diverse viewpoints on ornamentation through my research, and now I’m able to think that how to use light, route, geometry, typography, and material combinations as ornaments.
Bibliography :
• McNicholas, M. T. (2006, May 5). The relevance and transcendence of ornament: A new public high school for the South Side of Chicago. // CurateND. Retrieved August 19, 2022, from https://curate. nd.edu/show/08612n51k6d
• Ahani, F., Etessam, I., & Islami, S. G. (2017). The distinction of ornament and decoration in Architecture. Journal of Arts and Humanities, 6(6), 25. https://doi.org/10.18533/journal.v6i5.1188
• Culture & Psychology the function of the author(s) 2013 ornaments: A ... (n.d.). Retrieved August 19, 2022, from https://www.researchgate.net/profile/Vlad-Petre-Glaveanu/publication/274287610_The_ function_of_ornaments_A_cultural_psychological_exploration/link s/56a63a3608ae2c689d39e129/ The-function-of-ornaments-A-cultural-psychological-exploration.pdf
• Iraj Etessam, F. A. (n.d.). Directions and intellectual bases of ornament criticism in modern ... Retrieved August 19, 2022, from https://www.researchgate.net/publication/305154187_Directions_ and_intellectual_bases_of_ornament_criticism_in_modern_architectural_literature
• Balık, D., & Allmer, A. (2016). A critical review of ornament in Contemporary Architectural Theory and Practice. A/Z : ITU Journal of Faculty of Architecture, 13(1), 157–169. https://doi.org/10.5505/ itujfa.2016.73745
• Ornament: A modern perspective rethinking decoration: Pleasure ... - JSTOR. (n.d.). Retrieved August 19, 2022, from https://www.jstor.org/stable/3838676
• Sağlam, H. (2014). Re-thinking the concept of “Ornament” in architectural design. Procedia - Social and Behavioral Sciences, 122, 126–133. https://doi.org/10.1016/j.sbspro.2014.01.1314
Exercise Brief:
Ornamentation can be defined in various ways. This exercise focuses on defining ornamentation according to our perception.
This definition is aided by the inferences collected from the visuals, diagrams and readings collected/made during the previous exercise. The definition must also elaborate the parameters and the factors through which it is being defined.
Attempt:
To express an articulate definition of Ornamentation, understand its importance and function in a space.
This exercise allows me to express what I understand Ornamentation to be.
It allows me a set of rules which I can follow to ornament a space.
• Idea of Interior ornamentation, theme and thought. Experiencing ornamentation through interconnecting space by balancing elements that reveal experience through materials.
• Kind of approach, stand and position of ornamentation.
Experience the space in terms of details, volumes, quality of light and interconnection between the spaces using spatial grid.
• Role of Ornamentation. Using basic rules of design as ornamentation to achieve spatial qualities in the space.
- Light & shadow
- Volume - Balance - Reveal - Interconnected spaces
Exercise Brief:
The focus of the exercise is to make frame of A3 square size and represent ornamentation using various materials and hardwares.
Attempt:
To understand various aspects of ornare by considering frame as a space. Make a element of ornamentation by using depth of the frame.
Learning Outcomes:
Identification of ornare in the tangible and intangible environment. Observation of ornamentation using grid, scale, spatial organization, etc.
Identification of ornare in the tangible and intangible environment. Observation of ornamentation using grid, scale, spatial organization, etc.
The focus of the exercise is to establish a powerful visual identity for ornare. The exercise is carried forward to comprehend the history, symbolism, material culture, techniques, attributes, design concept, design theme, attributes, Principles, technologies, etc. of ORNAMENTATION. This is going to be achieved by collecting 101 visuals and it is represented through orthogonal drawings, diagrams, illustrations, 3d drawings, photos, etc.
The selected visuals will help to understand the classification and categorization of ornamentation in its existence. While they can be from the below-mentioned categories: Interior, Furniture, Architecture, Places, Built Environment, Spaces, Products, Nature, Worldly perception, Structure, Detail, etc.
Every selected example should make Ornamentation visible.
Attempt:
To understand various aspects of ornare through its classification and categorization in different fields and scales.
Learning Outcomes:
Identification of ornare in the tangible and intangible environment. Observation and segregation of ornamentation at various scales, functions, and utilities. Skill to grasp the expression and articulation of ornare in various interior and exterior domains.
Given size: 12cm*18cm, To make: 12cm*18cm
Intersection of lines in a clockwise manner that starts and end with the digit 12 forms a clock. Mirroring the first column in in X and Y axis to form a pattern.
Given size: 8cm*12cm, To make: 12cm*18cm
Plan
By applying a ratio to divide an 8 cm by 12 cm plane into a grid, created a design that follows to the transformation rule.
Given size: 24cm*24cm, To make: 12cm*18cm
Grid division in the X direction to create internal connections inside a plane at specific angles, which provides surface to see on other direction. Making of connections that also visually in looks invisible complete element.
The focus of the exercise is to establish a powerful visual identity for ornare. The exercise is carried forward to comprehend the history, symbolism, material culture, techniques, attributes, design concept, design theme, attributes, Principles, technologies, etc. of ORNAMENTATION. This is going to be achieved by collecting 101 visuals and it is represented through orthogonal drawings, diagrams, illustrations, 3d drawings, photos, etc.
The selected visuals will help to understand the classification and categorization of ornamentation in its existence. While they can be from the below-mentioned categories: Interior, Furniture, Architecture, Places, Built Environment, Spaces, Products, Nature, Worldly perception, Structure, Detail, etc.
Every selected example should make Ornamentation visible.
Attempt:
To understand various aspects of ornare through its classification and categorization in different fields and scales.
Learning Outcomes:
Identification of ornare in the tangible and intangible environment. Observation and segregation of ornamentation at various scales, functions, and utilities. Skill to grasp the expression and articulation of ornare in various interior and exterior domains.
• Prasanna nairs residence in bangalore.
• Ornamentation by celebrating the crafts by local materials and traditional methods.
• Conrad Washington, DC.
• The building’s design incorporates classic elements in a minimally contemporary way. Materials are chosen that reflect natural light in the space.
• Marrickville Library and Pavilion, Australia.
• Space illustrates how modern and seamlessly interact with recycled old architecture.
• Traditional Affinity House in Dubai.
• Culturally connected to ones surroundings is reflected in the harmonious architecture; a typology which can be identified with a specific region.
• Louvre Abu Dhabi.
• Collaboration between traditional design and modern construction techniques. Relationship between the sun and the dome and between sea, buildings and land.
• The new Library of Birmingham.
• Adding a filigree pattern of metal rings over golden, silver and glass facades. Combination of traditional mechanism modern concept.
• Residence in Formentera.
• Connecting the two volumes is a space enclosed by terracotta-lattice walls that forms a light-filled corridor between the living and bedroom spaces.
• Langham beauty - Line-house, Hong Kong.
• The concept of incorporating natural element (tree) is achieved by ornamenting volume by the height and rhythm by using monolith material.
• International School of Debrecen, Hungary. Throughout the volume that open to the forest, nature becomes accessible and the pathways formed by them recreate their connection to nature time after time.
• Monolith House, Greek
• Carving of natural ancient material to the interior ornamentation.
• Sforza house, Mexico
• Arches as concept taken from the nature - ‘waves’, that interconnects the space.
• Acne Studio, Paris
• Monolithic concrete mass as experiential ornamentation.
• TS-H_01, Switzerland
• Minimalistic approach to a design, contemporary form of cohabitation.
• SSAB showroom, Romania
• Arches to differentiate pedestrian public spaces and the commercial semi-public spaces.
• CEPT Library, Ahmedabad.
• Niches are carved out from concrete mass, which is ornamented as sitting element.
• Helmut Lang, Los Angeles.
• Minimal ornamentation to achieve brand value by the use of materials and natural aspects.
• Tama Art University Library in Tokyo, Japan.
• The intersections of the rows of arches as ornamentation to articulate softly separated zones within this one space.
• Drawing Institute, Houston
• Minimalism by using linear elements that and reflective surfaces, that keeps connection between indoor & outdoor.
Exercise Brief:
The focus of the exercise is to create a perspectoscope using examples of ornamentation from Ex 03a. The idea was to take space making elements expressing ornamentation indifferent manifestations and composing them in such a way that there is an intricacy created in the spatial experience of the user. The perspectoscope was created such that there is a clear journey from point A to point B of the user.
Attempt:
To create and organize different ornamentation in one such that space formed retains the concept of ornare in it.
Learning Outcomes:
Understanding different associations of words. It makes me learn through the given topic that the every type and kind of ornamentation when put in a certain environment plays a different role of ornamentation. The output generated does not remain the same.
To create and organize different ornamentation in one such that space formed retains the concept of ornare in it.
A site measuring 10m x 6m x 7.5m was given for designing the shop. Constraints such as making 50% of the floor area as mezzanine, usage of staircase, bridge and 2 facades (one faces towards the main street and other one inside of any mall) were also introduced along with other functional spatial requirements such as displays, space dividers, reception, etc. With these requirements, shop for tools of textiles to be designed to understand the role of ornamentation.
Exploded view: Arrangement of Interior elements
Project Brief: “Illusion by Threads”. The shop is display of weaving threads and traditional wooden weaving tools. How interweaving of threads creates interior space by using product as interior.
User brief: Shop for people who are connected with the textile industry and space as thread and tools exhibition, which is open for all.
Ornamentation is process of displaying product which creates experience through Light, color, texture and finishes, that evokes expressions in the space.
Ornament can never be reduced to a question of function and is incomparable as a category with that which simply functions or is the product of the technical logic of construction or craftsmanship. (Levit,2008)
The organization of the elements and display system in the space is such, that it creates volume and perspective. The material play defines the product contributing to the space. The staircase is connected throughout the space which acts as revealing by movement. Illusion is created through threads, yet product materials are used to define the whole space.
Site: Living & Learning Design Centre by Uday Andhare & Mausami Andhare, Ajrakhpur, Kutch, India
Building Area: 11150 m2, Taken Area: 1400sqm
About site: The state of the crafts and the physical milieu define the context of our intervention. About 20 kms east of Bhuj lies the new Ajrakhpur, a settlement of Ajrakh printers adjacent to the site for the LLDC. From the simple mud ‘bhunga’ (a cylindrical dwelling with a conical thatch roof) belonging to the pastoralists, to the ornate complex courtyard houses of the merchants arranged along rectilinear streets in Mundra, to the introverted palace structures of the kings and their many institutions define the historic references to buildings in the region. It was meant to be a ‘place’ that would become a tactile and visual repository of the various crafts of Kutch.
• Lime and fly ash bricks were manufactured on-site using waste carbide lime slurry, sand and fly ash to reduce cost and get the required strength and thermal stability compared to any other material. Lime mortar was prepared on-site by slaking lime in large ponds and grinding it with sand and crushed brick. Gauged lime mortar was used in the masonry work and natural lime plaster using traditional methods was used in three coats in some areas.
Coming to the final project, The site, Living & Learning Design Centre is located in Ajrakhpur, Kutch.
The site was created so that communities may create activities according to their cultural norms, yet there is a void in terms of knowing what the site is for if there are no activities.
Following the meaning of the building, the proposed idea is to build the hub of Indian textiles within a area of 1450 sqm.
Site is two storey building, which are separated out by working space on ground floor and exhibition at a higher level.
Fabric can not be 100% opaques because of it’s weaving method, taking thought of a A-B connection ahead from module 1. The final project is named as “The shafts of Transparency”
Existing conical skylight
Extended lines as partition
Offsets at 500mm as double height space
From the process I understand, somewhere ornamentation is process of displaying product which creates experience through Light, color, texture and finishes, that evokes expressions in the space. The language of ornament speaks to us of such concepts as function, space and symbolism, but also performs such work as direction, the designation of profound transition (e.g. between the sacred and profane), and expression of movement, among other roles. The organization of the elements and display system in the space is such, that it creates volume and perspective. The material play defines the product contributing to the space. The staircase is connected throughout the space which acts as revealing by movement.
Program is divided in two parts. Exhibition at first floor and activities at ground floor. Mezzanine is connected between the floors which acts as interaction between the levels. Cafe
GROUND FLOOR PLAN
LVL-1500mm
LVL+0mm
Legend
sectional perspective BASEMENT FLOOR PLAN 0m 1m 3m 5m N
ITS ARCHITECTURAL INFLUENCES.
For example, using existing light shafts as a framework for creating interior elements and forms.
Patola print Fabric pattern grid Partition Module 1500
2560 1500
2560
Elevation Plan
20mm Thk round metal hollow section
4mm Thk copper finished metal sheet M8 rawl bolt
Mezzanine
6mm Thk Metal plate welded to the hollow metal section
Metal section inserted to the bamboo and welded
Bamboo
Bamboo to ceiling joint
Bamboo
6mm Thk Metal plate welded to the hollow metal section
Bamboo to floor joint
Sectional Perspective 3
Sectional perspective 2
