Elements of Form and Space : Studio Book

Elements of Form and Space

This is an academic publication, outlining the details of the Elements of Form and Space Studio conducted in two semesters for the Bachelor of Design Program in the academic year of 2020 - 2021.

Design: Shikha Mehta

Content: Gaurang Shah, Amal Shah, Shikha Mehta

All rights reserved. No part of this book may be reprinted or reproduced in any form, including photocopy and recording without the permission in writing granted from the publishers.

Copyright © 2020 Faculty of Design, CEPT University. All Rights Reserved.

Elements of Form and Space

Studio Booklet Academic Year 2020 - 2021

Tutors: Gaurang Shah and Amal Shah

Teaching Associate : Shikha Mehta

Program: Bachelors in Design | L2 Studio Unit

Typology: Visualizing and Communicating

About the studio

Studio

Exercises

Gestalt Laws of Perception Infographics

2D Radii Manipulation 3D Radii Manipulation

EndForms Generation

De-construction of Space

Final Design Project 1 (Spring 2020)

Exercises - Ergonomic & Posture Study, CFM Case-study

Site Study, Conclusions & Vision Board

Concept Development and Evolution

Developed Products and their Process

Final Design Project 2 (Monsoon 2020)

Exercises - Research and Extraction of Inferences

CMF Considerations

Concept Development and Evolution

Developed Products and their Process

About the Studio

Studio Brief

A form is an image presented by the outer surfaces of an object or a structure. Form changes noise into music, simple marks into alphabets and writing and coloured brush strokes into painting. For designers form gives shape and structure to the raw materials of the world shaped by data, information, intelligence, creativity and imagination.

Form is much more than the appearance or aesthetic properties of an object created by its outer surface. Form depends on the users viewpoint and the environment in which it is located; it is the expression of a product’s practicality, usability, and desirability and may convey social and cultural meaning or what John Dewey calls its intellectual, practical, and emotional characteristics. It is all aspects of an objects character, including the values and culture to which it belongs. The totality of sensory experience and perception of every object is, in some way, conveyed by its form.

The Elements of Form and Space Studio refines and sharpens the students’ perceptual and aesthetic sensibility to all aspects of form making including: geometric relationships; form integration; form manipulation and form transitions explored through sketching, drawing and physical and virtual modelling. Students gain the skills to understand and apply basic principles of form generation and to articulate their form ideas visually and verbally.

Studio Outline

This booklet is an outcome for the Level 2 studio conducted during the Acdemic Year 2020 - 2021, in the Bachelor of Design program at Faculty of Design, CEPT University.

The studio follows stages of design process, from understanding Gestalt Laws, form manipulation to achieving solutions for product designing. During each stage, students are given exercises that guides development of their design. In the final design assignment, the students understand form and space in terms of a product in the built environment, the relation with its context and users, and the merge of form, functionality, and context in the design process.

Spring 2020 Participants

Gaurang Shah Amal Shah Shreya Nanavaty

Aashman Amin

Brinda Jasoliya

Khushi Jain

Apoorv Magdum

Arushi Garg

Neha Gandhi

Aryan Kapoor

Jayashre Bangarusam

Het Desai

Rashmila K

Aakash Mali

Kathan Chauhan

Stuti Gandhi

Students

Participants

Monsoon 2020

Gaurang Shah Amal Shah Shikha Mehta

Ansh Ajmera

Harshavi Patel

Maitreya Pathak

Archi Shah

Isha Shah

Margi Sutariya

Bansari Shah

Kinshuk Adeshra

Suhani Nathan

Diya Chhaniyara

Kushani Mehta

Vaishnavi Borkar

Students

Design Exercises

Gestalt Laws of Perception Infographics 1.

Objective

The exercise involves development of individual representation for the Gestalt Laws of Perception (Law of Similarity, Proximity, Figure and Ground, Closure, Unified Connectedness, Symmetry, etc) through infographics depicting the student’s understanding and interpretation.

The process begins by taking examples from student’s surroundings to interpret where and how the Gestalt’s Laws of perception are seen, followed by research and examples from logos, movies, visuals, etc. The students then produce infographics for each Law as per their understanding and interpretation of it.

Learning Outcomes

• Understanding of Laws which govern human perception

• Ability to look at forms and spaces through a lens of visual laws and evolve a manner of perception.

• A subsequent application and integration of visual Laws on form manipulation in a logical, yet creative manner.

• To be able to extract an individual method of perception of form.

• Verbal and visual communication skills Output

• An exploration of real-life examples of where the laws can be seen are represented through a presentation.

• An extracted understanding and interpretation of forms depicted through developed infographics which concludes in an overall understanding of the laws of perception.

GESTALT LAWS OF VISUAL PERCEPTION

GESTALT LAWS OF VISUAL PERCEPTION

Gestalt is a german word for ‘form’. Within the larger Gestalt Psychology come the Principles of Grouping called Pragananz. Pragnanz or The Law of Simplicity states that we perceive visuals in its simplest form, removing all complexities and unfamiliarities when we subconsciously group a set of objects based on certain laws as shown here.

Gestalt is a german word for ‘form’. Within the larger Gestalt Psychology come the Principles of Grouping called Pragananz. Pragnanz or The Law of Simplicity states that we perceive visuals in its simplest form, removing all complexities and unfamiliarities when we subconsciously group a set of objects based on certain laws as shown here.

Gestalt principles have been used subconsciously used since the beginning of time, as we can see in some of the oldest dated examples, before they were even officially formulated. This reinstates that these laws are truly an innate part of being human.

Fig 1.1 Bansari Shah Gestalt Infographics

Gestalt principles have been used subconsciously used since the beginning of time, as we can see in some of the oldest dated examples, before they were even officially formulated. This reinstates that these laws are truly an innate part of being human.

CEPT University Faculty of Design

CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Elements of Form and Space Studio BD 2004

Gestalt Principles Infographics

Gestalt Principles Infographics

Bansarin Shah UG180103

Bansarin Shah UG180103

Fig 1.2

GESTALT PRINCIPLES are in the mind, not the eye.

Fig 1.2 Suhani Nathan Gestalt Infographics

Fig 1.3 Kinshuk Adeshra Gestalt Infographics

Proximity

The principle of proximity states that things that are close together appear to be more related than things that are spaced farther apart.

Symmetry

Proximity

Proximity

Closure

Proximity

The principle of proximity states that things that are close together appear to be more related than things that are spaced farther apart.

The principle of proximity states that things that are close together appear to be more related than things that are spaced farther apart.

The principle of closure states that when we look at a complex arrangement of visual elements, we tend to look for a single, recognizable pattern.

The principle of proximity states that things that are close together appear to be more related than things that are spaced farther apart.

Closure

The principle of closure states that when we look at a complex arrangement of visual elements, we tend to look for a single, recognizable pattern.

Closure

Closure

Closure

Symmetry

Continuity

Symmetry

The principle of closure states that when we look at a complex arrangement of visual elements, we tend to look for a single, recognizable pattern.

The principle of closure states that when we look at a complex arrangement of visual elements, we tend to look for a single, recognizable pattern.

The principle of closure states that when we look at a complex arrangement of visual elements, we tend to look for a single, recognizable pattern.

This law comprises the fact that we prefer symmetric appearances over asymmetric ones. Symmetric objects or arrangements are associated with positive aspects such as stability, consistency and structure .

This law comprises the fact that we prefer symmetric appearances over asymmetric ones. Symmetric objects or arrangements are associated with positive aspects such as stability, consistency and structure .

The principle of continuity states that elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

This law comprises the fact that we prefer symmetric appearances over asymmetric ones. Symmetric objects or arrangements are associated with positive aspects such as stability, consistency and structure .

Continuity

The principle of continuity states that elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

Continuity

Figure and Ground

Continuity

The principle of continuity states that elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

Continuity

The principle of continuity states that elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

The principle of continuity states that elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

According to this principle, we tend to segment our visual world into figure and ground. Figure is the object or person that is the focus of the visual field, while the ground is the background.

“Its not the eyes, that makes the visualization of the external world possible, but its the perception out of the awareness field. Your eyes are the same, but you view two things differently.”

Figure and Ground

According to this principle, we tend to segment our visual world into figure and ground. Figure is the object or person that is the focus of the visual field, while the ground is the background.

“Its not the eyes, that makes the visualization of the external world possible, but its the perception out of the awareness field. Your eyes are the same, but you view two things differently.”

Figure and Ground

Figure and Ground

Figure and Ground

According to this principle, we tend to segment our visual world into figure and ground. Figure is the object or person that is the focus of the visual field, while the ground is the background.

According to this principle, we tend to segment our visual world into figure and ground. Figure is the object or person that is the focus of the visual field, while the ground is the background.

According to this principle, we tend to segment our visual world into figure and ground. Figure is the object or person that is the focus of the visual field, while the ground is the background.

CEPT University Elements of Form and Space Studio BD 2004 Faculty of Design

Kinshuk Adeshra UG180307

CEPT University Elements of Form and Space Studio BD 2004 Gestalt Principles Infographics Faculty of Design

Kinshuk Adeshra UG180307

Architectural examples are observed over here.

Note:

COMMON REGION

When objects are located within the same closed region, with visible barriers, we perceive them as being grouped together.

Daily life examples are observed for this principle.

CLOSURE

When one sees an image that has missing parts, the brain will fill in the blanks and make a complete image so that one can still recognise the pattern.

Examples of tessalation patterns are observed.

Note: In all the three examples proximity is also observed alongwith closure.

SIMILARITY

When things appear to be similar through a variety of design elements like color and organization, to each other, we tend to group them together.

Here the examples of tessalation patterns are observed.

Note: In the second example, the law of figure ground is also observed.

FIGURE GROUND

People instinctively perceive objects as either being in the foreground or the background. They either standout prominently inthe front or recede back into the back. It is perceived that generally smaller objects seen first and then, the larger objects.

Isolated figures against background are put as examples.

CONTINUITY

Elements that are arranged on a line or curve are perceived to be more related than elements not on the line or curve.

Examples of graphics showing linearity are taken into consideration over here.

F I G. G R O

Re l at i o n bet we en t h e ob j ect a n d i t s s ur r o un din g F o r eg r o u nd - B ac k g r o un d

i r e c ti o n H e lps d i r e c t t he e y e

flexibility. manipulate.

5 Step Radii Manipulation

Here we saw how to incorporate radii manipulation and how it changes the character of the form in just 5 steps where we see a rapid transition between two forms.

5 Step Radii Manipulation

Here we saw how to incorporate radii manipulation and how it changes the character of the form in just 5 steps where we see a rapid transition between two forms.

Radii Manipulation

Here we understanding done.

21 Step Final Form Manipulation

We had to finalize a particular form and then manipulate the form in 21 steps to observe how the form slowly evolves into the final form.

21 Step Final Form Manipulation

We had to finalize a particular form and then manipulate the form in 21 steps to observe how the form slowly evolves into the final form.

Inspiration and Concept Statement

3D Models Based using

3D Models Based using

Inspiration and Concept Statement

After finalizing the form, it had an aggressive feel to it, with a sense of direction to it. For me, it felt like the forked tongue of a snake thus tried expressing the form that brings out that.

After finalizing the form, it had an aggressive feel to it, with a sense of direction to it. For me, it felt like the forked tongue of a snake thus tried expressing the form that brings out that. This form as the

This form as the

Radii Manipulation Here we understanding done.

Maitreya Pathak 2D Radii Manipulation Stages of Transition

2D Radii Manipulation 2.

Objective

The exercise begins with exploring origins of form by bridging necessary straight-line order to a basic curvilinear order. The development of motherforms is based on divisions and subdivisions of a square. The task is to recognize the changing attributes, characteristics and visual properties of the form, and the forms are individually developed as transitional forms through multiple stages. Generation of forms from the grid is followed by Integration of the forms by applying the technique of Radii Manipulation on the generated forms, and, analysing the attributes of the forms.

One or more attributes are developed and transformed into a 3 dimensional model through multiple stages of operation, that creates visual order through arrangement of forms.

Learning Outcomes

• An insightful understanding of the bridge between basic straight line order and basic curvilinear order.

• Learning and application of factors governing human perception.

• An understanding of the basic frames of reference in visual perception.

• Visual communication skills

Output Mediums

• Sketches on A4/A3 papers, shading with India Ink

• Process models in paper, thermocol/foam, boards. Final Models in Acrylic (coloured or translucent), MDF.

Output

• Generating forms with different attributes by exploring varying radii at varying corners through sketches.

• Translation of selected forms in 5 evolving steps.

• Translation of selected forms in 21 evolving steps.

• Creating digital and physical models of 21 step translation from Motherform to Endform.

Generation of MotherForms

Exploration of forms from a 6 by 6 grid with a consideration of what emotions the forms evoke

Fig 2.1 Brinda Jasoliya Library of Motherforms from a 6 by 6 grid

Fig 2.2 Fig 2.3

Application of 2D Radii Manipulation

Explorations by applying radii at corners of selected forms to change the attributes of the manipulated ‘end’ form from the original motherform: (1) Radii at 2-3 corners of the form (2) Radii at all corners (3) Changing degree of radii

Fig 2.2 - Fig 2.4 Bansari Shah Manipulated forms from one motherform

Fig 2.5

Fig 2.6

Fig 2.5 - Fig 2.7 Aryan Kapoor Explorations of Radii Manipulation to the Motherform

Fig. 2.8

2D Radii Manipulation in 5 steps

Achieving the endform from the motherform in 5 steps of radii transformation, such that, the middle step is at a neutral characteristic, with the identity of both the motherform and the endform while the remaining two steps are in transition.

Fig 2.8 Bansari Shah, Fig 2.9 Aryan Kapoor 5 step translation to different endforms

Fig 2.10

2D Radii Manipulation in 21 steps

Achieving the endform from the motherform in 21 gradual steps of radii manipulation as a smooth translation

Fig 2.10, Fig 2.11 Suhani Nathan 21 step radii manipulation of selected endforms

Sharp, rigid, dense, hard, pointy, & fixed. Soft, playful, fluid, light, movement, directional.

Fig 2.12

The transition from the mother form to the final form changes the character of the from in a way that it goes from a rigid, sharp form with straight lines and angles to a soft, fluid form.

The fluidity of the final form gives a sense of abundance of space, whereas the mother form looks compact.

The transition is done by both addition and subtraction.

Understanding configuration and attributes of Endform

Analyzing the changing attributes of the form, associating them with a concept from nature, and applying the concept to a visual arrangements of forms that are in transition.

Fig 2.12 Suhani Nathan Analysis of Motherform and Endform

TWENTY- ONE STEPS MANIPULATION

TWENTY- ONE STEPS MANIPULATION

FORMS INSPIRATION OF THE MODEL

FINAL FORMS INSPIRATION OF THE MODEL

Directional Unstable Organic Ebullient

INSPIRATION OF THE MODEL

The final model is inspired from the movement of Water The arrangement of forms is done in such a way resembles a half wave through side elevation.

INSPIRATION OF THE MODEL

The final model is inspired from the movement of The arrangement of forms is done in such a way resembles a half wave through side elevation.

The mother form looks very directional and unstable while the transformed form gives a sense of fluidity in itself. The final model was made keeping in mind the organic traits of the final form.

The final model is inspired from the movement of Water Waves in nature. The arrangement of forms is done in such a way that the end result resembles a half wave through side elevation.

The final model is inspired from the movement of Water Waves in nature. The arrangement of forms is done in such a way that the end result resembles a half wave through side elevation.

The mother form looks very directional and unstable while the transformed form gives a sense of fluidity in itself. The final model was made keeping in mind the organic traits of the final form.

PROCESS MODEL

Process Models of the shortlisted forms were made mediums.

PROCESS MODEL

The final model is inspired from the movement of Water Waves in nature. The arrangement of forms is done in such a way that the end result resembles a half wave through side elevation.

Process Models of the shortlisted forms were mediums.

TARANG | A MODEL INSPIRED BY THE MOVEMENT OF WATER WAVES

PROCESS MODEL

PROCESS MODEL

Process Models of the shortlisted forms were made using different mediums.

Process Models of the shortlisted forms were made using different mediums.

in mind the organic traits of the final form.

TARANG | A MODEL INSPIRED BY THE MOVEMENT OF WATER WAVES

Fig 2.15

Model Exploration 2

Fig 2.16

Translation Models

The 21 step translation from motherform to endform is explored in varying axes according to the attributes of the endform. The ideas are explored by being inspired from concepts and objects found in nature through digital and/or physical models. One exploration has been selected for a final physical model.

Kinshuk Adeshra - UG180307 Elements of Form and Space

CEPT University Faculty of Design

Kinshuk

CEPT University Faculty of Design

Kinshuk

CEPT University Faculty of Design

CEPT

Selected Form

Selected Mother-Form Directional

Rigid

Asymmetrical

Directional

Process Models

Final Model

Problem Statementshow the transition of a 2-Dimensional form with its attributes with help of the 3-Dimensional model.

Concept Statement-

attributes of the final form are Directional, Sharp and Fluid, thus keeping the attributes in mind, inspiration from a wave was taken as it similar attributes in its form. curve in which the transition follows, depicts the Directionality and Movement of a wave. The base is also derived from the attributes of the final form.

Fig 2.19 Kinshuk Adeshra Considering the attributes of the final form (Directional, Sharp and Fluid), a wave was taken as inspiration as its form has similar attributes. The curve of the transition depicts the Directionality and Movement of a wave.

Fluid

Sharp

Final Form

Radii Manipulation Being Applied on the Selected Form

Explorations for the 2D Transition Models for Different Forms Suiting their Transitional Attributes.

Radii Manipulation (21 Steps) on the Selected Form

Fig 2.20 Suhani Nathan The form is inspired by the shell of an aquatic animal called Nautilus. The flow in the 21 pieces of the model resembles the chambers present in a nautilus shell.

GESTALT LAW, The studio started with learning the gestalt law in various contexts, I was given apparella and fashion, so various laws can be seen in the clothes and accessories, through which we could understand the the main laws like similarity, proximity, focal point, symmetry, figure and ground and so on. In this particular model the gestal law of figure and ground, and focal points were employed.

The basic motherforms were manipulated at their edges, the radii of some of the selected forms were explored, and so each edge with a difference in curvature gave a different attribute from the motherform. The next step was to stretch the metamorphosis into 21 steps. The mother form selectected from the various execution was given the attribute, RIGID, BOLD ,AGGRESSIVE ,AND SPIKY and after 21 transformations it held the attributes Elegant, Playful, Timid, Fragile, and Delicate.

the final model’s idea was derived from its attributes which it shares with the leaf of the coconut tree, harmony, fragile and balance were the attributes the form and the model showcase.

MOTHERFORMS

The exercise began with exploring origins of form by bridging basic straight line order to a basic curvilinear order. The development of mother forms was based on divisions and subdivisions of a square. To recognise the changing attributes, characteristics and visual properties of the form, forms were individually developed as transitional forms through multiple stages.

After multiple explorations with Radii manipulation, we identify and developed one or more attributes. The chosen attributes were then transformed into a 3rd-dimensional model.

AGGREGANT

The

THE TRANSACTION AND RADII MANIPULATION - 2D

After several exploration with radii manipulation, we identified few form which futher explored by different manipulation stages. At last on the bases of the characteristics and attributes one form was selected which transformation into 3 dimensional model.

Exploration of forms.

Five step manipulation of forms. Twenty one step manipulation of forms.

FORM 4

Process model.

3D Radii Manipulation 3.

Objective

The exercise begins by exploring origins of form by bridging necessary straightline order to a basic curvilinear order. The development of mother forms is based on the divisions and sub-divisions of a cube. To recognize the changing attributes, characteristics and visual properties of the form, forms are individually developed as transitional forms through multiple stages. The forms have been rendered in an attempt to understand and perceive the forms and surfaces through light and shadows. The exercise aims to be a learning towards evolution and manipulation of 3D forms to create “good” consolidation among its planes using curvature as a tool towards integration of Form. The forms are digitally rendered, incorporating light and shadows to accentuate the forms. The attributes of the form transitions have been studied.

Learning Outcomes

• Understanding of various attributes pertaining to 3D form relationships.

• An understanding of the basic frames of reference in visual perception.

• Learning to evolve and manipulate 3D forms to create “good” consolidation among its planes using curvature as a tool towards integration of Form.

• Development of visual communication skills.

• Digital rendering with idea of light and shadow in an attempt to ‘celebrate’ form.

Output Mediums

• Sketches on A4/A3 papers

• Models in High-density polystyrene foam/ thermocol/ Siporex blocks using tools and machines to shape the blocks.

Output

• Generating forms with different attributes by exploring varying radii at varying corners through sketches.

• Digital/ Physical models of 3D forms.

• Renderings of manipulated endforms with light and shadow.

• Final Infographics Panel of the entire process.

Fig 3.1 Margi Sutariya Library of 3D Motherforms

Fig 3.2 Fig 3.3

Application of 3D Radii Manipulation

Manipulating different corners of selected motherforms to curvatures and exploring changing attributes of the generated endforms.

Fig 3.2 - Fig 3.5 Kinshuk Adeshra Explorations of endforms from motherforms

Fig 3.4

Fig 3.5

Form

Form

Form

Form

Fig 3.8 Bansari Shah Rendered 3D End Models

Fig 3.10 Physical Model Making Process

Fig 3.10 Aashman Amin Model-making process

Fig 3.11 Model-making process in CEPT Workshop

Fig 3.12 Ansh Ajmera & Kushani Mehta Model-making process from self-made wirecutter to the finished models.

Fig 3.13 Jayashre Bangarusamy Thermocol Models

Fig 3.14 Ansh Ajmera Thermocol Models

Development of Mother-Forms

Fig 4.1 Maitreya Pathak Rendered Endform

Endforms 3.

Objective

The exercise explores geometric end forms and transition through surfaces. Two and three endform transitions are explored in the process. The process explores the inter-relationship between the end-forms and aims to create optimal surfaces in the quest to create a ‘good’ form. The forms have been represented through physical and virtual modelling and rendering with an idea to understand, perceive, articulate, and, celebrate the form.

Learning Outcomes

• Understanding and generation of interrelationships between two or more end forms in space

• An understanding of the basic frames of reference in visual perception

• Learning to create “optimal” surfaces in the quest to achieve “good form.”

• To learn and understand relationships between forms and to use it as a tool to create order and relationships among forms in abstraction.

Output Mediums

• Sketches on A3 paper

• Digital Modelling on Rhinoceros software/ Thermocol/ High density polystyrene foam and necessary tools for physical model making

• Digital graphic compostion for rendered endforms Output

• Generating sketched forms with different attributes by exploring end forms and their transitions

• Digital models of 3D forms

• Renderings of endforms with light and shadow to articulate the form.

• Graphic Poster of rendered end-forms

Fig 4.2 Ansh Ajmera Explorations of Forms from two End-forms

Fig 4.3 Diya Chhaniyara Explorations of forms from two End-forms

Fig 4.4 Diya Chhaniyara Exploration of forms from three end-forms

Fig 4.5 Margi Sutariya Exploration of forms from three end-forms with cross-sections

END FORMS

The exercise begins with exploration of forms with two or three different types end forms. where the end forms are fixed and the transition between them were explored with smooth free flowing curves. The different types of treatment given to the forms creats different interesting forms; also we celebrated the forms and curves.

This exercise was really helpfull to visualize the forms and there proposition, with different ways one could build. The digital 3D model were explored that help us to understand the

4.6

end-forms

Fig

Margi Sutariya Library of forms from two/three

Fig 4.7 Ansh Ajmera Library of forms from two/three end-forms

Fig 4.8

Fig 4.9

Fig 4.8 Kathan Chauhan Representation of forms

Fig 4.9 Aashman Amin Representation of forms

Fig

4.10

Aakash Mali Representation of forms

Fig 4.11 Kinshuk Adeshra Digital Rendering of selected forms with light & shadows

Fig 4.12 Maitreya Pathak Digital Rendering of forms in an attempt to celebrate the form

Fig 4.13

Fig 4.14

Fig 4.13, Fig 4.14 Maitreya Pathak Rendered views of a form

Fig 4.15

Fig 4.16

Fig 4.15, Fig 4.16 Apoorv Magdum Representation of rendered forms

Fig 4.18 Het Patel Rendered forms

Fig 4.19 Aakash Mali Rendered forms

Fig 4.20 Aashman Amin Rendered forms

4.22 Maitreya Pathak Graphic Poster Output

Combination of types

Extrusion of planes

Kinshuk Adeshra Deconstruction of space through lines, composition of planes

De-construction of Space 5.

Objective

The exercise is a Perceptual study or a spatial analysis study wherein a selected space is analyzed through its constituent lines : horizontal vertical inclined and curved and their combination. The lines are then explored with them as a base and compositions of planes and blocks developed from multiple perspectives. It aims to uncover a sense of proportion, order or relationship in a visual impression. It creates the ability to generate alternate visual order/s through rearrangement of elements, and, use it as a tool to create order and connections among forms in abstraction.

Learning Outcomes

• Understanding and discovery of the hidden sense of proportion, order or relationship in a visual impression.

• Ability to create alternate visual order/s through rearrangement of elements

• To learn and understand the inter-form relationships and to use them as a tool to create order and connections among forms in abstraction

Output

• Sketches on A4/A3 paper represented as a set

Fig 5.1

Fig 5.2

Ansh Ajmera Fig 5.1 Perspective sketch of space, Fig 5.2 Isolated vertical lines

Fig 5.3

Fig 5.4

Ansh Ajmera Fig 5.3 Isolated horizontal lines, Fig 5.2 Isolated Diagonal lines

Fig 5.4

Fig 5.5

Ansh Ajmera Fig 5.4 Planes from vertical lines, Fig 5.5 Planes from horizontal lines

Fig 5.6

Fig 5.7

Ansh Ajmera Fig 5.6 Planes from vertical lines, Fig 5.7 Combination of all line types

Fig 5.8

Fig 5.9 Fig 5.10

Fig 5.8 Ansh Ajmera Composition of planes from multiple perspectives

Fig 5.9 Aryan Kapoor Perspective sketch of space

Fig 5.12

Fig 5.13

Fig 5.11 Fig 5.14

Fig 5.10 - Fig 5.14 Aryan Kapoor Composition of planes & blocks from isolated lines

Final Design Project 1 Spring 2020

Process Exercise Description Output

Plug-in + Major Exercises

Step 1 Spatial Analysis

Step 2 CMF (ColourMaterial-Finish) Case-study

Analyzing a space through constituent lines to study inter-form relationships and use them as a tool to create order & connections.

To understand the importance of CFM in the field, the exercise was to choose any interior design elements, building product or furniture and speculate the process behind its CFM selection

Sketches

Sketches and Descriptive text

Step 3 Narrative on Space (Site as the context for the product)

Step 4 Ergonomic and Posture Study

Step 5 Site Analysis and Conclusions

To consciously recollect their observations, and to be sensitized about the environment and context, the exercise asks students to describe their experiences on site

To evaluate the impact of outdoor furniture elements, the exercise involves studying different standing/sitting postures often found in public places.

Explorations of multiple forms according to context, concept and function

Step 6 Vision Board

Step 7 Concept Development and Ideation

Step 8

Representation of Design & Detailed Drawings

Compiling visuals related to their ideas and philosophy behind design of an outdoor artefact. It includes CFM concepts for the form.

Synthesis of final form through layers of refinements

Appropriate Mode of representation of element and its relation to space, Communication with detailed drawings

100 word narrative, story or poem

Public markets, food joints, parks and public transportation stations visited to see how people behave, and observations, sketched.

Process Sketches, 2D and 3D models

A2 size Board with sketches & material indications

Sketches, developed to final details, technical drawings, and renders in stages

Final Renderings of the element in space, and technical drawings of the product.

6.

Final Design Project 1 Spring 2020

Objective

The design project delves into how site design integrates the artefacts that are used for various designated purposes and create a sense of place. With these type of artefacts, an identity and a sense of place is created, if outdoor artefacts are properly integrated in the design of a public space. The design project involves the development of an outdoor artefact for a particular site and create a unique user experience.

Learning Outcomes

• Consolidation and synthesis of the previous inputs given in the realm of this studio including usage of appropriate software tools

• Application of all previous learnings into tangible products addressing both form and functionality

• Learning to relate the product to the user and the context

• Learning to practically apply the design process to a desired end of a given problem area

• Learning to deal with constraints

• Learn to apply Material and process related knowhow for practical outdoor use

• Learn detailing

• Learning to present ideas and concepts effectively – visual as well as verbal (including technical drawings)

• Presentation techniques

Output

• Developed Product form according to the function and the context, with the idea of CFM (Colour-Material-Finish), related details and basic concept of the product’s construction/ making, represented through renders and Technical Drawings

• Product and Contextual Renders

Sites for the Design Project

Site based on natural context

1. Sundarvan Park, Ahmedabad

2. Indroda Dinosaur and fossil Park, Gandhinagar

Site based on architectural(man-made) context

3. Sanskar Kendra, Ahmedabad

4. Acropolis mall plaza, Ahmedabad

The site selection for the was based on two types of contextnatural and architectural Design Brief

User group

Public: Able bodied people

Age group: 6 - 60 years (Can be defined by the Designers)

User Profile: Users of the location (To be defined by the designers)

Constraints

Users - 1 to 6 CFM - Practical Making and Production - Using tools and techniques that are widely available

Features: Withstand natural forces and certain climatic conditions, Should be robust and not wear down

Features

To create a unique user experience through integrating: Idea of Safety Concept of Comfort Flexible in terms of its use

Creative and innovative Friendly for the environment Appropriateness for the context

Learning Outcomes of Exercises

CMF Case-study

• Ability to understand the importance of CMF in the field

• Ability to apply concepts extracted from exercise to development of CMF for individual product designs. (Students were exposed to a video where Emma Lundgren speaks on experience in the automobile industry and the importance of CMF (Colour, Material, and Finish) in Industrial Design. discussion took place after the video was over, and students were asked to reflect on their learning through a brief exercise)

Narratives on space

• Ability to consciously recollect their observations of the site

Posture Study

• Identify, explain and evaluate the impact of various outdoor Furniture/surfaces

Site Study and Analysis

• Ability to gather, assess, record, and comparatively evaluates relevant information.

• To observe the environmental qualities and reflect the understanding in their design

Vision Board

• Ability to identify the appropriate colour, finishes and materials for the given design problem.

Concept and Ideation

• Ability to establish a connection between intuitive concepts and program.

• Learn to respond to the given context.

Design Development Stages

• Stage 1 : Concept generation from extracted site conclusions and form sketches

• Stage 2 : Refined forms with relation to functionality and context, applications of posture studies

• Stage 3 : Detailing and final form development

• Stage 4 : Application of CMF

• Final Design Stage

Colour Material Finish | Amby Chair by A Cube Inc.

Seat

Pantone 7628 C Thick Cotton Threads Undulated but Soft

The use of thick cotton threads weaved together to make the seat allow a slight bounce. The experience plus visual of the weave makes the user feel as if they are sitting on a charpai with a back rest. This experience with the size and angles comming in play, makes the user unconsciously sit on it with legs crossed. Since the weave is very dense and tight, when one puts all their weight onto it, it makes a sound as if its tightening making the user feel contained in it.

Frame Stand

Colour Material Finish Colour Material Finish Colour Material Finish

Pantone 168 C Teak Wood Smooth

The frame is made from solid teak wood and is the connecting member between the stand and the seat. It houses all the junctions through which he weave is tied. By keeping the finish of the wood it brings a rawness visually and to touch which compliments the earthyness of the maroon weave. The CFM of the seat and the frame together set the mood of the whole chair which is of an Indian lounge chair

The stand brings in a very industrial look to the chair with its grainy finish. The user doesnt directly interact with the stand yet the black of this rather dainty stand makes the user feel safe about them sitting on it with legs crossed. The only reason this stand looks strong is because of its CFM, otherwise its form is rather delicate.

Aashman Amin | UG180016

The exercise involves choosing an interior design element, building product or furniture, identifiying the CFM for the selected object and speculating the process behind its CFM selection.

Aashman

Indroda Park

My first impressions after visiting this dinosaur park situated in Gandhinagar were somewhat confusing. I tried to view the space with a completely open mind and without any preconceived notions. The park itself was rather tiny as it took me only 15 minutes to take a full circle. The park had a decent amount of foliage with a few spots having a dense canopy atop. The path twisted and turned at various areas consciously trying not to disturb the growth of trees. There were enough junctions of the paths which created necessary breathing spaces with opportunities to have some sort of seating elements. The park seemed natural when one walked on the paths which were undulated and followed the terrain creating an adventurous experience. The side railings had very interesting joinery which allowed for the railing to a curved path making the experience more natural and not rigid. There were a few things which I felt were not right; The exhibits at the beginning and towards the right side of the park were jarring and felt they were everything but natural. The style of the information boards did not go with the overall atmosphere of the park.

Fig 6.3

Acropolis

Two four story buildings and one three story building make up Acropolis. These three block buildings are placed in just a way that the intermediate space between them is wide and spacious, as to allow free movement of public. Two of the three intimidating structures at the front, are connected by a linear foyer. Using this a lot of movement connecting those two spaces takes place, as well as vertical circulation for those two structures. The iconic semi open area is covered by a large ceiling, which is a curved tensile structure. These buildings are a hub for commercial spaces. The language of acropolis is very distinct, as there is not one prominent feature common between any of the structures, there is a mixture of curves and lines. We can even see tensile, load bearing and framework structures in Acropolis. The semi open area already has certain seating elements, they are placed very distant from one another, giving vast space for free movement. The overall space is very disconnected to each other, and gives a sense of desolation in a serene way.

Fig 6.4

Narrative on Outdoor Environment

To consciously recollect their observations,and to be sensitized about the environment and context, this exercise asks students to describe their experiences on site through a narrative, a story or a poem.

Fig 6.3 Aryan Kapoor Fig 6.4 Jayashre Bangarusamy Site narratives

Fig 6.5

Fig 6.6

Ergonomics and Posture Study

To evaluate impact of outdoor furniture elements, the exercise involves studying different standing/sitting postures often found in public places. Public markets, food joints, parks and public transportation stations to see how people behave.

Fig 6.5 Kathan Chauhan Fig 6.6 Aryan Kapoor Posture sketches as observed

Fig 6.10

Concept and Ideation

After multiple stages of refinement, finalization of design concept and form for further refinement in later design stages.

Fig 6.10 Apoorv Magdum Concept sketches for outdoor artefact

AN INTRODUCTION TO NATURE by Aakash Mali

Product: Outdoor Artefact | Context: Sundarvan Park, Ahmedabad

CONCEPT

The site is designed to celebrate rehabilitation animals such as python, bats, crocodiles and other endangered species. The realistic sculptures of crocodiles, turtles and swan attracted many visitors. The sculptures near to the pond and fauna create a environment of observation. The main intent of designing an artefact was to celebrate the rehabilitation of animals through forms based on the abstraction of physical appearance of animals.

The final product is designed with application of colour, materials and finishes under the guideline of the conclusion of the site. The process of design involves generation of 2D shapes from the abstraction of physical appearance. 3D forms are generated on the basis of 2D shapes by extrusion of shapes, and through other techniques such as ‘Revolve’.

Form inspired from the shape of a bat wing, and further refinement to create a seating

Jaisalmer sandstone

Finishes: smooth and rough

Edge Gaps and Details

Rendered Views of the Artefact in the outdoor context, Scenario based render with contextual reference

SINUOSITY

by Aryan Kapoor Product: Outdoor Artefact | Context: Indroda Nature Park, Gandhinagar

CONCEPT

The nature park attracts a certain crowd, which goes through the park rather hurriedly and doesn’t pause, and take in the surroundings. There needs to be a seating which guides the user through the park and allows them to slow down, relax, and learn from the exhibits. The path, connects the park and is free-flowing with undulations at a few places thus creating a more natural experience. The path has a sense of ‘meandering’ as its way through the park. This along with the flora seem the only natural aspects of the nature park. Thus designing a seating element that has the aspects of meandering would be appropriate for the environment. After considering the man-made structures present in the park; creating a low seating with enough play of levels (for more than one seating opportunity), that holds the concept of meandering and has a particular bulk to it, to show its permanence in the nature park seems most suitable. The meaning of the word ‘meandering’ was explored through different forms keeping in mind that the indirect or curvilinear nature of the seating can be explored through; surfaces, sections, radii manipulation, etc.

Renders with designed artefact placed in the context

ARTEFACT FOR SANSKAR KENDRA by Apoorv Magdum

Product: Seating Artefact | Context: Sanskar Kendra, Ahmedabad CONCEPT

Sanskar Kendra has a very basic geometry. The whole building follows the basic shapes of geometry. Once one enter the building, one would know where to go instantly, it feels more functional, like it was built just for its use. Right when you walk in it has a water body in the middle of the building which acts as a focal point of the building. And due to OTS right above the water body, it creates a contrast of light and shadows. The building appears to be very heavy, voluminous and bulky from the outside but as you move in it gives a sense of light weight. Similarly I think the seating designed for it, should represent the building which follows the pattern similar to the building like having basic geometric shape, heaviness, light weight and organic or free flowing form.

Site Analysis and developed forms

Rendered Views of the Artefact in the context, Scenario based render with contextual reference

STAMBHIN by Het Desai

Product: Seating Artefact | Context: Sanskar Kendra, Ahmedabad CONCEPT

Site Analysis Conclusions

1. The building is geometric in nature and feels more organized and functional, like everything is made only to serve its purpose.

2. The building feels very bulky/massy from the outside but as you enter and approach towards the pond, it feels very lightweight.

3.The space has very definite point of direction and one can know where to go once he/ she enters the space.

4. Columns play a very important role in the building.

reduced from 10cms to 6 concrete of different color

Column Derivation Curve Derivation

The artefact, Stambhin is designed by reducing the column from column and, a curve complimenting the pond in the middle of the Sanskar Kendra. The column also gets curved along with the wooden plank to compliment the architecture.

GEOLET

CONCEPT

An outdoor artefact had to be made for the given site, that is Acropolis mall, Ahmedabad. Acropolis is a manmade space and it holds an artificial, constructive and modern appearance. The Sitting should fit well into the space.

DESIGN APPROACH

-Minimalistic : Sleek, minimal, since the semi open space is already surrounded by blocks.

-Color : Theme to follow the neutral color theme of the space.

-Appearance : Glossy so that it matches the artificial appearance of the space.

by Neha Gandhi

Product: Indoor Artefact | Context: Acropolis Mall, Ahmedabad

WOOD CONCRETE

SS PIPE GLASS

COLOR PALETTE OF THE SPACE

been colour structure the have freshness with squirrels. should

EGG BENCH by Brinda Jasoliya

CONCEPT

Dinosaur Fossil park reserves fossils of dinosaur eggs and bones. The dinosaur fossil park is in the starting area from the entrance of the whole park, so people pass by hurriedly and does not give much attention to the exhibits. There is a need for a sitting element which allows them to take pause to enjoy the environment and learn from the fossil exhibiton. The sitting element should go with the present environment and should be relatable to the aim of the park. Thus, the sitting element is derived from the concept of dinosaur egg with levels which will attract user take a pause and learn from the park. It will also resemble the value of the dinosaur fossil park.

N DINOSAUR FOSSIL PARK

INDRODA NATURE PARK WEEKDAYS WEEKENDS

VIEWS WITH

Final

RENDERED A B

RENDERED VIEWS RENDER VIEWS WITH COLOR, MATERIAL AND FINISH CONCRETE - final material for the form is concrete because its

Product: Outdoor Artefact | Context: Dinosaur Fossil Park at Indroda Nature Park, Gandhinagar

SEATING

ARTEFACT

AT SANSKAR KENDRA

by Kathan Chauhan

CONCEPT

Space follows the basic geometry of square and curvilinear forms. The architectural language of the space is Béton brut. Hence, space has a neutral colour palette and also celebrates the building materials.

A subtle contrast can be seen in the space where the mass is lifted up is geometric 3D forms, cube supported by circular forms. The ground floor has a bold representation of curvilinear forms in terms of a waterbody and an attending desk. Hence, Juxtaposition is the theme which was integrated into the artefact and portraying Le Corbusier’s style and keeping Le Modulor as the highlight of the artefact.

Product: Seating Artefact | Context: Sanskar Kendra, Ahmedabad

ARTEFACT AT ACROPOLIS by Arushi Garg

Product: Artefact | Context: Acropolis Mall, Ahmedabad CONCEPT

The site, Acropolis mall itself is considered as the base of the concept. Basic form of the artefact is derived from the abstract diagram of site which where later manipulated. Basically there are 3 parts where the central part is derived from the tensile roof structure of the site which is used to integrate the form . Also, talking about the placement of the artefact. The interiors of the site are consistent and symmetric. So, the same attribute is taken into consideration.

User and Usage

It will be mainly used for short duration of time by -

- People waiting for someone near shops or the parking lot.

- People holding bags or carrying kids with them

-Office employees -Families -Couples

Site

STAY

by Aashman Amin

CONCEPT

The space is for animals, birds and humans. The artefact should be something that interacts with all three. To do do, common ground had to be found. For this context, different trigger words were related to the different users, but one common trigger word was found : Leaves. ‘Leaves’ work perfectly as the trigger word as it relates to the words associated with the space : calmand playful. In termss of the form, leaf again works as a starting point The two basic shapes of the leaf aas shown below are taken as a base from which the form is later derived. Explorations are done such that each surface of the form is a manipulated shape of the leaf.

Product: Seating Artefact | Context: Sundarvan Zoo, Ahmedabad

-The iron railings are painted with green colour to merge with the colour of the tree.

-Dinosaur made of concrete and iron structure and signboard fixed in carved stone gives the value of heavy and bulkiness.

-The paths are narrow and random, also have undulation.

-when one enters the park can feel the freshness of nature and calm atmosphere followed with the sound of cheeping of birds and squirrels.

DINOSAUR FOSSIL PARK

Aashman Amin Final Studio Process

Since the initial idea was too voluminous for the context some of the volume was removed. The backrest was manipulated to add to the concept. Materials which could celebrate rawness were assigned to the seating.

pre-cast concrete for the structure and wood for the seating.

Context Renders

Final Design Project 2

Monsoon 2020

Process Exercise Description Output

Identification of a designer entity Taking the designer/brand/ architect as design inspiration

Step 1 Research & Information Collection

Step 2 Research, Identification of Context and its Analysis

Research on the design inspiration on design philosophy, design approach, body of work, language, products sold, target audience, etc.

Explore possible contexts, and identify the appropriate context for the application of the studied approach and philosophy.

(Retail space for brand/ location in the architect’s project..)

Story-board, images, Analytical Sketches

Site Analysis: Photos, Diagrams, Orthogonal Drawings, 3D Base model.

Step 3 Conceptual Generation

Step 4 Identification/ Creation of Design Focus

Generation of design concept according to context and brand/ designer’s visual language/ philosophy, etc.

Identify a problem / Create an opportunity for product designing and determine the function and type of design element in the space.

Story-board / Vision Board

Sketches

Step 5 Research (Ergonomic & Functional Criteria) & Iterations

Step 6 Design Synthesis

Step 7 Detailing and Material Articulation

Explorations of multiple forms according to context, concept and function

Process Sketches, 2D and 3D models

The culmination to a final form 2D Drawings and 3D form views in the space

Changes to design on the addition of appropriate material, joinery details, approach to construction, etc

Step 8

Representation of Design & Detailed Drawings

Appropriate Mode of representation of element and its relation to space, Communication with detailed drawings

Renderings of material explorations scaled up joinery drawings

Final Renderings of the element in space

Final Design Project 7. Monsoon 2020

Objective

The exercise aims to explore and experience how contextual design integrates artefacts that are used for various designated purposes, and, how to practically apply the design process to a desired end of a given problem area. It is the application of all previous learnings into tangible products addressing form, functionality and context. The final design exercise process begins by analyzing the form language of iconic design entities, extracting inferences and conclusions from their ideology and language, identifying a problem and creating a concept for the product in a context through the extracted inferences. The learning extracted from the initial analysis and research develops to create a learning of creating a form language, and, relating a product with its user and its context. Each individual process hence begins to integrate the product-context-user relation through form language.

Broader Learning Outcomes

• Consolidation and synthesis of the previous inputs given in the realm of this studio including usage of appropriate software tools

• Application of all previous learnings into tangible products addressing both form, functionality and context

• Learning to relate the product to the user and the context

• Learning to practically apply the design process to a desired end of a given problem area

• Learning to deal with constraints

• Learn to apply Material and process related knowhow for practical outdoor use

• Learn detailing

• Learning to present ideas and concepts effectively – visual as well as verbal (including technical drawings)

• Presentation techniques

Output

• Developed Product form according to the function and the context, with the idea of CFM (Colour-Material-Finish), related details and basic concept of the product’s construction/ making, represented through renders and Technical Drawings

• Product finishes made to be available, Bill of Materials, etc.

• Product Renders and Contextual renders with appropriate materials, finishes, details, placement and user relations.

Form Language and Learning Outcomes

To study the form language used by certain iconic designers / architects/design concerns with the following objectives in mind :

• To stimulate thought regarding expression which we as laypersons and learners are unable to convey or express

• Introduction to and opening of minds of learners by studying different approaches and perspectives vis a vis a problemsolving process and interpretation of “Form”, it’s language and usage and interpretations of materials in terms of its meaning

• To encourage and stimulate the learners about different viewpoints and approaches of different persons in the sense that what it conveys and means to “us”

• Very importantly, this exercise seeks to the stimulation of the faculties of observation, analyses and towards provoking students to look past and through what meets the eye and open their minds to the views of others

• Finally, this offers an opportunity to sensitize the students and to make them aware, and to broaden horizons and a way of “seeing” things

Name Design Inspiration Product Context

Ansh Ajmera

Zaha Hadid

Bus-Stop SG Highway, Ahmedabad

Archi Shah Frank Gehry Cafe Seating Zen Cafe

Bansari Patel Toyo Ito Partition Screen Residential

Diya Chhaniyara Charles Eames Outdoor Seating Eames Plaza, NID

Kinshuk Adeshra Santiago Calatrava Chair Office

Kushani Mehta Alessi Outdoor Dustbin Park Spaces, Ahmedabad

Maitreya Pathak Luigi Colani

Indoor Swing Residential Margi Sutariya Ross Lovegrove Display Stand for Herbal Products Planet Health Stores

Suhani Nathan Philippe Starck

Table + Stool Office Space

Isha Shah Memphis Permanent Partition

Vaishnavi Borkar Alvar Aalto Seating SID Plaza

Harshavi Patel Reymond Loewy Booth and Chair Seating

SID Building - between Single and Double Height

Tomato’s Restaurant (American Pop Culture themed)

Diya Kinshuk Kushani Maitreya Margi Suhani Vaishnavi Harshavi

Product and Context

The extracted design visual languages of the design entity analyzed, extend to the decision of recognizing an appropriate product in an appropriate context that the design language can be applied on. The idea becomes to establish a relationship between the form, its functionality, context and the user, and create meaningful products in the process.

Name Design Inspiration

Product Context

Ansh Ajmera Zaha Hadid Bus-Stop SG Highway, Ahmedabad

Ahmedabad

Archi Shah Frank Gehry Cafe Seating Zen Cafe, Amdavad ni Gufa

Bansari Patel Toyo Ito Partition Screen Library & Reading Rooms

Diya Channiyara Charles Eames Outdoor Seating Eames Plaza, NID

Kinshuk Adeshra Santiago Calatrava Chair

Modern Residential/ Commercial Pool Deck Areas

Kushani Mehta Alessi Outdoor Dustbin New C.G. Road, Ahmedabad

Maitreya Pathak Luigi Colani Suspension Chair Garden Areas Margi Sutariya Ross Lovegrove Display Stand for Herbal Products Planet Health Stores

Suhani Nathan Philippe Starck Table + Stool Office Canteen

Isha Shah Memphis Permanent Partition

Vaishnavi Borkar Alvar Aalto Seating

NID Ahmedabad Stores between Height Restaurant Culture

Harshavi Patel Reymond Loewy Booth and Chair Seating

FD Building - between Single and Double Height

Near SID Plaza, CEPT University

Tomato’s Restaurant (American Pop Culture themed)

Fig 7.1

Research and Deciphering Design Language

Design entities are analyzed to decipher their design language, philosophy and ideology of their work. Inferences and conclusions from the study are taken forth as concepts for the design.

Fig 7.1 Kushani Mehta Deciphering design language of Alessi through product analysis

Fig 7.2 Ansh Ajmera Deciphering the design language of Zaha Hadid through deconstruction of spaces

Final Project- Ideation

Final Project- Ideation

Initial Explorations

Initial explorations

Initial explorations

Exploring tensigrity

Exploring Tensegrity

Exploring tensigrity

Fig 7.5

Exploring selected principle

Exploring selected principles

Exploring tensigrity

Exploring tensigrity

Concept Generation and Development

The deciphered design languages are applied to selected products in appropriate context as concepts for form generation and are developed in stages.

Fig

7.5

Kinshuk Adeshra Exploration of the tensegrity principle and generation of form

Final concept

Final concept

1:1 Drawings to understand proportion.

1:1 Drawings to understand proportion.

Glass (Planar): light, clear

COLOUR

PANTONE 11-0601 TPG Bright White

PANTONE 537 C PANTONE 7506 C

OPTION 1 Neutral, true to material colours

Pragmatic/Program requirements: Versatile and neutral colours that can work with various context and backgrounds

Concept: Lightweight and porous. So light and subtle colours are required

Emotions and attributes associated with the colour palette: calm, elegant, clean, formal

MATERIAL

Concept: Porosity and lightwieight, using porous and translucent materials

- Translucent materials (50%): perforated sheets, Shoji paper (washi), frosted glass, translucent/tinted acrylic

- Transparent materials (25%): glass and acrylic

- Opaque materials (25%) wood (plywood, MDF, HDF), metal, concrete, stone, polymers/plastics

Program requires a main frame structure that has to be sturdy and opaque. Internal components can be opaque, translucent or transparent. Not use more than three materials so as to not clutter the space.

Emotions and attributes associated with material palette:

FINISH

MDF: Smooth and matte (oil paint with a matte varnish)

Acrylic: Smooth and anti-reflective/non-glare for clear visibility

Perforted aluminium: Round hole staggered (5/32” dia, 7/32” centres, 46% open)

Shoji paper: Basic Professional Shoji Paper (0.14 mm thickness, 48% Light permeation

PANTONE 11-0601 TPG Bright White

PANTONE 664 C PANTONE 2707 C PANTONE 4184 C

OPTION 2 Neutral colours and light and dulled colours as used by architect

OPTION 1 MDF/HDF, clear acrylic, perforated metal sheet (aluminium)

OPTION 2 MDF/HDF, tinted acrylic, Shoji paper (washi)

Fig 7.10

Form Development

66 cm 122 cm

100 cm 77 cm 44 cm

27 cm

66 cm

33 cm 25 cm

Fuctional, CMF and contextual considerations aid in the evolution of the form.

Fig 7.10 Kushani Mehta Development of form and details of dustbins on the New C.G. Road, Ahmedabad

Product and Contextual Renders

Student Outputs

FRAGMENTING

AHMEDABAD IS HOT, DRY AND UNPLEASANT AND BUS STOPS ARE MOSTLY PRAGMATIC AND BORING SERVING PURPOSE OF ECONOMICS, ADVERTISMENT AND A PLACE TO WAIT IN THESE LIST OF SERVING WHAT IF WE ADD MIND AND ENVIRONMENT SO THAT THE BUS STOPS WOULD BECOME STOPS THE STOPS FOR MIND AND THE MOVING EYES IT BEING THE OBJECT BECOMING THE FIELD AND ONE WITH ENVIRONMENT AND ALSO BEING A SIGNIFIER IN ITSE LF AT THE SAME TIME CONCEPT IS BASED ON THREE MINORS

FIRST, THE MODERNIST BUILT AROUND IS FLUSEHED WITH LINES WHICH IS ALL VERY STRIKING STRONG AND OVER POWERING THE SURROUND. HENCE A CONSTRAST TO THIS WOULD BE ORGANIC CURVES SECOND, IS WITH THE IDEA OF SHADE COMES IN TREE AS A PRIMARY MEANS TO RESPONSE TO FROM IT I TAKE THE BASIC UNIT LEAF AS SHADE THIRD, TO THINK OF A HOT BUT PLEASANT PLACE WOULD BE A BEACH SO TAKING THE WAVES AS A FEELING AND CURVES AS GEOMETRY I START MY CONCEPT

SOPHISTICATED STRUCTURE

RUDIMENTRY SHELTER

C O N C E P T S T A T E M E N T

Functional considerations

RUKH BUS STOP

THE FINAL FORM IS THE SUPERIMPOSE OF PRINCIPLES AND CONCEPTS, SUPERIMPOSING FOLDING, STRIP BENDING, FRAGMENTING.

FURTHER THE LAYER OF PRAGMATIC IS ADDED TO SUIT THE LOGICAL NEEDS AS IT IS AN URBAN FURNITURE.

ROOF

MADE OF FOUR PARTS, EACH CASTED OUT. THE SURFACE IS CURVED THROUGH OUT WHICH SERVES BOTH AS AESTHETICS AND SELF FORM STRENGTHENING AGENT FOR THE SHELTER.

INLAY FRAME

INITIALLY THIS WAS AN ADD ON AS AN AESTHETIC ELEMENT BUT BECAME A STRUCTURAL ELEMENT SIMILAR TO GRID SLAB. THIS IS CASTED TOGETHER WITH EACH PART OF ROOF.

SUPPORTER

THE RODS ACTS AS A CONNECTOR TO SEPARATE ELEMENTS OF ROOF AND THESE AS A WHOLE UNIT JOINS WITH THE GROUND

BENCH

CONCRETE CASTED IN THREE PIECES REASON BEING TRANSPORT AND WEATHER EFFECTS ON THE MATERIAL

SIGN STAND

A MAST AS A SIGNIFIER FOR THE TRAVELER.

OLOR M ATERIAL F INISH

THE SEQUENCE OF INFORMATION ABOUT SPEIFICATIONS IS AS GIVEN.

ADJACENT IS THE REASON FOR EACH CHOICE FOR THE GIVEN ELEMENTS.

MADE WITH SIMILAR PROCESS AND MATERIAL AS ROOF TO COMPLIMENT THE SHELTER

DUSTBIN PLATFORM

CHANGE IN LEVEL ACTS AS A THRESHOLD FROM AMBIGUOUS TO CONFINED VOLUMES

Conclusions

Problem Statement-The chair needs to add an interesting element to the space. It should cater to premium segment users. The target space of usage for the chair are residential or commercial pool deck areas with modern and clean aesthetics.

Concept Statement-The chair isn’t meant to be just a chair, it is meant to make a statement and add a sense of premium to a space. The design is developed by translating Santiago Calatrava’s design language.

LEVETOS by Kinshuk Adeshra

Product:

Calatrava majorly uses bold cantilevers and use of tensegrity in many of his bridges, keeping the similar language in consideration the form and principle of the chair was developed. Tensegrity is used with the properties of the nylon cords, the chair provides a comfortable seating which moulds to the shape of the human body and due to the placement of the cords the user can be perceived as levitating. To further refine the form a

Chair | Context: Residential/ Commercial Pool Deck area with modern aesthetics Design Inspiration: Santiago Calatrava

Santiago Calatrava

He

him reveals not only the strength of the building but also its structural beauty.

Often, his sketches are followed by scale models or what he generally refers to as “toys and games.”

Calatrava is fascinated with Movement, it has been a source of inspiration for many of his creations. Even in his Doctoral thesis, he investigated geometric figure can be reduced from three dimensions to two, and ultimately just one e.g. A polyhedron can be collapsed, making it a single planar surface. Another transformation can further reduce it to a single line, a single dimension.

Nature is his structural inspiration. He closely observes the strong visual movement in natural objects that derives from the fact that their shapes are the traces of the physical forces that created them. Most of his work is finished in concrete, steel and glass as he employs engineering knowledge to create sculptural structures that are novel and innovative-giving most of his works a whitish appearance.

Levetos Final Design Exercise

Problem Statement-The chair needs to add an interesting element to the space. It should cater to premium segment users. The target space of usage for the chair are residential or commercial pool deck areas with modern and clean aesthetics.

It should cater to premium commercial pool deck areas with statement and add a Calatrava’s design language. bridges, keeping the similar Tensegrity is used with the moulds to the shape of the levitating. To further refine residential, with modern product should provide a sleek. Analysis & Interpretation Problem & Concept

Concept Statement-The chair isn’t meant to be just a chair, it is meant to make a statement and add a sense of premium to a space. The design is developed by translating Santiago Calatrava’s design language. Calatrava majorly uses bold cantilevers and use of tensegrity in many of his bridges, keeping the similar language in consideration the form and principle of the chair was developed. Tensegrity is used with the properties of the nylon cords, the chair provides a comfortable seating which moulds to the shape of the human body and due to the placement of the cords the user can be perceived as levitating. To further refine the form a minimalistic approach was taken and the final form was achieved.

aesthetics, which initially strength of the building but as “toys and games.” many of his creations. from three dimensions to single planar surface. Another movement in natural objects that created them. engineering knowledge to create Kinshuk Adeshra UG180307 Elements of Form and Space Studio BD 2004 University Faculty of Design

Use of bold cantilevered elements in many of his structures. Wide use of principle of tensegrity. His forms generally have fluid filleted junctions. right angle.

Imitating nature through mechanical movement.

Lagaurdia, Spain.

Santiago Calatrava, in full Santiago Calatrava Valls (born July 28,1951, Benimamet, near Valencia, Spain), Spanish architect widely known for his sculptural bridges and buildings

He is an architect, engineer, artist and a sculpturer. He has studied both architecture and structural engineering, which has enabled him to design the type of architecture that he creates.

Calatrava evolved his art, and his sculpture into architecture. Sometimes compared to da vinchi because he brings art and science together.

He was also influenced by works of engineers such as Robert Millart whose work inspired him to seek simple forms which could create an emotional response.

was influenced by Le Corbusier’s work and aesthetics, which initially led him to pursue architecture.

He spent his time making and then developing numerous preference for resolving a design in section, which for

His Process and Style

minimalistic approach was taken and the final form was achieved.

Context-The chair is meant to be for any pool deck areas, whether commercial or residential, with modern and clean aesthetics. The pool deck areas can either be outdoors or indoors. The product should provide a fairly comfortable seating for the space while being visually light, elegant and sleek.

Santiago Calatrava

Translating similar forms on different scale.

Imitating nature through mechanical movement.

Use of simple forms.

Accentuating form through light, shadows and reflections.

Use of mathematical curves such as parabolas and sinusoidal curves. Use of ribbed structures.

LHemisfèric, Valencia, Spain.

LHemisfèric, Valencia, Spain.

Agora, Valencia, Spain.

World trade center transportation hub, NYC, USA.

World trade center transportation hub, NYC, USA.

Valls (born July 28,1951, architect widely known for his sculpturer. He has studied both has enabled him to design architecture. brings art and science such as Robert Millart which could create an Believes in function follows form. Never compromises on aesthetics. Risk taker, Daring. Alamillo Bridge, Spain. Peace Bridge, Canada

Final Project- Ideation

Initial explorations

Exploring selected principle

Exploring

Final concept

Exploring tensigrity

1:1 Drawings proportion.

Pearl white powder-coat.

Pearl white powder-coat. Bead Blasted Aluminum. White Cotton Cord.

The finishes of the material are selected for both the emotional and the practical aspects. The finishes can withstand outside climate and they wont ware-off for a long period of time. Die casted aluminum is used for various connectors in the chair as it allows to achieve the required form with precision. For linear structural members MS pipes are used and for the cord that acts as the seating and which carries the human load directly, Nylon cords are used due to their strength and various suitable properties.

Aluminum , MS Pipe, Nylon

110

620 400 TYP 110

PRODUCED BY AN AUTODESK STUDENT VERSION

14

A A

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

B 47.6 19 13.7 4

110 SECTION AA

TOP VIEW

AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED

246.8 136.8 110 109.1 R110

AUTODESK

The brief of the project was to In order to understand the visual works were researched and studied use of cantilevers and tensegrity These findings The idea was that the user could context for the chair was narrowed Using the idea of 2d and 3d radii In the detailing stage of the concept A digital model of Levetos was then from all directions The name ‘Levetos’ comes from It

Design Journey

Design Journey

The brief of the project was to design a product inspired by the work of the famous Spanish Architect, Santiago Calatrava.

The brief of the project was to design a product inspired by the work of the famous Spanish Architect, Santiago Calatrava.

In order to understand the visual language and design principles of Santiago Calatrava, his works were researched and studied thoroughly. While deciphering his design language,the use of cantilevers and tensegrity were prominently seen in his work and explored further.

These findings paved paths for the concept of Levetos. The idea was that the user could be perceived as floating in mid-air. The options for the context for the chair was narrowed down to spaces like pool deck areas or office lounges. Using the idea of 2d and 3d radii manipulation, end-forms and principles of perception the final concept was achieved.

In order to understand the visual language and design principles of Santiago Calatrava, his works were researched and studied thoroughly. While deciphering his design language,the use of cantilevers and tensegrity were prominently seen in his work and explored further. These findings paved paths for the concept of Levetos.

The idea was that the user could be perceived as floating in mid-air. The options for the context for the chair was narrowed down to spaces like pool deck areas or office lounges. Using the idea of 2d and 3d radii manipulation, end-forms and principles of perception the final concept was achieved.

In the detailing stage of the concept the different manufacturing and CMF possibilities were explored.

In the detailing stage of the concept the different manufacturing and CMF possibilities were explored.

Physical model and contextual renders

A digital model of Levetos was then made with help of CAD software to show the overall form from all directions and how it will look with the context.

A digital model of Levetos was then made with help of CAD software to show the overall form from all directions and how it will look with the context.

The name ‘Levetos’ comes from idea of levitation which was explored through the design of the chair.

The name ‘Levetos’ comes from idea of levitation which was explored through the design of the chair.

Kinshuk Adeshra

BIN STATION by Kushani Mehta

Product: Outdoor Dust-bins | Context: New C.G. Road, Ahmedabad Design Inspiration: Alessi

PROBLEM STATEMENT

UGLY GARBAGE CANS AROUND THE CITY, OFTEN TUCKED AWAY IN A CORNER WHICH MAKES IT HARDER TO FIND.

CONCEPT STATEMENT

THE MERCHANDISING PEDESTAL by Margi Sutariya

Product: Product Display Stand | Context: Planet Health Retail Stores Design

PROBLEM STATEMENT

The display rack of the planet health is very overwhelming and straightforward. There are basic wooden racks for the shop displays which doesn’t standout in respect with the healthcare and wellness products. The shelving units are overpowering instead of the products that are displayed for the selling purpose. The form of the rack is quite liner and the sense to get customers attracted towards the product is lost here. Due to the variety of products sold there must be a display plate which highlights the special products and creates a captivate to hold customer’s attention.

CONCEPT STATEMENT

The design intention is to create a display unit for herbal products in an alluring way to attract customers. The inspiration and form evolution is derived from the “Captain Organic”- Ross Lovegrove’s organic design language. The form inspiration was taken from bush plant with big leaves that serves as a base to exhibit the products. It balances the visually transparency between the display unit and products. The concluding form is kept as a central display unit with attached side panels with a sturdy base.

CONCEPT STATEMENT

PROBLEM STATEMENT

The display rack of the planet health ( phatmacies and wellness store ) is very overwhelming and straightforward. There are basic wooden racks for the shop displays which doesn’t standsout in respect with the healtcare and wellness products. The shelving units are overpowering instead of the products that are dislayed for the selling purpose. The form of the rack is quite liner and the sense to get customers attracted towards the product is lost here. Due to the variety of products sold there must be a display plate which highlights the special products and creates a captivate to hold customer’s attention.

Understanding the functions and of the wooden racks, form of the objects displayed in context to the human posture.

The design intention is to create a display unit for herbal products in an alluring way to attract custmors. The inspiration and form evolution is derieved from the “Captain Organic”- Ross Lovegrove’s organic design language. The form inspiration was taken from bush plant with big leaves that serves as a base to exhibit the products. It balances the visually transparency between the display unit and products. The concluding form is kept as a central display unit with attached side panels with a sturdy base.

Inspiration: Ross Lovegrove

CEPT University Faculty of Design Elements of Form and Space Studio BD 2004 MARGI SUTARIYA UG190827.

PLANET HEALTH : A retail chain of pharmacies and wellness stores. They providegenuine organic, healthcare and wellness products. The stores are located across Ahmedabad, Gandhinagar and Vadodara.

Sililar wooden racks for the display of every product. The central display of some product is only a glass plate, which can easily get slide off.

The products are kept one behind another, which cause the lost in attracting customers.

RESPITE by Diya Chhaniyara

Product: Outdoor Seating | Context: Eames Plaza, NID Ahmedabad Design Inspiration: Charles Eames

CHARLES EAMES

MATERIAL AND TECHNOLOGY

STYLE AND APPROACH

GEOMETRY

GEOMETRY

STYLE AND APPROACH

DESIGN LANGUAGE- CONCLUSIONS USE OF SOFT CURVES

OF MATERIALS

STYLE AND APPROACH

DESIGN LANGUAGE- CONCLUSIONS USE OF SOFT CURVES

NEED BASED DESIGNING

Charles

DESIGN LANGUAGE - CONCLUSIONS

•

DESIGN LANGUAGE- CONCLUSIONS USE OF SOFT CURVES

The

EAMES HOUSE

NEED BASED DESIGNING

HONESTY OF MATERIALS

The style of Eames depended heavily on the need of designing any product. He focused on the function of the design rather than the beauty of it. His approach was to fulfill the requirements/needs of the situation and the user.

Charles Eames used soft curves in majority of his designs.

• The furnitures he designed had careful and measured curves. Use of minimum material and elements define such an approach.

EAMES HOUSE

NEED BASED DESIGNING

PROBLEM STATEMENT

Eames’ design idealogy majorly revolved around the fact that the design must be need based.

Beauty of the design did not matter to him; he prioritised the function of it.

• He focused on function as a criteria over any other aspect.

needs of the user. The number of elements used in the house are not more than what is required. Eames designed the space in such a way that it caters to the need of living, working and nothing else. bracings. members screwed

HONESTY OF MATERIALS

on the need of the function of the approach was to situation and the user.

of geometry. All of appearance. The ratio of chairs designed by

architectural example of needs of the user. The are not more than space in such a way and nothing else.

Eames plaza at National Institute of Design is an open space surrounded by trees, which is used for conducting events as well as recreational purposes by the institute. Owing to its use and the natural aura it offers, lots of people tend to visit throughout the day. However, people find it difficult to spend more time here as there is a lack of any seating arrangement in the area. One has to bring chairs/ stools from inside the building to sit amidst the lush green trees. Therefore, there is a need of proposing a seating element where people could sit and relax; rejuvenate for a while.

The Eames house is an avid architectural example of designing a space exactly as per the needs of the user. The number of elements used in the house are not more than what is required. Eames designed the space in such a way that it caters to the need of living, working and nothing else.

Eames’ design idealogy majorly revolved around the fact that the design must be need based.

Beauty of the design did not matter to him; he prioritised the function of it.

He focused on function as a criteria over any other aspect.

HONESTY OF MATERIALS

• Eames believed in using the materials in their truest form. He believed that cladding materials one over the other was similar to disrepecting the field.

• All of his designs have materials being used in their purest form.

CONCEPT STATEMENT

The idea is to generate a design which caters to the need of installing a seating element in the abundant green lawns of the Eames plaza. To kick start the process, what would have been better than taking inspiration from Charles Eames, the man himself. Eames’ ideaology was to always satisfy the need of the situation. So, the concept is to design an outdoor bench which would not only serve as a seating element, but would also serve as a place for interaction and rejevunation. Further, to compliment the design, the inspiration of its form is taken from the logo of NID itself.

Language of Charles Eames

-Charles Eames

Diya Chhaniyara UG190435

Deciphering Design Language of Charles Eames Exercise

Eames used soft curves in majority of his designs.

furnitures he designed had careful and measured curves.

Use of minimum material and elements define such an approach.

the primary condition for . -Charles Eames of Form and

Diya Chhaniyara UG190435

Deciphering Design Language of Charles Eames

Final Design Exercise Research II

Charles Eames used soft curves in majority of his designs.

• The furnitures he designed had careful and measured curves. Use of minimum material and elements define such an approach.

Eames’ design idealogy majorly revolved around the fact that the design must be need based. Beauty of the design did not matter to him; he prioritised the function of it. He focused on function as a criteria over any other aspect.

Eames believed in using the materials in their truest form. He believed that cladding materials one over the other was similar to disrepecting the field. All of his designs have materials being used in their purest form.

Polyurethane

Charles Eames’ designs follow a certain type of geometry. All of his designs are vertically symmetrical in appearance. The ratio of back rest to the seat is constant in all of the chairs designed by him.

The style of Eames depended heavily on the need of designing any product. He focused on the function of the design rather than the beauty of it. His approach was to fulfill the requirements/needs of the situation and the user.

The Eames house is an avid architectural example of designing a space exactly as per the

‘Recognizing the need is the primary condition for . -Charles Eames

CEPT University Faculty of Design Elements of Form and

Deciphering Design Language of Charles Eames Final Design Exercise Research II

HONESTY

Charles Eames used soft curves in The furnitures he designed had careful Use of minimum material and elements

Eames’ design idealogy majorly revolved design must be need based.

Beauty of the design did not matter of it. He focused on function as a criteria

Eames believed in using the materials

He believed that cladding materials to disrepecting the field. All of his designs have materials being

Charles Eames’ designs follow a certain type of geometry. All of his designs are vertically symmetrical in appearance. The ratio of back rest to the seat is constant in all of the chairs designed by him.

The style of Eames depended heavily on the need of designing any product. He focused on the function of the design rather than the beauty of it. His approach was to fulfill the requirements/needs of the situation and the user.

EAMES HOUSE The Eames house is an avid architectural example of designing a space exactly as per the needs of the user. The number of elements used in the house are not more than what is required. Eames designed the space in such a way that it caters to the need of living, working and nothing else.

EAMES PLASTIC CHAIR

‘Recognizing the need is the primary condition for design’. -Charles Eames

DESIGN DEVELOPMENT CMF- C OLOUR M ATERIAL F INISH COLOUR

The idea is to use the materials in their honest form so as to retain the original visual characteristics of the materials used. The colour of both, the concrete blocks and the steel rods would be Grey

FINAL CONCEPT

The journey of designing a outdoor bench began with research on a given personality. Decoding their design language was the primary aim of the exercise. Form explorations and generating different concepts were the principles which followed next. What was important was the fact that the finalised concept is conveyed in the best possible manner. Looking back at the previous exercises, they add a lot of value to the final form generation process. Generating a spectrum of 2-dimensional and 3-Dimensional forms aided the thinking process and helped us visualise their behaviour and appearance in a better way.

MATERIAL AND FINISH CONCRETE

RESPITEOutdoor bench CONTEXT RENDER

STEEL RODS The two blocks would be made of precast concrete whereas the rods used for holding the concrete blocks together, would be made of steel

CEPT University Faculty of Design

Elements of Form and Space Studio BD 2004

Ideation & Development

Final Design Exercise

Diya Chhaniyara UG190435

DESIGN JOURNEY 3- DIMENSIONAL RENDERS

AND LEISURE in people’s life apart from the functionality, as an add-on to the designs.

Memphis was a reaction to the BORING, MONOTONOUS AND ALIKE DESIGNS from modernist era.

The name Memphis came from BOB DYLAN’S ‘THE MEMPHIS BLUES

It

the whole product.

MAZORTAL by Isha Shah

Product: Partioning System | Context: FD Building Double-Height, CEPT University Design Inspiration: Memphis

The Memphis style was inspired by ART DECO, 50’S KITSCH STYLE AND 80’S POP ART. The designs were highly POST MODERNIST breaking the visual boredom, monotony and similarity in the attributes.

Connecting ART DECO, 50’S KITSCH STYLE AND 80’S POP ART with Memphis, some points were deciphered like repetition of similar elements with slight modification, combination of plain colours and patterns and maximalist approach but in a logical way.

-BRIGHT, FLASHY and PLAIN colors without any shades or tints colors -PRIMARY and WACKY forms and shapes -PATTERNS, SQUIGGLES and ZIGZAGS without any part overpowering the other part -Materials like

Harmony was achieved by putting different elements facing all the different directions such that it felt like there was a never ending loop of rhythm.

CONCEPT STATEMENT

PROBLEM STATEMENT

REDUCTION IN OVERPOWERING ELEMENTS THROUGH PATTERNS

Many of the forms had a bulky base which would overpower the whole product. So, to avoid that, patterns were used in that area making it look less heavy.

In the double height of FD building, there is a partition between a ‘Jail like’ feeling while sitting in the studios or moving around are not willing to sit in that studio area. Thus, there is a need to get rid of such design and introduce building. There is a need of something that not only acts as

CONCEPT STATEMENT

the

PROBLEM STATEMENT

In the double height of FD building, there is a partition between the studio and semi-open open space. Due to heavy linearity and lesser space between the linear elements, students get a ‘Jail like’ feeling while sitting in the studios or moving around in that area as shown in deconstruction of product graphical representation. As a result, the users that are the students are not willing to sit in that studio area. Thus, there is a need to get rid of such design and introduce an interactive semi-open partition which generates some kind of excitement and playfulness breaking the monotony of the building. There is a need of something that not only acts as partition but also has multiple functions so that the users would be interested in more and more interaction with the space

CONCEPT STATEMENT

The Concept is to generate excitement, playfulness, leisure with an element of surprise and break the monotony of the space through introduction of playful geometry and colours. To satisfy these needs, what better option than taking inspiration from Memphis group from 1980s. Memphis’ design style satisfies the overall need of introduction of playfulness. So the concept is to design a partition solving the current problem alongwith being able to be more functional by not just limiting itself to bifurcate the spaces. For this, inspiration from Memphis patterns is taken which is further modified according to the need and functions like display rack for models, writing board, projector screen and sitting tools are added to the element.

DIVA MIRROR BY SOTTSASS

BEL AIR CHAIR BY PETER SHIRE

TAHITI LAMP BY ETTORE SOTTSASS

OCEANIC TABLE LAMP BY MICHELE DE LUCCHI FLAMINGO SIDE TABLE BY MICHELE DE LUCCHI

ASHOKA LAMP BY ETTORE SOTTSASS

LADOGA VASE BY MATTEO THUN

LAUREL TABLE LAMP BY PETER SHIRE

HARMONY

POLAR SIDE TABLE BY MICHELE

CASABLANCA CABINET ROYAL SOFA

AGAIN’.

focused on creating BRIGHT, COLORFUL AND INNOVATIVE designs with the post Modernist effect.

like interior design, set design, sports product design, Bikoff for Kips Bay Decorator Show house,

designed by Alessandro Mendini, Apparel design for Dior popular examples of Memphis influenced designs in 1980s

Skate Deck by Supreme Dior Autumn collection 2011

DIVA MIRROR SOTTSASS

THE ICE CUBE by Suhani Nathan Product: Table + Seating System | Context: Office Canteens Design Inspiration: Philippe Starck

Concept statement

While designing the product the inspiration was taken from the design language of Philippe Starck, which is the use of transparency which gives a modern feel to space, need-based design, and cantilever furniture with minimal elements. The design of the furniture for AN office canteen is such that it saves space as it can be assembled INTO A SINGLE UNIT when not needed, it does not crowd the space as the transparency of the material makes it practically invisible AND TAKES UP LESS VISUAL SPACE.

problem statement

The intent was to design furniture for an office canteen which can be assembled in such a way that saves space and as a result creates a differentiation between work and leisure time. the material used was polycarbonate which is a transparent material. Transparency gives a sense of openness to the room and permits light to flow through the space. Having units of the furniture in different colors around the canteen will bring a sense of playfulness to the space. And an interesting play of light and shadow.

Detail development

an office canteen which can space and as a result creates a leisure time. the material used was material. Transparency gives a permits light to flow through the different colors around the playfulness to the space. And an intresting

furniture for an office canteen which can saves space and as a result creates a and leisure time. the material used was transparent material. Transparency gives a and permits light to flow through the furniture in different colors around the playfulness to the space. And an intresting

CEPT University Faculty of Design

Detail development

problem statement

EXPLORATIONS FOR SEAT REINFORCEMENT

Elements of Form and Space Studio BD

2004

PROCESS

problem statement

The intent was to design furniture for an office canteen which can be assembled in such a way that saves space and as a result creates a differentiation between work and leisure time. the material used was polycarbonate which is a transparent material. Transparency gives a sense of openness to the room and permits light to flow through the space. Having units of the furniture in different colors around the canteen will bring a sense of playfulness to the space. And an intresting play of light and shadow.

Process model

QUIRKY SHAPES

Detail development

EXPLORATIONS FOR SEAT REINFORCEMENT

The intent was to design furniture for an office canteen which can be assembled in such a way that saves space and as a result creates a differentiation between work and leisure time. the material used was polycarbonate which is a transparent material. Transparency gives a sense of openness to the room and permits light to flow through the space. Having units of the furniture in different colors around the canteen will bring a sense of playfulness to the space. And an intresting play of light and shadow.

Process model

Detail development EXPLORATIONS FOR SEAT REINFORCEMENT

CEPT University Faculty of Design Elements of Form and Space

Polycarbonate

SUAVE SLENDER SEATING ARTEFACT

by Vaishnavi Borkar

Created

FINAL PROJECT- RESEARCH

INFERENCES

Forms

DESIGN PHILOSOPHY

He included bright color pallette in his works as he believed that use of bright colours made people feel better and be more active and enthusiastic.

Aalto was highly inspired by the nature and implied natural elements as organic forms in his design. He derives the aesthetic character from the relationship with their natural surroundings, scale, unique treatment of materials and natural lightings.

DESIGN LANGUAGE

‘Aalto’ means ‘wave’ in Finnish. It was only natural that the wave would become his signature. building a complete environment to be experinced by its users through all their senses. In most functionally convincing, even inevitable, consequence of all of its disparate origins.

MATERIAL

To create a sense of warmth humility in design that creates a connection between the man buildings and nature. Birch wood was used by laminating and gluing technology to create organic forms. Aalto’s architecture is distinctively Finnish, strongly individual, and marked by a warm humanity. His buildings derive their aesthetic character from their dynamic relationship with their natural surroundings, their human scale, superbly executed details, unique treatment of materials, and ingenious use of lighting.

In the most of designs it appears as both an aesthetically and functionally convincing, even inevitable, consequence of all of its disparate origins.

Concept Statement: The main idea is to design a minimalistic comfortable seating artefact for the space around library and SID plaza. The idea is to create a seating which can be used by stundents or faculty anytime for relaxation, working outdoor for refreshment, interaction, sometimes for organsing events and many other purposes. This seating is de signed inspired from a famous Finnish architect and designer Alvar aalto. His overall design language and material palatte closely resembles with this context and its purpose.

Concept Statement: The main idea is to design a minimalistic comfortable seating artefact for the space around library and SID plaza. The idea is to create a seating which can be used by stundents or faculty anytime for relaxation, working outdoor for refreshment, interaction, sometimes for organsing events and many other purposes. This seating is de signed inspired from a famous Finnish architect and designer Alvar aalto. His overall design language and material palatte closely resembles with this context and its purpose.

The streamlined design creates a sense of warmth humility that minimalistic design approach sense of emotions that connects with the user. Some designs are purposely left unfinished to develop Aalto's design has influenced the audience's visual aesthetics and perception experience with and scene atmosphere.

Problem Statement: In campus, spaces are crowded and occupied which is the niche kind of building. These spaces are people and litered sometimes, around library unpleasant.

Concept Statement: The main idea is to design a minimalistic comfortable seating artefact for the space around library and SID plaza. The idea is to create a seating which can be used by stundents or faculty anytime for relaxation, working outdoor for refreshment, interaction, sometimes for organsing events and many other purposes. This seating is designed inspired from a famous Finnish architect and designer Alvar aalto. His overall design language and material palatte closely resembles with this context and its purpose.

The courtyard at Aalto’s own summer (‘experimental house’, 1953) at Muuratsalo has monumental and rustic, formal and playful, open and closed attributes.

Problem Statement: In campus, during lunch time all spaces are crowded and occupied by students. One of which is the niche kind of space at exterior of library building. These spaces are constantly occupied by people and litered sometimes,

Problem Statement: In campus, during lunch time all spaces are crowded and occupied by students. One of which is the niche kind of space at exterior of library building. These spaces are constantly occupied by people and litered sometimes, that makes the space around library unpleasant.

Dynamic curves: A sequence different radii.

The

that makes the space around library unpleasant.

Sovey vase Arm chair

Pendant light Cantilever chair

Ash wood

Birch wood Juxtaposted Concrete Tubular Steel Bricks

way light is reflected and refracted by the glass surfaces to generate new patterns that add to the aesthetic pleasure.

Repetition: Repeatation of similar into distinct segments.

are derived from simple geometry that has an elemental power.Three dimensionally curved designs that are both ergonomic and highly comfortable.

fluid qualtiy and glass than lamella).

“Beauty is the harmony of purpose and form” Alvar Aalto is Finnish architect and designer known for his own unique style of modernism focusing on local materials and functionality. His works mainly include architecture, town plans, furniture design, glassware designs,

3D RENDERS

SIDE ELEVATION

AND JOINARIES

seating artefact is designed for the SID plaza space around library students and faculties leisure and various different purposes. This bench is designed by minimalistic approach comfort of the user. use to material in its way creates a natural essence that connects the user with nature and its surrounding place. Moreover, this is a two seating artefact designed its universal use according to its context.

SECTION AA’

This seating artefact is designed for the SID plaza and space around library for students and faculties for leisure and various different purposes. This bench is designed by minimalistic approach and comfort of the user.

The use to material in its own way creates a natural essence that connects the user with nature and its surrounding place.

Moreover, this is a two seating artefact designed for its universal use according to its context.

SIDE ELEVATION

This seating artefact is designed for the SID plaza and space around library for students and faculties for leisure and various different purposes. This bench is designed by minimalistic approach and comfort of the user. The use to material in its own way creates a natural essence that connects the user with nature and its surrounding place. Moreover, this is a two seating artefact designed for its universal use according to its context.

SECTION AA’

EXPLODED VIEW

This seating artefact designed for and space around for students for leisure and different purposes. bench is designed minimalistic and comfort

The use to material own way creates natural essence connects the nature and its surrounding Moreover, this seating artefact for its universal according to

INDUSTRIAL DESIGN

DESIGN IDEOLOGY

Loewy, began his career shortly thereafter, moved into everyday products like crockery to machinery like refrigerators. He practically but he has also designed principle - Most that “The adult public’s logical solutions to their departure from what the norm.” His writings Industrial Design, and his 1951 Alone.

Loewy, began his career thereafter, moved into everyday products like to machinery like refrigerators. He practically he has also designed principle - Most “The adult public’s logical solutions to their departure from what norm.” His writings Design, and his 1951

and World War II, the a new century, free of past. As the aircarft was found it so attractive and as thier inspiration. After came forward and coined Loewy was one of the Raymond Loewy’s designs started to include streamling eleminating sharp corners, is. Even the smallest sharpner and the largest were inspired from the style in which he excelled. beauty through the use shaped modern industrial of his work permeated

World War II, the new century, free of past. As the aircarft was so attractive and thier inspiration. After forward and coined was one of the Raymond Loewy’s designs to include streamling eleminating sharp corners, Even the smallest sharpner and the largest were inspired from the which he excelled.

beauty through the use modern industrial his work permeated

PROBLEM STATEMENT

M.A.D. Tomato’s (S.G. Highway branch) has an interior inspired by American designs. The interior and the furniture is dominantly based on the kind of diners we see in America intergrated with a touch of modern design. The existing bar section within the restaurant still looks a little excluded from the rest of the interior, being more retro than being modern-integrated-retro. Thus, there is a need to make the bar section, or the stool to be precise, more appropriate to its background which would not only merge with the interiors but would also generate the ambience more accepting. The need of it being modern and yet very familiar for the rightness of it to fit in place.

PROBLEM STATEMNET - M.A.D. Tomato’s (S.G. Highway branch) has an interior inspired by American designs. The interior and the furniture is dominantly based on the kind of diners we see in America intergrated with a touch of modern design. The existing bar section within the restaurant still looks a little excluded from the rest of the interior, being more retro than being modern-integrated-retro. Thus, there is a need to make the bar section, or the stool to be precise, more appropriate to its background which would not only merge with the interiors but would also generate the ambience more accepting. The need of it being modern and yet very familiar for the rightness of it to fit in place.

PROBLEM STATEMNET - M.A.D. Tomato’s (S.G. Highway branch) has an interior inspired by American designs. The interior and the furniture is dominantly based on the kind of diners we see in America intergrated with a touch of modern design. The existing bar section within the restaurant still looks a little excluded from the rest of the interior, being more retro than being modern-integrated-retro. Thus, there is a need to make the bar section, or the stool to be precise, more appropriate to its background which would not only merge with the interiors but would also generate the ambience more accepting. The need of it being modern and yet very familiar for the rightness of it to fit in place.

CONCEPT STATEMENT

CONCEPT STATEMENT - The concept is to generate a very humble, classic and simple modern design with an element of familiarity for the users to accept, connect and relate with it, and what better than taking inspiration from Raymond Loewy’s style of design. His design style would not only serve these needs but would also give full justice in making the Americana inspired restaurant more modern and yet acceptable to its user. The Concept is to make a bar stool for M.A.D. Tomato’s restaurant, where the term MAD stands for Modern American Design, which is more functional rather than being just aesthetically good. For this, inspiration from Raymond Loewy has been taken who once, changed the entire face of America by his designs. The inspiration was then modified according to the function and need of the product.

CONCEPT STATEMENT - The concept is to generate a very humble classic and simple modern design with an element of familiarity for the users to accept, connect and relate with it, and what better than taking inspiration from Raymond Loewy’s style of design. His design style would not only serve these needs but would also give full justice in making the Americana inspired restaurant more modern and yet acceptable to its user. The Concept is to make a bar stool for M.A.D. Tomato’s restaurant, where the term MAD stands for Modern American Design, which is more functional rather than being just aesthetically good. For this, inspiration from Raymond Loewy has been taken who once, changed the entire face of America by his designs. The inspiration was then modified according to the function and need of the product.

The concept is to generate a very humble, classic and simple modern design with an element of familiarity for the users to accept, connect and relate with it, and what better than taking inspiration from Raymond Loewy’s style of design. His design style would not only serve these needs but would also give full justice in making the Americana inspired restaurant more modern and yet acceptable to its user. The Concept is to make a bar stool for M.A.D. Tomato’s restaurant, where the term MAD stands for Modern American Design, which is more functional rather than being just aesthetically good. For this, inspiration from Raymond Loewy has been taken who once, changed the entire face of America by his designs. The inspiration was then modified according to the function and need of the product.board, projector screen and sitting tools are added to the element.

PRAGMATIC REQUIREMEST - The colour combination of red and metallic that as been created in M.A.D. Tomoato’s. The use of metal as stand or legs

INDUSTRIAL DESIGN EVERYTHING!

LOEWY’S

LOEWY’S DESIGN IDEOLOGY

REQUIREMENT - The colour red provokes the kind of vibe for American setup, is red therefore it kind of connects with us instantly. As the colour of the material and that adds to the vibrance of the surrounding. The PU foam being lightweight makes the overall product visaully accepting. Vinyl leather being durable would last longer and thus adds to the emotional 25 mm cold rolled steel tube 1.2 mm thick

Polyurethane (PU Foam) Cardinal Vinyl leather seat

- This exercise we chose to work on. to have the eye to understand has a time limit, it could also important to stop part. Developing designs. Raymond Loewy style light. Going back to different forms but also appealing, helped a to be taken care of product. Appropriate the entire look of the neededd to be taken To conclude, many interesting, frustrating,

This exercise started with the we chose to work on. Research came into to have the eye to understand the works has a time limit, it could go on as much as also important to stop researching and start part. Developing designs. Developing them Raymond Loewy style but also how we (as light. Going back to the previous exercises different forms but also manipulating them appealing, helped a lot throughout this final to be taken care of as well, one of the important product. Appropriate and suitable materials the entire look of the design. Just like materials, neededd to be taken under consideration. To conclude, many new things came in light interesting, frustrating, beautiful and exciting.

“order

THE TWISTED EDGE by Archi Shah

Design Influences and Inspirations

Frank Gehry is a Canadian- American architect, considered to be one of the most influential architects of the late 20th century. He studied at the University of Southern California and Harvard University.

He is famous for his deconstructive style. His buildings represent a conjunction between “stillness and motion”, and “order and disorder”.

Inspired by fish, he wants to express emotions through curves with the use of inert material creating a sense of movement. This philosophy connected him more with artists than with other architects.

Assemblage of Solids

Material Palette

Use of metal cladding

Sharp and acute angles

Movement in Stillness

SITE ANALYSIS

Context

Use of sophisticated materials like glass and wood

Conclusion

Frank Gehry’s forms are twisted and curvilinear in nature with sharp and acute angles.

He believes that curves transmit emotions that humans can connect to. His curvilinear forms were best expressed with the use of inert materials like stainless steel and titanium who’s glossy surface reflects light making the building look dynamic. He wanted to create a play between stillness and motion through his forms and unusual choice of material.

Gehry looks at the world like a collision of thoughts that are adequately expressed through neat clean shapes of modernism. Hence, his buildings look like an assemblage of solids. He tries to express emotion through his work. His buildings look foreign but also have a sense of belongingness. He is very sensitive about site context and it’s surroundings.

Movement, emotion, and unusual material are lifelong themes of Frank Gehry.

Problem Statement

Concept Statement

The

Conclusion

Frank Gehry’s forms

He believes that curves forms were best expressed titanium who’s glossy wanted to create a choice of material.

Gehry looks at the through neat clean of solids. He tries also have a sense surroundings.

Movement, emotion,

Zen Cafe located a center of attraction by various colleges, generally come The cafe uses for the customers. wire mesh chairs parallel through beside each other to have a conservation

better permanent sitting space which is more have a rather exciting product that is aesthetic cafe.

Concept Statement

The form of the ‘Twisted Edge’ is inspired by the and curvilinear in nature, creating a sense of movement seating is to create the same sense of movement The fluidity of the form breaks the monotonous harmoniously celebrates its context, purpose, on its function and experience. Inspiring from functional surface rather playful. The concept was kept in mind while dividing the form into parts visually and aesthetically balances with space

Design Influences and Inspirations

Art by

FRANK GEHRY

assemblage of solids. He tries to express emotion through his work. His buildings look foreign but also have a sense of belongingness. He is very sensitive about site context and it’s surroundings.

Movement, emotion, and unusual material are lifelong themes of Frank Gehry.

Conclusion

Context

Problem Statement

Zen Cafe a center by various generally The cafe for the wire mesh parallel beside to have better permanent sitting space which have a rather exciting product that is cafe.

form of the ‘Twisted Edge’ is inspired and curvilinear in nature, creating a sense seating is to create the same sense of The fluidity of the form breaks the monotonous harmoniously celebrates its context, purpose, on its function and experience. Inspiring functional surface rather playful. The concept was kept in mind while dividing the form visually and aesthetically balances with

Southern California and Harvard University.

He is famous for his deconstructive style. His buildings represent a conjunction between “stillness and motion”, and

and disorder”. Inspired by fish, he wants to express emotions through curves with the use of inert material creating a sense of movement. This philosophy connected him more with artists than with other architects.

Art by Rauschenberg inspired Gehry House

Regatta inspired Foundation Louis Vuitton

Frank Gehry’s forms were highly inspired from fish and sculptures in order to capture a sense of movement and emotions. His forms expresses emotions, which humans can connect to.

Sails inspired Walt Disney Concert Hall

Berini’s sculpture inspired Beekman Tower

Stainless steel cladding was done on Walt Disney Concert Hall. The glowy surface under the light creates a sense of movement along the curves.

Silver titanium cladded Guggenheim Museum changes its colour under the sun.

Use of sophisticated materials like glass and wood

Glossy metal surface of Frederick Weisman Museum of Art under the sun.

Change in color of the surface with change in angle of light.

The IAC Building has glass, concrete and steel facade.

Foundation Louis Vuitton is constructed with billowing, soaring glass and wood.

Sharp and acute angles

The IAC Building has glass, concrete and steel facade.

Foundation Louis Vuitton is constructed with billowing, soaring glass and wood.

Curvilinear and twisted forms

Surrounded campus beside the campus, in the Gufa is an outdoor

Stillness

with sharp and acute angles. connect to. His curvilinear like stainless steel and building look dynamic. He through his forms and unusual

adequately expressed buildings look like an assemblage buildings look foreign but about site context and it’s

themes of Frank Gehry.

Context

Surrounded by lush greenery, Zen cafe is located on the campus of CEPT University, Ahmedabad. It is an open cafe just beside the entrance of the campus. The built space follows the language of exposed brick and concrete throughout the campus, juxtaposed with the Gufa in the center. Shining bright in the afternoon sun like a collection of shells, the facade of Gufa is cladded with China mosaic on ferrocement. The Gufa is an underground art gallery and surrounded by indoor and outdoor exhibition space.

The Twisted Edge Final Design Exercise

Problem Statement

Zen Cafe located on the campus of Ahmedabad ni Gufa, the place is a center of attraction for youngsters and art enthusiasts. Surrounded by various colleges, the place is often crowded in the evening. People generally come in groups of 3- 5 to relax and spend time with their friends. The cafe uses brick ledge and concrete tables as permanent sitting space for the customers. When the place is crowded, they use wooden chairs and wire mesh chairs as a part of the temporary setup. The brick ledge runs parallel through the existing built structure. As a result, users have to sit beside each other which doesn’t give enough privacy and is uncomfortable to have a conservation with the other person. Thus, there is a need for a better permanent sitting space which is more organized. Keeping user group in mind, it would be nicer to have a rather exciting product that is aesthetic and balances between the visual language of Gufa and the cafe.

Concept Statement

The form of the ‘Twisted Edge’ is inspired by the work of architect Frank Gehry. His buildings are twisted and curvilinear in nature, creating a sense of movement in the form. The concept behind designing the seating is to create the same sense of movement which also compliments the Gufa and its surrounding. The fluidity of the form breaks the monotonous verticality of the exposed brick structures and harmoniously celebrates its context, purpose, and function. The site is divided into different levels based on its function and experience. Inspiring from that, the seating also has a subtle level difference making the functional surface rather playful. The concept of the assemblage of solids seen in Frank Gehry’s buildings was kept in mind while dividing the form into parts to make it look interesting. The form of the seating visually and aesthetically balances with space and functionally severs its purpose.

Analysis & Interpretation Problem & Concept

CEPT University Faculty of Design

Initial Explorations

Materials Present in

Design Development

PROCESS AND DESIGN DEVELOPMENT COLOR MATERIAL FINISH

The initial explorations were done to find fluidity and movement in the forms. Fish is the main inspiration for Frank Gehry, he believed that the form of fish has a sense of movement in it which inspires emotion. Hence, the chosen form has an abstract representation of fish.

Initial Explorations

The initial explorations were done to find fluidity and movement in the forms. Fish is the main inspiration for Frank Gehry, he believed that the form of fish has a sense of movement in it which inspires emotion. Hence, the chosen form has an abstract representation of fish.

Design Development

Materials Present in the Context

COLOR MATERIAL FINISH

- White polished concrete, teak wood and reinforced bars are used to make the seating.

- White concrete maintains the material palette and balances the visual language of the space - Wood adds the natural essence to the seating.

Finish and Details

- Smooth polished concrete surface which reflects sunlight in the day time adding a sense of movement in the form.

- Teak wood oil finish is applied on the wooden surface to prevent it from turning into grey when

White concrete

- White polished concrete, teak wood make the seating.

- White concrete maintains the material language of the space - Wood adds the natural essence Finish and Details

White concrete

- White polished concrete, teak wood make the seating.

- White concrete maintains the material language of the space - Wood adds the natural essence Finish and Details

China Mosaic Exposed

Grey concrete

Rose wood Mahogany wood

Material Palette

Exposed brick and concrete Grey concrete

Rose wood Mahogany wood

Material Palette

Exposed brick and concrete

PROBLEM STATEMENT

Partitions are used in large open spaces to define a function and visually or auditory separate smaller spaces. Often, partitions used in libraries and reading rooms use an opaque material that completely blocks any visual and makes the space seem small and constricting; such spaces would also require its own light source contributing to higher energy usage. Alternatively, partitions also use transparent material like glass that fails to give any privacy or comfort.

CONCEPT STATEMENT

The proposed partition provides a system that is lightweight & porous with appropriate use of transparent and translucent material. It can be easily assembled and disassembled and is available in various configurations of modules. It allows breathable, light spaces that, while creating internal, private areas and preserves the sense of having an intimate reading environment which isn’t disconnected from the larger space of the library. It allows interaction and activity.

Maitreya

PROBLEM STATEMENT

While researching, as a monotony was seen in terms of overall design and thus, the need for a visual and aesthetic overhaul of the product which makes a statement and grabs attention was the aim of the project.

JOURNEY

Our journey was from dot, then to lines then to planes, and then seeing the planes turn into solid and then manipulating the solids using various tools now we are acknowledged with like radii manipulation. The visualization of form and how to appreciate good form was learned during this studio.

CONCEPT STATEMENT

We established a few insights and key takeaways from the research part of the process and derived upon the idea of sculptural aesthetic, inspiration from nature, streamline designs. I wanted to add the idea of seamlessness and exaggeration of the forms and curves into the design of a traditional hanging swing and went on developing the idea through the visual language and materials through the lens of Luigi Colani.

rough, woody

rough, woody

Lavender (Pantone 665 C, Hex C6BBCE): subtle. elegant

sturdy, solid

Lavender (Pantone 665 C, Hex C6BBCE): subtle. elegant

Grey 3 (Pantone 656 C, Hex BCC4D0): ambigious, soft

sturdy, solid

Wood (Linear, Planar): lightweight, rough, textured

Grey 3 (Pantone 656 C, Hex BCC4D0): ambigious, soft

Glass (Planar): light, clear

Shoji paper: Basic Professional mm thickness, 48% Light permeation

Wood (Linear, Planar): lightweight, rough, textured

Stained, preserve

Glass (Planar): light, clear

Shoji

Wood:

Model to demonstrate differnt material qualities

Perforation pattern for metal sheet derived from the original geometry Renders with different material and colour palettes

Perforation pattern for metal sheet derived from the original geometry

This seating artefact is designed for the SID plaza and space around library for students and faculties for leisure and various different purposes. This bench is designed by minimalistic approach and comfort of the user. The use to material in its own way creates a natural essence that connects the user with nature and its surrounding place. Moreover, this is a two seating artefact designed for its universal use

BD2004

Elements of Form and Space

Studio Booklet Academic Year 2020 - 2021

Tutors: Gaurang Shah and Amal Shah

Studio Assistant: Shikha Mehta