Phenomena in Nature are Systems in Interior by Shail Sheth

Phenomena in Nature are Systems in Interior A comparative analysis of assembly approach between Interior systems and phenomena of Tree

Shail Sheth | UI3515 Under-Graduate Interior Design Thesis Guided by Prof. Kireet Patel

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: Shail Sheth (UI3515)

Date: May 8th, 2020

Signature of student:

The study is dedicated to the School of Interior Design , CEPT University and to the homo-sapiens who are inclined towards this aspect of design approach and knowledge !

Acknowledgments Firstly, I would like to express my gratitude and thanks to my guide, Prof. Kireet Patel (KP Sir) who has been a great inspiration and the one who made me look towards design and nature with a very different perspective through his discussions and guidance. His inputs, criticism and support made the path engaging as well as a memorable experience for my academic life. KP Sir’s eagerness and enthusiasm to learn and see things through the mind rather than the eyes which he effortlessly taught, helped me in every stage of learning and working. From ABC of XYZ to Tree and System, I am grateful to have you as my guru ! To Amal Sir for his deep insights and lectures of Applied Technology, which opened up different perspectives of design and practice. Vishal Sir and Kaulav Sir for their expert guidance and inputs on assembly system and processes which helped significantly in the entire research. To Keyur Sir and Megha ma’am, the learnings and understanding of design and practice which I got from you both as mentors had, helped me ever since after the internship at PVDRS. Anand Belhe Sir for his exemplary showcase of professionalism which showed how responsibilities can be managed without compromises. A big heart-full thank you and gratitude to Rajesh Sagara Sir for showing that there is art and design in each and everything, a person just needs to learn how to see. To Krishna Shashtri Ma’am, the Dean of SID for her warmth and motherly care to all of the students of SID, which made the place our own and made us children once again. KD Sir and Chandra Ma’am for their help whenever needed as well as being a backbone regarding academics or council related work. Thank You !! To the Batch of 2015, the last batch of SID and the first batch of FD, to all the fun time and the vivid experiences in the 5 years. To the entire CEPT University as a whole and each and every living being who directly-indirectly gave me different learnings which I will cherish for life. A thank you to all the juniors, seniors, faculty members and the non-teaching staff of CEPT. To the gang of Lights-Camera-Action which made all the pressurizing times easier with all the parties, dinners and outings and making all the happy times more enjoyable through a deep-rooted friendship amongst all. This would not have been accomplished with out Shikha Mehta, her constant support and belief in me made the challenging work easy to handle, fun and achievable. The discussions and brainstorming sessions along with her critics helped the study in each and every stage. Lastly to the most important people, mom dad and didi who have supported me through out the 5 years of the college life making my academics as smooth and trouble free as possible. Their support, trust and belief in me made me stick to the path and made me realize the important things in life. To the new extended-integrated family, Thank you Utsav bro, Aunty, Uncle and Ba for understanding and supporting through out. Once again, Thank you All !!

â&#x20AC;&#x153;The miracle is that the universe created a part of itself to study the rest of it, and that this part in studying itself finds the rest of the universe in its own natural inner realities.â&#x20AC;? - Scientist John C. Lilly (1915 - 2001) (PriyaHemenway, 2008, p. 22)

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Contents

Acknowledgments Abstract Research Questions Introduction to the Study Literature Review Methodology Significance of study Scope and Limitations

pg.12

1.0_ Interior-Architecture practice & Nature through Assembly system 1.1_ Evolution of systems for building 1.2_ Process to build 1.3_ Constituents of system

pg.24

pg.42

2.0_ Assembly system in Interior-Architecture practice & Tree (Nature) 2.1_ Understanding of Assembly in InteriorArchitecture practice 2.2_ Understanding of Assembly in Tree (Nature) 2.2.1_ Phenomena of Trees 2.2.2_ Application of the phenomena of trees 2.2.3_ Evolution in the manifestation of the phenomena of trees 2.3_ Application of Factors of Assembly in InteriorArchitecture practice 2.4_ Application of Factors of Assembly in Tree (Nature)

o 4 3

3.0_ Implication of the Theory 3.1_ Case Studies 3.1.1_ Agri Chapel 3.1.2_ GC Prostho Museum

pg.86

4.0_ Outcome of the Study 4.1_ Observations 4.2_ Synthesis 4.2.1_ Character 4.2.2_ Space-Planning 4.3_ Conclusion

pg.146

5.0_ Glossary 5.1_ Thesis Reviews comments

pg.174

6.0_ Bibliography 6.1_ List of Figures & Image Credits

Abstract The research inquires into the assembly process of the Interior-Architecture practice. The assembly process is categorized in the form of factors which impacts or plays a significant role in it. The evaluation of the outcome from the system of space is done through natureâ&#x20AC;&#x2122;s principles which are categorized as techniques for the systems in space. Nature in this study is looked at as technology and not just as form deriver. The research aims to look in the direction where the natureâ&#x20AC;&#x2122;s principles could be manifested into a technical approach for the assembly system. The study initiates with the need of an assembly system, and this directs to the factors and issues of its own which are also identified in the nature. The process points out the factors of nature which have been untouched, unexplored and unattended which can be an approach towards the systems in space. The inter-relationship is established through inferences by theoretical categorization of the factors in Interior-Architecture practice and Nature. This study will benefit and open-up the tangent for new perspectives for probable approaches of the interior systems and how nature could be used as a source. Factors: Fact/s which singularly or in combination with other facts results or impacts an outcome.

Research Questions Primary research question:

• How does the assembly construction of Interior-Architecture practice be impacted for optimization through attributes of Nature?

Secondary research questions:

• How

can the factors of assembly construction having least impact of nature’s attributes be changed? • How can a new probable approach be developed, of introducing phenomena of trees into the assembly system of InteriorArchitecture practice? • What and how can the factors be identified and affected for the assembly system of the Interior-Architecture practice through phenomena of trees?

Introduction to the Study In Interior-Architecture practice, one of the approaches is through systems. System consists of many sub-systems which are systems in their whole. The study focuses on the approach and the tangible form of the manifestation which is an amalgamation of the structural, functional and aesthetical needs of the interior space. The driving factor in interiors are human needs and to achieve that, the relationship between the technical design, cultural based atmosphere and sense of place should be in harmony. This arises the issues, needs and questions. For example technically focused interior design looses on the cultural significance and sense of place and vice-versa. This triad needs a source to answer those problems. Nature has always been the source of knowledge for the mankind in the various fields. In the field of Interior-Architecture practice the nature has been looked for forms and structure, but can nature be the source of techniques which can be applied in the interiors? Nature in this study is categorized into Visual and Technical aspects. Sourcing natural capabilities from the principles can be taken into consideration into the design process. Nature functions as a system and those functions are conducted by sub-systems which consist of their own subsystems and they work in harmony for specific purpose/s. The research inquires in the direction where the nature can aspire by its capabilities along with the source for optimum form derivation. The research identifies the factors in InteriorArchitecture systems which are untouched, unexplored and unattended in the respect of phenomena of nature which can be the source for the systems in interior. The study is conducted to find a newer perspective for probable approaches regarding the systems in interior, and how nature can be used as a source and how both can have a effect on the field on Interior-Architecture practice.

Technical design Human needs Cultural based atmosphere

Sense of Place

Fig.0.A Relationship triad impacting human needs

Nature

Visual aspects

Technical aspects

Attributes of the objects

Capabilities of the object

Literature Review Literature Review 1 Architectural System Structures: Integrating design complexity in industrialized construction (Part 1: System)

Strength

Author: Kasper Sanchez Vibaek

Architec -ture Functionality

Beauty

Fig.0.B Vitruvius three concepts of architectural theory

Literature throws light on systems of architectural theory and architectural systems through the wide range of topics from history of systems in architectural theory to the present industrialization of architectural practice. The author talks about the industrialized architecture saying that it does not proclaims a specific architectural expression or any specific architecture style and neither does it differentiates into new building typology. Industrial architecture as a field of research has the resultant outcome as an architecture but it involves the organization, production processes and their industrialization. It establishes assembly construction through industrialization of the building-that it is one of the ways to practice architecture-interior and construction simultaneously and the resultant outcome of this process.

Fig.0.C Section and plan of Pantheon, Rome

Rules of gravity

Integration Property of materials

1 single body of architectural knowledge

Fig.0.D Theory of Renaissance and Alberti

Talking about the Vitruvius’s architectural theory about the three concepts: firmitas, utilitas and venustas which are strength, functionality and beauty, this triad requires six principles: Order, Arrangement, Eurhythmy, Symmetry, Propriety and Distribution. British historian John Ward-Perkins observed the presence of this theory in nature of the building blocks in the Pantheon, Rome. (Vibæk, 2016) In theory of the Renaissance and Alberti there is an analogy found in nature and natural organisms of mathematical values similar to the relational standards of proportions of the Vitruvius theory. Vitruvius’s three basic concepts articulate an integration of the style, the rules of gravity and property of materials into one single body of architectural knowledge. (Vibæk, 2016) 13

“Product architecture is the assignment of the functional elements of a product to the physical building blocks of the product.” In order to reduce the complexity of a product (architecture), the different physical elements are assembled into a number of major building blocks that often are referred to as ‘chunks’. This division into a number of major constituent elements- the chunk- is often called modularization. Building, by definition is a complex system where many of its constituent elements or subsystems can be characterized as systems in their own right. (Vibæk, 2016) Literature Review 2 Components and Systems: Modular construction Author: Staib, Dorrhofer and Rosenthal Architecture is no longer dominated by a single system, but rather by a collection of systems with different technical standards that are combined to produce the built form. Each of these systems develops continuously in response to architectural, interior, technical and functional demands. Present day systems have little in common with the earlier ones; back then the principle was to produce as many identical elements as possible. Now in response to numerous different influences and requirements (energy, cooling, material efficiency etc.) and the newest technical possibilities in areas of design, production and assembly- systems are no longer discrete individuals but rather individualization is continued within a system. The building has become a complex arrangement of different systems. (Staib, Dörrhöfer, & Rosenthal, 2008) The system establishes the relationship between the elements through a geometrical organizational principle. The elements are structured through ‘module’ and the module becomes a basic dimension of a geometric 14

Literature Review

classification system. The position of the module and the dimensioning is through a geometrical system termed as Grid. Literature Review 3 The Evolution of Designs: Biological analogy in architecture and applied arts Author: Phillip Steadman The author discusses the relationship between the organisms (biology) and the architecture and art. The author discusses the theory by the Janine Benyus (2002) the three types of biological entity on which technology can be modeled: 1. Nature methods of manufacturers (chemical) 2. Mechanisms and structures found in nature 3. Organizational principles in the social behavior of insects and animals (Steadman, 2008) The author derives the triad to show the relationship between the Organisms, Mechanisms and Building:

Organism

Organisms as machine Machine as organisms

Organic analogy in architecture

Mechanism

Mechanical analogy in architecture

Building

Literature Review

Literature Review 4 Tree-inspired dendriforms and fractal-like branching structures in architecture Author: Lasef Md Rian and Mario Sassone The research paper looks at the nature as an inspiration which is combined with mathematics to realize structurally rational designs. The irregular non-Euclidean geometry of natural trees have now been possible to explain through mathematics by the concept of complex, non linear and fractal geometries. Fractal geometry studies the abstract configuration characterized by selfsimilarity patterns and recursive growth. (Rian & Sassone, 2014) The fractal geometry possesses the fundamental property of self-similarity in Biological, Structural and Mechanical. The contemporary dendriform architecture is studied for derivation of the minimal path finding in tension and compression. (Rian & Sassone, 2014) Literature Review: Inferences The literature reviews are divided into the parts where the first and second literature review talks about the building as a system and that it is a nested system (systems in system). The building is a composition of many subsystems to formulate one system as a whole. The subsystems can be differentiated and categorized. Within that, one of the subsystem is interior. The interior is a system and systems can be interior to formulate the space. The interior system can be looked at as a main system for specific context and relation and there is division of the subsystems under the bigger umbrella of interior systems.

Literature Review

The literatures points and identifies some of the factors which works as the principles and techniques for the system in the manner of approach, construction and performance. This arises the new problems and needs to look for a new source for the answers. The third literature review looks at nature and organisms and their mechanisms for the building and work of art. The literature establishes the relation between the organisms, mechanisms and their separate and homogeneous effect on the building and work of art. The fourth literature looks at the nature and the aspects taken from natural form and entity. The tree is looked at for its formation and the load transfer optimization. The literature talks about method of studying and using the tree formation through the fractal geometry to rationalize the concept rather than just being superficial at the form stage. The above states the lack of the exploration in the tangent connecting nature - interior. The study takes inferences from the literature reviews in order to situate the need of a research on the aspect of deriving a new approach towards the interiors. Systems in interior is considered an approach in the study which deals the interior constrains and needs in togetherness rather than by dealing in parts and it brings them together. The aspiration for the approach like this is taken from the nature. Nature in this study is looked at as a model and not just as a proportioning system and form deriver. Nature as model is sourced for the principles in it regarding structure and construction. The relation is established between the interior system, needs and principles of nature. The inferences are identified and evaluated according to the methodology is inspired from the literature review.

Literature Review

Methodology The research questions the factors of the interior design that plays the major role for an approach of an interior system. Literature studies situates the research topic and the need of a research on the specified tangent. It introduces the theories of system and approach for the system. Theories helps as a base work to validate and in derivation of the factors of the systems which becomes the lens of studying the examples (case studies). The case studies for the research are selected on the basis of the type of systems and the significance of the system/s in the project, scale of the interior systems and the approach from the initial design stage of the project etc. The case studies are analyzed for the parameters of the system which plays the major role in bridging the gap between the tree (nature) attributes and system of Interior-Architecture practice, the solutions for the problems in the design practice and the approach towards the interiors. A similar process will be used for the nature to find out the way those answers are manifested in what forms and through which way. The analysis will be done through qualitative research for both the cases and then those results will be quantified to find out the overlaps between them. The overlapping factors between the both will be identified and also, the factors that are untouched, unexplored and unattended. The factors which are evaluated through this process will be analyzed through the theories of nature and systems of interiorarchitecture practice. The components of nature and interior are co-related through inferences sourced from the both. The criteria for sourcing out the inferences are common problems and constraints, principles, etc. The inferences will be represented through a matrix/s of the components of nature and interior in respect to assembly system. The inferences are the ones which would be the coinciding points between the two. The 18

research takes those derived inferences as the frame work and as the way to how it can be used for derivation for newer perspectives for the probable approaches for the criteria and design issues.

Stages of construction of the system in Interior-Architecture practice

Least impacted stages

Manufacturing - Assembly- Execution of the system

Tree from Nature

Constituents of the Assembly system

Phenomena, Principles of tree

Constituents of the growth, progression and the assembly system of the tree

Framework from Theories

Effects

Case-Studies

Tangible effects

Intangible effects

Factors of Tree and Interior system

Observations -Evaluation Conclusion

Significance of the study The study contributes to the aspect of deriving a new perspective for probable approaches for the interior aspect through systems. The interior constraints and needs can be answered through the interior systems and those systems can be simulated through the principles of nature. The study would have significant impacts on the practice of Interior design in terms of systems approach for the design. This helps to open up a new tangent in the direction to how nature can be sourced and taken into consideration for the design needs.

Scope and Limitations Scope: • The study identifies the factors and components affecting the systems in interior. • The research considers the nature’s principles in relation to the structure and construction. • The study inquires into the unexplored, unattended and untouched factors of natures and interior in relation to systems. • The case studies are evaluated on the factors derived from the theories. • The inferences are identified through evaluation of comparison between the factors of nature and interior. • The inferences are the factors which are the medium to base the new perspective for the probable approach of the systems in interior. Limitations: • The study does not consider the functions and typology of interior spaces as a primary factor. • The study does not involve the interior services systems and functional systems as the focus of research. • The study is not focused on the geographical parameters of the project. • The study does not consider the nature’s factor of biomimicry as the focus area of research. • The case studies are not evaluated through the experiential factors of the interiors. • The study does not look, consider or directs itself in the segment of practices. • The study focuses on system approach and not on system thinking.

â&#x20AC;&#x153; Living in the world without the insight into the hidden laws of nature, Is like not knowing the language of the country in which one was born.â&#x20AC;? - Hazrat Inayat Khan (PriyaHemenway, 2008, p. 123)

Interior-Architecture practice and Nature through Assembly system Introduction 1.1_ Evolution of systems for building 1.2_ Process to build 1.3_ Constituents of System

Introduction Nature has been a resource to the mankind from prehistoric times in the form of materials, food, heat etc. Mankind, too looks at nature for answers and models to solve their own needs. In interior-architecture practice, nature has been the source of the materials pre-dominantly. It is also looked at by the practitioners for the answers and the method in which nature solves its own issues. As the technology and industrialization started to rise in 1800s, it started impacting the construction and building aspects. Gradually, the concept of prefabrication, manufacturing off site and constructing through parts on site began. This approach had its own design issues and needs and consideration of nature and attributes of nature impacted the process, approach and practice. In Interior-Architecture practice the approach of prefabrication and off-site manufacturing forced the building to be a system. This system can be broken into smaller parts/ elements which can be manufactured/ fabricated in isolation. They can then be brought together on site through different techniques depending on materials. The method is known as Assembly method which brings all the parts of the system together to perform as a whole. While this transformation was occurring, the technology was evolving simultaneously during the 20th century and it unearthed many other ways through which nature and its attributes can be sourced for the design use. One of the ways is Bionics, coined by Jack E. Steele in 1958. This method of looking at nature for the biological methods and systems which can be studied and be implemented into designing engineering systems and upgradation/ innovation of technology. In design process, the stage of execution and construction has significantly less impact of natureâ&#x20AC;&#x2122;s attributes in comparison to other stages of design process and as natureâ&#x20AC;&#x2122;s involvement in the design process is present, it can be directed through the use of bionic methods for achieving efficient assembly system and optimum construction techniques. 24

Fig. 1.A Mongolian bow constructed with birch frame, layer of horn, layer of sinew/bone which are held together through fish glue

Fig. 1.B The Iron bridge on the river Severn in Shropshire, England. The first off-site industrialized construction project

Fig. 1.C The Crystal Palace, England. One of the first interior-architecture standardized system construction

1.1_ Evolution of systems for building The driving force behind the inventions and innovations is the needs of mankind or a problem which needs to be solved. The time-line in the Fig. 1.1.B shows the projects and years which had a major impact on the evolution of systems in Interior-Architecture practice. System approach in the field of interior-architecture practice came into existence because of the material evolution and easily accessibility through the progress in the industrialization. The initial need for the system construction and pre-fabricated/ assembly parts arose in 1600s because of the geographical conditions and the reasons of wars, rapid development, mass colonization etc. Britishers at those time were colonizing the other parts of world and that raised a need for mass housing, faster development and easily constructible houses in the regions of Africa and Australia where there was a lack of building material resources.

Fig. 1.1.A Corrugated rolling machine, patent number 10399 (British) by John Spencer

In 1800, when the iron was processed and could be sourced according to the needs of standardized parts which were guided by the machines in industry. For example, the corrugated iron sheet had a restriction of size because of the machine present in the industry. These parts started showing up for architectural purposes in the field, as mentioned in the introduction of this chapter. Similar to the iron, pre-cast concrete development gave rise to modular construction and standardized strategies in the field, in the respect to mass housing and modular housing. These two materials along with the Modernist movement gave those materials, its form a sense of aesthetics and proportions. During the Modern movement, the projects discovered the potential of systems and the possibilities of aesthetics of construction, exposed structure etc. According to the chronological order in the time-line, the development during the Modern movement (1910-1965) was notably by the four main pioneers Walter Gropius, 25

Fig.1.1.B Time-line of evolution of system projects in the InteriorArchitecture practice

Nomad tribe, Tipis Assembly-Disassembly camel tents 1624, Wooden houses manufactured & made in England for shipping

late 1700 - early 1800, wooden houses shipped to Australia from England 1848, California Gold Rush Prefabricated houses 1851, Crystal Palace, England. Iron standardized structure and infill systems 1900, Houses development, mail order houses. Precut and site assembly operations 1908, Material development Precast concrete 1914, Domino house by Le Corbusier

1920, Walter Gropius Modular construction practice

1920, Citrohan house by Le Corbusier

1927, Dymaxion house by Buckminster Fuller

1929, Barcelona pavilion by Mies Van de Rohe

1.1_ Evolution of systems for building

1930, Development of copper cladding system by Walter Gropius 1933, Wichita house by Buckminster Fuller

1936, Johnson Wax building, Wisconsin, USA by Frank Llyod Wright

1942, Package house design by Gropius + Wachsmann 1945, Farnsworth, Illinois by Mies Van de Rohe

1949, Meudon house by Jean Prouve

1949, Charles + Ray Eames Residence

1967, The Habitat by Moshie Safdie

1968, Zip-up house by Richard Rogers

1970, Nagakin Capsule tower by Kisho Kurukawa

1971, Center Pompidou by Renzo Piano + Richard Rogers 1983, Yacht house by Richard Horden

2000, Dwell homes

2008, Home delivery by MOMA

1.1_ Evolution of systems for building

Ludwig Mies Van de Rohe, Le Corbusier and Frank Llyod Wright. The Domino house is built with configuration through predefined kit-of parts of pre-cast columns and flat slab with staircaseâ&#x20AC;&#x2122;s intermediate landing supported by the columns. This entire system results into clear floor plate with least hindrance of the columns. In the Citrohan house the configuration of column and flat slab results into volumetric changes of the interior space along with different type of spaces (open, semi-open and close). While Le Corbusier and Walter Gropius looked towards the modular construction system in isolation and as a bare minimum, and exposing the materials in raw form, Mies took a different approach for the standardized construction system. In the Barcelona Pavilion, the kit of parts are not site specific but the entire system only comes together because of the site (context). The 8 steel columns and flat slab make the enclosed space with glass and marble walls composing the space along with the two water-bodies on both sides. This entire local composition of walls inside the space and the global composition of all the elements of the building provides the aesthetics and desired qualities according to the architect. The system and kit of parts of Barcelona Pavilion was not just guided by the structural principles but also with aesthetical and visual perception of the users. Frank Llyod Wright, the American counterpart of the Modern movement included functionality in the structure in his Johnson Wax building project. The mushroom like concrete hollow column also functioned for passing the electric lines to every desk, and this system of columns made possible another approach in the space planning and space organizing of the office space. The grid by which the columns have been organized performs for the structural aspect as well as the functional one. The in-between spaces which are formed as negatives because of the circles allows the natural light to light the entire office space.

1.1_ Evolution of systems for building

Fig.1.1.C. Exploded isometric of Barcelona Pavilion

In the Wichita house and Meudon House the internal floor plate is free with structure in the center. The outer panels are part of the structural system and the internal space configuration is guided around the center. The visual openings on the periphery are at the same height because of the standardized elements. In the Farnsworth and the Zipup House the elevated space constructed through metal columns which are off-set from the slab provides a clear floor plate with liberty of an open periphery. The package house and Charles + Ray Eames residence has the kit of parts manufactured from industry. The Habitat, Nagakin Capsule Tower and Yacht house are module based configurations that have kit of parts for an individual module. The modules in the Habitat and Yacht house can be clubbed together to form a bigger and customized space. There is more freedom in the Yacht house module system for space configuration than The Habitat because of the constructions and materials involved. The Nagakin capsule tower has modules which are designed to perform individually for interior needs. The Center Pompidou system with the truss, girder and column and tension member allows clear undisputed floor plate for the varied interior spaces for a community center. The exposed structural system and services gives an aesthetic which is drastically different to the surrounding context and as well as a beneficial in maintenance operations. The structure becomes the aesthetics of the space itself along with it performing the role it has been assigned. This practice was an amalgamation of structural concepts + cultural aspects + aesthetical aspects which are all answered by the parts of the system. They were different as they were not raw like in the aesthetics of Domino house and neither were they clad by other finishing material as the Barcelona Pavilion. But when are these decision are taken by which the system and elements looks and performs the way they do. Design process is when the building is formed as a system, as well as broken down into parts for assembling it on site. 1.1_ Evolution of systems for building

1.2_ Process to build

Stages

Pre-Design

Design

Development

Detailing

Fabrication

Manufacturing/ Assembly/ Sourcing Execution

Fig.1.2.A Major stages of the design process to execution

Design process has stages, each stage deals with its own level of complexities and challenges. The major stages in which the design process can be divided are mentioned in the Fig.1.2.A. The stages are interconnected and interrelated throughout the design process. The study looks at these stages in respect to the involvement of natureâ&#x20AC;&#x2122;s attributes in individual stage of the design process. Each stage has its own level of challenges and complexities which can be answered by the phenomena of nature. Every individual stage is explained through examples which are related to interior-architecture practice. The pre-design stage in the design process consists of project briefs, client briefs or a concept which guides the entire design process. In ICD/ITKE Research Pavilion 2011 project, the biological model of sea-urchin was the starting point of the project and it was studied for its properties and morphology. That was the guiding factor which was established in the pre-design stage. It impacted the entire process of form generation of the module and the structural concepts and organizational attributes. (Icd.uni-stuttgart.de, 2020) Design and Development stage have been taken together because of the inter-dependency of these two stages. In the project of ICD/ITKE Research pavilion 2015-16 project, the design 30

Fig 1.2.B (above). Sea urchin microscopic image Fig 1.2.C (bottom). ICD/ITKE Research pavilion 2011

process was simultaneous between the sanddollar morphology, material exploration possibilities and fabrication techniques. The sand dollar morphology and the biological properties were taken as a model to achieve the form for the module as well as a structural model for the pavilion. The organizational structure within the sand-dollar became the model for the development of the pavilion for structure, spanning and creating a void below the pavilion. (Icd.uni-stuttgart.de, 2020)

Fig 1.2.D (above). Sand dollar cross sectional microscopic image Fig 1.2.E (bottom). ICD/ITKE Research pavilion 2015-16 module construction

Impacting the Junction/ Detailing stage in the design process through natureâ&#x20AC;&#x2122;s attributes has many examples, but a junction which is designed by the SOM architects known as The Rocker for the Poly-Corporation headquarters, China has been taken as an example in the study. Considering the movement of the building during the earthquake, The Rocker has two tension cables on both sides which stops each other from moving as when one goes out of tension another one stops the movement. This principle and the form of detail was inspired by the engineers and architects of SOM by the human shoulder joint working. The function and the principle of the human shoulder joint has been abstractly taken into design but the final manifestation of the joint does not visually resembles the human shoulder joint. (SOM, 2020) As per the examples we can observe the presence of knowledge of the phenomena of nature in the first four stages of the design process of any project in interior-architecture practice. However as soon as these four stages are completed and the construction or execution stages of the project arises, there is a steep decrease in the knowledge of the attributes of phenomena of nature. The stages of fabrication/ pre-fabrication- manufacturing/ sourcing- execution/ assembly has negligible impact of the attributes of nature on them.

Fig 1.2.F (up) Human shoulder joint Fig 1.2.G (down) The Rocker design concept inspired from the human shoulder joint 31

Fig 1.2.H Constituents of Systems

System

Material Method

Structure

Form-Active system

Skin/Envelope

Vector-Active system

Partitions

Surface-Active system

Services

Bulk-Active system

Equipments

Vertical system

Space

Manufacturing Fabrication Construction

Constituents of System

Prefabrication Product

Made to Stock Assembled to Stock Made to Order Engineered to Order

Class

Open system Close system

Grid

Modular Axial

Assembly

Units Min. no. of elements

Montage theory

Easy to handle

Layering/ Stratification

Repetition

Resources

Simulation

Effects

Prototyping

Assembly strategies

Mockups

Aesthetics

Accessible connections Clearances Clash detections Tolerance Joints 32

1.2_ Process to build

These aspects come into the picture of the construction when there is a systematic process or system construction involved in the project. As per the constituents of system which are assigned in the Fig. 1.2.H; the study looks at the Assembly of system and the impacts of phenomena of nature on it. Assembly of system deals on the tangent of bringing together all the elements of systems by tangible and intangible means. The factors in the assembly of system have been filtered and combined depending on their impacts of it on the Interior-Architecture practice and the prominence of it in the outcome of the final system on the basis of functionality, efficiency and visual aesthetics. The filtered factors are shown below in the Fig. 1.2.I and have been sub-categorized in the study depending on the complexity it deals with and to find the similar or parallel tangents in the phenomena of nature.

Fig 1.2.I Assembly factor of constituents of system of InteriorArchitecture practice

Assembly

Units Elements Accessible connections Clearances Clash detections Tolerance Joints Montage theory Layering/ Stratification Resources Assembly strategies Aesthetics 1.2_ Process to build

1.3_ Constituents of Systems Assembly technique is one of the most optimizing and efficient techniques of construction in the field of Interior-Architecture practice, but by optimizing the assembly along with keeping the aesthetical qualities of the system/building. Nature’s presence in the last three stages (refer to Fig.1.2.A) of the design process as observed is less and it is still unexplored, untouched and unattended. Nature in the form of imitating inspiration which is interpreted directly into the design could be superficial and the role of nature in the design limits to only an object in the space. To use the nature as the model the attributes of nature have to be combined with the mathematics for a rational outcome in the design. There are five usual structural arrangements in nature as stated by Arslan S and Sorgue A.G in the Similarities between “structures in Nature” and “man-made structures”: biomimesis in Architecture, Design and Nature. The five structural arrangements in nature are: Pneus, Shells, Trees, Webs and Skeletons. Out of the five structural arrangements, Tree is taken into consideration for the study.

Fig. 1.3.A Using natural forms (leaves and flowers) for ornamentation purposes directly. Corinthian column

Nature’s usual structural arrangements

Pneus

Webs

Trees

Shells Skeletons

Phenomena of the tree for this study has been selected because the existing works present in the Interior-Architecture practice were the initiators of the study. This study looks at tree as a form of nature and the attributes of it which can be transformed into techniques by combining it with the principles of mathematics. The non-Cartesian geometry which exists in trees can be studied and understood through the concept of fractal geometries. The phenomena of large branches dividing themselves into the smaller branches and the underlying rule of it, leads to the sizes of the main branch of the tree and its relation to the sprigs (small sprout of the plant having leaves) and twigs (tender thin branch of the tree). The system progresses by dividing itself into 34

Fig. 1.3.B Interior view of the La Sagrada Familia model with columns interpreted as pine forest and columns designed structurally to cater to leads of roof through principles of tree

smaller and smaller fragments to a certain limit. These are the questions that lead the study to be focused on nature and for using nature as the model. Fractal geometries throws light on the abstract organization which is characterized by the self-similar patterns and recursive growth. Fractals in trees are more in the approximation because of the natural growth that responds to the external factors which are arbitrary and continuously changing. The study of the tree progression and the order, principle of the formation of the tree. Along with it the fractal geometries are studied to rationalize the abstract concept of the tree (nature). The study uses the mathematical theories of the fractal geometries along with the formation of tree and super-imposes them together. The factors as mentioned in Fig. 1.2.I have been broadly categorized for the InteriorArchitecture practice and following the same factors of the assembly system, the constituents of system of Tree (nature) have been categorized to formulate certain similarities and common ground between the Interior-Architecture practice and Tree (nature) for Assembly system. Tree (nature) has been considered as model in this study for Assembly system of Interior-Architecture practice.

Fig. 1.3.C Structural diagram for equilibrium study of the column in the center part of the La Sagrada Familia 35

Fig.1.3.D Factors of Assembly in Interior-Architecture practice

Units

Assembly of System (Interior-Architecture practice)

Elements

Kit of Parts (KOP)

Site intensive KOP Manufactured KOP Ready to install KOP Mass-customization of KOP Standardization of KOP

Accessible connections

Easy reachability and convenience

Clearances

Appropriate paths and openings for parts, systems, tools and machines Taking care of parts not colliding and touching between the parts

Clash detections Tolerances

Joints Resources Montage theory

Art Architecture

Construction strategy Aesthetic strategy

Layering/ Stratification Strategies of assemblies

Assembly designed for disassembly Assembly designed for reuse Assembly designed for temporality

Cradle to Cradle Local change

Assembly designed for change Global change

Aesthetics 36

1.3_ Constituents of System

Tectonics

Modular construction Unit system Component sharing modularity

Component swapping Bus modularity modular

Sectional Cut to Fit Mix

Components/Panels /Modules/parts/sub-assemblies/Assemblies

Part tolerance Subassembly tolerance Assembly tolerance Interior elements and architecture tolerance

Embedded Epoxy set

Machines

Labour

Interfaces of Spaces of joints elements

Concept of Juxtaposition

Expansion anchor

Sliding fit

Adjustable fit

Time

Money

Tools

Size of elements

Modular coordination

Design for intimacy

Principles of measurement

Buttjoint

Methods of assembly

Edge

Tolerances

Composition of entire work by different elements

Organization of the individual parts or systems in the industrial universe with a special emphasis on integrated system

Soft flexibility

Reveal

Creates concepts like relations and neighbourship with elements and parts of systems

Separation for assembling

Organizing for enhancement

Hard flexibility

Raw space

Excess of stack space

Addition over time

Expanding within

System determinants

Location of circulation

Movable parts

1.3_ Constituents of System

Fig. 1.3.E Factors of Assembly in Nature - Tree

Units Elements

Kit of Parts (KOP)

Accessible connections

Site intensive KOP Mass-customization of KOP Standardization of KOP

Transportation of nutrients and resources from roots to the last tip of the highest branch and the entire biological system and process of photosynthesis

Assembly of System (Tree)

Clash detections Tolerances/ External factors Division/ Fragmentation points

Growth principles

Physical phenomena/ principles Mathematical phenomena/principles Biological phenomena/ principles

Biomimicry

Strategies for Efficiencies

Resources

Stratification

Resultant

1.3_ Constituents of System

All resources which are needed by a tree

Roots Trunk Branches

sub-Branches Twigs Leaves

Fruits

Flowers

Collision of branches in the singular tree and the collision of branches and growth of immediate surrounding environment Part tolerance Subassembly tolerance Assembly tolerance Object tolerance with immediate surrounding

Order Arrangement Eurhythmy Symmetry Behavior Distribution

Bionics

Principles of tree Progression of branching Fractal geometries Modularization theory of a tree

Organization of the individual parts or systems in the environmental universe with a special emphasis on integrated system Creates concepts like relationship and neighbourship with elements and parts of system Organization for enhancement

Outcome as form

Optimumness and Efficiency

Adaptability

Sustainability

1.3_ Constituents of System

â&#x20AC;&#x153;There is geometry in the humming of the strings ... there is music in the spacing of the spheres.â&#x20AC;? - Pythagorus (PriyaHemenway, 2008, p. 29)

Assembly System in InteriorArchitecture practice and Tree (Nature) Introduction 2.1_ Understanding of Assembly in Interior-Architecture practice 2.2_ Understanding of Assembly in Tree (Nature) 2.3_ Application of Factors of Assembly in Interior-Architecture practice 2.4_ Application of Factors of Assembly in Tree (Nature)

Introduction Every tangible thing in our surrounding is assembled at some stage of form which is a biological stage or a physical stage. All natural formations in the environment has assembly on a local domain which is the individual stage and the global domain when it is in harmony with the other natural entities. Similar to that in Interior-Architecture practice there is local domain assembly where one system is assembled for its own formation or as a whole and in its global domain, it is in co-existence with other systems or another system of same kind. However there are basic categorization and factors which are common for all the assembly systems in Interior-Architecture practice. As specified in the Fig.1.3.D, the categorization and factors have major impact on the assembly of the system in the areas like sustainability, adaptability, resource optimization and efficient outcomes. To practice such an approach, the designing of the object (building) has a different criteria and sequence of stages and an additional stage where how the construction would be sequenced. In the study those factors are applied on the cube/ cuboid as a process and the outcome of those individual factors are clubbed together. This assembly approach and categorization has its own constrains and needs which needs another approach to solve it. The chapter looks at the factors of assembly of InteriorArchitecture practice and applies it as process on the cube/ cuboid. Using nature as a model/ as a source of knowledge is used with mathematics. Hence it is not just in visual and superficial stage but also gives the rational theories which can be used in the design. Natural phenomena were a source of inspiration to the mankind from the very beginning but with technological upgradation as the time progresses, the nature has been understood and approach towards the nature has been different. The relation 42

Fig. 2.A Elevation of Center Pompidou showing functional system (services etc) along with the structural system assembling together.

between the tree (nature) and architecture was established from the very beginning from the prehistoric period to the contemporary period. During the 1900â&#x20AC;&#x2122;s, iron was being used in the architectural practice as mentioned in the chapter 1 of this study. This made it possible for the designers and architects to incorporate the formation of trees for structural and visual purposes in the construction. Along with this another development during the time called graphic statics was brought by Maxwell and in architectural practice, this theory helped the designers and architects to deal with structure and natural forces together for construction. Using this during that time many dendriforms were used in the architectural construction. Dendriforms are based on fractal geometries which is a part of mathematics. In 1970, fractal geometry was developed (Mandelbrot, 1982). In relation to nature, the fractal geometries are not strictly followed but its more on the approximation side because of the growth phenomena and external factors which affects the growth. This is not the situation in the mathematics of pure fractal geometries. Nature displays self-similarities in its form and organizations (Bovill, 1996). Nature in its extended types of phenomena, organizations and geometries displays properties which are parallel and similar to the fractal geometries (Mandelbrot, 1982). Nature in its behavior of structure and mechanics has influence of fractal geometries.

2.1_ Understanding of Assembly in Interior-Architecture practice To understand a concept the first stage that is necessary to look at is the aspect of its initiation or its birth which is possible by its history. History of assembly dates back to the time of cave men where the first practice of assembly was at a small scale in the form of tools for food and for protection against threats. The assembly of tools consisted of predominantly two materials- wood and stone and an additional material to tie the two rigid materials together by leather, or by soft and flexible tree parts. This leads to the understanding of different parts coming together for one function but the materials had its own property which guided the role of them. Stone is hard and can be sharped which is why it has been used as head and for impact, wood as it can be found in long lengths it has been used as the handle with leather to tie them both together because of its flexibility. Over the period of time, the tools started shaping elements and objects which were used by the man for his daily life and were assembled in its own form and shape. However as considering the placement and organization as one aspect of assembly then the placement of elements through a certain order can be called assembled objects. In the case of Stone Hedge, the big boulders which are placed on top of each other in the circular formation as column and beam configuration, the assembly is through specific elements which are quantifiable and have similar roles and physical dimensions. It can be categorized as Kit of parts as each standing stone is 4 meters in height, 2.1meters in width and weighs around 25 tonnes. The fixed number of the elements are not possible to count because of the dilapidated state it was found in, but it can be considered as one of the early assembled construction which is organized through a certain order on a grid through standardized elements. In design practices of all kinds, the assembly/ construction is by majority the last stage 44

Fig. 2.1.A Ground and polished flint and stone axeheads were made between 4000-2200 BC

Fig. 2.1.B Stonehedge visualization when not destroyed 3000-2000 BC

Fig. 2.1.C Henry Ford assembly line of the Model T

Impacts of Assembly line (Manufacturing through standardized parts and planned construction stages

Better quality, precision of the elements and final system

Less labour intensive, ease of assembly, Time optimization

Fig. 2.1.D Package consisting of elements and objects of the Pre-Cut house

(a)

(c)

(b)

(d)

Fig. 2.1.E Walter Gropiusâ&#x20AC;&#x2122;s house no. 17 in the Stuttgart Werkbund Exhibition (1926-27) showing the standardized structural elemental system of steel and junction details with construction process

of design process and as a part of Design Development stage. Automobile industry largely deals with standardized kit of parts and elements, which comes together in the form of a system, which becomes the final product. In the early 1900s, Henry Fordâ&#x20AC;&#x2122;s automobile company Ford automobiles introduced a new model called the Model T which was manufactured and assembled through a new concept called assembly line. The concept of assembly line was possible due to the standardized parts which goes in for making the car. The impact of this concept was better quality product in terms of precision, function and decreased labour inputs and time. It did not take long for the concept of standardized parts and manufacturing in industry to start coming in the architecture practice for the mass housing industry. Concepts and principles of standardization, mass produced elements which can be interchangeable in the system were derived from the Ford concepts. Mass production is a sister concept to standardization. Through this concept, the houses consisted of standardized parts which were mass produced. These parts and elements were assembled together through the nuts and bolts. This was the initial intervention in direction of joints and detailing. (Smith, 2010) During the starting of 1900â&#x20AC;&#x2122;s the modern movement was on the rise and the projects that practiced the concepts of pre-fabrication and on site assembly started to rise. This was not the initial use of those concepts in the field of interior-architecture but it was the one that brought those concepts to the masses. It was the intervention which brought the structural, functional and aesthetical aspect through assembly construction and off-site construction of the building elements. We can observe that assembly is bringing parts and elements together through certain principle, order and through a certain configuration. But assembly process also 45

consists of many factors which plays an important part in the outcome. The factors have been categorized by different aspects which plays an important role, that are to be considered during the designing and execution of the project and the principles which acts as guiding base for bringing elements together in a particular fashion.

2.1_ Understanding of Assembly in Interior-Architecture practice

2.2_ Understanding of Assembly in Tree (Nature) Sun

leaf twig sub-branch

branch

Every assembly process as observed is guided through certain order and principles (efficiency, optimization, sustainability etc). In tree (nature) those order and principles are visible in the form of phenomena. Treeâ&#x20AC;&#x2122;s (nature) phenomena of progression of branches, division of branches for stability and function, positioning of leaves, structure of the trunk etc. have been looked at because of its impacts on the structure of the tree and form. In nature the presence of assembly is not evidently present because it has growth. 2.2.1_ Phenomena of Trees:

trunk

Fig. 2.2.1.A Tree branching and terminates that branching through a leaf which acts as a receiver of sun light for the photosynthesis process

angle

bigger branch

angle

smaller branch

trunk

Fig. 2.2.1.B Bigger branch angle of protrusion is smaller but deflection is higher and in smaller branch the angle of protrusion is higher but deflection is smaller

Trees through their components (branches, sub-branches,twigs etc) express fractals and self-similarity phenomena through the order, it is formed along with irregularities due to external factors. The guiding factor behind the formation of the branching is the functional needs of the trees. The other component of tree is the leaf, it helps in forming food for the tree through the process of photosynthesis and for the efficient outcome the leaves are spreaded and exposed to the sunlight as much as possible. According to the Wilhelm Rouxâ&#x20AC;&#x2122;s observation on the agle of deflection from the center of axis of the system (tree)- as the tree grows and progresses the trunk of the tree progresses and branches in to the smaller and bigger branches depending on the geographical conditions and biological needs. Here, the angle in which the branches protrudes shapes the entire system (tree). The observation is stating on two aspects- the angle of the branch and the effects which is stated as deflection. Large branches will protrude from the trunk and the forming angle will be smaller than 90 degrees. But in the case of the smaller branches the angle will be closer to the 90 degrees. The effect of this would be that the smaller branches will be forming larger angles but the deflection 47

that has occurred would not be high. The deflection rate of the larger branch will however be higher, but the forming angle would not be large. Adding to the observation, there is a change in the angles of the branches in the trees over the period of time. Newer branches when they protrude from their primary branch or trunk have an acute angle and are more vertical in the configuration. As the time progresses and the branch gets older, the branch angle changes and gets more horizontal because of the load of the newer branches and hence the angle becomes larger (Thomas, 2001). Spiral Phyllotaxis: Progression of the leaves on the stem happens on the opposite sides of the stem, but the height is different and the order is in progression. The direction of it could be opposite but the order is in spiral or helical pattern. The pattern can be broken down by Fibonacci numbers. The observations in respect to this are: 1. Leaf development happens in the in progressive order on the stem and by majority, on the top part of the stem. The leaves fit between each other and aligns themselves in the helical pattern. The new leaves are above the older leaves but because of the helical pattern they do not cast shadows on to each other.

stage 1

stage 2

stage 3 Fig. 2.2.1.C Change in the branch angle over the period of time

2. The presence of more than one helical pattern can be found on the singular stem and they intersect on the stem. 2.2.2_ Application of the phenomena of trees: Chinese Dendriforms (771BC to 476BC) One of the early example of dendriforms structure which is two thousand years old was used in the temples and buildings in China. The brackets were using the principle of dendriforms. Dougong is the wooden bracket 48

2.2_ Understanding of Assembly in Tree (Nature)

Fig. 2.2.1.D Helical pattern around the stem, progression of leaves

Fig. 2.2.1.E Two helical pattern around the stem intersecting at points

system, Dou being the wooden blocks and Gong is the wooden bracket. The Dou-gong is functions as a bracket and the brackets are used to connect the column and beam configuration. The constructional organization of the bracket is through the interlocking assembly of the wooden blocks which are increasing in size as they progresses upwards. The organization of the each wooden piece is perpendicular in orientation than the piece below it. The bracket construction method is similar to the properties of fractal progression. This bracket transfers the load from the large piece of wood to the smaller piece of wood below it and this ultimately on to the column. The organization and interlocking assembly makes the bracket better against the seismic forces. The manifestation of this concept was a needed due to the failure of the large bracket which bent after a few years because of the weather effects on the wood as material. (Rian and Sassone, 2014) Pier Luigi Nervi (1960) The structural column in the Palazzo del lavoro is inspired from the forces acting on the tree, and the compression and thrust the tree trunk endures because of the large canopy on it. The column is an example of the form derived from the tree- dendriforms. The base starts from a â&#x20AC;&#x2DC;plusâ&#x20AC;&#x2122; configuration for maximum surface area resting on the ground but also so that the column does not look massive and heavy. As it progresses upwards it slowly transforms into a cylinder to endure the internal thrust and the compression acting on it. Frei Ottoâ&#x20AC;&#x2122;s branching structure (1970)

Fig. 2.2.2.A Chinese Dou-gong bracket, interlocking wooden bracket based on fractal

Branching structures in construction, both in their overall appearance and in nature of the structure itself, exhibit a particularly close relationship between the course of the forces and their shape. This relationship is a functional combination between the roof construction and the supporting structures. One of the main structural advantages of 2.2_ Understanding of Assembly in Tree (Nature)

the tree-like branching system is to have a short distance from the loading points to the supports. (Rian & Sassone, 2014) Large-span branching structure (1990) In the Stuttgart Terminal, the dendriform structure is used, and in place of graphic statics, a search algorithm was implemented for the optimum form finding (Charlson, 2005). The dendriform structure is made by four steel members which originates from the base and then progresses upwards and then splits as it reaches the nodes. The member splits into four sub-members. This resembles the fractal phenomena and selfsimilarities and progressions. The size of each member reduces as it progresses upwards to achieve constant stress and force in the entire structure. In the case of Palaice de Justice, Melun, France the 6 dendriform columns supports the glass roof in the entrance. Each column is a singular unit of solid steel unit which progresses upwards and then divides into four sub-elements. As it progresses upwards it also tapers at the end points in the similar fashion of a natural tree. The diameter of the sub-elements of the system are smaller than the diameter of the trunk or the singular column of the dendriform. Due to this the dendriform column remains stable along with the roof and sub-elements. (Rian & Sassone, 2014) Fig. 2.2.2.C Stuttgart Airport columns, four individual sections clubbed together to form a singular column

Fig. 2.2.2.D Palaice de Justice, France. Column is singular monolithic form dividing itself through the order derived for structural performance 50

2.2_ Understanding of Assembly in Tree (Nature)

Fig. 2.2.2.B The column of Palazzo del lavoro designed to counter the thrust from the roof

2.2.3_ Evolution in manifestation of the phenomena of trees: The technique of working with material and the principle of construction and structure evolved with the time and also as technology evolved over time. The manifestation of the phenomena of trees in the InteriorArchitecture practice evolved.

Fig. 2.2.3.A Palm column. Early example of the visual attributes of tree in the architecture

Fig. 2.2.3.B Peterborough Cathedral, Gothic architecture: Fan vaulting

Fig. 2.2.3.C Abbesses station, Paris. Architect: Hector Guimard. Metal cast iron process

In the columns and capitals (brackets) in Luxor temple - Egypt (1400 BC), Corinthian capitalsGreece (500BC-400AD) and historic Indian architecture of Ajanta-Ellora caves (200BC500AD). The manifestation is expressed in the columns and capitals of the architecture. Column played the role of transferring the load of the roof on to the ground similarly to a tree (role of a trunk). The junction between the roof and the column were detailed out on the capital/brackets. The materials used was stone and the columns and capitals were constructed from a one solid block of stone which is sculpted or stone parts which are joint together. The attributes of tree were used in the ornamentation purposes in the capitals. During the Byzantine architecture period and Gothic architecture period (approx. 6th century to 1515), the columns and the roof were detailed out with arches and vaults for interior volume. Arches and vaults were constructed to achieve the interior volume and the closely organized slender columns inside the space replicating the forest. The vaults and arches have ribs for structural and visual aspects. The attributes of tree like slender trunks are because of the higher number of columns supporting the roof, the ribs in the vaults and arches are to efficiently transfer the forces of the arches and roof on the column in the most optimum configuration. During the Art Nouveau Architecture (approx. 1890-1920), the evolution of technology to source and use cast iron had emerged and this allowed the achievement of shapes and forms which are inspired from the tree (floral 2.2_ Understanding of Assembly in Tree (Nature)

and vegetal forms). These elements are used for visual ornamentation/decorative purposes in the space and for structural performances. In the 20th century (1930-1970), evolution of two materials which are steel and concrete increased the possibilities of forms. Reinforced concrete and steel frame systems allowed longer indoor spanning and along with that the cantilevering potential also increased. Attributes of tree of one singular column (trunk) taking load of the entire foliage was translated minimally in the spaces for column and roof configuration.

Fig. 2.2.3.D Candela columns, with steel reinforcement and concrete allows large homogeneous simple spanning

In the Contemporary period (1980-Present) The form of a tree and the method of its branching was known and was practiced. Every space/situation demands its own derived form. For example the method of deriving optimum tension path practiced by Frei Otto. This method is a physical form finding method using weight and cable, the grid is formed and connected points are singular and then as per the order and design constraint, the cable of each singular point is connected and gradually all of it forms one singular path at last. The form is optimum in tension and when it is rotated those forces is transformed into compression. As the technology advancement occurred the physical process of form derivation was replaced by the computer virtual process for optimum tension and compression path finding and because of the technology upgradation the forms are load tested virtually which provides the results of efficiency and possibilities of failure, construction stages, etc. For example software Catia developed by Dassault System for aeronautic purposes has also been involved in the interior-architecture practice.

Fig. 2.2.3.E Frei Otto structure study model

Fig. 2.2.3.F National Convention center, Qatar by Sasaki. Virtual form finding through stress and parameters specific for the project 52

2.2_ Understanding of Assembly in Tree (Nature)

2.3_ Application of Factors of Assembly in Interior-Architecture practice The application of factors which are stated in the Fig.1.3.D are explained through a cube/ cuboid and though process. On that object the factors are applied and those factors guides the assembly of the cube/ cuboid and the outcomes of it. The factors are clubbed together on the basis of the similarities and the impacts and the stage of its application in the process of assembly system. 2.3.1_ Units and Elements, Accessible connections, Clearances and Clash detections, Tolerances and Joints 2.3.2_ Montage theory and Layering 2.3.3_ Strategies of Assembly, Aesthetics and Outcome of Assembly, Resources for Assembly By the categorization of the factors depending on their attributes we can state that for assembly system in Interior-Architecture practice:

Strategy of Assembly applied on Unit/ Elements using theories of Montage theory and Layering considering and keeping in mind Tolerances, Clearances and Clash detections as well as by using Joints and Tolerances to achieve Aesthetics and Functions with the amount of Resource available.

2.3.1_ Units and Elements, Accessible connections- Clearances- Clash detections, Tolerances- Joints Units and Elements: Units and/or Elements are a quantifiable tangible aspect of a system. It can be considered as the Kit of Parts of that particular system. Depending on the source of the kit of parts (KOP) they can be sub categorized into 5 types: Site intensive KOP, Manufactured KOP, Ready to Install KOP, Mass customized KOP and Standardized KOP. These five categories of KOP are inter-related, for example Site intensive KOP could be manufactured KOP and they can be standardized KOP. So there is no strict separation between the five types. In site intensive KOP, it is a simple type of components but they are in large quantities that are produced differently not in consideration of each other. Once on site they are brought together by jointing operations which are standardized. These parts are designed to form any system and there is no specific singular final outcome from the parts, According to the permutations and combinations the final outcome is achieved. The basic example of it is the Meccano game set which is made as a childrenâ&#x20AC;&#x2122;s game. Manufactured KOP and ready to install KOP goes together and unlike site intensive KOP the manufactured KOP have a specific location in the system. It is designed and manufactured according to the function. Through jointing operations of its own kind manufactured KOP comes together to form a system and those are ready to install KOP on site. The final outcome of this KOP are pre decided and as per that the parts are broken down on the basis of easy installation and functions. An example of manufactured and ready to install KOP are the kit houses at the beginning of 20th century. During the period from 1910, 54

Fig.2.3.1.A Meccano gameâ&#x20AC;&#x2122;s kit of parts

2.3_ Application of Factors of Assembly in Interior-Architecture practice

many companies like Gordon-Van Tine, Harris home, Sterling homes etc. sold kit houses. It consisted of manufactured parts which were ready to install on site with certain pre arrangements and on site works for the installation. Similar to the Manufactured and Ready to install KOP, the study looks at masscustomized and standardized KOP together not considering them as similar but they are studied together. Mass production is the sister concept to Standardization. (Smith, 2010) As mentioned by Ryan E. Smith in PREFAB Architecture, mass customization has sub categories as mentioned by Schodek and colleagues:

Fig.2.3.1.B Kit houses print-media ad by Harris Home

Fig. 2.3.1.C Bigger module unit construction

Component-sharing modularity: Components having similar functions and physical dimensional attributes but having different or variable aesthetics or visual appearances. This component consist different visual appearances before being assembled. The components share certain modular nature and thus can be called â&#x20AC;&#x2DC;unitsâ&#x20AC;&#x2122;. Unit system in construction is done through the modular nature of the unit. Modular is a standard unit for assembly construction and provides better outcome in terms of finish. Modular construction is not restricted by any scale, Bigger modules in size provides better finish and lesser assembly because of their size but reduces the flexibility of the composition. While smaller modules decreases the finish in some aspect and increases the assembly, they provide more flexibility of the composition. The biggest fall back of the modular unit construction is that it tends to develop monotony and less authorship in the field of Interior-Architecture practice and does not respond specifically to the surrounding because of its predefined type from the manufacturing stage.

Fig. 2.3.1.D Smaller module unit construction 2.3_ Application of Factors of Assembly in Interior-Architecture practice

Component-swapping modularity: Opposite to the component-sharing modularity, here the aesthetics and visual appearance remains constant but the function of the component differs. Cut-to-Fit modularity: Here, the components do not have fixed dimensions and are decided according to the need guided by assembly on the site. The component dimensions are increased or decreased but the connection remains the same. Mix modularity: In this components are assembled together in any variation or sequence and the outcome is still achieved. Mix modularity has many different modules which are different in types or similarity and still comes together through assembly. Bus modularity: The components are assembled or joint on a platform which allows a number of joints on it. The platform is a base frame on which other components that depend on aesthetics and functions are assembled. The most appropriate example for it is automobile: car, bike etc. The base frame is the structure of the object which allows other component to be assembled on and in it.

Fig. 2.3.1.E Component sharing modularity. Formation of cube through 4 components sharing modularity

Sectional modularity: The components are different in types to each other but there is one side or a joint which is present in all of them that is identical and brings all of them together to form a system. The connection method could be different and that can affect the jointing method but the presence of one identical side remains in all the sectional modular components.

Fig. 2.3.1.F Component swapping modularity. Formation of cube through 4 components swapping modularity 56

2.3_ Application of Factors of Assembly in Interior-Architecture practice

Fig. 2.3.1.G Cut-to-Fit modularity. Formation of cube through 11 components out of 9 have cut-to-fit modularity

Fig. 2.3.1.H Bus modularity. Formation of cube through 7 components, one of the component is the frame, frame is inside the system holding the 6 panels on it

Fig. 2.3.1.I Sectional modularity. Formation of cube through 96 components. Cuboid attaches to cylinders

2.3_ Application of Factors of Assembly in Interior-Architecture practice

Accessible Connections, Clash detections:

Clearances

and

Assembly is a process that brings the components/ elements together and during that process there are many factors which play a crucial role. The factors that comes under the role of designing of assembly construction are Accessible connections, Clearances and Clash detections. Accessible connections: In assembly construction the components are joint together. During the process, connection between each components is through a dedicated joint which progresses the construction, thus an easily accessible connection is important. Accessible connections are important for the labour that works on-site for construction, tools that are needed for assembly and construction. Accessible connections are important for the post assembly and also for the maintenance purpose of the building. Joints which are connecting points or nodes of the assembly experiences major impact of this factor.

Fig. 2.3.1.J Accessible components. 4 components not accessible with ease due to other components surrounding it

Clearances: This factor comes in the picture of assembly construction majoritly during in between assembly process due to certain components that are joint and cannot be moved. Component requires free open space inside the built. Manufactured components which have negligible discrepancy when they are assembled or joint on an on-site element that has a certain discrepancy can be brought together by certain clearances during assembly. Clash detections: During the process of assembly construction, shifting and moving the components for joining them tend to clash with each other because of the inappropriate clearances. During the on going assembly components are not fixed at their exact dedicated positions and Clash Detections is making sure components do not clash with each other. 58

Fig. 2.3.1.K Clearance. The internal diagonal components inside the cube frame does not have appropriate clearance

2.3_ Application of Factors of Assembly in Interior-Architecture practice

All the three factors can be catered to and they direct to one similar direction that is, the sequencing of assembly construction. Sequencing of assembly can guide many aspects of construction from sourcing components at what time of construction stage. Tolerances and Joints: Tolerance and Joints are included in the study because of the inter-relationship between the two. Tolerance is a method which is present to incorporate the manufacturing and installation errors which can occur in the process of assembly construction and after the construction because of many factors like moisture variable, thermal differences reactions, material inaccuracy and human error. Each junction and detail is made with a underlying understanding of accommodating the physical dimensional discrepancies. In the case of two materials coming together, the material tolerance is important because of the different behaviors of two materials in the same situation.

Fig. 2.3.1.L Clash detection in the diagram of clearance can be solved through changing the geometry of the components

Tolerance: It is present in all the objects which are made and jointed with other object. Depending on the type of construction and type of where the object is constructed or manufactured the tolerance is different. On site construction has tolerance in inch as a unit while the manufactured objects have tolerance in millimeters as a unit. The bigger the element, the bigger is the tolerance required, as, if there is any change in the element and the tolerance is not provided it has substantial impact on the time and economy of the project. In the objects and elements which are manufactured off-site, the tolerance is categorized mainly in two categories: Part/ sub-assembly and Assembly tolerance. Part/ sub-assembly tolerance is present in the parts that will make component or module for

2.3_ Application of Factors of Assembly in Interior-Architecture practice

the assembly system. In assembly tolerance is present in the element or sub-assembly, the process of placing or assembling the sub-assemblies on site. Tolerance is determined for the component and system by the method of assembling. One of the most commonly occurring issues during the assembly construction is the dimension error (increase/decrease) which can cause the entire assembly system to fail. To counter this dedicated tolerance is provided in each part and sub-assemblies for smooth assembly construction. Joints: Sub-assemblies of the system comes together by joints. Joints performs the role of bringing the sub-assemblies together through geometry and appropriate force transfer of the system. Joints consist of tolerance to nullify the discrepancies. It also plays a role for disassembly of the entire system.

Linear element having sub-assemblies

Wooden block carved cuboid

The joints can be basically categorized into sub types with reference to the movement and process of jointing. Sliding fit- When two components are jointed through sliding by overlapping each other, the dimensional discrepancy is nullified by the depression or gap formed for sliding or by another element sliding into it. Adjustable fit- In terms of the space for dedicated movement during the assembly or post assembly of the joint to bring the system together, once the system is in place, the joints are tightened and fixed to the position. The space for controlled movement is provided in the form of oversized holes or slots (horizontal and vertical).

Metal folded sheet cuboid

Fig. 2.3.1.M Tolerance between the three different cuboid inserting into each other

Reveal- The negative space formed by not jointing and creating the gap between two different materials to cater to the material behavior and conceals the discrepancies of the components.

2.3_ Application of Factors of Assembly in Interior-Architecture practice

Part 1

Part 2 Inserting part of the joint

Butt joint and Edge- The junction forming at the edges when two components meet, in butt joint one component overlaps the other and additional hardware or parts which are perpendicular to the formation fixes in place. The edge is the vertex which is exposed on the most outer periphery that is prone to external factors like breaking, denting. To solve this, chamfering the edge can be a probable solution. (Allen and Rand, 2006) The joints like embed, epoxy set and expansion anchor are, by majority used when the offsite components are jointing with on-site components.

Receiving part of the joint

Rotating for final position

Fig. 2.3.1.N Sliding fit joint in two steps configuration

Embed- Base plate and/or bolts are embedded inside the concrete part during the casting process which caters to the junction after the casting is done. However this method cannot be used once the concrete casting is completed. To solve that constraint, the Expansion anchor is used. Expansion anchor- Drilling is done to form a cavity inside the concrete or brick wall and a specific bolt is inserted inside the cavity. With pressure applied it expands inside the wall which restricts its movement.

Moveable part Slot allowing the motion Fixing part Base

Fig. 2.3.1.O Adjustable fit having slot which allows the movement of the joint before the final position

Fig. 2.3.1.P Butt joint and Edge configuration 2.3_ Application of Factors of Assembly in Interior-Architecture practice

2.3.2_ Montage theory and Layering Montage theory:

Montage theory has been used in art for the visual perceptions and proportions. In architecture it is used as a theory to trigger the concept of things coming together and forming one whole through different elements to provide one final result. In the interior-architecture practice the montage theory has two sub-categories:

Constructional strategy and Aesthetical strategy.

2 4

5 6 7

Constructional strategy- Building components that forms the system through assembly construction, comes together physically through element interaction and proportions of the joint. The theory can be the guiding factor for the factors like physical dimensions of the components, module configuration, method for assembly construction and tolerances provided. Aesthetical strategy- Concept of juxtaposition (two elements placed side by side or near to each other) deals with the visual perception of the assembly. The aesthetical strategy of montage theory deals with the assembly aspect by bringing the different components of different types as one system. however this is done so as to not form a closed system but an open system which progresses or adapts to changes according to the needs. Assembly construction deals with off-site components and on-site components and their arrangements and composition depending on the function, force and needs. Montage theory by its construction and aesthetical strategy guides the assembly construction for lively, changeable and flexible outcome which responds to change and needs over the period of time. The tangible objects on which or through which the theory can be applied are 62

Fig. 2.3.2.A ConstructionM o n t a g e strategy: Eva Jirinca, The Miles stairs- Somerset house replaced the traditional stairwell. 1. Landing,2. Tread,3. Glass panel,4. SS handrail,5. SS balustrade,6. Structural SS mesh through rods and plates assembly,7. SS mesh end ring

2.3_ Application of Factors of Assembly in Interior-Architecture practice

the components which are used for assembly, the additional joining elements, the junction formation through the components and the additional components which are assembled on the structural components (Quale and Smith, 2017). Fig. 2.3.2.B Carlo Scarpa- Castelvecchio museum, Verona. The existing construction with new intervention composed to highlight the sculptures

Layering/ Stratification: As the name suggest the layering method deals with layers and layers are components and elements through which assembly happens. This involves the separation and organization of the components and elements guided by function and aesthetics. The method is applied keeping in consideration one aspect that guides all the decisions, all the components are guided by that one aspect and all the components relates to that aspect directly or indirectly. Layering principle emphasizes the components through providing the void (space), hierarchy and prominency between the components and are not fixed and strict. Organization of the components and assembly (physical and visual) leads to derivation of themes for the project. Layering method applied on the components and elements through the organization leads to integration of the components into one whole as a composition. A whole through components and elements can be divided into sub-assemblies of components. These sub-assemblies are related through other subassemblies physically through contact which are next to it and in relationship through performance with the other sub-assemblies of the system. (Quale and Smith, 2017) Fig. 2.3.2.C Carlo Scarpa- Olivetti showroom, Venice. Staircase of individual singular stone block shaped and connected through a brass rod which forms straight line in the staggered composition of the stairs 2.3_ Application of Factors of Assembly in Interior-Architecture practice

2.3.3_ Strategies of Assembly, Aesthetics and Outcome of Assembly, Resources for Assembly Strategies of Assembly: Assembly construction is guided by needs and functions. It is an approach that is different to the on-site conventional construction approach which was practiced before the assembly construction started rising. In interiorarchitecture practice the construction though assembly approach can be categorized in four parts which are a guiding factors along with the function, aesthetical needs of any project. Designing for Disassembly- The components which are used as building elements are manufactured off-site then they are assembled into sub-assemblies to be assembled onsite to form a large assembly system. Each component has specific life-cycle and at the end, the component is removed from the system through disassembling for reuse/ recycle to be replaced by a new component to perform the role. This process requires the components and system to be designed in such a way that allows disassembly. This strategy is named Cradle to Cradle by McDonough and Braungart in Cradle to Cradle book. In the system which is designed for disassembly as mentioned above, the user (human factor) is the center of the decisions and changes which happens to the system. Presence of certain components and elements which are permanent in the system caters and guides the changeable components. For example: Prometeo Musical Space, Italy by Renzo Piano. The structure was designed with a brief which consisted of disassembly and shifting and re-erecting in a different location. The two location where this structure had to be placed were the church of San Lorenzo, Venice and non-functional Ansaldo 64

Fig. 2.3.3.A Prometeo Musical SpaceRenzo Piano, Italy. Design for Disassembly, A Wooden metal structure forming an auditorium inside the architecture. The structure is completely Disassemble and Re-assemblable and elements when disassembled can be transported on a boat

2.3_ Application of Factors of Assembly in Interior-Architecture practice

factory, Milan. The function of Musical space remained the same in both the locations and it was the guiding principle for the elements and materials for the structure. The sound absorbing and acoustical abilities of wood, as well as the construction techniques of the boats through wood was accessible. The entire composition and aesthetics of the structure is similar to an ark. The wooden elements possessing modular nature, it is convenient for modification of elements depending on the needs of the musical space. The disassembly constraint of the structure guided it to be majoritly self-stable without depending majoritly on the architecture. Designing for Re|use- As mentioned in the Designing for Disassembly, the components have dedicated life-cycle. Those components after the life-cycles, are not appropriate to be used in the system. Philip Crowther has mentioned three possibilities for this situation in his paper â&#x20AC;&#x153;Designing for Disassemblyâ&#x20AC;?. The system can be reused for a different function or it can be relocated according to the function and needs. Components can be reused after disassembling for the same function in the different system, or, for a different function, components are made of certain material form and that material form can be recycled to manufacture other components. Designing for Temporality- Assembly systems which are designed for temporary time frame for specific function or system which is mobile, built on a chassis (bus modular construction) type are the examples of design for temporality. This strategy is used mainly in the systems which are designed for disaster relief construction. Those systems provides temporary structures and are faster in time Fig. 2.3.3.B IBM traveling pavilion by Renzo Piano. 408 pyramidal module configured in 34 individual truss arch. Designed for Reuse, temporary one month exhibition space which travels at 20 different locations. Easily assembly-disassembled and modular nature allows easy transportation 2.3_ Application of Factors of Assembly in Interior-Architecture practice

period to be constructed in remote locations with less resources and are labour intensive. For example of Design for Reuse and Temporality: IBM Pavilion by Renzo Piano. The structure was designed in the form of Exhibition space of the company (IBM) to support the idea for the workstations that can be located anywhere. The structure was to be assembled at a specific location and perform as an exhibition space for 30 days and then disassembled and re-erected again in 20 locations around the European Union (between 1983-86). The structure is in the form of a tunnel which resides on a platform consisting of all the services needed for the exhibition space. The tunnel dimensions are 48x12x6 m (lxbxh). Structure is formed through modular repetitions, Materials used are glulam beech wood linear members, molded polycarbonate pyramids and aluminum casted joints. In the 34 self-stable arches, each arch is formed through 12 individual pyramidal modules assembled on two wooden arches on sides and one arch above in a configuration of a truss. Each arch from the 34 arches are pinned to the base. Design for Change- This strategy has permanency infused in it and is not temporary as design for temporality but it has provision depending on the needs and functions to cater in terms of system. It has possibilities to adapt, it is flexible and changeable. During the design stage the decisions made by designers in reference to the changes over time on the system can be categorized in to two situations. Soft flexibility situation is when the designer has kept room for the changes over the time and hence there are greater possibilities of changes in the system according to the needs and functions. Hard flexibility situation is when the designer has given the components which can be changed 66

2.3_ Application of Factors of Assembly in Interior-Architecture practice

or how they will change depending on the function but it is predefined and cannot be different than what has been defined. (Schneider and Till, 2007). Philip Crowther in his paper â&#x20AC;&#x153;Designing for Disassemblyâ&#x20AC;? has specified the aspects which can be kept in mind to specify the flexibility in the system and what aspects of system. Design for arbitrary caters to dedicated space which caters to many different functions through changes in the components. Raw space is general space formed through the system with less material intervention and has more space for function. Excess space caters to the additional functions which a space caters to and that space is formed through system with no dedicated function during designing but it is open ended which caters as needed. Additions approach is when the system leaves nodes which caters or allows to extension that forms naturally to the overall system in future as needed. The nodes for additions are structurally and technically prethought during the designing of the system. Expanding approach is different to additions approach, expanding approach is, by majority, inside the system and creates more space by removing the physical components from between or by joining two void (space) for forming into one. System determinants has dedicated pre-thought changes and variations to dedicated components and on how the changes will be done. Movable components approach has dedicated components in the system which changes through movement like sliding, rotating, collapsing, deploying or stacking.

Fig. 2.3.3.C Evolution housing IL Rigo Quarter, Italy by Renzo Piano. Expandable floor space through metal trusses and movable front glazed wall of the house

For example: Evolution housing IL Rigo Quarter, Italy by Renzo Piano. Mass housing design through modular design. Each module/house is of 10x6x6 (lxbxh). The floor area of houses ranges from 50 to 120 sq.m. This range in the internal floor area is through the flexible architecture idea implied in the design of the unit. The structure-architecture

2.3_ Application of Factors of Assembly in Interior-Architecture practice

is made through idea of industrialization and interior according to the needs of the user. Internal volume and area can be increased and decreased by the movable front wall of each module. The floor space can be increased and decreased which results into double height volume in the space or removal of double height volume in the space through the metal trusses which can be inserted according to the needs with wooden panels as extended floor panels in the space. As the strategies of assembly mentioned in this sub-chapter. Designing for assembly is not similar to designing for disassembly. Designing for assembly has a sequence of construction but its not always the case for disassembly process and flexibility in terms of changes incorporated in the system leads to increase in the time-cycle of the assembly system. Aesthetics and Outcome of Assembly: The formation through components and its own form depend on the functions and needs. The system is expressed through external and internal parameters and on the geography on which the system is situated and the time (technological advancement in that particular time). The objects through which the aesthetics are expressed are structure, joints and details, materials used to form components and system and the technique which is applied through all this optimum trajectory is formed for natural forces. The assembly construction is formed through the components and elements which are designed and manufactured off-site in the factory. To form aesthetics of assembly, those components and system needs to respond to the geography of the place and be sensitive towards the phenomena of the place. Tectonic aesthetic is proclaimed through the materials of the components and jointing and 68

Material/s

Appropriate Technique and Technology and the advancements in the fields during the time Components- Elements- Members

Structural

Joints

Details

Formation - Composition

Additional parameters (Geography, Functional needs, Site, etc.) Form

Fig.2.3.3.D Flow chart showing the key touch points of the process to form

2.3_ Application of Factors of Assembly in Interior-Architecture practice

detailing of the system, it has the strength to express the smallest detail of the system and that detail becomes the microcosm of the entire composition, Tectonic aesthetics is making/ assembly of the system and how the assembly is made evident. Tectonic can be stated as the Poetic of Construction. (Frampton, 1995) Resources for Assembly: Resources makes the construction possible and depending on the resources the construction method is guided. Machines, Labour, Time, Money and Tools are categorized into resources. Machines- Components which are used to in the assembly construction are manufactured or fabricated in the factory with the help of machines. Labour- Machines are used to make components through human force which in the construction terminology is called labour. Time and Money- It is the most crucial factor which has great impact on the economy and feasibility of the project, more time in construction leads to more money spending on the project in terms of labour, renting of machinery on site etc. Money is the driving factor which guides the quality of the project to an extent. Tools- It is used to imply the techniques which are required for the specific purpose and function.

2.3_ Application of Factors of Assembly in Interior-Architecture practice

2.4_ Application of Factors of Assembly in Tree (Nature) The application of factors which are stated in the Fig.1.3.E are done through a process. On that object the factors are applied and those factors guides the assembly of the cube/ cuboid and the outcomes of it. The factors are clubbed together on the basis of the similarities and the impacts and the stage of its application in the process of assembly system. 2.4.1_ Units and Elements, Accessible connections, Clash detections, Tolerances / External forces and Division and Fragmentation points 2.4.2_ Growth principles, Strategies of Efficiencies and Stratification 2.4.3_ Resultant and Resources The categorization of the factors of assembly of nature-Tree depending on their attributes and in parallel to the categorization of the factors in the chapter 1 of this study for the Interior-Architecture practice.

Resources used to formulate Units and Elements through Growth principles, Strategies of Efficiencies and using Stratification with the effects of External forces which impacts the Accessible connections, Clash detections and Division and Fragmentation points to achieve the Resultant form and Outcome

2.4.1_ Units and Elements, Accessible connections, Clash detections, Tolerances / External forces and Division and Fragmentation points Unit and Elements: A tree in its tangible form is the composition of major elements such as a trunk, branches, sub-branches, twigs, leaves, fruits, flowers, roots. There is a strong hierarchal order which is followed in the system of a tree and that order is followed in all the types of trees. There are minor changes in the order but the basic order of the composition of the elements is visible and followed. For the study, two different type of trees are selected, Asopalav tree (Polyalthia longifolia) and Neem tree (Azadirachta indica). Selection of these two trees is mainly because of their easy availability and its existence together and the strict visual difference between the two.

Fig. 2.4.1.A Asopalav tree, showing the protrusion of the branches from the trunk and the fragmentation of those branches into secondary branches

Fig. 2.4.1.B Neem tree, showing the bifurcation of the trunk into the primary branches and the progression of the bifurcation of the primary branches

In asopalav tree, the progression of the tree is in linear vertical fashion and the trunk of the tree goes to the top most part of the entire tree and does not sub-divide. The branches of the tree protrudes from the trunk which later sub-divides in sub-branches. Due to the linear vertical progression of the tree, its canopy does not cover the wide spread volume. The order of the progression of the tree from above the ground is through the trunk which protrudes branches and sub-divides into sub-branches and twigs and leaves. In neem tree, the progression of the tree is not linear as the asopalav tree. The trunk of the neem tree in diameter is bigger than the asopalav tree. The trunk divides after some progression above the ground. The progression of the tree is more wide spread than the asopalav tree. The trunk divides into sub-trunk and then to branches and then 71

divides into sub-branches to twigs to leaves. In the asopalav tree the round of progression of branches in comparison are lesser than the neem tree. However because of the linear progression the volume density of the asopalav tree is more confined and dense than the neem tree which has wide spread branches and leaves. In both the trees, the components and elements are similar, trunk, branches, sub branches etc. However the composition of the both the trees are distinctly different and they function differently because of the arrangement of the components. Accessible connections, Clash detections, Tolerances / External forces and Division and Fragmentation points: The components of the tree as mentioned above, they play a significant role in the biological process. The roots from trunk to branches sends the water and nutrients to the last tip of the highest branch and the leaves conducts the biological process of photosynthesis which creates food for the tree. To make this process efficient the branches are spreaded so they do not cover the other branches of the tree. These biological processes establishes some constrains for the system of a tree. The physical height which a tree can reach is 122 to 130 meters, After that the tree cannot grow because of the limitations of the forces (external and internal forces) balance out. This study was done by the biologists of Northern Arizona University which was lead by George Koch. The branches of the tree grows in such a way so that it does not cause a shade on the branches below it, but another distinct feature is that no branch on the tree collides with each other because of the growth principles and rules of progression it follows. During the growth progression of the tree, the branches and trunk are tender and fragile and depending on the external forces and factors, 72

2.4_ Application of Factors of Assembly in Tree (Nature)

Seed as an outcome for the repetition of the process

Expansion Contraction of stem

Stem progression

Cotyledons, expression of duality

Seed sprouting

Roots

Fig. 2.4.1.C Goetheâ&#x20AC;&#x2122;s plant drawn by Troll. Showing the components and connections between them for the biological process and growth

Fig. 2.4.1.D The hardy trees on the Slope point, South Island, New Zealand

Fig. 2.4.1.E Crown shyness

the branches adapt itself and figures out the best optimum resultant counter. An example of it are the hardy trees which are grown in the region of Slope point, South Island in New Zealand. The strong uninterrupted wind which gains the momentum from the 3200km of clear land has forced the hardy trees to bend to a form which does not harm the structure of the tree. The resultant form of the tree has the best optimum balance between providing the shelter against the strong winds and not affecting the structure of the tree. This sensibility of trees against wind and surroundings, also responds to the other trees in the surroundings. Certain trees entwine and grow together giving structural support to each other, while other species respects the other trees and do not touch them. In the case where the foliages of the trees do not touch each other, it is called crown shyness. The towering trees like eucalyptus, Sitka spruce, and Japanese larch etc have this phenomena.

2.4_ Application of Factors of Assembly in Tree (Nature)

2.4.2_ Growth principles, Strategies of Efficiencies and Stratification Growth principles, Strategies of Efficiencies: Nature follows the rule of minimum input and maximum output principle in all of its natural organizations. As the tree grows it follows certain order and rules through which the branches, leaves etc are guided. The principles/ phenomena through which it grows and behaves are categorized in Physical principles/ phenomena, Mathematical principles/ phenomena and Biological principles/ phenomena. The study focuses on the physical and mathematical principles/ phenomena of the tree. The physical and mathematical phenomena which are present in the self-similarity and approximation of fractal geometries. The shapes which are never ending or in growth continuously but have self similar parts or attributes through out the progression and system can be studied through the fractal geometry. Those attributes and study can be used as a starting process in architecture, design and structural field. The need for this concept is because the nature cannot be broken down in the shapes that follow the rules of Euclidean geometry and Euclidean shapes that are straight lines or perfect pure curves. Talking about fractals in relation or in respect to building, the building composition is a progression of forms which initiates from the outside (facade of the building) and progresses to the interior details or vice-versa. The progression has importance for the user to maintain and be involved within the built. The interior details on a smaller scale which has the similar attributes directs and expresses the entire system. This is one of the way of stating fractal concept in relation to the architecture and interiors.

2.4_ Application of Factors of Assembly in Tree (Nature)

Use of the concept in the design is categorized in to two: 1. Fractal dimension is a part of the fractal concept and this helps in quantifying the fractals and itâ&#x20AC;&#x2122;s application. This can be used in the same way to the design in terms of textures and the surprise factor in the order. One example highlighting itâ&#x20AC;&#x2122;s use is the monotony in the texture use in the some of the modern architectural projects that led to rejection from the general public. 2. The other use of the concept is to generate the progressive rhythm which can be incorporated in design. To source the progressive rhythm the surrounding context of the project could be one of the factors.

e2 Lloyd Wright, Robie

Fig. 2.4.2.A Robie house by Frank Llyod Wright. The fractal dimension box method calculation is used for the composition of the facade and the project

2D structure 2D structure 8 branches 2D structure 4 branches

Fig. 2.4.2.B Tote restaurant Mumbai, India by Serie architects. The structure has been influenced by the fractal order and language of the surrounding trees 2.4_ Application of Factors of Assembly in Tree (Nature)

The study focuses on the second factor because it gives the opportunity to source an outcome which is specific for that situation. Natural forms of trees have an underlying principle which directs the structure, fractal geometry gives a method to break it down for the describing the principle. Fractal geometry highlights the fact that nature is not flat. There are infinite number of scales of length in it. This leads to numerous interesting forms which are stated as clusters but the symmetry is rarely present in the forms. The formation of trees is generated through parts which are standardized in a particular way and regular. However, due to the external factors which are inevitable they end up being different and hence none of the two same species of tree looks similar. Tree progresses in a modular manner which is repetitive. The bud of every tree is similar to all the buds of the same species and they are inter-related, the external factors affect the trees globally and locally. Buds are the point of progression for trees. Comparing and studying some of the modular progression examples which are isolated from the external forces of the environment. 1. The modular tree having Y configuration and the angle is 75 degrees. The progression is through the module Y that scales down in half with each round of progression. This formation is called the Dichotomous manner. 2. The modular tree having Y configuration and the angle is 75 degrees but no scaling. This modular progression has the same module which is mirrored and the length of the forks are different, one is half than the other one. This module also undergoes 4 steps of progression in order.

2.4_ Application of Factors of Assembly in Tree (Nature)

Both of the outcomes have peculiar formation sand the sequencing of both are very different. To generate a quantifiable outcome of the order, a growth sequence of the trees is generated. The growth sequence is generated by connecting the mid points of the branches of the particular number of progression and the number of points which are connected in the sequence is the order for that progression round. Fig. 2.4.2.C Modular tree Y configuration at 75 degree angle. Four progression

Fig. 2.4.2.D Modular tree Y configuration at 75 degree angle no scaling. Four progression

As the figure states the intersection points in both the progression. In the 2.4.2.E the progression in each branching order is 1, 2, 4, 8, 16, .... This is the geometric progression which doubles the number of branching with each progression. This sort of progression is followed by the plants like common club moses, seaweeds and hyphaene palms etc. In the figure 2.4.2.F the progression order which is shown, the order is in the form of 1, 1, 2, 3, 5, 8, 13, ....... This progression resemblance the Fibonacci number sequencing. That follows the golden ratio (1.61803...). The modular tree is an example of the self similarity and repetition of a component in a certain order which forms a system. The other examples of the fractal geometries which the study looks at are as follows- Cantor set, Sierpinski Gasket, Koch curve, Minkowski curve, Peano curve and Modular tree formation through plane formation.

Fig. 2.4.2.E Counting the intersection points in each progression of the branching of 2.4.2.C

Fig. 2.4.2.F Counting the intersection points in each progression of the branching of 2.4.2.D 2.4_ Application of Factors of Assembly in Tree (Nature)

Cantor Set- A line which is divided into three equal parts and from it the center part is removed, resulting into two parts. The same process is applied individually onto the two lines. The lines in all the progressions follows the self-similar principle. The Dougong bracket from bottom to top is in the formation of a cantor set. The Cantor set rule and progression order is expressed in the Chinese Dou-Gong wooden bracket system where from bottom to top the member sizes are doubled compared to the predecessor. Sierpinski Gasket- Beginning from an equilateral triangle, another equilateral triangle is placed within the first base triangle in such a way that the corner points of the introduced triangle touch the midpoints of the vertex of the base triangle. This provides the formation with four triangles and the same process is repeated in all the four triangles. The principle of the Sierpinski Gasket order has been used in the Grand Egyptian Museum of Giza, Egypt. The structure column configuration and the internal element of the structure are guided by the principle order and along with that the facade panels are following the same progression order.

1 2

3 Fig. 2.4.2.G Cantor set, three progression

Fig. 2.4.2.H Sierpinski Gasket, four progression and two variations

Fig. 2.4.2.I The Grand Egyptian Museum (GEM), Giza, Egypt using the principle of Sierpinski Gasket for the structure of the concrete column and in the facade panel 78

2.4_ Application of Factors of Assembly in Tree (Nature)

1 2

Koch curve- Similar to the Cantor set, the Koch curve originates from a single line which divides into three equal parts. The center part is removed and replaced by an equilateral triangle without the base vertex having the same vertex length as the divided length of the line. The formula through which the length of the koch curve can be measured in any number of the progression is [L x (4/3)n]. Here L is the length of the initial line and n is the number of progressions applied on the line.

Fig. 2.4.2.J Koch Curve, four progression

Fig. 2.4.2.K Elam Residence by Frank Llyod Wright. The floor plate is formed through the grid based on fractal geometry (Koch curve and Sierpinski gasket) order and according to the functional needs the spaces are formed and created

1 2

Fig. 2.4.2.L Minkowski Curve, three progression

Minkowski curve- A line is divided into four equal parts and the two central parts are replaced with two squares in the formation such that, one square is protruding upwards and another one downwards. The base of the squares which connects the line are removed. The formula through which the length of the Minkowski curve can be measured in any number of the progression is [L x (2)n]. Here L is the length of the initial line and n is the number of progressions applied on the line. In the case of the City of Holepsenusret, the organization of the cuboid blocks form the primary street and secondary street depending on the function. Also, the layout of the blocks in the each formation has a distinct arrangement but possesses a similar peripheral area as the others. 2.4_ Application of Factors of Assembly in Tree (Nature)

Peano curve- A line is divided into three equal parts. The center part of the line is replaced by two squares similar to the Minkowski curve but however the formation of the two squares are not staggered but on top of each other. The formula through which the length of the Peano curve can be measured in any number of the progression is [L x (3)n]. Here L is the length of the initial line and n is the number of progression applied on the line. The infinite progression of the formation of the square ultimately forming a open grid system cab be seen as the base grid in the Gandhi Ashram of Sabarmati, India by the architect Charles Correa. The formation through square modules as well the square voids (overlooking spill out spaces) forms an open system to progress as per the needs and time for expansion still having self-similarity between each module of the system.

Fig. 2.4.2.M City of Holepsenusret (Kahun) in 12th dynasty, Middle Kingdom in Fayoum by Pharaoh Senusret II, organization of the blocks (residence+commercial spaces) with optimum road width 1 2

3 Fig. 2.4.2.O Gandhi Ashram (Sabarmati), India by Charles Correa. The organization and relation between each square module as one open system for progression in all four sides

Fig. 2.4.2.N Peano curve, three progression 80

2.4_ Application of Factors of Assembly in Tree (Nature)

Fig. 2.4.2.P Modular tree through plane formation 2.4_ Application of Factors of Assembly in Tree (Nature)

Modular tree formation through plane formation- The formation is done through a simple three-sided polygon (triangle). The arrangements leads to the triangular array which fills up the space gradually by a certain order of principle. The triangle is an equilateral triangle and the size or the scaling is not present in the progression. The triangle is situated in the center and the other triangles are placed touching the central triangleâ&#x20AC;&#x2122;s corner. This process is repeated for other six-seven progressions. The formation leads through six branches in the hexagonal fashion. One of the six branches is isolated from the formation and reducing the patten into a simple form gives a modular tree. In the case of The Nature Factory by Suppose Design Office, the retail store of denim (jeans) hosted a temporary installation which was designed considering the balance and harmony between nature and man-made artificial objects. The tree like formed forming and covered the interior roof of the space with abstract form of the foliage and a branching progression by the PVC pipe structure and elbow and T joints of the same. The sizes of the elements are modular and standardized with a certain order being followed which creating an orderly chaos resembling the natural tree.

Fig. 2.4.2.Q The Nature Factory by Suppose Design Office, the modular tree form progressing and forming the canopy in the space through modular PVC pipe structure which are resultant from the space dimension

2.4_ Application of Factors of Assembly in Tree (Nature)

Stratification: The components of the tree, branches, leaves etc. play a specific role and perform as a part of the entire system. The organization of those components are guided by the optimization and efficiency of the system (tree). All the components perform differently but all of the functions relates to one specific system. The components while performing the function do not restrict the other components of the system to perform its task. All the components are in harmony. 2.4.3_ Resultant and Resource Resultant: Nature follows the process of MaterialStructure- Form and after the material (resource) is guided through the principles and phenomena of structure the form is achieved. This leads to achieving the form in its most optimum output and the process becomes the most efficient for that specific situation. The tree as observed in the sub-chapter 2.4.1 is adaptable to the external surroundings and factors. The nature in all of its forms, follows the strategy of assembly of Cradle to Cradle, as mentioned in the sub-chapter 2.3.3. Resource: The tree primarily needs as resources of water, sun, earth. Water and sun are the necessities that are well established, earth provides for the tree to sprout, to let its roots go deep to provide itself the nutrients, water and the structure for the tree.

2.4_ Application of Factors of Assembly in Tree (Nature)

â&#x20AC;&#x153;Those who look for the laws of Nature as a support for their new works, collaborate with the creatorâ&#x20AC;? - Antoni Gaudi

Implication of the Theory

Introduction of the Theory 3.1_ Case-Studies 3.1.1_ Agri Chapel 3.1.2_ GC Prostho Museum

Introduction of the Theory The elements of assembly system theory of Interior-Architecture practice and Tree (Nature) as specified in the Fig.1.3.D and Fig.1.3.E respectively, are used in certain order/s in Interior-Architecture practice and Tree (Nature).

Construction Aspect

Material

Structure

Form

The order of Interior-Architecture practice : Strategy of Assembly applied on Unit/ Elements using theories of Montage theory and Layering considering and keeping in mind Tolerances, Clearances and Clash detections as well as by using Joints and Tolerances to achieve Aesthetics and Functions with the amount of Resource available. The order of Tree (Nature) : Resources used to formulate Units and Elements through Growth principles, Strategies of Efficiencies and using Stratification with the effects of External forces which impacts the Accessible connections, Clash detections and Division and Fragmentation points to achieve the Resultant form and Outcome. The three broad constructional aspects of any physical-tangible form are Material, Structure and Form. In Interior-Architecture practice the sequence of those constructional aspects is Form-Structure-Material. While in the Tree (Nature) and all the natural objects and formations the sequence of constructional aspects is Material-Structure-Form. Comparing the two sequences, the construction process and the final outcome of nature will always be an efficient use of the material/resource and an optimum resultant outcome, where as in the Interior-Architecture practice the situation is not similar. Form in the tree (nature) is the resultant of the material and structural aspect and thus the form never exceeds or falls short of the material or resources and also doesnâ&#x20AC;&#x2122;t fail structurally.

Interior-Architecture practice construction aspect sequence

Form

Structure

Material

Tree (Nature) construction aspect sequence

Material

Structure

Form

Interior-Architecture practiceâ&#x20AC;&#x2122;s material aspect

Capability

Quantity

Under-use

Over-use

Effects Visual attributes of the system

Physical attributes of the system

Space planning

Character

Tree (Nature) aspect

Porosity

Opacity

In Interior-Architecture practice the form is the first aspect that guides the structural aspect and both the effects simultaneously guides the material/resource aspect. This sequence leads to the under-use of the material quality/capability and the over-use of the material quantity. These material aspects of the assembly system affects directly the visual and physical outcome of the interior system. The effects of the material aspect in the assembly system of the interior can be seen on the Visual attributes of the system and space which are termed as Space planning and formation and the Physical attributes of the system and space which are termed as Character. Similarly in Tree (Nature) the material aspect of the construction assembly system is used in the efficient way through the maximum capability of material property and structural principles. The material in this situation for tree (nature) are termed as opacity which has to be guided by principles and phenomena to distribute it as much as possible in the abundant porosity which is available. The coexistence between the porosity and opacity makes the resultant outcome in the nature. The porosity and opacity aspect of the tree (nature) are inter-connected and impact each other. This study looks at Tree (Nature) as knowledge and model for the Assembly system of InteriorArchitecture system. Thus a comparison is established between the principles/ phenomena of Opacity and Porosity of Tree (nature) and Character and Space planning of Interior-Architecture practice. This comparative analysis through case-studies will result into the overlaps between the four different tangents of the two different fields.

Frame work for the analysis: The comparative analysis is performed between the four aspects which are opacity-porosity of the tree (nature) and character-space planning of assembly system of interiors. The sub-factors of the assembly system of Interiorarchitecture practice and tree (nature) have been divided in these four aspects for the analysis. The comparative matrix will be used for the analysis of the selected case studies in this further study. The matrix formulates four sub-relations, the relations are: Opacity - Character, Opacity - Space Planning, Porosity - Character, Porosity - Space Planning. As mentioned earlier in this study the attributes, principles and phenomena of tree (nature) have been looked at as a model and the knowledge and the impacts of it are studied on the factors of assembly system for interior-architecture practice, the study focuses on the impacts of the assembly system and the resultants of it. The overlaps between the factors are not just observed in the present and not present stages but a step ahead where if the overlap is observed then that overlap is identified in the aspect of process oriented aspect and/or assembly oriented aspect. The overlaps with the two basis of distinction can be visible and not visible with its own specific language. The end result of this study focuses and directs on the tangent where all these factors, aspects contribute in the interior space. The case studies establishes the theoretical relations between the attributes of Tree (Nature) and assembly system in interiors to practicality.

Introduction of the Theory

Opacity

Character

Opacity

Space Planning

Porosity

Character

Porosity

Space Planning

3.1_ Case Studies The resultant outcome of a process and the practice of Interior-Architecture is in the form of a project. Projects for the study are selected with one specific constraint which is that the project should be executed and formed through an assembly based system approach for the interior-architecture need. The study considers two projects for the evaluation and analysis. Fig.3.1.A_ Agri Chapel, Japan by Yu Momoeda Architecture Office

The projects are: 3.1.1_ Agri Chapel by Yu Momoeda Architecture Office 3.1.2_ GC Prostho Museum by Kengo Kuma and Associates

Fig.3.1.B_ GC Prostho Museum, Japan by Kengo Kuma and Associates

Both the projects follows certain similarities and meet on a common ground- wood as the primary material for the assembly system, the system having no cladding or non-structural aesthetical members, involvement of the Japanese joinery and wood working, location of both the projects in Japan thus having same resources and geographical conditions. Both the projects hosts functions which are open for the public use, and along with the off-site system the other material used for building is on-site wet construction (concrete structure). One of the primary distinctive characteristics between the two system is the geometry of the systems, Agri Chapel having angular members and no primary horizontal members while GC Prostho museum has no angular members in the system. The visual attributes of the tree are prominently visible in the Agri Chapel however in GC Prostho museum they are missing. Both the projects are distinctly different than to each other but the attributes of the tree incorporated in both makes them relatable in that sector. They are studied and analyzed by the established theory and the frame work.

3.1.1_ Agri Chapel In the project, the first thing which is prominently displayed in the modules is the resemblance of the treeâ&#x20AC;&#x2122;s visual attributes in the form. Even though the module has the strong visual form, when the modules come together to form a system, the system blends into one whole. The module having material dimension when it comes together with the other module, it starts shaping the space and the resultant of it formulates the interior space from the architectural volume. Architect: Yu Momoeda Architecture Office Location: 2671-1 Yotsuemachi, Nagasaki-shi. Nagasaki-ken 851-1123, Japan Built-up Area: 125.27 sq.m. Year: 2016 Structural Engineer: Mika Araki and Jun Sato structural engineer Company limited. Client: Memolead

The architect designed the chapel keeping in mind the oldest wooden Gothic chapel in Japan which is known as Ohura-Tenshudou. The Agri Chapel is a manifestation through the traditional wooden system expressed in the new Gothic style language. The three characteristics which are abstractly expressed and used in the structure, composition and space planning are: 1. In Gothic architecture style the composition of the building is divided into three layers. The interior system is divided visually and structurally into three layered composition. 2. The Gothic chapels consist of the side eaves and the interior system composition is planned in a way which formulates one center corridor and two side eaves inside the chapel. 3. The rotations and staggering attribute guides the structural composition of the interior system of the Chapel. The interior system is through a module which represents an abstract tree like form. This module makes the interior system by progressing vertically by scaling down in the size. As mentioned earlier the architect designed the Chapel keeping in mind the 90

Wooden Gothic Chapel

Japanese wood working

Agri Chapel Interior system

Fig. 3.1.1.A Composition of the elements divided in to three layers

Fig. 3.1.1.B Side eaves along with the aisle in the Gothic Chapels

Fig. 3.1.1.C Pendentive geometry formation through the composition of the modules along with the scaling and orientation

Peripheral walls

Fig. 3.1.1.D Peripheral walls for the support against the seismic and external loads

new Gothic style formulated through interior system. One of the prominent characteristic of the Gothic chapel is the pendentive. In the Chapel, the centeral part of the interior space the pendentive is abstractly formed through the linear members of the system. In the three layers which are formed in the system, each layer consists of the self-similar modules which are different in scale to the other layer. The base layer (bottom layer) consists of the four modules (element size-120mm each). The second layer (middle layer) consists of eight modules (element size-90mm each) and the third layer (top layer) consists of sixteen modules (element size-60mm). The modules are constructed through Japanese wooden joineries. The peripheral or the boundary walls of the Chapel counters against the external factors such as wind and seismic loads. The orthogonal square floor plate of the Chapel is exaggerated because of the position of the tree like interior system module and it also divides the floor plate. Interior volume of the Chapel is divided into parts through the consecutive layers of the system in the space. The composition of the interior system consisting of the tree like modules. In respect to the load transfer, the system represents the accumulation of the load as it comes downwards near the ground. The top layer along with the roof transmits the load (compression) onto the second layer modules and then to the first layer. The load accumulates as it comes down and the section sizes of the modules gets larger. The system consists of the exposed wooden compression elements along with white finished metal rods to bring the system into a stable form by nullifying the compression and tension force wherever needed. The project is divided into four sub-categories according to the frame work for comparison as described earlier. 3.1.1.1_ 3.1.1.2_ 3.1.1.3_ 3.1.1.4_

Opacity-Character Porosity-Character Opacity-Space Planning Porosity-Space Planning 91

Fig. 3.1.1.E Interior view of the system and the connection with the outside through the full height glass facade

3.1.1_ Agri Chapel

Fig. 3.1.1.F View while approaching the project

Fig. 3.1.1.G Part model of the project showing the relation between the Interior system with the architecture and the formation of the space along with the constructional aspect of it 3.1.1_ Agri Chapel

PROMINENCY IN THE LANGUAGE

CHARACTER

Process oriented aspect Assembly oriented aspect

PROMINENCY IN THE DESIGN

Process oriented aspect

Component sharing modularity

Part Tolerance

Component swapping modularity

Subassembly Tolerance

Adjustable Joint

Assembly Tolerance

Reveal | Hidden

Cut to Fit modularity Mix modularity Bus modularity

Assembly oriented aspect

Sectional modularity

Accessible connection Clearances

Sliding Joint

Butt-joint InteriorClash Architecture Edge junction detections Tolerance

Design for Disassembly Design for Re-use Design for Temporality

Site Intensive KOP Mass customized KOP Standardized KOP

OPACITY

Accessible connection Local collision Global collision Part Tolerance Sub-assembly Tolerance Assembly Tolerance

Fig. 3.1.1.1.Chart Opacity to Character matrix for the Agri Chapel case-study showing the overlaps Overlap of the both aspect and the effects on Process and Assembly stages

3.1.1_ Agri Chapel

Design for Change

3.1.1.1_ Opacity-Character:

Secondary division

Primary division

peripheral walls

Secondary division

The elements and the modules of the Interior system of the Chapel expresses the three modularities: Component sharing, Mix and Sectional. The overlaps and interconnections in the Opacity factor of tree (nature) are seen through site intensive, mass customized and standardized KOP, Accessible connections and Part, sub-assembly and assembly tolerance.

module1

module2

Center line of the modules of layer 1

Square floor plan division into 4 quadrants

module3

Fig. 3.1.1.1.A Floor plan of the layer 1 of th system in the Chapel. The floor plan dimensions guiding the size of the modules

module4

0 500

2000

Center line of the modules of layer 1

5000

3.1.1_ Agri Chapel

As shown in the Fig. 3.1.1.1.A the floor plan dimensions are guiding the size of the base modules. the base module dimensions guide the sizes of the of the modules of the layer 2 and layer 3. The internal floor plate clear dimension is of 9730mm. Dividing that floor plate into four halves, the center point of those four halves acts as the center position of the layer 1 module. The center position becomes the point for the each module and from there the elements of the each module progresses.

Division of the floor plate

Points of the initiation for the system

Layer 1 modules

Fig. 3.1.1.1.B Diagrams showing the placement and guided dimensions through the floor plate dimensions (site specific)

Each module of all the three layers of the interior system consist of three type of elements. The module is spanned in Y formation through the Element A and B which are connected to a singular point which is Element C. As shown in the Fig. 3.1.1.1.B the square floor plate of 9730mm is divided into four parts and each part is of 4865x4865mm.

Element B

Element A

Guided by the site dimensions the module sizes emerged which had impacted the element sizes. Along with that the ergonomics and human dimensions also guided the element sizes of the modules. The element C is of 2000mm and in this dimension the human clear height becomes the guiding factor. The length of Element A is 3610mm and of element B is 2710mm. These three element types forms the module for all the three layers with different lengths.

Element C Fig. 3.1.1.1.C The module

3.1.1_ Agri Chapel

Element A position 1 Element B position 4

Element B position 1

Element A position 3

Element A position 2

Element B position 3

Element B position 2 Element A position 4

Fig. 3.1.1.1.D The module of layer 1 showing the elements type and their assembly position

The elements A and B formulating the module expresses the Component sharing modularity and Sectional modularity. While the element C is a part of the Bus modularity. First taking the element A and B. Element A,B are the peripheral edge forming elements of the module which also joints with the other module of the layer 1 as shown in the Fig.3.1.1.1.B. All the four elements A,B are identical and can be connected to the column base. Hence established that element A,B shows the Component sharing modularity. The profile of the elements are in such a way that the one end is connected to the column base and the other allows the metal base plate on it. During the assembly the element reduces the chances of the mis-joining because of the Sectional modular nature of the element. The element B shows the same identical nature within its variation. The column base acts as the trunk of a tree. The column is formed through Bus modularity where 4 element C comes together on a single element through component sharing modularity. Each element C houses the element A on it and between the two element C element B joins to form the module.

Element C position 1

Element C position 2 Bus modular element

Element C position 4

Element C position 3

Fig. 3.1.1.1.E Diagram showing the column base formation in plan through element C and the bus modular element

The assembly of the elements for the modules involves joints and connections. Accessibility of those connections becomes important and crucial. The assembly sequence of the module and the system is from a bottom up approach identical to a tree and the system is stable on the all the stages of assembly resembling the tree formation through its natural cycle. The connections are required for the progression of the system are pre-thought during the design stage and becomes the part of aesthetics of the system. After each layer completion the connections are formed for the progression of the successive layer of the system. During the assembly, the discrepancy and the error rates depending on the type of the unit differs. To counter the tolerance at each stage of the assembly system, this is required for ease in construction and to form the system. 3.1.1_ Agri Chapel

metal tie members

element A for other module forming the connection for the layer 2

termination point of the module

connection point for the successive layer

element C

element A

element B

Flange for element B Base plate connecting all elements together joint between the element A and C

Nut and bolts

element C

base

element C

Fig. 3.1.1.1.F The module of layer 1 when assembled (left) and the exploded view of the module with elements and junctions and hardware (right). Drawing not to scale. 98

3.1.1_ Agri Chapel

equal length

Fig. 3.1.1.1.G1 The module in the stable configuration length constant

change in length

bending causes shift in the center of axis

Fig. 3.1.1.1.G1 The module not in stable condition and center of axis shifted

Part tolerance

sub-Assembly tolerance

The tolerance in the assembly of this interior system is visible on three stages: Part tolerance, sub-Assembly tolerance and Assembly tolerance (Interior-Architecture tolerance). As seen in the Fig.3.1.1.1.G2 the provision of the threaded connections allows the module (part) to get into final position and do the adjustments as required depending on the situation through tightening or loosening the threaded tension member. This connection and provision also helps in the maintenance and keeping the system stable in the long term duration because of the material behavior as behaviour of wood over the time depends on the external factors (seasons, moisture etc). Similarly the identical joint and connection is provided when the two modules forms the connection for the progression of the successive layer on top of it. This plays a crucial role in maintaining the symmetry and for the both the levels of the module to be at same level. The difference in the level of the module leads to inclination of the successive layers. The assembly system is completed with the role of the elements which are protruding outside from the architectural element (walls). This leads to the assembly tolerance which in this case study also becomes the InteriorArchitecture tolerance. The elements visually seem to be protruding outside from the wall but through structural and constructional aspect the wall has an internal element with identical joint as the exposed modules. The reverse process of completing the architectural element after the interior system reduces or minimizes the need of Interior-architecture tolerance and the sub-assembly tolerance helps in completing the construction of the system. Due to this approach the end junctions where the interior elements terminate on the architectural element becomes more refined visually. The strict demarcation between the two also reduces and forms one entity as a whole.

Fig. 3.1.1.1.G2 The tolerance is introduced in the assembly system through the metal components 3.1.1_ Agri Chapel

We see the presence of tolerance in the different stages of the assembly (module, sub-assembly system and total system). Existence of tolerance is through the joints and connections, thus the working of the joints and their assembly becomes crucial. The system uses two materials, wood as the primary material and metal as the secondary material. Wooden elements comprises of sliding joint, hidden joint and edge junction while the metal elements comprises of the adjustable joints. The joints are decided and designed depending on the structural capability and ease of assembly. The element A of the module has sliding joint which is hidden because of the geometry of the element on one end which connects to the column base. The other end which connects with the other module has edge junction to allow the other identical element to connect through the metal plate introduced on the both. The element B of the module has hidden embedded junction on one end which connects to the column base and the other end has provision though geometry for the metal plate on top for the tension members. The element C (terminating the module, refer to the FIg.3.1.1.1.F) hosts the metal elements which brings the system into stable form through tension members. The metal spanning members and the metal base elements have adjustable joint between the two. The column base is through stacking up four members on all the four sides of a singular member as shown in the Fig.3.1.1.1.E.

Fig. 3.1.1.1.G3 The interior-architecture tolerance replaced through the sub-assembly tolerance through the reverse approach of construction architectural element after the interior system assembly

Base junction for progression

connection element A

sliding hidden joint

element B adjustable joint base plate hidden

tolerance

element A element C metal joint element C module 2 Fig. 3.1.1.1.H The joints in the module construction and sub-assembly construction 100

3.1.1_ Agri Chapel

element A module 1

Advantages of assembly system

Maintenance Changing damaged elements and increasing the life of the system

Expansion Possibility of progression (horizontal and vertical) as per the needs

Disassembly Re-usability of parts and material after the disassembly of the system

Fig. 3.1.1.1.I The advantages of the system in the three aspects

1. Stable system

2. Element deformed

New Deformed element element

3. After changing the element, system stable Fig. 3.1.1.1.J The ease of changing the elements for the system maintenance

As observed all the elements with in the module, sub-assembly and assembly system comes together through a joint or a detail. That allows the system to be completely assembled on-site without or with least involvement of wet construction possible. Possibility of using dry-construction and system being constructed through offsite elements using junctions and details leads to many advantages. The possibility of changing the damaged, worked up elements or members over the period of time and introducing the new members increases the life cycle of the system. The increase in the life cycle of the system affects the functionality of the project and it also increases. Similarly over the period of time if the function demands more space and expansion the modular assembly system allows the space to expand in horizontal and vertical configuration because of the order it is based on and the connections. The re-usability of the damaged, worked up elements or members or the entire system after disassembly can be reused. The wooden elements of the system has junctions and designed joints which, depending on the need of the project can be removed (via cutting) and the entire wooden linear element can be used for different task or need. Similarly in the metal element the same process can be applied for reusing the tension members. The advantages of three kinds as mentioned in the Fig.3.1.1.1.I through one assembly system approach and design helps to reduce the carbon foot-print of the project in the design, construction and post construction stages.

modules for expansion

Fig. 3.1.1.1.K The possibility of the horizontal expansion through repeating the modules as per the order 3.1.1_ Agri Chapel

101

PROMINENCY IN THE LANGUAGE

CHARACTER

Process oriented aspect Assembly oriented aspect

PROMINENCY IN THE DESIGN

Process oriented aspect

Component sharing modularity

Part Tolerance

Component swapping modularity

Subassembly Tolerance

Adjustable Joint

Assembly Tolerance

Reveal | Hidden

Cut to Fit modularity Mix modularity Bus modularity

Assembly oriented aspect

Sectional modularity

Accessible connection Clearances

Sliding Joint

Butt-joint InteriorClash Architecture Edge junction detections Tolerance

Design for Disassembly Design for Re-use Design for Temporality Design for Change

Order Arrangement Symmetry Behavior Distribution

POROSITY

Principles of Tree Progression of branches Fractal geometry Modularization of Tree Organization of Element in the system with special emphasize on integrated system Relation between Elements and/or Parts of System Organization for Optimumness

Fig. 3.1.1.2.Chart Porosity to Character matrix for the Agri Chapel case-study showing the overlaps Overlap of the both aspect and the effects on Process and Assembly stages Overlap of the Process oriented Language aspect and Assembly oriented Design aspect

102

3.1.1_ Agri Chapel

3.1.1.2_ Porosity-Character:

layer 3 16 modules

layer 2 8 modules

layer 1 4 modules Fig. 3.1.1.2.A The arrangement of the modules of all the three layer forming the system

As observed and stated in the previous chapter regarding the elements and members of the system having specific modularities, the arrangement of those elements to form the module and the composition of the modules to formulate the system becomes vital. The arrangement comprises of the three layers as shown in the Fig.3.1.1.2.A and in each layer from bottom to up, the modules were being doubled which were guided by the connections formed with in the modules of each layer. The layer 1 consist of 4 modules which emerged from the proper division of the floor plate as stated in the sub-chapter 3.1.1.1. Within the four modules 4 internal and 8 external (points on the wall) points were formed. Through which the modules of layer 2 were arranged. Repeating the same process the layer 2 yields 16 internal points which became the location for the layer 3 modules. The order through which the arrangement is guided is by the formula for the number of modules for this progression: Number of modules= 2(x+1)

(x = number of the layer, for e.g. 1,2,3,..)

The system composition through this particular order and arrangement follows the bilateral symmetry. It is being followed in the horizontal and vertical orientation as observed in the Fig. 3.1.1.2.B. The presence of symmetry makes the structural testing and load transfer capability of the system easy to study and test. The modules of the system transfers the additional load of the roof resting above the layer 3 of the system and the self-weight of the modules itself on to the ground.

Fig. 3.1.1.2.B The bilateral symmetry being followed in the vertical direction and horizontal direction (plan)

The load results into compression force and the force is accumulated as it progresses down from above in the system. The element works as the branch and a trunk, the branch receives the load from the other modules and the trunk accumulates the load of the 3.1.1_ Agri Chapel

103

singular module. The increase in the section sizes of the elements from top to bottom allows the increased load on the modules and the system and reduces the chances of the element failure. The shape and form of the module allows the orderly progression as stated before and the arrangement of the entire system along with the bilateral symmetry and the load transfer from top-down through accumulation of the loads with respect to the element thickness and scale. Thus the shape and form of the module becomes crucial. The module comprises of the primary, secondary and tertiary component all functioning together through a host member. As shown in the Fig. 3.1.1.2.D, the module comprises of the components which plays different specific functions in the module (module as a system). The primary component plays the load transferring role and for connections with the other module, the secondary component residing between each two primary component maintains the overall center of axis and the stability of the system, both (primary and secondary component are connected with host component through the tertiary component. Here the module as a system is referred as the local system and the entire system is referred as the global system. The primary and host component plays the role in the local and global system, while secondary and tertiary component plays the role in local system but have effects in the global system. Comparing with a tree the module and the components with the components of trees, the host member resembles the trunk, primary component resembles the primary branches which protrudes from the trunk dividing it and progresses the tree, secondary and tertiary component resembles the subbranches which maintains the overall stability of the tree. The modular tree has an angle of 75 degree as mentioned in the Chapter 2.4.2. 104

3.1.1_ Agri Chapel

force path 1

force path 2

force path 3

Fig. 3.1.1.2.C Diagram showing the load transfer and load accumulation from top to down in the system

Tertiary component

Primary component

Secondary component

Host component

Fig. 3.1.1.2.D The component of the module resulting into particular shape and form

terminating point of the module

branching point of the module

Fig. 3.1.1.2.E Diagram showing the branching and terminating point of the module

module 3 (60mm)

module 1 (120mm)

module 2 (90mm)

Fig. 3.1.1.2.F Types of module of the system and self-similarity between them

y component

Fig. 3.1.1.2.G Diagram showing the order and the arrangement guiding the connections

The diagram is 2D in nature with no presence of the z coordinate. The module of the system represents similarities with the modular tree but the difference exists in the angle of the forks. The angle of the module in the system is derived and guided by the human factor and basic ergonomics of the space. The layer 1 module is in the physical as well as the visual contact of the user of the space. The layer 1 module guides the rest of the modules of the other layers of the system. The modular tree fork angles were derived from the average of the angles of the primary branches of the tree. In the module of the system the branching point is placed at 2000mm because of the clearance it provides to the human height. As seen the Fig.3.1.1.2.E from the branching point from there the members protrude to the height of 3500mm. The branching point becomes the first point of the member and the second point of the member is formed through the division of the floor plate into four equal halves. By following the rule of the modular tree formation, needs of the human ergonomic and clearances and the project guides the module is formulated. Another observation of the system in relation to the fractal geometry is the self-similarity between the modules. Modules present in the system are of three types with changes in the element section sizes and lengths, while they displays the self-similarity in the form and shape and behavior. The order which the progression and arrangements of the members in the system follow, impacts and guides the clash detections, clearances between the elements and the accessibility of the connections. As observed in the Fig.3.1.1.2.G the order through which the components are arranged depend on the spanning and structural performance in all the four sides in the orthogonal configuration. The ratio of y/x= 1.45, depending on the scale and size of the module the connection is formed after x and y member arrangement have a ratio of 1.45. 3.1.1_ Agri Chapel

105

PROMINENCY IN THE LANGUAGE

Process oriented aspect Assembly oriented aspect

Spaces of Joints Method of Assembly/s

Modular coordination

Interfaces of Elements

Process oriented aspect Size of Elements

PROMINENCY IN THE DESIGN

Assembly oriented aspect Site Intensive KOP Mass customized KOP Standardized KOP Accessible connection Local collision Global collision Part Tolerance Sub-assembly Tolerance Assembly Tolerance

Organization of Element in the system with special emphasize on integrated system Relation between Elements and/ or Parts of system

System Determinants

Principles of Measurement

Organizing for Enhancement of Assembly

Separation for Assembly

SPACE PLANNING

Concept of Juxtaposition Composition by different Elements

Fig. 3.1.1.3.Chart Opacity to Space Planning matrix for the Agri Chapel case-study showing the overlaps

Hard Flexibility

Soft Flexibility

Expanding within

Design for Intimacy

Movable parts

Tolerance of Assembly

Location of Circulation

3.1.1_ Agri Chapel

106

OPACITY

3.1.1.3_ Opacity-Space Planning:

Interface line

Interface plane Interface line and point

Fig. 3.1.1.3.A Diagram showing the peripheral cuboid in which the module is infused and the interfaces between the same layer and different layers

Rotation of 45 degree

Fig. 3.1.1.3.B Diagram showing the volume cuboid arrangement and the order and the sequence followed

The volume covered by each module is formed as a cuboid. As stated earlier the progression of the modules gets smaller layer by layer in the system. The size of the modules impacts the volume covered by the module, however the interfaces between the similar volume of the modules does not get affected which is guided by the ratio. The Fig.3.1.1.3.A shows the volume cuboid of each module and the size variation between them which are guided by the modules along with that the interfaces are shown in three types: points, line and plane. The interface point is the tangible point between the two modules which also becomes the interface point for the modules of the other layer modules. The interface point formed by the members of the modules and projecting the point perpendicular to the ground forms the interface line. Similarly the interface plane is the formed by the elements of the modules protruding outwards from the column, The interface line performs as a threshold in the space and makes the transition from under the one module to another prominent. Similarly the interface plane performs as a crown in the space and the formulates the volume above the user (human) into three parts without dividing the volume. The modules (cuboid) are in coordination with each other through order and rule their assembly of them is from bottom to top. The modules as they progress up are rotated at 45 degrees and the upper side corner points of the cuboid becomes the center of the successive cuboidâ&#x20AC;&#x2122;s. The over lap between the both is such that a 1/4th part of the upper layer cuboid is overlapped on the module underneath it. As observed the system is in compression and thus the assembly method of the modules initiate from bottom and lead above, making the system stable in all the stages of the assembly. The arrangement of the porosity in 3.1.1_ Agri Chapel

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the volume through the material intervention is in the form of the modules. In each layer as shown in the Fig.3.1.1.3.C, the layers are from the bottom to the top. The layer 1 has heavier sections of the members forming the module, however, due to the scale and arrangement of less modules the layer 1 is visually lighter and more porous. In the layer 3 the lighter sections of the members form the module, but due to the scale and arrangement of more modules the layer 3 is visually heavier and less porous. The elements which are composed are the modules (opacity) which have their own voids (porosity) elements along with it. Similarly to a tree, the system is denser on the top with smaller members and visually lighter and more porous while reaching the ground. The system and the modules are guided through the many principles of the tree as observed and shown but the system is also determined and guided by the external factors. As observed in the Fig.3.1.1.2.E the human ergonomic dimensions becomes the driving force in the scale and form of the module of the system. Similarly the human contact with the space and its elements along with the Japanese philosophy of architecture is to make spaces and elements which are nearer to the human scale and contact. This became one of the guiding parameters in the material dimension for the modules. The primary material used in the module is Cedar wood. The wooden logs are available in a specific range which is also one of the reasons in guiding the dimension of the members. As the system is an interior system and is constructed inside an architectural dimension the interior dimensions cannot exceed the architectural dimension. Making the interior systemâ&#x20AC;&#x2122;s dimension smaller than the architectural dimension makes the assembly stage of the system smooth and easy to handle in terms of movement of elements and modules and during joining process etc.

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Fig.3.1.1.3.C Diagram showing the porosity division (visual) and the material input in each layer and their interrelation

0 500

2000

5000

Fig.3.1.1.3.D Ground level plan showing the benches of the Chapel and the allowance of movement for flexibility inside the space

Fig. 3.1.1.3.E1 The architectural volume without the presence of the interior system

The modules are formed through the different members coming together through the process of assembly in the space and the resultant is the system. The modules could be formed as a monolithic system and the interconnection could be formed between the monolithic modules in the space. Because of the pre-decided material (guided by the old wooden Gothic chapel Ohura-Tenshudou) monolithic modules could not be formed. Challenges with the monolithic modules are the assembly on site and that the floor plate of the space is relatively small because of the large 4 modules of the layer 1 spanning outwards through its 8 members. Thus the elements are divided through the approach on assembly along with structural, aesthetical aspect during the design stage of the project. The architect had allowed hard flexibility in the Chapel in the form of the benches. As shown in the Fig.3.1.1.3.D the benches (in the green) are aligned back to back facing towards the south-west side. The benches in the space act as an path defining element. The space between the two modules horizontally is the movement space for the benches. Here the benches perform as the movable part of the entire system (interior + architecture). Through the modules of the system the volume is sub-divided as mentioned earlier but along with it, the architectural volume is brought to the human scale but sub-dividing the space. The system plays the role in subdividing the space. As the modules are scaled down and increased in number, they makethe upper layer denser in comparison with the bottom layer of the system. As shown in the Fig. 3.1.1.3.E1 the architectural volume of the Chapel forms through the peripheral walls and the roof. The volume with respect to a human, over powers the human in the space. Similarly in the Fig.3.1.1.3.E2 the interior system of the Chapel divides the singular volume void into fragments in a particular order maintaining the relation between the material (opacity) and the porosity (volume) of 3.1.1_ Agri Chapel

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the Chapel. As observed the layer 3 is denser of the system in comparison to the layer 1. Due to this, the system covers above the human (user) in the space and as well as, plays a role in sub-dividing the volume. After each layer completion a transparent intangible sub-parts of the volume is created due to the particular system bringing the singular volume void to a human scale. While performing the role for sub-dividing the volume to bring to the human scale. The modules (as mentioned in the sub chapter 3.1.1.1), arrange the floor plate in such a way that it resembles the traditional Gothic Chapel and the presence of the side eaves in them. As seen in the Fig.3.1.1.3.F the arrangement of the modules divides the floor plate and the entrance of the Chapel (which is from the north-east side). Also all the benches faces the south-west side the circulation path is in linear form. The resultant is the two side eaves formed near the walls and one prominent central path inside the Chapel.

roof 2

roof 1

Fig. 3.1.1.3.E2 The architectural volume fragmented through the interior system and with respect to user the volume is brought to a human scale

Secondary circulation path 2

Secondary circulation path 1

Primary circulation path

Fig. 3.1.1.3.F The formation of the circulation through the interior system columns of the modules of the layer 1 and the peripheral walls 110

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PROMINENCY IN THE LANGUAGE

Process oriented aspect Assembly oriented aspect

PROMINENCY IN THE DESIGN

Process oriented aspect Assembly oriented aspect Order Arrangement

Behavior

Symmetry

Distribution Principles of Tree Progression of branches Fractal geometry Modularization of Tree Organization of Element in the system with special emphasize on integrated system

Spaces of Joints Method of Assembly/s

Modular coordination

Interfaces of Elements

Size of Elements

Organization of Element in the system with special emphasize on integrated system Relation between Elements and/ or Parts of system

System Determinants

Principles of Measurement

Organizing for Enhancement of Assembly

Separation for Assembly

SPACE PLANNING

Concept of Juxtaposition Composition by different Elements

Hard Flexibility

Soft Flexibility

Expanding within

Design for Intimacy

Movable parts

Tolerance of Assembly

Location of Circulation

3.1.1_ Agri Chapel

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Relation between Elements and/or Parts of System Organization for Optimumness

Fig. 3.1.1.4.Chart Porosity to Space Planning matrix for the Agri Chapel case-study showing the overlaps

POROSITY

3.1.1.4_ Porosity-Space Planning: The architect had amalgamated the one of the olden wooden Gothic chapel of the region with the new intervention, one of the characteristics is the pendentive dome from the Gothic chapel. The pendentive dome in the chapel is formed through the linear members in an abstract form.

step1

As seen in the Fig.3.1.1.4.A the progression of the formed voids is through the modules arrangement in the space. The progression order of the modules is with each layer along with the rotation of the 45 degrees as seen in the step 1 of the process. Similarly when the two progressions are merged out of the 4 from the base of the system the step 2 is the resultant outcome. The model is as a 4 step progression of the volume because the module of system has 3 step progression.

pendentive dome outline

step2

side eaves 1

center space

aisle

step3 Fig. 3.1.1.4.A The models show the volume arrangement through the modules, the formation of the small voids through the progression

side eaves 2

Fig. 3.1.1.4.B Diagram showing the pendentive dome outline formulated through the modules and the voids formed through the order and arrangement 3.1.1_ Agri Chapel

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In the step 3, the entire composition of the system is in place. Excluding the top most edge corner modules of the composition, the outlines drawn in the model of step 3 in the Fig.3.1.1.4.A result in the diagram shown in the Fig.3.1.1.4.B. The figure perceives that the outline of the pendentive dome suddenly removes the modular nature of the system and forms a singular monolithic character of the dome of the Gothic chapel. The void modules as shown in the Fig.3.1.1.4.C along with the progression order formula discussed in the earlier chapter shows the arrangement and placement of each with respect to the regressive module. Each module has the connection part as an inverted pyramid at the bottom for the connection, and the scooped prism edges on top for taking the connection of the upper module for the composition. When the void modules are manifested into the tangible form through linear members, as observed, the system in itself is integrated because of the order and the dependency on each other with in the module structurally which results into one whole. However the system brings the architectural elements and the interior system as a singular entity. The system responds to the architectural elements through dimensions and the termination points which forms a 2d image of the 3D composition. The Fig.3.1.1.4.C shows the elevation of the interior system along with the architectural element (wall and windows). The terminating points of the elements of the modules matches with the window lines of the facade and the midpoints of the lines following the bilateral symmetry. The resultant outcome is from the outside of the space forming a 2dimensional composition and the relation between the system and the architectural elements forming an integrated system as one, making the system architectural specific.

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Layer4 (x16)

Layer3 (x12)

Layer2 (x4)

Layer1 (x1)

Fig. 3.1.1.4.C Stacking of the void modules and the multiplication of them with each progression

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Fig. 3.1.1.4.D Elevation of the Chapel showing the system, architectural element and the integration of the window lines and the composition as resultant

Fig. 3.1.1.4.E Model of the system manifested in abstraction through planar elements

space module layer1

space module layer2 space module layer3

system module layer3

system module layer2

The system is formed through different elements for the tangible manifestations. However looking the system in the abstract form as shown in the Fig.3.1.1.4.D. The model consists of the planar elements forming voids. Where the two voids meet the connection between the two planes forms the linear diagram for the tangible elements for the system. Similarly out of the abstract model of the system, two types of the system determinants are obtained. The type 1 arethe space modules which are the negative space formed modules through the tangible modules of the system. Type 2 are the system modules which are translated into material manifestation for forming the system. The similarity between the two types is the scaling factor as the system progresses upwards in layers. The standardization which is seen in the both the types of modules impacts the standardization of the system in the space but also makes the system context specific because of the integration with architectural elements and by responding to the context. The separation of the modules according to the type (space and system) impacts the process of assembly and the adds on to the perspective towards the process that a system can be driven by the space and the material manifestation arrives later. Along with that the layer 3 having the most number of elements makes it visually busy. However, due to the relation between the space and system modules the space modules in the layer 3 doesnâ&#x20AC;&#x2122;t make the modules of layer 3 overpowering the system in the space making the balance between the both. Due to this, the system brings the architectural volume to a smaller scale by dividing it into parts and the system is brought to human scale and proportions.

system module layer1

Fig. 3.1.1.4.F From the abstract model two types of system determinants can be sourced out, space modules and system modules 3.1.1_ Agri Chapel

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entry storage

storage

clear view and the windows aligning with the benches

podium placement on the center axis for prominency

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Fig. 3.1.1.4.G The arrangement of lose furniture guided by the system and the architectural elements and the hierarchy followed for the functional needs

The space functions as a Chapel for public use and the system performs the functional needs of the space with the definite order used for the structure and formation of the system through modules. As seen earlier the placement of the layer 1 modules divides the floor area in x and y axis identically through which the architectural elements responds. The division also guides the placement of the loose furniture inside the space as well as the fixed functional elements of the space. The lose furniture consists of the benches as mentioned earlier, the location of the benches gives the user while facing towards the podium the view of the outside by the large windows placed on all the four sides on the periphery of the built. While the fixed furniture location and dimensions are silently guided by the system, they create an intangible formation of the furniture, interior and architectural elements in the space. The least amount of the floor area is consumed by the elements of the module of the system and it does not over power the space planning but subtly 116

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guides the orientation of the elements in the space. By creating the aisle in the space on the primary axis and eaves on the secondary, the podium is placed on the primary axis making it prominent in the space directed by the function. Along with it the space is open and free for the user to choose their own path and doesnâ&#x20AC;&#x2122;t restrict the movement.

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3.1.2_ GC Prostho Museum A part/ joint/ detail/ joinery becomes the system through its repetition in a certain order. Inculcating principles, provides it with a function and role to transform it to an interior system. The project along with that also shows the approach of dematerializing the opaque architectural elements and creating a prominent connection between the interior and the context through the interior system. To make it possible the technical attributes of the tree incorporated in the process and assembly system result into desirable outcome but does not guide the visual form of the system. Architect: Kengo Kuma & Associates. Location: 2-294 Torii Matsu Machi, Kasugai-shi, Aichi Prefecture, Japan. Built-up Area: 233.95 sq.m. Year: 2010 Structural Engineer: Jun Sato structural engineer Company limited. Client: GC Corporation

The architect initiated the project keeping in mind the Chidori joinery/ toy for the kids. The toy has originated from a village known as Hida-Takayama. Along with being know for the joint, the village is also known for the skilled wooden craftsmanship and craftsmen it possesses. The GC Prostho museum is manifested through the wooden threedimensional grid formed through wooden members having the chidori joinery. The project also interprets Japanese elements and traditions in the abstract minimal form. Wide waves of the roof interpreting the traditional houses roofs, the elements like Shoji wall are abstractly manifested through the lattice grid in the space. Use of repetitive elements in the Japanese houses is visible in the project through the wooden lattice grid system. Kengo Kuma implied the Theory of Particalization from his philosophy of Erasing Architecture. His philosophy of Erasing Architecture applied to dematerialize and minimize the strict separation between the 118

Craftsmen of region

Chidori joint from a toy

Interpretation of the Japanese space making elements through minimal abstraction

System of the project

Erasing Architecture philosophy by Kengo Kuma

Theory of Particalization

Making and Manifest approach for the practice Technology incorporation for efficiency

Dematerializing the architecture

Establishing and making prominent the connection between the context and the built

Chidori joint

Structural analysis and evaluation through Flexure test

Possibility of formation of system through the joint Evolution to an Interior-Architecture system scale

Increase in the member cross section sizes due to the material property

architecture and the immediate surrounding (context). Along with the philosophy of Erasing Architecture, Kengo Kuma also enforced the idea of Making and Manifest ideology in the projects. The chidori joinery requires skilled and expert craftsmanship. During the times where the technology and robotic intervention in the architecture practice was replacing making by hand, he involved the Miyadaiku (skilled craftsmen) from the same village from where the joint was originated along with using the technology to its most appropriate needs. He established the balance between the craftsmanship and technology in the project. His philosophy and approach strengthens the relation between the architecture and the surrounding and making it more site specific which increases a sense of belongingness towards the site (context). The project consists of orthogonal floor plates in a rectangular configuration on the three levels. The primary materials used in the project are cypress wood and concrete. The wooden lattice grid system encompasses the concrete load bearing structure taking away the massive visual perception of it and breaks into fragments through the nature of the voids formed through the linear members. The presence of the wooden lattice system in the project is akin a parasite which is feasting on a solid block- the â&#x20AC;&#x2DC;infectedâ&#x20AC;&#x2122; part of the architectural block because of this parasite has its visual and physical porosity (depending on the function and project constraint). Kengo Kuma, when he came in contact with the joint and along with the discussion of the structural engineer Jun Sato finds that the joint possesses the capability to be a part of the architectural scale for the bigger buildings through minimal adaptations because of the refined geometry and joint formation it inherits. The wooden joint is a hidden (concealed) wooden joinery between three linear wooden members wherein 2 members are similar and the third one is the locking member which fixes the joint in its proper configuration. 119

The project is selected for the analysis and comparison with Agri Chapel because of the interior-architecture system intervention and the scale it possesses along with the strict Cartesian geometry it follows which is opposite to the organic modular tree nature in the Agri Chapel. GC Prostho museum is analyzed on the frame work which is similar to the study of Agri Chapel which are Character and Space Planning. The project study is divided into four parts. 3.1.2.1_ 3.1.2.2_ 3.1.2.3_ 3.1.2.4_

Opacity-Character Porosity-Character Opacity-Space Planning Porosity-Space Planning

Fig. 3.1.2.A View of the interior space overlooking the immediate context of the project 120

3.1.2_ GC Prostho Museum

Fig. 3.1.2.B View of the system functioning as facade and the progressing downwards into the space below the ground level

Fig. 3.1.2.C Interior view of the system and the relation of it with the opaque solid concrete architectural elements of the project 3.1.2_ GC Prostho Museum

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PROMINENCY IN THE LANGUAGE

CHARACTER

Process oriented aspect Assembly oriented aspect

PROMINENCY IN THE DESIGN

Process oriented aspect

Component sharing modularity

Part Tolerance

Component swapping modularity

Subassembly Tolerance

Adjustable Joint

Assembly Tolerance

Reveal | Hidden

Cut to Fit modularity Mix modularity Bus modularity

Assembly oriented aspect

Sectional modularity

Accessible connection Clearances

Sliding Joint

Butt-joint InteriorClash Architecture Edge junction detections Tolerance

Design for Disassembly Design for Re-use Design for Temporality Design for Change

Site Intensive KOP Mass customized KOP

OPACITY

Standardized KOP Accessible connection Local collision Global collision Part Tolerance Sub-assembly Tolerance Assembly Tolerance

Fig. 3.1.2.1.Chart Opacity to Character matrix for the GC Prostho museum case-study showing the overlaps Overlap of the both aspect and the effects on Process and Assembly stages

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3.1.2_ GC Prostho Museum

3.1.2.1_ Opacity-Character:

element 1A

element 2 element 1B

The elements are identical to the elements of the joint Chidori. The three main components which forms the module for the wooden lattice grid system. The Fig. 3.1.2.1.A shows the stages of assembly of the chidori joint, the joint consists of three members as stated earlier. Out of the three members two possesses the component sharing modularity among each other and the third member has component swapping modularity. In the joint the junction part falls in the center of the members rather than the ends which is the usual case found in the wooden joints. Because of the geometry of the joint and the technique of the fixing in the final position, the joint is not dependent on any additional material (adhesive), hardware or nails for its permanence. The kit of parts are not site-intensive in respect to the geometry, connections, material. The kit of parts are project specific in relation to the section sizes which are evolved through the load taking capacity and structural testing for the nine meter high volume.

3 anti-clockwise rotation

4 Fig. 3.1.2.1.A Chidori joint assembly stages. Joint consist of three wooden linear members, two are identical and the third one acts as the lock

The organization of the entire system is part to whole and the part is the chidori joint which is repeated. But when a furniture joint is applied as an architecture joint, a mere scaling of the joint does not serve the purpose. It comes with more complexity and constraints which are supposed to be catered to. The furniture joint undergoes the flexure test by the structural engineers of the project and from the tests of compression and shear stresses, the section size of 12x12mm was scaled to the optimum 60x60mm wooden section size for the architectural needs. The scaled elements of the system are not assembled individually on site, they are assembled off-site in the form of modules by the skilled craftsmen and then transported to the site for on-site assembly.

3.1.2_ GC Prostho Museum

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The modules which are assembled offsite to be transported on site for the assembly of the system have dimension of 2000x2000x4000mm. The module sizes are directly impacted through the member sizes and the member sizes (section size and lengths) are impacted by the architectâ&#x20AC;&#x2122;s process of deriving the visual propositions of the elements and members. Kengo Kuma believed that the architectural elements should possess the scale that is close to the human bodyâ&#x20AC;&#x2122;s proportion having the delicacy and strength of arms and legs. Through this the elements sizes for the horizontal members were 2000mm and the vertical members were 4000mm. As shown in the Fig. 3.1.2.1.C1 are the assembly stages of the module for the system. The member 1B having the length of 4000mm by introducing the element 2, four detached unstable frames having dimensions of 2000x4000mm are formed. After the introduction of the element 1A the four frames are connected through which the 3D grid is formed. The final position of the grid is fixed by turning the element 2 of the module anticlockwise. As shown in the 4th stage of the assembly in the sequence of rotating the element 2, the four corners are fixed first to make the grid self-stable (points 1A, 1D, 8A and 8D). For making the grid self-stable the final fixing sequence starts from the outside to the inside to minimize the chances of the grid falling apart during the assembly of the module. Cypress wood is used for the lattice grid system because of the it being light weight in nature, but also because it has closely packed grains which makes the joinery more sturdy and durable for a longer period of time. The members are made off-site with the expert and skilled craftsmen who brings in the experience along with them. In addition to it the technology was also used to make the process faster and efficient in time. Each of the element 2 consist of four joint sections, which 124

3.1.2_ GC Prostho Museum

original member size 12x12mm

scaled member size 60x60mm

Fig. 3.1.2.1.B Scaling of the members of the joint for the architectural scale

element 1B

element 2

1 element 1A

8 7 6 5 4 3 2

1|A

Fig. 3.1.2.1.C1 Assembly steps of the module

are turned wood parts, the wood turning process needs the lathe machine for the outcome. Automated lathe machine which can make the section with standard amount of precision in lesser time was used. Similarly the component sharing modular element 1A and 1B have four curved profile cuts along with a half scooped joint on each singular member. CNC milling process was used to make the element 1A and 1B. After all the elements are made and ready for assembly, each element (6000 elements) and each joint (approximately more than 20000 joints) needed finishing and specific adjustments. The craftsmen along with playing their role for this, assembled each module off-site. The module are connected through the protruded members on all the sides, the protruded members have a length of 225mm, the other module which also possesses the identical dimension forms the void of 450mm between each other, hence retaining the uniformity in the entire system. Due to this the entire system resembles as one having linear members making a grid with voids and does not read as different modules.

450 mm

Fig. 3.1.2.1.C2 Module (2000x2000x4000mm) vertical connection line

horizontal connection line

Fig. 3.1.2.1.D Diagram showing the modules coming together and merging as one entity

The connection between the modules is through a joint similarly to an internal connection between the members (chidori joint). The connections are categorized in Expansion joint and Termination joints. The expansion joint is singular in the project and present between the two modules. The termination joints exists in four different ways and the module remains constant while the terminating part of the architecture component differs. The joint along with connection provides the tolerance for the system as there is very little tolerance present in the module because of the wooden joinery being used. The joints are manifested with an involvement of another material in the system made by cypress wood depending on the structural capability and functional needs. 3.1.2_ GC Prostho Museum

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Expansion joints of the wooden lattice grid system are present between the two modules. As stated earlier the joints also introduces the tolerance in the system for ease in the assembly stages of the system. Expansion joint introduces zelkova wooden element in the system between the two modules. Zelkova wood has more compact grain arrangement, and hence 20mm thick wooden member is strong and less prone to expansion due to moisture. It is introduced between the two modules through slotting. Due to tight fit and through dowels, the joint achieves the permanence. In place of this joint, tenon-mortise from the module itself could be used but it decreases the mobility during the assembly of the system as well as reduces the tolerance factor and increases the chances of issues during the assembly stage of the project. Termination joints as mentioned earlier are present in four types in the system. The four types of termination of the lattice grid exists in the junction of roof, junction of wall, junction of floor and in self-termination. Starting from top to bottom, the roof termination junction of the system (Joint A), the element 1B of the grid terminates on the level of the element 1A and 2 of the system in a way that it forms a waffle configuration on which the insulation board (calcium silicate) and structural plywood are screwed on to the wooden member of the system. The joint B and D are identical in their purpose and in their fixing. A metal flange base plate embedded in the floor and wall and the flange protruding out from the wall and floor to form the junction. The wooden members having the similar slot like expansion joint receives the metal flange and the junction is fixed through nut and bolt which are flushed with the wooden member. The wooden members are not directly contact of the floor and wall to prevent the moisture from entering in the wood and reduce the chances of the contraction and expansion of the 126

3.1.2_ GC Prostho Museum

vertical expansion

zelkova element

horizontal expansion

Fig. 3.1.2.1.E Expansion joint in the system between the two modules through additional zelkova wooden element and dowels joint A

element 1B

element 2

element 1A

joint B joint C

joint D

Fig. 3.1.2.1.F1 Wall section of the GC Prostho museum consisting all the four termination joints

metal wall base element metal flange

metal flange metal floor base element

Fig. 3.1.2.1.F2 Termination joint of the system (Joint B the wall joint and Joint D the floor joint)

joints of the system and this design decision has been converted into a junction detail by bringing the metal flange out form a wall or a floor. The metal plate of thickness 5mm protrudes out from a monolithic element (wall/floor) and enters the wooden lattice grid system. The joint C is not a junction but its more of a visual detail to terminate the system and it also accentuates the terminated part. The members which do not terminate onto a horizontal surface, are painted white on the cross-sectional face. This exaggerates the terminating point of the member in the space. When the entire system consists of the white-faced terminated length members, the user experiences the prismatic grid and the ever changing perspectives are exaggerated through the white cross section faces. Because of the presence of the joineries between the interior system and architectural element (between two assembly system), between the modules of the system (between the two sub-assemblies) and between the elements of the modules. The capability of the system to adapt to progression (expansion) or disassembly of the system increases. The stages of disassembly of the system are similar to the stages of assembly but in the descending order. The system can be expanded through the connections which are formed by the termination of the members (joint C) as seen in the Fig. 3.1.2.1.F1.

Fig. 3.1.2.1.F3 Termination joint of the system (Joint C) 3.1.2_ GC Prostho Museum

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PROMINENCY IN THE LANGUAGE

CHARACTER

Process oriented aspect Assembly oriented aspect

PROMINENCY IN THE DESIGN

Process oriented aspect

Component sharing modularity

Part Tolerance

Component swapping modularity

Subassembly Tolerance

Adjustable Joint

Assembly Tolerance

Reveal | Hidden

Cut to Fit modularity Mix modularity Bus modularity

Assembly oriented aspect

Sectional modularity

Accessible connection Clearances

Sliding Joint

Butt-joint InteriorClash Architecture Edge junction detections Tolerance

Design for Disassembly Design for Re-use Design for Temporality Design for Change

Order Arrangement Symmetry Behavior Distribution

POROSITY

Fig. 3.1.2.2.Chart Porosity to Character matrix for the GC Prostho museum case-study showing the overlaps

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3.1.2.2_ Porosity-Character:

1 Part: the cell

2 Merging of the cells

3 Parameters enforced on the merged cells

4 Final organization Fig. 3.1.2.2.A Part to whole organization of the system formulating the base grid for the arrangement of the parts/modules

As seen in the sub-chapter 3.1.2.1, the system is with an approach of part to whole and the part is considered as the chidori joint. The organization principle resembles a cell which forms an object (system) through certain principles and parameters. As seen in the Fig.3.1.2.2, the process of a singular cell merging and imposing parameters yield an organizational grid. The system contains endless possibilities of combination of cells because of the part to whole and the organizational grid, it has total freedom for the final outcomes. It resembles the similarity with an organic system in which small particles combines to form the whole on certain principle and order. The final organizational grid of the system is similar to the voxel like system of the digital world. A voxel represents a value in the terms of co-ordinates of a regular grid which is spread, or having 3 Dimensional volume. A voxel comparing it to a pixel/s in a bitmap of an image doesnâ&#x20AC;&#x2122;t consist of its own singular value or position but the position of the voxel is relative to the position of the other voxel of the system. A voxel generated system has a specific singular order through which the each voxel is arranged with respect to each other, repeating that ordered principle the entire system is formed. Due to the specific order the symmetry is established in the system along the progression however the symmetry is not bilateral symmetry and it depends on specific systems. Unlike the distribution and progression of branches of a tree in which the material reduces after each progression by dividing itself into smaller parts to achieve stability in each progression, in the voxel generated system the each part of the system is comparatively smaller in proportion to the entire system. The bundling/stacking or merging of the parts depending on the function. Expressing the 3.1.2_ GC Prostho Museum

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internal relationships between each voxel in the system, the approach can be translated to form an interior system having an architectural scale. The Fig.3.1.2.2.B shows the stages of process of the derivation of the wooden lattice grid from the base grid. The process starts from the architectural elements. According to the functions and space requirements the architectural composition of the monolithic load bearing concrete walls is formulated. The floors have 3000m clear height which makes the total height of 9000m. The base grid is generated having 500mm spacing, the dimension was guided through the human dimension and perception. The average height range (male and female) in the Japan is 1550-1750mm, taking the range three cubes stacked vertically it reaches the level and with respect to the perception of the grid, the 500mm cube void provides the optimum allowance of visual porosity as well as the prismatic changing perspectives of the system inside the space. The grid is formulated depending on the human ergonomics and anthropometry. The system functions as an architectural element, interior element and furniture element because of the liberty provided through the grid and the joint forming the system. The system functions as a facade on the outside, as a space making element and interior structure elements inside the space and at last as a display rack and storage space for the space. A single system having singular language through wooden linear members performs three different scales of functions through a single intervention in the single space. The wooden system as seen in the step 4 of the Fig.3.1.2.2.B does not break or divide itself evidently to perform the different functions of the different scale. As shown in the Fig.3.1.2.2.C the system performing the different functions in the space. Starting from the outside to the inside, 130

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Fig. 3.1.2.2.B Wooden lattice grid system generating from the base grid similarly to the digital worldâ&#x20AC;&#x2122;s system through voxels

the wood lattice grid system functions as a facade element and a screen which breaks the light coming into fragments as it reaches the interior spaces. It replicates the attribute of the tree foliage which breaks the light into small fragments. The system performs as an interior element to formulate the space and structural element. The formulation of the space through the system is through the system terminating in a random profile which takes the shape of a cave. The 9meter high space with a void in the center creates an effect similar to a cave, because of the complete grid on the top which gets denser on the top as well as encompasses over the user below in the space. In the staircase where the system performs as a structural element, the wooden members are replaced with the metal members having exact proportions and details, maintaning the similarity in the system. The staircase involves the seismic loads along with it and wooden members of this proportion and placement were structurally not stable, replacing them with the metal members solved the problem System at the smallest scale (furniture scale) which involves the human ergonomics and dimensions performs the role of a display unit for the exhibition space and storage space for the office and exhibition space. The 450mm void between the two members adapts itself effortlessly into the dimension of the storage and display unit. The system becomes the backdrop and exaggerates the object displayed on the display unit.

Furniture element, storage unit

Interior element, staircase structure

Furniture element. display unit

Interior element, space making element

Architectural element, facade system

Fig. 3.1.2.2.C Diagram showing the singular system of the wood lattice grid performing three different functions of three different scale through same order and arrangement 3.1.2_ GC Prostho Museum

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PROMINENCY IN THE LANGUAGE

Process oriented aspect Assembly oriented aspect

Spaces of Joints Method of Assembly/s

Modular coordination

Interfaces of Elements

Process oriented aspect Size of Elements

PROMINENCY IN THE DESIGN

Assembly oriented aspect Site Intensive KOP Mass customized KOP Standardized KOP Accessible connection Local collision Global collision Part Tolerance Sub-assembly Tolerance Assembly Tolerance

Organization of Element in the system with special emphasize on integrated system Relation between Elements and/ or Parts of system

System Determinants

Principles of Measurement

Organizing for Enhancement of Assembly

Separation for Assembly

SPACE PLANNING

Concept of Juxtaposition Composition by different Elements

Fig. 3.1.2.3.Chart Opacity to Space Planning matrix for the GC Prostho museum case-study showing the overlaps

Hard Flexibility

Soft Flexibility

Expanding within

Design for Intimacy

Movable parts

Tolerance of Assembly

Location of Circulation

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OPACITY

3.1.2.3_ Opacity-Space Planning:

Fig. 3.1.2.3.A1 Module coming together through tangible elements (linear wooden members)

Fig. 3.1.2.3.A2 Diagram highlighting the voids showing the visual outcome of the modules coming together

Fig. 3.1.2.3.B Chinese toy puzzle, Lu Ban locks

The most prominent first visual of the system in the project are the perspectives formed through the linear wooden members and the voids between them. The module having the dimensions of (2000x2000x4000mm) which is formed through the standard members having similar chidori joint is repeated to form the system. The physical joint between the two members of the module through the wooden (zelkova wooden member) is the junction which performs structurally, however the intangible aspect of the junction is the void formed through the linear members. The Fig. 3.1.2.3.A1 shows the modules coming together to form the system while the linear members are performing as the tangible joint for the junction between the two while the void formed are doubled in number with each multiplication of the set. Thus impacts the voids of the system and accentuates the perspective dynamism of the system through each addition, the order through which creates an open system from all the 6 sides. However as the grid has strong Cartesian geometry as the base of the generation, the progression can be traced to the traditional wooden system used in Chinese construction. The Chinese dendriform wooden system as observed earlier was one of the oldest practiced wooden system in the compression load system, the interlocking joints of the structure were known as Sunmou. Its meaning is concave-convex form (one being the receiver and one being a giver) the concept is also seen in the inter-locking toy puzzle in China, known as Lu Ban locks or Kongming locks. These had been transferred to Japan and along with the Japanese practice and philosophy of minimal and optimum material. The toy from China was translated in a more refined and minimal way into Chidori joint. As observed earlier, comparing the chidori joint as a part and the taking in consideration the organizational method of the Dou-gong (Chinese bracket 3.1.2_ GC Prostho Museum

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wooden system). The method of Assembly of the system in this project can be said to be part to module to whole and from bottom to up. But, with each part of the system assembled, the system is completed through the function of the system however until the entire system is not in place, the system is not structurally stable and doesnâ&#x20AC;&#x2122;t achieve the permanence of it. Along with visual perspectives formed through the voids and the linear members, the system also integrates other parts of the other systems according to the functions and needs and incorporates other elements in the system merging it into one whole. The system integrates the elements and parts of the other system (HVAC system) of the space by the order of the grid. As shown in the Fig. 3.1.2.3.E1 and E2, the pipes are arranged after an interval of one void between the both and the center of the pipe and the center of the void falls at the exact coordinate. So through the HVAC pipes the visual order of the system is not broken and there are no functional compromises in the space. Along with the integration of the other system, the grid also incorporates additional elements and members depending on the functional needs of the space and the specific part of the system.

part

whole

bigger whole

Fig. 3.1.2.3.C Diagram showing the process of method of assembly, Part to Module (whole) to System (bigger whole)

The incorporating are categorized in by control and functional. The control incorporation is through the incorporating the glass as an additional element in the outer periphery of the grid system which acts as the facade. Glass as the material behaves as a physical partition between the outside and inside. But it allows the visual connectivity from outside to inside and the transparency of the material merges in the grid and the presence of the physical barrier is lost which blurs the boundary between the context and the interior. Functional incorporation is through the wooden plank square (450x450mm) element transforming the grid as shelf/ display unit/storage space etc. depend on the 134

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Fig. 3.1.2.3.D Abstract plan of the project showing the concrete load bearing structure and the presence of the system

function of space where the part of the grid (system) is present.

Fig. 3.1.2.3.E1 Integration of the HVAC pipes in the void formation and alignments matching the order of the grid system

Fig. 3.1.2.3.E2 Diagram showing the center of the void of the grid and the center of the pipe intersecting

The project can be said as the composition of the different elements, the composition related to the wood lattice system is categorized into three stages, White - Grey - Black region. As shown in the Fig. 3.1.2.3.F the intensity difference between each human figure shows the region. White area: The composition of the system is at the distance and the prominency of the terminating joints and it overpowers the visual perspective and the terminating members. White painted edges are the visual first elements that strikes the user. Grey area: The system encompasses the user and the user is inside the space formed through the lattice system. The prismatic perspectives which are formed through the density of the voids and members forms a gradient. The porosity is present but due to the density of the system around the user the light in the space is fragmented and the pixelated gradient is formed. Black area: The presence of system along with the load bearing concrete structure converts the system into an opaque screen and the visual connection is broken. The changeable element, the particular aspect of the system which is transformed and performs a function as well as the first visual aspect of the system is the void formed through the grid. The dimensions of the grid are directly proportional to the void and thus impacts all the other aspects of the system. The internal dimension of the square formation in the system is 450mm. Through that dimension the entire system in the project is manifested into a tangible form without tweaking or changing the dimension of any part of the project. 44x19x17 units (voids of 450mm) with the subtraction in the interior space completes the wood lattice system in the project.

Fig. 3.1.2.3.F Abstract diagram showing the composition of the different elements with the system and the effects of the formed regions 3.1.2_ GC Prostho Museum

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As observed earlier the dimension of the grid performs different functions at different scales. The Fig. 3.1.2.3.G shows the three different dimensions of the grid with respect to the human. The visual comparison between the three different sized grids for the system, the 225m grid option results into more material intervention and the accessibility of the grid for the function reduces significantly because of the dimension which doesnâ&#x20AC;&#x2122;t fall in the domain of any functional ergonomic dimension of an interior space. As well as because of smaller dimension the density increases which leads to lesser visual transparency through the grid which impacts the inside-outside relation between the project and the context. Similarly if considering the 900mm grid option, the readability of it being perceived as a lattice grid system reduces. Also, to use the system for the functional needs the intermediate members have to be introduced to bring the functional dimension in the system. The dimension is not just followed in the system but also the furniture inside the space. The furniture (tables, desks and chair) resembles the lattice grid system as seen in the Fig. 3.1.2.3.H. Tables and desks follow the similar structural system of the chidori joint with the glass and wooden plank on top for the functional needs. The chairs on the other hand follows the visual language of the system and the back rest of the chair is minimal in the material intervention and the along with the curve as per human ergonomics the chair has approx. void dimension of 450mm to maintain the visual continuity in the space. The lose furniture provides flexibility to move around and change the location in the space, however the fixed system also provides the similar flexibility in moving and changing. As well as the it adds the function to the system at the location needed in the entire space. The wooden/glass shelf provides the flexibility through simply removing and fixing it in the grid, due to the grid the shelf gets support on all the four sides of the plank. The 450mm 136

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1. 225mm grid

2. 450mm grid

3. 900mm grid Fig. 3.1.2.3.G Three variation of the grid sizes with respect to the human for comparison

width does not make the plank structurally weak and bend from the center. As shown in the Fig. 3.1.2.3.I the plank is introduced in the grid diagonally and then placed in the module (void) by simply rotating it horizontally and the rest is taken care by the geometry of the system. The plank allows the side by side arrangement to convert a larger number of continuous module to function as a shelf which transforms the system into a storage space etc. as per the need in the space. Fig. 3.1.2.3.I Flexibility in changing, expanding and removing the glass/ wood shelf in the system as per functions

Fig. 3.1.2.3.H The furniture of the space following the system of the space 3.1.2_ GC Prostho Museum

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PROMINENCY IN THE LANGUAGE

Process oriented aspect Assembly oriented aspect

PROMINENCY IN THE DESIGN

Process oriented aspect Assembly oriented aspect Order Arrangement

Behavior

Symmetry

Distribution Principles of Tree Progression of branches Fractal geometry Modularization of Tree Organization of Element in the system with special emphasize on integrated system

Spaces of Joints Method of Assembly/s

Modular coordination

Interfaces of Elements

Size of Elements

Organization of Element in the system with special emphasize on integrated system Relation between Elements and/ or Parts of system

System Determinants

Principles of Measurement

Organizing for Enhancement of Assembly

Separation for Assembly

SPACE PLANNING

Concept of Juxtaposition Composition by different Elements

Hard Flexibility

Soft Flexibility

Expanding within

Design for Intimacy

Movable parts

Tolerance of Assembly

Location of Circulation

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Relation between Elements and/or Parts of System Organization for Optimumness

Fig. 3.1.2.4.Chart Porosity to Space Planning matrix for the GC Prostho Museum case-study showing the overlaps

POROSITY

3.1.2.4_ Porosity-Space Planning: Similarly as mentioned before, regarding the system formed through the module repeats itself in the certain specific order. However the interface of the module which results into the tangible aspect of the system (joint) and the intangible aspect of the system (void). As shown in the Fig. 3.1.2.4.A the module can be further categorized into two types of module of the system. System module and Space module.

interface planes

module

Fig. 3.1.2.4.A Diagram showing the module forming the system and the interface plane for the progression and jointing with the other module

system module

Fig. 3.1.2.4.B System module progression and the formation

The system module consists of the part (the joint) which in its material form through jointing with other part progresses and multiplies to form the system. As seen in the Fig.3.1.2.4.B the multiplication of the system module makes the system. The progression of the module is through order and principle, the module attaches with the order module on the linear axis and the axis is formed resembling the Cartesian geometry (x,y and z axis) and as per that the axis intersects each other perpendicularly and the intersection of all the three axes becomes the position of the singular module. Repeating this with specific dimension results into parallel-ness between each similar axis creating the hollow void at equal intervals. That brings us to the space module which is generated from the module shown in the Fig.3.1.2.4.A. The space module is the resultant outcome through the progression of the system module. However the proportion between the space and system module impacts the hierarchy between the both. Due to the dimensions, the space module has 450x450x450mm dimension against the dimension of the joint 60x60x60mm. As seen in the Fig.3.1.2.4.C the space module arrangement as a resultant through the system module. The relation between the two makes the system and removal or reduction/ change in any of the module leading to a fall out of the system because of the inter-dependency. This 3.1.2_ GC Prostho Museum

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inter-dependency is resembling the fractal geometry of Peano curve. The Peano curve progression is through the division of the line forming 90 degree junctions and filling up the 2d plane with square shapes. The curve using the line as an object progresses forward with the order and rule and through the progression, formulates the modules. Placing the curve in the x and y plane results into the grid for the system, while in the system through the progression of the modules a similar visual pattern is generated as Peano curve in 3 dimensional geometry. The number of material elements increases in the system because of the scale of the module and the total quantum of the intervention of the system. Thus the material along with the structural property, the visual property of the material plays a significant role in the system. Cypress wood has appropriate structural property for the chidori joinery but along with that the grains and the color of the wood also play a significant role in the space. The subtle shade of wood with a little darker grains doesnâ&#x20AC;&#x2122;t make each member highlighted for its own unique grain patterns which makes the member read as one and the voids as another entity creating the prismatic perspectives in the space. The prismatic perspectives formation of the system is through system and space module as well as light. Light entering into the system which breaks into fragments through refraction and highlights each individual space module. Each space module having different intensity of light because of the placement and the dimension and distance makes a pixel bit map as a similar image. Through different intensities of light in the space module the connecting plane between the two is exaggerated as shown in the Fig. 3.1.2.4.D. This phenomena caused in the space due to the system breaks the opaque solid elements of the architecture and dematerializes the built and making the connection with the immediate surrounding 140

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space module

Fig. 3.1.2.4.C Space module progression as resultant outcome

space modules having different quality of light

exaggeration of the connecting line between the two

Fig. 3.1.2.4.D Juxtaposition through the gradient formation in the system through the light in the space modules

prominent. As observed earlier the system is made through space and system modules, thus the entire system can be narrowed down to the smallest entity which is the module and the multiplication and orderly progression forms the system, making the module a system determinant. As seen in the Fig.3.1.2.4.E, the solid chunk is fragmented through smaller modules which is protruding out of the volume periphery. However in the second and third stage the volume periphery is still present but the fragmented modules has taken a large sum of the solid chunk. As mentioned in the sub-chapter 2.3.1 the smaller module unit construction provides flexibility for achieving a more organic form than the bigger module unit construction. However the smaller module unit construction increases the number of joints between each module which can create an issue in the process of Assembly system but using the smaller module unit for derivation of form and translating the final outcome into linear tangible element solves the issue of number of joints in the system.

Fig. 3.1.2.4.E Diagrams showing the fragmentation of the solid chunk into smaller parts and the opening up the cube, stage wise process and the flexibility of forming organic shape through smaller modules

This gives the opportunity to create negative space/s by removing the fragmented chunks out of the composition. The grid formed though the smaller modules forms an organic shape and along with that the additional requirements like functional and human ergonomics guides the negative (removal of modules) space from the whole. The sculpted part brings randomness in the ordered grid, due to that the formation of the grid feels organic to the user and not strict and monotonous in the space. The sculpted part creates a negative cave like profile as seen in the Fig.3.12.4.F and the grid on all the sides with the prismatic perspectives doesnâ&#x20AC;&#x2122;t make the space claustrophobic but reaches a stable point where the user feels intimacy in the space through the system with the continuous connection with outside and openness through light and a view of the surrounding context. 3.1.2_ GC Prostho Museum

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3 sculpted part

1 Sequential process of the lattice grid system sculpting and the effect on the architectural panning and elements

Fig. 3.1.2.4.F Sculpted part of the grid in the museum space of the project, along with that the prismatic perspective formation through the system in the space 142

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â&#x20AC;&#x153;Nature is the source of all true knowledge. She has her own logic, her own laws, she has no effect without cause nor invention without necessityâ&#x20AC;? - Leonardo da Vinci

Outcome of the Study

4.1_ Observations 4.2_ Synthesis 4.3_ Conclusion

4.1_ Observations The outcomes through the system in the Interior-Architecture practice as observed in this study are human centric and can be formed into three categories. The three broad categorizations of the system in the InteriorArchitecture practice which are translated into the project through the design process stage, manufacturing or the assembly/execution stage of the project or all. The categories are Technical design of the system, Context specific system and System incorporating and considering the region/place. Technical design of the system: The technicalities involving the sub-stages of the system from the initial stage of the design and the development of the system (part to whole or whole to part). Depending on the approach the module or elements and components are developed and structured. Along with it consideration of the structural aspect and the functional aspect of the system, considering the aspects, the manufacturing-fabrication of the module/ elements/components of the system. The technical design covers the stages of the system from the computer aided software and the virtual tests (load test, wind test etc.) of and on the system to the construction and manufacturing/fabrication (off-site and onsite) of the system and all the in-between intermediate stages. For example: Considering the Center Pompidou as an example, the exposed structural system through girders and truss members along with the functional systems like services and circulation which are systems in their whole. The structural members from metal were produced through the technological advancement of the region, in this case the region is the country (France) and the metal forging industries and the available technological possibilities were taken in consideration for the project. Exposed aesthetics of all the systems of the project 146

Technical design Human needs Incorporation and consideration of the region

Context specific

Fig.4.1.A Relationship triad of the system in the Interior-Architecture practice impacting human needs

all systems as one whole

structural system

HVAC system

circulation

Fig.4.1.B1 Exploded isometric of Center Pompidou by Renzo Piano and Richard Rogers,the technical design of the systems of the project

Technical design Human needs Incorporation and consideration of the region

Fig.4.1.B2 Triad of the Center Pompidou

Fig.4.1.C1 Great Wall house by Kengo Kuma and Associates, the space overlooking the view of the surroundings

Human needs Incorporation and consideration of the region

Context specific

Fig.4.1.C2 Triad of the Great Wall house

were first of its kind, however the users of this community cultural center didnâ&#x20AC;&#x2122;t easily accept the alien looking object sitting between the old architecture style of the Paris. The rejection from the immediate context had affected the project from the initial stage (competition organized for the designs of the cultural center) to the execution of the project. Context specific system: The aspects incorporated and involved in the context specific system are related to the system being site specific, in harmony and in relation with the immediate context and surrounding, inclusion of the context specific resources and technological potential of the region. Resources like material, techniques and expertise of the region, craftsmen and specific skilled labour etc. are considered. The system being site specific and responds to the context on the basis of the sun-path, wind direction, inside-outside relationship between the system and the surrounding. For example: Considering the Great Wall house as an example by Kengo Kuma and Associates. Starting the process by taking The great wall of China in the consideration and the attributes like endlessness and the adaptation of the undulations in the topography make it context specific. The project was an attempt of fusion between the architecture and the context (land) through which the building reacts to the topography and adapts to the curvatures of the land it sits on. Material choices emerged from the surroundings and locally sourced materials like Bamboo, rice paper, slate and glass make the character of the space resemble a bamboo forest. However the structural aspect was not completely solved through the local materials and thus a meticulous metal internal structure wherever needed is cladded through cane and bamboo to give the natural character. Thus it makes the project context specific and incorporating and consideration of the region. 147

However the technical design of the system is not in the highest form in the technicalities like manufacturing, production and assembly but more towards the simplistic and sensorial aspect. Incorporation and Consideration of the region: The region has its own distinct culture and attributes through its craft, architecture etc. These creates certain similarities between the interior-architecture practice of that specified region and its own manifestation of those similarities. Considering and Incorporating those similarities in the form of language, aesthetics, material outcome etc in the system is through elements in the system or the abstract resemblance of the system to those distinct cultural attributes of the region. A sense of belongingness of the system to the region is created and the user of the space connects to the system and it minimizes the chance of the rejection of the outcome of the system by the users of the region. For example: Considering the Yusuhara Marche as an example by Kengo Kuma and Associates. The market of the local products and the small 15 room hotel as the function of the space. The interior and exterior character of the project was evolved from incorporating and considering of the culture of the region, in the old times the space called as “Cha-do” which served tea to the travelers in the region (hospitality space) had thatched roof and a raw character to the space. The hotel being an hospitality space and to connect the present to past it had incorporated the similar aesthetics by using the thatched facade (straw as material) and the cedar (local material) in the interior structural members. The materials are exposed and raw in form to resemble it with the “Cha-do” of the present time. However the assembly aspect of the system is not in its highest form but more in the simplistic and functionally directed. 148

4.1_ Observations

Fig.4.1.D1 Yusuhara Marche by Kengo Kuma and Associates, the local material inclusion in the system resembling the traditional spaces of the region having similar function

Human needs Incorporation and consideration of the region

Context specific

Fig.4.1.D2 Triad of the Yusuhara Marche

The three categorizations are directed towards human needs and functions of the system and they are not isolated to eachother, there is coherence between the three categories and the inter-relation affects each other in the project. However as observed there is a prominent presence of one/two of the three in each project which affects the other and diminishes them which leads to less or no involvement of the other in the specific project. These has been a persistent challenge in the Interior-Architecture practice through the approach of system intervention and making the systems alienated for context, for defining a strong partition between inside and outside and no or negligible relation between the both or that outcome and the intervention of the system is in the lowest form of design and construction. This arises a need for a model from which can be taken as a source of knowledge to establish the balance and harmony by impacting each of the three categories through the attributes of the model. Tree (nature) has been taken as a source/ model in this study. Segregating the visual attributes and technical capabilities of the tree, when the tree is imposed with the triad Fig.4.1.A, there is a harmony between the three categories, as the technical capabilities of the tree is context specific. it takes into consideration and incorporates the region in one form (a single tree). The study has looked at the system manifestations in the Interior-Architecture practice from off-site manufactured parts of the modular housing which comes together on site through jointing to the higher level of assembly system for on site assembly and construction, where the parts of the system are assembled together to form sub-assembly or assembly/s. The constaints and issues which were a part of the project and design process played a major role in the evolution of the assembly system.

4.1_ Observations

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From the research and the study of the casestudies from the evolved theories the outcome is categorized into three primary approaches of incorporating the tree’s attribute in the process:

Form

Detailing, Structure

Fig. 4.1.E Time-line of the Assembly system process in InteriorArchitecture practice and the involvement of the visual attributes of tree 150

4.1_ Observations

Completion of the process

Stage 2

Involvement of the model’s (tree) visual attributes

Stage 1

Initiation of the process

Incorporating tree’s visual attributes: The approach takes in the consideration of the visual aspects and attributes of the tree. It imitates and/or replicates the visual characteristics of the tree in the system or designs the system keeping in mind the form of the tree. The form of the system (visual character) is resembling to a tree or a part of the tree (branching structure, foliage character etc.) but the technical aspect of the system is irrespective of the tree. In this approach the involvement of the model’s (tree) visual attribute is from the initial stage of the design process and once the form of the system is finalized the model’s involvement in the process is over. Hence there arises the limitation of this approach. As seen the tree’s (nature) sequential order is Material-StructureForm and form being an resultant outcome, incorporating in the design process through imitation or replication on the basis of visual attributes of the tree but not the structural principle and material behavior. When the man-made system has the form of the tree by imitation or replication but the system’s structure and material is irrespective of it. This leads the system to fail in terms of structure, efficiency of form or material optimization used in construction.

Assembly, Execution

Form

Detailing, Structure

Involvement of the model’s (tree) specific attributes

Completion of the process

Involvement of the model’s (tree) specific attributes

Stage 2

Involvement of the model’s (tree) specific attributes

Stage 1

Initiation of the process

Incorporating tree’s specific attribute: As established earlier the visual attributes and technical capabilities from the tree can be incorporated in the process of assembly system of Interior-Architecture practice. This is considered as amodel to answer the needs and challenges in the process. The first approach dealt with incorporating the visual attributes of the tree for the generation and impact on the form of the system, this approach is in the tangent of considering the specified attribute of the tree to solve the need in the assembly system. The specified attribute can be the visual attribute or the technical attribute or both but they are impacting the process for the specific need and once after the completion of the same the involvement of the model in the process is over. This approach uses the potential of the model for the specific task.

Assembly, Execution

Fig. 4.1.F Time-line of the Assembly system process in InteriorArchitecture practice and the involvement of the specific attributes of tree 4.1_ Observations

151

Form

Detailing, Structure

Fig. 4.1.G Time-line of the Assembly system process in InteriorArchitecture practice and the involvement of the technical attributes of tree 152

4.1_ Observations

Involvement of the model’s (tree) attributes

Assembly, Execution

Completion of the process

Involvement of the model’s (tree) attributes

Stage 2

Involvement of the model’s (tree) attributes

Stage 1

Initiation of the process

Incorporating tree’s technical attributes: Similar approach to the visual attributes of tree incorporation in the process but in the place of visual, technical attributes are considered. The technical attributes of the tree takes the superficial impression which is the resultant outcome of the visual attribute, rather the technical attributes impacts the system in the tangents of the efficiency of the space, optimum use of the material and resources, distinctive outcome of each situation and not falling for monotony etc. However the steps of incorporating or extracting the attributes from tree is not a similar process like visual attributes, the tree is studied by its capabilities, principles and phenomenas which are directly or abstractly incorporated in the process of assembly system. In the study the capabilities, principles and phenomena of the tree are extracted with respect to the constituents of assembly system. The extracted attributes of the trees are then turned into abstract concept or rule/order etc. thus adding to the directly using them, it can be used with a different approach or technique for other needs in the process. This approach doesn’t incorporate the attributes for specific task or stage rather it takes in as one of the steps in each task of the assembly system process which leads to inclusion of it in the entire process.

4.2_ Synthesis Observation and analysis in the research and of the case study are done by categorizing the system into character and space-planning categories, and the impacts of the attributes of tree on both respectively. The broader division of the form-material and structure as shown in the diagram below are with respect to character and space planning of the system. Thus it brings the study into evaluation of the impacts and the observation. As well as bringing the observations of the both case-studies together to form the probable conclusion.

Material

Structural components Character

Structural principles

Outcome, Resultant Space Planning

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4.2.1_ Character: The tangible attributes of the system, physical components of the system which are arranged in order and the resultant of it forms/formulates the space. The order of progression of branches in a tree when incorporated in the process of assembly system results an abstract form of tree. The outcome is as observed in the module of system in Agri Chapel, however the element/ module of the system possesses the visual language from a tree and the angles in the system. It however responds to the functionality of the space by division and arrangement through Cartesian geometry for optimum use of the floor area. On the other hand, the system which also consists of the technical attributes of the tree but the order of the system is based on the Cartesian geometry which resembles the foliage of a tree in an abstract form. As observed in the system of GC Prostho museum, to make it possible the impact point of the attributes of the tree are on the space formed through members of the system and the character was the outcome from the tangible elements (members/module of the system) and intangible elements (space through the system). Along with the visual language of a tree and the character, it also allows incorporation and resemblance of the different abstract outcomes in the space through the system. As observed in the Agri Chapel, the pendentive formation is through the linear members of the system. In GC Prostho museum we see a similar abstract space quality of a path between trees and light penetrating though the foliages. The system which consists of the provision for expansion and adaptability towards the change over the period of time along with the attributes of nature, makes the expansion of the system easier and the transition for expansion of the system as more natural. As 154

4.2_ Synthesis

Relation between the angle of the system and the Cartesian angles

impact point

Fig. 4.2.1.A Impact points of the treeâ&#x20AC;&#x2122;s attributes and the relation between the Cartesian geometry and the character of the tree

module

dome

composition through modules

Fig. 4.2.1.B Diagram showing the formation of the dome through the module having attributes of tree

existing system

expanded system

intervention in the space

installation in the space

Fig. 4.2.1.C Expansion of the system through module and the expanded system merges with the existing

Fig. 4.2.1.D Similar modules showing the difference between the installation and intervention of a system in the space

Fig. 4.2.1.E Tolerance in the system, left: tolerance expressed as aesthetics and right: hidden

observed in the Agri Chapel, the formula for progression of the modules in the layer gives the number of modules in each layer and through that the system can respond for the functional use etc. One of the constraint where the interior system sometimes fails is that system in the space falls under the scale of an installation rather than a intervention. One of the factors is that how a system forms the junction with the architectural elements. In the case of the Agri Chapel the junction between the system and the components of the interior system protruding out of the architectural element (wall) forms one system because of the lack of a visual junction between the element and the wall. It blurs the boundary between the both and reads as one singular system. Along with the junctions in the system, the presence of tolerance in the junction/joints and the elements providing tolerance to adapt to the material changes and maintain the stability in the system over period of time. However those elements are present in the system for the functional aspect and not for the aesthetical aspect. In the case of Agri Chapel the white metal tension rods over each module maintaining the stability and the position of the elements also contribute visually. The heavy mass of the primary raw wooden members and the continuous connections of it are broken with secondary white slender metal rods and it divides the modules giving the visual perspective a pause. While in the GC Prostho museum the presence of the secondary members are nullified and the tolerance of the system is incorporated in the joint between the elements and modules. The attributes of tree formulate the progression and junction points in the system for the modules/ elements through the force path, which results the joints and the progression junctions to perform structurally for the system as well. Through this the parts can be reduced to form the system to the optimum level and 4.2_ Synthesis

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make the system efficient in terms of material/ resource and the design point of view. Also, the location of the points helps in exaggerating the junction or blend it in the system once the entire system is in place. In Agri Chapel the progression point are exaggerated because of the geometry and each module is read as one in the system but also in coherence. While in GC Prostho museum the junctions blends the two modules into one and the entire system is read as one instead of different modules. Optimum progression points and consideration of the force path in the system, brings the elements of the system to the optimum number. The elements perform structurally and form the aesthetics of the system. Thus removing the need of nonstructural aesthetical members in the system. The system can be evolved as part to whole or whole to part and in compression or tension, the attributes of the tree can impact and result into both the categories respectively. The Agri Chapel is part to whole approach and the system is in compression while the VANA by Orproject is whole to part and the system is in tension, both has the attributes of tree impacting the process. The system having the attributes of the tree also provides to incorporate the human dimension to make the system ergonomically functional in the space as observed in the Agri Chapel for human clear height below the modules. While in the GC Prostho museum the one module (void) size performs all three scales of roles from architectural scale of facade to the human ergonomics of interior and furniture elements. It also establishes a balance between the standardization and customization of the elements in the system, leading to ease of assembly of the system as well as not losing out on the novelty of context specific system through over-standardization of the elements.

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4.2_ Synthesis

orthogonal system

load of roof

tree module

Fig. 4.2.1.F Forces path from roof to ground manifested through orthogonal members and tree modules and the difference in proportions and the aesthetics of the system

singular entity

Fig. 4.2.1.G Junctions not expressed giving the system emerged from part to whole approach, forming one singular entity after the completion and individual modules merges into one Triangular parts through paper facets

elevation

plan of the space

columns going down

Fig. 4.2.1.H System having attribute of tree but the approach is from whole to part and the system is hung making it in tension. VANA, Delhi by ORPROJECT

4.2.2_ Space Planning: The intangible attributes of the system, principles of the system which impacts the physical components for the dedicated/predecided formulation and function of the space.

Fig. 4.2.2.A Orthogonal division of space in the project through the systemâ&#x20AC;&#x2122;s vertical element System

System module

Space module Agri Chapel Interior system

System module

Space module

GC Prostho museum Interior system

System module

Space module

Fig. 4.2.2.B System organized and composed by system and space module establishing coherence

The impact of the module having attributes of tree which results into angular members and form, however when the module impacts the space and for the efficient use of the space the module deals with Cartesian geometry. The dichotomous tree like module of the system in Agri Chapel have angular members but the central vertical column of the layer 1 meets with the ground on 4 points creating equal division of the floor plate. The angular members creates an intangible secondary axis in the space which guides the dimension and the location of the other objects for functional needs in the space. The system is formed through two major categories of module; System and Space modules. The simultaneous approach of the both cater to the decision of the structure of the system as well as space formed through the system, this results into coherence between the two in a singular system and optimization of the process of the assembly system. As observed in the both cases (Agri Chapel and GC Prostho museum) that each system can be broken down into two different modules having specific roles and impact on the system in space. This makes the assembly system process to take the decisions of structural aspect of the system and functionality aspect of the space together simultaneously. Reducing the stage wise process of dealing with structure and form of system and then the space formed by system or vice-versa, make the process efficient and the outcome optimum. The arrangement of the space and system module in the space, balances between the visual aspect and the functionality of the 4.2_ Synthesis

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space which leads to not compromising on either of the both factor. Along with it, there is consideration of the human factor (human ergonomics and function of the space) and the space planning with the sensorial experience of the space. The junctions, joints in the system and interface between the modules and elements of the system which performs the specific dedicated role in the system but along with it performs the role of an interior space junction and elements such as threshold, forming aperture, crown in the space etc. As observed in Agri Chapel the connection between the two points acts as a threshold in the space and in GC Prostho museum the space module acts as apertures in the space. The flexibility and the adaptability of the system in the space creates space modulating effects. Along with that incorporating the other functional system of interior is as seen in the GC Prostho museum such as the incorporation of HVAC system in the lattice grid system through dimensions. The system broken down to the smallest part provides flexibility for progression and expansion as well as opens up the opaque architectural elements of the project. This creates a prominent inside-outside relation between the interior and the context as well as guides the arrangement in the space and provides the hierarchical order depending on the function. As seen in the Agri Chapel there is a relation created between inside and outside on all the four sides of the project. Similarly the controlled visual porosity on the two sides of the rectangular built in GC Prostho museum creates the a strong relation between interior and context through the system. Consideration of the system towards the architectural elements and simultaneous approach between the architectural element and interior system. Results into singular formation between both and dependency on each other making the system architectural 158

4.2_ Synthesis

System module

Space module

Visual apect of the system

Function of the space

Human factor (ergonomics)

Function of the system in space

crown

aperture

connector

Fig. 4.2.2.C System functioning the roles of intangible roof (crown), aperture and connector (connecting inside and outside)

Fig. 4.2.2.D Abstract diagram showing the dematerializing of solid opaque element through small modules establishing inside-outside relationship

specific. In Agri Chapel the connection of the system with the architectural element as well as the interior system protruding out of the wall creating a singular system through them both. Similarly in the GC Prostho museum the removal of the architectural facade which has been replaced by the lattice grid system to perform as a facade. The interdependency of the system and the architectural elements makes the system architectural specific. The system as well as being architectural specific, it fragments the singular architectural volume and brings it to human scale as well as maintains the openness in the space. Voids formed through the system, form and modulating the space, impacts the solid mass of the architectural element by its dematerializing into small parts. As observed in the GC Prostho museum is the organic formation through the rigid order grid system. Flexibility in the expansion and changes in the function of the system is through the movable parts specific in the system. System impacts the loose furniture of the space forming one visual language. Consideration and incorporation of the architectural dimensions for the interior system with respect to elemental dimensions to make the on-site assembly efficient.

4.2_ Synthesis

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4.3_ Conclusion An establishment can be made from the research (including observation from the case-studies) that the tree (nature) can be considered as model from which knowledge can be extracted for the systems in InteriorArchitecture practice. The conclusion is directed into incorporation of the knowledge into systems. It is spread out into three broader aspect of the system through which all the aspects of the system can be impacted. Three broader aspect of the system are: DeMaterialization, Principles and Practice. DE-MATERIALIZATION: Bringing the material-form to the minimum by reduction/ fragmentation/ division of the material. During the process of De-Materialization the material is brought to the minimum creating or resulting into a certain degree of self-similarity between the elements which leads to Standardization. The elements of an entity through the process of De-Materialization results into a perception. The perception is directed towards the element having a tangible form and the material of the element is not perceived as material. The process of De-Materialization does not reduce or take away the material capability and performance. The entity (object), introduces porosity and negative spaces (voids) through De-Materializing the elements of the entity. This creates a sense of openness and the lightness in the entity. During the process, the elements of the entity are shaped and results into in their own form. (major categorize of material form: Linear, Planar and Volumetric). However, reducing material for minimal sometimes leads to extreme reduction which results into Redundancy. Redundancy makes the element useless for performance and function. As stated before, the introduction of porosity results into openness of the entity. The opening up of the entity makes the immediate surrounding of the entity critical. The immediate surrounding acts as 160

a component to that entity and the relation between them becomes important in the process. Incorporation of the region and the specific aspect towards the context is important for the de-materialized entity to behave. De-Materialization of the System: Tree as it grows, from trunk to the last part of the branch (twig/ bud), divides itself. Division is through fragmentation of the elements with each progression cycle. The fragmentation in the tree is in linear path. Similar phenomena can be infused in to the interior systems through assembly process. The system initiates with the selection or the fusion of the material form (Linear, Planar and Volumetric) for the elements. The criteria for selection are based on the structural needs, design point of view as well as consideration of the context and incorporation of the region. [For example of consideration of the context, TOTE Restaurant, Mumbai as mentioned in the sub-chapter 2.4.2. The material form of linear members for certain language and structural considerations for the system. For example of incorporating technology/technique/resource of the region, Yusuhara Marche as mentioned in sub-chapter 4.1. The incorporation of the resource- local material- straws and wood of the region for the assembly system.] Transformation of the material form into elements of the system infuses a certain degree of standardization. Standardization impacts the assembly process of the system as well as reduces the complexity in the system. Inculcating phenomena of fragmentation is through abstract translation (as discussed in the sub-chapter 2.4) of it into interior systems. However there are numerous possibilities through permutations and combinations. This results into customization in the system through standardization, results into different 161

systems. However each possibility should be considered and filtered through sustainability aspect, to make the intervention efficient and the outcome optimum. Considering the Tensegrity Tree system, CEPT University as an example of De-Materialization of the System: The system consist of linear metal members and metal tension cable as primary elements. The members having linearity resembles to the material form of the tree. The members are standardized in terms of function and dimensions. The members are articulated through circular plate on each member, as well as performing structural role the plate also acts as a node. The nodes visually creates a pause points while perceiving the system. The visual perception of the system through levitated metal members through thin tension cable(with respect to metal members), merges with the context and creates a sensorial aspect of the system. The levitated members of the system, allows introduction of porosity into the composition of the system as a component. The porosity allows transparency through the system. The action of the levitated metal members through thin cables onto a single vertical structure with the porosity results into harmony. De-Materialization of the system, made the rigid metal- visually light and took away the coldness and disregard of the behavioral aspect of the metal as material.

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Fig. 4.3.A Tensegrity Tree, CEPT University. System consisting of linear metal members and tension cables forming an abstract representation of the treeâ&#x20AC;&#x2122;s foliage through tensegrity principles

PRINCIPLES: The rules-orders impacting elements of an entity. The elements of an entity are impacted with respect to organization and composition results into configuration of the tangible elements of the entity. Principles impacts the visual perception of the elements in togetherness as well as performance on the structural basis for the entity. The principles impacts the elemental configuration of the entity in totality as well as individually. Principle of organization and composition acts as a configuration blue-print for the elements of the entity for the process of De-Materialization. Principles in the entity, organizes and composes the elements and results into tangibles (material-positive spaces) and intangibles (void-negative spaces). The configuration guides the proportions of the both tangibles and intangibles of the entity. Implications of the principles on the components of the entity results into an integrated tangibles and intangibles. it thus forms coherence in the entity between components. The components have a certain degree of standardization as discussed in the De-Materialization. The standardization of the elements impacts and introduces standardization into the composition. The composition forms the spaces in the entity, thus resulting into standardization of spaces. Principles of the System: The tangible aspect (material) of the entity (tree) is grown through certain principles in respect to composition, processes (biological and chemical) and structure. The principles forms rules and as well as constraints for the material aspect of the system. The principle and phenomena can be extracted and turn into abstraction for application as principles of Interior systems. The organization and composition principles 4.3_ Conclusion

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impacts the modular configuration. The configuration of the System and Space modules is as mentioned in the sub-chapter 4.2 Synthesis-Space Planning. System and Space moduleâ&#x20AC;&#x2122;s configuration results in to positive and negative spaces of the system. [For example in Agri Chapel, the system and space module differentiation is as mentioned in the sub-chapter 3.1.1. The configuration of the two types of modules results into one system/composition.] The composition of the modules (System and Space), impacts the proportions of the both with respect to each other as well as in isolation for the structural performance of the system. [For example in GC Prostho museum, the members of the lattice grid system for the structural performance as well as functional roles, evolved through the organization of the base grid resulting into 450x450mm grid configuration.] Implication of the principles integrates the different aspects and components of the system. The integration of the components of the system impacts the proportions of the components (structural and non-structural) which establishes sensoriality in the system. The composition through configuration of the modules brings standardization. The modules are impacted by the elements and as discussed in the De-materialization, there is a certain degree of standardization in the process. Thus through this, standardization is introduced in the configuration of the modules which reflects in the composition of the system. The space is a composition of system, thus creating standardization of spaces through system.

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4.3_ Conclusion

Considering the Memorial for Tree of Knowledge by Brian Hopper and m3architecutre firm in Queensland, Australia an example of the Principles of the System: The system is formulated through organization of the two primary components; Tree trunk + Roots and the Linear wooden members. The configuration of the two components brings them both as one entity without a physical junction between both. In the center of the space, a real tree is placed along with the roots below to establish a connect between the user and existing tree in the location. The tree and the wooden linear members as mentioned earlier have no physical connect between both. However the negative space (cavity) which is formed between the both performs as a connector, merging both as one entity. Similarly the internal connector in the component connecting the members is not exaggerated in space. The internal connectors between linear wooden members are not prominent in the system. The void in the space plays a prominent role as a component in the system. It resembles the foliage of a tree which is demarcated by points through white painted edge junctions of the wooden linear members. Because of the interdependency between each component of the system, they form coherence between each other and as one entity. The perceivable selfsimilar wooden elements are complemented by the randomness in the tree placed at the center. And the void resembling the foliage of the tree which is evolved through the principles creates an intangible connect forming an integrated system in space. Removal of any one of the component makes the system incomplete and redundant.

Fig. 4.3.B Memorial for tree of knowledge, Queensland, Australia. System formed through real tree and wooden linear members

The uniformity and the evident order of the wooden members are complimented through the mystic order and randomness of the tree trunk in the system. 4.3_ Conclusion

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PRACTICE: Bringing the fragmentation of the elements and the principles of the elements of an entity together, to form a process/ method. In the process, along with the components mentioned above, inculcated are other additional components like; approach, function of the entity, context and region of the entity. All the components in the process are inter-connected and interdependent. Practice of the System: The practice of the system brings the DeMaterialization and the Principles of the system under one umbrella. Along with those, are additional components such as Approach, Program/Function of the space, Context and Region. Practice considers all the components and forms an inter-relationship between all the components which results into interdependency. The primary step of the manifestation of the system is the approach towards the architecture and the interior system. The primary approach of the system can be; Outside the built, Within the built and Inside the built. The approaches can be fused with each other. The selection/ amalgamation of the approaches are guided by the program/ function of the space. The function of the system also impacts the outcome of the type of system; Open-Close system. The context (immediate surrounding) of the space (project) and Region of the project guides the system as well. Making the system context specific results into an optimum outcome on many levels. The context guides the approach of the manifestation of the system, making it Outside, Within and/or Inside the built. Incorporating the region in the project introduces the system to the resources, knowledge and the cultural aspect 166

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of the region. Making the manifestation of the system an efficient intervention is in respect to resources, materials, tools, technique and knowledge. Practice of the system

Demateriality of the system

Principles of the system

Inculcating the factors mentioned in the DeMaterialization, Principle and Practice of the System makes the process of the assembly system in direction and a step closer to Eurhythmy. Eurhythmy can be considered as an assembly phenomena of entities through rhythm, resulting into harmony. Eurhythmy is not a destination or an outcome but a continuous process, which is ever evolving with respect to Assembly system of InteriorArchitecture practice. ROLE/IMPACT OF SPACE-PLANNING OF THE SYSTEM IN THE SPACE: Out of the two attributes of the system as mentioned in the chapter 3.0 of the study, the visual attributes (Space-Planning) yielded the two segregation of the modules. In the analysis of the observations made in the case studies, the two modules which were resultant were; System and Space Modules. System module is directly related to the Character attributes of the system. System module having the components of tangible aspects of the system are as mentioned in the sub-chapter 3.1.1/2. The Space module consists of the components of the intangible aspects of the system. Another perceptive through which the process of assembly system can be impacted, is through inculcating the above mentioned factors (De-Materialization, Principles and Practice on to the Space module of the system. The resultant outcome of the inculcation impacts the System module, because of the interdependency and inter-relationships. The Impact and role of the space modules of the Space-Planning attribute of the system are categorized into three aspects: 4.3_ Conclusion

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Performance: Simultaneous approach through Space and System module increases the functional role of them in the space. The modules performing the role in the system, also functions in the interior aspects of the space. Interior space modulation happens due to the flexibility and adaptability provision through the modules in the system. Similarly the approach opens up the architectural elements and establishes inside-outside relationship through fragmentation of the elements of the system. Provision for the expansion and changes through functions of the system in the space increases the performance ability of the system. Efficiency: The elements in the system even though possesses angles or non-Cartesian geometry, when interacts with the space for the function results into efficient use of the space. The simultaneous approach through the modules increases the efficiency of the process for assembly system. As well as inculcates human aspect (ergonomics and function) in the system of the space, resulting efficient intervention. It opens up and introduces porosity in the system, considering the visual and structural aspect of the system and space. Integration: Creation of sub-axis through elements of the system integrates the functional elements of the space. Simultaneous approach integrates all the aspects (visual, structural and functional) into one entity in space. Because of the integrated whole, the elements of the system performs the interior aspects of the space. The system remains open-ended at a certain degree for integrating functional and other elements in the space over a period of time. Interior system within/with architectural element, merges with each other because of inter-dependency forming on integratio of system.

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Future Scope of the Research: The Law of Diminishing return has a substantial impact on the Interior-Architecture practice. The process of system has an evident impact/ role of manufacturing and industrialization. Manufacturing and Industrialization have technological advancements but the inculcation of those into the InteriorArchitecture practice happens at a slow rate, resulting into the technology available in the practice for longer durations. This results into monotony and repetition in the intervention. The behavioral aspect towards geography and function of the space of the intervention decreases because of the monotony. Thus it makes the system unresponsive to the context and also does not incorporate regional factors. The need for an external knowledge to guide, impact or aspire the design process of system in Interior-Architecture practice becomes evident. Nature taken as a model, creating an external knowledge through its technical attributes impacts the entire design process of the system. This document looks at one entity, tree out of 5 animate organizations of nature. All five have been evolved for specific cause and needs which can be extracted in the form of knowledge, creating an holistic model by bringing all the five entityâ&#x20AC;&#x2122;s technical attributes together for the design process of assembly system in Interior-Architecture practice.

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In the End // Irrespective of Interior-Architecture practice, the Tree (nature) can be the answer for all the questions of mankind. The questions related to construction-making which has a resultant tangible outcome and be used as an object by the humans. The technical attributes of the tree, can be referred as a road-map, blue-print by imitating or aspiring through the attributes. This is the Practical way of implementing tree. The other way is the Philosophical way of implementing tree, through understanding the attributes of the tree and translating them into complete abstraction. Thus a singular entity, through its own functioning has lot to offer to mankind, the only important and critical question to that is, whether the mankind knows what to learn from it and how.

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When seed is planted - there is Hope, When tree is present - there is Knowledge, When tree is gone - there remains Inspiration; Thus tree teaches mankind in every step, making it a silent Teacher sent from the Creator. - Shail Sheth

oi 5.0_ Glossary 5.1_ Thesis Reviews Comments

5.0_ Glossary Amalgamation: Bringing two or more different entities/objects/idea together as one. Assembly Line: Step by step series of processes (assembly method) mostly in factories/industries for a tangible form.

Assembly Method: Technique turned into a method for assembling a tangible form. Assembly Process: Conceptualization of assembly stages and methods for a resultant tangible form. Bionics: Study of animate natural elements for their specific mechanical systems and functioning. Cultural based Atmosphere/ Incorporating region: Consideration of the aspects of the context and region and incorporating and/or translating into the interior systems.

Catia: CAM-CAD software for manufacturing and assembly for aeronautics developed by Dassault Systems. Cradle to Cradle approach: Replicating the nature’s regenerative process for achieving sustainability. Character: Distinctive tangible quality/aspect of the system. Dendriform: Structural aspect of the system resembling to a tree. Discrepancy: Unavoidable error in the material dimension of the elements in the system creating the need for tolerance.

Dematerialize: Disappearing visually or reducing the material’s tangible gravitational appearance in the system. Global system: Different or similar systems coming together and impacting each other, forming one bigger system.

Interior: An entity (tangible/intangible) of situated or located in the inside of the architecture. Interface: A point,line and/or plane where two different element/module/system meet,connect and interact. Individualization: Distinction of the individual (element/module) within the system. Kit of Parts: Components which are pre-designed/pre-engineered/pre-fabricated for the assembly process to form a system.

Language: Expression of the system, expressed through alphabets-tangible aspect (elements,modules etc.) formulated through the use of grammar-intangible aspects (principles, theory etc.) Local system: Different or similar elements coming together and impacting each other, forming one system. Modern movement: Architecture practice impacted through new and innovative technologies in terms of construction and rejection of ornamentation, establishment of theories like Form follows Function and Less is More (Minimalism). Microcosm: A miniature entity which encapsulates the attributes of the entire belonging system. Making and Manifest: Kengo Kuma’s ideology of conducting the architectural practice by human involvement in production, fabrication, construction and assembly of the components of the projects. Model: An entity which is considered as an example to follow. Nature: An entity manifested optimally through higher level of knowledge from the available resources for specific cause or function. Opacity: An attribute of the material impacting all the tangible-intangible characteristics of the object/entity. Phenomena: A fact or situation that is observed to exist or happen. Principle: A general rule/law or theorem having numerous application across a wide field. Porosity: The impact of material’s properties on the volume and organizational factor of the object/entity. 174

Particalization: Separation,division or reduction of the bigger whole into small entities. Prismatic Perspective: Multi-faceted view in the singular perspective frame. System: A set of things working together as parts of a mechanism or an interconnecting network; a complex whole.

Sense of Place/ Context specific: Unforced sense of belonging and dependency of the immediate context.

Self-similarity: A phenomena making the part approximately or exactly similar or identical in proportions to the belonging system or bigger whole. Standardization: Maintaining some level of consistency within the elements, modules or systems. Space Planning: Interaction and impact of the elements/modules/systems with the volume and formulation through the tangible aspect of the system. Sensoriality: Attribute of the system or phenomena occurring in the system which is perceived by the user (human) through the senses of sight, hearing and touch.

Technique: Efficient way of performing a task mainly through tools/resources. Technology: Application of the scientific knowledge for practical purposes. Technical design: Part of the project dealing with the technicalities of the system like structure, assembly process, material dimensions, construction etc. Technical Attribute: An aspect of an entity which expresses the phenomena, principles and the processes happening or occurring in the entity or by the entity. Tree: A vertical system progressing through growth having singular center member (trunk) which protrudes out from the ground by unifying numerous members (roots). The singular center member fragments through subdivision of itself for maximum optimum volume coverage (foliage) through elements (branches, leaves, twigs etc.) for efficient biological processes.

Untouched/ Unexplored/ Unattended: Factors which are untouched, unexplored or unattended for understanding of the knowledge as well as factors on which the knowledge can be applied for practical purposes. Visual Attribute: An aspect of an entity which expresses the manifestation of technical attributes into tangible form through material dimensions. Voxel: An entity representing a value on a cube/cuboid grid in three dimension space. Similar to a pixel bitmap but having three dimensionality (x,y,z co-ordinates).

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5.1_ Thesis Reviews comments and action taken Working title: Techniques in Nature are Systems in Interior Review 1, 30th January 2020 Panel: Aparjita Basu and Amal Shah (Thesis Coordinator) 1.Shorter sentences should be formulated and no longer sentences in the study. Consideration of the input and taken care in the document.

2.Let the study title be flexible and open ended up to an extent. Suggestion given by Aparjita Maam, â&#x20AC;&#x153;Nature as initiators in systems in spaceâ&#x20AC;?

Study was focused into types of formation of system which created a smaller horizon for the research, the input was considered and made the horizon bigger for finalizing the direction.

3.More clarity in the differentiation and understanding of the System of element and Elemental system. Considered and recognized as play of words which was rectified.

4.How will the case study will be analyzed in respect to nature and will the nature be celebrated in all the five systems type or one of five which are categorized. Methodology and the narrowing the broad spectrum of nature to one aspect of nature for specific study.

5.Start looking for the examples (case studies) and who are the architects and interior design works in the similar process and which are projects and processes of the projects with a similar approach of the topic. Considered. and timely steps taken.

6.Divide the factors (system types) into the most critical and non-critical systems for the building as system. Considered.

7.Evaluation should be conducted in the most critical with maximum objective way and the method and criteria of evaluations?

Considered and had made the methodology of the research refined and specific towards the one aspect of system.

8.Analysis comes before the evolution in the hierarchical order. Rectified.

9.Should the study be looked or directed in the generative processes (not parametric). Example ICD pavilions. Considered and incorporated.

10.Thesis would/should be through diagrams and drawings. Considered and incorporated.

11.The existence of the visual metaphor processes are practiced but the processes which take in the consideration of the natures principles is not. Considered and the input helped the perspective to formulate visual and technical attributes of nature.

12.How will the processes of nature will be represented with reference to the interior. (example photosynthesis)

Considered and no action taken because of the direction towards biological processes which was the limitation of the research.

13.Functional system based on human can be a direction for the study. Not considered because it was the limitation of the research.

14.What of the nature and how will the method of the study is there? Take one aspect of nature and take it to the extreme end for refined conclusion. Considered and impacted the methodology of the research and the parallels to draw between nature and systems.

15.Restrict to one typology or thing of the nature. What type of nature is the study looking at ? Inanimate or animate?

Considered and the input helped in finalizing the one aspect (tree) of nature for the study, research initiated with the thought of growth thus taking the animate natural objects.

16.The study has selected the arrangement and organization process, take another or the new way or the thing to study the nature. Which methodology or part of nature: mathematics, science, processes, forms etc.? Considered and incorporated.

17.Thesis has many factors and domain is large and broad, should narrow it down to the precise aspects. Considered and rectified.

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Working title: Systems in space through Nature’s techniques, Phenomena of tree’s applications on the elemental systems in space Review 2, 7th February 2020 Panel: Kaulav Bhagat, Vishal Wadhwani and Amal Shah (Thesis Coordinator) 1.Have a subtitle for the main topic and thesis title. Considered and incorporated.

2.Change bulk word to volumetric word. Considered and rectified.

3.Keep in mind the method of looking at nature is different from a landscape architect than an architect.

Considered and incorporated in the process to differentiate and not look at nature in the philosophical and experiential point of view.

4.Limit and regulate of how nature and how will you take nature. You have to choose between the Biomimicry and Bionics and have clarity and be clear of the both terms. Considered and after working chose the Bionic method for the research.

5.ICD pavilion design process: Property behavior of one organism + organization of another organism + Structure of another organism clubs together to form one structure. Considered and followed.

6.Get better examples for the study and examples of the case study. Considered and incorporated.

7.What sort of tree is being studied? What do you want to study be very specific? Considered and incorporated.

8.How does the structural system becomes the part of interior space? Interior perspective? Interior point of view? Systems in relation to architecture but formulating interior systems?

Considered and made the study interior specific which was lost and became offtrack and became architecture specific.

9.Nature represents life! Structural systems becomes symbolic life of an interior space. Considered and finding the impact of the input in the interior space and practice.

10.What is greater intent to be taken the from nature? (Semiotics, Life , Force)

Along with the attributes how can the nature give more meaning to the interior space, system and practice.

11.What is the factor which needs to be studied? Hypothesis? formulate an argument.

What of the interior space and system which needs a solution or an input which only nature can provide.

12.Elemental systems? Make a list of all the elements. See interior through non-structural systems. Considered and rejected because of the research going offtrack and was rectified.

13.Structure doesn’t mean nature.

Considered and made the horizon of attributes of nature more than just structural attributes.

14.Why is there a limitation in the interior elements in the reference to nature.

Considered and when worked upon resulted into what aspects of interior systems has least impact of nature’s attributes.

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Thesis Title: Phenomena in Nature are Systems in Interior: A comparative analysis between assembly approach between Interior systems and phenomena of Tree Thesis VIVA VOCE, 26th May 2020 Panel: Jwalant Mahadewala (external), Ahmed Momin Abbas (internal) and Amal Shah (Thesis Coordinator) 1. What is the need of a tree in the Interior system and does it a process of need or want in the system by the designer/architect? Sometimes the want of doing or incorporating the process takes over the need of the system which results into not so efficient use of the materials by the renowned architects.

2. Research could be taken on the tangent where the study the external and internal biological processes and the resultant of that forms the form of the tree. Inculcating and directing the study towards the tangent of biological phenomena which leads to Biomimicry morphology for the incorporation in the process.

3. What was the objective of the architects in the incorporating the attributes of tree in the Interior system from the perspective of the space? What does the entire effort in the process of the system does to a space and what does it results into?

4. Larger goal of the system in the space by transforming the space lighter in the material dimensions, weight etc.

Critical point lacking in understanding the larger goal of the system in the space and through that what are the impacts on the tangible and intangible aspects of the system.

5. Consideration of the better examples in the study which has incorporated the knowledge of performance shown as incorporation. 6. The study could have focused on one aspect of one project rather than looking at all aspects and forming connection with tree’s attributes. 7. Hypothetical discussion of Reuben Margolin’s process and Tree’s process, the difference between them and the metaphorical connection between the two? A higher level discussion emerged between the two process where one is one impacts all and another is one related to all but does not impacts. This discussion and answers created a very different perspective towards looking a process of the system and the behavioral aspect.

8. Efficiency in the form of monetary value and efficiency in terms of function leading to a new notion of Efficiency is Ethics with respect to ergonomics which leads to humans functional needs though system. 9. Efficiency in tree is constant to retain the differentiation at every point. 10. Donot prove the case-studies in terms of that its happening or phenomena are present in the system and the critical point of view towards them was missing.

Romanticizing with the case-studies resulting diversion from the critical point of view towards the case-studies and critical observations.

11. Fabrication is Assembly and can be considered as an assembly process.

Discussion on whether fabrication can be said as assembly and what is the difference between higher and lower level assembly process/ construction.

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6.0_ Bibliography 6.1_ List of Figures and Image Credits

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O Oxman, R., & Oxman, R. (2010). The new structuralism: design, engineering and architectural technologies. Chichester: Wiley. P Pile, J. F., & Gura, J. (2018). A history of interior design. London: Laurence King Publishing. Pearce, P. (1990). Structure in nature is a strategy for design. Cambridge: MIT Press. Powell, K. (1999). Richard Rogers. London: Phaidon. PriyaHemenway. (2008). The secret code: The mysterious formula that rules art, nature, and science. Koln: Evergreen. R Rian, I. M., & Sassone, M. (2014). Tree-inspired dendriforms and fractal-like branching structures in architecture: A brief historical overview. Frontiers of Architectural Research, 3(3), 298–323. doi: 10.1016/j.foar.2014.03.006 Ramaswamy, S. (2007). Biomimicry: an analysis of contemporary biomimetic approaches. Ahmedabad, India: SID Research Cell, School of Interior Design, CEPT University. Reiser, J., & Umemoto, N. (2012). Atlas of novel tectonics. New York, NY: Princeton Architectural Press. S Shah, G. (2012). Interior Components and Systems. India: CEPT University Press. Steadman, P. (2008). The evolution of designs: biological analogy in architecture and the applied arts. London: Routledge. Staib, G., Dörrhöfer Andreas, & Rosenthal, M. (2008). Components and systems: modular construction: design, structure, new technologies. München: Detail. Stevens, P. S. (1977). Patterns in nature. Harmondsworth: Penguin Books. Smith, R. E. (2011). Prefab architecture: a guide for architects and construction professionals. Hoboken, NJ: John Wiley & Sons. Smith, R. E., & Quale, J. D. (2017). Offsite Architecture Constructing the future. London: Taylor and Francis. Schwartz, C. (2016). Introducing architectural tectonics - exploring the intersection of design. Taylor & Francis Ltd. T Tangaz, T. (2019). Interior design course: principles, practices, and techniques for the aspiring designer. Hauppauge, NY: B.E.S. Publishing. Thompson, D. A. W. (1968). On growth and form. Cambridge: Cambridge University Press. Taylor, M., & Preston, J. (2011). Intimus interior design theory reader. Chichester: John Wiley & Sons, Ltd. V Vegesack, A. von., dAyot, C. D., & Reichlin, B. (2005). Jean Prouve: the poetics of technical objects. Weil am Rhein: Vitra Design Museum. Vibæk Kasper Sánchez. (2016). Architectural system structures: integrating design complexity in industrialised construction. London: Routledge, Taylor & Francis Group.

Websites Mok, K. (2018, October 11). Airy chapel held up by tree-like fractal structure in Japan. Retrieved from https://www.treehugger. com/green-architecture/agri-chapel-yu-momoeda-architecture-office.html. (Accessed on February 22, 2020) Eldredge, B. (2018, January 4). Stunning Japanese chapel showcases tree-like fractal columns. Retrieved from https://www. curbed.com/2018/1/4/16848894/japan-chapel-architecture-fractal-yu-momoeda. (Accessed on February 26, 2020) Tapia, D. (2017, December 5). Agri Chapel / Yu Momoeda Architecture Office. Retrieved from https://www.archdaily. com/884875/agri-chapel-yu-momoeda-architecture-office?ad_medium=gallery. (Accessed on February 25, 2020) Sandigliano, T., & Sandigliano, T. (2018, July 6). AGRI-CHAPEL. Retrieved from https://wevux.com/agri-chapel-20050183. (Accessed on February 20, 2020)

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Public & Institutional. (2018, January 16). Fractal Chapel: Tree-Inspired Columns Branch Out to Open Up Interior Space. Retrieved from https://weburbanist.com/2018/01/21/fractal-chapel-tree-inspired-columns-branch-out-to-open-upinterior-space/. (Accessed on February 28, 2020) Agri Chapel. (n.d.). Retrieved from http://archcompetition.net/7411-agri-chapel/. (Accessed on February 25, 2020) Momoeda Yu Architecture Office, Yousuke Harigane · Agri Chapel. (n.d.). Retrieved from https://divisare.com/ projects/383603-momoeda-yu-architecture-office-yousuke-harigane-agri-chapel. (Accessed on February 18, 2020) King, V. (2012, January 16). GC Prostho Museum Research Center / Kengo Kuma & Associates. Retrieved from https://www. archdaily.com/199442/gc-prostho-museum-research-center-kengo-kuma-associates. (Accessed on April 8, 2020) Kuma: GC Prostho Museum Research Center: Floornature. (n.d.). Retrieved from https://www.floornature.com/ kuma-gc-prostho-museum-research-center-7766/. (Accessed on April 8, 2020) Prostho Museum Research Center Kengo Kuma & Associates. (n.d.). Retrieved from https://www.world-architects. com/en/kengo-kuma-and-associates-tokyo/project/prostho-museum-research-center. (Accessed on April 8, 2020) Sanchez, J. (n.d.). Prostho Museum - Thesis Prep 793a Wuyang Yang. Retrieved from https://issuu.com/josesanchez010/ docs/precedent_studies_final_wuyang_yang. (Accessed on April 8, 2020) Great Bamboo Wall House Kengo Kuma Beijing 2002: Floornature. (n.d.). Retrieved from https://www.floornature. com/great-bamboo-wall-house-kengo-kuma-beijing-2002-4718/. (Accessed on April 12, 2020) WHAT WE’RE READING: Kengo Kuma: Complete Works: Journal. (2013, April 10). Retrieved from https://www. themodernhouse.com/journal/what-were-reading-kengo-kuma-complete-works/. (Accessed on April 12, 2020) Mok, K. (2018, October 11). Airy chapel held up by tree-like fractal structure in Japan. Retrieved from https://www.treehugger. com/green-architecture/agri-chapel-yu-momoeda-architecture-office.html. (Accessed on March 15, 2020) Eldredge, B. (2018, January 4). Stunning Japanese chapel showcases tree-like fractal columns. Retrieved from https://www. curbed.com/2018/1/4/16848894/japan-chapel-architecture-fractal-yu-momoeda. (Accessed on March 15, 2020) Tapia, D. (2017, December 5). Agri Chapel / Yu Momoeda Architecture Office. Retrieved from https://www.archdaily. com/884875/agri-chapel-yu-momoeda-architecture-office?ad_medium=gallery. (Accessed on March 15, 2020) Sandigliano, T., & Sandigliano, T. (2018, July 6). AGRI-CHAPEL. Retrieved from https://wevux.com/agri-chapel-20050183. (Accessed on March 15, 2020) Public & Institutional. (2018, January 16). Fractal Chapel: Tree-Inspired Columns Branch Out to Open Up Interior Space. Retrieved from https://weburbanist.com/2018/01/21/fractal-chapel-tree-inspired-columns-branch-out-to-open-upinterior-space/. (Accessed on March 15, 2020) Agri Chapel. (n.d.). Retrieved from http://archcompetition.net/7411-agri-chapel/. (Accessed on March 15, 2020) Momoeda Yu Architecture Office, Yousuke Harigane · Agri Chapel. (n.d.). Retrieved from https://divisare.com/ projects/383603-momoeda-yu-architecture-office-yousuke-harigane-agri-chapel. (Accessed on March 15, 2020) ArchiloversCom. (n.d.). GC Prostho Museum Research Center: Kengo Kuma and associates. Retrieved from https://www. archilovers.com/projects/147717/gc-prostho-museum-research-center.html. (Accessed on April 5, 2020) King, V. (2012, January 16). GC Prostho Museum Research Center / Kengo Kuma & Associates. Retrieved from https://www. archdaily.com/199442/gc-prostho-museum-research-center-kengo-kuma-associates. (Accessed on April 5, 2020) Sanchez, J. (n.d.). Prostho Museum - Thesis Prep 793a Wuyang Yang. Retrieved from https://issuu.com/josesanchez010/ docs/precedent_studies_final_wuyang_yang. (Accessed on April 5, 2020) Caroli, D. (2011, January 1). Something to Sink Your Teeth Into: GC Prostho Research Center and Gallery in Kasugai, Japan. Retrieved from https://www.interiordesign.net/projects/9447-something-to-sink-your-teeth-into-gc-prosthoresearch-center-and-gallery-in-kasugai-japan/. (Accessed on October 18, 2019) Griffiths, A. (2019, July 10). Chidori Furniture by Kengo Kuma and Associates. Retrieved from https://www.dezeen. com/2011/11/07/chidori-furniture-by-kengo-kuma-and-associates/. (Accessed on October 28, 2019) Detailsinsection.org. (2014, July 20). Kengo Kuma & Associates – Exterior Wall with Thickness. Retrieved from http://www. detailsinsection.org/?p=221. (Accessed on October 12, 2019)

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Documentaries | Videos | Talks Piano, R. (n.d.). Retrieved April 12, 2020, from https://www.ted.com/talks/renzo_piano_the_genius_behind_some_ of_the_world_s_most_famous_buildings. (Accessed on March 25, 2019)

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6.1_ List of Figures and Image Credits Literature Review Literature review 1, Fig.0.C - Retrieved from https://kirdraws.wordpress.com/category/image-and-data-visualisation/

Chapter 1| Interior-Architecture practice and Nature through Assembly system Fig.1.A - Retrieved from https://archive.mandarinmansion.com/tigers-tail-patterned-composite-bow Fig.1.B - Retrieved from https://www.english-heritage.org.uk/visit/places/iron-bridge/history/ Fig.1.C - Retrieved from https://www.britannica.com/topic/Crystal-Palace-building-London Fig.1.1.A - Retrieved from British Patent Number 10399 by John Spencer dated November 23, 1844. Fig.1.1.B1 - Retrieved from https://www.nomads.org/tipi.html Fig.1.1.B2 - Retrieved from http://instanthouse.blogspot.com/2011/09/prefabs-before-industrialization.html Fig.1.1.B3 - Retrieved from http://instanthouse.blogspot.com/2011/09/prefabs-before-industrialization.html Fig.1.1.B4 - Retrieved from http://media.vam.ac.uk/collections/img/2006/AF/2006AF3825_2500.jpg Fig.1.1.B5 - Retrieved from https://ia600604.us.archive.org/BookReader/BookReaderImages.php?zip=/28/ items/E.F.Hodgson3/E.F.Hodgson%20%283%29_jp2.zip&file=E.F.Hodgson%20%283%29_jp2/E.F.Hodgson%20 %283%29_0011.jp2&scale=8.87843137254902&rotate=0 Fig.1.1.B6 - Retrieved from https://www.dezeen.com/2014/06/09/le-corbusiers-maison-dom-ino-realised-at-venicearchitecture-biennale/ Fig.1.1.B7 - Retrieved from Nierendorf 1923, page 169-170 Fig.1.1.B8 - Retrieved from https://www.youtube.com/watch?v=NuBPcZmUN-w Fig.1.1.B9 - Retrieved from https://www.archdaily.com/401528/ad-classics-the-dymaxion-house-buckminsterfuller/51f0501ee8e44e94e500013b-ad-classics-the-dymaxion-house-buckminster-fuller-image?next_project=no Fig.1.1.B10 - Retrieved from https://www.idesign.wiki/barcellona-pavilion-1929/ Fig. 1.1.B11 - Retrieved from https://retrorenovation.com/2013/06/18/dymaxion-house-buckminster-fuller/ Fig. 1.1.B12 - Retrieved from https://i.pinimg.com/originals/57/50/8b/57508be25a14b166cc4eeff4bf152275.jpg Fig. 1.1.B13 - Retrieved from http://www.aiacc.org/wp-content/uploads/2018/02/aC_02-3_Thurman-3-4.jpg Fig. 1.1.B14 - Retrieved from https://uk.phaidon.com/agenda/food/articles/2019/march/26/was-farnsworth-housea-little-too-perfect-for-its-owner/ Fig. 1.1.B15 - Retrieved from https://www.patrickseguin.com/en/designers/architect-jean-prouve/available-housesjean-prouve/metropole-aluminium-house-1949/ Fig. 1.1.B16 - Retrieved from https://www.archilovers.com/stories/26927/iconic-houses-the-eames-house.html Fig. 1.1.B17 - Retrieved from https://hyperallergic.com/437845/james-brittain-revisited-habitat-67/ Fig. 1.1.B18 - Retrieved from https://www.rsh-p.com/projects/zipup-house/ Fig. 1.1.B19 - Retrieved from https://japonismo.com/blog/nakagin-capsule-tower-demolicion Fig. 1.1.B20 - Retrieved from https://www.dezeen.com/2019/11/05/centre-pompidou-piano-rogers-high-techarchitecture/ Fig.1.1.B21 - Retrieved from http://www.hcla.co.uk/projects/type/the-yacht-house Fig.1.1.C - Retrieved from http://projectivecities.aaschool.ac.uk/wp-content/uploads/2013/11/2_TypologicalDisintegration-From-Architectural-Pavilion-Type-to-Pavilion-Scenario.jpg Fig.1.2.B - Retrieved from https://www.researchgate.net/publication/291351616_Nature-inspired_generation_ scheme_for_shell_structures Fig.1.2.C - Retrieved from https://www.icd.uni-stuttgart.de/projects/icditke-research-pavilion-2011/ Fig. 1.2.D - Retrieved from https://www.icd.uni-stuttgart.de/projects/icditke-research-pavilion-2015-16/ Fig. 1.2.E - Retrieved from https://www.icd.uni-stuttgart.de/projects/icditke-research-pavilion-2015-16/ Fig. 1.2.F - Retrieved from https://www.gettyimages.in/detail/illustration/human-shoulder-bone-artwork-royaltyfree-illustration/499160543 Fig. 1.2.G - Retrieved from https://www.som.com/projects/poly_corporation_headquarters__structural_engineering Fig. 1.3.A - Retrieved from https://thegraphicsfairy.com/wp-content/uploads/2015/11/Ornate-Corinthian-ColumnImage-GraphicsFairy.jpg Fig. 1.3.B - Retrieved from http://mikestravelguide.com/things-to-do-in-barcelona-visit-the-museum-of-la-sagradafamilia-basilica/model-basilica-interior-la-sagrada-familia-museum/ Fig. 1.3.C - Retrieved from Sugranes, 1923

Chapter 2 | Assembly System in Interior-Architecture practice and Tree (Nature) Fig. 2.A - Retrieved from https://www.fondazionerenzopiano.org/it/project/centre-georges-pompidou/#sectionmodels-93 Fig. 2.1.A - Retrieved from https://www.museumoflondonprints.com/image/60996/polished-flint-axe-headneolithic

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Fig. 2.1.B - Retrieved from https://dummidumbwit.wordpress.com/2010/03/12/druids/ Fig. 2.1.C - Retrieved from https://in.pinterest.com/pin/9781324162301359/ Fig. 2.1.D - Retrieved from https://upload.wikimedia.org/wikipedia/commons/6/6c/Pre_fabricated_house_shipped_ via_boxcar.jpg Fig. 2.2.2.A,C,D - Retrieved from https://ars.els-cdn.com/content/image/1-s2.0-S2095263514000363-gr19.jpg Fig. 2.2.3.A - Retrieved from https://buffaloah.com/a/archsty/egypt/columns/col.html Fig. 2.2.3.B - Retrieved from https://commons.wikimedia.org/wiki/File:Peterborough_Cathedral_fan_vaulting.jpg Fig. 2.2.3.C - Retrieved from http://aarbmagazine.com/the-most-beautiful-metro-stations-in-the-world/ Fig. 2.2.3.D - Retrieved from https://www.penccil.com/gallery.php?p=448853478151 Fig. 2.2.3.E - Retrieved from https://ars.els-cdn.com/content/image/1-s2.0-S2095263514000363-gr19.jpg Fig. 2.2.3.F - Retrieved from https://www.researchgate.net/publication/264972592_Tree-inspired_dendriforms_ and_fractal-like_branching_structures_in_architecture_A_brief_historical_overview/figures?lo=1&utm_ source=google&utm_medium=organic Fig. 2.3.1.A - Retrieved from http://alansmeccano.org/models/Meccanoparts.html Fig. 2.3.1.B - Retrieved from https://en.wikipedia.org/wiki/Kit_house#/media/File:1920_Harris_Homes_plan_M1022. jpg Fig. 2.3.2.A - Retrieved from https://www.architectmagazine.com/technology/detail/detail-the-miles-stairssomerset-house_o Fig. 2.3.2.B - Retrieved from https://www.flickr.com/photos/seier/31986928545/in/photostream/lightbox/ Fig. 2.3.2.C - Retrieved from http://mellowmerriment.blogspot.com/2012/07/comic.html https://www.flickr.com/photos/emiliotrevisiol/8317890170/in/photostream/ Fig. 2.3.3.A - Retrieved from https://www.fondazionerenzopiano.org/it/project/spazio-musicale-per-lopera-primaprometeo/ Fig. 2.3.3.B - Retrieved from https://www.fondazionerenzopiano.org/it/project/ibm-padiglione-itinerante/ Fig. 2.3.3.C - Retrieved from https://www.fondazionerenzopiano.org/it/project/evolutive-housing-il-rigo-quartercorciano/ Fig. 2.4.1.C - Retrieved from https://www.researchgate.net/publication/257350580_Heterochronic_genes_in_ plant_evolution_and_development/figures?lo=1 Fig. 2.4.1.D - Retrieved from https://www.boredpanda.com/twisted-trees-slope-point-new-zealand/?utm_ source=google&utm_medium=organic&utm_campaign=organic Fig. 2.4.1.E - Retrieved from https://mymodernmet.com/crown-shyness-trees-phenomenon/ Fig. 2.4.2.A - Retrieved from Fractal Geometry of Architecture: Implementation of the Box-Counting Method in a CAD-Software Fig. 2.4.2.B - Retrieved from https://www.archdaily.com/43090/the-tote-serie-architects Fig. 2.4.2.I - Retrieved from https://www.sika.com/en/reference-projects/grand-egyptian-museum-giza.html Fig. 2.4.2.K - Retrieved from https://www.emis.de/journals/NNJ/conferences/N1998-Eaton.html Fig. 2.4.2.M - Retrieved from https://quadralectics.files.wordpress.com/2013/10/582.jpg Fig. 2.4.2.O - Retrieved from https://archeyes.com/sabarmati-ashram-museum-gandhi-residence-charles-correa/ Fig. 2.4.2.Q - Retrieved from https://suppose.jp/en/works/nature-factory/

Chapter 3 | Implication of the Theory Fig. 3.1.A - Retrieved from https://www.archdaily.com/884875/agri-chapel-yu-momoeda-architectureoffice/5a261b96b22e38ced100007d-agri-chapel-yu-momoeda-architecture-office-photo Fig. 3.1.B - Retrieved from https://www.iconeye.com/architecture/news/item/4525-gc-prostho-museum-researchcentre-by-kengo-kuma Fig. 3.1.1.C - Retrieved from https://www.hariphoto.net/agri-chapel Fig. 3.1.1.E,F - Retrieved from https://www.hariphoto.net/agri-chapel Fig. 3.1.1.G - Retrieved from https://www.reddit.com/r/architecture/comments/9fufl4/misc_my_undergrad_model_ of_the_agri_chapel/ Fig. 3.1.1.1.A - Redrawn by the author from https://divisare.com/projects/383603-momoeda-yu-architecture-officeyousuke-harigane-agri-chapel Fig. 3.1.1.1.G2,G3 - Retrieved from http://archcompetition.net/7411-agri-chapel/ Fig. 3.1.1.3.D - Redrawn by the author from https://divisare.com/projects/383603-momoeda-yu-architecture-officeyousuke-harigane-agri-chapel Fig.3.1.1.4.A,E - Retrieved from https://divisare.com/projects/383603-momoeda-yu-architecture-office-yousukeharigane-agri-chapel Fig. 3.1.1.4.B,D,G - Redrawn by the author from https://divisare.com/projects/383603-momoeda-yu-architectureoffice-yousuke-harigane-agri-chapel Fig. 3.1.2.A,B,C - Retrieved from https://www.floornature.com/kuma-gc-prostho-museum-research-center-7766/ Fig. 3.1.2.3.B - Retrieved from https://issuu.com/josesanchez010/docs/precedent_studies_final_wuyang_yang

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Fig. 3.1.2.3.E1 - Retrieved from https://resilientwood.tumblr.com/post/131736401107/gc-prostho-center Fig. 3.1.2.3.H - Retrieved from https://www.designboom.com/design/kengo-kuma-furniture-that-blends-into-thesurroundings-time-style-amsterdam-06-13-2019/ Fig.3.1.2.4.E - Retrieved from https://www.youtube.com/ watch?v=39Pmz2v8s8g&list=UUdsZ7cjB6urAQxRhySmiURQ&index=84&t=0s Fig.3.1.2.4.F - Redrawn and retrieved from https://au-magazine.com/shop/japan-architect/ja-109/

Chapter 4 | Outcome of the Study Fig. 4.1.B1 - Retrieved from https://in.pinterest.com/pin/193232640249103035/ Fig. 4.1.C1 - Retrieved from https://www.themodernhouse.com/journal/what-were-reading-kengo-kumacomplete-works/ Fig. 4.1.D1 - Retrieved from https://www.archdaily.com/199790/yusuhara-marche-kengo-kuma-associates/5004e3 9d28ba0d4e8d000be2-yusuhara-marche-kengo-kuma-associates-photo?next_project=no Fig.4.2.2.C - Redrawn and retrieved from https://au-magazine.com/shop/japan-architect/ja-109/ Fig.4.3.A - Retrieved from http://www.ideafactor.net/project/tensegrity-tree Fig.4.3.B - Retrieved from https://www.dezeen.com/2009/11/13/memorial-for-tree-of-knowledge-bym3architecture/

Extra All Figures except above mentioned are by the author (Shail Sheth). Cover page concept and inspiration - Conceptualized from https://www.canva.com/learn/how-to-recreate-amagazine-layout-from-scratch/ Back cover image - Retrieved from https://www.pngwave.com/png-clip-art-ncblt/download

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Synopsis: Research focuses on the tangent where architecture is formulated as a nested system, and that nested system is formulated through many sub-systems which are systems in their whole. One of the subsystems is Interior system, the study formulates a triad keeping Interior system in centre and Technical Design, Context and Region as the constituents. To establish balance between the three constituents emerges a need. To answer the need, the study focuses on the Technical Design of Interior system though Assembly approach. To establish the balance between the three constituents of the Interior system triad, a model needs to incorporate in the process. The study looks at Tree in Nature and its technical capabilities (phenomena) as the model. In the technical design of Interior system, the Constituents of assembly are categorized in Character and Space Planning aspects. Similarly, to establish a common ground between the two entities, technical capabilities of the Tree as formulated as constituents which are categorized as Opacity and Porosity aspects. From the three basic units of construction which are Form, Structure and Material. When the three basic units are placed in the order of Interior system practice and Tree (nature) results in FormStructure-Material and Material-Structure-Form respectively. Using this as a base when constituents of assembly are placed in order results into for Interior System, ‘Strategy of Assembly applied on Unit/ Elements using theories of Montage theory and Layering considering and keeping in mind Tolerances, Clearances and Clash detections as well as by using Junctions and Details to achieve Aesthetics and Functions with the Resources.’ And for Tree,’ Resources used to formulate Units and Elements through Growth principles, Strategies of Efficiencies and using Stratification with the effects of External forces which impacts the Accessible connections, Clash detections and Fragmentation points to achieve the Resultant form and Outcome.’ The order results into under use the capability of the material and overuse the quantity of the material which impacts the tangible and intangible aspects of the system. To analyze the case-study the four aspects of the system from the two different entities, are formulated in a matrix for the intersections between them. The observations from the case-studies are evaluated in two categories, Character and Space Planning of the system. Character is termed as ‘The tangible attributes of the system, physical components of the system which are arranged in order and the resultant of it forms/formulates the space.’ Similarly, Space Planning is termed as ‘The intangible attributes of the system, principles of the system which impacts the physical components for the dedicated/pre-decided formulation and function of the space.’ Thus, concluding the study through directing the incorporation of the inference into the system, the conclusion is spread out into three broader aspect through which all the components can be impacted. 1. De-Materialization: The substance of the process, Bringing the material-form to the minimum by reduction/ fragmentation/ division of the material. During the process of De-Materialization the material is brought to the minimum, this creates or results into certain degree of self-similarity between the elements which leads to Standardization. 2. Principles: The rules of the process, the rules-orders impacting elements of an entity. The elements of an entity are impacted with respect to organization and composition results into configuration of the tangible elements of the entity. 3. Practice: The method of the process, Bringing the fragmentation of the elements and the principles of the elements of an entity together, to form a process/ method. Terminating the study by considering the impact of the aspects of the conclusion on the Space Planning of the system. The Space module consist of the components of the intangible aspects of the system. The resultant outcome of the inculcation impacts the System module, because of the interdependency and inter-relationships. The impacts are in the form of Performance, Integration and Efficiency. Nature taken as a model, creating an external knowledge through its technical attributes impacts the entire design process of the system. This research looks at one entity, tree out of 5 animate organizations of nature. All five have been evolved for specific cause and needs which can be extracted in the form of knowledge, creating an holistic model by bringing all the five entity’s technical attributes together for the design process of assembly system in Interior-Architecture practice. //

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Shail Sheth | Contact no. 7817062969 Spring semester, 2019-20 Faculty of Design, CEPT University