Thesis|Technology and Tectonics: A study into the impact of Production Processes in Interior Design by Shikha Mehta

Technology and Tectonics A study into the impact of Production Processes in Interior Design

By Shikha Mehta Faculty Of Design | CEPT University Bachelor of Interior Design Undergraduate Thesis | 2020

Guided by Prof. Amal Shah

FACULTY OF DESIGN Student Name & Code : Thesis Title

Shikha Mehta (UI3815)

into thethe : Technology Technology and and Tectonics: Tectonics : A Anstudy inquiry into impact of Production Processes relevance of production processesininInterior Interior Design Design

APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted. It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Name & Signature of the Guide

WWW.CEPT.AC.IN

Dean, Faculty of Design

T +91 79 26302470 F +91 79 26302075

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Shikha Shikha Mehta Mehta (UI3815) UI3815

Student Name & Code No:

Signature of student:

May 2nd, 2020

Date:

Dedicated to the School of Interior Design, CEPT University

Acknowledgments I would like to thank my guide, Mr. Amal Shah for his constructive feedback and constant support in my interests and work. The topic had originally formulated from his lectures and the thesis would not have been possible without his consistent presence, inputs and imagination. I would like to express my gratitude towards Krishna Shastri Maâ&#x20AC;&#x2122;am for opening my eyes towards the magical potential of the field at the onset of my academic life and developing my creative imagination. I have learnt to dream because of it. I thank all my professors through the years as they, have in one way or another contributed to this piece of work by their teachings. A major acknowledgment to my Batch of 2015, for their support, amazing memories that I will cherish all my life, and for having given me a beautiful family away from home, forever. This entire journey would not have been possible without the support and love acquired from wonderful friendships. To the amazing group of Lights-Camera-Action for their support, encouragement, constant companionship and all the happiness they caused every on workday. To Shail, whose constant presence, confidence, belief and support for me, and the inputs and discussions on my work have been immeasurable and I cannot convey my thanks enough for it. The thesis is credited to my parents for their immense support, love, confidence in me, for being a source of inspiration for dedication and hard-work and for teaching me all that I know and all that I am today. To my sister Shivani for her constant love and support, being there for everything and basically, just existing in my life. Didi, this one is for you. ...

This work would not have been possible without the numerous pieces of literature by the authors on various topics that helped broaden my mind and knowledge and will hopefully, stay with me for life. To CEPT University for providing me with the ability, platform, and teachings to produce this work. 7

Contents

Introduction

1.1 1.2 1.3 1.4 1.5

Abstract Aim, Objectives, Scope and Limitations, Overview Broader Scope and Research Methodology Significance of Study Literature Review

11 13 14 19 20

Interior Design Tectonics

2.1 2.2. 2.3 2.4 2.5

Technology and Techniques Techniques of Production Techniques of Construction Defining Tectonics in Interior Design Co-relation between Technology, Tectonics, Production and Construction in Interior Design

28 35 41 44

Tectonics and Interior Design

3.1 3.2 3.3

Geometry and Generation Matter and Articulation Operation and Production

54 60 64

Cross-Industry Model of People-Process-Technology for Interior Practice

4.1 4.2 4.3 4.4

People and Practice Process and Design Process Technology and Production People - Process - Technology Model and Interior Design

72 73 74 75

Theoretical Frame-work

5.1 5.2 5.3

Case-Study Methodology Quantifying Novelty in Interior Tectonics Criteria for selection of case-studies

81 82 83

Case-studies

STAGE I

6.1

CASE-STUDY 01 Georges Cafe, Paris by Jakob+MacFarlane

6.2 6.3 6.3.1

Mapping Novelty in Tectonics Application of Methodology and Framework Inferences and Verification of Framework

106 108 110

STAGE II

6.4

CASE-STUDY 02 Norwegian Reindeer Pavilion, Norway by SnÃ¸hetta

114

6.5

CASE-STUDY 03 G.C. Prostho, Japan by Kengo Kuma

136

6.6

STAGE III CASE-STUDY 04 Cardboard Cafe, Mumbai

158

Conclusion

179

7.1 7.2

PART I - Quantification of Novelty in Tectonics PART II - Relevance on Interior Design Field

182 192

Glossary of terms Bibliography Image Credits

208 210 215

Abstract The study aims to understand the potential, possibilities and manifestation of the application of Technology on interior design through Interior Practice and by the emergence of Novel /New Tectonics generated in the synthesis. The research categorizes Geometry, Matter and Operation as factors integral for tectonic manifestation in Interior design. To apply factors of Interior Practice for setting up its relevance on the Novel Tectonics, the Industrial production improvement model of People - Process - Technology has been adapted and applied in the framework. The research investigates through the established framework, the corelations and inter-dependencies of these multiple parameters to generate deeper insights and conclude with an attempt to quantify the factor of Novelty in Interior Tectonics. The study hence generates a reading into the wider implications of application of technology and production processes on the Interior Design Field, Practice, Tectonics, and the potential for tectonic novelty it provides.

Overview Technological advancements are continually leading to accomplishments, innovation and hence change across all sectors of business and society. The speed of this evolution is now fast increasing in the 21st century. Innovations in the industrial and digital fields through the ages have had an impact on the architectural design field under improvements in the techniques of making. The Industry has affected other sectors through an increase in productivity, by speed and quantity, decrease in labour, targeted towards more economic profit gains. It, ofcourse, like any other form of technology, has its de-merits. Mechanized production has lowered the use and beauty of handwork in crafts and artworks. However, the positives and advantages are keeping the production processes in much use across the field of architecture as well as interiors. The potential of the production processes has been augmented by digital and production technology. Their joint scope has huge implications for the field. The technology of making is changing the face of the field, quite literally. Mass production, mass customization, pre-fabrication is being used to produce interior products in vast quantities. The thesis aims to investigate the relevance of using production processes in interior practice through its impact on interior tectonic. It investigates whether the changing techniques of making are producing New Tectonics and how. To do so, the research analyzes multiple factors that impact use of production processes and technologies, establishes cross-links and interdependencies to establish the relevance of the processes in the interior design practice through the factor of Novelty in Interior Tectonics. The study on evolving design practices and their affiliations with industries become significant for study at the current time in the interior design field as it will be universally applicable to future practice. The readings from the research aim to supply a cohesive understanding of Interior Practice, application of technology and processes, and the resultant changing ways of working and functioning of the interior design field.

Aim An inquiry into the factor of Novelty in Interior Tectonics through the application of technology, production processes, Interior Practice, and the implication on Interior Design field.

Objectives • To construct and evaluate parameters of interior tectonic

that are affected by production processes, techniques, and concepts of technology.

• To construct and evaluate the parameters of Interior Design

Practice and production that contribute towards Novel Tectonics.

• To set up the co-relationships between Technology, Interior

Tectonics, production process and Interior Practice by evaluation of case-studies through established parameters.

• To synthesize a method of mapping the factor of the novelty of tectonics through established co-relations to Quantify it.

• To set up broader implications of technology on Interior

Design field and Practice through a shift in Interior Tectonics.

Scope and Limitations • The theoretical framework, resultant evaluation of casestudies and mapping of novel tectonics only addresses the established factors in the study.

• The case-study selection is primarily focused on

applications of technology and production processes based on parallel industries or craft in interior design to comprehend technology in its entirety and generate resultant readings. The selection furthers narrows on commercial interior settings. Focus casestudies were gathered without a limit to India.

• Outcomes and inferences of the evaluation and their

resultant readings are applicable only on selected casestudies. The readings on the tectonics of focus case-studies are based on an understanding of the design production process and understandably, not through visits.

• The study only focuses on technology and techniques of production and not on any tools of production.

• The study only focuses on the established factors of

elemental geometry, processes, materiality and not on spaceplanning, cost and other factors.

Concept of Production

Industrial processes

Application of Technology

BROADER STUDY AND CATEGORIES

Technology

Concept of Construction

Technique of Production

Interior Design

Geometry

Design Theory Literature Studies

- Atlas of Novel Tectonics, 2006 by Jesse Reiser

Matter

- Manufacturing Architecture, 2018 by Dana K

- Architecture in the Digital Age : Design, Production and Manufacturing, 2003 by Branko Kolaveric

Operation

Tectonics articulation of technique

Case Studies

s t h e drivi n

g d e si g n f o rc

(indicative)

Pre-assembled v/s Postassembled

Practice

C ES

Pre-fabrication

Assembly-based - On-site/ Off-site assembly Mass Production & Mass Customisation Concepts Manual v/s Automation StandardizationCustomization Simplicity v/s Complexity Production Speed, Volume Digitally-driven Ideology Digital Technology

Value of manual labour

Re-use

Transportation / Location Constraints

Transport- Assembly Disassembly

Environmental factors

Temporality

Local / Regional value

Flexibility

Speed

Space Inhabitation

Size/ Scale

Cost- Budget

CommunicationMeans, Speed

Fineness

Ease of Labour

Exploiting material potential New Materials Material decision as concept

Process

Consistency of Quality Standard/Ready products Availability

Ease and Speed of Execution/ Assembly

Technology

Precision - Uniformity

fo rce

Detailing

Novelty of Tectonics

Ease of Execution

High Quantity of Production Complexity of system/ Uniqueness of components

People

Interior Expression

sig n

ea a ctic

Spatial Quality / Experience/ Phenomenon Regional Difference

as ics n o t Tec

ng ivi r d the

Key-findings

Application of Technology

RESEARCH METHOD

Technique of Production

Technology

PART II

Technique of Construction

References

- Architecture in the Digital Age : Design, Production and Manufacturing, 2003 by Branko Kolaveric - Manufacturing Architecture : An Architectâ&#x20AC;&#x2122;s Guide to Custom Processes, Materials and Applications, 2018 by Dana K

Interior Design

Geometry

PART I

Matter References

- Atlas of Novel Tectonics, 2006 by Jesse Reiser - Studies in Tectonic Culture..., 1997 by Kenneth Frampton - Matter: Material Processes in Architectural Production, 2012 by Gail Peter Borden

Operation

Interior Tectonics articulation of technique

Wider Implications of Application of Technolo

References

-Off-site Production and Manufacturing for Innovative Construction, 2020 by Goulding -Prefab Architecture : A guide to Modular Design and Construction, 2010 by Smith

Inquiry into Novelty of Tectonics

PART III

Interior Design Practice

4. Cardboard Cafe, India by NUDES

3. GC Prostho, Japan by Kengo Kuma

Key-Findings

2. Norwegian Reindeer Pavilion by Snohetta 1. Georges Cafe, Paris by Jakob+Macfarlane

People PART IV

Process

Case Studies

Mapping Factor of Novelty of Tectonics

Technology

ogy on Interior Design Field and Practice

References

- Jacques Ellul and the technological society in the 21st Century, 2013 by Garcia - Technopoly : The Surrender of Culture to Technology, 1993 by N. Postman

PART V

Inferences and Conclusion

Research Methodology The study will initially focus on the evaluation and categorization of the many factors of Interior Tectonics that impact and are impacted by production processes. Literature studies are incorporated to ascertain and expand on the link between production processes and tectonics. The factors are derived from and learned by evaluation of architectural and interior design projects and by referring to research books on the subject. These factors and their parameters are analyzed and further taken to supply a frame-work for the evaluation of case-studies. The criteria for selection of the case-studies is Interior commercial projects with a factor of novelty/ innovation, brought about by the use of industrial/craftbased production processes (elaborated in Chp 5.3 Criteria for Selection of Case-studies). The case-studies are evaluated using an illustrative representation of diagrams, photographs, schematics, drawings to depict design process : the system of elements manufactured using industrial processes, 2D parts, 3D models, tectonic of the interior space, etc. The methodology involves an evaluation through theoretical framework prepared, that results in a culmination of co-relations of the multiple parameters of tectonics from readings based on documentation, information and understanding of case-studies from the point of view of the research scope. The framework is applied on factors of Geometry, Matter and Operation with the Interior Practice model of People-ProcessTechnology. Their inter-dependencies and co-relations are plotted, hence generating readings. The plotted co-relations set up a mapping of Novelty of tectonics in interior projects and result in its quantification. The quantification from the generated mapping can set up the relevance and validity of the use of technology and production processes in the interior field and provide a broader relevance of Interior Practice and the field in present and future times.

Significance of Study The research provides an overview on the intersection of Industrial and Interior design and its implications on tectonics, a topic less explored in the context of the interior design academic thesis/research for the audience of interior design students to gain knowledge and reference. The topic is a study on evolving design practices, and their affiliations with industries and hence is significant for study at the current time in the interior design field as it will be highly applicable and essential in the future for sensitive and appropriate use of technology as well as craft-based production. The research, with its established method can provide an initial framework for further detailed research on the multiple factors introduced and analyzed in the thesis and hence has considerable scope for future study and research, for the topics of interior tectonic shift, interior practice, concepts of production, and the interior design field as a whole.

Literature Review TECTONICS + TECHNOLOGY

Atlas of Novel Tectonics by Jesse Reiser (Reiser+Umemoto), 2006 TECHNOLOGY

Architecture in the Digital Age: Design and Manufacturing by Branko Kolaveric, 2003 Manufacturing Architecture : An Architectâ&#x20AC;&#x2122;s Guide to Custom Processes, Materials and Applications by Dana K. Gulling, 2018 TECTONICS

Towards an ecology of tectonics : The Need for Rethinking Construction in Architecture by William Beim, 2014 Studies in Tectonic Culture : The poetics of construction in nineteenth and twentieth century architecture by Kenneth Frampton, 1997 ... The specific pieces of literature are adopted to confirm and synthesize the link between technology (production processes) and tectonics in the realm of interior design. The literature looks upon production processes individually with insights on their specifications and their impact on produced elements. A reasonably broad overview of projects that have integrated industrial processes as a part of their design process and construction have been analyzed regarding the reasonings for the use of the specific processes. The writings say how technology can lead the design process and lead to innovation. The collaboration between architecture and manufacturing in the initial stages of the design process can significantly impact architectural innovation and the efficiency of the project. The intersection between design and technology has become the driving force behind the design process in the case of some firms and is leading to novelty in the field. The use of technology in terms of both digital and industrial production processes has led to a continuum between design and construction as the design can be directly translated to its production and hence, to its realization. â&#x20AC;&#x153;By using digital technologies it is now possible to 20

generate complex forms in novel ways and also to construct them within reasonable budgets..... with far greater facility and speed; in short, with the use of digital technologies, the design information is the construction informationâ&#x20AC;? (Kolaveric, 2003, p.10). The conceptions of geometry are changing. The beginning of non-standard design and fabrication are increasing in their potential of adapting to spaces. The resultant implications on the field of interior design can be vast. Advancements in the technology of the processes have brought about new flexibility to both the designer and the design field. â&#x20AC;&#x153;The consequences will be profound, as new digitally-driven processes of design, fabrication and construction are increasingly challenging the historic relationship between architecture and its means of production.â&#x20AC;? (Kolaveric, 2003, p.89).The generation of these processes was adapted into the architectural field from the fields of shipbuilding, aeronautics and Industrial design. Software integrating NURBS (NonUniform Rational B-Splines) gave rise to parametric modelling and hence led to new ways for conception, modelling and execution of complex geometry that was until then difficult to manufacture (Kolaveric, 2003, p.7).It leads us to the question of, whether the conception of new forms evolve due to availability of the industrial tools, or do the availability of the tools lead to the emergence of new forms of geometry. The relevance of the parts of geometry as being nonintrinsic elements yet having the potential of adding the quality of perceived transformation when in repetitive quantity has been explored (Reiser, 2006, p.52).The whole, has the potential to be more than the sum of its parts and is irreducible, while the parts add coherence to the whole (Reiser, 2006, p.38).Their quantity is integral in revealing the possibilities of the geometry and can be brought about by the correct balance of material geometry and force (Reiser, 2006, p.38). Their meaning is acquired through specific behaviour and can be both Structural and Atmospheric (Reiser, 2006, p.40).Geometry becomes both Ornament and Structure, qualitative and quantitative and can also get content and details. The geometry itself leads to a final materialization (Reiser, 2006, p.40). The pieces of literature evaluate the deeply seeded inter-dependent relationship of geometry and matter as an essential way of the re-conception of tectonics and organization. The intensive properties of materials are generative for geometry and make novelty possible through their constraints. The essentialist notion of geometry being indifferent to matter is later challenged 21

by saying that material behaviour takes an active role in the genesis of new structural forms. The factor of Scale becomes essential as materiality changes with the scale of the geometry due to a change in properties. Hence the co-relation of materials, geometry, forces and scale is established. The delicate proportion of the elements mentioned before has been determined to be formed by - “sufficient quantity of elements, connectivity and a relatively close range of scale” (Reiser, 2006) when geometry combines with materiality to be formed with assembled elements. Evolving social and material realities affect the traits of materials and geometries. An expression of impersonal, individual style can be achieved by material processes by the interaction of material’s inherent properties, difference in the elements and can contribute to Material Expression. Neo-regionalism is talked about as being able to generate new variations combining industrial production with local practices and shifting away from the homogeneity, sameness and repetition that such production can cause (Reiser, 2006, p.245). It leaves us with a question of whether a universality is being generated in interior design and its broader implications in the future. The literature hardly ventures into the negative aspects that the introduction of complete digitization of architecture has on the field, the design process and the other non-industrial stakeholders. The implications of the concepts of mass-production, pre-fabrication in the parallel industrial fields like aeronautics, etc. are different from the potential implication on the field of interior architecture. The homogeneity, repetition and sameness that is talked about have the potential to impact the field and have a huge negative impact too. Change in the morphology of geometry, materiality and even the use of a different fabrication technique, can lead to a new spatial and tectonic dimension (Beim, 2014, p.17).Tectonics, that is defined as “ a psycho-physical impact of form upon our being and by our tendency to engage form through touch as we feel our way through architectural space.”, or, the “art of joining, construction or making of an artisanal/artistic product.” (Frampton,1996, p.10) is the articulation of its parts: of components of its geometry/system. Tectonics has a direct and deep relation to production. The research investigates into the shift in nature of tectonics being developed, with applications of production technologies from parallel industrial fields, traditional techniques and the newness or novelty in 22

tectonics being generated as a result. In The Atlas of Novel Tectonics, the writings of Reiser (2012) lead to the emergence of the question : does technology determine tectonics, or does tectonics determine the technology ? The literature subtly points towards technology leading to the conceptualization of a new tectonic. This theory is backed by Kolaveric (2003), who traces this shift from Modernity and its theories to date. The research also inquiries into this notion. From the literature study, the factors of Geometry, Matter and Operation as contributing factors to tectonics are adapted within the methodology along with various sub-factors that affect practical aspects of production processes concerning Tectonics. The study further develops the other parameters for evaluation.

Speed of Production Process Production Volume Size Constraints Speed of Execution Availabilty of tools- resources Consistency of Quality Optimisation of materials Size/ Scale Durability / Longevity Availability of standardised products Technique of production Material Compatibility Mass Production Scope for customization Mass Customization Standardisation Pre-fabrication Simplicity of fabricating tooling and molding Assembly-based equipments Pre-assembled v/s Post-assembled Energy Efficiency Simplicity v/s Complexity Room for Error and Material Wastage Digital Technology Translation of details Manual v/s Automation Tooling - Orientation, Depth, durability, costs, Technology Communication - Amount, Means and speed Accomodation of desired designs, textures Production Processes Type of finishes Industrial Processes Post-production processes required

INTERIOR DESIGN

Practice

Design theory Tectonics

Efficiency Speed Labour Budget Material optimisation Consistency of Quality Availability of standardised/ available products Transportation and its restrictions Availability of resources and skills Ease and Speed of Execution/ Assembly Precision - Uniformity Need, Time for post-production processes 24

Form - Morphology - Geometry Fineness Cost- Budget Space Habitation Precision - Finesse - Uniformity - Quality Ease of labour Idea / Design Intent - Design Process Driver Complexity of system Novelty - Trend or Innovation Transport and Disassembly Temporality - Flexibility - Reuse Size/ Scale Aesthetics Interior Expression Materiality Detailing

Interior Design Tectonics

2.1

Technology, Techniques and Tools

2.2

Techniques of Production

2.3

Techniques of Construction

2.4

Defining Tectonics in Interior Design

2.5

Co-relation between Technology, Tectonics, Production and Construction in Interior Design

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2 | Interior Design Tectonics INTRODUCTION “Tectonic architecture manifests and elucidates the constructive function of a building as a support for a spatial idea. It creates constructive readability.” (Engström 2004) The word Tectonics etymologically means “the construction or making of an artisanal/ artistic product” (Frampton, 1993). Architecture/Interior/Built space is known to have had a considerable impact on our senses. This has been achievable by architecture by virtue of expression - an expression of its form, material character and the technique of production and construction that articulate them. The manifestation of this expression is Tectonics that is perceivable to the users and grants experience and meaning to space. Hence, we understand that Tectonics is the expressive potential as a resultant of the process of building.

Material

Technique

Form Fig 2.1 : Relationship Triad : Arkitekten (1995)

The tectonic qualities of softness or warmth or notional safety all gain their embodiment through the articulation of the tectonic concept, which is brought about by techniques of making - production and construction. This would then come to include aspects of functionality, technicality, symbolism in architecture, design, and construction. It goes deeper than aesthetics to detailing, making, materiality and form morphology. Tectonic concept and imagination merged with a strong idea and articulation of structure and construction are evident in the expression of architectural history in the works of Mies van der Rohe, Frank Llyod Wright, Carlo Scarpa, to name a few, in the writings of Kenneth Frampton (1997). In these changing times, with advances in technology and resultant techniques of making, the tectonics in the interior design field is bound to have an impact. The changing techniques of making, material potentials, form morphology positively influence tectonicstectonics being their culminated expression. Hence to understand their synthesis in Tectonics, the chapter elaborates on factors of techniques of production and construction technology and their impact on the field of Interior Design. 27

2.1 | Technology, Techniques and Tools The meaning of the term ‘Technology’ has progressed since its etymological inception meaning the systematic treatment of art and craft. Merriam Webster Dictionary now defines it as “a manner of accomplishing a task, especially using technical processes, methods, or knowledge.” Techniques of Making We understand technology as the application of science to solve problems. It does so by the invention of tools - material or immaterial, be it a simple tool of a hammer or a complex machine or a virtual application. It is the development of the systematic treatment of art- the techniques of making. While it was first limited to only arts, it came to include the techniques of processes and means of production by incorporation of machines. Mankind has evolved from stone and wood tools to the generation of power, development of industries, to automation. The innovations for military purposes during the World Wars, their constraints and quantities had supplied the maximum incentive for technological inventions. The application of technology has today revolutionized every primary sector by the evolution of techniques of making and production. With the increase in population, peoples’ perception of time and speed, increased demands, economic considerations, technology adapted and evolved to produce more profit gains by an increase in productivity. Technology became a force that brought about monumental change. Societal Implications This technology, along with its current processes has not created all boons for humanity. Its impact on the environment and society has been considerable and is affecting both at a harmful level also. Chemical wastes, smoke, exploitation of natural resources are effects at the environmental level. Dependence on virtual technology, social media, changing trends and impact on the way of living effects on a societal level. It causes many risks along with its positives and hence should be used responsibly and thoughtfully. 28

2.1 | Technology, Techniques and Tools

Technology evolves and advances based on human needs and an effort of enhancement of human lifestyle. New technologies surpass others on the merit of the provision of better productivity, speed, quantity, ease and convenience, purely by means of novelty or a sense of monotony with the older technologies. It is safe to say that technology has completely revolutionized the world and the way we live by its by-products. Today, technology has made the world feel smaller. On a positive note, the accessibility of products around the world on a more economical level has increased. More products can now be made available to people living even in remote areas by improvement in transport and mass production to make products more economically viable. Hence its advancements aim to enhance quality and comfort of life. Technology can be termed humanity centric. The primary needs of society are aimed to be fulfilled by its applications. Communication - the Internet and social media has increased accessibility around the world and connected billions of people. Time as a factor has been affected drastically. Technology has enabled more speed in all aspects it has touched. The fields of medical science, metallurgy, agriculture, architecture, industrial design, etc have had significant breakthroughs due to technological innovations. Digital Technology With the addition of Digital Technologies, the world is undergoing a Fourth industrial revolution after the Third of Simple Digitization (World Economic Forum, 2016). Consumer behaviour, economy, industries, business, trends, demand-and-supply are all affected. Technology has substantial societal impacts and its advancement will create even more exponential possibilities in the future. Interior Design The implications of technology in the field of architectural design has had and are currently undergoing shifts that is changing ways of making. While many aspects of Technology like Communication Technology, Operation Technology, Information Technology affect the field, Industrial and Digital Technology are re-conceptualizing significant factors in the design process from conceptualization to execution. This intersection of industrial, digital technology and interior design is still evolving and has revolutionary future implications on the field. 2.1 | Technology, Techniques and Tools

The research focuses on production processes and technology of Industrial, traditional and craft-based techniques, , and how the changing ways of making are impacting the field of interior field, practice, and tectonics. ... Techniques from Industrial Design Industrial design deals with industrially manufactured commodities and services developed and delivered to consumers (Schodek, 2005). The aim or goal in this case (with similarities and differences from Interior Design) becomes the acceptance of a society or mass of people at large, both visually and functionally and the ability of the product to be produced in mass. This has multiple factors apart from design and production attached to it – retail, distribution, marketing, consumer trends, market demands, sales prediction, infrastructure, funding, and budgeting, etc. (Schodek, 2005). The concept is to bring the products and art to the people. Certain models in the development of the field are as described by Schodek (2005) are:

• Joshia Wedgwood, who pioneered pottery as a

mass-produced item in the 1700s, attempted to perfect the science and technology of glazing and clay. While initially, the temperature of the firing kiln was measured by gauging flame colour which resulted in an inconsistency in products and increases in the frequency of failures, Wedgewood utilized the technology of an accurate measuring device to make the process more precise and reliable. He was successful in producing more varieties of products to a greater number of customers.

• Kodak cameras, Colt handguns also revolutionized their sectors by making the products affordable and adapting designs to match customer needs. In the 1850s, Colt innovated complex mechanisms with the idea of ‘inter-changeability’ in components that allowed for variation, customization, and universal interchangeability (Source: Colt Archives LLC, 2004). He thus enabled the concept of commercial mass customization in the weaponry sector.

2.1 | Technology, Techniques and Tools

Fig 2.1.1 : Components (Kit of parts ) for 12 chairs could be fit into a 1m by 1m box for transport. Number of components were reduced accordingly. (Courtesy : Schodek, 2005). Capacity of bent wood production and transport-assembly-disassembly - hence Concept of Production and Concept of Construction affected aesthetics of chair.

• In the early 1800s, the concept ventured into

furniture design arena by Cabinet Maker Michael Thonet who by serially manufacturing bentwood components was able “to ship the chairs in components” (Schodek, 2005) reducing shipping volume (Refer to Fig 2.1.1). He reduced the number of components for a smoother assembly sequence and reduced manufacturing steps. Here, the tectonic is hence developed due to the concept of production and construction.

The design hence evolved with the idea of transport, assembly, and ease of manufacturing and reproducible elements. The field that came to seamlessly integrate CAD/ CAM technologies in its process now also can design specially for automated assemblies. The market or business pressure demands to produce more economical, faster, efficient, flexible solutions and the industrial production technology thus develops and advances. As the field deals with business models and considerable financial investments, integration of design and manufacturing in most industries becomes a pre-requisite (Schodek, 2005).

Fig 2.1.2 : Customized ship-cabins with complete integrated systems from industrial production placed and slid into ship-liners. Concept of prefabrication achieves interior system integration and decreased shipyard assembly time and cost.

Transfer of Techniques to Interior Design There are various similarities and differences in the design process and technology in interior design with the parallel field of industrial design. Mass Customization and inter-changeability are breaking the boundaries between the concept of oneoff construction in architecture and mass production in industrial design (Schodek, 2005).

• Piikkio Works is a major producer of pre-fabricated ship cabins to completely ready-to-install cabins in luxury liners with integrated furnishings, plumbing, electrical systems wherein only the connection hook-up from the module to the shipsystem is remaining to be done. The interiors are entirely customized from space-planning layout to materials (Fig 2.1.2). Good quality, light materials required, completely integrated interior systems are achieved. The concept of prefabrication and customized modules serves the needs while reducing on-site construction time and shipyard costs (Schodek, 2005).

Fig 2.1.3 : IKEA Planner for Kitchen, Dining Room, Office in 2D and 3D view with input products according to customers. Applications of mass customization of products catering to individual needs and choices.

2.1 | Technology, Techniques and Tools

• 3D online planners for kitchen have already been in

the market for quite some time, eg. Stala Modules that provide various component and finish, dimensional options for users with images for their easier decisions. Customized specifications for the kitchen modules are produced and sent for manufacturing. 2D representation is also simultaneously prepared for the architects/interior designers to be integrated into the main plans (Schodek, 2005).

It makes us wonder whether this has taken interior design out of interior designers’ hands and given it to the customers or the industry to make a selection from a bunch of ready-make products – right from significant furniture pieces to fabrics, curtains, to entire kitchen/ bathroom systems. As emerging digital technologies are evolving to supply space planning options too, is the future and the existence of the field in question? Alternatively, is the role of an interior designer leading to merging with the production or industrial fields to produce these systems? In this “environment of everincreasing efficiencies of time and money” (Schodek, 2005), is the society interior designers cater to, with exceptions, leading to a more universal approach of design. From industrial production processes of products today, to production of entire interior spaces tomorrow, it leads us to ponder on the future implications of technology on the field – designers, products/systems, and the spaces. Integration of digital and industrial technology in the field has caused a shift in approaches of design and development. Roles, responsibilities could be altered. The question arises whether with the integration of industrial and digital technologies in the field, the interior designer would play a key role in the entire design model or will a large part of the field subsequently fall under the larger umbrella of industrial production in the future. Figures 2.1.4 - 2.1.6 indicate the results of applications of production processes in industrial design in parallel fields ranging from precision, quality, integration of new materials, adaptable alloys, A direct translation to mechanized production from digital models allows for more control, accurate production and minimum tolerance in the production process. With these production processes, uniqueness and complexity of components is also accommodated with more ease and possibilities. The applications of processes that 32

2.1 | Technology, Techniques and Tools

Fig 2.1.4: Water-jet Cutting for aeroplane turbines that need extreme precision and quality has been in use since 1970s. The process also provides versatility for complex unique designs compatible with high strength materials and provision of a fine edge finish critical for aerospace industry use. Its cool-cutting technology has since been applied to interior product applications. The production is directly translated from digital models that can be highly detailed and be produced accordingly by the process. (Source : Precision Water-jet and Laser)

Fig 2.1.5: 5 - axis CNC milling machine for accommodating ship hull curvatures. Changes can be accommodated without separate moulds for unique models.

Fig 2.1.6: Large-sized 5 - axis CNC machine milling for production of molds for fibreglass wind turbines. The large size of the machine has potential for accommodation of huge components of unique geometry within machine limitations.

originated in these fields, had begun to be applied for architectual design and interior products since the 1950s, and, since then, on interior space-making too. Digital Technology Industrial technology is largely aided by digital plug-ins. Industrial design was already using digital technology for generating input to machines. For designers, they firstly also provide tools for conceptualization.

• Digital technology in the form of software can either be integrated as visual tools for conceptual explorations like SketchUp, Plan Design.

• Geometric explorations can use ‘manipulation’ approaches in the NURBS software of Rhinoceros which works with surfaces and solids, Studio max for rendering (Fig 2.1.7). For drafting purposes, either 2D or amalgamation of 2D and 3D software– most commonly AutoCAD, Rhinoceros, VectorWorks can generate lines, curves, shapes, splines. These are also commonly used to generate G-code output for direct translation to CNC, laser-cutting processes (Schodek, 2005).

• Softwares that aid from conceptualization to

construction include ArchiCAD, Revit which generate 3D components and simultaneous 2D projections. The softwares can generate the desired output at a fraction of the time that manual drafting would take. The number of separate documents produced for construction would be reduced. Also, digital technology allows changes that reflect across all representations without the added time of incorporating multiple changes consistently.

• Softwares like CATIA, SolidWorks, Pro/ENGINEER have been used to develop technically resolved design components. For direct translation to production, the 3D digital models must have high accuracy and precision. Minor discontinuities or infarctions in the complex geometric surfaces would be projected in the quality and lack of precision in the produced elements. (Schodek, 2005).

• Parametric modelling and representation were encouraged by the need to model automobile bodies digitally. The spline curves and NURBS currently used overcame shortcomings of earlier parametric software. (Schodek, 2005).

Fig 2.1.7: Gaussian Analysis, Zebra Analysis , Control points and adaptable uv points in surface provide articulation and generation of complex geometries with digital technology. The 3D model can be generated with production criteria of processes in consideration

2.1 | Technology, Techniques and Tools

â&#x20AC;˘ With applications like Grasshopper, polygon

meshes, wire-frame models, solid models, and parametric surfaces have been facilitated with more ease and potential for new generations.

It is due to these factors of digital technology that even the conceptualizing of complex geometries has become possible, let alone its production and execution. They also allow for a calculation of weight, volume, and geometric testing/analysis, The factor of Control in both digital and industrial technology that can be specified, input, and altered by the designer allows for controlled manipulations of surfaces depending on aesthetics, and machine and material constraints. Tools like flattening of a form into a sheet allow a precise production parameter for cutting or bending of the form directly from the 3D model. Strains, stresses depending on the material of the sheet can also be analyzed (Fig 2.1.7). Constraints can also be directly inputted into the software. The tool of deriving parts with specific input parameters is increasingly used in assembled geometries. For designs involve industrial casting of a thin surface as an example, digital tools of â&#x20AC;&#x2DC;Shellingâ&#x20AC;&#x2122; can generate input thinness of walls that can vary at different locations where needed (Schodek, 2005). Designers are becoming more adept at using and having knowledge of various softwares that aid in production to exploit the opportunities they provide for generating desired tectonics.

2.1 | Technology, Techniques and Tools | Interior Design Tectonics

2.2 | Techniques of Production The Industrial Revolution merged technology and Industry. Industrialization led to the use of advanced machinery as demand grew. It was followed by Standardization because of the standards and guidelines of the military to increase productivity (Smith, 2010). The World Wars to reduce human labour required, added more production processes with machinery. This was aided by increased efficiency of raw materials and inter continental trade. Fordism and Mass Production World War I enthused phenomenal accomplishments by the automobile industry. The term â&#x20AC;&#x2DC; Fordismâ&#x20AC;&#x2122; was coined after Henry Ford who began the uninterrupted concept of assembly-line mass production which resulted in the efficiency of time and productivity, deskilling and reduction of man-power to operate and decrease in production costs. (Jessop,1992). These concepts of Fordism are seen as bases of all mass production attempts. Integration of machines into one process and hence, manufacturing of huge volumes of standardized products was accomplished by streamlining production processes.

Fig 2.2.1 : Concept of mass-production that later evolved to mass customization led to techniques of production for customized unique components made possible due to their quantities in assemblyline industrial production.

Technology had already produced leaps of progress in the metallurgy industries, the innovation of alloys and material science. Law of Diminishing Returns Large-scale production of architectural parts facilitated the construction of skyscrapers and bridges. Availability of economical metal and loss of viability of brick and other conventional materials incited this change. These materials did not provide enough returns compared to their investments. The potential of their exploration in architecture was nearing its end. Concrete as a material then began to be utilized for building construction. The material had the potential to be envisioned and made with the generation of different creative forms. This need of the building industry led to pre-fabrication of concrete forms. Today, concrete is being replaced by newer materials invented that have a factor of novelty attached to them. The stimulus of the two Wars had aided the development of the design and production of the aircraft as a structural metal- frame and skin. 2.2 | Techniques of Production | Interior Design Tectonics

Exploitation of material properties and Qualities Production processes are but tools - to aid in the achievement of a design or a geometry of form. The processes incite usage of inherent properties of materials in the designed form. They use intrinsic qualities of the materials that are artistic in themselves to bring out the beauty and true nature of the material. (Wright,1901). Achieving this has been possible with the thoughtful integration of production processes in the field of architectural design which brings out the various possibilities of the material. Mass Production The aim of minimizing manufacturing costs while producing huge quantities led to the concept of repetitive manufacturing. After World War II ,as the middle-class population grew and with it housing needs as a result of war damage, the need for quantity of products grew and mass production evolved. It began the concept of standardization of products to achieve increased efficiency and productivity than its counter-parts - job production and batch production that deals with either one-off parts or a batch of specific products. The process however, does not allow flexibility in design and introduces a samenesssimilarity or homogeneity in aesthetics. Variation is only possible with post-production processes. Job Production and Batch Production are more relatable concepts to interior design and architecture as they can accommodate the uniqueness of design along with the benefits of industrial production. Mass Customization (Since 1960s) Repetitive Manufacturing evolved with the factor of increased variety through the concept of mass customization. It is the culmination of low manufacturing costs with an added factor of personalization and variety. It includes the categories of made-to-order or built-to-order. By the provision of this choice to the customers, it links the industry to the customer base and might increase consumer satisfaction. Mass Customization and the concept of interchangeability is breaking the boundaries between the concept of one-off construction in architecture and mass production in industrial design (Schodek, 2005).

2.2 | Techniques of Production | Interior Design Tectonics

Interior design is seeing applications of mass customization across an abundance of interior elements like tiles, furniture- chairs, sofas, beds and tables, lighting elements, in terms of choice of colour, fabric, number of components, finishes, etc. The idea of Personalization is through pre-configurated parameters. An increase in product variety however, has a considerable negative impact on the performance of assembly processes (Modrak, 2017). Kitchen cabinets and kitchen integrated systems despite having standardized dimensions, have different finishes, looks and not have the obvious factor of homogeneity in them as opposed to mass-produced standardized elements.

Fig 2.2.2, Fig 2.2.3 : Habitat 67 by Moshie Safdie is a geometrical juxtaposition of pre-fabricated modular units

Modularity can be a sub-concept of mass customization by achieving customization through sub-assemblies so that a wide variety of products can be produced with efficiency by allowing a high amount of automation in the assembly line (Modrak, 2017). Standardization As â&#x20AC;&#x2DC;design for the massesâ&#x20AC;&#x2122; grew, standardization grew out to generalize human ergonomics as standards to make products. Though this meant an increase in the economy of production, the element of personalization and custom needs might have to be missed out on. Like the Taylorism concept, standardization can lead to monotony of labour as well as product. Off-site Production & Pre-fabrication The need to build in remote locations, build in quantity and to deliver buildings with speed in an economical rate initiated prefabrication. It transported construction from the site to the factories ( Smith,2010). Initially the mass production of components of the prefabricated system led to a reduction of manufacturing costs. Reduction of on-site materials and wastage added the factor of sustainability to architecture by pre-fabrication. The concept also developed with the idea of more affordable houses. Kit of parts of houses evolved (Fig 2.2.4). Advantageously, prefabrication occurring off-site, and on-site work occurring simultaneously can speedup the project execution process. It can range from singular components being prefabricated and then assembled, or, part/pre-assembled components produced in the industry itself followed by on-site assembly/installation. The benefits of prefabrication

Fig 2.2.4 : Maison Tropicale by Jean Prouve : Complete Kit of parts for the prototype house was a result of prefabrication and concept of assemblydisassembly, flat-pack design for transport to cater to the mass. It results in a celebration of tectonic components and acquires the expression of an industrial aesthetic , projecting its system of production and assembly. Production processes included extrusion, stamping, casting for refined componential construction, systems were streamlined to be repetitive ( components are repeated for lesser unique production) The tectonic hence is a visual manifestation of these decisions of fabrication and assembly instead of site-specificity, similar to an auto-mobile making process. Source and Image Courtesy : Borden, 2014.

2.2 | Techniques of Production | Interior Design Tectonics

are felt increasingly as the degree of prefabrication increases in a project. (Smith, 2010). Assembly-based Production and Construction Industrial prefabrication led to production in parts and led to the concept of Assembly-based construction in Architecture. The concept of rationalized geometries appeared by breaking geometry into parts that were feasible for off-site production according to industrial machine sizes/ industry sizes/transportation constraints/ease in on-site assembly, etc. The division of the body into parts can also increase the structural capacity of the singular smaller pieces. Off-site production could also increase ease of articulation of engineered materials in production, for example the Wichita House by Buckminster Fuller (Fig. 2.2.5) makes use of permanent engineered materials that could be shipped with its kit of parts in a single metal tube. Integration of interior systems was also facilitated with the production. ... Production Considerations for Interior Design The decision of selection of a process for production forms an essential aspect of the design process, as established earlier. Every process has different scopes and limitations based on their technique of making, machine or tooling constraint. And the selection is hence based on multiple factors. In case of production in huge quantities like mass production or mass customization, the production volume that the process provides versus time taken becomes integral. Added to this, is the cost factor per item or per batch and how its proportionality is related to the quantity produced. The production speed can also be viewed in terms of the complexity of the component, number of subprocesses integrated. The durability of the tooling/moulds has an impact on the speed and production volume and on the cost. The tooling or moulds themselves manufactured with processes and appropriate materials increases their longevity and can produce more products with the same 38

2.2 | Techniques of Production | Interior Design Tectonics

Fig 2.2.5 : Wichita House by Buckminster Fuller, 1993 - Mass produced flat-pack concept of housing in post war era had integrated systems ( numbers in images indicating number of components for assembly). Such pre-fabricated kits were envisioned to accommodate economical sustainable housing solutions through these concepts of production.

tools. The simplicity or complexity of manufacturing tooling or moulds is also a consideration. Complex moulds produced for low quantity of elements to be manufactured may lead to the process becoming more costly and less efficient. This might though, be justified as being the most appropriate for a given geometry and produce the desired form properly. The amount of customization necessitated in the geometry or the complexity of the geometry/system might need a specific tooling/ tooling orientation/ depth etc. (Gulling, 2018). The machine/process needs to be adept for the same. The durability of the system can be positively affected by tighter tolerances of joineries and by the precision of the components of the system/geometry. The tooling/ moulds for the processes when manufactured can also have more longevity and in turn, have the potential of manufacturing more quantity of pieces. This can lead to material and cost optimization (Gulling, 2018). Material compatibility with the process/machine depends on intrinsic properties of the material. The potential of the materials based on their different properties can be realized and exploited by the application of digital and industrial technology. Size constraints of the machines and execution of specific processes impact the design of elements and systems. Size and dimensions of parts of the geometry are either decided or altered accordingly. Addition or integration of joineries is also done so. The type and quality of finishes depend on their degree of specificity and uniformity required. The factor of standardization may have higher chances of cost-efficiency, productivity, speed of production.

Fig 2.2.6 : Customized panels of Alice Tully Hall by Diller Scofidio Renfro in collaboration with 3 Form Industry (2009): The production involves industrial moulding process directly produced from the digital model for quality and precision. The element is broken into parts depending on singular or multi-directional curvatures, geometric complexity and viability of production. The edge finish is ensured by 5 axis CNC machine for minimum tolerance so that the pieces accurately align when assembled together. Courtesy : AWI (Architectural Woodworks Industry)

The scope for customization becomes essential according to the design. The cost, effort, time, and volume of production depends on the changes required in the process for required customization. Involvement of the industries may become necessary at times to include a consideration of the method of production. The design also undergoes a chance based on limitations of the process/machine. The need for post-production processes , be it manual or again industrial - on-site or off-site becomes another factor for selection. The edge conditions produced on production, the surface imperfections, chances of error 2.2 | Techniques of Production | Interior Design Tectonics

are all integral factors to decide on the appropriateness of processes for interior elements. The possibility of error in the process, especially in mass quantities needs to be considered. Potential wastage of pieces like tiles, ceramic wares in a batch for a particular process should be noted. This becomes essential when a designer has customized pieces for a project in mass quantities. (Gulling, 2018).The use of machines, though, decreases wastage and material usage by minimizing direct human action and errors in assembly-chain. (Kich Architectural Products Industry Executive, Personal Communication, Feb 8, 2020). Consistency of quality, precision, level of tolerance are other considerations. Understandably these are all also dependent on the accurate and precise translation of details, patterns, textures conceptualized or made in the digital model. Ease of communication/ Ease of translation of design to construction for the processes/machine from the design becomes extremely integral for an interior project. Some processes increase efficiency by a direct translation of a digital model or CAD drawings. The processes that require another set of communication for production add another stage to the design process and increase time and labour. Variety of available, standardized, ready-to-order elements of interior products on the market can be used for cost-efficient, faster interior solutions. Its impact though may lead to the creation of a sense of homogeneity or sameness, similarity of interior spaces and elements. Energy efficiency, chemical waste generation by processes need to be considered as a need of the hour and an effort to make the field of interior design sustainable. Material optimization can also be considered for the same reason along with an added benefit of cost. Additive processes like 3D printing might produce elements with structural economy and utilize less material than their subtractive counterparts. This technology, however can prove to be more timeconsuming and costly, as of now. However it can accommodate the uniqueness of geometries without extra tooling/moulding. Hence, multiple factors and pros and cons of the processes are considered. This emergence of envisioned tectonics in the interior project depends on the decisions of production processes. 40

2.2 | Techniques of Production | Interior Design Tectonics

2.3 | Techniques of Construction The concepts of standardization and customization are directly linked to both - the design decision to opt for industrial production, and the selection of the appropriate process. This can further depend on the nature of the elements needed, their quantity, speed of production, detailing, precision, complexity, etc. Mass customization with specific processes has become accessible as it can produce customized elements within limits as fast and with cost efficiency as with standardized elements. The CNC/ laser-cutting subtractive processes are examples of this type. Transport - Assembly - Disassembly Concepts of construction like design and manufacturing for transport may make use of mass customization/ mass- production of flat-pack systems for furniture or other elements, possibly with inter-changeability. As the design is driven by assembly - disassembly and transport, the elements are designed with prior consideration of technique and process of production. Number of components, ease of assembly, details and joineries are considered.

Fig 2.3.1 : Bangsund Twin Bed by IKEA : A page from the user manual of the flat-pack bed system indicating number of components and how to assemble them.

If, for a one-off customized production of components of a project in case of lack of availability of nearby resources, pre-fabrication and on-site assembly after transportation is used, dimensional constraints, and ease of on-site assembly are some factors considered. The concept has contributed to the idea of universality and making design reach all parts of the world. With the notion of shrinking spaces as the population in urban cities increases, the concept of flexibility in interior spaces has led to the creation of innovative systems. Multi-purpose elements, that can be moved are used to serve the functions of distinct furniture elements, and are manufactured systems. Change in form, location in relation to time and need can accommodate distinct functions when desired by the user. Temporality Pavilions, temporary exhibitions set-ups, sets, etc. can be temporary systems in place for a specific function or at a particular location. Systems like houses can be designed and manufactured for the function of mobility. The systems can be preferred to have potential for assembly and disassembly, either for relocation or reuse of individual components.

Fig 2.3.2 : Yo Homes by Simon Woodroffe : A prototype of sliding walls, moving bed, dining table emerging from the floor, etc

Fig 2.3.3 : BookWorm, 2019 by NUDES (2019, India): The bookshelves integrated into a parametric system is to be relocated to cities every month and is designed accordingly with flat-pack system for assembly, disassembly and transportation.

2.3 | Techniques of Construction | Interior Design Tectonics

Re-use Materials and their manufactured components can be re-used by their utilization in other systems in other sets (inter-changeability). The materials can also be used to generate new parts for another system. It leads to environmentally sustainable solutions. Space Inhabitation From several protected heritage buildings to re-use, to unoccupied architectural shells being revamped to accommodate new functions (Adaptive re-use), concepts of construction like prefabrication and on/offsite assembly are increasingly utilized for habitation of space. In such cases, new interior systems are created within the existing shells. With various constraints that adaptive re-use projects have, industrial manufacturing of the system provides efficient solutions and can avoid usage of wet on-site processes that hamper existing materials, structure and finishes. Availability of resources Translation of design to execution necessitates the availability of resources in terms of adequate industrial tools, technology, workforce with knowledge of processes, material resources. The nature of the availability may lead to changes in the design of elements. In case of the Yusuhara Wooden bridge museum mentioned, the components were manufactured from LVL (Laminated Veneer Lumber) with the same cross-section but broken down to varying small lengths for them to be produced and transported efficiently from a nearby LVL manufacturing industry and with the local resource of craftspeople with adequate knowledge for wooden assembly.

Fig 2.3.4 : Selexys Dominica Library by Merkx+Girod Architecten (2007): A 13th century Church has been converted to a bookstore by an inserted interior system of prefabricated metal elements self-sufficient with lighting and services due to restrictions to hamper with the interior columns, floor.

On-site Construction The construction carried out on-site using raw or engineered materials with in-situ processes are commonly in use for architecture and interior design processes. The construction utilizing wet processes has an integral inclusion of manual labour. Constraints in specialized machine availability and on-site access lead to a limit in possibilities of design and freedom. It can, however, lead to a tectonic permanence in its articulation more than assembled geometries do. Off-site production, On-site Construction The concept of Off-site production and on-site assembly/construction is increasingly seen as a way of construction in many architecture and interior design projects. Off-site production can provide access to more tools, specialized machines in industrial facilities and space for their assembly that sites may not provide. 42

2.2 | Techniques of Construction | Interior Design Tectonics

Fig 2.3.5 : Maya Somaiya Library by Sp+a (2018, India) - Thin vaulted shell structure spanning 44 m with 32 mm brick tiles constructed on-site

Part-assembled and pre-assembled geometries for on-site assembly can hence lesssen site activity, time and cost. The Tamieda Building makes use of off-site production for the making of the seven-storeyed building structural grid with wood as a material and no metal joineries. The project hence uses Glulam (Glue-laminated Timber) wooden sections for strength and regularity in the transfer of forces. The sections are CNC precision cut for accurate joineries in the buildings for minimum tolerance and maximum precision such that the joineries hold without any extra appendage. All 1400 pieces of the grid are prefabricated in an off-site facility. The manifestation of the building as a re-adaptation of the traditional techniques could only be possible due to the engineered material and its precise cutting of them for the proper articulation of the joints. The on-site construction was assembly-based. Onsite activities posed difficulties due to lack of space to store or place the prefabricated Glulam pieces. Also, the joinery- a traditional Japanese joinery with assembly techniques which was substantially scaled up, needed to be assembled with excess force. The assembly process hence took in one component at a time for placement on the site for composing the structural grid. This was possible due to the precision due to the technique of production.

Fig 2.3.6, Fig 2.3.7 : Tamieda Building by Shigeru Ban (2013, Switzerland) : Articulation of sevenstoried timber frame using off-site pre-fabricated of engineered wood (Glulam) and on-site assembly (in text)

Hence, the concept of production and construction could be manifested due to application of technology. Off-site production undertook a crucial part in the onsite construction and the articulation of tectonics.

2.3 | Techniques of Construction | Interior Design Tectonics

2.4 | Defining Tectonics in Interior Design Interior elements within an architectural shell provide a meaning and identity to space that intimately encompasses a person in the space. The elements or the interior as a whole, through their attributes can grant both emotion and functionality in the space. The culmination of various layers of form, material, textures, joineries, furniture, by virtue of their technique of production can gain aesthetic, sculptural as well as functional value. Attributes like lightness, tactility, solidness through which space evolves a specialized character as conceptualized is through interior tectonics. Interior Tectonics provides a perception and constructive comprehension of the space to the user. Interior space encompasses the occupant and hence tectonics in the interior space play an integral role in creating an embodiment of attributes in the space by their manifestation.

Fig 2.4.1 : Miles Staircase by Eva Jirinca Establishment of sense of transparency, lightness, sophistication, style and tactility in articulation of parts, construction as a whole in space. Set separate from surrounding historical building through articulation of details

The Interior space gains these qualities and experiential attributes through the articulation of interior elements and the space itself. The expression is developed through the designersâ&#x20AC;&#x2122; imagination and the realization of the ideation through production. The translation of ideas, concepts and qualities that achieve realization through its production, materiality, form define tectonics in the interior space. The research and case studies focus on tectonics of interior elements, especially space-forming elements placed or constructed within the architectural shell, hence named as Interior Design Tectonics.

2 | Interior Design Tectonics

Fig 2.4.2 : Treptow Crematorium by Axel Schultes- Sombre attributes of calmness, silence, spirituality in respect to life and death beautifully articulated by light from circular skylights atop of long concrete columns placed in an irregular geometry

2.5 | Co-relation between Technology, Tectonics, Production and Construction in Interior Design “There is a need and scope for conceptual elucidation of tectonics in architecture, through a development of a conscious, open and critical approach to the new technological and industrial paradigm.” (Nilsson, 2007). “Architecture, the expression of the materials and methods of our times.” (Corbusier,1929). It is safe to say, that the field of interior design is causally related to the techniques of making. The material, its expression, the joineries, the time consumed, the form conceptualized and the form that emerges are related to the processes used. As the techniques had evolved, facets of interior practice also evolved. Time as a factor was affected as the means of production improved for better efficiency and productivity. With advancements in technology, our perception of time has also changed. Interior Elements Technology and its impact on production processes have presented upon the field of interior design unprecedented opportunities. Its impact is seen on the field in terms of complete manufacturing of interior systems. Mass production of various elements used in interior spaces has led to a vast library of materials, finishes, engineered materials, ready-toorder elements like furniture, lighting, tiles, cladding materials, etc. Manufactured and new materials and finishes whose execution is made possible only through production processes are also finding an increased usage in interior projects. Hence various aspects of the field and practice like ease and speed of execution, precision, quality, cost efficiency, etc are impacted with integration of technological processes. Increase in industrial production has led to an increase in available production processes and their improvement to accommodate nature of geometries with added precision, accuracy and consistency of quality and quantity of production. The potential for integration of complex yet unique parts of elements has increased potential for tectonic manifestation through production processes. 2 | Interior Design Tectonics

Digital Technology Integration of digital technology and processes has also impacted the factor of communication in the field of design. While CAD (Computer-Aided Drafting) and CAM (Computer-Aided Manufacturing) had already begun to offer a level of precision and efficiency in the design process, current cutting-edge soft-wares are evolving to generate complete 3D models with complete information to be sent directly to production Communication : Design to Production This continuum between the fields of design and production can further develop to completely reconfigure the relationship and dynamic between them and have unimaginable impacts on the field. The mode of communication and representation is fast changing with innovations of different cutting-edge software that link design and construction and allow more freedom and possibilities of design, hence introducing a change in Tectonics. The direct translation of the 3D model to production allows accommodation of complexity in design and increased viability of production that, in turn, leads to higher tectonic imagination. Efficiency in communications increases efficiency in production and construction. Part-assembled / pre-assembled elements brought on-site can be assembled or installed in an easier manner. The details, precision and accuracy, tolerance ranges get translated accordingly, impacting the construction process.

Fig 2.5.1: Guggenheim, Bilbao by Frank Gehry - Use of reflective titanium sheets to articulate geometry brought about by CATIA (aeronautical industry software) for translation of design to production to accommodate complexity of geometry

The technology - CAD/CAM processes, new materials and production processes adopted and adapted after the Industrial Revolution that affected the fields of shipbuilding, automotive and aerospace industries had begun to influence the field of architectural design since the 1950s. This resulted in an unprecedented re-conception of design thinking and production. (Kolaveric, 2003) by virtue of the tectonic qualities. Effect on Design Process With shifts in the economy and consumer trends, the field of interior design becomes a business at times, needing the factor of high speed of execution. Integration of technology in terms of industrial processes aids and aims to achieve that. If we consider the interior design process as simply - design, analysis, representation, production, assembly, all these stages are considerably impacted by production processes. Testing, simulation, mock-ups has been made easier 46

2.5 | Co-relation between Technology, Tectonics, Production and Construction in Interior Design | Interior Design Tectonics

by digital and industrial processes. The equation of production for interiors has radically changed with industrial production and possibilities of customized production of complex geometries. Integration of design complexity has also been facilitated by industrialized construction. With concepts like pre-fabrication, the aspect of assembly can be executed entirely on-site. it can lead to a decrease in wet construction on-site, ease and speed of assembly, reduction of labour. All of these together can cause - on the interior field, increase in precision and accuracy, faster speeds of execution, efficiency in interior practice, reduced manual labour, increased productivity, cost-efficiency, more freedom in design, better possibilities of proper and intended translation of conceptualized tectonics to reality.

Fig 2.5.2: W W Stool (1991) by Phillippe Stark Sand-casted aluminium stool

Integration of interior systems to form a unitized selfsufficient system/element/’product’ has also made the space and practice more efficient and has impacted tectonics through a resolved aesthetic and structure of systems. Homogeneity However, we question whether the practice has come to be a placement of ready-to-order elements from different manufacturers in space and fixing them together to make an office, or worse, a home? Elements used in interiors right from joinery nails, sanitary-ware, ply-boards for furniture, polymerbased furniture elements, tiles, to name a few, are all mass-manufactured and could be readily available. Standardized elements, dimensions, products are flooding the ‘interior industry’. The concepts of production can hence play an important role in generation of interior tectonics - the emergence of new tectonics, or its absence. Loss of Hand-made and Crafts The aspect of hand-made crafts, ornate furniture pieces that were once an integral part of interior space have been replaced by injection moulded chairs that can be found in every other commercial space. It leads to the question of whether an attempt to increase cost-efficiency, productivity, etc has led to homogeneity in terms of interior tectonic. The sense of cultural, local flavours and meaning to design can hence be lost in this process of application of processes and technology to the field.

Fig 2.5.3: Gaudi Stool by Studio Geenan : Using the material of polyamide and shell of carbon-fibre, the production was produced by 3D Printing and moulding processes. Structural loads determined the shapes and curvatures of the design . Geometry, materiality and structural system led to a light-weight product . The polyamide structure was first 3D printed (Rapid prototyping) and the same was used as a mould for the carbon-fibre shell in the moulding process, making the process more optimized and with use of less materials. (Etherington, 2009) The tectonic manifestation thinness, sophistication and form achieved are a resultant of production tools and processes.

2.5 | Co-relation between Technology, Tectonics, Production and Construction in Interior Design | Interior Design Tectonics

Crafts and craft-based production, traditional techniques and handskills have been an important aspect of interior design and interior spaces. They, more than associative aesthetics, have a profound meaning in relation to the climate, culture and people of the region. Their involvement is also important for local/national economy. Universality, Accessibility, Affordability The aspect of homogeneity and sameness however, has also made design more accessible and affordable to the masses through cost- efficiency and production in huge quantities made possible by the use of industrial processes. It has added a level of universality where the question is whether the interiors are rooted in their specific contexts or traditions. Hand to Machine As Ternoey (1985) critically says that artisans and skilled workers are being replaced by metallurgists, chemists and systems engineers, the manufacturing process has become applied science. Hands have been replaced by robots, crafts with machines. “Is, then, the architect’s position one that says that a ‘good’ technology is one that withdraws?” (Braham,2005). The repercussions are both ways. The question also arises whether the needs of the building, of fasttracking, are being prioritized over the needs of the society and its dwellings. (Ternoey, 1985). The articulation of geometry, materiality, technique of production all makes up the interior tectonics. Complex geometries that evolve in the design process, are intentional, and become integral space-making elements are made possible through application of technology in their production. Technology and improved ways of making have magnified possibilities for the derivation and generation of complex tectonics and have made possible their articulation in a precise manner. The application of technological production processes on the field of architectural design might have incited a new sense of tectonics. Atectonic The concept of ‘Atectonic’ indicates the manifestation of design with a visual negation of the expressive potential of construction, structure, and load (Wu and Fu, 2013). Use of materials with an absence of their inherent properties in consideration for design, 48

2.5 | Co-relation between Technology, Tectonics, Production and Construction in Interior Design | Interior Design Tectonics

production and construction goes against the architectural ritual. Extreme surface articulation with technological and production advancements disallow visions of the construction. Frampton (1997) has said that style can be considered atectonic due to its representational focus, while beauty is tectonic as it depends on order, geometry, and materiality. Time, Technology and Tectonics As perceptions of time as a factor has changed with the use of technology, so has the sense of aesthetics and technology. Application of structural economy and material optimization concepts that started from industrial design, have contributed towards the addition of lightness, curves and dynamism to the perception of interior tectonic. Production and Digital technology and its applications in architectural design added to the ease and cost efficiency of generation of complex forms in materials that were unprecedented in architectural history. Further technological implications and exploitation of the potential of materials, the innovation of new materials that are compatible with industrial processes all aid in re-defining the interior tectonics. Applied Technology, from parallel fields of aeronautics, ship-building, metallurgy, kinetics, chemistry is incorporating new production techniques that are generating newer potentials. At the same time, traditional technology techniques with the imbibed knowledge of ages also provides enormous potential to the field. Here, traditional understanding of production coupled with new or modern understanding and stage of technology and production impact the field. Concepts of production and construction from applied fields, as mentioned in the sub-chapters ahead, are uncovering newer potential for the emergence of new tectonics in interior design

2.5 | Co-relation between Technology, Tectonics, Production and Construction in Interior Design | Interior Design Tectonics

3.3.

Tectonics in Interior Design

3.1

Geometry and Generation

3.2

Matter and Articulation

3.3

Operation of Production

3 | Tectonics in Interior Design A reflection on Studies in Tectonic Culture : The poetics of construction in nineteenth and twentieth century architecture by Kenneth Frampton (1997): The manifestation of tectonics is synthesized by a culmination and occurrence of a multitude of events in space. Geometries transcending to become structural ornaments from decoration, the plight of material from traditional techniques to modern utilization provides character to space. Tectonics, being termed eloquently as “poetics of construction” by Frampton (1997) refers to the expressiveness of construction and production techniques applied to architectural design. Tectonic is placed at the point where the construction escalates to make space more than mere structure. Rather, the virtue of construction grants the space a deeper meaning. Hence, tectonic is the intersection of the abstract and the technical making. Tectonics is referred to be the articulation of joints in design. It is compared to an art-form as it manifests into perceived beauty. It escalates to embody a representation of qualities that a user might feel in the space.

Fig 3.1 : Barcelona Pavilion by Mies van Der Rohe (1929) - Super-imposition of materiality, planes, perspectives accentuates geometry of the horizontal plane and establishes dynamism, openness in movement and a unique spatial perception

“Architectonics” is another term used to imply attributes granted to space by merit of the articulation of materials and techniques. These emotional attributes through the techniques provide expression and character to the space. It is a merge of ornament, functionality, and emotion in space. “Tectonic Intentions” can be articulated through opportunities and limitations of structure, processes, techniques of the time. Time and technology can be deduced as crucial factors for change in the manifestation of tectonic imagination and implementation. The factors that emerge to be of essential essence are: the tectonic intention or concept, structure, and analysis for optimization, and addressable of executional constraints to attain functionality and beauty in the tectonic. 52

Fig 3.2 : Therme Vals, Switzeland by Peter Zumthor, (1996 )- With a sense of being calm inside the monolith stone, architecture imbibes tectonic qualities

The value of emotional attributes is important for interior space. The socio-cultural factors prevalent in the field and in spaces grant a deeper meaning to spaces resulting in interior tectonics. The warmth of wood, scale of openings, the texture of surfaces, etc as an example in interior space can grant the expression and sense of tactility, solidity, lightness, etc. The length of the arch, sleekness of the form, mass of the element are dependent on their articulation through techniques of making. The author has concluded raising the question as to “how to maintain the tectonic trajectory in the face of a postindustrial civilization that seeks nothing less than the reduction of the entire world to one vast commodity” (Frampton, 1997). Hence the concerns of technology on tectonics come to light. The literature stresses the importance of traditions of the old being continued along with new modern technologies for the emergence of meaningful tectonics. For the emergence of Tectonics, Frampton’s writings correspond to the Atlas of Novel Tectonics by Jesse Reiser in terms of the importance of the three factors of Geometry, Matter and Operation that relate to Tectonic. Geometry, by its form provides attributes to space and is capable of escalating to merge structure and ornament. This becomes an attribute gained through it’s generation.

Fig 3.3 : Bruder Klaus Chapel by Peter Zumthor (2007) : Mutation of light, shadows by virtue of the geometrical form and texture of the material was created from the technique of production and construction.

Matter, or material is extremely essential in its articulation to grant tactile value to space. It by its intrinsic properties can be adapted to gain a tectonic potential using traditional and new innovative technologies. Operation of the production is what has the potential to transform geometry and matter to an art-form in architectural design. Tectonic being the poetic of construction, the operation of concepts of production and construction translates the tectonic imagination to realization. The study hence constructs the following factors for Tectonics in Interior Design: Geometry and Generation Matter and Articulation Operation and Production

Fig 3.4 : Louvre Abu Dhabi by Jean Nouvel (2017) - A generation of experiential light effects is seen and felt through the massive prefabricated eightskinned aluminium dome with the industrial production adding a perceivable layer.

3.1 | Geometry and Generation Spaces gain a tectonic expression through the art, articulation, and configuration of geometry by affecting our perception of space through its intentional manifestation. Tectonic potential emerges from the generation of geometry by its role in the development of interior language and qualities of the space.

Fig 3.1.1 : Montreal Biosphere by Buckminster Fuller (1967): The generation of geometry through sub-division into icosahedron and generation of components for manifestation/production (Refer to text)

Concepts of Applied Sciences in Generation of Geometry: “Geometry is the fundamental science of forms and their order.” (Leopold, 2006). Its derivation has its conception in knowledge and application of sciences. Mathematics From the generation of Egyptian pyramids that were derived from the Pythagoras rule, algebra and trigonometry for slope ratios and directions, Ancient Greek temples with calculations for ratios that went behind their harmonized columns to the triangulation of the sphere form in the Geodesic Dome by Buckminster Fuller in the 1900s to achieve structural optimization with tectonic articulation, application of the field of mathematics has always been prevalent for the generation of geometries. This conversion is now being applied to sub-divide complex surfaces into platonic solids for ease of production. For eg: In the Heydar Aliyev Center by Zaha Hadid (Fig 3.1.2- Fig 3.1.5), conceptualized with its robust and bold geometry to be a regional cultural center, the geometry sees applications of Mobius Strip and flow fields to liquefy the geometry. The production is brought about the articulated complex spaceframe to accommodate the multi-directional geometry with external customized cladding for the homogeneous aesthetics. The geometry produced cuts figureground and borders on ‘atectonic’ achieving a sense of continuous infinity in its perception. Physics, Chemistry, Engineering Application of concepts of physics and structural forces has played an integral role in the evolution of geometry generation with the evolution of the field of physics. Architecture of Gothic Churches achieved larger spans by addition of flying buttresses that accommodated compressive loads, hence attaining resolution of geometry and adding to it through concepts of structural engineering. 54

3.1 | Geometry : Generation | Tectonics in Interior Design

Fig 3.1.2 - Fig 3.1.5: Heydar Ali Centre, Azerbaijan by Zaha Hadid (2012) - Perception of free flowing geometry in the exterior and interior due to articulation of surface (Refer to text)

Nature and Biomimetics Application of physics in terms of structural forces and knowledge of geometry generation has been merged with nature to achieve a biomimetic approach in Pier Luigi Nerviâ&#x20AC;&#x2122;s Palazetto Dello Sport (Fig 3.1.6 Fig 3.1.8) wherein the load transfer akin to the Victoria Amazonica water lily, which, with its massive diameter carries its own weight to float on water through its structural system. Merging the material properties of concrete - using ferro-cement novel for the year of 1953, and understanding from natural phenomena and traditional Roman domes for application on seismic loads, the geometry achieves structural viability for the massive dome and in doing so, an artistic visual complexity. Evolution of chemical engineering, metallurgy also impacted geometries as the potential of material properties increased by new materials and revolutionized the usage of contemporary materials. Metals like aluminium, polymers predominantly used in kinetics and hydro/thermodynamic related fields are increasingly finding usage in the field. These materials are used in parallel industries for accommodating the nature of geometry by their adaptable properties.

Fig 3.1.6, Fig 3.1.7, Fig 3.1.8: Palazetto dello Sport, Italy by Pier Luigi Nervi : Inspired from nervature of a leaf for the structural optimal manifestation of the massive dome from concrete to stiffen the surface by load lines and thickness variations achieves visual beauty and complexity. The derived geometry resonates art and nature.(Refer to text)

Physics, Kinetics from Naval, Aero-nautical, Automobile Fields In the interior-architecture field, the application of concepts of the structure as a skin, wherein structural loads can be transferred through the articulation of skin and the secondary load-bearing structure (monocoque and semi-monocoque) are applications of the naval, aero-space and automobile fields (Fig 3.1.9). For such performative designs and geometries to achieve optimization - like in ship-hull forms to reduce wave drags, ship-building industry utilizes calculation of geometrical variables to obtain rational designs. (Wu et al, 2001). Currently used tools for Computational fluid dynamics in the industry along with gravity, load testing simulators check optimum geometry for better performance and viability of production. Softwares and tools for various commands are critical for generating such geometries in interior architecture. Established geometrical methods and coded soft-wares offer variable limits and geometrical constraints such that points on the geometry can be altered and the geometry is automatically optimized for production and performance with a consideration of structural and geometrical constraints. The input of the surface and important design

Fig 3.1.9: Generation of Geometry of air-crafts from 2 dimensional shapes to 3 dimensional continuous surfaces/skins by Lofting. Shown : Generation in CATIA software by Dassault Generation for Dassault Aviation Rafael 3

Fig 3.1.10 : Experience Music Project, Seattle by Frank Gehry (2000) - Generation of geometry using aeronautical-based software of CATIA

3.1 | Geometry : Generation | Tectonics in Interior Design

parameters through the application of concepts, knowledge and technology of these field sectors can hence generate the geometries. Hence this implies that structural optimization and considerations are integrated with the generation of the geometry. For surface-based interior elements, this has tectonic potential as the shell geometry can be articulated with integrated structure and material. The knowledge, technology and applied physics articulate geometry with respect to generation and production. The design for hydrodynamic pressures on ships, aerodynamics on aircraft are more complex than design for the gravity and wind-loads on architecture, and hence the concepts can be transferable. (Kolaveric, 2003). Framing and cladding concepts and articulation of skin geometries have been prevalently in use in the industry for years. Parametric modelling approach in the naval industry enables the generation of complex geometries.

Fig 3.1.11 : Conde Nast Cafeteria, New York City by Gehry Partners LLC : The project integrated 3D digital model of geometry of titanium panel for laser-cut from a single sheet, shaping by Forming process.(Schodek, 2005)

Hence, uniqueness, along with complexity can be accommodated in the interior field through the application of the sciences and industries. The application of the developing technology of parallel field sectors may have inspired new language by a freer treatment of form and structure with potential for comparatively more economical and easier achievement of complex geometries than traditional production methods. This potential is garnered by both - the technology of digital soft-wares that generate numerous iterations/options of geometries with input variables as well as the availability of required industrial tools for the manifestation of the form. Application of aero-nautical parameters, technology, knowledge, and skills had a considerable influence on projects by Frank Gehry who used aero-space software (CATIA) for the generation of geometry. In the project, Experience Music Project in Seattle (Fig 3.1.10) the sinuous double-curved surfaces have each a unique shape and are laser-cut pieces of sheet metal over an aluminium structural system. Monocoque concepts of construction to generate a continuous structural skin, have evolved and the conception of integration of skin and shell came to be. (Kolaveric, 2003). The application of production processes from these fields that utilize industrial production has accentuated and re-defined â&#x20AC;&#x2DC;assembledâ&#x20AC;&#x2122; geometries and concepts 56

3.1 | Geometry : Generation | Tectonics in Interior Design

Fig 3.1.12 : UK Pavilion Shanghai Expo by Heatherwick Studio - The geometry emanating from a perceived invisible central focal point creates perspectival lines thrown out of the central interior space

establishes individualistic charact whole reads as more

of off-site assembly-based production. Assembled Geometries as a language/grammar of geometry: The methods of production have given rise to the concept of assembled geometries where the complete system is composed of numerous parts. Assembled geometries can have a direct translation to individual parts/ elements of the system and can be directly produced with appropriate processes because of the continuum achieved between design and production. The sum of the parts makes the system. Digital technology has made it possible for the direct translation of the 3D model to individual parts. The geometrical constraints that traditional modes of communication and making implicate, are fairly eliminated by the emerging digital and production practices in the field.

Fig 3.1.13 : Jean Marie Tjibaou cultural center by Renzo Piano - Merge of traditional and modern techniques of construction to articulate vernacular geometry where each element establishes individualistic characteristic yet the whole reads as more. The form is also adapted from local traditional house forms that have cultural and climatic reasons for the same.

The complexity of the system can be directly proportional to the number of components in the system/geometry and can further affect the assembly process. The value of Quantity and Transformation can gain a qualitative meaning in case of assembled geometries Part to Whole Systems The part to whole system of the geometry is evaluated in terms of the ease of its assembly - on site /offsite. The complexity of the geometry, the number of components in the system can have a direct correlation with the complexity of assembly. Ease of assembly leads to an increase in efficiency, possibly in terms of speed of execution, reduction of labour, cost, etc. The assembly of complex geometries is facilitated by the factor of precision in the production of the parts with reduced chances of failure. It is ensured by quality control of produced parts and tighter tolerances through industrial processes. Technology, from cutting to finishing through the integration of various processes can ensure and provide appropriate, consistent quality and the exact desired specification with less room for error. Geometry escalates to tectonics when the whole geometry transcends to become, and be perceived as more than the sum of its parts. Technology and Techniques : Digital Structural economy gained importance with a sense of both structural and material sustainability, and the aim

Fig 3.1.14 : Brion Tomb, Italy by Carlo Scarpa - Articulation of concrete and timber in poetic geometry in space

3.1 | Geometry : Generation | Tectonics in Interior Design

of material optimization led to new geometries. The attempt to create such geometries further led to the emergence of new materials and digital technology. From explorations, iterations, the entire design process of geometry generation can be digitized from conception to production using digital technology. Integration of NURBS in design (Non-Rational B-Splines) could precisely define the geometries with its complexities which made them computationally achievable with use of 2D/3D Fabrication processes. The geometry grants a degree of freedom through flexible accommodation of change by the software. Non-Euclidean, digitally driven forms are re-defining architecture and design. Firms are increasingly engaging a digitally driven ideology and are integrating new geometries with an idea, increased knowledge, and recognition of production processes than ever before.

Fig 3.1.15 : San Bernardo Chapel in Argentina by Nicolás Campodónico - Interior geometry by brick creates a warm massive environment accentuated by the dynamic light-and-shadow projections

Performance-driven Computational Geometry for derivation and analysis of form enables seamless integration of geometry and performance. (Oxman, 2007). Tools and applications of environment mapping, Gaussian Curvature analysis of curvature and its directions, Zebra Analysis for analyzing smoothness of form have increased potential for generation and structural potential of curved geometries. The question arises whether such tools are increasing the inclination of designers towards generation of such geometries. Geometry and Concepts of Production Production processes have redefined the affiliation between design and production. From interior elements being produced to entire interior systems, the practice is experiencing a huge shift. Post-Fordist shift of Mass production of forms provided speed of production, substantial production volumes, yet also implied similarities and homogeneity in the field and its elements. This changed when integration of Mass Customization reduced dependence on standardized parts/elements and added scope and opportunity for customization within repetitive manufacturing, opening the potential for more freedom in design, yet reaping the benefits of mass production. Concepts of construction like pre-assembly / postassembly, transportability, ease and speed of assembly, in-situ/ on-site assembly, material optimization, standardization/ customization all affect the geometry of the element due to the decisions and constraints. 58

3.1 | Geometry : Generation | Tectonics in Interior Design

Co-ordinates of truss wall on catenoid. (above) Parallel and radial arrangements within geometry (below)

Fig 3.1.16, Fig 3.1.17 : Taichung Opera House by Toyo Ito : Employing an underlay of Voronoi tesellation, the geometry generation evolves into a catenoid geometry ( rotation of catenary arch around an axis) produced and realized as a result of computation. The geometry here becomes an integrated “ spatial structural system”. For the production of this geometry, the truss systems were modeled within x,y,z co-ordinates for viability of off-site production and construction. (Courtesy : Toyo Ito & Associates, Architects)

As established earlier the relation between geometry, materials, scale and technology, technology plays an integral role in the timely and economical production of parts of the assembled geometries especially with significant quantities and/or scale of elements. With elements like modular systems in interiors, furniture pieces, retail display fixtures, standardized production through mass production/ mass customization provides readily available/ faster production of quantities with only slight variations. Mass customization has enabled the production of repetitive non-standardized components that allow for customized geometries. Space-making interior elements, as well as furniture pieces with complex geometries and integrated systems, can be designed and produced. Advancement in both digital and industrial production processes has led to derivation of new forms relating to functional requirements and design idea. The conceptualization of the design process can be begun from the concept to generation of desired geometry. Traditional Knowledge, Technology and Geometry: Geometry, by the nature and outcome of its generation, embodies a more profound meaning by imbibing cultural values, notions, traditions and a sense of regional context and traits. Geometries can often have a notional association through their perceived form-morphologies. They hence become integral for association with local people and in the local context. The Wa-shun Guesthouse in China adapts local techniques, materials to generate a geometry that celebrates the local context and culture in its manifestation. The resultant is a geometry dynamic in vision and articulation. The geometry inspired by bamboo cushions (Fig 3.1.19) rooted in traditional Korean culture has been adapted to bring about the impactful geometry of Nine Bridges Club by Shigeru Ban (Fig 3.1.20). Application of this traditional skill, knowledge is further supported by digital technology in terms of virtual actuators to generate appropriate geometry for the material and operation of production. Geometries brought about by traditional techniques of making can be augmented by use of digital technology to bring about a merge of traditional knowledge with potential brought in by use of digital and production technology for articulation of geometry and its production.

Fig 3.1.18 : Wa-shun Guesthouse, China by Wang Shu: A celebration of geometry by traditional concepts, materials, techniques of production using local craftsmen, the tectonic generates intricacy and dynamism and is rooted in the cultural context

Fig 3.1.19 : Bamboo Wife (Jukbuin), the geometry and technique of making of a Korean traditional cushion

Fig 3.1.20 : Nine Bridges Golf club, South Korea by Shigeru Ban - The application of the geometry of traditional bamboo weaving (Fig 3.1.19) brings shape to the generation of the columns in the structure brought about by virtual actuators to bridge geometry and performance of timber.

3.1 | Geometry : Generation | Tectonics in Interior Design

3.2 | Matter and Articulation Matter - a physical entity that takes shape and reacts to its environment. Matter of and in architecture articulates the form, performance and provides physicality, identity, attributes, and experience to the interior space by its manifestation. In the realm of architectural design, matter is being re-perceived and re-conceptualized and being subject to operational logic to be recognized as a material. (Borden & Meredith, 2008). Materiality by their textures, details, touch, tactility to the occupant offer and generate spatial attributes in the space. Eloquently framed by Kolaveric (2008), “Materials and their particular properties make architecture multisensory – we not only see the material surfaces, but also touch and hear them, all of which contribute to our comprehension and experience of spaces. In other words, material effects are not only visual effects; they are experiential effects.” Material decisions for interior elements can depend on the geometry and scale/size/form of its components and the appropriateness and potential of the materials for the desired manifestation of tectonic. The appropriateness of processes can also depend in return on the material choice as industrial processes are adept for use with specific materials. Application of sciences and technology : The last two decades has “engaged a new literalism of architectural technique and production that focuses on material performance.” (Borden & Meredith, 2008). Hence matter is being re-conceptualized in terms of its link with fabrication and geometry. Newer materials in polymers, plastics and alloys of metals have begun to come into use in the field of architectural design through use of industrial processes and they provide new materiality in space. Materiality, material style and expression are essential for desired interior expressions. The techniques of production of these materials by liquid casting to solids allow them to be imposed on and adapt to complex fluid shapes that generate fluid spatialities. Composites of materials being invented can be specifically designed by specific properties to conform with design requirements for providing good performance with respect to geometry. Inputs 60

3.2 | Matter : Articulation | Tectonics in Interior Design

Fig 3.2.1 : Concrete roof shell by Felix Candela, 1962 : Use of hyperbolic parabolic geometries for articulation of the thin concrete shell structure grants atmospheric qualities in its perception

Fig 3.2.2 : Monococque 1 by Neri Oxman - The articulation of a structural skin integrating Voronoi pattern concepts with varying density depending on localized loads. The multi-material 3D printing enables changing material properties across the skin with different materials and their composites in the single skin (Oxman, 2007).

of chemical engineering and metallurgy combine materials with different properties similar to alloy processes to generate new composites with required different properties. Such solid composites by their low costs, variability of potential of shapes produced, high strength to weight ratio, offer higher performance. (Kolaveric and Klinger, 2008). Specific alteration and design for materials generate new tectonic potential by imparting actual physicality of thinness, lightness, transparency to space by its articulation. This is further being facilitated by the enhancement of the structural potential of materials by technological advancements in chemical science. These applications are possible in the interior architecture field due to digital analysis and testing for structural performance and production viability for designs. From the 1950s, gradual developments of materials of concrete, plastic, glasses, textiles provoked architects to shift away from Euclidean geometries to generation and articulation of new forms. Hence the tectonic language of formality gradually started dissipating. Industrially produced materials with batches of materials of a plethora of varied sizes, strengths, grades, finishes, textures have found a direct application in designs. The concepts of production and construction coupled in material research have enabled specific material applications according to the envisioned tectonic qualities of the space. Material potentials are being exploited as technological advancements in chemical science are being able to alter the intrinsic properties of the materials to apply them in new ways. The materials hence are being able to respond to the complexity of geometries as envisioned and provide new tectonic potential in the space by their articulation. Such unprecedented manner of applying the known contemporary materials and their resultant behaviour and manifestation by their renewed potential affect the occupant’s perception of the material as well as the space, hence producing Novelty by perception. Hence, a “reciprocal relationship” is being generated “between new geometries and new materialities”. (Kolaveric and Klinger, 2008). The complexity and nature of new geometries being generated are inquiring for new material responses and behaviours to manifest them.

Fig 3.2.3 : Pixel House, South Korea by Mass Studio : Simple orthogonal bricks slide out in geometry create a dynamism in the simple form

Fig 3.2.4 : Paper Pavilion by Shigeru Ban - An articulation of paper tubes with timber joints and metal bracings come together with warm visual complexity

Fig 3.2.5: Portuguese Pavilion by Alvaro Siza - The 20cm thick concrete provides extreme unprecedented lightness and rhythm to the built

Fig 3.2.6: Palmyra House, Alibaug by Studio Mumbai - Attributes of being rooted in the region, warmth and porosity by simple use of wood slats

3.2 | Matter : Articulation | Tectonics in Interior Design

Applications of parallel industries and concepts : The applications of fields of nautical, aero-space and automobile industries had led to massive tectonic potential by provoking the interior architecture field into the pursuit of “tectonic unity of skin and structure. (as a contemporary expression of Vitruvius’ ﬁrmitas , utilitas and venustas) that provides variability in volume, shape, composition, texture, and appearance in a single material product.” (Kolaveric, 2008) These layered specialized material composites offer new potentials in interior architectural applications wherein local performance across surfaces can be altered by precise engineering of material properties that vary according to performance requirement. Integration of various systems in the material itself during production like the parallel industries accommodate, offers more tectonic opportunities in design through integration of interior systems like mechanical, wiring, plumbing, structural, etc. The articulation of the surface as a skin with tectonic properties of delicacy, thinness, tactility can hence be provided in the space. Hence, desired spatial effects can be applied in the space through emerging material potentials by digital and production technologies. Optimization and Structural Economy With specified making and usage, re-use of materials and structural economy through digital tools possible with industrial processes, material optimization can be achieved. Some processes like bending of metal increase strength and utilize less material than when the element is made by casting metal and it also produces negligible manufacturing waste. Industrial manufacture can reduce wastage of materials/ products as quality of products may be higher than by manual methods leaving less room for error. Exploitation of material potential As material potentials are explored with processes, smaller cross-sections of materials are made possible. For example, manufacturing materials of plywood, LVL (Laminated Veneer Lumber) have the potential to decrease utilization of huge lumber sections. This factor links to the process of design. If the conceptualization necessarily involves the decision of a specific material - either because of easy availability, cost or visualized materiality it impacts selection of processes based on material compatibility. The factor of efficiency in terms of practice can be added to this 62

3.2 | Matter : Articulation | Tectonics in Interior Design

equation and the selection of process may get further narrowed down. In the case of processes leading to production of LVL (Laminated Veneer Lumber)/ Glulam as an example), the potential of natural material of wood is explored and exploited to produce - either better efficiency of cost, convenience and/or ability to derive new forms, material optimization, etc. (Fig 3.2.7). These products are further capable of undergoing subtractive processes and supplement ease of making. Use of digital processes can generate extreme optimization in terms of additive processes like 3D printing with either new materials like thermoforms, plastic or materials like metal. Material Compatibility with processes Material compatibility with production processes depend on material properties like stiffness, potential for ductility, malleability, internal stresses, high temperature,etc and are taken into consideration while deciding onto a process.

Fig 3.2.7 : Yusuhara Wooden Bridge Museum, Japan by Kengo Kuma :The design achieved the tectonic of sleeker cross-sections with LVL , play of shadows with repetition and protrusion in geometry.

Quality and type of finishes, edge conditions, surface imperfections,etc. depend on type of process utilized. Advancements in the industry, as well as parallel industries have new potentials for operation of productions, concepts/techniques of production and construction enabling new potential of production processes and resultant effect on material articulation. Materiality, Craft and Traditional Techniques : Articulation of materials can generate an emotional response to space. Materials have a notional association with people, especially materials used predominantly as a part of the culture and traditions of specific regions. Adaptation of these materials into interior spaces can hence generate emotional responses. The materials have the capability of imparting a sense of spirituality in the space and also a sense of belongingness. Use of the materials, their colours, textures, touch, roots a space in its regional and local context. New digital and production advancements can reignite the applications of contemporary materials and vernacular crafts and techniques through the resultant new potential of materials and their production. Their articulation in space can generate new tectonic possibilities.

Fig 3.2.8 : Fjordenhus by Studio Olafur Eliasson An amalgamation of silver coated bricks, hollow bricks for ventilation and colour variations taking form of geometry integrate traditional Danish details providing visual artful complexity

Fig 3.2.9 : Split laminated bamboo chair by Sandeep Sangaru : Material relation to geometry and tectonics and application of traditional techniques and skilled craftsmen

3.2 | Matter : Articulation | Tectonics in Interior Design

3.3 | Operation of Production The technique of production articulates the geometry and materiality determining the atmosphere, experience and ambience of the space and hence is a key part of the design process. The operation of production determines the proper conceptualized manifestation of tectonics and adds a perceivable language of its own to the space. The generation of geometry with digital means have started the concept of sinuous curves, folds, enveloping skins, to name the extreme in the realm of architecture and design. The possibility of integration of structure and its components into the geometry with an idea of structural economy have changed the visuals of the forms attained. Digital tools have aided in derivation and generation of new morphology of forms with a sense of new materiality which contributes monumentally in shaping the architectonic values of the space. Applications of new materials and technology have further contributed to it. The materiality, complexity of geometry, expression of details, integrated structural systems, etc. make the aesthetics of the space. Trends in Technology ‘Trend’ is a factor, can be construed in either a positive or negative manner that is being increasingly heard in the realm of interior design as the usage of specific processes brings in a particular character through the merit of the technique/tool and resultant materiality. Implications of technology in terms of social media are also adding to the factor of visual interior trends. ‘Similar’ interior expressions by use of typical processes are seen in all parts of the world.

Fig 3.3.1 : Olivetti Showroom by Carlo Scarpa Articulation of mass produced metal with handskills and traditional techniques bring about tectonic manifestation of the detail.

Accessibility of design The accessibility of design has increased, and hence desired tectonics can be articulated and produced off-site. Advancements in technology in parallel fields too are leading to huge leaps in terms of production potential for manifestation of tectonics in the interior field. Local Context and Traditional Techniques of Production What is to be seen is how local traditional practices have an impact on the interior tectonic arising and how the value of regionalism is taken into consideration in 64

3.3 | Operation : Production | Tectonics in Interior Design

Fig 3.3.2 : Rammed Earth work, Ghana by Hive Earth - Local dirt and mud come together with dyes and oxides to manifest in rammed earth walls with articulated details to add visual and tactile tectonic dynamism using local labourers

these concepts of construction. Technological tools being the same across the globe, it has typical outputs as a function. This can lead to the factor of universality in terms of interior tectonic and spaces looking ‘similar’. Concepts of production and technology in this sense can lead to and impose homogenizing characteristics in spaces across the globe. The attribute of a space rooted in its context while using new technological techniques for increasing tectonic potential is an aspect further explored in the study. Geometry, Matter and Operation of Production Non-Cartesian geometries, NURBS and surface representations accommodate the complexity and uniqueness of the geometries and their matter components by the underlying logic of articulating the geometry in the form of Cartesian geometries for the viability of production. The concept as applied to Buckminister Fuller’s Geodesic Dome, as mentioned in Chp 3.1, breaks down the spherical geometry with the concept of triangulation. Modes of production deal with rationalizing geometries from the point of view of production. In Heydar Aliyev Center, also mentioned in Chp. 3.2, the complex surface articulation has been brought about by dividing the inner structure into tetrahedral geometries of same-sized members. The accommodation for difference lies in the ball-joints that can accommodate angles within them. The surface in this manner could be manifested with its complex and unique undulations by rationalizing the geometry for production.

Fig 3.3.3 : Los Manantiales Restaurant by Felix Candela: The surface articulation is brought about by an underlying Cartesian grid in terms of structure for form-work, followed by a layer of standard, regularized wooden pieces and reinforced steel over which cast-in-place reinforced concrete is poured. A striated and segmented surface is hence formed to rationalize the complexity of geometry through incremental standardization. (Borden, 2014) Image Courtesy : Borden, 2014

The components of matter too, in production processes, especially industrial processes, have production parameters of Cartesian geometries applied to them as most techniques and tools deal with production within the Cartesian grid. Tools like CNC milling and precision cutting, 3D printing, additive and subtractive procedures respectively have added potential for the uniqueness of geometries to emerge. The new evolving techniques of production are enabling applications of materials in novel ways with a reinvention of traditional notions of crafts and techniques to extract the intrinsic properties of materials and use them for the accomplishment of complex geometries or new effects in space (Kolaveric & Klinger, 2008). It hence opens an investigation into materiality and its potential.

Fig 3.3.4 : Marble Curtain Installation by Jeanne Gang : Materials being used in new ways instead of their conventional applications. Here, stone that is used in compression since ages has been used in tension challenging notions and stone’s structural capacity. The geometry of jigsaw components cut by water-jet cutting of stone aids the material articulation

3.3 | Operation : Production | Tectonics in Interior Design

Concept of Production and Construction The concept and application of off-site production that accentuated the field of interior design after the Industrial Revolution, as mentioned in Chp 2.2 and 2.3, initially began for their mass-production advantages in the post-war world and community. For example, the demountable house and structures by Jean Prouve. They also provided advantages of assembly, disassembly and transportation, producing kit of parts for ease of assembly. The assembled geometries of prefabricated components provided a mechanized sense and notion to the interior tectonics. Standardization in industrialized construction integrated a logic of production to the geometry and materiality. Preassembled,part-assembled elements accommodated levels of complexity to the geometric production. Consistency of quality, accuracy and precision aided in the manifestation of the tectonic expression. Unlike industrial production, the factor of on-site activities, assembly/construction in the architecture and the interior design fields plays an integral role in the manifestation of tectonics in terms of both geometry and matter. In the Interior Practice, for added precision and accommodation of complexity, we see an increasing balance or trade-off between off-site production and on-site construction/assembly. The design process from conceptualization to execution considers multiple factors for the production parameters that have been observed and studied in the case-studies. Application of Technology Off-site production has the potential for accurate translation of geometry and articulation of material with specialized technological tools available in facilities. Applications of parallel industrial fields of nautical and aerospace engineering, sciences, concepts, and technologies have broadened the scope of production in the interior design field. Availability of existing tools increases with their integration into the process of making hence facilitating the production of complex forms and new conceptual geometries. Hence, this application has affected the operation of production by an increase in the viability of production. The critical point is the accommodation of nonstandard geometries’ production and construction with applications of concepts and technologies from the parallel fields. 66

3.3 | Operation : Production | Tectonics in Interior Design

Fig 3.3.5 : 6’ X 6’ demountable house by Jean Prouve - Ideals of functionality of rational production led to assembly-based deconstructable house modules in post-war society

Fig 3.3.6 : Total Filling Station by Jean Prouve - Pre-fabricated Mass produced elements for chain of petrol pumps are fabricated for ease of assembly on-site. Logic of geometry and material for technique of production and concept of construction are hence applied.

As an example, applications of ship-building technology, concepts, tools have been employed in the NatWest Media Center (Fig 3.3.7) due to the industryâ&#x20AC;&#x2122;s capability of producing extremely individual unique components with minimum tolerance and maximum precision necessary for the assembly and accommodation of irregular geometry that could not have been produced using conventional architectural modes of production. The techniques of building semi-monocoque structures from the parallel fields with internal structure and skin as a structural surface manifested this aluminium structure. The shell was broken into two parts. The upper and the lower subshells were pre-assembled in the ship sheds temporarily to correct errors , disassembled and transported onsite. This typical ship-building procedure ensures accurate on-site assembly. The geometry of the shell did not follow a geometrical regularity like in the IBM Corporate Pavilion by Eero Saarinen (Fig 3.3.11)that could be produced by conventional methods because its shape displayed regular geometric characteristics that were viable for production conventionally (Borden & Meredith, 2008). Unique and complex components of geometries can be articulated appropriately with materials through concepts like batch production. The possibilities of producing unique elements at a similar cost and efficiency as repetitive elements add to tectonic potential. Production factors like production volume, compatibility with materials, all participate in the design process and the resultant output. Techniques of production impact finishes, details like corners and edges, thicknesses, tolerance, size, etc thus playing a monumental role in the execution of the elements and its tectonic manifestation. It can be inferred that with the application of the technologies from parallel fields and with the adapted concepts of production and construction, unique geometries can be accommodated in nearly the same process as standardized components due to increase in available production processes for applicability in the interior design field.

Fig 3.3.7 - Fig 3.3.9 : Two parts of the shell assembled with all components in the ship construction shed by skilled labourers of shipbuilding industry before being disassembled for on-site assembly

Fig 3.3.10 : NatWest Media Center by Future Systems (1998) - Application of ship-building technologies and concept of semi-monocoque system with aluminium are seen in the production of the three-dimensional complex geometry for accommodation of irregular curvature in the skin (text in paragraph)

Fig 3.3.11 : IBM Pavilion by Eero Saarinen (1946)Regular egg shaped geometry with inner structure assembled and built onisite (Refer to text).

3.3 | Operation : Production | Tectonics in Interior Design

3. 4.

Interior Practice and Model of PeopleProcess-Technology

4.1

People and Practice

4.2

Process and Design

4.3

Technology and Production

4.4

People - Process - Technology Model and Interior Design

TECTONICS Interior Space

Geometry Materiality Aesthetics Technique

Interior Expression Homogeneity/ Heterogeneity

Clients

Communication

Visualization Representation

Manufacturing

Interior Design Design Process Interior Designers

Production

Speed

Digital-driven Ideology

PRACTICE

Consistency Accuracy Quality

Cost

Efficiency Optimisation

PROCESS

Fig 4.1 : A cross-relational diagram indicates underlying presence of People - Processs - Technology Paradigm within the study of relation of Technology, Tectonics and Practice

PEOPLE

Interior Practice

PROCESS

4 | Interior Practice and Model of People-Process-Technology

TECHNOLOGY

4 | Interior Practice and Model of People-Process-Technology The People-Process-Technology Model has been applicable for organizational process improvement embraced across various industries since the 1960s to date. (Prodan et al, 2015). While additions of other factors have been integrated to make the model richer in its application, the three factors remain constant to make the â&#x20AC;&#x2DC; Golden Triangleâ&#x20AC;&#x2122; a holistic principle in industrial practice. Evaluation of broader factors and topics of this study, their cross-connections and inter-dependencies result in the emergence of factors of the People-ProcessTechnology model affecting Tectonics through Production Processes and Practice. The model has been incorporated in this study in an attempt to bridge and link the production process and Interior Practice in interior design to deduce their holistic comprehension and association in interior field and practice. The research applies the factors of this triad established in connection to interior design on factors of Tectonics for the emergence of the relevance of Interior Practice and Production on Interior Tectonics. The sub-factors of the model have the potential of integrating the aspects of the human factor, efficiency of labour, speed, precision, quality in terms of production and ideology, accuracy, efficiency in terms of process, with the emergence of tectonics and their role in the generation of new tectonics in interior design. Further linking Interior Design Practice to this model, the study establishes the factors of study for the frame-work as : People and Practice Process and Design Technology and Production

4 | Interior Practice and Model of People-Process-Technology

4.1 | People and Practice Interior Design as a field is labour intensive. The process from conception to execution necessitates inputs and functioning of a variety of roles who perform distinct roles. We observe that the notional value of a local natural material, specific ways of making, traditions, customs of people related to locations and regional context become factors of interior design. The human factor hence plays a role in the association of tectonics to local context. Knowledge and skills of Techniques One factor that has been imbibed and inculcated in architectural and design is the knowledge, understanding and skills of techniques from generations in cultures and regions. These skills and knowledge have made design richer and more productive through the ages by their integral integration in the interior practice through concepts, use of skilled labourers, considerations of people in design and they all culminate in tectonic potential. Value of Labour : On-site and Off-site On-site execution, transport, finishing by labourers are considerations for accurate manifestation of envisioned tectonics as well as efficiency in the design process. Off-site production also necessitates labourers for carrying out the production processes efficiently and accurately. Here, even with the use of machines, aspects of consistency of quality, accuracy and precision are dependent on manual labour too. The factor of people has appeared as a core industrydriver (Goulding, 2020). In many regions, higher costs of skilled manual labour dictate concepts of production that require lesser incorporation of labourers. Designers and stake-holders The design process integrates various stakeholders, especially related to production. The study investigates into the incorporation of productionrelated stakeholders in the process like industrial or craft-based skilled labourers. The interior designer, accommodation of changing stakeholders and shift of their roles hence would become integrated into the design process. The interior designerâ&#x20AC;&#x2122;s making-related or digitally driven ideology could also bring about an integrated transfer of data between the stakeholders and resultant design process for the articulation of tectonics depending on the complexity or nature of the design. 72

4 | Interior Practice and Model of People-Process-Technology

4.2 | Process and Design The word Process can be defined as â&#x20AC;&#x153;a series of actions taken in order to achieve a resultâ&#x20AC;? (Cambridge Dictionary Press, 2020). The research considers the result as the achievement of tectonics, and the established parameters are taken as multiple actions employed to accomplish it. These actions range from conception to execution. Ways of working Digital technology and resultant changing methods of working have an impact on the design process through the collaborative working of designers on digital models, virtual testing and simulations to gauge geometry and structure performance with the material, ease of explorations with direct translation to models, etc. The accuracy and control further impacts efficiency in the design process. These shifts in the modus operandi increase tectonic potential by higher potentials of achievement of tectonic. In terms of process, CAD/CAM, and a plethora of other softwares for generation and development of design ease manual working. Complete digitization and working on 3D models may also eliminate the time and need for construction documents and develop new forms of representation in the design process. Integration of stake-holders As stated before, the technological application in interior design might necessitate the incorporation of industrial or skilled stakeholders in the design process to achieve envisioned tectonics as a result. With digital technology incorporation at the schematic stage of design, direct translation to production by production technologies of various industries is possible. This would at some stage in the design process imply the integration of collaborators to bring about the manifestation of tectonics through production processes. The implications would be in the form of data transfer in the design process between interior designers and production facilities. Here, efficient communication becomes integral to transfer tectonic qualities into the production process.

4 | Interior Practice and Model of People-Process-Technology

4.3 | Technology and Production Production Technology, for the scope of this study involves both: the concepts of technology as being traditional skills and knowledge, to new evolving technologies in parallel industries and interior design. Application of technologies The study focuses on the investigation of the application of production and traditional technologies on interior design and the resultant potential that emerges from it. Implementation of these production technologies is better facilitated through adaptation of existing tools, apparatus, knowledge, and skills. Exploration and integration of technology can aid in better manifestation of design and emergence of an unprecedented language of tectonics due to its potential. Qualities of Tectonics The possibilities offered by production technology impact tectonic imagination of the designers through an increase in viability of production of the envisioned tectonics in space. Direct input of digital geometries and control parameters to new production technology apparatus results in better precision, accuracy, quality, and tighter tolerances for complex geometries. Possibility of whole to part geometries increases as the production technology can directly translate geometry to unique components. Hence tectonic potential appears. Traditional technologies by their regional roots can execute tectonics by techniques and with materials that have a deeper and more profound cultural significance or is more apt for the region in terms of climate and aesthetics. On-site and Off-site Production Concepts Technology has led to increased potential through offsite production and on-site assembly or installation. Complex geometries and material processes can be applied in the form of part or pre-assembled forms. Applied technology, techniques, existing apparatus/ tools from parallel fields offer advancements in interior design production. Production facilities offer the articulation of tectonics with increased efficiency of time, labour and material.

4 | Interior Practice and Model of People-Process-Technology

4.4 | People - Process - Technology Model and Interior Design The co-relation and inter-dependencies of People, Process and Technology in the Model generate interconnections that are holistic, or explicable only by reference to each other. While this model is in use in industrial organizations to improve productivity, for the field of interior design too, their relevance can be multi-fold. For the fields and practice of Project Management, an efficient management of data and resources for the functioning of the organization is the resultant of the application of the PPT model. For the Interior Design Practice, the culmination of the three determines the realization of the design in the project.

Scale

PEOPLE

PROCESS

Innovate

TECHNOLOGY

Automate Fig 4.4.1 : PPT Model in Project Management (Penn, 2018). The resultant intersections of Scale, Innovate and Automate are suggested as per the Industrial sector and might not hold true for Interior Design.

The production technology is determined by the local/ industrial skills of labourers, manual labour available, viability of production depending on cost, skills, time, complexity of design, etc. This intersection plays a monumental role in the design process in terms of design development, construction administration, and in turn on geometry generation, its complexity, etc. The articulation of a design - details, materials, joineries are all hugely dependent on the local considerations of people, regional traditions and values and thereby impact the other two factors in the triad. Hence the three factors of People: Practice, Process: Design, Technology: Production are all interdependent and co-related and are integral considerations and factors in Interior Design. While the triad mentioned in the diagram is related to core production improvement techniques, the modelâ&#x20AC;&#x2122;s involvement in interior design practice might not be applicable only in these terms as the field deals with more than only productivity in the project. The thesis investigates into the relevance of interior Practice on Interior tectonics through the application of the PPT Model. Its application in the framework is through the parameters mentioned in the next chapter.

4 | Interior Practice and Model of People-Process-Technology

5.3.

Theoretical Frame-work

5.1

Case-Study Methodology

5.2

Quantifying Novelty in Interior Tectonics

5.3

Criteria for selection of case-studies

5 | Theoretical Frame-work The study investigates into the emergence of the factor of Novelty of tectonics in the field of interior design through the factors of Interior Tectonics and their co-relations with factors of Interior Practice and production process as a lens. The framework is a construction of the multiple factors through which an understanding of the co-relations and inter-dependencies can be extracted. The factors of Interior Tectonics as elaborated upon before are : Geometry and Generation Material and Articulation Operation and Production The factors of Interior Practice and Production Process Improvement Model that are to be applied onto the three factors mentioned above are : People and Practice Process and Design Technology and Production ... The multiple sub-factors extracted from the understanding of literature studies and from Chapters written ahead are categorized into the established six factors (mentioned above) as follows : Geometry : Generation

• Geometry providing function through attributes -

-The tectonic qualities bought about by generation and manifestation of geometry in the interior space through which space attains a deeper meaning. • Integration of data : structural, loads, production -The advantages provided by data integration in the generation of geometry and whether there is a resultant escalation of geometry to gain a higher meaning of both structure and aesthetic.s • Establishing separate interior identity -The potential of the geometry to attain an identity by virtue of its attributes, site and regional relations and constraints that might dictate the generation, concept and operation of production. 78

5 | Theoretical Frame-work

• Accommodation of complexity - Application of control and Adaptability -The tectonic potential unleashed through increased control over generation of geometry and the resultant forms derived due to increase in the possibility of adaptability in design. Matter : Articulation

• Material Association and Input of Attributes to Tectonic

-The tectonic qualities provided by factor of materiality by its association and articulation in space.

• Material response to geometry

-The reaction and application of the material in reaction to its geometry in an optimal manner that validates the material behaviour in response to geometry

• Exploiting Material Potential

-The articulation by exploitation of material through its properties and technologies to attain a tectonic expression through enhanced performance. Operation : Production

• Evolution of structure from Geometry

-The derivation of geometry and subsequent determination of structure from form that transfer tectonic qualities of geometry to realization. Other predetermining aspects and constraints of structure that impact generation of geometry are considerations.

• Concept of Production : On-site v/s Off-site

-The factors, constraints or opportunities leading to off-site production processes for the articulation of tectonics. The balance and involvement of off-site and on-site production and their impact on the achievement of tectonics.

• Collaboration with Production Facilities

-The impact of collaboration of production practices on interior design and tectonic realization through the integration of technologies, people, skills, tools,etc. ... -Evaluating these parameters of tectonics, the study constructs parameters of Interior Practice that impact them under the driving factorsPeople : Practice

• Consideration of People/Locality

-The generation of design in response to people, regional context, local factors and flavours and the 5 | Theoretical Frame-work

subsequent resultant on tectonics.

• Input of skilled labour

-The utilization of technologies and the articulate manifestation of tectonics through the integration of skilled labour with knowledge of techniques and processes that can bring about accuracy, quality in translation of geometry and operation to reality. Process : Design

• Freedom of Design and Geometry

-The factors that bring about a sense of freedom in generation of geometry, utilization of materiality in response, and design as a whole in the design process for new tectonics to emerge.

• Communication and Data-Flow

-The impact of collaboration of production practices in interior design, subsequent flow/communication of data between stakeholders and its implication on generation and production of tectonics and design process.

• Design for Spatial Expression

-The actions taken through all the other parameters in design process that are implemented for the emergence of an expression in the interior space. Technology : Production

• Precision, Accuracy, Consistency of Quality

-The importance of precision, accuracy and quality in production and geometry generation, for manifestation of tectonics and how the factors bring the same about through technology.

• Viability of Production - Design for Manufacturing

-The changes and possibilities in interior tectonic that are caused by techniques of - Design for Manufacturing and Production. -The increase and accommodation of complexity and uniqueness of geometry by the technology of production processes bringing about viability of production and resultant implication on design. • Adaptation and Integration of existing technologies -Adaptation of existing technologies and subsequent application on interior design - traditional technologies and technologies from parallel industrial fields. - Its application on design process and potential for generation of new tectonics, increased collaboration (practice) and input of production technology. 80

5 | Theoretical Frame-work

5.1 | Case-study Methodology The methodology of framework for evaluation of case-studies hence constructs and evaluates these parameters by establishing cross-linkages and interdependencies to gain a holistic comprehension of the emergence of new tectonics . The case-studies are first evaluated based on the parameters of the six factors of Geometry : Generation, Matter : Articulation, Operation : Production, People : Practice, Design : Process, Technology: Production to be provided with a tectonic and technical understanding of production aspects. The evaluation includes literature based on understandings, and diagrammatic representation of stages. The readings and key-findings for each project are recorded. The conclusion reflects on common patterns in readings. This is followed by a graph of plotting interdependencies that bring about a reading into the emergence of new tectonics in the interior space. An understanding of these dependencies results in a deduction of the factors that evolve as Initiator, Executor and Enabler in the project. Comparative evaluation of the four case-studies produces common factors of the same. The Focus case-study of Georges Cafe follows the evaluation with the generation of parameters that impact the emergence of Novelty or New Tectonics in the Interior Design Field. Evaluation of the first casestudy develops the parameters for Quantification of Novelty in tectonics in Chp 6.2. These parameters are analyzed and inferred as an added layer in the plotted graph through the cross-connections due to which they emerge. The application of the evaluation framework results into the quantification of Novelty in Tectonics in interior projects. Broader readings and inferences of impact and implications on Interior Design field and Practice translate to conclusions. The case-studies are evaluated with an understanding of the 6 established factors through the sub-parameters and a sequential design production process.

5 | Theoretical Frame-work

5.2 | Quantification of Novelty The methodology analyses the impact of the application of technology on the field through production processes in terms of generation of a new sense of tectonics or Novel Tectonics in the field. The study investigates into the emergence of the factor of Novelty of tectonics in the field of interior design through the established cross-linkages. The evaluation of case-studies through the framework and plotting of factors of Novel Tectonics in the chart generates a mapping of the different parameters in each case-study. A comparative analysis of these plots can help comprehend and infer the variations and ratios of the novelty of tectonics in the project and the factors through which it can be caused. The framework considers the higher number of emergence of sub-parameters mentioned in Chp. 5.2 in plotted mapping charts as the emergence of increasing novelty of tectonics in the project. The framework hence derives a method to â&#x20AC;&#x2DC;quantifyâ&#x20AC;&#x2122; the factor of Novelty in Tectonics for projects applied to it that have application of production technology. Through the number of emergences of interdependencies, the importance and role of the 6 factors (Geometry : Generation, Matter : Articulation, Operation: Production, People : Practice, Process : Design, Technology : Production) in the field and interior tectonics will be established for the same as Initiators and Enablers/Executors. It will hence also establish the relevance of factors of Interior Practice on Tectonics. The quantification also aims to establish comprehension of how critical and relevant the role of Applied Technology is in the establishment of New tectonics or if its application is just in the utilization of tools of technology as generating a new aesthetic. The readings reflect the co-relationships between production processes, technology, tectonics, and interior practice in the field. The inference of these readings is fruitful in understanding the direction and future repercussions on the interior field, Practice, and tectonics due to current technological advancements in production. 82

5 | Theoretical Frame-work

5.3 | Criteria for Selection of Casestudies For the inferences of the case-study evaluation to gain a holistic meaning, each of the case-studies is chosen on the following criterion. The case-studies are one-off projects. 1. Georges Cafe, Paris by Jakob + Macfarlane The case study is selected to evaluate the impact of direct and substantial collaboration with industrial production processes to bring about tectonic qualities and the study of the resultant process from conception to execution. The project, for the scope of this study would hence be apt for determining and verifying parameters for analysis for the emergence of Novel Tectonic due to production processes and practice in the developed framework and established methodology. 2. Norwegian Reindeer Pavilion, Norway by Snohetta + 3. GC Prostho Museum and Research Center , Japan by Kengo Kuma & Associates The case studies are chosen to understand the impact of local traditions, techniques and cultural notions of the people and region on interior tectonics manifested with newer production processes, as the projects have application of traditional concepts as well as new technologies for production. Its developments and new applications in wood in a distinct manner are explored in these case-studies. 4. Cardboard Cafe, Mumbai by NUDES The evaluation is bought to the Indian context, tectonics and Practice by the case study to investigate Indian interior practiceâ&#x20AC;&#x2122;s involvement and stage with new technologies, the relevance of traditional production processes and regional context. The case-studies were short-listed primarily due to the generation of interior tectonics by merit of the application of technology and means of production processes and concepts that lie within the scope of this study.

5 | Theoretical Frame-work

6.3.

Case-studies

6.1

Georges Cafe, Paris by Jakob+MacFarlane

6.2 Mapping Novelty in Tectonics 6.3 Application and Verifying use of Methodology 6.3.1 Inferences and Key-findings

STAGE I

6.4

Norwegian Reindeer Pavilion, Norway by SnĂ¸hetta

6.5

GC Prostho Museum, Japan by Kengo Kuma & Associates

STAGE II

Cardboard Cafe, Mumbai, India by NUDES

STAGE III

6.7

6.1 Case Study 01

GEORGES CAFE , Paris, France by Jakob + Macfarlane

Site : Centre De Pompidou, Paris - Terrace Floor 6 Area : 900 sq.m (interior) Occupancy : 200 (interior) + 150 (terrace) Design Firm : Jakob + Macfarlane Typology : Hospitality Delivery : 2000 Consultants : RFR Engineers, produced in boat-building facility at Bordeaux

About the Project : The cafe designed by Dominique Jakob and Brendon Macfarlane was designed and built with an idea of complete digitization. With learnings from their earlier projects, the project of Georges Cafe saw the firm make a complete shift to the digital. Designed with an idea to be a contrast to the grid structure of the famed Pompidou Centre by Renzo Piano and Richard Rogers, and honour the association of art with the city and the centre, the project sees sculpted formless volumes in the space. The project hence is an intervention in an existing space and system. The Pompidou’s architecture provides a free, open interior floor plate. The characteristic of the building with its famed exposed services on the roof and the sides allows an opportunity for exploration only with the floor grid. The undulating forms that are like thin aluminium shells hold various functions like kitchen, private dining room, reception, bar, and washrooms. The seating is arranged in rows on the outside of these volumes. The volumes were conceptualized and envisioned to provide a “theatrical quality” (Macfarlane, 2003) to the space and be visually devoid of structure as a contrast to the exposed structure of the host building. This could be achieved by an integrated structure within the envisioned thin skin. (Brooker, 2013).

6.1 | Georges Cafe | Case-Study 01

Fig 6.1.1 : Georges Cafe - Perceivably thin skin structures of forms in space housing functions with light reflecting off the brushed aluminium and its subtle undulations.

Fig 6.1.2 : Georges Cafe - View from inside the Bar Volume, coloured rubber skins provide a soft feel to the insides of the forms and cover the inner structure.

6.1 | Georges Cafe | Case-Study 01

GEOMETRY: Generation â&#x20AC;˘ Geometry providing function through attributes The geometry adds a dimensional quality to the interior forms through a play of shadow and light on the surface by virtue of its undulations and subtle depths. The seemingly absent presence of a clear texture highlights the smoothness and interpretation of morphing of a singular surface. On-site finishing of the separate panels provides continuity and softness in the visual reading of the form. The perception of a mass, however, is deterred by the visual and physical thinness of the forms accentuated by the cut-outs in the forms where the thinness is felt. What perhaps further accentuates this visual feel is the absence of any individuated visible member in the form. The sight hence is a surprising merge of visual complexity and simplicity. The geometry becomes the primary experiential space-forming element in the interior space by its manifestation.

Fig 6.1.3 : Softness, smoothness and continuity of geometry accentuated by light

â&#x20AC;˘ Establishing separate interior identity Inspite of the contrasting form, the interior geometry seems to be in dialogue with the shell and the exposed language of the Pompidou, further emphasized by use of metal and similar grey tone. The design, by creating internal volumes, leaves open the glass for a prime view overlooking the city of Paris and provides a new place and identity for the city and its people inside Pompidou. The interior experience is provided by the amalgamation of the light reflecting off the brushed aluminium along with the openness of exterior and the city brought in by the glass panels from across the terrace. The exposed structure of services of the Pompidou atop further emphasize the thinness of the form and the smoothness of the curvatures. The geometry hence fulfils the competition entry proposal to provide a new identity to the inside of Pompidou through this project by a contrasting language of its geometry of thinness, lightness, softness, undulating surfaces and volumes. (A4 - refer to Pg 92) The ship building industry in France has been prominent since 1700s. The people would hence be able to relate and associate with the aesthetics and forms of metal ship-building. This factor may have been integral in the acceptance of the aesthetics of Georges Cafe and in establishing an identity to the interiors as well as the interiors becoming an identity of the city. 88

6.1 | Georges Cafe | Case-Study 01

Fig 6.1.4 : Feel of tactility by thinness of form

Fig 6.1.5 : Articulation in metal in interior form v/s in interior ceiling of Pompidou

â&#x20AC;˘

Mutation of (XY axis) horizontal Floor plane

The floor plane itself rises up to seemingly formless volumes. Digital Technology was utilized as a tool for the generation of the geometry for such mutation of the horizontal floor plane into the geometries of the forms. The single-axis plane in XY direction, using the 800 X 800 mm floor grid points as Control points, has been morphed to create a NURBS surface (A5). This leads to the development of a seemingly soft form from the plane. The scale of the element and the curvatures allows a sense of association to the users of the space, from within and from the outside of the forms. The geometry itself makes the form tactile in nature. The form designed to seem to be emerging out of the floor by tapering the forms to the added floor plane and the use of the same aluminium panels make the geometry more grounded and feel a part of the space. â&#x20AC;˘

Fig 6.1.5 : Mutation of floor plane and attaining surface of skin

Tectonics of Geometry determining Structure

The detailing of the desired tectonic through geometry of a NURBS generated singular surface modulation, its thinness and lightness determined the use of monocoque system for structure (from the shipbuilding Industry) wherein the skin carries primary loads with the inner structure facilitating necessary form to the skin. Hence the undulating skin surface can be properly articulated. â&#x20AC;˘

Similarity and Application of Industry on geometry

The concept and process of Boat building, similar to the forms in this interior project have an exterior skin with integrated structure and services (A7, A8). The industry incorporates the composite structure of monocoque for better stiffness and wherein the stress due to the motion can be distributed without localized stress (Biswas, 2004). Added performance ,lightness and strength-to-weight ratio is brought in by use of compatible materials. The application is similar to a semi-monocoque where both the skin and the structure carry loads and have cumulative tensile and compressive strength. Boat-building industry has developed technology for monocoque construction and skin structures that involves metal forming, tested and available alloys for necessary malleability and strength-to-weight 6.1 | Georges Cafe | Case-Study 01

ratios. As surface formations digitally follow similar methods (Lofting over different curves and a separate edge condition in case of yatches) the company could expertly achieve the geometry to integrate production specifications for its accurate tectonic manifestation. Their involvement became essential to integrate the skin, primary and secondary structure and establish the tectonic reading of the skin as a thin singular form emerging from the floor (Fig 6.1.6). The knowledge and experience aided in achievement of minimum thickness of the form near the openings and the periphery. The project however has achieved a different tectonic than that of a yatch built with similar techniques and technology by virtue of their soft undulations in geometry and material finishing.

Fig 6.1.6 : Attaining expression of junction and feel of form emerging from floor

â&#x20AC;˘ Accommodation of Control and Adaptability and

resultant development of vocabulary of geometry

The geometry had been granted a degree of freedom through flexible accommodation of change by the software. The curve can further be changed by integrating a degree as an input. As the NURBS parametric patch undertakes the uv co-ordinate system the designers could locally manipulate the curve by simply dragging control points to change a curvature without affecting the overall geometry of the form (Fig 6.1.7). Hence qualitative visual aspects of the form could be taken into consideration, and the generation of the geometry could develop without the making of any physical model throughout the design process and only through working on and exploring the digital 3D model. â&#x20AC;˘

Optimum Geometry

The envisioned thinness of the form and the surface deformations of the geometry make testing for extreme surface deviations or imperfections integral for both visual aesthetics and production complexities (Fig 6.1.8). The surface becomes an anti-clastic surface wherein the principal curvatures of the geometry have opposite directional signs and hence cannot be flattened into a flat sheet. (Schodek et al, 2003).The geometry hence required both cutting and distortion. The softwares used by the boat-building company used to evaluate performance of yatch form under pressure in water were able to conduct gravity and lateral force tests on the forms. 90

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Fig 6.1.7 :Pliability with digital tools leading to design freedom and explorations with degree of precision

Fig 6.1.8 :Curvature analysis for optimal performance of geometry

The volumes in their placement become a backdrop and also an intersecting undulating pathway where there is a play of people seen moving and then not seen. (Kolaveric, 2003). The form however did not hold a specific function for which it needed a particular geometry. Hence the generation of the geometry was based on more aesthetic and visual parameters.

MATERIAL : Articulation The boat-building company collaborated with, might have used aluminium alloys for its marine compatibility in terms of low corrosion rate, good strength to weight ratio; the project might be using the material for its malleability to achieve double curved surfaces, its lightness to avoid addition of dead load onto to 140mm thick slabs. The application of aluminium, however, performs the spatial function of integrating an expression in the space. The brushed finish of aluminium both reflects and absorbs light. The geometries see an abundance of light coming in through the glass panels. A spatial expression is created by the light magically reflecting off the brushed aluminium, in parts, by virtue of the undulations and soft clear curves of the geometry (A15). The perception of the geometry as being a singular surface also becomes dependent on the articulation of material according to the geometry. For the achievement of this tactile and visual tectonic, on-site finishing of the sheet panels became essential as the processes should be conducted after the installation of panels. The crew of the boat-building company were shifted from Bordeaux to Paris for achieving this brushed and seamless finish of the material on the geometry.

â&#x20AC;˘ Geometry + Material As the geometry could be considered complex with its specific requirements like thinness, cantilever, surface undulations - material compatibility with the geometry and the process of production becomes essential for the articulation of tectonics. While visual and sensory material articulation was fulfilled by material exploration in terms of forming and finishing, its manifestation was facilitated by virtual testing for the viability of production (A9). The interior of the volume clad with rubber that travels seamlessly as the inner skin, provides a tactile softness to the inside of the forms as it encompasses the user.(A16) 6.1 | Georges Cafe | Case-Study 01

OPERATION : Production

266 Architecture in the Digital Age

• Evolution of structure from geometry The resultant finished geometry with material articulation does not emphasize its concept of production as visual manifestation. The geometry determined monocoque construction as it unifies the skin and the structure and can achieve the desired tectonics of a smooth, thin form. The geometry in a top-down approach directly generated the structural segments of the structure from the 3D model which gave a degree of precision and accuracy to the translation from design to production. An approach Fig 6.1.9 :Achievement of envisioned thinness of of assembly-based production and13.19a–d. construction Restaurant Georges: geometry model of the monocoque shell for the “bar” volume. becomes necessary as transportation of preassembled huge forms would not have been possible inside the Pompidou. The manipulation of aluminium through its alloys according to requirements enables the form generation through existing machines. The generation of the geometry maintains tectonics as the driving factor and undertakes challenges in production and aims to optimize operational limits of technology to attain form (Fig 6.1.10). It does not necessarily take the most optimum structural form but determines structure as Fig 6.1.10 : Envisioned cantilever of ‘reception’ 13.20. Restaurant Georges: the structural model of the “reception” volume. volume and challenge for its achievement the envisioned geometry necessitates. • Collaboration with Production Facilities (Application of ship-building industry) The envisioned three-dimensional geometry does not follow a geometrical regularity, and hence production using conventional building tools would be difficult. The 13.21.isRestaurant collaboration with the ship-building industry hence toGeorges: the contour model of the skin for the “reception” volume. involve their expertise for operational purposes. Unlike the conventional structural methods, here, the skin contributes to the strength and replaces the top beam flange. The structure and skin work together making Fig 6.1.11 : Location of the project on the top floor of Pompidou conventional production inviable (Unsquare Org, 2013). For production in shipbuilding, parts are divided according to the size of the construction shed. Here, additionally, the site constraints of the Pompidou were taken into consideration for production (Fig 6.1.12). The smaller dimensions for fitting into the elevators and comparatively low quantity of the structural segments eased transportation by trucks to the site. The structural segments were CNC cut from 10mm aluminium sheets in the industry while traditional boatbuilding processes for supplying curvature to the 4mm 92

6.1 | Georges Cafe | Case-Study 01

aluminium sheets were off-site processes. Industrial production of ship-building industry utilizes processes like sheet hydro-forming, 2 axis CNC, water-jet cutting, cold forming, etc for production of ships and yatches which were needed for the production of the interior forms to achieve the geometry with the material of aluminium. The entire structure was assembled and tested off-site before disassembly and transportation on-site for final assembly. The structural segments are designed for postassembly and hence the pre-production process would require essential communication between the designers and the production facility as the facility was producing shop drawings for production. For a yatch construction, such parameters would not have been taken into consideration as it would be constructed in the industry itself. The integration of the industrial practice facilitated accuracy, precision, realization and articulation of geometry and material. Collaboration and negotiation between the two fields of interior and industrial hence resulted in new potential. â&#x20AC;˘

Concept of production : On-site v/s Off-site

The production of complex double-curves was possible by a specialized ship-building machine that creates concave/convex curves by expansion and contraction. Hence the 4mm aluminium sheet forming in necessary curvatures with consideration of drawing ratios, thickness, etc and other production criteria was facilitated accurately as needed from the 3D digital model. The consistency of quality in the manufacturing process itself and in the translation from the precise digital model accentuates the tectonics and aesthetics of the forms and the space. The typical procedure of shipbuilding, off-site assembly with temporary stitch-welding to check discrepancies and tolerances followed by disassembly ensures accurate on-site assembly in the interior space. As the project was decided to be completed within the time of Pompidouâ&#x20AC;&#x2122;s renovation, the pre-fabrication sped up the project execution and allowed time for on-site finishing for proper material and tectonic articulation.

Fig 6.1.12 : Elements scale to fit into service elevators plus production criteria (Indicative)

Here, the concept is similar to a one-off batch production wherein the factor of customization is brought in with the use of existing tools. The project hence reaps the benefit of both accurate realization of the geometry with the articulation of material with specialized tools, knowledge, and technology for production. 6.1 | Georges Cafe | Case-Study 01

SEQUENTIAL | design process from conception to execution - GEORGES CAFE Schematic Stage

Design Development

Grid of site Pompidou as Control points for mutation of XY plane

Generated visual of thinness, softness, lightness undulating forms

A3 A2

Geometry as a contrast to the exposed structure and services of the site Pompidou and establishing the interiorâ&#x20AC;&#x2122;s separate identity

Digital Technology and Adaptibility with Control points for generation of geometry

Curvature Analysis to derive optimum geometry visually and for efficient production

6.1 | Georges Cafe | Case-Study 01

Architecture in the Digital Age

Construction Administration

Onsite : Assembly and Articulation

Industrial Integration for Viability of Production and Form

ON-SITE

8 Architecture in the Digital Age

ital Age

A11 A7

A15

Restaurant Georges: cross-section through one of the volumes, showing the relaips to existing A8systems. A12

A17

13.27a–c. Restaurant Georges: assembly of the monocoque s

23. Restaurant Georges: cross-section through one of the volumes, showing the relanships to existing systems.

cross-section through one of the volumes, showing the rela-

cross-section through one of the volumes, showing the rela.

Whole to parts - Off-site

13.28a–b. Restaurant Georges: on-site assembly and ﬁnishing

R Consulting Engineers). A9

OFF SITE PRODUCTION

a–b. Restaurant Georges: lateral modeling for the “reception” volume (images by 24a–b. Restaurant Georges: lateral modeling for the “reception” volume (images by Consulting Engineers). A13

Structural segments

es: lateral for for the “reception” volumevolume (images (images by es: lateralmodeling modeling the “reception” by

A14 25a–b. Restaurant Georges: Georges: gravity modeling (images by RFR Engineers). a–b. Restaurant gravity modeling (images byConsulting RFR Consulting Engineers). Curved panels A10

es: gravity modeling (images by RFR Consulting Engineers).

The boat-building company produced their own models and s and 13.22a–b). Working with them was an interesting exper required technology (as mentioned earlier, the technology wa along). We had a number of skin questions to deal with. Essen tant problems to resolve: one was, of course, the overall struct periphery and the other was to make the “mouth” around the (figure 13.23). We did lateral forces modeling (figures 13.24a– 13.25a–b), etc., to make the volumes as thin as possible. We had a highly detailed three-dimensional model of the bolt holes (figure 13.26). The structure was digitally cut out and that part of the project is the “pure” part. Each of the vo bolted inside the boat-building factory (figures 13.27a–c). The A16 A18-A20 the manufacturing of the volumes; we used traditional boat-b Typical ship-building process of temporary 4 mm thick sheets of aluminum. To create some of the more switch-welding and testing accuracy of parts offwe used a machine that was quite interesting, which looks lik site before disassembly and transport of little points that can either expand, and therefore create a c create a concave curve. The volumes were then disassemble to Paris. The maximum size of the individual segments was d of the two side elevators at Pompidou. The segments requir

PEOPLE : Practice

• People and the city :

The design was conceptualized by the design firm to be “a new place for the people of Paris and to provide a new identity to the city by the project within The Centre Pompidou” (Kolaveric, 2003), one of the major architectural landmarks of the city. It does so be its aesthetic association with the ship-building industry of France. The only roof-top location with a continuous and prominent view of the city on two sides governed design decisions along with the constraints Pompidou appointed. The prominent location and this resultant criterion for newness resulted in the design conceptualization and techniques of making to synthesize in a sense of novelty.

• Input of Skilled Labour The employers skilled in the techniques, tools, processes of the ship building industry, played an integral role in the realization of the project. Integration of their knowledge of production and experience enriched the design process by their inputs. Skilled labour played a monumental role in off-site production of unique components and their on-site assembly and brushed finishing. PROCESS : Design

• Freedom of geometry and design :

The ideology of the design firm in the making of the project - a digital approach led to generation and accommodation of complex geometries with the possibility of production.

• Communication - Means and Speed :

Early Collaboration with production industry (Stage of Construction Administration) and integrated 3D digital model led to new way of working and direct means of communication and efficiency of time by optimizing stages of the design process.

• Resultant Consistency of Quality, Precision, Accuracy

The continuum of design and production through communication and data flow by the digitization of process led to the consistency of quality, precision and accuracy in both the design and production process and better manifestation of conceptualized tectonic.

6.1 | Georges Cafe | Case-Study 01

Fig 6.1.13 : View from Georges cafe

TECHNOLOGY : Digital and Production

• Digital Technology :

Digital technology supplied a new way of working that could facilitate collaboration and integration of production technology in the design process. Software technology along with skilled employees of boat- in the Digital Age 266the Architecture building company could accommodate geometrical complexities and ease translation to production parts, Fig 6.1.14 hence increasing accuracy in data from design to execution with added efficiency of time.

13.23. Restaurant Georges: cross-section through one of the volumes, showi tionships to existing systems.

• Viability of Production and Achievement of

Tectonics Curvature and gravity load analysis of geometry and materiality were conducted by virtual tests through softwares of the ship-building industry to gauge production techniques and complexities. Desired thinness at points and other accommodations could Fig 6.1.15 hence be brought about. Production 13.19a–d. technology Restaurant Georges: model of the monocoque shell for the “bar” volume. facilitated tectonics by its apparatus and skilled people that could bring the design specifications to realization. The viability and achievement of tectonics were hence brought about by both digital and production technology.

13.24a–b. Restaurant Georges: lateral modeling for the “reception” volume RFR Consulting Engineers). • Concept of Production and Construction :

The tectonic was manifestation by the applied technology of ship-building industry which further led to prefabrication for post-assembly, considering the site Fig 6.1.16 13.20. Restaurant constraints of Pompidou. The application resulted in a Georges: the structural model of the “reception” volume. monocoque structure for the design through which the tectonics could be realized. Design for Manufacturing led to geometrical realization through production parts and design for transport and assembly facilitating ease and efficiency in the design process.

• Available and Evolving Techniques of Production

13.21. Restaurant Georges: the contour model of the skin for the “reception” volume. Technology: Georges: gravity modeling (images by RFR Consulting 13.25a–b. Restaurant

Existing apparatus/machines, material knowledge, skills could accommodate the design and bring about accurate production without set-up, extra tooling/ moulding or breaking up existing assembly-line in industry. Industrial production led to less complexity and processes on-site. However, site constraints of added floorplate for services and lack of possibility for pre-assembled/part-assembled components led to onsite processes of the complete assembly, finishing of aluminium for desired material articulation. It was too brought about by the boat-building company’s crew.

Fig 6.1.17

Fig 6.1.18

6.1 | Georges Cafe | Case-Study 01

Top-down approach of design process : Whole to parts Tectonics evolution beginning from Geometry and Digital Technology On-site assembly and finishing facilitated by skilled labour of industry with accuracy, precision, consistency of quality.

Production Technology incorporated with Integration of Industrial Practice of ship-building Industry with skilled labour and production knowledge from industrial engineers Material selection for Articulation of Tectonics and Geometry

Application of technology from ship-building industry : Communication and data flow led to generation of structural segments with dimensions and design parameters input. Production of accurate parts with precise tolerances for efficiency in on-site execution by off-site industry production.

Surface Articulation as a single perceived sheet brought about by outer and inner layers Inner-most layer of coloured rubber sheet add a soft and tactile layer to the inside of the form

Generation of Geometry Mutation of grid in z direction by digital technology as a tool

On-site Finishing Achievement of Tectonics

On-site assembly

Pre-fabrication for Post-Assembly Aluminium Monococque Shell 10 mm Aluminium Sheet Panels 4 mm

Coloured rubber sheet

10 mm aluminium panels Services for interiors On-site cast thin concrete base

140 mm thick slab of site Pompidou

6.1 | Georges Cafe | Case-Study 01

Fig 6.1.19

Observational Analysis GEOMETRY : Generation Purpose and Usability of form Whole to Part Relationship Aesthetics and Distinctive Style Complexity through Variability Complexity of geometry and uniqueness of components

MATTER : Articulation Material Potential and Compatibility with Process Optimum Performance of Form + Material

OPERATION : Production Optimisation of operational limits of technology and resultant performance Negotiation of two systems Law of dimishing returns ( Input v/s Output ) Authenticity Factor of Universality and Regional Context

PEOPLE : Practice Impact of collaboration between Industries Labour/Effort/ Input of energy by manual labour On-site v/s Off-site

PROCESS : Design Freedom of geometry and design Communication Means and Speed Consistency of Quality Precision and Accuracy Design for Spatial Expression

TECHNOLOGY : Production Concept of Production and Construction Design for Constructibility/Manufacturing Available and Evolving Techniques and Technology Means for Production Viability Efficiency of time and speed Visualization, Representation and Communication

The form apart from housing functions like kitchen within its volume, formed primary experiential space-forming elements in the interior space by their manifestation The geometry as a whole got conceptualized and was divided into parts viable for production. However, the geometry itself gained an identity irreducible to the mere sum of its parts The geometry achieves a smooth soft feel with industrialized production in an industrial setting as a site inspite of use of metal by both. The undulating curves in themselves add an aesthetic factor to the space Geometry visualized is complex in terms of transformation across variable axes as a whole and in its parts leading to challenges in production Achieved by the articulation of geometry by integration of structure for thinness and material finish providing visualizedd reflection of light Aluminium as a material could be exploited because of its properties and the appropriate processes to attain the desired form Virtual Load testing had to conducted to test compatibility to optimize performance of geometry with material depending on the technique of production Manifestation of complex curves and aim to attain maximum thinness possible on doorway edges challenged and optimized operational technological limits. Performance was tested virtually prior to production process. New potential arose with negotiation of interior and industrial production processes.

The concept, technology, apparatus and knowledge of aluminium yatch famous in France is applied. Here, the concept is similar to a one-off batch production wherein the factor of customization is brought in. Resulted in Integrated practice with efficient returns and realization of project. Prefabrication led to ease of labour to a degree. Both off-site and on-site procedures required input of manual labour for production, assembly - additional floor, assembly of forms, finishing of metal and addition of rubber skin inside. Here, the crew shifting to site for execution prevented simultaneous working on and off-site which could have led to efficiency of time and cost. Digital technology as well as means for production due to industrial collaboration, people, budget and technology allowed new freer way of working and resultant complexity Early Collaboration with production industry and integrated 3D digital model led to new direct means of communication and efficiency of time. The link between design and production led to consistency of quality , in both the design process to production ,execution. The complexity of form is facilitated by process of complete digitization and resultant precision and accuracy. Tectonics as the driving force led to conception of design process from spatial expression and other parameters are based on it.. Pre-fabrication for Post-assembly determined by monocoque structure in the design development stage of design process. The geometrical realization was facilitated by digital technology and its direct translation to production parts due to the boat-building companyâ&#x20AC;&#x2122;s specialized softwares. Design for transport and assembly and site constraints of Pompidou could facilitate ease and efficiency in construction process. The boat-building companyâ&#x20AC;&#x2122;s existing technique of production, technology and experts, skilled people Production Technology of boat-building industry with concept of pre-fabrication made the design viable Achieved due to Customization within available processes and techniques with skilled people and link of design and production Practice and process were further affected by representational and communication factors achieving faster and accurate transfer of information

GENERATION : GEOMETRY Geometry providing function through attributes (Intent) Integration of data : structural, loads, production Establishing separate interior identity Application of Control and Adaptability

MATTER : ARTICULATION Research and optimization of material properties Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality

Input of skilled labour PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 102 6.1 | Georges Cafe | Case-Study 01

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Research and optimization of material properties

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

RESULTED IN

Case-Study 01

GENERATION : GEOMETRY

Georges Cafe

Material response to geometry

Application of frame-work

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103

Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

104 6.1 | Georges Cafe | Case-Study 01

Key-findings

• Integration of Practices and Applied Technology: The design concept and tectonic manifestation are brought about by the integration of industrial practice (shipbuilding industry), the knowledge, people, skills, techniques of making and technology. It facilitated viability of production of design. The application of applied technology of ship-building, engineering, and concepts emerges as critical for the manifestation of tectonics through production potential.

Interior Design team

Ship-building technology through collaboration

• Communication and Data Flow through Digital Technology

Interior Project

li c

Interior Design team

a ti o

n ofTechn ol o

The link between design and production was in such a fashion of flow of information that established continuity through all stages of design. The design process hence allowed inputs and communication from stakeholders of the production process and within the design firm through digital models. The digital model in a top-down approach generated structural segments and panels to be sent for CNC cutting and degrees for aluminium sheet forming with all design parameters input in the production process. This led to problem-solving via team-work across practices that could facilitate design requirements.

Collaborators

• Stage of Production Parameters in design process The viability of design was supplemented with the production through standardized processes and existing apparatus and technologies that did not require set-up effort and capital or complete customization. The early input of production parameters and collaboration facilitated this flow of design to production, and hence the tectonics could be achieved.

• Off-site Industrial Production: Scope and possibilities increased with the integration of off-site industrial production and existing apparatus. Design for Manufacturing parameters applied, maintained quality, accuracy and precision in the translation of tectonics from conceptualization to execution into the desired result. Increase in efficiency of time and quality and accommodation for complexity due to off-site industrial production allowed on-site assembly and finishing for material articulation.

Off-site collaborators +skilled labourers Technology + tools

Interior Project

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105

6.2 | Mapping Novelty in Tectonics The study establishes the following parameters as parameters that contribute to New or Novel tectonics in the interior design field.

• Emergence of contextual difference

Material potential and properties, their implementation on-site and even geometries have a reasoning based on the location, natural conditions and people. An emergence of regional difference in the application of technology and generated tectonics can root the tectonic in the cultural domain, generate notional associations and relatability with the interior space. Universality and standardization have many advantages in terms of affordability and availability; however, a true, more profound sense of novelty of tectonics would be the emergence of a difference based on locational and cultural aspects in a designed space.

• Transfer of Technology

The transfer of existing technology - knowledge, skills, processes, and machines to the practice of interior design offer new potentials that synthesize in novelty. The study considers both traditional and new emerging production technologies in this parameter. Their applications on the field can result in unprecedented outcomes for the field.

• Optimal output and compatibility of form +

structure + material + production process The possibility of a conceptualized newness of tectonic accomplishing realization is through an optimum performance and output of the geometry, structure, material and compatibility with production processes. The parameter is included in the study to gain a deeper understanding of the application of production technology on the merge of geometry, structure and form to gauge if geometry escalates to structure and how material responds to geometry such that the geometry and the production process does not remain imagery in the space.

• Necessity of technology and production

processes The study analyzes if the technology and production processes integrated to bring about the viability of 106

production of the geometries and material articulation were integral to the design process and realization, or, were utilized for the sheer purpose of visual trends or core efficiency of time and labour. It investigates and finds the cross-connection wherein the technology was necessary to for manifestation of interior tectonic.

â&#x20AC;˘ Manifestation of tectonics as greater than sum

of its parts The parameter considers the emergence of novel tectonics as the tectonic achieving a deeper and escalated meaning than the sum of its individual parts. The concept of assembled geometries, articulation of quantity, concepts of production and construction, involvement of matter in response to geometry, details, etc are all considered.

â&#x20AC;˘ Precedence

The parameter considers the value of an output having hardly any precedence in the interior architecture history in terms of geometry generation, material articulation and technology of operational production to gauge a sense of newness in its tectonics. The precedence is considered in terms of usage of production process in a new manner, and, the shift in tectonics in the region and whether that leads to its perception of being novel.

The study uses these parameters to evaluate the importance and contributions of Geometry: Generation, Material: Articulation, Operation: Production and People: Practice, Process: Design, Technology: Production to establish their cross-connections and the resultant potential for novelty. The methodology for the evaluation would generate an understanding of which factors amongst the six have been utilized to attain novelty hence establishing the main driving forces.

6.3 | Application and Verification of Methodology The parameters have been understood for the project based on its earlier evaluation and key-findings and have been plotted based on whether they emerge in the project, where and how. The developed framework plots the parameters and generates readings : 107

GENERATION : GEOMETRY Geometry providing function through attributes (Intent) Integration of data : structural, loads, production Establishing interior identity Application of Complexity, Control and Adaptability

MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality

Input of skilled labour PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 108 6.1 | Georges Cafe | Case-Study 01

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

GENERATION : GEOMETRY

RESULTED IN

Case-Study 01

Material Association and Input of Attributes to Tectonic

Georges Cafe

Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

• Emergence of contextual difference

• Transfer of Technology between disciplines

• Optimal output and

compatibility of form + structure + material + production process

• Necessity of technology and production processes

• Manifestation of tectonic as greater than sum of parts

Active Initiators

• Collaboration with Production Facilities • Geometry providing function through attributes (Intent) • Material Association and Input of Attributes to Tectonic

Active Executors • Adaptation and Integration of existing technologies • Input of skilled labour • Exploiting material potential

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109

READING I :

Emergence of Contextual and Cultural Difference : The relevance of Paris, France, Pompidou Centreâ&#x20AC;&#x2122;s terrace floor with an idea to reflect the views of the city in collaboration with the famous nautical industry of France brought about some emergence of cultural traits. The prominent ship-building industry in France and its notional associations with the people could be thought to be the concept behind the restaurant designed to become a new identity in the city. Transfer of Technology between disciplines : The project for realization of tectonic in terms of production aspects was almost entirely dependent on collaboration with the boat-building company. Applications of nautical engineering and their resources were integral for the articulation of geometric complexity, material response and potential, precision, quality and in all, the viability of production. Optimal output and compatibility of form + structure + material + production process The tectonic articulation becomes novel due to a merge of structure, geometry, matter and production due to the application of nautical concepts and technologies which affects the reading of the space. The material potential is exploited due to the integration of applied production technology.

Necessity of technology and production processes Given the locational constraints of the project and the geometric complexity, the necessity of the used production technology was validated for precision yet is questionable for the manner of material response to geometry.

Manifestation of tectonic as greater than the sum of parts The output is positive due to the application of parallel industries technologies, exploitation of material potential, manifestation of geometry, collaboration, input of skilled labour. This tectonic articulation has been possible due to availability of existing technologies, tools, and knowledge

Precedence Such application of applied concepts, technologies, tools and production processes from the parallel nautical and aeronautical industries to manifest complexity of geometry was unprecedented in this manner in an interior space, hence resulting in novel interior tectonics. In terms of societal perception the prominent ship-building industry in France enabled relatability and association with the form and aesthetics developed.

* The numbers mentioned above are the resultant of the counting of emergence of each factor found in the Evaluation Mapping in the page ahead. 110 6.1 | Georges Cafe | Case-Study 01

READING II :

Initiators

Enablers/ Executors

GENERATION : GEOMETRY MATTER : ARTICULATION OPERATION : PRODUCTION PEOPLE : PRACTICE PROCESS : DESIGN TECHNOLOGY : PRODUCTION

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111

GEORGES CAFE, POMPIDOU, PARIS

Non-Euclidean Geometry Non-Cartesian grid

Fig 6.1.20

Fig 6.1.22

Perception of skin as singular surface instead of a mass Structure + skin

Fig 6.1.22

Fig 6.1.23

Integration of systems. Geometry attaining deeper meaning in design Structure + skin

Fig 6.1.24

Break from orthogonality of site Temporary shift from visual association of building language

Fig 6.1.25

112 6.1 | Georges Cafe | Case-Study 01

Inferences and Readings

Verifying application of methodology through readings

The factor of generation of geometry initiates the tectonics. The decisions for spatial qualities of the geometries are in a way integrated into the digital model and thus have been able to be manifested accordingly. Articulation of Tectonics in the interior design field is hence brought about by accommodation of complexity by digital technology for generation and accurate translation to production. The design process is augmented by a collaboration with the industrial practice at an earlier stage as it was due to these negotiations that design development for achievement and performance of tectonics was possible. New potentials that arose by the intersection of interior and industrial production enabled tectonic manifestation by informed specialized knowledge and technology for the same. The resultant effect of tactile softness, smoothness, asymmetric geometry for the yatch industry and of the thinness and singularity of surface articulation was an output experienced and attained by both parties for the first time. Despite the use of existing industrial tools and technology, the factor of geometry as an initiator and not technology or efficiency, sees a design devoid of standardized elements or factors. It attains benefits of limits of technology and hence the limits of technology became an enabling factor for novelty along with its opportunities.

Geometry : Generation as Initiator

Collaboration of Practice in Design Process as Executor

Technology : Digital and Production as Enabler Constraints and Opportunities

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6.4 Case Study 02

NORWEGIAN REINDEER PAVILION , Hjerkinn, Norway by SnĂ¸hetta

Site : Hjerkinn, Dovrefjell National Park Area : 90 sq.m Design Firm : SnĂ¸hetta Typology : Public Display Pavilion Delivery : 2011 Consultants : Djupevaag Ship Builders (Wood)

About the Project : The national park with its bare mountainous region that has since centuries been a source for Nordic mythological folklore and a host of various species of wildlife were all spectacles the pavilion was built to observe upon. Previously used for mining activities, the park now is in restoration of its bio-diversity and restricts serious construction activity. The observation pavilion, built in an area so crucial to Nordic culture, and in a environmentally-sensitive region, sees a merge of form-driven geometry with an off-site concept of production. The result of this is also observed in the use of traditional Norwegian ship-building techniques for assembly and use of local natural wood that is rooted in Norwegian ship and building industries - the industry being dominant in the country and for its people. The design was conceptualized to be attuned with the outside form and of a form resulted due to erosion by wind and water. (Snohetta, 2020). This results in the manifestation of geometry as an undulating monolith.

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Fig 6.4.1 : Norwegian Reindeer Pavilion - Context : Interior form blending with surrounding â&#x20AC;&#x2DC;scape by virtue of undulations in geometry, an abstraction of landscape manifested as a monolith

Fig 6.4.2 : Norwegian Reindeer Pavilion - Interior : Oil-finished local wood from CNC milling and traditional boat-building techniques takes form of geometry, hence merging craft and production technology to achieve geometry

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GEOMETRY: Generation â&#x20AC;˘

Geometry providing function through attributes

The geometry seems to have a fluid yet contained form. The idea to provide a continuity between the natural language of the outer mountains and the pavilionâ&#x20AC;&#x2122;s interior leads to a mimic of the forms to generate the perception of a solid mass that undulates. The solidness reads to be as responsible as the material tone and association to provide a sense of protected enclosure/ encompassing feel to the space. The importance given to the mountain range stems from age-old myths and cultural notions attached to them by the locals of the region- a cultural history associated with them of local activities of hunting, traversing, mining,etc. (Bianchini, 2019). The function of providing seating to gaze out the glass panels at the landscape is another factor that drives the generation of the geometry through ergonomics. Through its undulations the geometry functions as a seating, indicative entryway, and, an interior and exterior wall. The undulating rippled geometry is perceived to be the only interior element placed in the shell and reads as separate due to its contrasting geometry with the rectilinear architecture shell. The use of wood, indigenous to the region further adds the notional value to the space.

Fig 6.4.3 : Geometry encompases the visitor, creates a sense of security, apt for the observation pavilion in the open natural landscape

The geometry hence due to its form in the location adds to the or provides an interior scape to enhance the experience of observing the surreal landscape. â&#x20AC;˘

Context

The attributes of smooth fluidity yet solidity of the geometry are the result of the response to the location, and function of a centre to experience the outer nature. The call for the material also stems from the generous availability of natural wood in the region along with it being able to provide a solidness to the form that is needed for it to feel in line with the surroundings as conceptualized. Here, as the national park for protecting its sensitive landscape, disallows major construction work inside its area, the concept of production was determined to be off-site from the onset of the project. The project hence adapts a slightly non-traditional technique of wood-making (in context of the year of built, in interior 116 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Fig 6.4.4 :The geometry is perceived as solid, smooth, mimics form of outer mountains and eroded rocks as a way of response to context

design), by using 3D CNC milling as against traditional wood making techniques for manifestation and accommodation of the complex geometry. Hence, the regional aspect of the country having a rich history of boat-making and wood-making techniques and the landscape and surroundings have been taken as a starting point for the generation of geometry. •

Geometry as occupier of box volume

The geometry was generated as an undulating skin that occupied the architectural shell of a hollow box. The geometry by its conceptualized multi-dimensional curvatures and complexity necessitated use of digital technology for its generation. Rhinoceros, due to the potential of generation of curvaceous warped surfaces was utilized for 3D modelling. Hence the envisioned attributes of the geometry could be manifested into a digital form and subsequent reality. •

Fig 6.4.5 :Geometry flows through volume and attains own form and identity

Geometry determining Structure

The NURBS generated geometry was not designed as a self-independent skin - it dealt more with the outer appearance. The output of the outer surface is clad onto an inner timber structural support.

• Application of boat-building technology on geometry

The rich, in-depth knowledge of Norwegians in terms of wooden boatbuilding was employed in this interior project as an asset of the region to achieve desired tectonics in space. While communication and dataflow started after the schematic stage, the traditional technological asset along with availability of new technologies for production, allowed a free ideation and generation of geometry.

• Accommodation of Control and Adaptability and

resultant development of vocabulary of geometry

Digital technology and software were an extremely integral asset for the generation of the complex geometry that housed multiple multi-axial curvatures at close proximity and ran through the space to be read as a continuous surface from the outside.

Fig 6.4.6 : Undulating smooth geometry attained by incorporation of digital technology (NURBS generated) and subsequent translation to production

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The concept of construction that was determined to be assembly-based because of constraints of the national park along with harsh climatic conditions for on-site changes, demanded a very acute degree of precision in production. This could be facilitated by translation of the 3D digital model to production parameters with the 3D model having the required tolerances and accuracy. In this case too, like Georges Cafe, the local manipulation of curves by the software could facilitate better adaptability of control over the geometry. The geometry was explored in a physical model by directly inputting the digital geometry in 3D printing. â&#x20AC;˘

Optimum Geometry

The geometry with the decision to be produced out of solid wood and not bent plywood did not necessitate testing for extreme surface deviations, but only for imperfections. The subsequent decision of subtractive production process of CNC milling of solid wood could produce the geometry with accommodation for the realization of appropriate curvature. The complexity of the geometry resulted in the firm using their 3D printing machine from the digital model to test out the geometry (Fig 6.4.7).

MATERIAL : Articulation â&#x20AC;˘

Material Association and Input of Attributes to Tectonic :

The Norwegian wood shipbuilding industry that spans hundreds of years, currently has a strong emphasis on development in sectors of engineering, construction and design of specialized customized ship-vessels inspite of the costliness of its systems integration and research for innovation (Council Working Party On Ship-building 6, 2017). The country also has centuriesold knowledge and techniques of wood-building for architecture and products. The material of natural wood chosen for the interiors as observed before, provides a notional association and aesthetic relatability with the culture, location, and people due to traditional usage of wood in 118 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Fig 6.4.7 : 3D printing model to test curvature and geometry and envision aesthetics

architecture and boat-building in the region for over a thousand years. The availability of the material with skilled labourers for its construction techniques add for another reason for the decision. Also, for the sensitive landscape of the recovering national park, the use of a natural sustainable material that is also durable enough to withstand the harsh coldness of region would be more viable. While the geometry digitally produced by the firm was smooth, the addition of material sections integrates visible physical lines to the undulating surface, which enhances the sense of solidity and highlights the curvatures. The hard dark grains of the wood further add a ruggedness to the geometry previously read as smooth and hence the material manifestation by its natural virtue adds a sense of belonging in the interior-scape amid the natural landscape as envisioned; perhaps more so than the geometry. The interior finish of oil is separate from the outer finish of pine tar that has to undergo a harsher climate. The interior finish provides a warm tone and a silky finish to the wood (Bianchini, 2019). The subtle reflection of light due to the undulations and the slight sheen further emphasizes the geometry. The finish and the smoothness achieved due to milling technique grant the interiors with a level of sophistication while the natural grains and visible wooden pegs seem to root it in the cultural domain. â&#x20AC;˘

Fig 6.4.8 : Visual morphing of material to geometry, Attribues provided by grains, marks and breaklines

Research and optimization of material properties

Here, the traditional techniques of simple pegging of wood played a role in its assembly. The wooden pegs added another visual complexity amongst the wood grains (Fig 6.4.9). The technique helped during both off-site and on-site assembly. The production technique of robot-controlled CNC milling was applied to accomplish the accurate translation of digital geometry and form to a physical manifestation. This was achievable due to continuous research of Norwegian boat-building industries to implement cutting-edge technologies to innovate and improve the industry production. â&#x20AC;˘

Fig 6.4.9 :Traditional technique, knowledge and skill of wood pegging used for both off-site and on-site assembly for proper assembly of wood components. On-site assembly beecame critical due to harsh weather and lack of resources. Accurate manifestation was hence bought about by traditional pegging technique by skilled labourers and precision of CNC milled pieces

Material Response to Geometry

While the production process does bring about the 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

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manifestation of geometry without wet manual processes of bending wood to achieve curvatures that might not have been possible considering acute curves in close proximity, what is perhaps to be questioned is whether the method of use of wood corresponds to the potential of its properties or is just a visual technological implementation to achieve aesthetics and accomplishment of visual geometry. The wood logs are stacked and CNC milled to gain outer curvatures and clad onto inner supports. Hence the material reacts to geometry but does not respond to it by virtue of its properties. •

Exploiting material potential

Here, the local natural material has been integrated for its durability in the cold environment with less maintenance, recyclability. 10-inch square timber sections had been stacked and milled to achieve curvilinear form without using technology for exploitation of intrinsic properties of wood in a new manner. In traditional Norwegian shipbuilding, oak, pine, and spruce are utilized in different parts of the boats for the woods inherent properties to be utilized for the accomplishment of the form. However, here the geometry is formed irrespective of the propertiesusing soft pine for CNC milling. The CNC milling unveils sectional grains of the wood and leaves its very subtle routing marks at locations on the wood giving a hint as to the cause of its manifestation playing a role in both visual and tactile articulation (Fig 6.4.12). The material is power-sanded on-site to further cover the routing effects and achieve smoothness and finished with oil for a sheen.

Fig 6.4.10 :Acquiring smooth undulating geometry by CNC Milling of stacked timber sections - however material does not respond to geometry by properties

Fig 6.4.11 :Timber structure below to hold form (Indicative Section)

OPERATION : Production •

Evolution of structure from geometry

The 3D digital model prepared by the firm was tested on a smaller scale by the firm’s recently purchased robotic arm on a solid piece of wood. The firm is said to be known for it’s knack for exploration and experimentation with new technologies and tools. The satisfactory success of the trial in the translation of geometry by the technique determined the decision for utilization of the technique of production. The 120 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Fig 6.4.12 : Raw Roughness of material in smooth geometry

geometry and the material both equally determined the mode of operation of production. For production, the solid block of wood became stacks of solid timber sections with a secondary timber support beneath. •

Concept of Production : On-site v/s Off-site

The technique of production being tested and determined led to collaboration with a shipbuilding company that had purchased a robot-controlled 5-axis CNC milling machine for production of boats. Traditional Norwegian ship-building techniques facilitate different techniques for the achievement of specific forms. The ‘splines’ and the bevelling in the forms are set-up by constructing on the floor using various processes like nailing, preparing a mould, etc. (Kristiansen, 2003). The steaming and mounting of the wood for the curvature also require considerable effort and time for each unique curvature. Hence the accomplishment of this complex geometry would be difficult using those techniques. The technique might have been implemented only due to availability and a desire to incorporate it. The technique did, however, add to the efficiency of the project and precise execution of the project that had to be produced off-site due to site constraints.

Fig 6.4.13 : Geometry determined to inserted into architectural shell on-site for minimal environmental impact and precise articulation of tectonics in off-site production

Fig 6.4.14 :Robotic arm milling wood block for trial of technique of production Courtesy : Snohetta

An approach of assembly-based production and construction became necessary as on-site construction would not have been possible in the national park due to prohibiting laws by the number of labourers, machines, sound and material wastage on-site that would cause. Due to such constraints and added to them,- the frigid weather, complete lack of resources for labourers in the near vicinity and especially the level of tolerance and precision that such complex geometry would necessitate to come together without glitches for the accurate manifestation of tectonics determined offsite assembly-based construction. Off-site Part -assembled : The tectonic achieves a nature of liquidity and fluidity due to an accurate manifestation of the milling process. For this operation to function smoothly and for ease in transport and execution due to reduction in number of components of geometry, the form was broken down into two parts - a lower and an upper part for both horizontal side of the pavilion and was hence produced in four main parts. Also, as wood was used in its natural square log state, milling, or providing unique

Fig 6.4.15A, Fig 6.4.15AB :5 axis CNC milling machine - Uniteam Mirror at production facility. Courtesy : Snohetta

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shape to each separate log would not be considered prudent. These two parts were conceptualized to be slid into the hollow architectural box shell as an installation. This method would hence require less time, labourers, and effort on-site. In case of production, the boat-building company had recently acquired a 5 axis CNC milling machine (Uniteam Mirror). A 5 axis machine became essential for the achievement of the smooth multi-directional curvatures. After the model tried by the firm, the tool for the concept of production was determined. For less use of materials, 10 square inch pine logs were stacked in needed shape and were then milled for unveiling the geometry.

Fig 6.4.16, Fig 6.4.17 : :The fluidity of the geometry broken down into parts for ease of production (milling)

The wood core for the smooth finish and machine limitations necessitated multiple tooling passes of the robot-controlled CNC milling machine from course to fine routing (Zelaya, 2015). These subsequent processes gradually articulated the form. The parts after complete milling were put on trucks and transported to the site. On-site execution involved sliding the parts inside the already constructed shell. The accurate operation of this further validates the concept and techniques of production as onsite changes in the severity of the weather and lack of resources would have been difficult given the complexity of the geometry. On-site activities required power-sanding of material to ease CNC marks and for subsequent interior finishing of oil and exterior finishing of pine tar as mentioned before. Hence the proper articulation of tectonics with its complex geometry and use of material could only be brought about by the off-site concept of production with minimal but essential on-site activities. â&#x20AC;˘

Fig 6.4.18 :Part-assembled geometries transported for on-site assembly

Collaboration with Production Facilities

Both off-site assembly of the wood logs prior to production and on-site assembly for execution utilized traditional Norwegian ship-building techniques of wooden pegging (dowelling). For on-site installation in the cold weather without any respite, this meant faster installation for the labourers skilled in the technique. The wood pegs also added to the aesthetics, embedded in the wood logs, their presence was also rooted in the traditional aesthetic and technique of 122 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Fig 6.4.19 :On-site installation by skilled labourers using traditional boat-building techniques

making. The wood pegs were necessary for production and construction. Their success was dependent on the length and orientation of the pegs, distances between them and their connection with the back-structure. The success was brought about by the traditional regional ship-building techniques and skilled labourers in the same. The collaboration with the ship-building production facility provided this knowledge and skill of pegging for assembly and resultant visual tectonics and the production involving the CNC Milling process. The company owned the machine for production of boats and hence were well-versed in the means of translation of the virtual design model to realization with accommodation for accuracy in the process and other considerations necessary. The large size of the available machine could accommodate the entire length of the piece. The determination of production aspects for 3D CNC milling like determination of CAM cutter tool path for accurate milling and surface articulation by the production facility becomes critical. The data flow between the design firm and the facility became necessary for the decisions of material compatibility with the production machine - in its properties for production milling, its size and dimensional decisions with trade-offs between aesthetics and production. As the production process followed a top-down approach of geometry to parts- the parts being unique, the involvement of the production company would increase. Digital models drive the production process by their integration with production through robot-controlled CNC milling machines hence ensuring accurate translation of envisioned tectonic and accommodation of complexity of geometry. Collaboration and negotiation between the two fields of interior and industrial hence resulted in new potential. The success of this collaboration results in the fruition of manifestation of the perception of the solid, fluid timber mass in the interior space. The precision and consistency of quality in the production process accentuates the tectonics and aesthetics of the forms and the space, also projecting its mark on the material and the interior tectonic in its entirety. 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

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SEQUENTIAL | design process from conception to execution - NORWEGIAN REINDEER PAVILION Schematic Stage

Design Development

Relation of landscape forms of the region with interior scape inside box volume

Generated visual of undulating forms mimicking eroded forms - perception of soft, smooth, mass

B6 B3 Architecture as simple shell constructed on-site

Digital Technology and Adaptability with Control points for generation of geometry B2

B8 Form necessitating 3D printing for accurate models to visualize aesthetics and structure Courtesy : Snohetta

B1 Generated visual of undulating forms mimicking eroded forms - perception of soft, smooth, mass

6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Fig : Determining technique of production after explorations by robotic arm B7 Courtesy : Snohetta

Construction Administration

On-site considerations and Execution

ON SITE ASSEMBLY TECHNIQUE OF CONSTRUCTION

Industrial Integration for Viability of Production and Form

B16

B19

B18

B17

Assembled using traditional wood pegging techniques Part- assembled components On-site assembly

B15

Architectural shell constructed on-site with one side open for interior set-up Courtesy : Snohetta

Whole to parts assembled geometry

Manifestation of geometry and material by technique of production

OFF SITE TECHNIQUE OF PRODUCTION

10 in X 10 in pine sections

1 B10

Assembled using traditional wood pegging techniques

B11

B14

1 B9 Critical for fabricator/operator to input

accurate cutting tool paths for CNC milling

B12

B13

PEOPLE : Practice

• Consideration of people/locality

The design was conceptualized and it evolved with a consideration of the local context, tradition and culture by a notional association through the material, design, details and sensitivity towards surrounding environment.

• Input of manual energy : The project made use of the labourers’ traditional skill, intuition and knowledge of wood pegging in assembly on-site and off--site for proper articulation of tectonics. The design with a maximum of off-site production with the tool of CNC milling necessitated comparatively less use of labourers for production in the design process which was advantageous considering the high cost of labour in the country. Their role was however crucial in on-site execution and finishing. PROCESS : Design

Fig 6.4.20 :On-site installation by skilled labourers using traditional boat-building techniques

• Freedom of geometry and design :

A knowledge and resource base for both digital production and traditional technologies led to generation, accommodation of complexity of form and resultant articulation of material in the project.

• Communication - Means and Speed : Early Collaboration with production industry (Stage of Construction Administration) production process driven by 3D models through direct translation and input parameters led to new direct means of communication. It resulted in informed decisions about production due to the flow of information across the stakeholders. TECHNOLOGY : Digital and Production

• Precision, Accuracy, Quality

This direct translation of 3D model to production led to consistency of quality, precision, accuracy from envisioned tectonics to its manifestation. Added to the utilization of digital technology was the art of the labourers’ traditional skills and their articulate role in the assembly process. Incorporation of production technology aided at the point where traditional technology fell short off resulting in integration of CNC milling for precision and accuracy. The critical nature of on-site execution being carried forward seamlessly in the cold climate and lack of resources for such complex geometry was facilitated 126 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Fig 6.4.21: Accuracy and Accommodation of Control and adaptability of digital technology (NURBS generated)

Fig 6.4.22 :Direct input to CNC machine ensures accurate translation of design to production

by the level of tolerance and precision provided by the production technology.

â&#x20AC;˘ Viability of Production - Design for Manufacturing

The envisioned tectonics for the perception of the undulating warm, secure mass by virtue of its geometry and material articulation were brought about by its concept of production making the complexity viable for production. The constraints of the project construction were optimized by the involvement of offsite facility with tools available for the manifestation of tectonics. The knowledge of the industrial designers and labourers at the shipbuilding company was also integral to bring about the articulation of geometry and material with appropriate thicknesses, tolerances, and other considerations. Production technology facilitated tectonics by its apparatus and skilled people that could bring the design specifications to realization. Factors added for Design For Manufacturing like prefabrication for partassembly for subsequent ordered on-site assembly as a concept of construction led to viability of its production added to the other aspects and hence the tectonics could be realized.

â&#x20AC;˘ Available and Evolving Techniques of Production Technology:

For supporting the wood properly in shape for CNC milling, and, on-site for fast and accurate installation of part-assembled geometries, the knowledge of wood construction through traditional techniques, understanding, experience and intuition of skilled labourers was integral. Existing apparatus/machines, material knowledge, skills could accommodate the design and bring about accurate production without set-up, extra tooling/ moulding or breaking up existing assembly-line in industry, similar to the first case study. Here, due to part-assembly of geometry, industrial production also led to less complexity and processes on-site.

Fig 6.4.23: 5 axis CNC milling UniTeam Mirror for ship-building industry

The contribution from the boat-building company in terms of industry experts for design resolution, skilled labour for production and on-site execution with traditional techniques, technology and knowledge of the natural local material led to realization of the conceptualized tectonic - the complexity of its geometry, material articulation and operation of production. 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

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MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality Input of skilled labour

PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 128 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

Material Association and Input of Attributes to Tectonic

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

RESULTED IN

Case-Study 02

Geometry providing function through attributes ( Intent )

Norwegian Reindeer Pavilion

GENERATION : GEOMETRY

Application of frame-work

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Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

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130 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Key-findings : • Merge of new and traditional technologies :

li c

Interior Design team

a ti o

n ofTechn ol o

• Communication and Data Flow

The project reaps the benefits of accurate realization of tectonics with traditional techniques as well as cutting edge technologies of the time as applied in the field. This helps the design accomplish an establishment of its roots in the cultural context while merging with new techniques of making to unleash new synthesized tectonic potentials. Application of established ship-building industry reveals the tectonics due to availability of technological tools and concepts for production. The usage of wood as surface articulation was hence possible. Designer as the prime decision-maker The collaboration and dataflow were largely onedirectional with design decisions led by the design firm as the technique of production was experimented by them prior to construction administration. This was due to the availability of tools with the firm as well as a new making-driven ideology. However, the involvement of the manufacturing-related stakeholders added to the viability of the design construction.

• Off-site : The design potential could be achieved due to its off-site part-assembled concept of production. The complexity of the geometry and material articulation were manifested due to the precision, quality and capability of the technological tool and technique along with traditional techniques where required. The use of off-site assembled construction is hence validated in the project. While we established that traditional techniques would not easily achieve the exact form in the material, the question would still arise as to the necessity of the particular tool used and its response to the material and geometry.

Collaborators

Off-site collaborators +skilled labourers Technology + Tools

Interior Project & Tectonics On-site : Importance of labourers and shipbuilding techniques

• Customization through available and existing tools The viability of production of the project was achieved with no specialized tooling/ moulding/ set-up efforts and costs inspite of the whole to part geometry approach. Application of existing and available technologies achieved the curvatures through Cartesian grid- the underlying logic and method of the CNC milling.

Less involvement of interior design team in on-site assembly

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MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality Input of skilled labour

PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 132 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

Material Association and Input of Attributes to Tectonic

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

RESULTED IN

Case-Study 02

GENERATION : GEOMETRY

Norwegian Reindeer Pavilion

Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

• Emergence of contextual difference

• Transfer of Technology between disciplines

• Optimal output and

compatibility of form + structure + material + production process

• Necessity of technology and production processes

• Manifestation of tectonic as greater than sum of parts

Active Initiators

• Consideration of people/

locality • Material Association and Input of Attributes to Tectonic • Geometry providing function through attributes (Intent)

Active Executors • Concept of Production • Input of skilled labour • Adaptation and Integration of existing technologies

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READING I :

Emergence of Contextual and Cultural Difference : The project with its geometrical forms, materiality and visible integration of traditional techniques for assembly roots it into the cultural and regional domain inspite of the integration of new production technology. The interior tectonic hence gains new potential and a sense of association along with a sense of novelty of space. Transfer of Technology between disciplines : The project with its application of allied knowledge, traditional and new technology and techniques of ship-building industry, add to tectonic manifestation by challenging material potential, digital geometric generation, and its accurate translation to production with precision. This is mainly brought about by the application of existing technology from the parallel industrial field on interior design.

Optimal output and compatibility of form + structure + material + production process The tectonic complexity is brought about by the off-site part-assembled concept of production. However, the material response in terms of its properties to the geometry is more visual than structural for a cumulative performance.

Necessity of technology and production processes Given the locational constraints of the project and the geometric complexity the necessity of the used production technology was validated for precision yet is questionable for the manner of material response to geometry.

Manifestation of tectonic as greater than sum of parts The output is positive due to collaboration with industrial collaborators to bring about visualized geometry, input of skilled labour and the concept of production technology to articulate geometry and materiality for tectonic potential.

Precedence While wood materiality itself forms the vernacular vocabulary and identity in the region with architecture and boat-building in Norwayâ&#x20AC;&#x2122;s many fjords, such application of CNC milling to manifest complexity of geometry and surface articulation of wood in interior design was novel for the year the project was designed and built. Emergence of local traits in the geometry, materiality, and production along with new technology led to this tectonic articulation.

* The numbers mentioned above are the resultant of the counting of emergence of each factor found in the Evaluation Mapping in the page ahead. 134 6.4 | Norwegian Reindeer Pavilion | Case-Study 02

READING II :

Initiators

Enablers/ Executors

GENERATION : GEOMETRY MATTER : ARTICULATION OPERATION : PRODUCTION PEOPLE : PRACTICE PROCESS : DESIGN TECHNOLOGY : PRODUCTION

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6.5 Case Study 03

GC Prostho Museum Research Center, Japan by Kengo Kuma

Site : Kasugai, Japan Area : 625 sq m Design Firm : Kengo Kuma Associates Typology : Commercial Museum Delivery : 2010 Consultants : Jun Sato (Structural Engineer), Miyadaikus (Japanese skilled craftspeople)

About the Project : Six thousand pieces of Cypress wood manifest into a three-dimensional organized grid that makes the internal volume and external facade in the project. The master craftsmen of Miyadaikus from the nearby town of Hida-Takayama and their expertise and knowledge of wooden joineries were integrated for the assembly and manifestation of the project (Anagnostou, 2017). The design adapts and re-interprets the traditional concepts of Japanese culture and techniques, local materiality of wood, knowledge, and techniques of making to add tectonic potential to the project. Off-site production and tools add to the material potential for the articulation of the design. The attributes of lightness, delicacy and sophistication are provided by the manifestation of geometry.

136

Fig 6.5.1 : Three-dimensional geometrical matrix encompassing occupant in the interior volume and serving as a dense yet porous series of organized layers separating the inside and the outside

Fig 6.5.2 : The exterior of the building is also framed by the matrix. The wooden grid covers the interior concrete walls. They wooden lattice seems to exude light through its layers.

Fig 6.5.3 : The prosthetic museum displays artifacts within the grid. The lattice opens up into an organic inner void for the occupant to inhabit

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GEOMETRY: Generation •

Geometry providing function through attributes

The re-interpretation of traditional Japanese wooden joineries into the interior design premise stimulates a notional association and familiarity through the generation of the geometry. The manifestation of the geometry along with the articulation of the primitive local material is an inherent expression of regional identity, and natural emergence and evolution from the local context. The proportional matrix of the latticework has a strong graphical expression accentuated by the play of patterned light and shadow. The organization of the geometry produces a sense of rhythm and harmony in the interior space hence generating powerful, dominant perspectives as the occupant moves in the space. The scale of the interior geometrical organization and the manner of encompassing the occupant is associable to the human body. It produces a sense of intimacy by this encompassing geometry. The geometry with it’s assemblage of its components and permeability is to fragment the abundant light entering to create a sense of a deciduous tree forest with changing light patterns, a spatial quality with a spiritual nature, as said by the architect (Frampton, 2013). The generation considers the function of the museum that displays prosthetic dentures within this matrix. A sense of flotation is acquired by the manner of detailed connection of the three-dimensional matrix to the floor. The geometry is read as both lines and parts, and the whole of the volume as a separate cumulative manifestation of the abundant quantity. The geometry hence is a gridded field of organized lines. It is an expression of geometrical organization of quantity of the parts that provides spatial attributes - Assembled geometry. The attribute of lightness is through the articulation of individual components of the geometry. Architect Kengo Kuma’s belief and practice of ‘Fragmentation’ or ‘Particularization’ in the geometrical systems that provides the possibility of variations and freedom in generation of the entire organization is evident in the project (Frampton, 2013). 138 6.5 | GC Prostho Museum | Case-Study 03

Fig 6.5.4 : Quantity and density of the threedimensional matrix articulates the parts as well as the whole due to the thinness and delicacy of the individual components. It generates a sense of encompassing intimacy in the space.

Fig 6.5.5: An organic shape carved out of the Euclidean grid to walk through with the matrix

Fig 6.5.6 : The geometry through assembly of individual smaller components fragments light entering through the density of layers. Hence geometry provides a light, spiritual experience in the space.

Fig 6.5.7 : Geometry providing experience as a field of organized lines in space with a certain visual rhythm and harmony.

The geometry has a sense of delicacy due to the perceived sleekness of individual members, sophistication and elegance through the cleanliness and minimalism of the visible detail in the connections •

Context and development of vocabulary of geometry

The region of Japan has a history of rich traditions, cultures, customs, knowledge, and techniques that have a regional significance and importance. From gridded Shoji paper Screens which diffuse sunlight into the interiors while allowing the flow of air and reduction of humidity, to traditional wooden bracket system, these traditions, techniques and technology are seen to be adapted for the geometric and constructional logic in the gridded matrix.

Fig 6.5.8 : The concept of Shoji Screens as a modular grid - a traditional, functional and visual concept in Japan translated to the modular conceptual grid of the project’s matrix

Chidori toy

The scale of the geometrical matrix arises from both the local material potential and the resultant possible sleekness of the components along with the factor of familiarity of being encompassed in the cultural domain and closeness of the built forms architecturally and by way of living of the people. The geometry, according to the architect was also generated with an idea to incorporate traditional techniques with no machinery involved in on-site assembly, instead of using the hand-skills of the local craftsmen/woodworkers. The memory of and the visual mental association with the traditional toy of Chidori played as a puzzle of wooden pieces that has been manifested at a larger scale in the project enroots it further in the regional context (Fig 6.5.9). Three timber members that run on the x, y and z axes coincide at one point in each joint in the matrix.

Fig 6.5.9 : The concept of the puzzle joinery of Chidori toy, traditional in Japan wherein three elements notched accordingly interlock into a joinery is integrated to articulate the geometry with concealed joinery and assembled without nails or adhesives.

Local responses are seen in the increase in density of the grid on the south side to break the harsh sun, and the traditional logic in the multiplication/expansion of the geometry. •

Geometry as occupier and revealer of volume

The geometry through its organizational logic of one unit multiplying, quite literally consumes the architectural shell. The porosity of the geometrical matrix creates a blurred boundary between the inside

Fig 6.5.10 : The geometry through organizational multiplication is a space-consuming/ spaceoccupying manifestation of the toy. The threedimensional matrix hence adds visual layers, visual complexity through its density

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and the outside. The density of the three-dimensional matrix, however, accentuates the perception of the volume and adds visual layers and tectonic complexity (Fig 6.5.10). The interior spaces have been carved out from the grid. The sense of an organic form has hence been achieved from the Euclidean grid geometry. â&#x20AC;˘

Geometry determining Structure

The principles of the structure of the traditional toy of Chidori were translated to the architectural structure. An assembly-based system, parts making a whole, the potential of wood, structural assembly without extra apparatus like nailing, fixing were derived from the geometry of the toy. The geometry by its modular repetitive logic adds the factor of standardized components, details for the operation of production. The geometry, with self-similar parts in the same order determines the structure through principles of Fractal geometry.

â&#x20AC;˘ Application of technology on geometry Through its adaptation from the Japanese Chidori, ways and customs of living, the involvement of handskills and techniques for manifestation, the geometry is the resultant of traditional and regional knowledge, intentions, logic, technology, and vernacular crafts. Modularity as a characteristic of Japanese architecture is seen in Shoji Screens and Tatami mats that standardize wholes from units. This has to do with a proportioning system of geometry and logical maths. To incorporate unified sizes and dimensions of lumber in the market, the tatami system standardizes the structural grid of houses and dimensions of structural members and fixed centre to centre dimensions. Application of this concept is seen in the geometry of G.C. Prostho through modular arrays and standardized components in the geometry.

Fig 6.5.11 : Three dimensional matrix unit with concealed detail expressed through the intricately concealed Chidori-inspired joinery as nodal points at the intersection of the gridded field.

3 units

4.5 units

8 units

Fig 6.5.12 : Modularity Concept in Tatami Mats as a standardized unit for structure and construction

Fig 6.5.13 : Cell multiplying from one : Expansion System where one unit multiples applied

The logic of multiplication is akin to a single cell replicating and multiplying like a biological concept. The division is utilizing the concept of fractal geometry that increases, and transfers load across smaller components rather than a longer member more susceptible to bending, like a branch growing till a certain height. The generation of the geometry is augmented by 140 6.5 | GC Prostho Museum | Case-Study 03

Fig 6.5.14 : Concepts of protrusion of brackets , traditional wooden joinery and expansion

digital CAD softwares for exploration of iterations for geometrical organizations in the interior space. The integration of digital technology aids exploration with the considerable quantity of components and spaceconsuming the scale of the three-dimensional matrix system. The quotient of difference of scales between the Chidori toy and the interior geometrical grid field necessitated and was only made possible due to modern structural testing and analysis through software applications. Compression and Flexure tests on the system determined the dimension of the grid field and through it, the individual components with a consideration of the material of wood to be integrated. Hence the application of technology of the age led to the re-interpretation of the traditional techniques and concepts and led the geometry to provide attributes to the space.

â&#x20AC;˘ Accommodation of Control and Adaptability

Fig 6.5.15: Considerable increase in size of joinery necessitates structural considerations for viability of articulation of geometry with thin components

Fig 6.5.16 : Compression and flexure testing of geometry to accommodate concealed joinery in geometrical matrix

Here, the factor of control was provided by the smaller components making up the three-dimensional field of points of connection and lines. The organization of the geometry in itself hence is adaptable through control over the individual part that is replicating in the entire structural system. â&#x20AC;˘

Optimum Geometry

The optimal geometry is determined here through its scale, attributes it provides and the viability of production through traditional techniques. The complex geometry detail and the quantity of components could be realized through the precision CNC milling and the standardization of component sections, sizes, technique of production and assembly. The geometry accommodates the transfer of structural and seismic load transfer. Critical Observations: The geometry by its generation, however utilizes a huge amount of material. While the geometry and articulation of matter do provide an experience in the space, we question whether it validates the utilization of material or is it excessive wastage.

Fig 6.5.17 : Unit size and hence size of geometrical matrix determined to be 60X60mm in section from the 12X12mm Chidori pieces.

Fig 6.5.18 : Virtue of array and repetition of small manageable unit in geometry enables degree of control as a parameter of geometry generation

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MATTER : Articulation â&#x20AC;˘

Material Association and Input of Attributes to Tectonic :

The country of Japan nurtures a special evident relation with wood. The notional associations of regional context with the seismic location, identity, culture also pre-dominantly stem from the articulation of wood as the construction material and generate belongingness in the space. The integration of structural connecting joints into the geometry in a clean, minimal, concealed manner allows the perception and articulation of sophistication of the material in the manifestation. It leads to the perception of wood as an assemblage of lines in the grid field. The material by its qualities provides warmth in the space. The gradients of colour produced by a natural quality of colour-variation of the material as well as light passing through the layers of the three-dimensional geometrical matrix add another depth and complexity to the vision â&#x20AC;˘

Fig 6.5.19: The delicacy of components articulated with the wooden texture, warm colour and association, along with the porosity and organization of geometry provides a transparent tactile feel to the space.

Research and optimization of material properties

The knowledge of the properties, behaviours, stresses, nature of the different types of wood species and how to cut, process, treat, and make from the wood is a trait passed down from generation to generation of craftpeople in Japan. Japan being an earth-quake prone region, the usage of wood and its joineries have been experimented and optimized through centuries of usage in the region. Other considerations of moisturecontent of the wood, response to local climatic conditions and durability in the region, sectional sizes for structural loads, shapes of individual elements and geometries for specific application is all a collective resource with local craft-people and the architect. This knowledge is being applied in this assembly-based wooden modular construction. Cypress wood was chosen as the material for the elements due to its tighter grains and resultant strength, light weight due to which the elements could be thinner, yet taller. This wood species was a better and ideal choice also because of its durability in the high humidity region with frequent rainfall. The native elm species of red-tinged Zelkova wood was chosen in 142 6.5 | GC Prostho Museum | Case-Study 03

Fig 6.5.20 : Cypress wood chosen for the components of geometry due to tighter grains that can accommodate envisioned thinness of section and complexity of concealed joinery, Zelkova wood for the connectors with wooden pins.

the connector joineries attaching the part-assembled grids on-site. Steel, susceptible to rust, was only used in the staircase that necessitated the strengthening material due to seismic requirements. Thus, an innate understanding of material, its properties, behaviour, characteristics, and qualities led to informed decisions and brought about manifestation of the complex geometry. â&#x20AC;˘

Material Response to Geometry

The manifestation of the geometry intelligently utilizes material properties for the structural system of load transfer across the magnanimous scale of 9 metres.

Seismic load transfer in the three-dimensional matrix is possible due to accommodation of movements and vibration by the wooden elements and the joineries. Articulation of wood to wood connections accommodates swelling and shrinking of individual members and can accommodate assemblydisassembly. Hence the material responds to the geometry by virtue of its properties. The sleekness provided by the natural wooden members through thin 60mm x 60mm sections of Cypress manifests the tectonic potential of the geometry that aims to create lightness and delicacy . â&#x20AC;˘

Fig 6.5.21 : Concept of complex pieces perfectly interlocking together by being assembled in a specific pattern without adhesives. Traditional techniques and material potential is exploited by articulation with an increase in scale of joinery.

Component 1

Exploiting material potential

The geometry and application of traditional knowledge and techniques of wood were integral to manifest the entire geometrical system and challenge the material potential of natural wood components without integrating Laminated Veneer Lumber or other substitutes of natural wood. To construct the entire assembly system that consisted of 6000 components with the complex joinery that did not involve any other fasteners, the factor of precision became integral. The production technique of CNC Milling and CNC lathe to produce the precise components was hence integrated to bring about the potential of the material for the manifestation of the geometry.

Component 2

Component 3

Fig 6.5.22 : The cut sections of the three types of components. The complexity of the notched cuts for proper manifestation of the geometry in the assembly-process led to CNC milling and CNC lathe in the production process

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OPERATION : Production â&#x20AC;˘

Evolution of structure from geometry

The nature of the inter-locking joinery in the geometry is retained from the Chidori toy. The singular model is now multiplied to 6000 cypress wood components to cover the 9m high volume.

Fig 6.5.23 : Component 1 : length 4000mm (by CNC milling) Component 2: length 2000mm (by CNC milling) Component 3 : length 2000mm ( by CNC Lathe)

Each joint in the structure has three components specifically and differently carved out to accommodate the inter-lock. The complexity of the wooden joinery has been retained to accommodate seismic, shear, tensile and compressive loads in the structural system while the articulation of the art of hidden joinery detail manifests the attributes of the geometry. While the elements in the Chidori toy had a sectional dimension of 12mm X 12mm, the virtual tests on the geometry generated a dimension of 60mm X 60mm for the manifestation of the geometry from the upscaling of the small toy. Hence the output of the structure and geometry generates a grid of 500mm X 500mm void squares. The components produced are hence standard units (Fig 6.5.23). â&#x20AC;˘

Concept of Production : On-site v/s Off-site

To accommodate the magnanimous scale of the entire assembly-based geometrical system 9m high with the massive quantity of 6000 components ,the factor of acute precision in the production of the individual components with the carved out portions becomes integral for assembly. The technique of production, for the inter-locking components hence involves CNC milling and CNC lathe.

Fig 6.5.24 :Step 1 : Part 1 and Part 3

Off-site part-assembled concept of construction is seen as entire sections of 2000mmX2000mmX3000mm were assembled off-site (Fig 6.5.26). These elements were assembled by insertion and rotation of the element to lock the joinery in place. The considerable quantity of small components in the geometry and the finesse and precision required in their assembly necessitated off-site production and part-assembly. The part-assembled segments were transported 144 6.5 | GC Prostho Museum | Case-Study 03

Fig 6.5.25 :Step 1 : Part 2 attaching

(shipped) to the site to be placed and connected to the other sections, horizontally and vertically. These sections were joint using the Zelkova wood connections in all three axes by slotting and fastening by steel pins. The manifestation of these connections is subtly visible in the space adding visual variations and sense of assembly. This system of on-site assembly in segments made possible the construction of the entire system. The quality of the articulate matrix and sophistication and elegance of the elements has been brought about by the techniques of production and construction.

Fig 6.5.26 : Part 3 twisting in an anti-clockwise direction to lock the joinery Segments (4000X2000X2000mm) assembled by Miyadaikus craftsmen off-site and transported to site for on-site assembly of all segments

The connection of the assembled geometry with the floor is with steel connectors to protect the wooden structure from floor moisture. This intentional tectonic detail of termination leads to a perceived elevation of the geometry from the floor and a sense of floatingness. â&#x20AC;˘

Collaboration with Production Facilities

The knowledge of this complex precision-oriented detailed joinery lies with the craftspeople of the town of Hida Takayama. Their involvement, specifically in the assembly-process has been integral to the construction of the complex matrix. The skilled craftsmen called Miyadaikus were the only craftsmen with the knowledge of such joineries. While the components were cut and prepared by CNC milling, the assembly and adjustments were carried out by the craftsmen. The dataflow here integrated the expertise of the craftspeople and the structural engineer, who carried out structural load-testing, to manifest the geometry.

Fig 6.5.27 : Flotation and reading of wooden geometrical matrix against the dark-grey concrete floor accentuated by detail of metal plate and pins holding the matrix higher.

The collaboration hence involved the Miyadaikus, the design firm, the structural engineer, and the production facility where the components were produced and part-assembled. This collaboration hence brought about accurate translation of envisioned tectonic and accommodation of complexity of geometry.

Fig 6.5.28 :Precision of material articulation and assembly integral for tectonic manifestation. Hence it brought about CNC technique of production and on-site assembly by skilled craftspeople

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SEQUENTIAL | design process from conception to execution - GC PROSTHO MUSEUM Schematic Stage

Design Development

Interior organic form to be carved out functionally

Generated plan of matrix carving out organic form

C8 C1

C2 Concept of light filtering through and articulation of spiritual feel to the space brought about by the three-dimensional matrix

Detail of wooden grid to articulate it as a subtly floating entity against the dark concrete floor and walls by the metal plate protrusion fixed by metal pins

C5 C3 Chidori toy C10

Compression and Flexure test by structural engineer to determine dimensions and viability of geometry 2

Concept of complex pieces perfectly interlocking together by being assembled in a specific pattern without adhesives and hence assembled by the expertise of skilled craftsmen was the underlying concept behind the project.

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C11 Determination of Cypress wood sections to be 60X60 mm from 12X12mm of Chidori toy Parts for off-site production according to geometry and process of on-site assembly by the craftspeople (right)

C12 1

ON SITE ASSEMBLY TECHNIQUE OF CONSTRUCTION

Construction Administration

On-site considerations and Execution

C17 Segments merging and being read as singular entity

C15 Segments connected by each nodal point with Zelkova wooden connectors and pins

C14

C13

OFF SITE TECHNIQUE OF PRODUCTION

Parts 1 and 2 with same crosssections assembled in a different alignment Produced using CNC Milling

Part 1 (4000mm long) with Part 3 (2000 mm) Part 2 interlocks Part 3 twists in an anticlockwise direction to form joinery

Part 3 with an off-centric cylindrical member produced with CNC Lathe Machine

Segments (4000X2000X2000mm) assembled by Miyadaikus craftsmen off-site Each segment is transported to site

C16

PEOPLE : Practice

• Consideration of people/locality

The Japanese cultural landscape of wood-working fosters vernacular craft and has high regard and reverence for its skilled craftspeople. Their association with the traditional geometry of modularity and repetition, wood-making, with the Chidori toy, scale and qualities of the space were all resultants of consideration for the regional values, people and considerations for the design that generates a sense of belongingness and promotes and encourages continuity of traditional local craftsmanship. The geometry and materiality of wood added associations to the interior space.

• Input of manual energy : The project that generated with the idea of hand-made importance was brought about only by the collaboration and involvement of the skilled craftspeople of Hida takayama. The project made use of the labourers’ traditional skill, intuition, and knowledge of wood for development and articulation of tectonics. The design replaced handcut wooden elements with CNC-cut for the joineries to achieve better precision and speed of production for the huge quantity. The assembly-process and the design development would not have been possible without the input, involvement, and skill of the Miyadaikus. PROCESS : Design

• Freedom of geometry and design :

The adaptation and interpretation of the toy geometry and traditional joinery that was modular-based (Fractal), provided control and adaptability through the small components. This was also aided by digital technology. The geometry of the repetitive array of one module could hence bring about cumulative change easily and also increase the viability of production due to ease in producing small individual parts.

• Communication - Means and Speed :

The project development imbibed inputs from the Miyadaikus while working digitally for iterations. The adaptation of the structure from the toy was followed by virtual load testing by the structural engineer, finalization of design, elements sent out for production and assembly again by the Miyadaikus. Hence dataflow was integrated with digital, production and traditional technology with production parameters determined from the onset through the structure of the toy and then evolving it for the architectural scale. 148 6.5 | GC Prostho Museum | Case-Study 03

TECHNOLOGY : Production

• Precision, Accuracy, Quality

The technique of production of the components by Computer-controlled milling and lathe led to the consistency of quality, precision, accuracy, and level of tolerance needed by the assembly-process. The hand-skills of the Miyadaikus in assembling the 6000 components with the complex joinery with experienced precision was also critical and integral in both off-site and on-site assembly. This merge of traditional and industrial production technology led the envisioned tectonics to its manifestation.

• Viability of Production - Design for Manufacturing The generated three-dimensional matrix led to a series of decisions for its production. The components by their sets of lengths- 60x60x2000mm and 60x60x4000mm were further categorized by their carved-out details for the joinery. These sets of standardized components were CNC milled off-site. The entire geometrical system was divided into segments and assembled off-site. Hence a geometric logic in the part-assembly, production technology and hand-skills of the Miyadaikus brought about the viability of the production with accommodation of complexity of the geometry and the joinery detail. The knowledge of the structural engineer and the craftspeople was integral to bring about the articulation of geometry and material with appropriate thicknesses, tolerances for assembly and other considerations.

• Available and Evolving Techniques of Production Technology:

The project emphasizes the traditional craftsmanship and techniques and details of the region in its manifestation. The application of the existing structural principles of the toy along with the hand-skills of the Miyadaikus has led to the conception of the design. Material and joinery knowledge and expertise, existing assembly-based modular approach, CNC tool for production and concept of off-site production and onsite assembly resulted in the tectonic manifestation of the project. The structural manifestation was an adaptation of the traditional techniques aided by digital and production technologies. 6.5 | GC Prostho Museum | Case-Study 03

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MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality Input of skilled labour

PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 150 6.5 | GC Prostho Museum | Case-Study 03

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

RESULTED IN

Case-Study 03

GENERATION : GEOMETRY

GC Prostho Museum

Material Association and Input of Attributes to Tectonic

Application of frame-work

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Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

Key-findings :

There is hence, a deep relation between local context, materiality, geometry and organization and operation of production with high consideration of local people and association with the interior space in the project. The project emphasizes the traditional craftsmanship and techniques and details of the region in its manifestation.

â&#x20AC;˘ Application of technologies :

The design sees an application of traditional concepts of geometry, vernacular constructional and organizational logic of mathematics, proportions, repetitive ratios, techniques and craft of making by wood. The application of maths and nature is by treatment of the geometrical module as one unit or a cell and its parasitic mode of multiplication in the volume. This application that divided the geometry into standardized smaller units brought about manifestation of geometry The factor of culture appears to drive the new production technologies while being rooted in the countryâ&#x20AC;&#x2122;s history and tradition. It has ensured the continuity of traditional technologies through modern applications. This application of traditional joineries and materials being adapted with modern technology to increase their potential become essential as a response to local condition also in terms of assemblydisassembly concept important post an earthquake disaster, and due to transfer of loads through the wooden joinery without any nails or adhesives. The application manifested the geometry and material with tectonic attributes.

Application of sciences and technologies

li c

Interior Design team

a ti o

Hence, concepts from science and technology were adapted and re-interpreted to synthesize into new tectonic potential.

Application of sciences and technologies for generation of geometry, structure and material, control and adaptability, organizational logic on geometry and manifestation of tectonics. Application of traditional concepts of modularization and natural concepts of multiplication

n ofTechn

â&#x20AC;˘ Communication and Data Flow

y Collaborators

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ol o

The structural manifestation was a resultant of the expertise of the craftspeople (Miyadaikus) and the structural engineer. The negotiation and alterations in the design process led to the tectonic manifestation of the design. The designer remained the leading decision-maker while the viability of the design was brought about by the integral involvement of the skilled craftsmen, and engineering inputs and applications to accommodate the complexity and scale.

Application of production technology

â&#x20AC;˘ Off-site and On-site:

The precision and tectonic complexity could be articulated appropriately through off-site manufacturing of components. The geometry due to its smaller components could be sub-divided and produced. Off-site part assembly could manifest the 6000 pieces into part-assembled categories for on-site assembly through the skills hands of the Miyadaikus.

Design process of fruitful collaboration Designer + Craftspeople + Engineer

Interior Project & Tectonics On-site : importance of skilled people

â&#x20AC;˘ Customization through Standardized Units and

Techniques Application of Japanese logic of assembly-based construction, proportional mathematics led to modular-based assembled geometry wherein the components could be standardized for production and ease of assembly. Hence Traditional concepts and new existing technologies aided in accommodation of complex customization with standardized logic according to available tools and technology.

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MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality Input of skilled labour

PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 154 6.5 | GC Prostho Museum | Case-Study 03

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

Material Association and Input of Attributes to Tectonic

MATTER : ARTICULATION

Application of Control and Adaptibility

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

GENERATION : GEOMETRY

RESULTED IN

G.C. PROSTHO MUSEUM

Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

• Emergence of contextual difference

• Transfer of Technology between disciplines

• Optimal output and

compatibility of form + structure + material + production process

• Necessity of technology and production processes

• Manifestation of tectonic as greater than sum of parts

Active Initiators

• Consideration of people/

locality • Geometry providing function through attributes (Intent) • Material Association and Input of Attributes to Tectonic

Active Enablers

• Concept of Production On-site v/ Off-site • Input of skilled labour • Adaptation and Integration of existing technologies

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READING I :

Emergence of Contextual and Cultural Difference : The project emerges as being rooted and have a deeper meaning and relevance to its local cultural domain. The project sees this emergence in terms of materiality, production process, considerations of local people, and input of local skills. There is hence a resultant intersection of local traits and universalizing traits of production that led to new tectonic potential.

Transfer of Technology between disciplines : The project sees a merge of traditional and new understanding and application of production and resultant geometry generation, articulation of materiality and operation of production. This is mainly caused due to the application of adapted technologies by collaboration and concepts in design and production.

Optimal output and compatibility of form + structure + material + production process The projection of geometry as an organized field of structure with the inherent material properties functioning in response provided an optimal performance of the whole system. We see this culmination to have unleashed a new interior tectonic.

Necessity of technology and production processes The project sees intelligent applications of traditional and modern production technology in terms of input of knowledge and skills, and modern technological tools that produce components with minimum tolerance and maximum precision necessary for tectonic manifestation.

Manifestation of tectonic as greater than sum of parts This manifestation is being brought about by the generation of geometry that had applications of traditional structural logic and material articulation coupled with production technology, off-site production. Precedence The application of traditional concepts adapted and optimized with new production technologies in such a modern geometric manner for an interior application had been unusual until the project was designed. While the traditional Chidori joint and geometry formed associations and were relatable to the people, its articulation in such a spaceconsuming manner and its resultant experiential qualities were novel.

* The numbers mentioned above are the resultant of the counting of emergence of factors found in the Evaluation Mapping in the page ahead. 156 6.5 | GC Prostho Museum | Case-Study 03

READING II :

Initiators

Enablers/ Executors

GENERATION : GEOMETRY MATTER : ARTICULATION OPERATION : PRODUCTION PEOPLE : PRACTICE PROCESS : DESIGN TECHNOLOGY : PRODUCTION

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6.6 Case Study 04

Cardboard Cafe, Mumbai by NUDES

Site : Bandra-Kurla Complex, Mumbai, India Area : 152 sq m Design Firm : NUDES Typology : Commercial - Restaurant Delivery : 2018 Consultants : Jayna Packaging About the Project : The interior design of the cafe utilizes cardboard sections in collaboration with a card-board packaging company with their inputs for design and production. The material is utilized in all the interior elements - partition walls, chairs, tables, lamps by either stacking uniquely cut 2D pieces or by folding with surface development. The project uses off-site production, industrial collaboration to articulate the material according to the geometry.

158

Fig 6.6.1 : The nature of geometry has generated sharp undulations accentuated by the light falling on it. Along with the hue and density of the material, its articulation in layers provides warmth and intimacy in the interior space

Fig 6.6.2 : The geometry is articulated by cardboard sections precision cut to manifest the geometry. Here, the geometry and the material potential brings about the unsupported structure.

159

GEOMETRY: Generation •

Geometry providing function through attributes

The undulating forms of the walls form visual spatial elements in the interior space by their undulations, depths. The geometry has a visual rhythm by nature. Generation of the geometry takes on a sense of intimate inhabitation due to the scale of the project and the forms nestled within to fit into the site. The geometry has a graphical expression and the perception alters as one moves in the space. The geometrical form is provided with a character due to construction by the assembly of linear planes to generate the form. Hence a visible manifestation of quantity creates the geometry.

Fig 6.6.3 : Visual rhythm in geometry generation Graphical expression in geometry due to steep curves creating light and shadow variation

The geometry hence is a sculpted form wherein the sculpt is accentuated by the lines of the material. It is an expression of geometrical organization of quantity of the parts that provides spatial attributes Assembled geometry. The design firm’s past practices and work methods integrate digital technology and ways of making in the projects. The cafe’s geometry generation was the outcome of digital ways of making and development.

Fig 6.6.4: Geometry designed in its form according to material potential to take weight through its articulation

Despite the thinness of the individual material boards that the form is composed out of, the geometry attains a solid articulation and reads as a singular element. The gradation and visual, textural complexity are added by the flutes of the corrugated cardboard cut at different angles according to the curvature. •

Context

The geometry was developed as a medium to explore the material of cardboard in the space and interior landscape developed accordingly. The interior visual of the space was based on production processes, and forms that could strengthen the material with digital means and the tectonic generation did not necessarily reflect Indian context. The interior design seems to stem as such due to the new cultural abstractness of the city of Mumbai. The tectonic does not form notional 160 6.7 | Cardboard Cafe | Case-Study 04

Fig 6.6.5 : The geometry with its manifestation with the material provides visual gradation and variation

associations or relatability with the cultural, regional domain and vernacular vocabulary. It however, is an introduction of a new aesthetics. The project can hence be considered novel by a shift in tectonics due to it being of a different aesthetic vocabulary. •

Geometry as an occupier of volume

The geometry of the primary walls forms interior elements along with the customized furniture elements. With exposed services in the space and the existing architectural concrete beams, the inserted / installed interior cardboard forms read as separate from the ceiling and the floor. The manner of occupation in the interior space, however, does not follow a visual logic or geometry and seems to consume the small irregularly shaped shell. •

Geometry determining Structure

The material, due to its constraints, the thinness of wall needed in the 150sqm interior space and the transfer of services resulted in the construction of a curved concrete wall over which the cardboard members were installed. The geometry hence serves as an aesthetic cladding rather than the surface carrying its own weight.

Fig 6.6.6 : the partition walls with the undulating curvatures

The NURBS generated contoured nature of the geometry provides unique components, though with consideration of the technique of production and the material cardboard as they were the basis of the conception of the geometry.

• Application of technology on geometry and development of vocabulary of geometry

Fig 6.6.7

The contractor of the project being a cardboard manufacturing and packaging firm that produces many cardboard products, and the project that is generating its geometry for application of cardboard, sees applications of production engineering and a geometric logic adapted from the material. The flutes of the cardboard sliced at different angles precisely and with finesse by the CNC tool supplies another layer of visual complexity to the geometry.

Fig 6.6.8 :The nature of the geometry acquires sharp curvatures as a resultant of pre-determined material and technique of production of CNC-ing planar 2D members and hence the geometry can be accommodated

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The technique of production rationalizes geometry from point of view of production as the unique and complex components can be produced and assembled with the same level of ease/complexity as standardized elements. The application of the tool and digital geometry generation hence accommodate the complexity of the geometry and could articulate it precisely with the given material. The involvement and application of the cardboard manufacturing company could facilitate the understanding and application of knowledge of properties of the material like flexibility, durability, moisture-resistance, grade, nature, and direction of flutes for the geometry to be articulated. The generation of the geometry is augmented by digital surface modulation for NURBS softwares for exploration of geometrical organizations in the interior space. The integration of digital technology aids exploration, translation to production with the quantity of components and tests for the viability of production with the material.

â&#x20AC;˘ Accommodation of Control and Adaptability Here, the factor of control was provided to the geometry by its technique of production that divided the geometry into planar segments. The organization of the geometry in itself hence is adaptable through control over the individual part that is replicating by nature in the entire geometry. Here, the geometry followed a whole to parts digital generation with a part to whole logic of construction. â&#x20AC;˘

Optimum Geometry

The geometry designed to be produced with the material cardboard was determined by the potential and properties of the material, both intrinsic and extrinsic, to form the interior elements that can carry weight, at parts, and can be conducive and durable by chemical coatings over the material in the commercial setting. As it was generated with precision cutting CNC technique, the material could be articulated optimally in the geometry and the geometry could be manifested.

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Fig 6.6.9 : Precision in generation of geometry brought about by application of digital softwares that could be directly transfered as inputs for digitally-driven production

MATTER: Articulation â&#x20AC;˘

Material Association and Input of Attributes to Tectonic :

Corrugated Cardboard used in the project to integrate the use of a creative, sustainable material according to the designerâ&#x20AC;&#x2122;s brief, imparts qualities of notional tactile softness and textural roughness in the space. The geometry balances the material touch of roughness with its surface undulations. The corrugated cardboard cut at different angles according to the geometry provides an intentional added organized layer of the exposed flutes of the cardboard changing in their visual shapes according to the angle of the cuts. While the geometry digitally produced by the firm was smooth, the addition of material in terms of individual planes sections integrated visible physical lines to the undulating surface which gives enhances the sense of densely packed solidity and highlights the curvatures.

Fig 6.6.10 : The material articulates the geometry with a certain sense of beauty, grace with its clean lines and gradual gradation accentuated by the geometry. It reads as layered or densely packed movement

These visible sections of the material with densely packed changing order of flutes as applied to the multi-directional undulating geometry create visual gradations as the occupant moves in the space. The precision and fine cuts produced by precision CNC cutting hence play an integral role in this reading of the material with the geometry. â&#x20AC;˘

Research and optimization of material properties

The material not commonly used as exposed in an interior setting had to undergo experimentations for its integration that makes up all interior elements in the space from wall cladding, chairs, tables, lamps.

Fig 6.6.11 : The collaborator - the cardboard packaging company plays a role in the testing of material properties for the performance of elements and junctions (Italia, 2019).

Corrugated cardboard in itself is an applied material that optimizes the paper it is made from, by its inner geometry based on the principle of arch and pillars. With the contractor of a manufacturing and packaging company, the design firm inquired into material performance for the manifestation of the geometries of the various interior elements. Prototyping and testing with the collaboration facility involved an inquiry into temperature fluctuations, moisture resistance, humidity, durability, weight testing according to the

Fig 6.6.12 :Double-layered corrugated cardboard with parallel ridges stacked to increase strength of the material without sagging from weight, especially in chairs

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geometry and cardboard corrugation. Properties of the material being sound-absorbing and light in weight and sustaining a considerable amount of weight are positive points explored for the integration of the material in a commercial F&B project. The table tops have been treated with wax for protection of material to avoid absorption of water into it (Block, 2019). â&#x20AC;˘

Material Response to Geometry

While the geometry is being achieved by its planar divisions such that a stacked sequence of uniquelycut component of the material manifests the form, the manner of articulation does not make the material respond to the nature of the geometry by the technique of production. The visual tectonic hence is a clear indication to the technique of production, technological tools used and the technique of construction. Paper as a material does offer the potential to alter its shape. Hence here the material reacts to geometry but does not respond to it by virtue of its properties. It is a direct product of the basic function of the CNC tool where surface articulation remains an aesthetic visual.

Fig 6.6.13 : Stacked uniquely-shaped card-board pieces to give shape to the chairs. Stacked Cardboard arranged in a horizontal manner takes the load

The geometry makes use of the method of stacking of cut layers in the chairs to provide a visual aesthetic by the curvatures. The tables are composed as a result of surface development, and the joints give a sense of temporality of the geometry. â&#x20AC;˘

Exploiting material potential

Fig 6.6.14: CNC-ed cardboard in a push-fit furniture that interlocks.

The cardboard has been experimented for its strength to articulate the interior elements by the design firm and the cardboard manufacturers. The integration of digital production methods and tools aid in the tectonic manifestation of the geometry and the articulation of the material. Critical Observations: However, almost 20,000 sq ft of cardboard (differing in thicknesses) was used in the project. While cardboard as a material is completely bio-degradable, a project of this scale would normally not have used this amount of material. It would hence counter the sustainable motives of the material use. Application of technology in this manner in terms of its necessity is hence, questionable. Also, the system would require a lot of maintenance. 164 6.7 | Cardboard Cafe | Case-Study 04

Fig 6.6.15: Folded cardboard surfaces by surface development and push-fit or interlocking techniques akin to the packaging of boxes that the collaborating industry performs applied to the furniture

OPERATION: Production â&#x20AC;˘

Evolution of structure and technique of production from geometry

The nature of geometry with its multi-directional curvatures and the material selection of corrugated cardboard had determined a planar contouring method for construction/assembly. The resultant of uniquely shaped multiple components in all the interior elements led to precision cutting with CNC tool. The material and geometry itself provided structure to the chairs by stacking layers for strength and the tables by surface development and folding. However, the scale of the interior walls with the breadth of the components determined in relation to the scale of the site, could not take its own weight and was not designed to carry services. The interior walls were hence first cast in concrete and then clad with the corrugated cardboard pieces for creation of the curves on the walls.

Fig 6.6.16 : The unique individual pieces that are assembled together to manifest the geometry by their quantity

The parts of the interior vertical surfaces had pre-cut notches for accurate precise assembly on-site (Fig 6.6.16). â&#x20AC;˘

Concept of Production : On-site v/s Off-site

Fig 6.6.17: On-site activities performed, of flooring, making of the curved concrete walls beneath the cladding

The operational aspects of the high cost of the interior space in the location of Bandra-Kurla Complex, Mumbai, decided on a faster on-site execution phase. Adding to this, the quantity of unique components, the precision, accuracy and the consistency of quality needed in their production for the manifestation of geometry determined use of off-site production with CNC cut mode of operation. Digital generation of the geometry led to direct translation to each unique part that had to CNC cut leading to efficiency in time and effort. The parts derived were directly sent for pre-fabrication

Fig 6.6.18: Off-site precision cutting of planar cardboard components with notches for accurate manifestation of geometry on-site

The project took 7 months to complete, with 4 months for design and production off-site and 3 months with interior services, flooring and installation of corrugated cardboard individual pieces. The chairs and tables however, could be transported to the site after a complete off-site assembly following the completion of the set-up.

Fig 6.6.19: On-site assembly of components wherein precision of labour becomes important for accuracy required.

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Since the components of the interior vertical surfaces had pre-cut notches for accurate assembly on-site the tectonic manifestation of the geometry could be possible. These components were installed on-site, attached to the concrete wall and not off-site. The individual planar pieces were brought to the site and assembled in order to achieve geometry. The lightweight of the material facilitated ease and no use of machines for lifting the large interior pieces. The tectonic gets articulated and achieves a nature of liquidity and fluidity due to an accurate manifestation of the cutting and assembly process. On-site activities included casting and making of the curved interior walls, assembly of the CNC-cut corrugated cardboard pieces. Shelves also composed from folding cardboard from its surface development responded to the concrete walls and were supported externally and internally with metal braces. â&#x20AC;˘

Collaboration with Production Facilities

Consultation with a cardboard manufacturing and packaging company led to an articulate and appropriate folding of the corrugated cardboard material for the making of the elements and for informed decisions according to their load-carrying capacity. The inputs of the packaging company played an integral role in the success of the folded elements and the articulation of the undulating geometry. Use of skilled labour for the precise and careful assembly of the material also played an important factor in the tectonic manifestation of the geometry and the materiality. The data flow between the design firm and the company became important for the decisions of material compatibility with the design, geometry, as the material has rarely been worked with, for a commercial interior setting. The precision and consistency of quality of the production process accentuates the tectonics and aesthetics of the forms and the space but projects its clear language on the geometry and the interior tectonic in its entirety.

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Design Process D1

D5 Geometry divided into individual components with unique shapes for off-site production.

OFF-SITE PRODUCTION

Conception of geometry with an idea of planar stacks to provide outer form

Digital technology and digital ideology generated undulating forms in interior elements. Extreme curvatures without testing are viable due to contouring and stacking concept of construction

ON-SITE ASSEMBLY

Unique Notching detail incorporated according to the curve of the back wall for precision of on-site assembly

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PEOPLE : Practice

• Consideration of people/locality

The project originates from an idea to create a different setting as is what most clients and designers prefer in an F&B interior setting, especially in the city of Mumbai. It, however, has no discovered references back to Indian cultural or local aspects or notions.

• Input of manual energy : The project developed with prototype explorations involving the design team and the collaborated company’s team. Off-site production reduced amount of labour, had the cutting task been performed manually. However the assembly skills were not as specialized or integral as in the previous projects. PROCESS : Design

• Freedom of geometry and design :

Digital means of working and the technique of production by contouring of geometry into individual planar parts resulted in a degree of freedom for the complexity of geometry and design. It was aided by knowledge of the material and its usage through inputs of the contractor.

• Communication - Means and Speed :

Early Collaboration with production industry and early consideration of production parameters led to new direct means of communication. The design could accommodate complexity by direct translation to production, resulting in accuracy and speed. Hence the dataflow was integrated with digital, production technology and in sync with the cardboard packaging company’s inputs leading to more informed design, material, and production decisions for tectonic manifestation. TECHNOLOGY : Production

• Precision, Accuracy, Quality

The technique of production of the components by Computer-controlled cutting tool led to the consistency of quality, precision, accuracy, and level of tolerance for tectonic articulation. The association with the cardboard related contractors added to the precision and quality by their experience and knowledge with the material. This was further aided by their involvement in on-site assembly. 168 6.7 | Cardboard Cafe | Case-Study 04

Fig 6.6.20: Articulation of matter and geometry seems a direct translation of technology and its tool which is reflected in the space

â&#x20AC;˘ Viability of Production - Design for Manufacturing

The nature of the geometry with its undulations could be produced due to the determined technique of production of CNC-cut planar members. The unique forms of the several components could be accommodated through the cutting tool and method of production. These sets of standardized components were CNC cut off-site. The integration of the collaboration company and the workers was integral to bring about the articulation of geometry and material with appropriate thicknesses, tolerances for assembly and other considerations. Hence factors added for Design For Manufacturing like prefabrication with assembly detail integrated for an on-site assembly led to viability of its production and hence the tectonics could be realized.

â&#x20AC;˘ Available and Evolving Techniques of Production Technology:

The project applied concepts of cardboard engineering and packaging to compose and make interior elements. Material and joinery knowledge and expertise, CNC tool for production and concept of off-site production and on-site assembly resulted in the tectonic manifestation of the project. Existing apparatus/machines, material knowledge, skills could accommodate design and bring about accurate production without set-up, extra tooling/ moulding in the industry.

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MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality Input of skilled labour

PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 170 6.7 | Cardboard Cafe | Case-Study 04

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

RESULTED IN

Case-Study 04

GENERATION : GEOMETRY

Cardboard Cafe

Material Association and Input of Attributes to Tectonic

Application of frame-work

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Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

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Key-findings : • Application of technology The project that integrates inputs of the cardboard packaging company results in exploitation of material for interior use. Knowledge of material properties with the collaborator aid in certain decisions but the applications are limited. The concept of packaging is integrated, but lack of applications of concepts of material engineering or applied methods of production technology hold away the tectonic potential of the project. Technique / Technology

• Communication and Data Flow

Ap p Interior Project

on ati lic

Interior Design team

echnology of T

The application of digital technology and digitally driven production technology enables accommodation of complexity of geometry by virtually contouring the NURBS surface into several individual planes, each unique in shape. This method can be questioned due to the increase in number of components for surface articulation. The material by its exposed cross-section however adds visual complexity to the design. The integration of digital technology and digitallydriven production and visuals are a part of the firm’s ideology.

• Technique and tool for production

CNC cutting provides the precision needed for the articulation of material on geometry, yet follows a typical use of the tool. The aesthetic produced hence is a typical translation of the bare functional aspect of the tool. Hence the interior seems to develop a literal language directly from the tool that drives the project and design process.

Collaborators

Fig 6.7.21 : Collaboration, Communication and Data-Flow

• Absence of local/ Regional/ Cultural Considerations The framework generates a reading of the design and technique of production having barely any roots on the Indian cultural or regional domain. This creates the impression of the interior design as creating a trendy setting in the city. It could also result in novelty/ newness due to a new aesthetic.

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MATTER : ARTICULATION Material Association and Input of Attributes to Tectonic Material response to geometry Exploiting material potential

OPERATION : PRODUCTION Evolution of structure from geometry Concept of Production On-site v/ Off-site Collaboration with Production Facilities

PEOPLE : PRACTICE Consideration of people/locality Input of skilled labour

PROCESS : DESIGN Freedom of design and geometry Communication and Data-Flow Design for Spatial Expression

TECHNOLOGY : PRODUCTION Precision, Accuracy, Quality Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies 174 6.7 | Cardboard Cafe | Case-Study 04

Collaboration with Production Facilities

Concept of Production On-site v/ Off-site

Evolution of structure from geometry

OPERATION : PRODUCTION

Exploiting material potential

Material response to geometry

Material Association and Input of Attributes to Tectonic

MATTER : ARTICULATION

Application of Control and Adaptability

Establishing separate interior identity

Integration of data : structural, loads, production

Geometry providing function through attributes ( Intent )

RESULTED IN

Case-Study 04

GENERATION : GEOMETRY

Cardboard Cafe

Viability of Production- Design for Manufacturing Adaptation and Integration of existing technologies

Precision, Accuracy, Quality

TECHNOLOGY : PRODUCTION

Design for Spatial Expression

Freedom of design and geometry Communication and Data-Flow

PROCESS : DESIGN

Input of skilled labour

Consideration of people/locality

PEOPLE : PRACTICE

• Emergence of contextual difference

• Transfer of Technology between disciplines

• Optimal output and

compatibility of form + structure + material + production process

• Necessity of technology and production processes

• Manifestation of tectonic as greater than sum of parts

Active Initiators

• Material Association and

Input of Attributes to Tectonic • Adaptation and Integration of existing technologies

Active Executors • Geometry providing function through attributes ( Intent ) • Collaboration with Production Facilities

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READING I :

Emergence of Contextual and Cultural Difference : The relevance of local cultural notions, considerations are very not prominent in the project according to the framework. The interior aesthetic is given more importance with the F&B culture of Mumbai. Transfer of Technology between disciplines : Applications of the industrial packaging company helped to explore the material potential, and for the off-site production, however with considerably fewer applications of engineering and science in the design and production with the CNC tool. Optimal output and compatibility of form + structure + material + production process The performance of material, geometry was brought about by the inputs of the industrial collaborator. However for the vertical partitions, the technique of production, structure and the geometry do not have a inter-connected relation for optimal performance. The output is a cladding for aesthetic purposes without structural surface articulation.

Necessity of technology and production processes While the use of the cutting tool was necessary for precision and efficiency of speed, the project seems to integrate technology in terms of the tool of the mode of operation as an initiator of the project that drives the project and design process hence projecting its literal language onto the design.

Manifestation of tectonic as greater than sum of parts The tectonic articulation emerges due to the precise manifestation of geometry that reads as a whole. The quantity of components - due to the technique of production to bring about the geometry, is perceivable; the articulation of the material section adds another visual layer.

Precedence Similar technique of planar construction making geometrical curves by stacking using the CNC tool in horizontal and vertical interior elements is becoming a common sight and does not generate novelty of tectonics by technique on a global level by means of production. The aesthetic vocabulary of the design can however be considered different and as a shift from the interior spaces seen in India and its vernacular vocabulary and can hence be considered novel by perception.

* The numbers mentioned above are the resultant of the counting of emergence of each factor found in the Evaluation Mapping in the page ahead. 176 6.7 | Cardboard Cafe | Case-Study 04

READING II :

Initiators

Enablers/ Executors

GENERATION : GEOMETRY MATTER : ARTICULATION OPERATION : PRODUCTION PEOPLE : PRACTICE PROCESS : DESIGN TECHNOLOGY : PRODUCTION

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178

7.3.

Conclusion

7.1

Quantification of Novelty in Interior Tectonics

7.2

Relevance of Readings on Interior Design Field

179

PART I : Summary of Mapping of factors, inter-dependencies and cross-linkages Reading I :

P 01 Georges Cafe

CASE - STUDIES

Norwegian Reindeer Pavilion

03 GC Prostho Museum

Cardboard Cafe

* The numbers mentioned above are the resultant of the counting of emergence of factors found in the Evaluation Mapping that follows each case-study.

180

Emergence of contextual difference

Transfer of Technology between disciplines

Necessity of technology and production processes

Manifestation of tectonic as greater than sum of parts

Optimal output and compatibility of form + structure + material + production process

Precedence : In terms of global, local use of production process for new tectonic

Reading II :

T Active Initiators

Active Executors / Enablers

Active Initiators

Active Executors / Enablers

Active Initiators

Active Executors / Enablers Active Initiators

Active Executors / Enablers

G M O

Geometry : Generation Matter : Articulation Operation : Production

Interior Design Tectonics

Pe Pr T

People : Practice Process : Design Technology : Production

People - Process - Technology Model of Interior Practice

181

7.1 | Quantification of Novelty in Interior Tectonics Inferences from Reading I: Georges Cafe: The project is inferred to have a positive report on a new sense of tectonic due to application of transferred production technology that resulted in a merge of skin, structure, matter, and geometry. The concept of Production Technology and Surface articulation led to the manifestation of the tectonic in the space being perceived as new due to the tectonic manifestation that emerges as greater than the sum of its parts and gains attributes in space through the concepts of making. Norwegian Reindeer Pavilion: The project achieves a novelty by the articulation of the natural material of wood in a NURBS generated geometry through production technology and concept of production, construction. The emergence of local flavour is apparent in the form and the technique of construction through traditional Norwegian boat-building transfer of skills. The evaluation indicates a lack of material potential being incorporated in terms of the relation between geometry, structure, and matter. GC Prostho: The dominance of the geometry felt is due to the structural logic of traditional concepts. Novelty here merges in the articulation of the complete spaceoccupying fractal grid system in a clean, concealed manner. The project comes across as a challenge, exploitation, and celebration of the potential of the natural material of wood and traditional skills and transfer of technology. Cardboard Cafe: The project is inferred to have a low response from the framework for new tectonics-in terms of the necessity of technology used and the absence of emergence of regional differences and local flavour. The project sees limited applications of production technology transfer through the collaborators, lack of structural relationships between the geometry and material articulation and projected language of the production tool.

182

Georges Cafe

Emergence of contextual difference

Transfer of Technology between disciplines

Optimal output and compatibility of form + structure + material + production process

Necessity of technology and production processes

Manifestation of tectonic as greater than sum of parts

GC Prostho

Perception of spaceoccupation and association

Transfer of applied technologies (Industrial and traditional) on geometry, matter, operation

Structural resolution with geometry, matter and production process leading to new articulation

Necessity of technology and tools for manifestation of new tectonic and viability of production

Production technology causing manifestation of tectonic as greater than sum of parts

183

The research generates the following readings from the case-study evaluations in the form of importance and relevance of the 6 factors included in the framework and their impact on novelty or newness of tectonic produced. The inferences from Reading II and I culminate as follows:

Geometry : Generation It emerges that the generation of geometry has undergone a shift with advancements in production technology and applications of technologies from parallel industries. This impact of technology has resulted in the introduction of new methods, means, options and potentials of geometry generation. In the case studies, we see that the accommodation of complexity, surface articulations, application of control and adaptability has been enhanced and this has brought about tectonic attributes to the space. Typologies of geometry such as Fractal, NURBSgenerated, contoured, as seen in the case studies, could be evolved into appropriate structure with production and generative technology. The freedom for design and geometry has improved due to an increase in the viability of production that is brought about by concepts of production and construction applied in the interior design field. The viability has increased due to the underlying logic of standardization of components for production/ with certain tools or concept of batch production in development of geometry/ production processes from parallel fields that accommodate unique geometries. Digital technology, again with advancements, knowledge, and application from parallel fields has played a key role in the geometry generation and its translation to production with input parameters. Hence novel tectonic potential arises as the articulation of geometry with applied production processes results in unprecedented new concepts of geometries in the interior design field, leading to a sense of new tectonic attributes in the space. An example of this is, as seen in Georges Cafe (Case-study 01), the new interior design ability for a surface articulation that merges structure, skin, and material that results in a drastic shift of perception in the space. We see a shift in terms of visuals produced in geometry generation from the 1950s. This is hence linked as the 184 7 | Conclusion | Quantification of Novelty in Interior Tectonics

• Geometry providing function through attributes (Intent)

• Integration of data : structural, loads, production

• Establishing separate interior identity

• Complexity and Application of Control and Adaptability

Georges Cafe: Mutation of horizontal floor plan into hollow formless volumes has been manifested due to digital technology softwares and applied technology of nautical industry for optimum surface articulation of geometry by breaking it down to unique components. The conception was possible due to viability of production of the unique components as envisioned.

designerâ&#x20AC;&#x2122;s generation and nature of geometry shifts according to type of techniques, digital and production technology for its manifestation. The interior design field has moved away from its symmetrical surface articulations for transfer of structural loads, computation has enabled localized load transfer on asymmetrical Non-Euclidean geometries. NonCartesian and NURBS geometries due to facilitation of generation and production are seemingly taking over the field in a vision of curves. This factor alone can border on misuse and shallow use of technology. With the new applications of production technology and engineering in the field, there has also appears a sense of traditional geometries being rekindled and leading to new potential. This merge of old and new technologies in design couples the traditional understanding of production with the new understanding of geometry unleashing new potential in geometry generation that can lead to the production of novel tectonics. An good example of this is G.C. Prostho (Case-Study 03, Chp 6.5). This concept leads to the emergence of local and regional difference in the articulation of tectonic rooting the project in the regional domain rather than the imagery of digitally-generated geometries that utilize new production processes as tools. This is seen in Cardboard Cafe (Case-Study 04) wherein geometry becomes an Enabler rather than an Initiator - being decided on according to the material and production technique and results in the imagery of technology. These possibilities of geometry generation have resulted in the factor emerging as an Initiator of Tectonics due to which Novel tectonics can be produced.

Geometry through its Generation is becoming a space occupier

Norwegian Reindeer Pavilion : The single surface geometry articulation with multi-directional curvatures mimics the natural surroundings with adaptability due to digital technology .

GC Prostho : Potential of traditional and cultural understanding of geometry and production with concealed joinery, structural load transfer and modularity initiated the geometry

New perception of mass-void, positive-negative and figure-ground relationships for the occupants in the space

7 | Conclusion | Quantification of Novelty in Interior Tectonics

185

Matter : Articulation The mapping of co-relations and novelty of tectonics according to the framework has yielded positive results of Matter : Articulation as emerging as an Initiator for Novelty of Tectonics in interior design. The readings also show the ‘Exploitation of material potential’ as an Enabler for tectonic novelty.

• Material Association and Input of Attributes to Tectonic

• Material response to geometry • Exploiting material potential

Innovations in material engineering are linking the inherent properties of the material with the new production techniques and processes to bring out tectonic qualities in the space. This is a product of the applications of engineering and production concepts and technologies from the parallel industries. As a result, the relation of matter and geometry is newly articulated. As material potential increases, it can accomplish a new behaviour that can articulate the new geometries that are being generated. A sense of novelty emerges from the articulation of material in a new unfamiliar behaviour from an occupant’s perception in the space. As inferred from case-studies of GC Prostho and Norwegian Reindeer Pavilion, vernacular craft in their intuitive understanding and in-depth knowledge of the material can also result in novel tectonics when their potential is increased with the application of new production processes.

• • • •

New Perception of spatial/ form continuity by articulation of matter Surface Articulations with tectonic unity of skin and structure Abstraction of detail in matter Perception of tactile thinness

The articulation of matter with new production technology and applied concepts generate readings of the tectonic perception developing of more than the sum of material components. In Georges Cafe, the aspect of matter manifests in a new manner with aluminium sheets responding to a surface with applications from the nautical industry. As advancements in material engineering continue to increase, new/ engineered materials can articulate the complexity of geometries and their structural requirements. The merge of new materialities and new geometries will lead to increased potential in generation of new tectonics in interior design.

Georges Cafe : The thinness and undulations of the geometry are articulated by aluminium alloys for the nautical industry. The specialized machines and techniques of production with skilled employees make possible the geometrical specifications and bring about new tectonic manifestation

186 7 | Conclusion | Quantification of Novelty in Interior Tectonics

Operation : Production The research shows the factor of Operation :Production to be an Enabler/Executor for New Tectonics. This reading has emerged mainly from Collaboration with Production facilities, especially from Allied disciplines and industries. This indicates a positive and active transfer of technologies, knowledge, skills, apparatus/tools for production.

• Evolution of structure from geometry

• Collaboration with Production Facilities

• Concept of Production On-site v/ Off-site

Industries specialized in operational aspects of geometry and material articulation enhance the viability of production with accommodation of complexity. Uniqueness and customization have been integrated with more ease with advancements in production technology and applications from industries. The collaboration and concepts of production can cause viability by rationalizing geometry and matter from the point of view of production. Non-Cartesian geometries like in Georges Cafe and Norwegian Reindeer Pavilion could be brought about by the logic and accommodation of customization through application of existing production processes. The collaboration also brings about an evolution of structure from geometry with the integration of digital technologies specialized for industrial applications that aid the generation of novel geometries. The factor of Off-site concept of production showcased its benefits added to this collaboration with maximum precision and minimum tolerance of production integral to the production of complex geometries. The case of Georges Cafe largely depended on collaboration with the nautical industry in terms of manifestation of geometry and articulation of matter. It served as an Initiator instead of an Executor of new tectonic emergence. This result hence displays an increased display of communication, dataflow and inclusion of industrial integration in the project. The other projects saw it as an Enabler or an Executor integral to bringing about Novelty of tectonics.

GC Prostho : Knowledge, understanding and skills of assembling the complex concealed joinery caused local crafts-people to be collaborators in both off-site and on-site assembly and resulted in tectonic manifestation of entire interior system.

Norwegian Reindeer Pavilion : Off-site concept of production with collaboration of nautical industry facilitated production of curved geometry with 5axic CNC milling. On-site assembly was facilitated by traditional wooden ship-building techniques

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People : Practice The factor of People emerged to be an integral factor for the generation of Novelty in Tectonics. The importance of emergence of local traits and regional difference inspite of application of new modern technologies is proven to be a critical factor in interior design through the case-study findings. The factor of Novelty is found to be derived from consideration of locality, traditions, culture, climate, techniques of making, materiality, traditional geometries and the tectonics that is manifested through these. These considerations root the tectonics in the regional domain and it hence cultivates a more profound meaning and notional association with the people, hence providing tectonic attributes. The importance of skilled labourers with knowledge of technique and material properties are critical to the manifestation of tectonics, be it in industrial application or re-adaptation of traditional techniques. This application and transfer of knowledge unleashed the tectonic potential for its novelty. Advancements in techniques of production are decreasing human involvement through machine applications for better productivity, quality, and precision. However, in the field of interior design, input of manual labour is essential for both off-site and onsite applications for their skills, inputs, and experience. Through the case study evaluation and mapping of novelty in tectonics, the human and regional/local factor hence emerges as an Initiator as well as an Enabler/ Executor for producing Novelty in Interior Tectonics. Its role as either one is found to be essential. The three case-studies of Georges Cafe, Norwegian Reindeer Pavilion and GC Prostho Museum have the factor applied as either an Initiator or an Enabler for the generation of Novel Tectonics. Cardboard Cafe ,however, has negative results for either consideration of locality in tectonics or results produced due to input of skilled labourers.

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â&#x20AC;˘ Consideration of People / Locality â&#x20AC;˘ Input of manual labour

Process : Design The factor of Process: Design emerges as a secondary factor that is a resultant of the other factors but does not emerge as an Initiator or Executor for Novel tectonics. The aspect of freedom of design and geometry and the new language being developed is seen to be generated due to applications of parallel industries - production technology and digital technology. The viability of production of complex geometries due to applied science and technologies has aided the freedom and new tectonic imagination to emerge. Communication and dataflow in the design process in the case-studies have a become a looped flow. It is found that collaboration has caused an increasing share of information/data and inputs across all stakeholders wherein each plays an essential role in the project given the increase of complexity in geometry and production. The traditional relationship between the interior design team and the labourers is hence changing as the complexity demands labourers from industries or architectural labourers being informed by collaborators instead of the interior design team.

â&#x20AC;˘ Freedom of design and geometry â&#x20AC;˘ Communication and Data-Flow â&#x20AC;˘ Design for Spatial Expression

Project

Labourers

Interior design team

Fabricators

Collaborators

We observe the role of the interior designer hence being altered with industrial collaboration with it now being a part in the entire chain, which has hence caused new modes of communication and representation of data. Integration of digital Technology hence aids this to-and-fro process by being able to accommodate inputs and data from all stakeholders, for example, in a single 3D model that can be directly translated for production like in the initial two case-studies of Georges Cafe and Norwegian Reindeer Pavilion. These casestudies saw these models too being developed by the industrial collaborators for production considerations while the design team conceptualized the project. The method of working and the possibility it offers of multiple stakeholders contributing at once to the digital model provides refinement of design and production criteria. These changes will have huge implications on the method of operation of the interior design field, the role of the interior designer and the impact on design process. (Elaborated in 7.2)

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Technology: Production The factor has emerged as an Active Executor/ Enabler for the generation of Novelty or Newness in Interior Tectonics. The case-study evaluation through the framework infers that Technology be an Enabler and not an Initiator in the field for a true sense of Novelty to emerge. The initial three case-studies have applied production and/or traditional technology as enablers. Cardboard Cafe which has applied the tool of technology as an Initiator, has tectonics generated as imagery of production process.

• Precision, Accuracy, Quality • Viability of Production- Design for Manufacturing • Adaptation and Integration of existing technologies

As mentioned before, the viability of production of complex geometries due to applied science and production technologies has aided the freedom in geometry generation and articulation of materiality. The application of production technology from parallel fields and the re-conception of traditional technologies through new techniques and tools are driving this change in tectonics. The change has affected the designer’s pursuit and generation of new tectonic imagination that is generating new interior tectonics through production technology. Improvements in level of precision, consistency of quality, new applications and potential of materials, accuracy and concepts of production and technology for space inhabitation are achieving envisioned designs and living up to the new creative demands of designers as the potential of available and existing technology changes through applications from industrial fields. Accommodation of control over geometries and its adaptability further adds potential.

GC Prostho : Traditional technology of wooden joinery, understanding of geometry and new production technology for viability of production enable new tectonic manifestation in the space.

This accommodation is facilitating the change away from repetitive manufacturing that was seen, to unique heterogeneous applications that hence facilitate novelty. Concepts of production like batch production and technological tools through their breaking down of complex geometries into the Cartesian grid are enabling complexity and uniqueness without specialized production for the unique individual components.

Georges Cafe : Adaptation of monocoque concept from aero-space and nautical industry and techniques of production led to new tectonic in the interior space.

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Matter : Articulation Geometry : Generation

Initiators

Operation : Production

People : Practice

Enablers Technology : Production

Collaboration

Novelty in Interior Tectonics

As observed from the chart on Pg. 179 and the subsequent readings the factors of Geometry: Generation, Matter: Articulation, People: Practice as essential to be emerging as Initiators and factors of Operation : Production, Technology : Production as Enablers for emergence of novelty in Interior Tectonics. The model of People-Process-Technology as applied in the framework for the Interior design field in terms of Interior Practice is inferred to be essential and integral for application in the interior field for generation of novel tectonics. The research infers the question of whether Tectonics dictates Tectonics or whether Technology dictates Tectonics as a looped inter-dependent relationship wherein each depends on the other for Novelty. However, the core idea is thought to be advancements in production technology to be an enabling driver for pursuit and emergence of new tectonic imagination in the minds and creation of the interior design team.

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7.2 | Relevance of Readings on Interior Design Field and Practice Project

Collaboration as an Executor People: Practice + Technology: Production Collaborators

Applications of Technology on the field of interior design are resulting in an increase in integration of practices for implementation of production processes. As seen in the case studies, the integrated practices offer the possibility of accommodation of complexity in design along with the viability and potential for construction and also impact productivity, efficiency, quality of the process and the output.

â&#x20AC;˘ Role of the Interior Designer While the traditional role of an interior designer has been from conceptualization to construction, a change in concepts of production and industrial integration might alter the role. It leads us to question whether the integration of practices will place the designer at the prime governing role (Fig 7.2.1). or will the practice bend to the norms of industrial standardization and tools of technology. The research infers a merge that indicates a more shared responsibility and decision making however the designer alone determines the quality of tectonics wherein the inputs of collaboration help accentuate and accomplish the tectonic imagination of the designer in the space (Fig 7.2.3). Here, perhaps the control will in the future be shared by interior designers, architects, engineers, industrial designers in a way that the full range of capabilities, knowledge and technology be applied from parallel production means to allow for a richer and cohesive realization in the interior and construction industry. The future repercussions have a possibility of threatening the interior architectsâ&#x20AC;&#x2122; role to a conceptualizer and not necessarily leading the project to execution. With evolving technologies also providing space planning solutions and complete interior design solutions with standardized mass-produced items, the role is further in question. However, a point of defence would be the factor of spatial quality, experience, and enhanced thoughtful personalization that the 192 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

Interior design team

Fig 7.2.1 : Application of industrial or craft collaborators for applied knowledge, skills, technology and concepts in the interior design field for novelty of tectonics, complexity and better articulation of design

Collaborator

Interior design team

Collaborators Fig 7.2.2 : Interior Designer as the prime role dictating the design process with collaborators as secondary drivers

Project

Labourers

Interior design team

Fabricators

Collaborators Fig 7.2.3 : Possible shared responsibility and decision-making between designer, engineer/ industrial design/fabricator in the future with added applications of technology and tectonic complexity

designers provide. The interior designer can also emerge as a major Controller of the design by being in control of the design information that is directly becoming construction information.

â&#x20AC;˘ Impact on interior design process It was found that an early input of production factors in the process and integration right after schematic design stage allows for better flow of information, accurate manifestation of the desired tectonic in space and has more successful results. Hence, the stage of collaborative integration has a better output if it is input from initial stages. This would cause a shared design process and decision-making. The inclusion of collaboration and concepts of production is found to change the design process, yet not necessarily bring about efficiency of time and cost, but shows potential for the same. Involvement of advanced software technology has also emerged as integral due to increasing collaboration. During early design phases, the involvement of software technology might become the key towards change in the design process. The integration of collaboration, especially industrial collaboration has hence begun to result in the integration of data - design, geometry, materiality, structural loads, production parameters, costing, processes, the order and technique of assembly, on-site considerations, etc in dimensional 3D models that are shared and added on with data by the designers, manufacturers, collaborators, fabricators and input of skilled labourers when necessary. This change in terms of dataflow and communication, representation, output drawings for construction with collaboration has changed the modus operandi of the interior design process. The design process may hence experience a shift on the decision of the Construction Administration phase of the project that shifts before the Design Development stage. This further results in a considerable portion of the design process that has shared responsibility between the interior designers and collaborating industries. For deciding on the nature and typology of Construction Administration at this stage, it becomes essential for interior designers to have knowledge of applications of parallel technologies. The dependence on collaboration increases depending on the complexity of the project and causes more reliance on knowledge and technologies of engineers, industries, fabricators.

TYPICAL DESIGN PROCESS

Schematic Stage Design Development Construction Drawing Stage

Construction Administration Site Execution

Schematic Stage

Construction Administration (Involvement of Collaborators) + Resultant Design Development + Construction Drawing (Digital)

Input of skilled labourers (Industrial Applications) Site Execution CHANGE IN DESIGN PROCESS

Fig 7.2.4: Change in the interior design process with the involvement of collaborators having a significant role for production parameters

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Technology as an Enabler: Project

Interior design team

• Change of Imagery in society : The ‘ Visible’ and

c Te

tactile Reality of Technology

The societal repercussions of new technologies have been vast and varied. Its impact on visual construction and spaces though are starting to become very evident. It leads us to question whether a majority of future interior spaces will proudly proclaim their production roots from technological tools. Technology and its tools have begun to project their language quite literally onto interior elements through their technique of production. The Invisible Technology is hence manifesting as Visible.

hn olo gy

In continuation with the readings in Chp 7.1 and the question of technology determining tectonics versus tectonics determining technology, the research establishes that technology should perform as an active enabler in the design process and not as an Initiator. The study infers readings on the impact of technology on interior design and on the society as a whole:

Collaborators

With technology surrounding and encroaching on all sectors of life around us, its very visible manifestation on many of our immediate surroundings and spaces can have multi-fold effects on human senses and experience. While construction of anything built around Inferences of Case Study Evaluation us becomes more industrial machine-based, agreed to Emergence of Contextual and Cultural Difference Transfer of Technology enhance quality, speed, productivity and at times cost, Optimal Performance of Form+Structure+Material+production Process Necessity of Technology its notional value to a user can seem lost. An attempt Manifestation of Technology as more than sum of parts Precedence Georges Georges CaféCafe to amalgamate new and traditional technologies can 8 provide a solution for the emergence of new potentials 7 in the field. 6 5

• The Indian Context

4 3 2

1 An observation of production technology in India Cardboard Café 0 compared to a global context is that it is experiencing lesser applications of applied industrial technologies Cardboard from parallel fields. The result may be an increased Cafe application of technological tools like CNC due to higher availability, a fascination for the tool and result of higher precision and efficiency of time, as observed in Case-study 04. The future implications, however, can be termed as an increasing loss of Indian cultural GCProstho Prostho GC identity in commercial settings with the application Inferences from Quantification of Tectonic and utilization of technology. A sensitive and critical Novelty from Frame-work

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Norwegian Reindeer Pavil

Norwegian Reindeer Pavilion

approach towards the application of technology and an attempt to revive and re-interpret our traditional notions of geometry, materiality with an understanding of techniques might cause the Interior Tectonic to be more rooted in the local or regional and cultural domain.

• Necessity of Technology v/s Desire for Incorporation

The projects lead us to question the need for the utilization of technological tools and whether they were integral to the manifestation of the tectonics. A design intent/ fascination to produce elements and space using new technologies could also be a factor driving the production techniques. Applications of Technology are increasingly considered to be a ‘trend’. The broader understanding of the case-studies shows that while the chosen technologies and processes provided viability of production, they might not necessarily have been the most optimum use of technology.

• Over-acceptance of technology as a way of life with an illusion of dependency and shallow uses

For the society at large, the usage of technology in the newer and broader sense has overtaken life. For all the sectors of the world, ways without its use to make life easier are being considered lesser and lesser. This is leading to shallow uses of technology and its tools. Newer advances across all fields threaten an increase in this trend and imply further changes to the way of life.

• Innovation in design field as a result of production advancements and novelty of tectonics

Innovation can be defined as “the introduction of something new” ( Merriam Webster, 2000). Innovation in the interior design field can be a resultant or a byproduct in the quest for novelty in tectonics and can impact perception of interior spaces. An innovation in the field has the potential of setting a precedent in the field and can escalate to a new sense of tectonics that can be implemented in various ways in interior spaces. This innovation can emerge from an adaptation of existing technology in parallel fields for the interior design field or the re-conceptualization of traditional techniques for the same. 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

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â&#x20AC;˘ Negative Effects of Production Technology Advancements in Concepts of Production can be seen as steps toward commercialization of the interior practice and design field. The mass production/ mass customization chains, readily-available materials, products, elements may lead to the dictation of user choices or loss of personalization by mass choices. Speed-oriented decisions, convenience, and ease of production by technological tools are resulting in their inclusion with the increasing exclusion of manual labour and craftspeople in the production process. This results in both- the loss of the factor of life in interior spaces by excessive use of technology in generation and production and, an economic shift that leaves labourers and craftspeople unemployed. Taylorism-akin stream-lined manual chain processes of the manual workforce that used to be intuitive and creative in the interior design field (carpenters and craftsmen) is causing new work methods with monotony within labour force. The case-studies inferred an integral role of human labour in terms of skilled assembly and working of machine processes, wherein the production remained mechanized. The involvement has shifted to more input-based roles, if any. Due to these factors, there is an apparent sense of global trend of techniques of production and methods of operation that is causing homogeneity of imagery by technological tools and loss of sense of regional culture to a global culture. Fascination of utilizing these new tools in new ways is also resulting in costly budgets and excessive use of unnecessary technology. It, as said before, is resulting in an evidently visible manifestation of technology. The celebrated notion of sustainability is also questionable with high use of electricity, chemicals, generated industrial wastage, pollution, etc. Hence, despite ease, convenience, better design freedom, viability of production, there arises the question of whether the field, or any industry needs to integrate increase technological interventions by sheer necessity. The potentials of technology in a sense are leading to unnecessary use of materials and costly tools in the project.

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Emergence of contextual difference and local traits The research infers a considerable importance of regional difference and the resultant impact on interior tectonics. With the factor of universality escalating in an unprecedented manner in the industrial design field, the analytical readings establish the necessity of a regional consideration and aspect of local flavour in interior spaces. A balance between the homogenizing production processes and a contextual difference established can result in a space rooted deeper in the regional domain. An interior setting in this way, with use of new technologies should not be able to be placed at any location in the world. A true sense of novelty of tectonics is hence achieved by a correct balance of universality traits in production and regional, cultural, traditional considerations of people, aesthetics and techniques. From the case-studies evaluated, it can be deduced that this has been achieved by various aspects like integration and inputs of skilled labour in production, optimization of local natural materials with new production technologies, exploitation of local material by enhancing material properties, generation of geometries. In doing so, a sense of local flavour emerges in the Interior Tectonic. An inquiry into the emergence of local traits may lead to a re-discovery of the old concepts and techniques integral to the climate of the region, way of living of its people, natural locally used materials. It can lead to optimization of local material properties according to the weather for optimal interior spaces along with a sense of new tectonics in the space. Application of traditional understanding of geometry can provide notional association to the space by character and tectonic attributes. A critical and sensitive approach adapted from local traits and regional differences for the same will prevent the development of trivial technologies and redundant applications of technology in the field that develop their own language in the space. For future implication of collaboration and advancements in production and digital technology, the approach by the interior design field becomes critical in emergence of regional differences instead of rampant universality and homogeneity. 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

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Transfer of Technology and resultant potentials It can be stated that novelty can emerge in a transfer of technology from a production mean to the interiors. If it is a transfer from another parallel production field it is recognized as new for the field. What can be said as being novel or innovative is adapting/ modifying the new technology for the interior field and achieving a new tectonic that has no precedence in either field. This transfer can be applied for emerging new technologies and also traditional technologies. Many architects and designers are adapting traditional techniques and knowledge while integrating new technologies and hence have been able to produce a sense of new tectonics. The transfer of technologies, however, must not lose distinguishing characters and attributes of the field of architectural design into a more industrial or visible manifestation of technology as mentioned before. As said before, a sensitive approach for the same will prevent absorption and development of trivial technologies resulting in the misuse of technology in the interior design field. Application of new technologies to existing processes unleashes productive tangents between traditional technology, techniques and craft-based knowledge in order to re-implement and re-discover them to new potentials. It provides incentive for experimentation, especially of material potential as emerged from the case-study readings. The common nodes of Operation and Technology of Production between engineering and architecture have created new links to industry. The cycle of transfer of technology by absorption and adaptation of knowledge is increasing in pace. However, this also leads to the question of the field of architecture and interior design has begun depending on technologies of parallel fields for its production and digital requirements. This situation, possibly rampant in the future, will be dissipated if architectural research also takes on a more active role in the development of production, computation processes for its own demands. The result can be a stronger cultural and inter-disciplinary model that leads to new potentials in the architectural and interior design field as well as in the industry, previously thought to be unfeasible. 198 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

• Whole to parts assembled concept of articulation • Perception of system and element separate from site • Shift from stark industrial aesthetic • Visual clarity in quantity and transformation of components with integrated production parameters

Emergence of Customization through Logic and Approach of Standardization The evolving concepts of production and construction are increasingly developing towards generation of complex customization made viable due to an underlying limit of standardization for its manifestation. This has been possible by application of the Cartesian grid as followed by production processes to the geometry and matter in the operation of production. The application of sciences and technologies from parallel industrial fields has increased this scope by a more extensive, capable range of existing technology, knowledge of production and tools available for adaptability and application in the interior architecture field. This approach has also enabled continuity of traditional concepts rooted to perform in specific regions, crafts, and craftsmanship through the application of modern concepts of making. The tectonic potential that these approaches would culminate into can perhaps be the next important step in the field of interior architecture for avoiding context-less interior spaces with available technological tools and higher scope for the accommodation of uniqueness and complexity of geometry and engineered materials. Off-site Production The potential of off-site production is being increasingly used in the interior design field for manifestation of complex geometries, as seen in the case studies and examples. This manifestation has been made possible due to the availability and application of specialized industrial equipment in off-site facilities. The uniqueness of components by production processes to accommodate complex geometries has been facilitated by off-site production. Off-site production in industries or establishments also leads to production by people experienced in the production process and skilled in techniques. The concept of production, apart from efficiency and speed of production, may leave its underlying mark on the language and development of interior tectonics. Increased collaboration might see increased use of off-site production for interior projects and it might lead to new potentials.

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Present and Future Repercussions and Possibilities : As possibility of production of unprecedented materials and geometries gain way, tectonic imagination of the designers will further increase. And technology will advance further to bring that imagination to realization. The designer can hence become a ‘maker’ with increased knowledge and skills of the new means of production.

• Economic Repercussions of Technology :

The confluence of robotics and information technology is developing for use on the field of interior design production and construction processes. With its advancement, human labour required in the industrial and construction business will reduce in their involvement. We see in India, due to current infrastructure, technological advancement and cost-efficient labour, the human force required in industries is magnanimous. This has economic repercussions as it creates jobs needed to sustain the vast population. With robotics/ AI/ increase of automated machinery and tools the monetary flow will shift to industries from the working labour mass. The industries can invest in or be invested by foreign companies, and hence the money flow can further be diverted away from the benefit of the national economy which loops back to shift of employment/unemployment and unequal monetary flow. However, the advancements in the field can imply massive cash flow towards the construction industry, for further research and strides in the field. With the high cost of manual labour in many countries, and better efficiency with automation and machinery, and application of robotics in production and construction in the evolving future, decreasing cost of production due to advancements in mass production might tilt the table towards completely industrialized production and construction of interior spaces.

• Discussions on Craft

The perception of Craft, prominent in the interior field since ages might make a re-appearance in a shift of scale from micro to macro with adaptation of its techniques of making. The perception of craft would hence transform the actual composition of space-making. Though the value of hand-skills and craft in interior design retains its authentic value, the future might see it as cultural symbolism or pieces of beauty in terms of interior 200 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

elements. Industrialization and replication of patterns with machine mass-production primarily causes loss of authenticity and meaning of the craft. The casestudies indicate how the manual labour in terms of the skilled craftspersons, labourers are integral to the manifestation of envisioned tectonics; however, their roles and prominence are being shifted to be included only where required. A more in-depth application of crafts and its techniques though is currently showing potentials of developing the interior spaces to different local and regional contexts and hence imparting a tectonic identity accordingly. It does so as the techniques, language of crafts, materials and geometries incorporated have an evolved scientific and cultural reasoning. Hence the possibilities of its articulate involvement in the design/ architectural scale will reinstate its possibly reducing relevance in the period of modernity within the interior space, to its applications and manifestation in the form of space itself. This also results in the emergence of life in the spaces through tactile qualities, notional associations and embodied memories along with benefits of mechanized technology. Techniques of craft are increasingly manifesting into techniques of interior production and construction. We see an increased shift in role from hand-skills of the craftspeople, to their inputs as collaborators in the design process that incorporates craft as a way of space-making. Craftâ&#x20AC;&#x2122;s involvement can lead to more meaningful relation between craft and technology and provide craft with a new context for it to flourish.

â&#x20AC;˘ Shift in Tectonics and Societal Perception:

We see that the concepts of production and material engineering have caused a shift towards approaches from nature as well as craft-based techniques with new vigour and investigation. This shift, with roots in structural optimization, and force lines, have shifted from the symmetrical to asymmetrical parametrics and related visuals. The perception of architecture and interior design from a societal perspective seems to be employing a very ready acceptance and even preference of technological interventions in architectural imagery. Perception of interior Space-making seems to have tilted towards more responsive, dynamic, space-occupying, and free-flowing imageries. Social media trends and hypes that establishments and brands need are being increasingly catered to by their unique innovative interior expressions. Interior Design seems to be at the 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

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societal limelight with new concepts being introduced and new visuals being produced with increased societal interactions with designs that merge functionality with aesthetics. However, this has also led to the creation of installations instead of interior designed elements. The manner in which humans occupy space might change. The tectonics will also change according to change in human behaviour of generations - that is shifting to less formality to more flexibility yet comfortable personal space in public spaces, workspaces. The major shift in tectonics by application of technology and production processes might be in commercial, public and adaptive re-use interior spaces that have incorporated systems. Applications of new Technology can be predicted to be creating long-lasting effects in the design and construction industry while applications of specific tools read to be temporary fascinations for exploration and will be fast replaced by the next tool. The world as a whole is seen to be continuing a specific production tool trend that is setting in for a certain period of time. The development of 3D printing and a re-kindling of production through injection moulding, etc might shift the current method of assembled geometries to singular continuous joint-free elements and the interior elements vision will change accordingly.

Fig 7.2.1: UK Pavilion, Shanghai by Heatherwick Studio : Perceptions of space-making in interior design to create more dynamic, experiential, space-occupying designs.

Materiality, that emerged to be the most integral factor for Initiation of new Tectonics from the frame-work is seeing abundant growth due to material engineering, New materials will be able to accommodate complex, unique geometries through developing production processes and higher, localized structural stability leading to unprecedented tectonic forms, steering away from both standardized production processes and conventional construction techniques. Industrial collaborations will further aid the shift in tectonics and also impact the interior design process.

Fig 7.2.2: Beast by Neri Oxman- Built with the concept to grow products rather than assemble them, it shows how biological designs are inspired from natural processes and how materials evolve to accommodate needs. Adaptable qualities of skin “adapt thickness, stiffness, pattern density, translucency to load, curvature and skinpressured areas”. Courtesy : MIT Press.

With materials that are printable and adaptable, their properties have a chance to be varied across the surface. Materials are hence becoming programmable and structurable. Tactile qualities and structure of porosity, strength, thickness, thinness, softness, density can be produced in a single geometric and material articulation according to the design. This development has the potential to be the next re-definition of tectonics. The machine in this case can become a form-giver and not a replicator (Banai, 2013). The materiality is this case will become a form-driver (MIT Press). Till now with the lack of new researched means of production, the operation of specific materials was 202 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

Fig 7.2.3: Wooden Waves, 2015 by Buro Happold (Engineer Collaborators) + Mamou Mani-9 (Architects) : Digital fabrication technique of ‘Lattice-hinge’ alters the local properties of plywood increasing their local flexibility and forms torsional springs in the material. Engineered flat timber is applied with engineering and digital technology to achieve the geometry. (MamaoMani, 2020).

reaching the end of their ‘novel’ use due to a slower pace of material engineering and means of their production. This led to a bordering on monotony from both architectural and the societal perspective. The future pace of generation and production technology may be able to produce new materials/new articulation of contemporary materials to factor in consistently new geometries and tectonics. For the near future, however, precedence set by either technological tools or industrial means of production can lead the shift in tectonics in the interior design field. ... However, we do observe that the shift and emergence of new tectonics are primarily due to the inquiry of creative minds - the imagination of designers in the interior design field who are able to adapt production technologies and bring about uniqueness through them. The future, however, can see an increased shift and development through the complete integration of interior and industrial practices in the field of interior design, changing the practice as we know it. From direct contact with clients and personalization and experience of spaces as interior designers’ domain, to the clients themselves choosing readymade virtual layouts, to customized interior spaces reaching completely new visuals never thought before, the future repercussions of the application of increased technology on the field of interior design and its tectonics are varied, yet, maybe all of the above. ... • Future Research and Study The research falls under the broader category of Tectonics, Interior Design, Concepts of production, Construction, Application of Geometry, Material Engineering, Operational Aspects, People, Process and Production Technology. The study is to provide a cohesive understanding of the inter-dependencies of the multiple factors and parameters. A further research of any triad of these factors and topics - Interior Design, Tectonics and Application of Material Engineering / Interior Design, Tectonics and People/ Interior Design, Tectonics and Concepts of Production, etc would provide additional in-depth readings into the research. This research is hence a part of a larger whole, and a study of all these parameters would then provide a culmination to understand novel tectonics and a prediction for its re-definition according to technological changes. The frame-work for quantification of novel tectonics developed in the study can be evaluated and added to for future study scope. 7 | Conclusion | Relevance of Readings on Interior Design Field and Practice

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Novelty of Tectonics through the 6 factors affecting occupant perception • Encompassing of interior element (space-maker) as a space-consumer

Adaptation of techniques for geometry, matter, operation enabling a tectonic attribute of elemental system encompassing user and responding to occupant

• Separation of perception of interior and architectural space-making elements Increased prominence of interior space-makers by perception and presence in space

• Abstraction of detail

Visual cleanliness, concealment of joints, celebration of surfaces as a new language

204

• Association + Alienation in space

Notional association with regional adaptations as techniques/matter/aesthetics, rendered with sense of visual novelty due to new geometric, matter and operative behaviour in space.

• Re-defined relationship between occupant and space - New perception by mass-void, figure -ground, material behaviour Shift in visual perception and user behaviour, experience with occupant-element relationships in space

• Integration of interior elements and systems

A unification of elements by design, by technique of production and by visual perception

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Glossary of Terms Reviews and Actions Bibliography and Image Citations

Glossary of terms Assembly-line: Used as a manufacturing process wherein assembly is performed in a sequence of steps Atectonic: Negating tectonic expression, creating an illusion of structural behaviour Automation: Operation of machines and equipment with reduced direct human involvement Biomimetics: Imitation of nature by its system in other fields Complexity: The level of intricacies and control points in generative and production technology which increases in non-standard forms. Control: The ability to manage geometry, behaviour and provide flexibility through control points in Digital Technology Computational Fluid Dynamics: “A science that, with the help of digital technology produces quantitative predictions of fluid-flow phenomena based on the conservation laws (conservation of mass, momentum, and energy) governing fluid motion “(Fluid Mechanics Fifth Edition, 2012). Curvature Analysis: The maximum and minimum curvature of a surface tested virtually for production clarity. Extensive: A material property dependent on dimensions of the element Gaussian Analysis: Virtual Analysis for determining whether the surface can be folded into a 2D surface and directly produced to parts. Intensive: A physical inherent material property independent of dimensions Inter-changeability: Making of nearly identical parts produced together such that they can be used in other systems with same typology.

Manifestation: An action that shows something, an embodiment of something abstract. Matter: A physicality that takes a form and responds to the environment around. Monocoque: The skin structure that transfers loads through the outer shell leaving a hollow inner form. Used in aeronautics and nautical industries prominently. Mutation: Alteration of the form of a material substance. Novel/Novelty: The sense and perception of something new. Operation: (in terms of production) Sequence of steps in production process and how they are performed.

Technology: Scientific knowledge and its application for practical purposes Tectonics: The art of construction providing expressiveness through its structure. Also referred to as Architectonic from Kenneth Frampton’s book. Tectonic Attribute: The quality of the space determined by its structural expression by form, material, perspective, etc.. 208

Reviews, Reflections and Actions THESIS REVIEW ONE: 30th January, 2020. by Prof. Rishav Jain and Prof. Naandi Parikh The issue of the Working Title ‘ Tectonics and Industrial Technology’ not expressing the content of the Thesis was mentioned. Articulation of factors and changes of parameters to validate title of study. Title changes to Tectonics and Technology. •

The impact of the industrial processes on interior design and practice should be established and added to complete the frame-work created. Inclusion of parameters to theoretical frame-work. •

Commercial typology of the case-studies should be limited to hospitality and not retail since they would generate different outputs and inferences in the context. Exclusion of retail based design, mass production/customization factors from scope of study. •

•

The broader study chart and initial frame-work, study covers all parameters and is in a good position to be taken ahead.

THESIS REVIEW TWO: 7th February, 2020 [ External ] by Prof.Kaulav Bhagat and Prof. Vishal Wadhwani • The scope of study should be narrowed to consider factors from the broader study. Determining Novelty of Tectonics as prime research factor, Interior Practice as factor of application for research and focusing parameters as related to this study. Factor of Sustainability should be removed from scope as a possible end-result on application of technology as it can prove to be superficial and tricky. Quantification of Novel or newness of tectonics and wider implications of Interior Practice on application of Technology as end-result of study •

The term Industrial processes should be kept separate from technological techniques or tools like CNC or laser cutting as the relevance of it has changed from ten years back. Segregation of Techniques and tools as parts under technology, but separate from the wider whole. •

Avoid making concepts of production as major factors and the burden of taking on everything. Consider concepts of production as underlying parameters for study. Broader factors of Concepts of Production are retained, and introduced as concepts to understand wider relevance of production processes on practice and tectonics. Case-study evaluation can hence consider their findings and understanding while talking about main factors. •

•

The term ‘Processes of Production’ should be considered instead of Industrial Processes that is currently used. Craft can also be factored in as means of production.

The term industrial is used in the thesis in terms of Ship-building Industry/ Industrial facilities. Title of topic adapted to Production Process. Production processes made to include industrial as well as traditional to get a broader idea on application of technology in the field, its relevance and changes. 209

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McMillan, K. (2017, October 12). Boat to Building : An Exploration of Norwegian Craft. Retrieved April 29, 2020, from https://www.brandeis.edu/mortimer-hays/pdf/final-reports/kate-mcmillan.pdf Nilsson, F. (2014, August 27). New Technology, New Tectonics? - On Architectural and Sculptural Expressions with Digital tools. [Paper Presentation]. Conference on Tectonics making Meaning, Eindhoven, Netherlands. https://www.researchgate.net/publication/255992716_New_Technology_ New_Tectonics_-_On_Architectural_and_Structural_Expressions_with_Digital_Tools OECD. (2017). Peer Review Of The Norwegian Shipbuilding Industry . Paris. Retrieved from https:// www.oecd.org/sti/ind/PeerReviewNorway_FINAL.pdf Oxman, N. (2007). Get Real: Towards Performance Driven Computational Geometry. International Journal of Architectural Computing. Retrieved from https://neri.media.mit.edu/publications/article/ get-real-towards-performance.html Rosien, D. (2016). Identifying strategies for preservation of vernacular wood craftsmanship based on the analysis of the design and construction of Kengo Kumaâ&#x20AC;&#x2122;s Prostho Museum. Retrieved April 29, 2020, from https://firstdanarchitecture.files.wordpress.com/2016/07/daniel_rosien_0319889_ finalpaper_online_submission.pdf Online Articles and Websites : Banai, N. (2013, April 24). Neri Oxman on 3D printing: Retrieved May 6, 2020, from https://www.iconeye. com/design/features/item/9917-neri-oxman-on-3d-printing Block , I. (2019, December 10). Cardboard Bombay cafe by Nudes is made entirely from cardboard. Retrieved May 4, 2020, from https://www.dezeen.com/2019/04/13/cardboard-cafe-mumbai-nudesindia/ Buchanan,R. (2005, November 10). History of Technology. Encyclopaedia Britannica. Retrieved from https://www.britannica.com/technology/history-of-technology/The-technological-dilemma. (Accessed on January 29, 2020). Caroli, D. (2011, January 1). Something to Sink Your Teeth Into: GC Prostho Research Center and Gallery in Kasugai, Japan. Retrieved April 29, 2020, from https://www.interiordesign.net/projects/9447something-to-sink-your-teeth-into-gc-prostho-research-center-and-gallery-in-kasugai-japan/ Corradi, M. (2012, April 11). Kuma: GC Prostho Museum Research Center: Floornature. Retrieved April 29, 2010, from https://www.floornature.com/kuma-gc-prostho-museum-research-center-7766/ Italia, R. (2019, September 20). Cardboard cafĂŠ by Mumbai-based architecture firm Nudes. Retrieved May 4, 2020, from https://www.stirworld.com/see-features-cardboard-caf-by-mumbai-basedarchitecture-firm-nudes Marrs, C. (2015, July 20). Shigeru Ban to make UK debut with timber scheme. Retrieved April 29, 2020, from https://www.architectsjournal.co.uk/home/shigeru-ban-to-make-uk-debut-with-timberscheme/8686447.article McGuire, P. (2011, September 29). Restaurant At The Pompidou Centre, Jakob MacFarlane (Paris, France). Retrieved April 29, 2020, from https://www.architectural-review.com/buildings/restaurant-atthe-pompidou-centre-jakob-macfarlane-paris-france/8619749.article National Geographic Society (2020, January 9). Industrial Revolution and Technology. National Geographic Org. Retrieved from https:wwwnationalgeographic.org/article/industrial-revolution-and212

technology/. (Accessed on January 29, 2020). Oriaku, A. (2019, March 21). Cardboard coffee shop turns heads in Mumbai. Retrieved May 4, 2020, from https://archpaper.com/2019/03/cardboard-coffee-shop-turns-heads-in-mumbai/ Penn, C. S. (2018, January 10). Transforming People, Process, and Technology, Part 1. Retrieved April 2, 2020, from https://www.christopherspenn.com/2018/01/transforming-people-process-andtechnology-part-1/ Singhal, S. (2011, November 9). Pink Bar in Paris, France by Jakob MacFarlane. Retrieved May 4, 2020, from https://www10.aeccafe.com/blogs/arch-showcase/2011/11/09/pink-bar-in-paris-france-byjakobmacfarlane/ Tverrfjellhytta, Norwegian Wild Reindeer Pavilion. (n.d.). Retrieved May 4, 2020, from https://snohetta. com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion Wu, N.-W., & Fu, C.-C. (2014). Atectonic Expression from Theory to Practice: From Semper′sBekleidungto Empirical Projects. Journal of Asian Architecture and Building Engineering, 13(1), 9–16. doi: 10.3130/ jaabe.13.9 Zelaya, A. (2015, August 29). Wild Reindeer Pavilion. Retrieved May 4, 2020, from https://resilientwood. tumblr.com/post/128112296767/wild-reindeer-pavilion Planes, trains and media centres – Part 2. (2013, May 10). Retrieved May 6, 2020, from http://www. unsquare.at/?p=276

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9 List of Figures and Image Credits Chapter 2 | Interior Design Tectonics : Fig 2.1.1 - Coutesy : Schodek, D. (2005). Digital design and manufacturing : CAD/CAM applications in architecture and design.Hoboken, New York: John Wiley and Sons, Inc. Fig 2.1.2 - Courtesy : PikkioWorks. Retrieved from https://www.piikkioworks.fi/products/marine/ (Accessed 18th February, 2020). Fig 2.1.3 - Courtesy : IKEA website. Retrieved from https://www.ikea.com/gb/en/planner/configurable-roomkitchen/ (Accessed 18th February, 2020). Fig 2.1.4 - Retrieved from http://www.h2ojet.com/news/how-the-aerospace-industry-uses-waterjet-cutting (Accessed 24th April, 2020). Fig 2.1.5, 2.1.6 -Retrieved from https://hackaday.com/2012/05/31/the-biggest-cnc-machine-can-build-a-house Fig 2.1.7 - Produced by Author Fig 2.2.1: Courtesy : Lucas Arndell. Retrieved from https://www.e-ir.info/2018/04/02/the-merits-of-post-fordismfrom-a-gendered-ipe-approach/(Accessed 1st May, 2020). Fig 2.2.2, Fig 2.2.3 - Courtesy : Ethel Pohl. Retrieved from https://www.archdaily.com/404803/ad-classicshabitat-67-moshe-safdie Fig 2.2.4: Courtesy : Borden, G. P. (2014). Process: material and representation in architecture. New York, NY: Routledge. Fig 2.2.5 - Courtesy : Club Lugosi Retrieved from https://www.archdaily.com/401528/ad-classics-the-dymaxionhouse-buckminster-fuller (Accessed 1st April, 2020). Courtesy : Gili Merin Fig 2.2.6 : Courtesy : 3 Form. Retrieved from https://www.pdffiller.com/jsfiller-desk11/?projectId=444316331#4c 8987822b7b4667784d6cd4254e4098 Fig 2.3.1 - Retrieved from https://www.manualagent.com/ikea/bangsund-bed-twin/assembly-instruction/page-7 (Accessed 19th January, 2020). Fig 2.3.2 - Mail Online. Retrieved from https://www.dailymail.co.uk/femail/article-3204956/YO-Sushi-founderlaunches-space-saving-homes-dining-tables-emerge-floor-master-bedrooms-lower-ceiling.html (Accessed 18th February, 2020). Fig 2.3.3 - Bookworm Pavilion : Photograph clicked by Author Fig 2.3.4 - Photo Courtesy : Roos Aldershoff. Retrieved https://www.caandesign.com/13th-century-dominicanchurch-converted-into-contemporary-bookstore-by-merkxgirod-architecten/ (Accessed 18th February, 2020). Fig 2.3.5 - Photo Courtesy : Edmund Summer. Retrieving from https://www.dezeen.com/2018/10/08/sameeppadora-associates-kopargaon-india-school-library-architecture/ (Accessed 24th April, 2020). Fig 2.3.6 - Courtesy : Swiss Info Channel. Retrieved from https://www.swissinfo.ch/eng/shigeru-ban-_tamediabuilding-architect-gets-pritzker-prize/38244538 (Accessed 24th April, 2020). Fig 2.4.1- Retrieved from https://www.interiordesign.net/projects/10143-eva-jiricna-s-uhpc-stairs-for-london-ssomerset-house/ (Accessed 2nd April, 2020). Fig 2.4.2 - Photo Courtesy : Mattias Hamren. Retrieved from https://www.archdaily.com/322464/crematoriumbaumschulenweg-shultes-frank-architeckten/ (Accessed 2nd April, 2020). Fig 2.5.1 - Courtesy : Guggenheim Bilbao. Retrieved from https://www.guggenheim-bilbao.eus/en/the-building/ the-construction (Accessed 2nd April, 2020). Fig 2.5.2 - Courtesy : Artnet Auction. Retrieved from http://www.artnet.com/artists/philippe-starck/w-w-stoolG46j3tVhoPhIoZKIcWqk7w2 (Accessed 3rd April, 2020). Fig 2.5.3 - Retrieved from https://www.dezeen.com/2009/09/02/gaudi-stool-by-studio-geenen/

Chapter 3 | Tectonics in Interior Design : Fig 3.1 - Photo Courtesy : Greg Kristo, Gili Merin (Flickr). Retrieved from https://www.archdaily.com/109135/adclassics-barcelona-pavilion-mies-van-der-rohe (Accessed 1st April, 2020). Fig 3.2 - Courtesy : DOMUS. Photo Courtesy : Margherita Spiluttini .Retrieved from https://www.domusweb. it/content/dam/domusweb/en/from-the-archive/2018/02/03/peter-zumthor-mass-matter-and-light-/gallery/ domus-peter-zumthor-4.jpg.foto.rmedium.png (Accessed 1st April, 2020). Fig 3.3 - Photo Courtesy : Helene Binet. Retrieved from https://uk.phaidon.com/agenda/architecture/ articles/2015/february/04/sacred-stories-bruder-klaus-field-chapel (Accessed 3rd April, 2020). Fig 3.4 - Photo Courtesy : Roland Halbe Architectural Photograpgy. Retrieved from https://www.archdaily. com/883157/louvre-abu-dhabi-atelier-jean-nouvel/5a01bf6bb22e3816ed00024f-louvre-abu-dhabi-atelier-jeannouvel-photo?next_project=no (Accessed 3rd April, 2020).

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Chp 3.2 - Geometry : Generation Fig 3.1.1 : Courtesy : Architect Magazine. Photo Courtesy : Alex Frandkin. Retrieved from https://www. architectmagazine.com/design/buckminster-fullers-biosphere-celebrates-50_o. (Accessed 6th April, 2020). Fig 3.1.2 - Fig 3.1.5 - Photo Courtesy : Abdelmalek Bensetti. Retrieved from https://www.behance.net/ gallery/69518989/Heydar-Aliyev-Center-Zaha-Hadid%20INT%20 ( Accessed on 6th April, 2020). Fig 3.1.3 : Retrieved from https://www.woodworkingnetwork.com/woodworking-project-photos/woodworkerproject-plans/Oak-Curvilinear-Interior-Zaha-Hadid-Baku-227616121.html#sthash.3M2DdLix.dpbs(Accessed 3rd April, 2020). Fig 3.1.8 - Courtesy : Rain Noe. Retrieved from https://www.core77.com/posts/22975/the-italian-god-ofconcretes-palazzetto-dello-sport-22975. ( Accessed on 6th April, 2020). Fig 3.1.9 : Retrieved from http://mycatiav5.blogspot.com/2013/04/dassault-aviation-rafale.html (Accessed on 8th April, 2020). Fig 3.1.10: Courtesy : LDK Photo. Photo Courtesy : Laurent Dequick. Retrieved from https://www.ldkphoto.com/ experience-music-project (Accessed on 6th April, 2020). Fig 3.1.11 - Retrieved from https://archpaper.com/2018/04/look-revamped-gehry-cafeteria-4-timessquare/#gallery-0-slide-0(Accessed 3rd April, 2020). Fig 3.1.12 - Photo Courtesy : Daniele Matioli. Retrieved from https://www.archdaily.com/58591/uk-pavilion-forshanghai-world-expo-2010. (Accessed on 25th March, 2020). Fig 3.1.12b - Retrieved from http://www.michaelfreemanphoto.com/media/beb312fa-45c2-11e0-bd61bf5b8e82eac5-shanghai-expo-2010-uk-pavilion(Accessed 3rd April, 2020) Fig 3.1.13 - Retrieved from http://www.alfa-male.com/italian-design/architecture/ (Accessed 29th March, 2020). Fig 3.1.14 - Photo Courtesy : Inessa: Architect of Photography . Retrieved from https://www.inessabinenbaum. com/via-brion-by-carlo-scarpa(Accessed 2nd April, 2020). Fig 3.1.15 - Retrieved from https://www.yellowtrace.com.au/curved-brick-buildings/ (Accessed 29th March, 2020). Fig 3.1.16, Fig 3.1.17 : Royal Academy Summer Exhibition 2017. Retrieved from https://www.drawingmatter.org/ sets/drawing-week/toyo-ito-associates/ ( Accessed 3rd April, 2020). Fig 3.1.18 - Photo Courtesy : Iwan Baan. Retrieved from https://www.area-arch.it/en/wa-shan-the-guesthouseon-xiangshan-campus-2/ ( Accessed on 8th April, 2020). Fig 3.1.20 : Courtesy : Shigeru Ban Architects. Retrieved from https://www.archute.com/shigeru-bans-nine-br/ ( Accessed on 3rd April, 2020) Chp 3.2 - Matter : Articulation Fig 3.2.1 - Courtesy : Hope Daley. Gallery 400. Retrieved from https://archinect.com/news/bustler/6278/thecurved-concrete-of-experimental-architect-f-lix-candela-on-display-in-chicago. Fig 3.2.2 : Courtesy - Neri Oxman. Retrieved from https://neri.media.mit.edu/projects/details/monocoque-1. html#prettyPhoto Fig 3.2.4 - Retrieved from https://www.yellowtrace.com.au/curved-brick-buildings/(Accessed 28th March, 2020). Fig 3.2.5- Retrieved from https://www.archdaily.com/354471/ie-paper-pavilion-shigeru-ban-architects/515c359b b3fc4bc526000047-ie-paper-pavilion-shigeru-ban-architects-photo(Accessed 29th March, 2020). Fig 3.2.6 - Retrieved from https://www.pinterest.co.uk/pin/76139049928236158/(Accessed 28th March, 2020). Fig 3.2.7- Retrieved from https://www.architecturaldigest.in/content/bijoy-jain-studio-mumbai-palmyra-housealibag/(Accessed 2nd April, 2020). Fig 3.2.8 - Produced by Author Fig 3.2.9 - Retrieved from https://dac.dk/en/knowledgebase/architecture/fjordenhus/(Accessed 28th March, 2020). Fig 3.2.10- Retrieved from https://www.designboom.com/design/bamboo-furniture-systems/(Accessed 28th March, 2020). Chp 3.2 - Operation : Production Fig 3.3.1 - Retrieved from https://www.nytimes.com/2016/03/20/t-magazine/design/carlo-scarpa-italysmodernist-architect.html (Accessed 2nd April, 2020). Fig 3.3.2 - Retrieved from https://www.azuremagazine.com/article/rammed-earth-housing-ghana/ (Accessed 28th March, 2020). Fig 3.3.3 : Diagram Courtesy : Borden, G. P. (2014). Process: material and representation in architecture. New York, NY: Routledge. Fig 3.3.4 : Courtesy : Studio Gang. Photo Courtesy : Jim Tetro. Retrieved from https://studiogang.com/project/ marble-curtain Fig 3.3.5 Retrieved from https://architizer.com/blog/practice/materials/jean-prouve-at-galerie-patrick-seguin/ (Accessed 2nd April, 2020). Fig 3.3.6- Retrieved from https://www.phillips.com/article/10774235/prouves-monuments-to-modernism (Accessed 2nd April, 2020).

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Fig 3.3.7- Fig 3.3.10: Retrieved from http://www.unsquare.at/?p=276 Fig 3.3.11: Courtesy: Charles and Ray Eames Collection. Retrieved from https://in.pinterest.com/ pin/562809284658965170/ (Accessed 6th May, 2020).

Chapter 6 | Case-Studies : 6.1 Georges Cafe Fig 6.1.1, Fig 6.1.3, Fig 6.1.4 - Retrieved from http://www.jakobmacfarlane.com/en/project/georges-restaurant/ (Accessed 12th March, 2020). Fig 6.1.2 - Retrieved from http://directorioarco.blogspot.com/2009/03/jacobmacfarlanepink-bar-for-georges. html (Accessed 12th March, 2020). Fig 6.1.5 - Retrieved from https://www.smarksthespots.com/le-georges-paris/ (Accessed 2nd April, 2020). Fig 6.1.6 , Fig 6.1.7, Fig 6.1.8, Fig 6.1.9, Fig 6.1.10 - Produced by Author Fig 6.1.11 - Retrieved from https://www.archdaily.com/64028/ad-classics-centre-georges-pompidou-renzopiano-richard-rogers/5037e1d528ba0d599b0001d9-ad-classics-centre-georges-pompidou-renzo-piano-richard-rogers-?next_project=no (Accessed 12th March, 2020). Fig 6.1.13 - Retrieved from https://www.centrepompidou.fr/en/Visit/Practical-information (Accessed 15th March, 2020). Fig 6.1.15, Fig 6.1.16 - From : Kolaveric, B. (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press Fig 6.1.18 - Retrieved from http://directorioarco.blogspot.com/2009/03/jacobmacfarlanepink-bar-for-georges. html (Accessed 12th March, 2020). Produced by Author : Fig 6.1.12, Fig 6.1.14, Fig 6.1.17, Fig 6.1.19 , Fig 6.1.20, Fig 6.1.21, Fig 6.1.22, Fig 6.1.23, Fig 6.1.24 , Fig 6.1.25. SEQUENTIAL DIAGRAM : Produced by Author : A1, A2, A3, A4, A5, A6, A11, A12, A13A , A13B, A14, A15, A16 A9, A10, A19 - From : Kolaveric, B. (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press A16, A17, A18- Retrieved from https://www.smarksthespots.com/le-georges-paris/ (Accessed 12th March, 2020).

6.4 Norwegian Reindeer Pavilion Fig 6.4.1 - Retrieved from https://miesarch.com/work/2574 Fig 6.4.2, Fig 6.4.3, Fig 6.4.4, Fig 6.4.8, Fig 6.4.5, Fig 6.4.12 - Retrieved from https://divisare.com/ projects/349236-snohetta-rasmus-hjortshoj-tverrfjellhytta-norwegian-wild-reindeer-pavilion (Accessed 25th March, 2020). Fig 6.4.6B, Fig 6.4.7, Fig 6.4.14, Fig 6.4.15A, Fig 6.4.15B, Fig 6.4.18, Fig 6.4.19, Fig 6.4.21, Fig 6.4.22, Fig 6.4.23 - Retrieved from https://resilientwood.tumblr.com/post/128112296767/wild-reindeer-pavilion(Accessed 25th March, 2020). Fig 6.4.8 - Retrieved from https://divisare.com/projects/349236-snohetta-rasmus-hjortshoj-tverrfjellhyttanorwegian-wild-reindeer-pavilion(Accessed 25th March, 2020). Fig 6.4.24: Retrieved from http://www.stedamacchinelavorazionelegno.com/macchine-nuove/sezionatriciorizzontali/centri-di-lavoro/uniteammirrorbm (Accessed 6th May, 2020). Produced by Author : Fig 6.4.5, Fig 6.4.6A , Fig 6.4.10, Fig 6.4.11, Fig 6.4.13, Fig 6.4.16, Fig 6.4.17. SEQUENTIAL DIAGRAM : B2, B7, B9, B19 - Retrieved from https://resilientwood.tumblr.com/post/128112296767/wild-reindeerpavilion(Accessed 25th March, 2020). B8, B18 - https://www10.aeccafe.com/blogs/arch-showcase/2014/01/14/norwegian-wild-reindeer-centrepavillion-in-hjerkinn-norway-by-snohetta-oslo-as/(Accessed 25th March, 2020). Produced by Author : B1, B3, B4, B5, B6, B10, B11, B12, B13, B14, B15, B16, B17

6.5 GC Prostho Museum Fig 6.5.1, Fig 6.5.2, Fig 6.5.3, Fig 6.5.10: Photo Courtesy : Daici Ano. Retrieved from https://www.archdaily.com/199442/gc-prostho-museum-research-center-kengo-kuma-

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associates Fig 6.5.4 : Photo Courtesy : Harvard University Archives. Retrieved from https://www.gsd.harvard.edu/event/ kengo-kuma-after-march-11th/ Fig 6.5.19 : Photo Courtesy : Time & Style Exhibition, Amsterdam. June 22nd to August 18th 2019. Retrieved from https://www.designboom.com/design/kengo-kuma-furniture-that-blends-into-the-surroundingstime-style-amsterdam-06-13-2019/ Fig 6.5.28 : Photo Courtesy : Alex Zelaya. Retrieved from https://resilientwood.tumblr.com/ Produced by Author : Fig 6.5.5, Fig 6.5.6, Fig 6.5.7, Fig 6.5.9, Fig 6.5.11, Fig 6.5.12, Fig 6.5.13, Fig 6.5.15, Fig 6.5.16, Fig 6.5.17, Fig 6.5.18, Fig 6.5.20, Fig 6.5.21, Fig 6.5.22, Fig 6.5.23, Fig 6.5.24, Fig 6.5.25, Fig 6.5.26, Fig 6.5.27 3D Model Courtesy: Shail Sheth SEQUENTIAL DIAGRAM : C17 : Photo Courtesy : AV MONOGRAFÍAS 167-168 KENGO KUMA - ArchPAPERS.com Produced by Author : C1, C2, C3, C4, C5, C6, C7, C8, C9, C10, C11, C12, C13, C14, C15, C16.

6.6 CardBoard Cafe Fig 6.6.1, Fig 6.6.3, Fig 6.6.5, Fig 6.6.11 : Photo Courtesy : Mrigank Sharma. Courtesy : Sasha Brady, Article :’ Inside the eco-designed Mumbai cafe made of cardboard’ Retrieved from https://www.lonelyplanet.com/ articles/cardboard-mumbai Fig 6.6.2 : Photo Courtesy : VJ Media Works. Courtesy ; Point of Purchase International Network, May 28, 2019. Article “ Cardboard Cafe launches in India” Fig 6.6.4 : https://www.dineout.co.in/mumbai/cardboard-bandra-kurla-complex-bandra-52897/menu ( Accessed 24th April, 2020). Fig 6.6.10 : ‘nurukarim’ Instagram page, January 31, 2019. Retrieved from https://www.instagram.com/ nurukarim/?hl=en Fig 6.6.12, Fig 6.6.17-Fig 6.6.19 : ‘cardboardbombay” Instagram page, January 25, 2019 Fig 6.6.13-Fig 6.6.15 , Fig 6.6.20- Clicked by Author Produced by Author : Fig 6.7.6, Fig 6.7.7, Fig 6.7.8, Fig 6.7.9, Fig 6.7.16, Fig 6.7.21, D2, D3, D4, D6.

7 Conclusion

All Diagrams are produced by author Fig 7.2.1 - Photo Courtesy : Daniele Matioli. Retrieved from https://www.archdaily.com/58591/uk-pavilion-forshanghai-world-expo-2010. (Accessed on 25th March, 2020). Fig 7.2.2 - Courtesy : MIT Press. Retrieved from https://web.media.mit.edu/~neri/site/projects/beast/beast.html (Accessed 4th May, 2020). Fig 7.2.3 - Courtesy : Mamou-Mani Architects. Retrrieved from https://mamou-mani.com/project/woodenwaves/ (Accessed 4th May, 2020).

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Shikha Mehta mehta.shikha14@gmail.com

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