Semester 9: Contextualizing Interior Space Making

STUDIO BRIEF

Architecture, exterior or interior, can be considered to be a result of an appropriate response to a physical context which can be summarised as ‘Form Follows Context’. A deeper understanding would include ‘culture’. The studio will explore the interface between interior architecture and its ‘context’ in hospitality design. If the design of a hotel could showcase the context, it would be an enriching experience for the visitor, while boosting the local economy and preserving the local culture.

The understanding of “critical regionalism” is necessary since it will define the manner in which local architecture, interior and culture will be studied and reinterpreted. Hospitality design that references the local context has always existed but, a new genre was created when architects like Geoffrey Bawa and Kerry Hill designed hotels in Sri Lanka and South East Asia. The endeavour of this studio will be to ask how can architecture help make a visit memorable? For their final outcome, students will be asked to design the interior of designated areas of a hotel and to present their design in the form of 3D rendered images.

TABLE OF CONTENT

1. Concept..... Pg 4

2. Concept Translation..... Pg 8

3. Undersatnding Concept in Enchay Monastery..... Pg 12

4. Spatial Planning..... Pg 14

5. Reception ..... Pg 18

6. Restaurant and Bar ..... Pg 30

7. Spa ..... Pg 42

8. Rooms ..... Pg 50

Concept

Sikkim is a land of culturally rich stories and tales that travel around with you as you traverse the state. The Teesta River, in all its simplicity and calmness, follows you as you move from a city to another and only makes you wonder of the story of its origin and life.

The oral narratives have that the river was wholly and deeply in love with Rangeet, who is passionate and fierce and transcends from the same mountains. Once their courtship is accepted and blessed by the Mt. Khangchendzonga, the two rivers, in look out for individuality, diverge to their individual paths to meet as grown beings. Rangeet, while fiercer and speedier, is distracted by the guidance of its serpent while Teesta, more slower and calmer, reaches before its lover. This is bothersome to Rangeet and triggers a turbulence in the relationship. The mountains and mother earth intrude to calm down the disturbance that has been caused in the lives of the nature and the earthy people. The two rivers, have now reconciled at the Sangam point and flow together till eternity.

This project is a recital of the story of the two rivers. It intends to make the user experience the intangibles of the story by decoding the events and the characters into spatial attributes. The hotel designed is a manifestation of the plot following the basic principles of ‘the rising action’, ‘the conflict’ and ‘the falling action’. The functionality of the spaces have been understood as befitting the events of the story while the characteristics of the two protagonist rivers have been translated in the ambiance of the space.

Concept Translation

EVENTS

THE STORY

CHARACTERS

7 Events/Scenes protagonists

mood

setting theme tone narration heirarchy

Key Descriptions

1. Unease of access

2. Love and acceptance

3. Divergence

4. Distraction

5. Turbulence

6. Reflection

7. Reconcillation

Space planning translation

RISING ACTION CONFICT

FALLING ACTION

2. Rangeet River

characteristics

other characters

1. Mother Earth

2. Mt. Kanchenjunga

3. Earthly people

1. Teesta River calm, patient,warm The between passionate, fierce, agile landscape on site background guests

Interior ambience translation

falling action conflict rising action

falling action conflict

rising action

The Junction points are the points of the narration of each scene

Deviating movement for the user to create their own narrative

A central linear movement, representing the linearity of the story

Understanding concept phrases in Enchay Monastery

ENCHAY MONASTERY ELEVATION

ENCHAY MONASTERY PLAN

Spatial Planning

Concept zoning on the site

Planing Iterations

Final Masterplan with Roof

LOVE AND ACCEPTANCE

sculpture room

entrance foyer

reception and lounge

washroom

FOYER (in a warm cocoon

understanding love and acceptance in monastery built in-furniture looking inward

the thick built shelf the cocoon like interior space

solid walls with minimum openings

translating it in interior space

central fire place for creating

Amalgamation of built-in and loose furniture to manifest the charecteristics of Teesta and Rangeet

Use of Wood as primary material to introduce warmth and coziness in the space

amalgamation of built-in and loose furniture to depict the charecteristics of rangeet and teesta respectively

wood is used as the major material in the interiors to accentuate the feeling of warmth

Fabric is used as an accessory to bring in warmth

Sectional View AA

Sectional ViewBB

DIVERGENCE, DISTRACTION AND TURBULENCE

RANGEET RESTAURANT

TEESTA RESTAURANT

REFLECTION

therapy rooms

courtyard

reception, lounge, yoga

room and services

The square plan is divided into further symmetrical zones with internal points of reflection

The square plan is divided into further symmetrical zones with internal points of reflection

Internal courtyard is the primary point of centrality and reflection

monochrome coor palette to focus on the functional activity hence re-inforcing the idea of reflection

Courtyard in the centre as the central reflective point Therapy beds are focussed with one light fixture with the idea of centrality

Individual pockets with the idea of centrality

Spiral staircase for primary movement

Monochrome color and material palette t oachieve reflection

The central court reinforcing the idea of symmetry nd reflection

Spiral staircase t the opposite end of min entrance as a feature

Sectional View AA

CEPT University, Ahmedabad.

Saylee Jain

Contact number : 9899809444

Email : saylee.ug180559@cept.ac.in