Undergraduate Thesis in Interior Design by Riddhi Pandya

Space |Art | Practice

An inquiry into commissioned art in corporate interiors 1 Guide: Canna Patel

Riddhi Pandya

UI2211

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:……………………………………………………….……………. Sign………………………………………………………………Date:……………………………….. 3

Acknowledgments It is with great pride that I hereby present my undergraduate thesis. During the four month long process, I have gained knowledge of this research and it has been beneficial to my development in furthering my career and my studies in the future. I would like to express absolute gratitude to my guide, Ms. Canna Patel for her kind words, encouragement and persistent support in my undertaking of this research. She is truly inspirational. I would like to express my appreciation to the Beatles and the journey of my final year project for evoking my interest in art and inspiring me to do the thesis. Lastly, this research would not have been completed without the support of my grandparents, my inspirational mom and dad, my sister, Mahima, and my friends, Samyak, Noopur and Naisargi, for being a part in this journey!

‘The process of deciding what is interesting to study and whether you can gain ethical access to appropriate settings may involve conversations and consultations with others, but the decisions themselves are personal. When decision is translated into action, when your intention to do research is translated into beginning that research, then you encounter the first truly social moment of naturalistic investigation.’ John Lofland ‘Analyzing Social Settings’

Abstract This study is an attempt to understand art with respect to the commissioning process and its context, the space that is designed to integrate the art, and the interaction that takes place for the two to come together. The subjective nature of art is taken as a node to devise a method to analyse the artwork through itâ&#x20AC;&#x2122;s context, content, intent and influence. The space being a vast area, is summarized to each of the factors that influence the decision making for the art. With various approaches around, the practice is understood through the case studies as well as through the detailed factors that are taken into consideration while commissiong art. The study is mainly structured into four parts. The first part understands the components of the space for art. Showing the historical presence of art in corporate buildings, the study moves to the second part where art is understood with respect to placemaking. The third part mainly deals with the practice of commissioning which emphasizes on the detailed aspect of the interaction. These are then practically explained through the case studies that are divided into multi-use corporate house and private corporate house. Incorporating art in corporate interiors is a growing approach where it is seen as an attempt to bring art out of galleries and museums and at the same time, seen as a business. Creating a brand identity, to imparting experience, art has many functions which are realised only through its early inception into the design process. This becomes a study that connects the field of art to the field of architects and designers through the practice. It can help understand and witness works of art in the stages of conception, execution and evaluation in a corporate interior through the challanges and decisions.

Aim & Objectives The broad aim of this study is to understand the practice of commissioning art in ‘quasi-private’ areas of corporate buildings, the form of interaction of the three components of this process (the client, the designer and the artist) and develop understanding of synthesis of art and interiors. The study by nature is exploratory and it is an attempt to establish these relationships through the stated objectives: • To understand the process of commissioning art in a corporate environment by examining the influencing parameters, and questioning the intent and impact of art on the space. • To device practical stages of a commissioning project based on the various approaches taken to introduce art. Scope • Evaluate Corporate spaces on the basis of the artworks installed. This gives a view of the social and visual question-ability of the space. • This study delves into quasi-private spaces only to streamline the approach and target a particular audience. • Documentation of well designed corporate house and offices of the city and the art works commissioned form a good database for further studies in this field. • The attempted methodology at devising practical stages help a professional while introducing art in interior spaces. Limitation • This study does not discuss bought art or art from auctions, galleries,or museums in order to focus on art in interiors as a site specific approach. • Residential spaces are not discussed due to the subjective nature of the artwork in such settings. Hence, quasi-private spaces are chosen that allow more generic derivations. • Contemporary examples of commissioned art in the context of corporate spaces in the city of Ahmedabad are focused upon due to time and accessibility constraint. 9

Methodology PART I

PART II

PART III

General Framework for the study The study is broadly an attempt to understand the ‘practice of art in interior spaces’. With art and space, both, being vast in their own fields, this study is confined to a smaller and narrowed aspect; Corporate space and commissioned art, Both are presented from the point of view of the other. The Space is understood by the ‘perspective of introducing art’, and the art is understood from its ‘effect on the space’. The two sections are then integrated to form the third part of the study, ‘the practice’. This section takes into consideration the role of the three entities, namely the client, the designer and the artist, to formulate the practical stages for the same.

Chapter 1

The focus is laid on corporate spaces, that integrate commissioned art as a part of the space. With the intention of understanding a larger purpose of art in a corporate environment, a more accessible space is focused upon which are termed as ‘quasi-private’ for their open but restrictive nature. This helps in examining the space and the artwork more objectively. The components are adopted from book on corporate interiors by Sylvia Leydecker.

Chapter 2

This part looks at art as a commissioned output to simplify and understand the crucial stages of commissioning. As compared to bought art, commissioned artwork takes part in the process of designing the space. This aspect is important for a designer while introducing art in space. The process involves decision making by the promoter, designer and the artist for commissioning an artwork, which is the focus of this study. Ossian Ward’s book on ‘ways of looking’ becomes theoretical approach for categorizing art.

Chapter 3

The intent of the study is to understand the process of commissioning an artwork in a corporate space. This is possible with the attempt to develop stages to commission artwork in corporate spaces, within a modified framework. With various factors influencing the decision-making in such a design process, this section looks at all the necessary aspects from the perspective of the patron, the designer and the artist. These form the practical stages for commissioning art which is a direct implementation from ‘Art in the Open’. A supportive organization in the UK to commission art.

Chapter 4

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

SPACE

ART

PRACTICE

CASE STUDIES

I Abstract II Aims & Objectives III Methodology IV General Framework of the Study

Space 1.1.0 1.2.0 1.3.0 1.4.0

A Corporate Space Components of the Space Corporate Perception Corporate Towards Art

Art 2.1.0 A Commissioned Art 2.2.0 Analyzing Commissioned Art

31 48

Practice 3.1.0 3.2.0 3.3.0 3.4.0

07 08 14 19

Why to Commission Art Where to Commission Art What to Commission How to Commission Art

62 63 64 65

Case Studies 4.1.0 Pinnacle Business Park 4.2.0 B Safal Corporate House

77 105

Conclusion

135

V VI VII

139 140 141

List of Figures List of websites Bibliography

Space 3

CONTENT 1.1.0

A Corporate Space

1.2.0

Components of the Space

1.2.1

Space

1.2.2

Element

1.2.3

Connectivity

1.2.4

Material

1.2.5

Colour

1.2.6

Light

1.2.7

Haptic

1.2.8

Sound

1.2.9

Smell

1.3.0

Corporate Perception

1.3.1

The City

1.3.2

The Interiors

1.3.3.

The business

1.3.4

The Identity

1.4.0

Corporate Towards Art

1.4.1

Visual Arts and Architecture

1.4.2

The First Instance

1.4.3

The Evolution

09 10

The chapter focuses on â&#x20AC;&#x2DC;spaceâ&#x20AC;&#x2122; with respect to commissioned art. The quasi-private space is understood by the components that make up the space and impact the art. A wider perspective of the prevelance of art in corporate interiors is understood by looking at how the act of branding and visual appeal flows from the architecture of the city to the interiors and gets divided into a business approach and identity formation. The chapter starts to flow towards visual arts through documentative examples to give a purview of the scope of this study.

1.1.0

A Corporate Space

Defining: The Quasi- Private Space The Oxford dictionary defines ‘quasi-’ as - ‘Apparently but not really; seemingly.’1 It defines ‘semi-’ as- ‘Partly; in some degree or particular.’ The research focuses on the accessible and less private areas of a corporate building. The reception areas, the entrance lobbies, waiting lounges, open atrium, fall under the category of ‘quasi-private’ spaces. ‘Quasi-private’ settings are more restrictive and less open in nature. Access to such spaces is associated with the possession of certain credentials and attributes, as in the case of employees or other service provider for the company. The aversion of such corporate areas from a ‘semiprivate’ space, is due to the absence of characteristics of a more accessible space as well as a sense of sharing. A ‘quasi-private’ space is created by the interplay of specific components within the space. What defines the space, gives it a character and makes it a study of spatial qualities, user behavior, a brand identity and a business strategy, can be realized by understanding the components that make the space.

1 https://en.oxforddictionaries.com/definition/quasi7

1.2.0 Components of the Space The physical experience of being inside a designed space is influenced by more complex perceptions. A dissection of a space helps to understand the conscious role of its contributions towards incorporating art. Although these components form a coherent overall concept, it is important to understand how each impacts the final space. Each components are supported with necessary reductions in the form of graphics and images.

1.2.1

Space

The three dimensionality of a corporate interior gives hints to the size of the company, the scale of their work, the companyâ&#x20AC;&#x2122;s aesthetic and other qualities that makes the company. A double height volume space vs a long corridor entrance, a solid space with no visual connection to internal areas vs a transparent interior showing people working, create starkly opposite perception of the corporation. The space gives an identity to the company, to its employees and help integrate a brand identity in contrast to where designing is not a factor.

Figure 1

A small scale indicates a small scale company

Interaction with the space is temporary

It is directional by its linear orientation

small scale vs large scale

transition vs constant

linear vs centric

1.2.2

Surface

Support

Furniture

Stairs/lift

Elements

Staircases, Partitions, Furniture, lift capsules, give a character to the space. Staircases are used for their sculptural quality and are no longer hidden behind the walls. Partitions have also started to be explored in new materials, varying opacity and visual qualities. The furniture has started to transform from the conventional leather couches to innovative seating postures, casual day chairs and unconventional high stools in reception areas. Interiors are highlighted using these forms to give an edge to the space which can also be seen as feature elements. The staircase is in the foreground, as a feature element.

Figure 2

1.2.3

isolated vs connected

formal vs informal

Connection

The openness or closeness of a corporate space informs about the nature of the company. Visually connected areas give a sense of informality to the space, whereas confined waiting lounges and enclosed receptions give a company a more inaccessible and an introvert impression. Physical connection of spaces like open circulations, over-looking corridors and over lapping common areas set a mood and a work culture of a corporate space. With more of open plan offices and collaborative spaces, compartmentalization of spaces has reduced leading to a more informal work environment leading to innovative concepts in interiors. The work areas are physically disconnected but visually connected. There is no sense of hierarchy or compartmentalization by function or Figure 3 organization.

1.2.4

Materials

The totality of the space is formed by individual materials, combination of different materials, product processing and the overall concept with regard to finishes, colours, form and light. Possibilities in artificial and natural materials, material finishes, structural details, edge treatments, and other processing and finishes impart a quality to the space. Floor coverings from carpet, parquet to tiles and slabs of mosaic, wall surfaces from fiber glass to plaster, wallpaper, suspended ceiling grids, acoustic panels, and other wall textures are all possibilities for materials in corporate interiors.

Material boards are used to describe and highlight the materials of the space. The wood becomes a dominating material against the white background and glass and metal frame.

Figure 4

1.2.5

Colour

The context of a place creates cultural preferences when it comes to interior colours. In China there is a propensity for sweetish colour tones such as mint, light blue and light yellow, while in the USA there is proclivity for petrol tones. In India, moon silver or shades of ocher are popular. Colours have emotional properties, which are used to influence spaces atmospherically. At the same time, colours can extend, contract or expand spaces visually, for which, it should not be treated as a cosmetic make over but considered during the design process.

Monochrome Formal ordered

Figure 5

Colourful Vibrant Loud Informal

Figure 6

1.2.6

Light

Artificial light is a significant element within a complex spatial atmosphere where lighting concepts like high lights, accentuated points of light, and decorative luminaries create a distinctive ambience. Apart from the aesthetic considerations, regulating according to daylight, complimenting the circadian rhythm is considered an effective way of enhancing spaces. Varying ratios of red and blue-from cool morning to warm evening light counteract the absence of daylight. Conceptual lighting with the advancement of technology has proved to be functional, aesthetic and elemental to a space. Artificial lights used to accentuate three dimensionality of the space. It also emphasizes the lightness of the space by using thin rays of white light.

Figure 7

Non-Visual Sensory Components The process of perceiving our built environment involves more than a sequence of steps resulting in experiences called sensation. Human experience is affected by cognitive processes such as thinking and memory that are obtained by organizing and integrating information and making inferences from it. In corporate environments, different levels of stimulation can add multiple dimensions to the sensory experience. A user experience is extended when exploring, orienting, and investigating different levels of sensory inputs that are available in the space. Thus sensory experiences are of particular importance to interiors because the environment has a greater effect of emotional response to an object or place. Apart from visual senses that allows us to primarily analyze the space around us, non visual senses of sound, touch and smell. Malnar and Vodvarkaâ&#x20AC;&#x2122;s book on Sensory Design offers a sensory slider, a tool for analyzing and measuring sensory existence and its intensity in existing buildings.

Figure 8

In order to study sensory stimulation and association in corporate settings, a simplified version of the sensory slider is implemented. Using this adapted sensory tool, sound, odor and haptic senses are analyzed to evaluate positive and negative values of existing sensory stimuli. The existing perception level, represented by a circle symbol for each one of the four senses is shown in the slider while addressing the reasons that leads to that result. The expected value of sensory perception of the environment, represented by a square symbol, is shown as well while explaining what was supposed to be expected from that particular environment. 2

1.2.7

Haptic

Haptic aspects are a sensory perception involving the tactile experience of a space. It is usually subconscious, aiding navigation. It encompasses the “movement” within a space, the perception of the atmosphere and therefore also of the company. Every material one touches imparts a feel. The feel of a wooden rail vs a steel rail, the feel of a wooden floor vs a carpet floor of the lobby, the feel of leather couch vs a plastic chair, etc. All impart a sense of the space, an identity that gets attached to the company.

Figure 9 The office is made out of glass. The feel is smooth which makes it look visually light. The use of such a material on all surfaces gives a modern feel.

2 Sensory Design, Jon Monice Malnar

Ro u g h /co a r s e texture Rustic feel Gives ‘weight’ to object Sm o oth /s h i ny texture Reflect lightcool feel Modern feel Makes object lighter

1.2.8

Sound

Acoustics and sound contribute to the feel of a space through a perfect symbiosis to form memory and an emotive perception. â&#x20AC;&#x2DC;Corporate silenceâ&#x20AC;&#x2122; is conducive to generating well-being and to concentrating on work. Acoustically effective surfaces open up a range of possibilities in the context of acoustic design in interiors. Conversations & gossip

41.60%

Loud phone voices

33.30%

Coughing/sneezing/sniffing

27.80%

Ringing phone

23.10%

Loud snacking (crisp crackers)

17.60%

Whistling

17.10%

Rhythmic tapping on the desk

14.70%

Slamming doors

14.20%

Bad music on the radio

13.70%

Music spilling out of headphones

13.50%

Loud typing

12.30%

Watching videos without headphones

11.10%

Road noises/sirens

10.50%

Colleagues talking to themselves

9.90%

Vibrating mobile phones

7.90%

Air conditioning units

7.60%

Whirring computers

5.20%

Figure 10 Office noise measured in the UK. The percentage indicates the intensity evel of each sound.

1.2.9

Smell

Corporate smell, integrated into interiors, is capable of influencing the experience subtly as they affect us subconsciously. It is how we associate smell to a setting (formal or informal), the typical smell of a cabin, or an early morning business-flights, freshly printed newspapers or a waft of kerosene. Corporate smell adopts the knowledge about the particularities of olfactory perception and uses a company-specific olfactory experience, as a subtle but effective of spatial design methods, to enhance experience.

Figure 11

The smell of timber in the conference room at this office is an intended experience imparted by the olfactory senses.

1.3.0 1.3.1

Corporate Perception

The City

Cities are growing wider, buildings are going taller, and corporations are expanding businesses on the inside. These growing environments demand creative and indulging spaces. While the architecture competes through the skyline, the interior spaces strive towards an individuality and uniqueness. The offices or headquarters of large firms and corporations have created a proximity with big cities or suburban areas. Malfred Irene Hagen, in her study on â&#x20AC;&#x2DC;Cultural Similarities and Diversities of Corporate Art and Architectureâ&#x20AC;&#x2122;, sees it as an interrelation between corporations and cities, as industry, money and business life historically, are linked to cities and urban areas. (Hagen) 3 As mentioned by M.I. Hagen, , the sociologist Louis Wirth regards the city to be the center of the economic, political and cultural life. Wirth claims that transport and communication, as well as the cultural and recreational institutions in the city like the media (press, radio and TV), theaters, cinemas, libraries, museums, concert halls, operas, hospitals, colleges, research centers and religious centers have accentuated the role of the city as the predominant element of our civilization, and made city life attractive to rural people as well as for the inhabitants of the city. The city, since the beginning of the 20th century has acted as a magnet for public artists. As this act flows into interior spaces, a dialogue begins with the outside. A space that is formed by the exteriority of the city transforms itself into a relationship that is more transitional, temporary yet sub-consciously influencing. At the threshold of the city and the interiors of a corporate space lies the transformation of art from forming a space around, to being a part of it. The transformation transpires through the meaning, the scale, the material, the tactility and ultimately through the intent of art. The art gradually enters the interior domain, positions itself and continues the dialogue.

3 Hagen, MĂĽlfrid Irene. Cultural similarities and diversities of corporate art and architecture in Norway, USA, Japan and France: An exploratory and comparative study on corporate art collections and the architecture of corporate headquarters.

1.3.2

The Interior Space

According to the German philosopher Hannah Arendt, the artefacts in the society contribute to the constitution of our lives through their durability. (Arendt 1984).The durability of the artefacts can, in a sociological term, also be looked upon as the socio material field and how it is representing the factuality of our lives, as also discussed by the French philosopher and existentialist Jean Paul Sartre. (Johansen 1992) By their presence, enduring objects, such as buildings, roads and other man-made systems that we as individuals cannot change, may have a significant impact on our lives, either this is desirable or not. According to the French sociologist and philosopher Henri Lefebvre, there has been a movement from the production of objects to the production of space, constituted by the contribution of objects. He claims that the room of nature is irreversibly gone, as the nature is reduced through reification to become raw materials and means of production. The history of space becomes the space of capitalism lead by the bourgeoisie, reflecting business, monetary power and politics at a national and international level. (Lefebrve) The durability of the artefacts and its significance for organizational identity also applies to corporate brands in its visual and functional strength. The concept of “brand” is derived from the meaning of “branding”, referring to the marks that cattle were branded within the USA. Brand awareness emerged during the industrial revolution, with the start of mass production. A brand is much more than just a logo or a two-dimensional visual. The step from 2D to 3D also, has an impact on the approach to brands. These brands also have a social and psychological influence, representing an image that conveys values, as well as reinforcing the values of the customers and therefore their self-image through an image transfer. This means businesses promoting their brand image go hand in hand with a social responsibility to establish a long term connection with their clients. This began with corporate museums like that of Mercedes-Benz in Germany or Ferrari in Italy. The shift happened when branding was seen as a need in the company’s own premises. Corporate interiors make it possible to experience a brand spatially without creating an artificial or temporary setting, all to be seen in the context of employer branding.

For the long term viability of corporations, a continuous change, active adaptability and therefore flexibility in brand management is required. Integration of emotionally feel-good spaces in a work environment not only expresses social competence. These spaces have a lasting effect on the social and cultural fabric, creating an interplay between space and people - a connection between the brand, the company and the people. Research has demonstrated how well designed corporate spaces have benefited companies and enhanced their economic success. Also, Neuropsychology in recent years have shown that the spatial environment has a demonstrable influence on human behavior. At the same time, corporate interiors, as a world of spatial experience, evoke specific associations, memories and emotions, by integrating particular materials, products and scenarios. An intended illusion although artificial, reinforces the brand image through experience and creating a â&#x20AC;&#x2DC;brain scriptâ&#x20AC;&#x2122;. (Hagen)3 As importance and impact of art and just carefully designed spaces began to be noticed from architecture to the interiors, the intent of art became clear. A business approach to make money out of investments and these investments resulting into an identity.

1.3.3

The Art Commission Business

High quality art collections along with high quality headquarters architecture need corporations with financial strength to be realized. In the nineteen eighties, Impressionist and post-Impressionist artworks such as Vincent van Gogh’s “Sunflowers” was sold to corporate collectors in Japan for almost $40 million, while his “Portrait of Dr. Gachet”, and Auguste Renoir’s painting “Au Moulin de la Galette” were both sold for around $80 million. (Jacobson) The meaning of money in respect of architecture is strikingly described in Carol Willis’ book; “Form follows finance”, where the title alone indicates the close connection between money and the realization of architectural projects. In the nineteen twenties and thirties, the height of New York skyscrapers were estimated in respect of how much income one could expect in relation to the expense of building a certain number of stories, as the increased construction costs of building a taller building would often be offset with increased rent. (Hagen)3 In other words, money plays a significant role in respect of design, which on the other hand is also relative to the matter of culture. In the question on culture and financial economy, Harvey considers money to be “a concrete abstraction” which according to Marx grows out of the exchange of commodities and the division of labour, and at the same time it is an abstract power independent of the producers. During the industrial development, the meaning of production moved from craftsmanship and giving form, to money alone. Today money has become the universal measure of social wealth, and the concrete means to the expression of power. However, money also shapes social freedom. Harvey points out how the independent lives of the inhabitants of the metropolis, is also dependent on innumerable suppliers, workers and companies for their basic needs and wants. (Harvey)4 Independent of the money issue, art and architecture may also contribute to establish contact and mutual understanding between a corporation and its environment, business partners, customers and others. In cross-cultural collaborations art and architecture may presumably also contribute to establish contact; as this is described by Mary H. Futrell who looks at art as “windows to foreign cultures” and “the essence of global understanding”, as art is a “universal language of civilization” that can be understood by everyone in every culture. (Futrell)5 4 Money, Time, Space and the City: Consciousness and the urban Experience, David Harvey 5 Artistic Intelligences, Implications for education, Henry Futrell

1.3.4

The Corporate identity

The external â&#x20AC;&#x153;imageâ&#x20AC;? of a corporation refers to a broader sense of corporate identity in respect of physical signs and metaphysical qualities, such as corporate values and visions expressed both in the corporationsâ&#x20AC;&#x2122; visual profile, and linguistically, through slogans and textual descriptions published in brochures, annual reports, books and corporate websites. The public image is materialized in the visual signs such as the logo, the headquarters architecture, the park that is surrounding the headquarters, the art collection, the lobby furniture and interior which is also a part of the public representation of the corporation, displayed to show the economy and power position of the corporation. While the brand and public relation material represent the formal visual representation of a corporation, the art collection and headquarters architecture are expressive and informal visual representations, although in many cases art and architecture are considered to be a part of the public corporate brand. Both the brand and visual symbols must inhabit several qualities and restrictions linked to corporate visions and values, and must appear as proper and trustworthy symbols of the business. A main objective of the visual brand as well as skyscrapers is to make the corporation visible between other competitive corporations. Although visual art is usually regarded as a discipline with its own autonomy, corporate art may sometimes lead to critical questions regarding the autonomy of art. For instance, art commissioned by a corporation, or art made by artists supported by a corporation. Corporate architecture and visual branding seems to represent a counterpoint to visual art, both made with the purpose of serving the commissioner, while art usually has another purpose. Similar to how visual art is claimed to reflect the society, corporate art and headquarters architecture may also reflect the society and the culture in which they are established. (Hagen)3 As the cities grew more cultural, a need to understand the visual arts developed. The association of identity and visual arts is further understood in the followng part.

1.4.0 1.4.1

Corporate Towards Art

Visual Arts & Architecture

Visual art in the form of paintings, sculptures, murals and installations, appear with architecture in different styles and shapes in every culture in the religious houses, in their public institutions, the government buildings and in the corporate buildings. Art patronage and art collection are not only constricted by the tasteful art collectors and wealthy buyers, who create a museum of their houses displaying their exceptional taste in art and aesthetics, but the biggest patron are now the corporate houses that collect and commission art as a form of investment from the financial point of view, a branding strategy from the marketing point of view, and an aesthetic statement from the artistic point of view. Corporate buildings within different industries are living arenas for exposing high quality visual art. They have an emphasized high quality architecture, which strengthens the corporate identity by being a landmark. With the advancement in technology, different trends are observed in corporate spaces. The buildings of the 20th century were designed by famous architects that developed an image of the company that was associated with the architecture of the building. The sky reaching heights of these towers, exterior sculptures and embellishments were translated into murals on the walls and decorated columns in the lobbies. This gradually molded into the movement of modern architecture where the height increased, the structures were made out of metal, the buildings were stripped off of any decorative elements, and explorations were done in the forms of the glass facades. The interiors similarly were stripped off of any decorations and exposed materials, and smooth finishes defined the modern interiors.

Emphasis started to be given to the common areas, the entrances were simplified that opened into large, naturally lit atrium that exposed the services and circulation of the building. A monochrome of the exposed materials is typical to the interiors of such buildings. Visual identities of company last decades through their logos and imageries as seen in the case of Coca Cola logo or the state logo of the old Roman Empire, SPQR. The interiors of iconic buildings thus, become identities and spatial projections of the values, aesthetics and power. The interiors of these places are in some cases, historical examples of how expressions with visual art, design and architecture contribute to shape the environment of our lives and constitute personal, organizational and corporate identity. The next chapter deals with instances and examples to show this motion of art in corporate interior. The reformational instances show when a change occured to establish a law or to mark the importance of art. To understand the further chapters in a flow, a historical background is developed through examples that are mostly recognized through the exterior. A peek into the interior evaluates whether these architectural icons hold the same value when it comes to art.

1.4.2

The First Instance

As an evolutionary stance in interior, the first instance is where art appeared as a transformational standpoint through formulated committees or art movements. It recognizes formal methods that integrate art into the day to day practice of design, at a more public level. This representation thus, establishes the pervasive nature of art in interiors at different stages in each of these countries.

Development of Arts and Crafts movement and spread to the middle classes.

Art at school and art at work association to exhibit, rent artworks.

England 1850

1920 U.S.A. Art collection started by corporations like Standard Oil and the Rockefeller family.

Norway 1901

Creation of Dubai Culture and Arts authority.

Kigyo Mécénat Kyogikai was founded to promote corporate mécénat (support of the arts & culture).

Dubai

Japan

2015

1990

1700 BC Greece

1972 India

Murals painted in Knossos Palace, Crete showing men at work.

Ministry of Works and Housing Memorandum issues 1% project cost for work of art.

1930 U.S.A.

1919 Germany

Formation of the Treasury Department’s painting and sculpture section; initiation of public art.

The Bauhaus school was established to unite art and technology

1.4.3

The Evolution

The buildings have been discussed from the point of view of the artworks in the ‘quasi-private’ areas like the reception, atrium and hallways. The buildings are in reference to the architectural icons that evolved over the centuries. As one traces and observes the architectural styles changing through these examples, it also traces the evolution of Art in the interiors inside, drawing parallels between the exterior and interiors of that time.

1506

The Uffizi housed the prime artworks from the Medicis’ collection of roman sculptures and paintings in the niches of the central court as well as in the piano nobile or the entrance hall.

Uffizi Gallery Florence, Italy

Figure 12

Sculptor Robert Bock was commissioned to do the ornamentation of the building with interior columns and exterior water fountains.

1905 Larkin Building Buffalo, USA

Figure 13

1913

A lobby that is composed of eloquent mosaic work, murals, gargoyles and paintings. The lobby has caricaturist sculptures of the architect and the owner by Tom Jhonson.

Woolworth Building New York, USA

Figure 14

1931 Empire State Building New York, USA

With the original murals by Leif Neandross damaged in 1930, the lobby was restored by Beyer Blinder Belle with the help of over 50 artists, site painters and installers. A large acrylic panel showing the eight wonders of the world were also showcased in 1960.

Figure 15

The lobby is in order with the modernistic white ceiling that stretches out and drops into solid marble walls behind the reception. No artwork is installed in the lobby.

1954 Seagram Building New York, USA

Figure 16

1986

The interior opens into a flexible, 60-meter atrium, that is concentrically oriented between the three main towers. The atrium holds a series of escalators that cut through the void to create an interior circulation.

Lloydâ&#x20AC;&#x2122;s London, England

Figure 17

1988

The interior emphasized three objectives: the acoustics, climate and aesthetics. The facade is lined with curved glass panels finely printed that gently melts at the edges.

Dentsu Building Tokyo, Japan

Figure 18

It houses many works of art. Rebecca Horns Dialogue between Yin and Yang, Robert Indianaâ&#x20AC;&#x2122;s 1-0 and Love, and Ariel Moscoviciâ&#x20AC;&#x2122;s Between the Earth and Sky, and make other art works adorn the common areas of the building.

1998 Taipei 101 Taipei, Taiwan

Figure 19

2003 The Gherkin London, England

The lobby is a monochrome with stainless steel pillars and white walls that are washed with subtle lights. In contrast to the exterior of the Gherkin, the interiors are plain with no colours or art.

Figure 20

2010 Burj Khalifa Dubai, UAE

The residential lobby displays work of Jaume Plensa, featuring 196 bronze and brass alloy cymbals representing 196 countries of the world.

Figure 21

2012 CCTV Beijing, China

The lobby is stripped of any interior interventions exposing the structure and material of the building. With a few landscaped areas, the rest of the transition spaces are devoid of any art.

Figure 22

2013

Five American artists were chosen to install artworks at different lobbies, the showpiece being the 90 feet long mural, â&#x20AC;&#x153;the Union of the Sensesâ&#x20AC;? by Jose Parla, in the south lobby.

One World Trade Centre New York, USA

Figure 23

02 Art

CONTENT 31

2.1.0

A Commissioned Art

2.1.1

Narratives of Commissioned Art

2.1.2

Creative Placemaking to Public Art

2.1.3

India Towards Corporate Art

2.1.4

Art of Corporate India

2.1.5

Art of Corporate Ahmedabad

2.1.5(a)

Multi-use Corporate Building

2.1.5(b)

Private Corporate Building

2.2.0

Analyzing Commissioned Art

2.2.1

Ways of Looking

2.2.2

Art as Identity

2.2.3

Art as Business

2.2.4

Art as Experience

2.2.5

Art as Interaction

This chapter understands art in terms of creative placemaking. Art used in corporate environment relates to public art in the notion of its intent to cater to a larger mass, but due to its contact of high profile offices, is also restrictive and private in nature. Art is introduced in the context of India as the point in case. A collection of secondary examples gives a broader perspective of the trends in Ahmedabad. These then lead to analyzing art into various functions as a theory approached in â&#x20AC;&#x2DC;ways of lookingâ&#x20AC;&#x2122;. 29

2.1.0 2.1.1

A Commissioned Art

Narratives of Commissioned Art

In ancient Rome, large architectural projects were commissioned as symbols of imperial glory. The Roman Colosseum for example, was commissioned by Emperor Vespasian. Public statuary was widespread, depicting mythical and heroic figures. Ancient Roman culture was anti-intellectual and held artists in low esteem, in contrast to ancient cultures such as the Greek or Babylonian. Despite this, however, the sheer amount of surviving artworks commissioned at the height of the Roman Empire are a testament to the rulersâ&#x20AC;&#x2122; recognition of artâ&#x20AC;&#x2122;s effectiveness in influencing the publicâ&#x20AC;&#x2122;s opinions about its civilization and its government. For artists in the period before the modern era (before about 1800 or so), the process of selling art was different than it is now. In the Middle Ages, works of art were commissioned, that is, they were ordered by a patron (the person paying for the work of art), and then made to order. A patron usually entered into a contract with an artist that specified how much he would be paid, what kinds of materials would be used, how long it would take to complete, and what the subject of the work would be. During the Renaissance, visual art flourished in the cities of Italy due to the patronage of wealthy merchants and government officials, such as Cesare Borgia. Leonardo da Vinci earned steady commissions for artwork ranging from paintings (such as the Virgin of the Rocks for the Church of San Francisco Grande), to murals (Last Supper for the monastery church of Santa Maria della Grazia), to sculptures (the Gran Cavallo at Sforza). The most famous commissioned artwork of the Renaissance may be the Sistine Chapel ceiling at the Vatican, painted by Michelangelo as a commission for Pope Julius II. In the 18th and 19th centuries, religious patronage declined and public art was confined to commemoration of Bishops, Kings and other secular heroes. Art took form of architecture through masterpieces like the Eiffel Tower (1887-89) and the Paris Opera House (1860-75). 31

Soon museums and galleries arose and overtook the art scene in Europe, to which American philosopher John Dewey talks about how our present museums and galleries to which works of fine art are removed and stored, illustrate some of the causes that have operated to segregate art instead of finding it in attendant of temple, forum and other forms of associated life. An instructive history of modern art could be written in terms of formation of the distinctively modern institutions of museum and exhibition gallery.(Dewey)6 He continued by adding that European museums are memorials to the rise of nationalism and imperialism where every capital must have its own museum of painting and sculpture or as in the case of Japan that saved much of her art treasures by nationalizing the temples that contained them during the process of westernization. Through the 20th century, public art was used for political purposes which concerns the Socialist Realism art movement, launched in Soviet Russia by Joseph Stalin to support the countryâ&#x20AC;&#x2122;s drive for industrial self sufficiency. For social and political agendas, Art became a form of communication across nations through contemporary art movements like graffiti art in the form of street poster art, street installations and other forms of visual vandalism. With various forms of art developing on all fronts to feed to the aesthetic hunger of society, people began to enjoy adventitious matters, like the pleasure of collecting, of exhibiting and display and this stimulated aesthetic values. The experience of art is sub-conscious and a very underlying human nature. Dewey indicates that theories which isolate art and its appreciation by placing them in a realm of their own, disconnected from other modes of experiencing, are not inherent in the subject-matter but arise because of specifiable extraneous conditions. Embedded they are in institutions and in habits of life, these conditions operate effectively because they work so unconsciously. They are embedded in the nature of things. It deeply affects the practice of living, driving away aesthetic perceptions that are necessary ingredients of happiness, or reducing them to the level of compensating transient pleasurable excitations. (Dewey)6

6 â&#x20AC;&#x153;Art as Experienceâ&#x20AC;?, John Dewey 32

2.1.2

Creative Placemaking to Public Art

Placemaking is a creation of a built environment that initiates a sense of community, stimulates interaction, encourages entrepreneurship and fosters innovation. It is centered around observing, listening to people who live, work and play in a particular space in order to understand their needs and aspirations for that space and for that community as a whole. The concept of placemaking originated in the 1960s by writers Jane Jacobs and William H. Whyte. The idea arose with designing cities that catered to people and not just cars and shopping centers. The focus was laid on creating lively neighborhoods and inviting public spaces. The idea of â&#x20AC;&#x153;eyes on the streetâ&#x20AC;? by Jacobs began to prevent crime through environmental design. The term started to be used in the 1970s by landscape architects and urban planners to describe the process of creating squares, plazas, parks, streets and waterfronts to attract people for the visually appealing quality.

Figure 24

Creative placemaking is a strategical approach towards giving an identity to a space through art and culture. It envisions a more decentralized portfolio of spaces acting as creative crucibles. In large cities, creative places reflect the ethnic or historical character of the community. Small collaborations with other sectors like government, private, business and foundations create opportunities for rejuvenation and economic development, and tailored to diverse communities. As public art approached 21st century, patronage took form of corporate commissions. The way art started to be used to create a corporate image based on the taste of art a company had, the art collections it displayed in its work space and the environment it promoted by introducing artworks in the office, changed the way we saw interior spaces in the context to public art. While most of these are forms of famous art collections as seen in the case of Deutsche Bank, a more spatial approach is observed across company headquarters. The lobbies are consciously designed to incorporate art from the beginning in the form of installation art and sculptural lights which are commissioned through an expansive process of interaction with the promoter and the artist. Contrary to art collections that are major investment pockets when it comes to corporate collections, these commissions are done with a larger intention of achieving the brand equity, promoting the companyâ&#x20AC;&#x2122;s work ethics through the environment, and that edge that it gives to the space which makes it unique.

Figure 25

A survey done by the British Council for offices.

2.1.3

India Towards Corporate Art

The art ecosystem in India can be reflective of the larger state of the country and the economy-developing in every sense. The work being done by private individuals and institutions is gaining momentum, though much remains to be done, especially by the government. The public policy around the arts is antiquated. There is some level of government intervention in preserving our architectural heritage but contemporary art is left in the hands of the private holders. Paintings as an investment have increasingly come into focus. Buying is no longer the privilege of a select clique of collectors or connoisseurs. Artists must walk the tightrope between creative and commercial interests, balancing their personal preferences with market demands. Simultaneously, sculpture blurs the line between art and architecture, as it can singlehandedly define and develop the physical space it is placed in. The beauty of sculpture lies in the fact that it harnesses the power of three dimensional spaces, making an impact through its sheer size, shape and presence. Innovation is the name of the game; as Indian sculptors are veering beyond traditional materials used in sculpture. The role of developers and foreign architects is in providing an impetus to the medium. Artists have been working on huge sculptures that are interacting with architecture as well as the public through its accessible modes. Indian art in the last twenty years has experienced emergence of individual initiatives engaging in new avenues which not only challenge the disciplinary sanctity of art but also challenges the notion of culture as context in art. Initiatives like the Art Guild House in Mumbai, where the collision of art and business has taken place to create a unique and imaginative space. The idea was to create mix of works of artists that adorn the walls of a highly modern commercial building, where artwork is weaved into its public foyers and spaces. This transformative commercial space is aimed to change the view of urban real estate. Public art is seen at a large scale on the streets of Delhi through the Delhi street art festival transforming ordinary residential facades of old houses in the Lodhi colony,into works of art. In Mumbai, the largest public art is in the terminal 2 of Chattrapati Shivaji International Airport with a 3km multi storey art wall and about 7000 works of art from across the country. The ambitious project is curated by Rajeev Sethi on collaboration with various artists, worldwide. 36

On the other hand, conventional lobbies of corporate buildings or even private corporate houses are transforming to incorporate art as a means to create identity as well as taking the responsibility of exposing good art to the mass through their buildings. The importance of art in corporate India is if it serves a purpose, attracts attention, increases footfalls, initiates conversations of the space, basically promoting the promoter. The broader spectrum of a cultural message, a celebration of the diversities of our country through art are ways to contextualize the phenomenon.

2.1.4

Art of Corporate India

With a swift rise in the startups, a new generation of entrepreneurs has come up in the 21st Century. The conventional, hierarchal office dynamics are adopting to the western work cultures that are more transparent and informal. The phenomenon runs parallel to the western counterparts with the cities developing identities with the each sky scraper built taller than the other. In the interiors, the startup culture is changing trends rapidly. Exciting work environments, suitable for long working hours, collaborate spaces, recreational zones, all have started to become a part of the corporate space. Flipkart Office Bangalore

Figure 26

The foyer is predominantly Flipkartâ&#x20AC;&#x2122;s trademark yellow, but it is offset by other natural tones. 37

Freecharge Office Bangalore

Figure 27

The colourful interiors of the office are placed against the backdrop of quirky cartoons on the wall. Pegasystems Office Hyderabad

Figure 28

The office is modern with a distinct Indian feel with its artworks. The American based company aims to link its work environment to the context of India with traditional motifs, games and fonts. Facebook Office Mumbai

Figure 29

The reception of the office is art deco and colourful, focusing on the wall mural of the worli sea link. Bold graphics highlight different areas in the office. 38

LinkedIn Office Bangalore

Figure 30

The company office is interactive with artworks and kitsch graphics. Different areas have different themes based on Indian comic strips or fonts. Google Office Gurgaon

Figure 31

The company graphics are translated into the space as catchy elements and bright colours keeping in mind the Indian context. Coverfox Office Mumbai

Figure 32

The office strikes as a sprawling office with a green cover of trees and vines, giving it an eco-friendly appeal. 39

2.1.5

Art of Corporate Ahmedabad

Ahmedabad, with its growing metropolitan culture has been home corporate offices that can be divided into two categories; Multi-use corporate office and individual corporate office that can be compared to an apartment building and a privately owned bungalow. The differences in the way they function, determines the way they are designed. The artworks in each of them is studied to understand the various roles of art in these corporate spaces.

Multi-use building

Privately owned building

Multi-use corporate offices contain different bought offices, that are housed in a common campus, or in the same buillding.

Individual corporate offices are privately owned building of a company, housing the office staff under one roof.

They are divded by floors or wings, but connected through common areas like atriums, foyers or outdoor landscaping.

They are approached through privately owned campus. The interiors are connected through the central activity of the reception.

Simultaneously, these buildings may also witness smaller commercial activites like shops, banks, ATMs in their vicinity.

These buildings are more private in nature and are not hindered by commercial activities.

These corporate offices mainly attempt to become icons for the skyline of the city.

The buildings focus on the interiors which create a brand value of the company.

The common spaces and entrance areas are opportunities for introducing art where it is experential.

Most of the quasi-private areas like reception, lounge and other gathering areas have art introduced to create an impression of the company.

Figure 33

2.1.5 (a)

Multi use corporate building

Client Location

Safal Profitaire

Type

Light Installation

Figure 34

Double-height lift foyer

Figure 35

Context A campus with four different blocks, each fourflooreyed in height, house various offices, all connected through the exterior plaza and drive-way. Entry into each block is through a double height foyer that leads to the lift access. The foyer holds large sculptural light installations in various forms and light qualities. Content The foyer are grey in colour, with no wall finishes and in some cases, an accent wall. Against this background, large art installations light up the foyer with a play of light and shadow from the art. The installation are made up of ceramic funnels or metal sculptures with light integrated in different ways. and are suspended from the ceiling. Intent The artwork are installed to convert a dull entrance foyer space into a visually pleasing environment by the use of form, and the play of light and shadow. It is seen as a transformation of a lighting function in an artistic way. Influence The foyer is long and narrow, thereby the visual orientation is always upwards. The introduction of these art installation adds informality into the space by adding drama into an otherwise transition space. 41

Client

Parshwanath E Square

Location Entrance lift foyer Type

Light Installation

Figure 37 Figure 36

Context The building explores vertical fins on the facade. The entrance to the foyer is through a wide opening, narrowing down to the lift foyer. Content The height of the foyer is treated with a light installation. From the celing, a repitition of geometric shape in the form of bent metal plates is created, with inner and outer faces coloured different. Each of these form hold a light that illuminates the inner face. All the four sides, above the lintel level, are cladded with mirror. Intent The installtion works as a repititive ceiling during the day and as ambient lighting during the night. The mirror is installed with the intention of accentuating the tesselated ceiling. Influence The long foyer is cut short with the installation. The reflective and repitiive nature of the installation breaks the straight line grid of the foyer. The mirror amplifies the effect of the artwork, brightening the space and giving an impression of a larger area.

Client

Commerce House 5

Location Entrance lift foyer Type

Wall Panels

Figure 38

Figure 39

Context The commercial building is a 10 storey building, with four block, each block having a seperate foyer. The foyers have the same material and finishes. Content The foyer consists of wooden panels on the side of the lift access. The form is derived from the wood panelling. The panels are layered to give a 3-d effect and smaller parts are highlighted with stainless steel cladding. Intent The artwork is applied to fill the otherwise blank wall. It adds an aesthetic to the space, to make it look good.

Influence The artwork breaks the monotony of the blank wall and adds an organic theme to the space.

Client

Shapath V

Location Entrance Lobby Type

Wall Panels

Figure 41

Figure 40

Context The building is a multi use corporate building, with an elaborate entrance lobby. A reception and a seating area lead to the lift entrance. Content The artwork is a 20 M long wall used to display large sculptures of coin of different eras, making the foyer a form of a coin museum. Intent The front wall of the entrance is an opportunity for an artistic intervention in the space. Influence The artwork in the corporate environment connects the viewer to a historic aspect of money, as an idea. It enhances the space with its sculptural quality and drives the attention of the user towards the wall.

2.1.5 (b) Client

Private Corporate Building GNFC Office

Location Entrance Waiting area Type

Wall Mural

Figure 42

Context The office is of a chemical fertilizer company. The artwork is placed in the waiting area on a wall as a backdrop to the seating space. Content The artwork is an abstract composition on the theme of the companys background in three colours. Metal rods are used as an added layer to give it a third dimension. Intent The artwork is a symbol of the work the company does. The artwork is placed to interact with the visitors. Influence The artwork adds a colour and play to the space. It gives a theme of the companys profile.

Client

HN Safal Corporate Office

Location Waiting area Type

Art Installation

Figure 43

Context The office is owned by a real estate developer. The waiting area is at the entrance, with different seating lounges. Content The artwork is a composition of cut metal plates in different shapes, placed as a backdrop behind the waiting lounge Intent The artwork is applied to fill the otherwise blank wall. It adds an aesthetic to the space, to make it look good. Influence The artwork breaks the monotony of the blank wall and adds an organic theme to the space.

Client

Ganesh Housing Corporate Office

Location Waiting area Type

Wall Painting

Figure 44

Context The office is owned by a real estate developer. The private waiting area outside the executive cabins is enclosed. Content The artwork is a painting on the back wall of the seating area. It is a natural composition in oil paints. Intent The artwork is used to increase the aesthetic value of the space. An artwork by the artist is also to increase the brand value of the office. Influence The artwork orients the seating area, creating a backdrop. It adds colour to the space and the composition brings life into the waiting area.

2.2.0

Analyzing Commissioned Art

2.2.1

Ways of Looking The practice of public art in interiors is diverse and can be difficult to define. The term “commissioned art” described in the public realm, is the hiring and payment for the creation of an art piece in a particular site, matching particular requirements. The range of artistic activities it represents, includes art and craft commissioned as part of the designed environment and in response to the specifics of the public realm. It does not solely rely on the production of an art object. Ossian Ward, as a theory to experiencing contemporary art, states that ‘looking’ has become a better of Darwinian survival-only the strongest images make the grade, and even then we only give a cursory glance to what we think we are seeing. Contemporary art, like contemporary life, is now a similarly fast-moving landscape, in which artists make use of everything in our purview and anything else imaginable besides. (Ward) Private sources—individual artists, nonprofit organizations, private and corporate collectors and public–private partnerships—have partially or fully developed and funded some of the most important public artworks of the past 40 years. For the purpose of this study, a methodology is developed to evaluate objectively the subjective tendencies of art. For the lack of theory in evaluating art in corporate settings, examples are chosen and the method is implemented in evaluating each of the examples. First the examples are mainly segregated on the basis of their intent. Four ways of looking at art are listed that defines the view point one must have while analyzing the particular work of art. Art as Identity |Art as Business | Art as Experience | Art as Interaction Each of the cases are expanded under the four headings in order to extract the essence of the work of art. Context talks about the physical context for an artwork. The placement, orientation, visibility and proximity to the surrounding space determines the type of artwork.

Intent is the why of the art, to understand what was the purpose of the work of art. 48

Content is describing the artwork by its physicality. The material, the composition, the tones and mood it sets.

Influence is what the work of art does to the space or the observer. Its impact analyses the nature, the functionality, and the performance of the space.

2.2.2

Art as Identity

Example 1 Client

Vertex Pharmaceuticals Boston, USA

Artist

Artaic Designs

Type

Accent Wall

Artwork Mural, 3/8â&#x20AC;? vitreous glass mosaic tiles

Figure 45

Context Entrance Lobby The mosaic is wrapped around a curved wall and acts as a backdrop for the seating in the entrance atrium. Content The Artwork shows a chemical formula that was inspired from a rough sketch. The formula stands out in the black mosaic tiles whereas subtle colours are added to highlight the wall. Intent Art as Identity The inspiration of the artwork comes from the central growth of and the initial medicines developed by the company. Influence Spatially, the artwork adds a play to the space. The curved wall highlights the path by gaining the attention of the visitor. It connects the space to the context of a healthcare company.

Example 2 Client Artist Type

Ministry of Affairs office New Delhi, India, 2015 Y- walls Outdoor sculpture

Artwork â&#x20AC;&#x2DC;Alphabet Treesâ&#x20AC;&#x2122;

Figure 46

Context The artwork is an outdoor art installation crafted in stainless steel and Jaisalmer yellow sandstone. It is placed in the central of the courtyard against the main entrance. Content It is a 6-meter-high, 5.7-meter-wide alphabet structure with alphabet stones and a set of branches placed on a steel base. Alphabets from 12 different regional Indian languages have been used to explore the graphic composition of the tree. Intent Art as Identity With the context of an office space where people from different cultures, regions and speaking different languages work together, the installation represents this unity in diversity by highlighting the regional languages in one single form of an abstract tree. Influence The installation represents the culture of the place through its meaning and also its materials that are not starkly different, yet the structure adds dynamism to the space. The design approach is graphic led but the process focuses on the detailing and engineering for outdoor placement. 50

2.2.3

Art as Business

Example 3 Client Artist Type

Time and Life Building New York, USA, 1959 Fritz Glarner Oil on Canvas Mural 40’ X 5’

Artwork ‘Relational Painting #88’

Context

Figure 47

The mural is located in the east corridor of the building. The size was determined by the walls of the service core that had great visibility from the Sixth Avenue. Content The painting was done in three panels. It was done in primary colours and geometric imagery that came from the De Stijl philosophy of Glarner. Intent Art as Business Fritz Glarner was chosen to increase the commercial value of the building. Art as Experience As an innovation to the De stijl style, the artist added gray to the primary colour palette as well as canted lines and long Influence The mural reflects the tone of the austere grandeur characteristics of the Center buildings. On the other hand, it has increased the market value of the building. 51

Example 4 Client

AXA Equitable Center New York, USA, 1985 Artist Roy Lichtenstein Type 68 feet tall mural painting Artwork â&#x20AC;&#x2DC;Mural with Blue Strokesâ&#x20AC;&#x2122;

Figure 48

Context The mural is located in the entrance atrium of the building which is visible from the street through the glass opening. Content Lichtenstein used his standard large canvas easel for this mural. He selected motifs to create a hedonistic view of earthly significance. It is a collage of paintings of a dozen artists that critics say is an embodiment of commercialism shrouded in the aura of artistic fame. Intent Art as Business The painting is a collage of the artistic value of the city. With the signature work of the famous artist, the space gains brand value. Influence The mural was created as an environment which would make you a part of the painting when you entered the atrium, instead of it being observed, framed and isolated on a wall. Through the mural, the observer becomes a part of the whole space. 52

2.2.4

Art as Experience

Example 5 Grace Building, 42nd Street New York, USA, 2016 Artist John Monti Type Site-specific sculpture Artwork ‘Beauties’ Client

Figure 49

Context The sculptures are placed in the entrance lobby as a playful garden of colourful “flower clusters”. The lobby is visible from the main street which attracts visitors. Against the highly polished marble floor and wall cladding, the artwork is starkly contrasting with its forms, colour and finish. Content The artist has created each piece out of case raisin, with a coated high-gloss finish. Each sculpture is a form of a sprouting bud scattered in the space which gives the impression of a field. The sculpture doesn’t have an orientation and each Intent Art as Experience The artist through the artwork wanted to bring new life to the otherwise wide open space. The artwork with its form and colour attracts attention from the street to make the space dynamic. Influence The “play-like” quality of the work of art creates curiosity and adds humor to the space. Contrary to the open, unguided movement, the sculptures create a meandering movement through the lobby, and adds colour to the space. 53

Example 6 Client Artist Type Artwork

Beacon Capital Partners, Washington DC, USA, 2016 ESI Design Motion activated Media ‘Seasons’, ‘Colour Play’, ‘Cityscape’

Figure 50

Context The lobby was a site of a lunch counter protest against segregation in the 1950s and now houses office spaces. The lobby is open with three main entries through a plain white wall. Content The walls are LED screens,shuffling three different projections at different time of the day. The ‘Seasons’ is an ode to Washington’s cherry blossoms .‘Colour Play’ features vibrant firework-esque patterns that react to the level of activity of the passer-by. ‘Cityscape’ shows some of DC’s iconic buildings and statues.the experience is enhanced with ambient noises. Intent The multimedia art is used to impart dynamic experiences without intervening the space in any form. The installation holds temporary feel which only relates to the quality of the space created by the changing graphics. Influence Through such interactive art installations, the otherwise empty, static space is constantly transforming, creating varying ambience each time. The walls move, talk and acknowledge people’s presence. 54

Example 7 Client

Maker Development Office, Mumbai, India, 2010

Artist

Srinivasa Prasad

Type Artwork

Art Installation ‘Payana’

Figure 51

Context The complex of office buildings, shopping malls and hotels is a walking museum for installation art with works from Sudarshan Shetty, Hema Upadhyay, Bharti Kher, etc. The lobby to the office building is a double height glass space which is designed to house installations. Content It is a bullock’s cart with all its objects of ownership and migration being tied down to the cart, but are also flying out of the cart at the same time. Intent The promoter, for his love for art has commissioned artwork to expose the people to good art. With the incorporation of art into the architecture, the intent is to see how art changes the way we perceive architecture. Influence The installation engulfs the entire lobby which is modern with marble and glass, contrary to which the art is rustic and traditional, creating a kind of tension from the juxtaposition it makes with the surrounding.

2.2.4

Art as Interaction

Example 8 Client

Medical Daily Office, Holland, Netherland, 2015

Artist

Rietveld Architecture-Art Affordances(RAAAF) and Barbara Visser

Type

Space installation â&#x20AC;&#x2DC;The end of sittingâ&#x20AC;&#x2122;

Artwork

Figure 52

Figure 53

Context It is a central work space area. There are no desks, no seats and no computers. The workers are meant to find a nook in which their body fits and where they can work while standing, leaning or lying down. Content The space is filled with large faceted three-dimensional shapes that vary from waist-height up to shoulderheight. An assortment of angular surfaces, recesses and steps transform each object into an ambiguous piece of furniture that users are invited to interact with as they see fit.

Intent Art as Function The installation is at the crossroads of visual art, architecture, philosophy and empirical science. It was meant to serve various affordances solicit to explore different standing postures in an experimental work landscape Influence The forms naturally become leaning posts, or ledges for resting a computer or a notebook on. Others work together to frame spaces that people can sandwich themselves in between, and others are perfect for lying on top of.

Practice 59

CONTENT 3.1.0

WHY to Commission Art

3.2.0

WHERE to Commission Art

3.3.0

WHAT to Commission

3.4.0

HOW to Commission Art

3.4.1

Commissioning Stages

3.4.2

Deciding the Budgets

3.4.3

Integrating Artist

3.4.4

Selecting Artist

3.4.5

Curator & Consultants

3.4.6

Design Team

3.4.7

Evaluation

3.4.8

Maintenance

The practice takes through a sequential manner of approaching and introducing art in space. The objective for introducing art, where to do it, what to commission and how the process is, is explained from unknown perspectives that are integral to the commissioning process. 61

3.1.0

WHY to Commission Art

Undertaking of an art commission comes from the notion of a place, in the form of an inspiration, an issue or the context. Some projects connect to a place through an artwork to relate more meaningfully with a location, a shared influence of its development and perception. In some cases there might be a need to raise an issue or response reflecting on the place. The promoter, besides being the main benefactor, seeks for an incentive to invest in an artwork. Incorporating an artwork can play a critical part in the development and regeneration of the place by making the setting more attractive and establishing a sense of place and identity. - The motivations could be for an additional investment or tax-related incentives of the company. - It is a given, if the client is passionate about art to raise the aesthetic appeal of the project through art. With this, enhancement of the work environment takes place for the benefit of the employees, users, signaling a type of corporate culture. - In certain cases, commissioning is also done as an act of philanthropy, where donations are made to art institutions, organizations or in some cases to promote a certain craft. - As a marketing strategy, art works are installed with observed increase in brand value, sales and ultimately gaining a competitive advantage. - Strong corporate organizations depend a lot on the brand value which is developed by the visual appeal of the space. Art in such cases becomes a statement about the owner and the company.

3.2.0

WHERE to Commission Art

Situating an artwork in a space is informed with different parameters and processes. Identifying an actual site is beneficial in leaving the brief reasonably open for interpretation for the designer. Potential of an artwork can get limited by prescriptive briefs, thus limiting scope for the designer, artist and user. The site, context of the nature of company or function of the space give cues for positioning an artwork.

At the entrance

In the Centre

On one side

A direct point of contact while entering a space suggesting the importance of the artwork.

The space around such artworks is used for circulation. The artwork becomes a node that connects the surrounding areas. The form of such artworks is usually multi-directional.

Artwork placed in this position is observed during transition. It can act as a backdrop to a larger space or it can be placed to direct attention.

on a 2D surface

Suspended

Away from the wall

Murals and paintings are usually used as backdrops for waiting or a feature wall.

Artworks that are suspended are used in atrium, corners or large open spaces. Decorative lighting is incorporated in such artworks in the form of light installations.

A space left around an artwork needs to be well though of from the point of view of the distances of perception, as well as issues of functionality and maintenance.

3.3.0

WHAT to Commission

The context of the artwork comes from the brief of the client, but more importantly by the designer. It is an amalgamation of the space, the company and the overall brief to the artist. Clues based on the intent, location and materials of the space determines the type of artwork.

Sculpture Defines the scale of the space Visual barrier in the space Inhabit larger/ open space Painting Space constricted areas Accent walls Aesthetic value Mural Layered with 3D materials. Space constricted areas Depth through collage type Installations Dynamic use for monotonous space Atrium spaces, high ceiling areas

Light Installation Dark areas Play of light on solid surfaces Ambient feel

Interactive Media Moving graphics, story-telling Send a message, create 2-D graphics Dull spaces with large, plain surface 64

3.4.0 3.4.1

HOW to Commission Art

Commissioning Stages

Every Commission is unique and responds to different circumstances and contexts through three stages. For a promoter or a designer who wants to incorporate art in the space, the steps are important markers in the initial stages of decision making. Scoping: This stage is about working out the feasibility and approach for a commission. Ensure funds: Understanding budgets and from where to raise funds to have a clear brief. Identify People: To identify if there is a need for an art expertise and internal support to carry out the necessary steps. Agree a framework: Develop a strategy or plan to develop an idea for the kind of art.

Shaping: This stage is about working with an artist to develop ideas and shape proposals. Prepare a brief: Including the commissionâ&#x20AC;&#x2122;s scope and any technical information. Approach artists: Select artists competitively or approach directly. Develop proposals: Artist(s) to work up ideas and responses considering forms of consultation and intent for the project. Realising: Alongside making a commission there are various other areas that often need specialist support. If the project caters to a particular audience, if a strong message needs to be focused, along with other dos and donâ&#x20AC;&#x2122;ts. Prepare contracts: Look at responsibilities, copyright and ownership Test proposals: check that designs, materials & equipment before beginning work. Sign-off proposals: Agree with an artist and other partners to realise proposals Produce: fabricate and install the commission Launch: Decide on an event or inauguration to recognize the artwork.

Owning: A commission canâ&#x20AC;&#x2122;t survive as an isolated process that suddenly appears on site. These are areas that help promote ownership and engagement, whatever the longevity of the commission. Maintain: look after the commission through its life-cycle Evaluate: decide how to judge the performance of the artwork. Press and marketing: promote the project to different audiences. 65

3.4.2

Deciding Budgets

It is essential to set a realistic budget for any new commission covering the full commissioning process â&#x20AC;&#x201C; from inception through to realization and maintenance. Arts involvement must not be sought too cheaply and it can be worth researching comparable commissions to understand how their funding was secured and what level was required.Artists must always be paid and their fee should be ring-fenced within the budget. Identifying costs: Identify costs through the different stages of the process, to include: Organizational costs such as project management Selection costs of technique and technology Development costs including test materials or equipment on site Project costs: artistâ&#x20AC;&#x2122;s and other fees, materials, installation, transport Consultation and evaluation costs including exhibitions, education and community programs, documentation. Publicity, information and launch costs including signage and information for the project and launch event Contingency: there are many variables in public spaces. Budget holders: The budget holder needs to be aligned with risks and liabilities involved in the project. It can be better for the commissioner to hold the budget and the artist be paid their fee and the fabricator the production costs. Types of opportunity: Costs vary depending on the scope of the opportunity, temporary or permanent. For permanent commissions, it is important to identify a budget line early on in the development process, which can be augmented, if appropriate, by other material budget lines. The following table focuses on budgets for temporary and permanent opportunities.

an Open HOuse resOurce

www.artintheopen.org.uk

Art in the Open Budgets – Permanent Opportunities for buildings Key steps Is there a specific budget line for the project identified within the overall budget?

Can this amount be ringfenced?

Are the design team and others aware of this commitment?

Is this commitment included in relevant contracts?

Can other budgets be used to augment the core budget?

Are any materials budgets relevant?

Will the opportunity be part of any external landscaping?

Are there budgets for consultation and engagement with the local community?

Given the kind of building contract to be used, should the scope of the commission be known and costed before the main contractor is appointed?

Will it be costly to incorporate an artist’s proposal late on in the building process for contractal reasons?

Will the contractor insist on using their own fabricators, potentially adding unforeseen preliminaries?

Would it be less costly to install an artwork after the main building work has happened?

Does the overall budget include costs beyond the artist’s fee and fabrication for the opportunity?

Are costs for the selection process included?

Are costs for models, maquettes or tests included?

Are fees for the design team included?

Have longer term costs

What are the potential

project’s realisation?

maintenance?

Will there be costs to establish a legacy trust or dowry for maintenance if ownership of artwork is to be transferred?

What will the costs be if the artwork needs to be resOurce an Open HOuse decommissioned?

ongoing running costs or been included past the www.artintheopen.org.uk

Art in the Open Budgets – Temporary Projects Key steps Have the costs for all stages of the opportunity been included?

Will there be any initial What will the stewardship What are the costs of IN THE OPEN is part of Open House, Registered charity no. 1072104 testing onART site? and maintenance costs de-installation? the architecture education organisation www.openhouse.org.uk be, once the project is realised?

Has a contingency been included?

Have risk assessments identified additional costs that may need to be met?

Will this cover any vandalism that may occur?

Is VAT payable?

Will there be additional costs outside the production of the commission?

Will there be costs associated with a submission of a planning application?

What costs will there be for consultation and evaluation?

What are the publicity and marketing costs?

Who will oversee the budget?

Will the fabricator be paid directly?

When will payments need to be released?

Are fees for the design team included?

Open HOuse

Figure 54

3.4.3

Integrating the Artist

Integrating artwork in a building or a project is a longterm process and it moves at different speeds affected by the overall development process. Beginning commissioning early gives more opportunity for an artist, and is often more cost-effective. Budgets need to be safeguarded as commissioning is often realized towards the end of building works when there are more constraints on funds. Permanent projects can often be contingent on other parameters including planning permission and contracts:

Planning: Permanent commissions are often the subject of reserve planning matters for larger projects through conditions or obligations. This often means that the intention to commission, and the site, are agreed when consent is given, but the artist and proposal not selected. Once a commission has been developed and is agreed upon by the client and the designer, it is a suitable opportunity to approach artist(s) and get the designing process in motion.

Building contracts: The clientâ&#x20AC;&#x2122;s choice of building contract can also affect the timescale and process of commissioning. For instance, the various manifestations of public private partnerships for public buildings and infrastructure such as schools, health centers and transport, means that there are many different stakeholders and levels of agreement. For individual buildings one popular type of contract is design and build and it is important that a client ensures that the public art commitment is written into the Employer Requirements given to the contractor.

Sample Contract

Art Commission Contract This agreement is made the ______ day of ______________, _______ (year) by and between: Artist’s Name: ________________________________________________ Address: ______________________________________________ Phone: ________________ Email: _______________________ and Patron’s Name: ________________________________________________ Address: ______________________________________________ Phone: ________________ Email: _______________________ The parties agree as follows: 1. The Project: Patron is commissioning a work of art created by the Artist. Subject matter will be described herein. 2. Right of Refusal: It is the intent of this contract that the Artist creates artwork for the Patron that the Patron will purchase the work. However, if, after the work is completed, the Patron does not wish to purchase the work, the Patron may refuse the created artwork. In that case, the Artist will retain the refused artwork and the nonrefundable deposit, free of any claims or interests of the Patron and the Patron will owe no additional fees to the Artist. 3. Copyright: Artist reserves the commonlaw copyright to all works commissioned by Patron that are created by the Artist, including all reproduction rights and the right to claim statutory copyright. The Patron may reproduce no work without the prior written approval of Artist. 4. Payment Amounts: the parties for the individual artwork will decide selling price. Fee will be based upon size and complexity of completed work and will be consistent with other comparable works by Artist at the time of sale. Parties will agree to price in writing prior to the commencement of the artwork. The Artist and Patron will mutually determine size. 5. Payment Terms: A nonrefundable deposit of one half of the selling price is required before work commences. Payment in full is due upon receipt of artwork(s). IN WITNESS WHEREOF the parties hereto have executed this Agreement on the day and year written above. ________________________________ Artist

_________________________________ Patron

Artwork #

Medium

Size

Price

Date

Initial of Patron

& Artist

Figure 55

3.4.4

Selecting Artist

Open Competition Process: This is when an opportunity is advertised through a magazine, website or other medium to invite expressions of interest. Normally, artists would be invited to apply for more information, often in the form of a short brief setting out the opportunity including details of the site, budget and selection criteria. They can be asked to submit a short statement of interest, CV and images with short descriptions, by a defined closing date. Proposals are not usually seeked for at this stage. Advantages & Disadvantages Can generate a profile and interest in the opportunity. Tends to attract younger or unknown artists. Is consistent with good equal opportunities practices. Due to the amount of interest it can generate and the necessity of advertising as widely as possible it can be a time-consuming, expensive and heavily administrative process. Does not always attract a suitable artist, as the process can be too broad.

Invited competition Process: A shortlist of artists is selected often by a steering group, informed by an arts expert, from a longer list with reference to the brief. The short list of artists are then invited to make a site visit, and respond to the brief by submitting proposals. Selected artists are asked to submit detailed proposals, including maquettes/ models and a budget, for an agreed fee, by a set date. The fee level is dependent on the seniority and experience of the artists, profile of the commission but is more dependent on the scope of the opportunity. The final decision is made on the strength of artistsâ&#x20AC;&#x2122; proposals. The artists retain their original maquettes/ drawings and all of the artists receive their fee and expenses, irrespective of whether they are awarded the commission. It is good practice and expected for copyright of the proposals to rest with the artist. Advantages & Disadvantages The process allows for a range of different ideas that can be explored without entering into a full commitment. Gives more stability over the process, particularly if time is a factor. Less established artists can compete with more experienced ones. Some artists are unwilling to be put into a competitive situation.

Direct invitation Process: After reviewing a long list of potential artistsâ&#x20AC;&#x2122; work â&#x20AC;&#x201C; normally through the designer â&#x20AC;&#x201C; an artist is directly approached. The artist is then invited to develop initial proposals before reviewing the opportunity and being finally appointed to realise the commission. Advantages and disadvantages: Established international artists prefer to operate in this way. There are none of the additional costs involved in open competition or shortlist fees. It can be undertaken quickly but there is less surety. It can be difficult to justify this approach in terms of equality (and maybe against competitive tendering rules for local authorities).

Competitive Interview Process: This is similar to an invited competition. However, rather than the invited shortlist of artists being asked to submit a proposal, they are invited to an interview and to show examples of their process and work. The shortlist of artists are still invited to make a site visit, and shown the brief. At the interview the artists are asked about their previous work and asked for an initial response to the brief. Each artist is paid for their time to attend the site visit and interview whether or not they are awarded the commission. Advantages and disadvantages: The process often suits opportunities working with others such as on building projects. The commitment for artists is less demanding. It can work well if time is an issue. Less established artists can compete with more experienced ones, including those artists who may not have worked in the public realm. As artists discuss initial ideas, their practicalities have not been worked through.

3.4.5

Curators & Consultants

There are various arts professionals, including curators, art consultants and producers, involved in arts projects for the public realm. They may work on their own projects as well as with a client. A specialist can also be useful from an artist’s perspective, for example, for those with less experience of working with artists or with the process of commissioning. These services are also used when the designer intends due to issues related to the size of the project or the need for expertise. Role: Curators and consultants are not only experts, but often act as the ‘go-between’, working for the project, liaising between an artist and the client, to support the development of the project in the desired direction. The project management role is pivotal when working with artists, as it ensures good communication between all parties and ensures the project runs smoothly, to budget and on schedule. The kinds of skills a professional curator can offer include: Developing a plan or an approach Researching the project’s scope Writing artists’ briefs Drafting contracts Identifying artists Working with the artist to develop ideas Organizing the project’s logistics Selecting: When selecting curators and consultants, the scope of the project is understood and their involvement, the kind of experience and track record that favours the commissioning process. This may happen thorugh an invited interview of a number of such agencies with a short brief outlining the role. Information regarding references or past commissions are useful to understand the experience and background of the firm. Also, visiting projects and sites can be a good way to judge their involvement and method of working of the consultant or curator.

3.4.6

Design Team

Design teams possess the overview and detail of a building project and have an essential role in informing the commissioning process. They are often lead by architects, interior designers and include others such as engineers and cost consultants. Their expertise include a conceptual, technical and practical perspective. Clear communication between the artist and design team is critical â&#x20AC;&#x201C; developing a commission through on-going dialogue. Design team Role: Design teams are often responsible, on behalf of the client for: Agreeing structures Conceptual discussions Producing finished drawings for contractors and fabricators Costings or gathering costs from others Liasion with contractors Overseeing the work with the artist. Fabricator Role: Artists can often have preferred fabricators who they work with and who they have built relationships with and trust in terms of delivering and making their work. Issues may arise with tendering and it can be useful to discuss how fabricators are engaged early on in the project. As each project is different and new techniques often need to be developed for its realization, selecting a fabricator purely based on price can be risky. Projects looking at commissioning as a part of the process need to meet health and safety regulations and fabricators must take on this liability. Fabricators are often contracted directly by the client rather than through the artist, as the artist may not have the right insurance and procedures in place

3.4.7

Evaluation

Arts projects often provoke debate and discussion and it is important that consultation isn’t about creating a project through compromise and agreement. Evaluation should also allow for these differing responses. There are different levels and aims of consultation and evaluation and ways of responding to projects. Approach: This can be on a large or a small scale – using forms such as presentations, exhibitions or questionnaires, a project working with particular groups (such as young people), or as an artwork in its own right. The impact of arts activities and projects are diverse – as are approaches for measuring them. Thinking early on about evaluation helps collect useful data and feedback and integrate this into the commissioning process. Evaluation can be qualitative and quantitative and can happen through many approaches such as questionnaires and surveys, visitor numbers and monitoring press responses. Audiences: Aims and objectives in the initial stages determine the criteria that was laid out. Focus groups that are targeted are seen objectively in terms of how the process benefits them. Approaches need to be adapted – young people may want to be much more actively consulted than businesses. For instance, it can be much more informative to ask members of the public for their comments rather than to judge proposals to ensure the best results for a commission, as it is often difficult to get a rounded view and representation.

3.4.8

Maintainance

One of the measures of success for a commission is whether it remains intact for the life of the work â&#x20AC;&#x201C; neglect can devalue the artwork and the space that it is in. Areas to be considered for maintenance include: Materials and Design: Making sure that the materials and design of the project is capable of being properly maintained, testing on site can also support whether materials are suitable. Responsibilities: Whether the commission is for the short, medium or long term, making sure that the project outline includes funding and designation of responsibility for maintenance and stewardship is important, and may even minimize future costs. If vandalism does occur then it needs to be repaired as soon as possible to prevent future deterioration. Ownership: Thinking ahead with consultation processes working with the concerned project heads can also help ensure ownership and minimize maintenance. Promoting ownership with young people can be part of preventing vandalism. Lifespan and decommissioning: Deciding if, how, and when decommissioning might occur, as well as who would oversee removal and where responsibility for the work might lie afterwards, will help prevent future problems.

Case Study I 77

PINNACLE BUSINESS PARK Location

On Corporate Road, Near Prahladnagar garden, Ahmedabad.

Architect

Ads Architect Pvt. Ltd

Interiors

SferaBlu Architects

Year of Construction

Completed in 2013

Area under Study

Entrance Atrium and Foyer of both blocks

Pinnacle Business Park is a multi-use corporate building. It is a twelve-storeyed building with two faces (blocks). The building with arched sides, is glass cladded. The two sides are connected with a covered atrium. The entrance atrium has a height of the twelve floors. It houses the gathering space between the two sides, security area, circulation with the capsule lifts and the main lift foyer for both the blocks. The corridors to the individual offices open into the atrium, becoming viewing galleries all through the twelve floors. The atrium and the foyers are the â&#x20AC;&#x2DC;quasi-privateâ&#x20AC;&#x2122; spaces that incorporate artwork in the form of mural in mosaic chips on a large wall, and two metal sculptures in each of the two foyers. The artworks are specially commissioned by different artists for the building. The point of study becomes the intent and process of commissioning of these artwork in a multi-use work environment. The artwork are different types, one 2-dimensional and the other two are 3-dimensional. The impact of these artwork on its surrounding is the focus of the study. 78

Site Plan The site plan gives a basic understanding of the geometry of the building. The placement of the central atrium and the two foyers are highlighted, allowing a more oriented study of the interior space.

Foyer

Atrium drive way

Foyer

landscape plaza

Entry Parking

in R

oad

Entry

The ‘L’ shaped building is placed in one corner of the chamfered plot. The entrance to the atrium is through a landscaped avenue in the building compound. With smaller corporate activities pertaining to banks and airline companies on the outside, the driveway around the landscaped plaza streamlines towards the entrance porch. The main entry lies here. It opens to the central atrium which houses all the offices in the upper twelve floors. The mural in the entrance mimics the ‘L’ shape of the building, forming an enclosure-like space in the atrium.

Content 4.1.0

Pinnacle Business Park

Space a.1 Components a.2 Elements a.3 Connection a.4 Material a.5 Colours a.6 Light

Art b.1 b.2

83 85 86 89 90

Art Installation in Atrium Art Installation in Foyer

Practice

c.1 c.2 c.3 c.4

98 100 102

The Process of Commissioning Objective for Commissioning Deductions & Conclusions Space Without Art

Plan & Section of Atrium & Foyer A

Lift Foyer

A Private - enclosed

Reception/ Security

B Quasi-Private - disconnected

seating area

C Quasi-Private - connected

D Quasi-Private - open B

D Entrance atrium

2B Plantation

2.5

Art work 1 - wall mural

Art work 2 - sculpture

Art work 3 - sculpture

Lift Foyer

The entry through the porch is from a chamfered corner of the atrium. The first contact happens with a layer of indoor plants with a backdrop of a colourful mosaic wall, where the seating area lies. The aligned walls to the main entry lead to the seperate foyers for the two building blocks. The reception is placed in the corner, at the entrance of the foyer to the right wing.

Volumetrically, the entrance atrium is 21Mx21M , with a height of the building of twelve floors. The passage to the offices open into the atrium on all floors thus the parapets acting as viewing galleries down to the atrium. Two capsule elevators for each building also give a view to the atrium. The entrance to the building foyers are obstrcuted with a carved partition wall, behind which are metal sculpture placed next to the elevators.The foyer is an enclosed space with colourful wall panels, sculptures, and entrances to three elevators. 82

a.1

Components of Space Sense Of Entry

Art is used to attract the visitor inwards, and divert the attention from the expanse of the height.

space for orientation

In the foyer, the artwork is placed to observe while waiting for the lift. Expanse of the void

entrance EXTERIOR

Foyer INTERIOR

Atrium-The transition from the outside to the inside is through the sense of expanse on entering the twelve floor high atrium. The vision is directed towards the bright mural wall. Foyer-The entry is through a sense of enclosure, with the height cutting down to one floor.

Orientation Visual Orientation The colours are used to highlight the corner of the atrium, making it more live. The form of the sculpture placed in a transition space, not allowing time for observation.

Atrium-The natural orientation is upwards to the floors. It gradually comes lower with the eye-catching mural wall. Foyer- The orientation is towards the artwork while waiting for the lift

Spatial Orientation

Centric space A breather space right at the entrance allows a moment of a pause to orient a user to the surrounding. The juxtapostion of transparency and opacity to the surfaces adds a play to the formal setting.

The entrance space is open,exposed to the height of the building. The planter placed right in the middle divides the movement path in two directions, at the same time acting as citculation. The artwork placed visually orients towards it, while the spatial possibility is restricted to the lift access.

Time Visitors | Servies

Staff | Executives Work Hours

Staff | Executives Break Hours Solid abstract forms observed in short duration. Material, meaning, texture observed on closer look and longer interaction.

pause Entrance < 5 min

pause Entrance < 1 min

Entrance > 5 min

The visitor spends time accessing the reception services, or finding the way through the space, allowing more time for observation. The staff and employees of various offices directly access the concerned foyers. During the break hours, the atrium becomes a meeting spot. Decent amount of time is spent, interacting with the space. 84

A rustic, unusual form of natural object while passing by. Longer observation suggests vehicle parts on closer look.

a.2

Elements

Feature Element The artwork is used to highlight an element in the space. 2D artworks can be used to enliven the space with the composition and colour and also with its placement.

The eye-catching colours and composition of the mural make the corner a focus for the space. From the entrance, the capsule lifts and upper floors, the wall is seen as central to the space.

Surfaces Solid surfaces are treated with wall cladding as interior interventions to relate more to the human scale, and also divide the atrium horizontally. clash of wall cladding materials to frame the artwork.

Two walls of the atrium are opaque with the edge in glass, allowing natural light inside.

Mural on the corner wall enclosing the seating area.

The floor is uniform in the entrance atrium that flows into the foyers. The corner with the artwork is seperated by a step, making it a seating area.

The foyer is enclosed within the walls with the opening from the atrium.

Furniture

The placement of the furniture in the seating area creates a secluded area in the open atrium. The artwork forms a backing to the furniture without clashing. SEATING AREA Black leather rotating chairs in groups of three with a white laminated low centre table with metal legs.

RECEPTION Loose chairs and white laminated table with metal legs,placed in the corner against the partition wall.

a.3

Connection

Circulation Work Hours

Break Hours The circulation path for the users is close to the positioning of the artwork 1, where as the movement of a visitor towards artwork 2A and 2B is only while accessing the lifts.

employees visitors

Work Hours The accessible ground floor area sees two different movements. The circulation is channeled right from the entrance. The majority of circulation is used by the visitors approaching the reception before going towards the foyer. Break Hours The circulation is maximum while gathering. The planters and side walls are used a meeting spots where as the seating area is accessed the most. 86

Connectivity Spatial & Visual

Placing the artwork in an open and accessible area increases the interaction with the artwork. Visually obstructed spaces for art streamline the number of people getting exposed to the artwork as the artwork becomes less approachable.

open + connected

semi-private + blocked

semi-private + connected

The atrium is an open and connected area. The division into an open but visually disconnected zone happens with the partition wall at the entrance of the foyers.

The artwork in the atrium and the foyers are not connected visually, conceptually or spatially. While the mural is well connected from the entrance, the sculptures in the foyers remain hidden behind the partition wall.

The artwork in the atrium is visible from the viewing galleries on all the floors, more so, because of its catchy colours.

a.4

Material

STONE CLADDING The wall is cladded upto the height of the second floor with a pattern in stone.

WOOD PANELLING The square panels cover a face of the entrance foyer, as a backdrop for the sculpture in the front

a.5

STRUCTURE The columns and internal walls of all the floors are plastered and painted.

FLOORING A pattern is created in the highly polished italian marble flooring.

A mixture of natural and artificial materials are used with different patterns and colours. A cohesive language of interior is not visible with the changing material.

PARTITION WALL The laser cut white partition wall is another pattern that is used to divide the foyer from the atrium.

ACRYLIC PANELS The bright green coloured panels are cladded in the foyer in contrast to wood panels.

Colours Atrium A softer, neutral base for large surfaces and overall tones Foyer The highlight colour scheme of different wall claddings and partiiton walls.

In the atrium, the palette of colours that is neutral but towards and overall grey tone. Natural stone colours and wall colour are broken by the vibrant artwork colours. The colour palette in the foyer is more towards wood panels, glass and highlighting green, whereas the overall floor and ceiling colours remains a neutral beige.

Although various tones are used, a grey and brown palette allows possibility of highlihting the artwork in the space. For a large space, more dull and monotonous tones are used.

a.6

Light

Natural

A bright and colourful artwork is naturally lit. Enclosed areas are not well lit, thus requiring artificial lighting.

The closer lines demarcate the darker areas and the less dense lines show the area which is naturally lit through the openings. The atrium is washed with natural light from the entrance glass edge.The seating area is less bright.It is set in the corner of the two intersecting wings,surrounded by the artwork. The enclosed foyers are dimply lit with low height.

Artificial Only ambient lighting in a large space takes away the feature element from the space. With no focus lights, artwork becomes a wall treatment. The artificially lit scultptures hightlight more rough and unfinished edges not allowing a natural shadow to be formed. The visual quality of the artwork remains the same through the course of day.

FOCUS LIGHT

SPOT LIGHT

Throws light upwards through the plantation.

The light falls vertically to give a subtle wash to the foyer

The artworks are not focused with artificial lights. The atrium is dimly lit with spike lights in the plantation. The foyers are overall lit with concealed lights in a grid. 89

b Art b1

Artwork Artist

Wall mural in atrium SferaBlu architects

Context Location

Artwork 1

The artwork is in the form of a mural on two large walls creating a corner. The corner is on the opposite to the entrance.

The artwork is placed in the open atrium of a multiuse corporate building. It is accessible to the staff and employers of the various offices, as well as visitiors or services that engage in the space. The artwork seperates the seating area from the rest of the atrium by creating a sense of enclosure. The artwork placed in the corner of the atrium, can be viewed from different floors, and all the areas of the atrium. Visibility

View from the Entrance

The visibility of the artwork is maximum while entering the atrium.

View from first floor

One face of the wall is visible while walking across the corridor.

View from upper floor corridors

The corridors become viewing galleries to the open atrium, where the colourful mural is also visible amidst the grey tones of the building.

Content Artwork by SferaBlu Architects

The mural on the wall is an attempt to depict the skyline of the city, using colours and forms in an abstract way. Various coloured glass chips of size 15mm X 15mm are composed together filling different forms in colours.

Analysis Eye level

Eye catching from the entrance, visible above and below eye level from ground floor.

Distance of observation

The artwork is seen as whole from distance. On closer observation, reveals texture and pattern.

Background

It acts as a background to the activity in the front.

Light

The bright artwork is lit naturally during the day. The colours reflect on the floor.

Photo quality

The colours make the artwork a highlighter in the space. The colours are unchanged and the abstract form is clear in picture.

Intent Art as Experience The artwork is made to enliven the space. The use of mural allows an overall picture from distance and a closer look gives a more intricate feel. The abstract nature of the artwork allows various interpretation by the viewer and various possibilities of observation each time.

Influence

The seating/ gathering area gets defined because of the presence of the bright mural. It gives a highlight to the atrium, making it visually eye-catching.

User: The colours of the artwork enliven the space, making it attractive for activities like gathering during break hour. Space: The artwork seperates the seating area from the atrium space.

Artwork

Scrap metal sculptures in foyer

Artist

Vinod Patel

Context Location

Artwork 2A

Artwork 2B

The building has two wings that divides the entry from the atrium to the two foyers. The sculptures are placed on one side of the foyer with the names of the offices and the other side is the entrance to the capsule lifts. Visibilty

View from the atrium near reception table

View towards the foyer entrance

View while entering the foyer

View while waiting for the lift

A white jali-like partition wall seperates the foyer from the atrium space. The artwork is placed behind the jali. While entering the foyer, the artwork is one side and the lift on the other. The office numbers are on the front wall on the side of the artwork. 93

Content Artwork by Vinod Patel

The artwork is a signature style of the artist. The artwork is made out of discarded vehicle parts that are welded into forms and compositions that resemble natural objects. The overall look of the artwork is rough and rustic. The sculpture is powder coated with a uniform brown coat. Both the sculptures are different compositions with the same technique. One with forms of ants and the other with honey bees.

Analysis

Eye level

The artwork is below eyelevel since it is directly placed on the ground

Distance of observation

The artwork is observed only in transition and from a closer view, the parts are visually crude.

Background

The refined and finished materials used as a background conflict with the form and finish of the sculptures

Light

The space around the artwork is highlighted with uniform ceiling light only.

Photo quality

The artwork is visually busy against the background and only one side is captured.

Intent Art as Identity The artwork is a represenation of the work culture. The ants and honey bees are taken as an abstract metaphor for their hard work and dedication while working. This act is seen as an inspiration for the people who are working there, representing an identity of the people and the culture the offices promote. Art as Experience The artwork is placed in the enclosed foyer to create a sense of curiosity for the viewer, while waiting for the lift, and at the same time interact with the foyer space which doesnt have any activity. Without any functional value, the artwork is placed as a way to interact with the visitors.

Influence

Space: The sculptures in the foyer are placed isolated at the entrance, creating a sculpture court. The space around the artwork is not functional. the artwork is only viewed while making a transition towards the lift. User: The artwork creates a sense of curiosity in the eye of the visitor.

c Art c.1

The Process of Commissioning Artwork 1 Wall mural in entrance atrium SferaBlu Architects

Client

Architect

Interior Designer/ Artist

Design wall for artwork, place seating as activity around Design Brief: A backdrop for the atrium space Interior Designer as the artist

Design Stage Initial discussion between interior designer and client.

Selection Stage Reviewing ideas in computer aided design, various colour palettes, forms and compositions in murals.

Approaching glass mosaic suppliers, working out costing, construction method CAD software drawing with final composition and colours. Calculating and ordering of glass moasic in sheet form Arranging composition face-down, creating composition in parts

Construction Stage Reviewing the ideas in the form of models or sketches by artist, the price estimate, construction challanges and visual appeal of the artwork. Employing mosaic art craftsmen through local sources

On-site assembly of pre-composed sheets to create final artwork Finishing with grout, and cleaning A single payment at the completion of the work.

Payment Stage

Artwork 2 Scrap Metal sculptures in foyer Vinod Patel

Client

Architect

Art Consultant

Artist

Not involved Design Stage Direct collaboration of developer and art consultant

Selection Stage Reviewing the ideas in the form sketches by artist, approval with artists style of work and overall intent of the artwork.

Construction Stage Reviewing the ideas in the form of models or sketches by artist, the price estimate, construction challanges and visual appeal of the artwork.

Design Brief: Art for people working in offices, an artwork for foyer Artist approached through art consultant Checking the space for artwork, disucssing intent Rough sketches with inital ideas No back and forth with client/ consultant Collection of material, assembling and constructing took about 3 months for both the artworks.

Payment Stage

A single payment at the completion of the work.

c.2

Objective for Commissioning

Client

Artwork 1- Art for Visual Appeal The wall is designed with the intention of introducing some artwork in that space. The wall mural was added to enliven the space with colour. The abstract nature of the artwork was to expose the visitors and emploees to art, that they could relate to in their own way.

A means to make the space more alive and connect the user to the space.

Artwork 2A-2B- Art as Identity The artwork placed are used to represent the employees. The intent is to connect the artwork with the viewer. The artwork becomes an identity of the corporate culture the space promotes.

A means to connect the user to the artwork to feel a sense of belonging to space.

Architect / Art Consultant Art through Client The art was promoted by the interest of the client. The areas were designed keeping in mind the commissioning the artworks at the completion stage of the project. The art consultancy firm was approached by the client directly. The consultancy mediates the process of commissioning between the artist and the client through discussing briefs, ideas and setting up meetings.

Art consultancy firm introducing art in the space, advising with form, type and other natures in respect to the state.

Space for Art

Neutral background accentuate art.

Adding function around the artwork to allow more interaction. Positioning and scale of the artwork, allowing visual access from all floors.

Artwork 1 The artwork is placed on one corner of the open atrium. Creating a distinction by making the area one step up, defines the area as seating. The surrounding area is neutral grey tones, adding landscape to cut through the space.

Artwork 2 Creating a seperate area for artwork, making it only a visual access Using polished finishes against the look of the artwrok to create a contrast.

The sculptures are placed on polished white marble floor, as a contrast to the finish of the sculpture. Finished polishes like wood panelling, bright green acrrylic panels and uniform spot lights distinctly seperate the sculpture court from the lift access. The area is blocked from the atrium through the partiiton wall which only allows natural light thorug, but no visual connection.

Artist Selection of Artist Iinfi Design Understanding the language of the building and the style of work of the artist.

The art consultancy firm worked closely with the client, Goyal&co. to develop artwork for both the areas, the atrium and the foyers. The initial discussions led to ideas that discussed artwork that would be more appropriate to a corporate environment, where people pass by daily to work.

Vinod Patel Collecting, composing and assemblilng as a process of making.

The artist begins with collecting different parts of scrap metal. With some parts existing, the collected parts are composed to make different forms which are then assembled and welded together. Some parts are also welded on site, for the ease of transportation.

c.3

Deductions & Conclusions

SPACE

Artwork 1

Artwork 2

Sense of Entry

Art is used to attract the visitor inwards, and divert the attention from the expanse of the height.

In the foyer, the artwork is placed to distract while waiting for the lift.

Orientation

A breather space right at the entrance allows a moment of a pause to orient a user to the surrounding.

The form of the sculpture placed in a transition space, where natural orientation is toowards the atrium.

Time

Solid abstract forms observed in short duration. Material, meaning, texture observed on closer look and longer interaction. Solid surfaces are treated with wall cladding as interior interventions to relate more to the human scale, and also divide the atrium horizontally. Plantation or spatial obstructions used to create a divide, yet a circulation movement around.

A rustic, unusual form of natural object while passing by. Longer observation suggests vehicle parts on closer look.

Furniture

The placement of the furniture in the seating area creates a secluded area in the open atrium. The artwork forms a backing to the furniture without clashing.

No furniture around artwork 2 since the space is only used for transition.

Connectivity

Placing the artwork in an open and accessible area increases the interaction with the artwork.

Visually obstructed spaces for art streamline the number of people getting exposed to the artwork as the artwork becomes less approachable.

Material

A mixture of natural and artificial materials are used with different patterns and colours. A cohesive language of interior is not visible with the changing material.

Colour Palette

Although various tones are used, a grey and brown palette allows possibility of highlihting the artwork in the space. For a large space, more dull and monotonous tones are used.

Natural Light

A bright and colourful artwork is naturally lit. Enclosed areas are not well lit, thus requiring artificial lighting.

Articial Light

Only ambient lighting in a large space takes away the feature element from the space. With no focus lights, artwork becomes a wall treatment.

Surfaces

Circulation

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clash of wall cladding materials to frame the artwork.

The movement of a visitor towards artwork 2A and 2B is only while accessing the lifts. No circulation is around the artwork as the space has no function.

Bright colours of background for a natural coloured artwork to show contrast.

The visual quality of the artwork remains the same through the course of day with consistent artificial light

Art

Artwork 1

Artwork 2

Context

Placing the artwork in the atrium creates an informal setting in a public atrium. The atrium is centrally located which makes the artwork accessible from different levels.

Placing the installation in the enclosed foyer suggests an experiential purpose of the artwork in a place where people are passing by or waiting.

Content

Glass mural is low maintainance in the public atrium. An abstract artork allows interpretaion in multiple ways, making it appealing to more people.

The artwork has an underlying meaning to it. A plain observaiton only points out the physical object with a strong language of the artists style of work.

Intent

Art as Experience

Art as Identity

An abstract artwork open to various interpretation fits into a corporate envrionment as it doesnt give a theme or

The artwork doesnt connect with the viewer as a reflection of the corporate culture with the particular the form of the sculptures which seem crude.

Art enlivens the space, creates an approachable area for the informal activities in a formal setting.

Art in its extreme abstract form can deflect attention, making the space around it inaccessible. The surrounding ambience made by the surfaces and lighting also contribute towards this impact.

Influence

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c.4

Space without Art

Artwork 1

Wall mural in the entrance atrium

The mural defines the space horizontally, seperating the entrance floor to the upper areas in the open atrium The corner with the step-up defines the seating area as a different zone, making it a recreational spot from the rest of the circulation area. The vibrant artwork orients the viewer inwards and also observed from upper floors.

A blank wall suggests continuation of the space from the ground to the top floor. A monotonous surface is not welcoming while accessing the seating area. No sense of backdrop. No point of attraction in the atrium.

Artwork 2

Scrap metal sculptures in the foyer area.

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The entrance to the foyer is encountered with a visual distraction, making the area non-functional.

The empty foyer gives a sense of incompleteness, but more accessible.

The artwork placed on the ground is stagnant and seperated by the surfaces

The seperated area can be used to incorporate seating/waiting area.

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Case Study II 105

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B SAFAL CORPORATE HOUSE Location

Safal Constructions Pvt. Ltd. Off S.G. Highway, Ahmedabad

Architect

HCP Design, Planning & Management Pvt. Ltd.

Interiors

HCP Interior Architecture Pvt. Ltd.

Year of Construction

Completed in 2010

Area under Study

Ground floor lobby and open area

B Safal corporate house is located on the posterior side of S.G. Highway. The building is a three-storeyed, cast in-situ fair face concrete structure with blank north and south facades and opening to the east- west directions for light and ventilation. The ground floor mainly houses the reception, waiting and the sales and management staff. The area is accompanied with the entrance space opening to the reception and a waiting area. The common spaces further expands into a glass walled conference and a display area at the end. The â&#x20AC;&#x2DC;quasi-privateâ&#x20AC;&#x2122; spaces in the interiors incorporate artwork in the form of installations and the display area showcases the brand through the projects by the company. This acts as an opportunity to study the process of commissioning these artworks in a corporate setting.

Bent Plywood and metal installation suspended in the atrium

White corian and mirror installation in the display area.

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Content 4.2.0

Bsafal Corporate House

Space a.1 Components a.2 Elements a.3 Connection a.4 Material a.5 Colours a.6 Light

Art b.1 b.2

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111 113 114 117 118

Art Installation in Atrium Art Installation in Display area

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Practice

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c.1 c.2 c.3 c.4

130 132 134

The Process of Commissioning Objective for Commissioning Deductions & Conclusions Space Without Art

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Space

passage ZONE 4 Display area

ZONE 3 Meeting area

ZONE 2 Waiting area

ZONE 1 Entrance area

passage

The quasi-private area on the ground floor is seen as four different zones. The movement is sequential from one zone to the other. Slant wall

Staff Cabin B

Private Elevator

Staff Cabin

1 D

Display area

conference room

Waiting area

0 2 4 Art work 1 1

6 A Private - enclosed

Art work 2 2

B Quasi-Private disconnected

Entrance Reception waiting area Private Cabin for cabin C Quasi-Private - connected D Quasi-Private - open

The quasi-private area is mainly used as a transition space to access the private cabins. The reception is at the entrance, set back towards the lift entry, for a view of the entire area. It becomes a central node to the office. The waiting area is placed in the center with a circular orientation. The end of the area is an exhibition space. A conference room is inserted in between.

Art installation exhibited along with panels of projects and awards

An enclosed, yet visually connected conference room with an accent light

Waiting area with the slant wall cutting through the view of the staff cabins

Reception with a back wall with company logo and elevator door

Private waiting lounge with easy chairs and accent light

Section showing the slant wall cutting through the four different zones and showing the activities. 110

a.1

Components of Space Sense Of Entry Using art to connect the exterior and the interior visual connect

Creating a sense of entry with space for a pause before advacing towards an activity.

EXTERIOR

open area

INTERIOR

entrance

reception space for orientation

The transition from the outside to the inside is through the sense of enclosure. The movement is directed inwards passing through an eye catching artwork on the outside to the cut out inside where the connection is made to the installation inside.

Orientation

Form and colour is used to break the monotony. Art placed in the open area gives moment to observe and is used to move the viewer in the desired direction.

Logo placed on central axis

breaking geometry + Adding colour

reflective background shiny surface attracts attention

view of the work environment view from main entrance installation orients the viewer skywards

reception orients viewer forward

The entrance orients the user towards a work environment, the private space with reflective surface and the slant wall that cuts through breaking the geometry. Its becomes a collage of the office. The brand, the environment, the space and the play inside.

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Spatial Orientation

help approved access

Linear space

waiting natural orientation pause

A breather space right at the entrance allows a moment of a pause to orient a user to the surrounding.

visual barrier to private space

visual barrier to back sofa

The juxtapostion of transparency and opacity to the surfaces adds a play to the formal setting.

entrance

Time

Visitors | Services

Visitors | Servies

Staff | Executives The art and the elements in the space are contemplation tools that are noticed while using the space for transition. For a longer duration, the space becomes active with these features.

lift

waiting pause entrance

Time5min >

sit

pause entrance < 5min

entrance

< 1min

A visitor spends the maximum amount of time while sitting in the waiting area. This is the time for observation. It was noticed during the study that the visitor would turn and look at the space around.

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a.2

Elements

Surfaces With a strong structural grid, architectural surfaces are treated with softer materials and simpler finishes. Interior inteventions are used to break the monotony through spatial intrusions that add life to the space as well as support the functional needs of the office. Simple edge with vertical concrete walls defining the outer boundary. The inner boundary with the insertted slant wall

The columns are at the edge of the walls to allow more open space for interiors to intervene.

The floor is uniform. White terrazzo is unifies the floor plate with a neutral beige.

The ceiling is exposed concrete that is seamless through the entire floor. The dull gray tone forms a backdrop for the playfull interior elements.

Feature Element

reflective greenish blue colour

ground floor

cut out for reception

A spatial intervention is made to break the geometrical grid of the rectangular building, both in plan as well as section. This wall is an insert which is functionally a partition to divide spaces. Aesthetically, it adds a colour to the space and breaks the strong concrete grid.

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Furniture

DISPLAY The wall is filled with display panels of projects and awards. A low unit holds the awards and trophies.

CONFERENCE Leather office chairs in the area create a formal setting with a light back painted glass table. A back TV unit is placed facing the waiting.

WAITING RECEPTION A beige co- A metal front loured leath- with a texture er couch in a and highly polcurved fvorm ished reflects with revolving the light from leather chairs the entrance, on the oppo- attracting atsite curve make tention. The two waiting top is backzones. painted glass.

PRIVATE WAITING high back leather chairs, a rug and an accent floor lamp to give a sense of luxury.

The furniture in the waiting area allows a view of the artwork from different angles. As well as one gets a view from the reception. Artwork 2 is supported by the contextual furniture for awards and trophies which is also not obstructing the view of the installation.

a.3

Connection

Circulation back entry controlled access

circular form going with movement

movement towards display

visitors

employees

director

The accessible ground floor area sees three different movements. The circulation is channeled from the reception. The majority of the area is accessed by the visitors around the display and waiting.

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The circulation path for the users is close to the positioning of the artwork 1, where as the movement of a visitor towards artwork 2 is more forceful.

Connectivity With Outside The connection with the outside for the artwork 1 is limited to its co-relation of the language of the scuplture placed outside. Artwork 2 faces outwards, but since the display zone is near the dead end of the street, its not visually accessed.

display area

meeting area

waiting area

entrance area

private cabin

From the exterior, the openings act as visual connections to the interiors. Each opening witnesses different activity. The architecture grid is used to divide the functions internally as well.

Spatial & Visual Both the installations are placed in open and connected areas that makes it accessible to a larger crowd.

open + connected

semi-private + blocked

semi-private + connected

private + blocked

private + disconnected

Each of the spaces share a particular type of connection with the open space depending on the physical nature of the space and the function of the space. The five categories are made with first the nature of the space (private, semi-private, open) and the visual connection with the open area (connectec, blocked, disconnected).

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a.4

Material

Coloured acrylic with Back painted metal frame glass

Exposed Concrete

Bent Plywood and powder coated metal The materials are a mix of opaque and translucent finish. The metal compositions with bright and dull colours in artwork 1 and the solid white acrylic with the reflective mirror are translations of the surrounding materials into art forms.

Polished Aluminium Beige Plywood louvers with Leather fixed glass sofa

a.5

Textured Metal sheet

Jointless terrazzo flooring

Translucent glass on aluminium frame

translucent rollers on plain glass

Colours A softer, neutral base for large surfaces and overall tones The highlight colour scheme of the featuring slant wall The furniture colour schemes with wood and leather

The palatte of colours that is neutral but towards a greenish blue give a formal feel to the brighter colours of the installation at the entrance. Artwork 2 merges into the background with the mirror reflecting the same colours, while the white floating planes appear at some places.

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a.6

Light Natural Light

Both artworks are placed such that they are naturally lit. This has also to do with the positioning which is more accessible in the open area.

The closer lines demarcate the darker areas and the less dense lines show the area which is lit naturally through the openings. The area behind the slant wall is darker as the light fliters from the offices on one end and the entrance bays opening to the front facade are lit maximum.

Artificial Light

Spot lights are used to focus on the artworks.

AMBIENT LIGHT

ACCENT LIGHT

FOCUS LIGHT

LINEAR LIGHT

SPOT LIGHT

FLOOR LAMP

The lights give a metallic orange tint to the space. The fixture is chosen give an aesthetic feel.

The black fixture creates a curiosity to the otherwise mundane conference setting, becomes an artefact in the space.

Throws light on the slant wall to highlight the colours and transparency. Used to focus on the display panels.

Accentuates the linearity from the entrance to direct the vision to the display at the end.

The light falls vertically to give a subtle wash.

An accent piece to give a luxurious feel to the private waiting

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b Art b1

Artwork Artist

Suspended installation in entrance atrium Lineworks studio

Context Location The artwork is suspended from the entrance atrium. The atrium is covered with glass from the three sides and the slant wall as a backdrop. Double Height 2.4 M X 2.4 M

Visibilty

View from the entrance

View from the waiting

Backdrop of the green slant wall

View from under the installation

View from the conference area

Glass wall with view from cabins and lobby on upper floors

entrance Glimpse of the art installation from the entrance area

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When one enters the space, a glimpse of the installation suggests the void opening upwards. While the orientation is towards the reception, the naturally light atrium takes the attention upwards through the art installation. The elements are suspended by cabels which makes it dynamic.

Content Artwork by Studio Lineworks

The artwork is a three dimensional composition in bent plywood. Three different formations of bent plywood, painted metal sheet and spaced with metal spikes, are suspended wih cabels from three different heights.

Analysis Eye level

Above eyelevel. No visual obstruction, slightly hinting its presence.

Distance of observation

The artwork is best observed from an angle and not directly from below. Also from upper floors.

Background

The green slant wall acts as a bacground for the artwork.

Light

The artwork is naturally lit from above and artificially lit by spot lights from the top.

Photo quality

As artwork is mostly seen against light, a photogrph doesnâ&#x20AC;&#x2122;t show the form clearly. From the upper floors, the light and shadow quality makes it more photogenic.

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Intent

Art as Experience The art installation is designed with the intention of adding drama to the space with its form resembling a free floating bird or a kite.The colours used are the colour of accent walls in each executive cabins. The atrium that connects all the three floors vertically becomes an ideal place for a hanging installation that compliments the architecture as well as guides the viewer to the top as well as brings the vision downward while on the upper floors.

Influence A sketch by the artist was an inspiration for the design of the artwork as a suspended installation. The form of the artwork juxtaposes with the geometric straight lines and adds drama.The form of the artwork with curved surfaces and sharp edges gives an an accent to the space.

The colours used are attractive with the contrast of the gray walls, complimenting the formal nature of the space. The installation suspended with the cabels sways and twirls in the air that brings about a dynamism in the space.

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Artwork Artist

Mirror Installaiton in the display area Sachin Desai

Context

Location

The installation is placed near the front opening in the display zone. The longer side is oriented facing the window while the side is visible from the entrance and the passage. Visibility

View from the entrance passage

View from the end of the display area

View while entering the display area

View towards the passage

The side of the installation is visible from the entrance. The passage passes through the waiting and conference and leading to the display area. The edge form of the installation is seen with the background of the work panels. All the sides are visually accessible from different areas. 121

Content Artwork by Sachin Desai

The artwork consists of acrylic planes suspended from the ceiling and attached to the plywood base. A mirror is placed at an angle slicing the planes into two halves. A central box is placed in the middle with cutouts and fins.

Analysis

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Distance

The reflections of the mirror give a clear view of the massing, the sides accentuate the slant wall.

Height

The podium seperates the artwork from the floor and gives it an exhibit-like quality.

Background

The project panels form a busy backdrop for the artwork in the form of a collage.

Light

No focus lights are required to highlight as the artwork is visible with it material and natural light

Photo quality

A side picture is not clear as the profile of the artwork merges into the background. The front picture is clear with reflections from the mirror but it doesnt show the quality of the slant wall.

Intent

Art as Identity

The installation is an abstraction of the building. The horizontal planes are impression of the floor plates. The central box is a representation of the building with its large circular openings and the wooden fins. The mirror acts as an artistic intervention as the slant wall intersects the building. The art installation is a simplification of the built form that brings out the essential facet of the architecture. The reflective mirror representing the slant wall creates an illusion of transparency. Functionally, it also transforms into a book shelf to accompany the collection of books that the office holds.

Influence The representation of the building through the art creates a strong identity of the design of the building, as well as the company. The conceptual representation of the building is again a floating element with the dynamic slant wall. The mirror extending from the ceiling to the floor creates a strong statement of the importance of the wall. The white acrylic emphasizes on the lightness of the floor plates where as the iconic circular windows, and the fins are literal yet geometric. The floating installation is specific to its position at the entrance of the display area. on placing the sides facing the passage, the slant cut is highlighted. The mirror faces are then reflecting the display around, amplifying the space.

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c Art c.1

The Process of Commissioning Artwork 1 Bent plywood art installation, suspended in the atrium space. Lineworks studio

Client

Architect

Interior Designer

Artist

Design Brief: Idea of suspended artwork in the atrium to connect the building vertically.

Left onto the designer for selection 2 artists approached for commissioning. REJECTED

SELECTED

Jenny Pinto

Studio lineworks

light installation out of paper.

Bent plywood forms of kites and birds.

Durability of paper not long.

Lower costing

Artist from Bangalore, working with paper mache.

Initial ideas with the developer and architect. Approaching multiple artists with design brief.

Selection Stage Reviewing the ideas in the form of models or sketches by artist, the price estimate, construction challanges and visual appeal of the artwork.

Art consultancy firm in Ahmedabad.

Conceptualizing to making with the help of lo- Back and forth cal craftsman, during the with on-site same time period as the changes. interiors. -3 months A single payment at the completion of the work.

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Design Stage

Construction Stage Reviewing the ideas in the form of models or sketches by artist, the price estimate, construction challanges and visual appeal of the artwork.

Payment Stage

Artwork 2 Corian solids and mirror wall installation in the display area. Sachin Desai

Client

Design Stage Direct collaboration of developer and artist.

Selection Stage Presentations discussed with client, approval with past work experience.

Payment Stage Contractual agreement between client and artist

Construction Stage Price estimate discussed with client. Ex-situ construction and assembly line on site.

Interior Designer

Artist

Design Brief: To create an area that serves as an introduction to the developer Documenting projects in the form of wall panels with data recieved from client An idea to display models of buildings in an architectural way Back and forth with client as ideas, 3ds, presentations. Initial design fee paid to artist

Contract signed with three stages of payment. Post-design, preconstruction and post -completion. Parts made in workshop and assembled on site. Construction period about 2 months from conceptualization to completion.

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c.2

Objective for Commissioning

Client Artwork 1- Art for Visual Appeal

A means to give an aesthetic character.

The client have roots in real estate business and through their projects they promote art. The use of art in their office is signature to their style of work. The architecture, the interior and the art installations follow a common language. Solid concrete walls, a skew in the middle creating the backdrop for the curve and sharp elements of the artwork. The art installation thus give the aesthetic to the space.

A means impression.

create

Artwork 2- Art for Branding A sculpture representing the logo at the front, the installations inside have been used to create a brand identity. They become landmarks and icons that have a lasting impression while experiencing the space.

Designer Art as a creative intervention The architect and the interior designer were involved into the project at the conceptual stage. This made the collaboration work towards a common goal, to create a space that represents the company. Art consultant firm, Studio Lineworks, were also brought on board in time to begin conceptualtizing for the installations. Art was thus used to combine the architecture and the interior and initiate a creative dialogue with the space.

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Early stage involvement of the designer inside the building. Involvement of experts for art consultation to gain the advice for the project.

Space for Art Neutral background accentuate art.

Comfortable and accessible spaces designed to place the art.

Artwork 1 The artwork is placed in an atrium with natural light, that connects the building vertically. Subtle textures and neutral colours are used in the space to bring about the character of the artwork, forming a background to it. Artwork 2 The artwork is designed with the intention to iconize the building. Hence, it has been placed in a clutered display area which is filled with the project panels and awards. This ambience further highlights the commercial value of the firm. The scale of the space is in relation to the scale of the artwork(or vice-versa) Both the artworks are placed in well-sized areas that are visually and physically accessible. Since the process of commissioning the artwork was at an early stage, the lighting, the placement and the visual construct of the place have been dealt with.

Artist Costing as a major node to decide on artist.

Lineworks studio

Understanding the language of the building and the style of work of the artist.

The art consultancy firm worked closely with the interior designer to develop an artwork that would be inspiring and dynamic in the rigid space. The initial discussions led to ideas that suggested that suspended art installations would inhabit the atrium. bent plywood was a decision to choose for a lighter material, combinations of colours added a layer of drama with the form. Sachin Desai The artist was approached by the designer through the experience in past projects. The artist runs a experential graphic design studio. The initial focus was on creating an introductory space panels showcasing work. The artwork was developed out of the process of documenting as a spatial intervention.

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c.3

Deductions & Conclusions

SPACE

Artwork 1

Artwork 2

Sense of Entry

An open space for a pause before advacing towards an activity, allowing time for observation.

The transition from the meeting zone to the display zone happens through the artwork.

Orientation

The atrium is a four sided void with three sides covered with glass for visual connect and the tilted wall on the back as a backdrop.

The space opens up into the display area towards the posterior side of the building creating space for the installation at the entry.

Time

The art and the elements in the space are contemplation tools that are noticed while using the space for transition. For a longer duration, the space is added with drama through the suspended installations. The play between the transparent, translucent and opaque surfaces is used to frame the artwork

The structural grid of the walls and columns suggests the placement of the artwork.

The circulation on the ground floor is channeled under the atrium. On the upper floors, circulation happens around the atrium

The circulation happens through the artwork while entering the display and arounf it while leaving the space.

Furniture

The furniture in the waiting area allows a view of the artwork from different angles. As well as one gets a view from the reception.

Artwork 2 is supported by the contextual furniture for awards and trophies which is also not obstructing the view of the installation.

Connectivity

The connection with the outArtwork 2 faces outwards, but side for the artwork 1 is limitsince the display zone is near ed to its co-relation of the lanthe dead end of the street, its guage of the scuplture placed not visually accessed. outside. Both the installations are placed in open and connected areas that makes it accessible to a larger crowd.

Surfaces

Circulation

Spatial & Visual

The materials are a mix of opaque and translucent finish. The metal compositions with bright and dull colours.

The solid white acrylic with the reflective mirror are translations of the surrounding materials into art forms.

Colour Palette

The palette of colours that is neutral but towards a greenish blue give a formal feel to the brighter colours of the installation at the entrance.

The space merges with the mirror reflecting the same colours, while the white floating planes appear at some places.

Natural Light

Brighter areas have more public activies

Articial Light

Spot lights are used to focus on the artworks from the ceiling.

Material

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Art

Artwork 1

Artwork 2

Context

Placing the artwork in the atrium connects the floors vertically. the atrium is centrally located which makes the artwork accessible from the quasi-private areas.

Placing the installation in the display area emphasizes the inclination of the company towards projecting a certain identity through their work

Content

The metal and plywood installation with the colours and finish compliment the surrounding. The form with sharp edges and curved surfaces stand apart against vertical walls.

The artwork is a composition of solids and planes suspended in air which is an abstraction of the built form. The installation is floor height with its visibilty maximum at the eye level, bringing the visitor towards the display area

Intent

Art as Experience

Art as Identity

The artwork is an abstraction of a bird or a kite floating in the space. The well lit atrium connecting all the floors also creates a sky -like feel for the installation.

The abstraction in the form of an artwork symbolises the building. It creates a strong identity for the company and can be seen as a form of branding.

The installation creates a dialogue with the surrounding space by its dynamic interaction.It connects the floors vertivally. The juxtaposition of the form in the plain atrium is a strong comment on the flamboyance of the space.

The installation creates a sense of curiosity when viewed from the entrance, bringing the viewer to the display area. The placement creates circulation around the space and the reflective mirror elaborates its impact on the space.

Influence

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c.4

Space without Art

Artwork 1

Suspended installation from entrance atrium.

The atrium connects the building vertically and the moving installation adds a drama to it.On entering, the glimpse of the installation takes the attention upwards.

The atrium is seen as an empty void, or a vieweing gallery.

The architectural tones of concrete are seen against the contrast of the slant green wall.

Without the artwork, solid surfaces are accentuated, making the interior visually blank.

Artwork 2

Mirror installation in display area.

The display zone is visually busy with panels, surfaces, text and imagery.

The absence of the artwork directs the focus on the walls without any interruption.

The artwork placed on the podium creates a circulation around it.

The viewer directly gets oriented towards the panels.

The intent of replacing models of projects with a creative installation representing the companyâ&#x20AC;&#x2122;s work justifies the presence of the installation. 130

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Conclusion 133

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Conclusion This study was an attempt to dissect the process of commissioning art in a corporate project by understanding the space that is designed for art, the art that inhabits or integrates into the space and the interaction that takes place for the two to come together. The painter Mondrian spoke of the possible ‘dissappearance’ of art. He believed, reality would inreasingly displace the work of art, which was essentially a substitue for an equillibrium that reality lacked at present. ‘Art will dissappear as life gains more equillibrium.’(Fischer) He further looked at art as a ‘life substitute’, as a means of putting man in a state of equillibrium with the surrounding world. Ideas contain a partial recognition of the nature of art and its necessity and a perpetual equillibrium cannot be expected to exist even in the most highly developed society. This study was an attempt to answer questions founded on the conviction that art was not merely necessary in the past but will always remain so. Art is the indespensable means for merging of the individual with the whole. This comes from mans dissatisfaction with being a seperate individual. He wants to refer to something that is more than ‘I’, something outside and yet essential to himself. Art, thus reflects his infinite capacity and ideas. Association of man with art is an answer to why we identify oneself with a painting, or a piece of music, or with the characters in a novel, play or film? The notion of placemaking through art is witnessed in the second case study, where a public atrium, in a multi-use corporate office, creates a sense of belonging through an artwork in the corner of the wall. The intent of the artwork to create an identity, or impart an experential quality have subjective results. Art in India is believed to be only for the intellectuals of the society, who can understand and value its true worth. Through more public initiatives to incorporate art and culture into the day to day activities of our lives, people have begun to identify its need and impact. When seen in the context of the corporate culture, art gets into the close proximity of the world of business, where everything is looked upon as a commodity and a profit making venture.

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Artists, on the other hand have the responsibility to create works of art that grip the audience not through passive identification, but through an appeal to reason which demans action and decision. Karl Marx, in his theory of art said, “But the difficulty is not in grasping the idea that Greek art and epos are bound up ith certain forms of social development. It rather lies in understanding why they still constitute as a source of aesthetic enjoyment and in certain respects, prevail as the standard and model beyond attachment.” Experience

Memory

seize, hold, transform

Expression

Form material

The 20th century New York focused on building architectural icons for corporates, decking the skyline of the city. It saw a gradual shift from the architecture to the interior in the form of highly ornamented lobbies like the Empire State building, to increasing the market value of the company through a Picasso in the foyer. This shift is now being seen in India. In ahmedabad, where the focus of this study lies, the large corporate businesses have a large role in promoting art with their financial support as well as the opportunities they create through their work environments.. Apart from the hospitality industry, these corporate buildings have become a hub to creative dispositions. Art has become a means to create a brand value of the building, an incentive for a buyer to invest in a ‘good-looking’ place. This act, in the capitalist age is subjected more and more to the laws of competition. The idea of doing it bigger and better has brought about such initiatives to the front line of businesses in Ahmedabad. In hindsight, art in these corporate environments sticks to a very limited purpose; to create brand identity and to impart a ‘feelgood’ experience, though it serves a larges purpose of exposing the viewer to art and its impact, if noticed. The practice of commissioning art in corporate projects is a cohesive decision making process between the three parties, the client, the designer and the artist. In most cases, the designer is the intiator who gives incentive to the client to invest in art through design. Art consultants also have started to get involved in decision making processes where an expert opinion is necessary. On studying the case studies, as well as other reading material, it is observed that the conception of a project to the construction stage has been divided and distributed into sub fields, where expertise is of prime importance and involvement is temporary.

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For example, in the case of Bsafal corporate house, the architect only played role in making the outer shell. The interior designer worked on the spatial interventions and interior decisions. The art consultant dealt with the atrium space and designed the artwork. The environmental designer only focused on the signages and graphics. Thus, each of the tasks are divided and carried out individually by professionals and are coordinated usually through the designer. Here, the command stick is no longer in one persons hand. In all, the practice of commissioning artwork in a corporate space is seen as a win-win situation for all the concerned individuals or group of people. The owner or client commissioning the artwork is in benefit of have an increased market value, aesthetic appeal and brand identity for their project through the artwork. The designer incorporating the artwork in the design achieves the dialogue between the art and the space that binds the design. This can also be seen objectively, as not all art performs in the desired way, in which case, the artwork and the evaluation of the space becomes a measure to evaluate the design process. The artist benefits as a platform to showcase his/ her work is achieved, a means to deal with the space through his/her work of art. At an ideological level, the artwork is a manifestation of the artistâ&#x20AC;&#x2122;s idea that are put to display. It becomes the role of the artist through the artwork to communicate his thoughts, beliefs and ideas and reach to an audience and impact them in ways that are subconscious,yet deeper. The audience or the observer are recipients of creative triggers through art in work environments. A visual treat of a going to a place that makes one feel good is the be-all-end-all for the working man. For an invester or buyer, it is a similar benefit as the promoter with the satisfaction of investing in a place with a good value and brand. The practice of commissioning an artwork is not a single-line process. The back and forth of ideas during this process can generate a more satisfactory result for an artwork which is a long-term investment in the space. Hence, the design briefs are the most important as they set the process in a desired direction. The most important aspect of this process is the will and vision to bring in the intuitivity of art into a space, and to allow it to interact and perform. The intent of the study was to objectify this dialogue, to extract the essential parts and place them out for evaluation.

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List of Figures

Cover Page Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 Figure 16 Figure 17 Figure 18 Figure 19 Figure 20 Figure 21 Figure 22 Figure 23 Figure 24 Figure 25 Figure 26-32 Figure 33,34,35 Figure 36 Figure 3 Figure 38 Figure 39 Figure 40 Figure 41 Figure 42 Figure 43 Figure 44 Figure 45 Figure 46 Figure 47 Figure 48 Figure 49 Figure 50 Figure 51 Figure 52 Figure 53 Figure 54 Figure 55

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Undergraduate Thesis in Interior Design

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Undergraduate Thesis in Interior Design