Studio Dossier _ The BIG Re-Think | Interior Techniques in Interior Design Practices

The BIG Rethink

Course Dossier

ID 4010 | L4 Studio Unit

Interior Techniques in Interior Design Practices

Master Tutor: Prof. Kireet Patel Tutors: Rishav Jain Aparajita Basu Assistants: Shail Sheth Paramdeep Singh Dayani

Master of Interior Design Monsoon 2020 Faculty of Design CEPT University 1

Course Dossier

The BIG Rethink : Interior Techniques in Interior Design Practices ID 4010 | L4 Studio Unit

First Edition: 2021 This is an academic publication outlining the details of postgraduate L4 studio units conducted for the students enrolled in Mater of Interior Design for academic year 20202021.

Content: Paramdeep Singh Dayani Shail Sheth Design: Rishav Jain Shail Sheth All rights reserved. No part of this book may be reprinted or reproduced in any form, including photocopy and recording without the permission in writing granted from the publishers.

Copyright: Faculty of Design, CEPT University

Master Tutor: Prof. Kireet Patel Studio Tutor: Rishav Jain and Aparajita Basu Assistants: Shail Sheth and Paramdeep Singh Dayani Master of Design (Interiors) Monsoon 2020 | Faculty of Design CEPT University

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The Team

Post graduate courses at Faculty of Design, CEPT University Master of Design (Interiors) 23 students

Master Tutor: Prof. Kireet Patel

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Group A:

Group B:

Rishav Jain Shail Sheth

Aparajita Basu Paramdeep S Dayani

Aashna Chheda Apurva Pandey Ayooshi Jain Dhyey Chag Harsh Barua Ishita Sahai Jhanavi Parikh Shagun Gupta Shiva Shishodia Shivani Vijay Sucheetra Pradhan Vishakha Soni

Devika Unnikrishnan Hithasini Rajagopal Isha Goel Mayuri Gohil Namraota Jain Prachi Jindal Sanjana Sreedhar Shruti Kohli Siddharth Srikanthan Sri A Uttara Haridas

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Master of Interior Design

Premise

Master Tutor: Prof. Kireet Patel Studio Tutors: Rishav Jain and Aparajita Basu

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Assistants: Shail Sheth and Paramdeep Singh Dayani

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Primary Approach: The primary approach of the studio is to present a systematic application of the developed arguments in a design context within multiple sites and multiple programs. Module 01 is conducted with a structured way of explorations, while the module 02 will be an opportunity to develop an individual design position for a selected context (site/program).

Brief Outline:

Module

Through this studio, the intention is to develop a multitude of arguments with reference to interior techniques and how it has implications with the way interior design is practiced.

Projects

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The studio offers an opportunity to develop a design position in a given design context

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The studio emphasises the relationship between Interior techniques and the practice( expressions, identities and design outcomes).

Learning Outcomes:

Medium of Representation

After completing this studio unit, the student will develop the abilities to: • Ability to develop a systematic argument/position/ approach on the interdependence between interior techniques and practice.

• Ability to translate/represent the design argument/ position/approach through 3- dimensional and material based outcomes.

• Ability to organize and evaluate the programmatic and pragmatic potential of derived design position.

• Ability to build a design vocabulary and test it through the selected context (site/program) 6

(As per the studio proposal*)

Argument

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Roles

Course Overview

Content

Master Tutor: Prof. Kireet Patel Studio Tutors: Rishav Jain and Aparajita Basu

0. Introduction to PG Foundation Program

Assistants: Shail Sheth and Paramdeep Singh Dayani Through this studio, the intention is to develop a multitude of notions/approaches/positions/arguments with reference to interior techniques and how it has implications with the way interior design is practiced.

The studio offers an opportunity to develop a design position in a given design context through questioning various notions of interior techniques and its implications on the practice.

The studio emphasizes the relationship between Interior techniques and the practice( expressions, identities and design outcomes). The studio is largely divided into two modules: module 01 builds an argument and questions the notions of interior techniques and module 02 intends to develop a systematic approach to the application of the argument in a selected design context.

A. The Team B. Master in Interior Design Course overview C. Structure of the Studio

1. Foundation Program

A. Objectory B. Factory

2. Introduction to the MID Foundation Studio A. Generating an Argument B. Representing an Era C. Representing Standardization D. Representing an Identity

3. Generating an Argument 4. Representing an ‘Era’ 5. Representing ‘Standardization’ 6. Representing an ‘Identity’ X. Portfolio and Exhibition 2020 Links

The primary approach of the studio is to present a systematic application of the developed arguments in a design context within multiple sites and multiple programs.

Module 01 is conducted with a structured way of explorations, while module 02 will be an opportunity to develop an individual design position for a selected context (site/program).

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Structure of the Studio

Objectory and Factory

Foundation Program, 4 weeks

Week 01-04

Generating an Argument

Role 1

Role 2

Module 1, 1 Week

Week 05

Role 3

Module 2, 10 Weeks

Week 06-07

Week 08-10

Week 11-14

Project Type: Adaptive reuse of an existing historical site

Project Type: Standardized typical office floor plan

Project Type: Independent design project with no predetermined site context

Understanding Formal qualities and Perspective lines

Defying - Defining

Output type: Sectional Perspectives, Isometric and Axonometric Drawings

Output type: Photomontage

Focus on organizing and planning

Output type: Plans, sections

Focus on making and detailing.

Focus on experiential and ephemeral qualities

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MID MFD MBPS

Week 01-04

Foundation Program 12

Objectory and Factory

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Week 01-02 | FD PG Common Exercises

Objectory Brief: Objectory is a method that puts the object first. The exercise is an opportunity for designers to experiment with processes and question what happens when the design process focuses on a designed object instead of finding a problem. The exercise aims to develop a methodology to identify, list, and analyse objects by dismantling its parts and components. The final deliverable should demonstrate precision by way of observing and representing.

The study of tolerance is by way of identifying the materials and assembly of parts, and accuracy by way of exploded axonometric/ isometric drawings.

Learning Outcomes: At the end of the exercise, the student will be able to: • Apply the concept of precision, tolerance and accuracy in reading and representing the object.

• Identify and list the components of objects through exploded Axo/Iso drawings and diagrams.

• Identify and list materials with their specifications used in each part and its components.

• Analyze the relationships between shapes, sizes, dimensions, geometry, and assembly of parts and components with technical orthographic drawings such as plans, sections & elevations.

Specifications for Object selections: Select 3 palm-sized objects that have at least 10 components.

An indicative list of the objects is given below, this is just for reference and not the exhaustive list, you may bring any other object as well which has at least 10 components.

Types of objects: Mechanical tools / objects / devices / products, Mechanical Toys, Kitchen equipment and appliances, Small foldable/collapsible furniture , Hardware Garage and gardening equipment , Mechanical stationery 14

products and any other such accessories/products.

Methodology: • Dismantle the selected object using the appropriate tools.

• Explore, organize and document the parts of their objects as per the sequence of the assembly.

• Use isometric/ axonometric drawings and photographs to record, document and identify assembly and parts of the objects.

Tools for conducting the exercise: • For dismantling: such as screwdriver set, spanner, set of pliers, hex key, etc depending on the selected object.

• For measurement: such as steel scale, triangular scale, measuring tape, Vernier callipers, micrometre screw, gauge, pitch measure etc.

• For drawing: Prepare process journal by using axonometric or isometric grid paper for drawing exploded diagrams/drawings, tracing papers and drawing tools, etc.

Evaluation Criteria: 1. Technical information represented through drawing, dimensioning and labelling of the components and its parts.

2. Technical aspects include geometry, construction, structure and numerical information about all parts of objects.

3. Accurate derivation of shapes and forms through drawing of construction lines.

4. Legibility of all types of lines including construction lines, axial lines, object lines, section lines, hidden or dotted lines. (The overall visibility of the sheet from an appropriate distance is of utmost importance.)

5. The drawing must include scale, mention of material and its manufacturing processes.

6. Photograph of the dismantled object in relation to how it is assembled.

7. Submission of the process journal.

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Student Outputs

Eyelash Curler - Shruti Kohli (PID-20336) Glue Stick - Aashna Chheda (PID-20002) LED Light Bulb - Shagun Gupta (PID-20315) Piezo Electric Lighter - Prachi Jindal (PID-20242)

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Student Outputs

Brass Sancha Machine - Hithasini Rajagopal (PID20131) 3 Pin Plug - Shiva Shishodia (PID-20319) Chakli Sancha - Apurva Pandey (PID-20060) Fountain Pen - S.Siddharth (PID-20340)

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Week 03-04 | FD PG Common Exercises

Factory Brief: A factory is a place where materials are processed and transformed with precision, accuracy, and tolerance for assembly. The exercise revolves around exploring the ideas of the frame, detail, assembly, tectonics, material as a central core of making. This exercise imitates a manufacturing environment where the process of making starts with a well-planned strategy. The concepts related to each of the terms are described below with reference to Eclker James’s discourse from his book, Language of Space and Form.

Frame: • An assembly of linear elements meant to bind, support, or contain.

• The frame is Tectonic element reliant upon assembly to create space, as opposed to the mass, which can be a part of an assembly or make space through carving.

As a component of the tectonic assembly, the frame is the primary means of joining or linking. It can be connected to other elements in innumerable ways.

• The frame can physically structure forms as a system of support for other tectonic elements, or it can structure space and physically manifest an organizational system.

• Of the tectonic elements, the frame has the greatest diversity of roles in a composition, and therefore the greatest number of possibilities for the generation of space

Learning Outcomes:

Detail:

At the end of the exercise, the student will be able to: • Use workshop tools, equipment and machinery systematically, with all requirements of workshop discipline, such as safety.

• Give shape and dimension to the given materials.

• Identify and use appropriate fixing hardware and accessories.

• Identify applied forces acting on the object.

• Develop awareness of the inputs of ‘making’ Design process, such as parameters.

• Manipulate and apply the act of assembly as a predominant function of the design process.

• The detail is the smallest design component.

• The act of detailing is the process of design devoted to this minute consideration of an object.

Assembly: 1. “the act of assembly is the predominant function of much of the design process 2. When an assembly is viewed as a generative device, the act of making becomes an outline of spatial conception and vehicle for discovery 3. As in the narrative, joining two elements to imply a volume can begin a design

Tectonics: • The Greek tektonikos was used to refer to anything pertaining to building-both the structure or the act.

The word’s root, tekton, meant “a builder” or, more specifically, “a carpenter”, who would create things by joining.

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Material:

Stages of exercise:

• Material is the substance of an object.

• Both material and materiality should be taken into consideration throughout the design process.

• The characteristics of material will determine the techniques that can be used to manipulate it as well as forms that it can successfully achieve.

• Characteristics such as rigidity, opacity and thickness are determining factors for both construction and interaction.

1. Shape and dimension the given materials to make a “FRAME” of 350 X 175. The details and their techniques, used in the assembly of the frame should prevent any kind of deformation that may be caused due to any external dynamic forces.

Making: • The act of making enables ideas to become manifest in space and form.(…)It is a part of the process of discovery and the method for design enquiry.

• Making is haptic.

Maker: The maker and the object to be created are tied together by an intimate relationship which does not disappear at the conclusion of the production process.

This relationship can be described in different ways, in each case inseparably connected to the nature of the production process itself. (Perspecta 24 The Yale Architectural Journal)

2. Deliverable: A completed frame I Friday 14:30 3. Use remaining materials with appropriate workshop techniques, such that frame extends into a volumetric dimension. The extent of the object volume should remain within 470 x 260 x 210.

4. Design the junction for placing / to suspend 1kg of weight to shall be added to the assembly.

5. Support the whole object on a single point, such that it resolves the instability created by added weight to the assembly.

Material list: • Wood- 75 x 40 x 600 • Wood- 40 x 40 x 750 • Metal- M.S. Sheet- 600 x 150 (18 gauge/1.2-1.5 mm thk) • Perforated MS Sheet- 600 x 150 (18 gauge/1.2-1.5 mm thk) • M.S./G.I rod- 10 dia & length of 600; M.S. L-angle of 25x25x300 *Note: All dimensions to be considered in mm.

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Student Outputs

1. Palak Bhargawa (PFD-20232), Priti Trivedi (PBP-

1. Priyanka Mundra (PFD-20263), Sachin Srikanth

20259) and Mayuri Gohil (PID-20198)

(PBP-20297) and Shagun Gupta (PID-20315)

2. Hithasini R. (PID-20131), Jyotsna Sunil (PFD-20157)

2. Vani Janga (PID-20389), Vishakha Soni (PID-

and Karthik V. (PBP-20163)

20399) and Uttara Haridas (PID-20383)

3. Prachi J. (PID-20242), Prachi S. (PFD-20243) and Virti S. (PFD-20398)

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Student Outputs

1. Vani Janga (PID-20389), Vishakha Soni (PID-20399) and Uttara Haridas (PID-20383) 2. Hithasini R. (PID-20131), Jyotsna Sunil (PFD-20157) and Karthik V. (PBP-20163) 3. Namraota Jain (PID-20215), Harsh Barua (PID20124) and Priyanka Tamilsevan (PID-20266)

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MID

Week 05-16

The BIG Re-Think : 28

Interior Techniques in Interior Design Practices

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Week 05 | Module 01:

Week 06-07 | Module 02 | Role 1:

Generating an Argument

Representing an ‘Era’

Week 05

Week 06-07

Stage 01: Classification of projects and creating a framework of selection

The exercise begins with your understanding of what an Interior technique is, by examining various built projects and identifying the ones that have the potential to be taken up further for study.

Each student is expected to select a few projects that are worthy of discussing given its merit of interior design practice. The idea is not to merely describe a project but to critically examine the core key values of decisions taken by the designers and how that falls into your narrative of an Interior technique.

Historical practices through a project representing an ‘era’:

In this exercise, students have to work on images of the given sites. Students have to select any one site and represent the idea for their argument to create an exhibition space for 15 machines

by Leonardo da Vinci. They will make photo collages or montages, draw over the images and add the necessary information to convey the details of the design. The focus of this exercise is to develop the argument, which they came up with, in the previous exercise as a basis for their approach to this project.

Stage 02: Deriving an argument through a “framework of study”

Once all the 9 projects are analysed through a set of parameters and individual arguments are generated; put them in a “framework of study”. Some projects could get replaced to strengthen the final standpoint, and preliminary arguments can be adjusted to arrive at the larger theoretical standpoint. The final framework will help prioritize the kind of relationships that exist between practice and production. During this stage, students need to look at each project individually first to decode the approach of the designer which then can be used as a base to formulate and refine the final argument.

Stage 03: Developing the Argument

To form a basis of one’s theoretical position on current practices, it is necessary to carry out an extensive analysis of a chosen set of examples. This process of analysing various interior projects in the setting of a historical era, a standardised context and with a unique identity is understood through considerable complexity and a variety of thought processes.

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Week 08-10 | Module 02 | Role 2:

Week 11-14 | Module 02 | Role 3:

Representing ‘Standardization’

Representing an ‘Identity’

Week 08-10

Week 11-14

Current modern practices through a project representing ‘standardisation’:

Collaborative practices through a project representing an ‘identity’:

Propose a solution as a critique of the practice of Interior Design using the argument derived by you, within a context/site that has been actualised out of a need for standardization. The role of the interior designer needs to be seen where space has been transformed using the transformable qualities of the space.

The idea of this project is to test the corrected, improved and evolved argument in the given site context. The project involves planning the space such that the argument about the interior technique transforms the given space. The focus of this exercise will be organization and planning. Organization and space planning involves the systematic laying out of space-making elements. Considering that some arguments and design intents involve an array of elements, while the rest require volumetric explorations - this exercise intends to discuss the ideas of zoningplanning and organizing as key tools to developing an interior language.

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Propose an evolution of your project, by carrying forward your current design retaining its character but without the standardisation context. Propose a solution by creating and representing an Identity of the project of an Interior Designer depicting the argument derived by you, without any restrictions of a site for the best opportunity to generate an identity.

The idea of this project is to identify a design language in terms of experiential and expressional quality of the space. The project involves evolving the planning of the space such that the argument about the interior technique transforms the given space. The focus of this exercise will be to detail out the space to attain the required experience and develop a representation style best suitable for it. The detailing and presentation of the project will be shown as a whole (i.e. sectional perspectives and exploded views) where the understanding of the project extends from the construction to experience of the space and presentation of the elements of the space making.

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Week 05 | Module 01:

Generating an Argument Week 05

Stage 01: Classification of projects and creating a framework of selection The exercise begins with your understanding of what an Interior technique is, by examining various built projects and identifying the ones that have the potential to be taken up further for study.

Each student is expected to select a few projects that are worthy of discussing given its merit of interior design practice. The idea is not to merely describe a project but to critically examine the core key values of decisions taken by the designers and how that falls into your narrative of an Interior technique.

These selected projects are to be seen side by side in a matrix, with their methods of interior techniques, that which modify, alter, conceal or expose an interior space. These methods can be identified from interior elements, medium/material and articulation in the whole or part of the project chosen. These projects should be selected based on the ‘role of interior designer’ across a multitude of projects: a) Historical /era centred project, b) standardised mass customised project and c) individual identitydriven projects. Arguments can be built by looking at the same methods across the projects, and various methods within the project. This would then lead to a Master argument. By doing so, one would attempt to decipher the meaning embedded in the design and detail of the selected projects.

Student Output: • Create matrices with analytical drawing, sketches and diagrams.

• Multiple A3 Matrix(s) Learning Outcome: • Ability to make analytical drawings • Ability to identify interior techniques in a given design project.

• Ability to decipher the role of interior designer in a set of interior design practices.

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Stage 02: Deriving an argument through a “framework of study” Once all the 9 projects are analysed through a set of parameters and individual arguments are generated; put them in a “framework of study”. Some projects could get replaced to strengthen the final standpoint, and preliminary arguments can be adjusted to arrive at the larger theoretical standpoint. The final framework will help prioritize the kind of relationships that exist between practice and production. During this stage, students need to look at each project individually first to decode the approach of the designer which then can be used as a base to formulate and refine the final argument.

Student Output: • Derivation of argument through case study and analysis Learning Outcome: • Ability to construct an argument and develop a theoretical position

Stage 03: Developing the argument, Framing the title of the argument and writing an abstract To form a basis of one’s theoretical position on current practices, it is necessary to carry out an extensive analysis of a chosen set of examples. This process of analysing various interior projects in the setting of a historical era, a standardised context and with a unique identity is understood through considerable complexity and a variety of thought processes. After analysing various material techniques and Interior techniques from all three given categories of the selected 9 projects, in their domain.

It is necessary to try and find the common thread between these analyses of various design attributes and techniques. One needs to now extract an argument/ statement of how you as an individual designer looks at the practice of Interior design. These arguments/ statements are supposed to be specific to each individual as each designer approaches a design problem in their unique way. The argument may start by summarising

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Student Outputs the analysis in around 300-500 words. But then it needs to be made more precise and universal by reducing it to 150 words and then finally to an argument/statement of 30-50 words.

Student Output: • An argument based on the case studies reflecting their take on the role of Interior techniques.

Learning Outcome: • Ability to write an argument and convey it through an essay.

1. Ishita Sahai (PID-20139) 2. Mayuri Gohil (PID-20198) 3. Apurva Neeraj Pandey (PID-20060)

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Presentation Slide

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Introduction Humans can mentally create and imagine three-dimensional spaces. Visual representation ultimately serves to bring an idea out in the open to allow others to experience it.

What was once achieved through pen and paper can now be done with computers and virtual reality. One of the media of representation born of the constant change in technology and schools of thought is the photo collage.

The principle of this technique is a combination of fragments of different images, pieced together to create a whole.

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Week 06-07 | Module 02 | Role 1::

Representing an ‘Era’

Exercise Brief

In this exercise, students have to work on images of the given sites. Students have to select any one site and represent the idea for their argument to create an exhibition space for 15 machines

by Leonardo da Vinci. They will make photo collages or montages, draw over the images and add the necessary information to convey the details of the design. The focus of this exercise is to develop the argument, which they came up with, in the previous exercise as a basis for their approach to this project.

Week 06-07

The Premise

Exhibition: Dream machines by Leonardo da Vinci 15 Dream machines designed by Da Vinci need to be exhibited.

Three sites have been identified as historical sites representing an era, for this purpose. Use your argument for the interior technique, and photo collage or montage as the representation technique to visualize the exhibition.

The Sites

Student Output

5 Photo-montages/Collages representing design with respect to their argument about Interior techniques.

Learning Outcome

• Ability to understand the interior techniques with respect to the chosen historic ‘era’.

• Ability to represent their ideas as visual rhetoric by using photographs and overlaying their design over it.

Exhibition: Dream machines by Leonardo da Vinci • Millowner’s Association Building, Ahmedabad, • Udaipur City palace, • Ruins.

Focus

Visual Representation

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Student Outputs

Harsh Barua (PID-20124) 44

Hithasini Rajagopal (PID-20131) 45

Student Outputs

Ishita Sahai (PID-20139) 46

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Student Outputs

Shagun Gupta (PID-20315) 48

Isha Goel (PID-20137) 49

Student Outputs

Sucheetra Pradhan (PID-20360)

Uttara Haridas (PID-20383) 50

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Sri Sailesh (PID-20356)

Mayuri Gohil (PID-20198) 52

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Shagun Gupta (PID-20315)

Mayuri Gohil (PID-20198) 54

Uttara Haridas (PID-20383) 55

Presentation Slide

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Week 08-10 | Module 02 | Role 2:

Representing ‘Standardization’ Week 08-10

The Premise

Exhibition: Dream machines by Leonardo da Vinci 15 Dream machines designed by Da Vinci need to be exhibited.

A site has been identified for this purpose which has been designed out of a need for standardization . Use your argument for the interior technique. This exercise will explore the use of orthographic drawings in the form of plans, sections as the representational technique. The representational style will be monochromatic.

The Site

7-8th Floor, Safal Profitaire, Ahmedabad

Focus

Planning and Organising

Exercise Brief

Propose a solution as a critique of the practice of Interior Design using the argument derived by you, within a context/site that has been actualised out of a need for standardization. The role of the interior designer needs to be seen where space has been transformed using the transformable qualities of the space.

Space needs to cater to two essential functions: • 15 Dream machines designed by Da Vinci need to be exhibited. (85%) • Additional space for selling/displaying/exhibiting/retailing books/souvenirs/artefacts. (15%) The idea of this project is to test the corrected, improved and evolved argument in the given site context. The project involves planning the space such that the argument about the interior technique transforms the given space. The focus of this exercise will be organization and planning. Organization and space planning involves the systematic laying out of space-making elements. Considering that some arguments and design intents involve an array of elements, while the rest require volumetric explorations - this exercise intends to discuss the ideas of zoningplanning and organising as key tools to developing an interior language. “ When a particular area: volume is characterised: it is zoning, When a particular area is utilised by certain quality: which are articulated and manipulated: it is planning: it is a relationship When a particular area is used for arrangement: it is a layout”

Constraints

No structural changes are permitted, such as removal of the main load-bearing components of the building.

Learning Outcome

Through orthographic drawings, the student will be able to, • Intervene at the level of visual changes to space through finishes, knowing the limitations of the orthographic drawings.

• Zone by demarcating volumes or areas as an advantage of the orthographic drawings.

• Plan by establishing relationships as an advantage of the orthographic drawings.

• Translate the argument into a proposed intervention or arrangement of elements using interior techniques.

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Student Outputs

Student Outputs • Approach to planning and organising the site context (reaction to the site - site excitements- approach to grid and structure) • Zoning- planning- organisational diagrams • Drawings: Plans and sections 1. PLAN - Represent 3 layers in 3 different colours in one layout 2. Layer 1 - Organising and planning of elements on the horizontal plane (floor level) 3. Layer 2 - Organising and planning of elements on the horizontal plane (ceiling level) 4. Layer 3 - Organising and planning of elements on the vertical plane 5. 4-6 sections Your proposal should include: • Visual change of space by using finishes • Civil additions, alterations or deletions. For slab cut-outs, only 20% of the slab area will be allowed.

• New proposed intervention demonstrating your interior technique • An additional program of a souvenir shop+bookstore which will not exceed more than 15% of the total proposed area.

Shruti Kohli (PID-20336) 60

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Student Outputs

Shruti Kohli (PID-20336) 62

Apurva Pandey (PID-20060) 63

Student Outputs

Apurva Pandey (PID-20060)

Jhanavi Parikh (PID-20150) 64

Jhanavi Parikh (PID-20150) 65

Jhanavi Parikh (PID-20150) 66

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Uttara Haridas (PID-20383) 68

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Sucheetra Pradhan (PID-20360) 70

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Shagun Gupta (PID-20315) 72

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Presentation Slide

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Week 08-10 | Module 02 | Role 3:

Representing an ‘Identity’ Week 11-14

The Site

Hypothetical site of no limits, which can be placed in the desired context best suited to the design/argument.

The Project

Displaying Dream machines by Leonardo da Vinci

Focus

Detailing and Spatial experience

Exercise Brief

Propose an evolution of your project, by carrying forward your current design retaining its character but without the standardisation context. Propose a solution by creating and representing an Identity of the project of an Interior Designer depicting the argument derived by you, without any restrictions of a site for the best opportunity to generate an identity.

The experiential and expressive properties/qualities/attributes of the design decision of an Interior Designer needs to be seen where space is occupied.

Space needs to cater to two essential functions: • 15 Dream machines designed by Da Vinci need to be exhibited. (85%) • Additional space for selling/displaying/exhibiting/retailing books/souvenirs/artefacts. (15%) The idea of this project is to identify a design language in terms of experiential and expressional quality of the space. The project involves evolving the planning of the space such that the argument about the interior technique transforms the given space. The focus of this exercise will be to detail out the space to attain the required experience and develop a representation style best suitable for it. The detailing and presentation of the project will be shown as a whole (i.e. sectional perspectives and exploded views) where the understanding of the project extends from the construction to experience of the space and presentation of the elements of the space making.

This exercise will explore the use of sectional perspective drawings and exploded views in the formulated representational technique.

Constraints

• Retain the existing/acquired language of the project translating the argument.

• The project still will be in an interior volume and not subjected to external natural elements.

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Learning Outcome

Through making overall 3D drawing (sectional perspective/ Exploded AXO-ISO) students will learn how to: • Define the envelope based on the Interior qualities of their intervention.

• Create their representational style best suited to their project highlighting the experiential qualities of the space.

• Create an Identity of the space without any constraints of the context and making it functionally optimal.

• Translate the argument into a proposed intervention or arrangement of elements using interior techniques.

Student Outputs

Set of Axonometric/Isometric drawings and Sectional perspectives representing their design with respect to their argument about Interior techniques.

Ayooshi Jain (PID-20078) 78

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Student Outputs

Prachi J. (PID-20242) 80

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Student Outputs

Hithasini R. (PID-20131) 82

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Student Outputs

Jhanavi Parikh (PID-20150) 84

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Student Outputs

Apurva Pandey (PID-20060)

Apurva Pandey (PID-20060)

Shivani Vijay (PID-20325) 86

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Ishita Sahai (PID-20139) 88

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Presentation Slide

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CEPT Portfolio website links: Click for Group 1: Rishav Jain + Shail Sheth (TA) Click for Group 2: Aparajita Basu + Paramdeep Singh Dayani(TA)

CEPT Winter Exhibition 2020 website links: Click for Group 1: Rishav Jain + Shail Sheth (TA) Click for Group 2: Aparajita Basu + Paramdeep Singh Dayani(TA)

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L4 Foundation Studio Master of Design (Interiors) Faculty of Design CEPT University