Graduation Project by Shushant Verma

DEGREE PROJECT Interior and Furniture Design of a Restaurant Cafe Sponsor : Project 810 , New Delhi

Volume : 1 STUDENT : SHUSHANT VERMA PROGRAMME : Masters of Design (M. Des)

GUIDE : PRAVINSINH SOLANKI

2017 INDUSTRIAL DESIGN FACULTY (FURNITURE AND INTERIOR DESIGN)

National Institute of Design Ahmedabad

SHUSHANT VERMA | NID | M.DES | FID

The Evaluation Jury recommends SHUSHANT VERMA for the

Degree of the National Institute of Design IN INDUSTRIAL DESIGN (FURNITURE AND INTERIOR DESIGN)

herewith, for the project titled "INTERIOR AND FURNITURE DESIGN OF A RESTAURANT WITH Virtual Reality" on fulfilling the further requirements by*

Chairman Members :

Jury Grade : *Subsequent remarks regarding fulfilling the requirements :

Activity Chairperson, Education SHUSHANT VERMA | NID | M.DES | FID

Copyright ÂŠ 2013 - 2014 All Rights Reserved. Student document publication, meant for private circulation only. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without the written permission from Shushant Verma & National Institute of Design. Edited & Designed By: Shushant Verma Processed at: National Institute of Design (NID) Paldi, Ahmedabad - 380007, Gujarat, India. www.nid.edu Printed at: CHAAP DIGITAL PRINT STUDIO Satellite, Ahmedabad - 380007, Gujarat, India.

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ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this diploma project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this Masterâ&#x20AC;&#x2122;s Project is the product of my own work, except to the extent that assistance from others in the project and conception or in style, presentation and linguistic expression is acknowledged. This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name in Full: Shushant Verma Signature: Date:

COPYRIGHT STATEMENT I hereby grant the National Institute of Design the right to archive and to make available my diploma project/thesis/dissertation in whole or in part in the Institutesâ&#x20AC;&#x2122;s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. Student Name in Full: Shushant Verma Signature: Date:

SHUSHANT VERMA | NID | M.DES | FID

“The moment you realize that everything in the world around you was built by people who were no smarter than you, you become an element of change yourself, you can change anything”

- Steve Jobs

SHUSHANT VERMA | NID | M.DES | FID

Synopsis Being an Architect, I was always driven to designing spaces using what i learnt in college. At NID, I got an opportunity to study in the Furniture and Interior design discipline. The course helped me develop a deep understanding towards furniture design processes and attention to details. The curriculum of NID requires the post graduate students to complete 2 years of academics at the institute and then work on a sponsored graduation project in the practical field, which will help the students to apply their learnings and gain experience at the same time. The students are required to work on the graduation project for a duration of 4 to 6 months. For my graduation project, I have worked with Project 810, New Delhi. I was given the opportunity to work on a restaurant project which required me to plan the layout of the space according to the site area. There were numerous meetings with the client to understand his vision so that the concept could be generated in alignment with clientâ&#x20AC;&#x2122;s requirements. The challenge was to somehow come up with a solution that succeeded in satisfying the client, while doing complete justice to the concept.To achieve this, the whole project was developed with the help of software which help in creating a visual narrative of the project. For my love and acumen for technology, I tried developing my project with the help of existing tools, for creating an immersive experience of the space which helps others to understand the space better by being in the space itself, without it, actually being constructed. Virtual reality has come a long way in developing tools for designers, which helps them in designing better. I used all my skills and learnings from college and life, for creating a unique experience for everyone to enjoy.

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Guide : Pravinsinh Solanki

Mentor : Vritima Wadhwa

P. Rama Krishna Rao

L.C. Ujawane

Co-ordinator Furniture and Interior Design Head: Center for Bamboo Intiatives

Faculty of Furniture and Interior Design

Creative Head : Project 810

Faculty of Furniture and Interior Design

SHUSHANT VERMA | NID | M.DES | FID

Acknowledgement I would like to acknowledge some core people involved in the project, without whose support this project wouldn't have been possible. At NID I would like to thank my guide, Pravinsinh Solanki, for providing his valuable feedback and critique. Apart from being a guide for this project, he has mentored most of the projects I have done at NID. I would like to thank him for all his efforts and time he has put in. Without him, this project would not have been possible. I would also to like to thank L. C. Ujawane , P Rama Rao, my batchmates and the entire Furniture and Interior department for their love and support. Last but not the least, I would like to thank my family, my friends and special thanks to Uttara Majumdar, for motivating me.

At Project 810 I would like to thank Vritima Wadhwa, creative head at project 810 for providing me this wonderful opportunity of working with project 810. Vritima has been a great mentor and has helped me achieve the most effective and aesthetic design solutions in the given time frame.I would also like to thank my team members ,Kanika Jain and Dhriti Gupta for being supportive and guiding me whenever I got stuck. I would also like to thank Nida, Rajat, Needa, Surbhi, Shreya and Pamal for their insightful talks which helped me understand situations better and made me see things from a different perspective. Special thanks to Balram Sir , Pradeep Sir and Suchi Di for their feedbacks which helped me learn a lot.

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Contents Introduction

About NID About FID About Project 810 About Designer's Home About The Client Timeline Project brief Design Aim and Objective Design Methodology

17 19 21 25 27 30 33 35 36

Literature Study

Historical Significance Understanding a restaurant Types of restaurant Typology User Base Target Icome group Parts of a restaurant Approach

52 53 53 54

57 58

Design Through Decades MInimalism Understanding minimalism Other definitions of minimalism Origin of Minimalism? De Stijl movement Ludwig Mies Van der Rohe Traditional Japanese Design Minimalism color palette Neo minimalism Minimalism in action Google Modern Architecture Deiter Rams Virtual Reality

40 42 43 44 44 45 46 47 48 49 50 50 50 51 62

Site Study Location and Surrounding Area Statement Site Volumetrics Volumetrics Analysis SWOT Analysis Strength Weakness Opportunity

67 68 72 74 75 76 76 77 78

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Threats Understanding the Site Interaction with the Client Dimension and Standards Dining Space Bar and Breakfast Seating Restaurant Arrangement Kitchen Layout Furniture Case Study Fio cookhouse and bar Layout and design Building component Elements and finishes Concept Design Propsed Mood Board Layout Options Client Feedback Design Development Concept Sketches Design Development Options Final Design Development Color Palette Material and Elements

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79 80 82 84 84 85 86 88 90 92 92 94 96 97 99 100 102 113 114 116 120 125 126 127

Floor Plans Sections Exterior Elevations Interior Elevations Isometric Views

128 130 134 138 140

Furniture and Elements Dining Chair Bar Stool Cocktail Booth Bench Stand-Up Table 3D Visual Notations Renders of the Space Prototyping Process Product Images Prototype Estimation Developing an Immersive Experience Furniture in AR Experience and learning Bibliography Working Drawings

143 138 142 146 150 154 164 167 178 182 186 188 190 196 198 202

• About NID • About FID • About Project 810 • Firm's Work Portfolio • About Designer's Home • About the Client • Project Timeline • Project Brief

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Introduction

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About NID

As a result of the Industrial Policy Resolution of 1953, the government of India invited the design team of Charles and Ray Eames to recommend a programm of design to serve as an aid to small industries in India. On the basis of their document, 'The India Report', the government of India set up the National Institute of Design in 1961 as an autonomous national institution for research, service and training in industrial design and visual communication. The Sarabhai family, especially Gautam Sarabhai and his sister Gira, played a major role in establishment of this institute. Designer and sculptor Dashrath Patel was its founder secretary. Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared â&#x20AC;&#x2DC;Institution of National Importanceâ&#x20AC;&#x2122; by the Act of Parliament, by virtue of the National Institute of Design Act 2014. It is also recognised by the Department of Scientific and Industrial Research, Government of India as a Scientific and Industrial Research Organisation.

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About FID at NID The Furniture Design discipline encourages the students to develop a strong foundation of basics, which facilitates anticipation of the future. The institute achieves this purpose through a diverse pool of faculty who brings academic knowledge and work experience to their instruction. The Discipline deals with the creation and evolution of objects, structures and systems at human scale that aim to improve the quality of life in the immediate living and working environment, while looking at sustainable and innovative use of diverse materials and processes. It believes in a broad and interdisciplinary attitude for enriching the design activity and draws from experiences of Industrial and Environmental Design professions. The Program provides an integrated approach to the design of furniture and interior objects and systems as part of oneâ&#x20AC;&#x2122;s living and working habitat, while striving to redefine the boundaries of such elements with a systems perspective. The program aims to educate designers to handle all aspects of furniture design as one integrated user centric area of study; and their ability to integrate all such elements and systems into coherent wholes in various interior spatial contexts is important. Special emphasis is placed on the ability to develop self-made prototypes to test human and functional factors v/s aesthetics and use of materials.

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About Project 810 Project 810 is a design collaborative headed by Vritima Wadhwa who is a graduate from the National Institute of Design, Ahmedabad. The young studio, located in South Delhi is an amalgamation of Interior Designers, Exhibition Designers, Graphic Designers and Architects from across the top schools, in and outside of the country. The Studioâ&#x20AC;&#x2122;s core strength lies in its flexibility and expertise in handling projects across scales; from the minutest of furniture details to boutique stores and even large interior architecture spaces. Being a holistic design practice, the Studio follows a strong process driven approach, from thorough research to effective, experience-centered design. A collaborative, rooted in the contemporary Indian context, Project 810 believes in using local resources matched with high quality craftsmanship and sensibilities, to create a tailor-made design experience. Project 810 has worked on projects across sectors, including Retail, Hospitality, Residential and Furniture projects over the past few years.

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Thier Work Portfolio

Image 1.2

Image 1.1

Outhouse, Mumbai

The Hungry Monkey, New Delhi

Outhouse, Mumbai

The Hungry Monkey, Delhi

The character of the store owes itself to the materials chosen in the making. Oak wood and wicker—an element that was key in colonial Indian architecture, juxtapose the brand’s signature colours—salmon pink, grey and accents of brass. Oak wood and wicker have been stained in white to add a sense of serenity to the store. The Terrazzo flooring, a recurring trend of the ’90s, makes a comeback in the store and was customised in salmon peach with white chips to lend a synchronised ambience to it.

The clients, Sameer Kohli and Rohan Gupta were very clear on what they wanted to create. Hungry being interpreted as Curiosity and Monkey being decoded as Adventure, was the cue in developing the visual and conceptual sensibility of the restaurant. The idea was to stage a New York Loft vibe and inject it with the narrative of journey, experience and invention.

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Image 1.3

Image 1.4

Kama Ayurveda, New Delhi

Go Gormet, Mumbai

Kama Ayurveda

Modularity a fundamental root for the brand directed us to construct a metal grid to straighten the geometry of the given space. Following the grid, the structure was built using square mild steel pipes and perforated metal sheets. Good quality materials, textures, muted colour tones and simplicity define this small space.

A sense of Indian luxury was recreated through the period details, checker board marble floor, solid wood vitrineâ&#x20AC;&#x2122;s, rattan shutters and elements using brass. All furniture & shelving details were specially designed and customized for the shop.On the other hand the closeness to nature was shown using the stripped brick bare walls, exposed ceiling and a simple facade.

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About Designer's Home Designer's Home is the sister company of Project810 which takes care of furniture design and manufacturing., headed by Vibha Wadhwa, Designer's Home was established almost 30 years ago. Since its inception countless pieces of exquisite and finely crafted furniture has been created. These years have seen the evolving skills of highly experienced craftsmen who have created quality, made to order works of furniture. Their attention to detail and commitment to high order finishing has been uncompromising. Their teams continue to work together to achieve a products which reflect a fine balance between aesthetics, comfort and excellence. With the extensive range of expertise provided, Project 810 and Designerâ&#x20AC;&#x2122;s Home have collaborated on multiple residential, commercial and retail projects to deliver custom made designs. As the majority of their designs are bespoke, craftsmanship is the key that allowed delivery of unique designs of the highest possible quality.

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Client : Vineet Wadhwa Entrepreneur, Restauranteur Owner and CEO, FIO, New Delhi

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The Client Vineet Wadhwa is a successful entrepreneur and restauranteur who is the owner of 2 restaurants namely, Fio Country house and Fio cook house and bar. Mr. Wadhwa has more than 3 decades of experience in the hospitality sector. Mr. Wadhwa has developed brands like instant host, laguna cuisines and concepts and fio. He has also worked with many architects and designers to create amazing food experience for the customers to enjoy. His latest venture includes a bar and café which will appeal to not only the high income group of the society but he plans to make it more inviting to the middle-income group, in his own words, he wants to his restaurant to appeal to the “premium middle class” segment of the society.

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Fio, Garden of five senses, New Delhi A pebbled patio with a stunning al fresco dining area paves way for an interior that offers a cheery cafĂŠ experience during the day which effortlessly transforms into a soulful and charming restaurant at night. The interiors are seamlessly divided into two sections â&#x20AC;&#x201C; a lounge and bar area that is inviting yet has an intriguing aura and a restaurant section that is effervescent and relaxed. A deep passion for food and a penchant for perfection are evident in every aspect of the Fio experience. European options are carefully juxtaposed by the Indian kitchen which offers delicacies that indulge all your senses with a range of in-house pastas, salads, curries, frontier kebabs and the choicest of chargrilled and pan grilled meats.

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Timeline

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Rompa Rompa

by FIO

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Project Brief The project started with the aim of adding a third, cost effective version of the restaurant, in the chain of Fio restaurants. The restaurant was to be a European cafe by day and a casual roaring bar by night. The project aims at creating a space that will appeal to the premium middle class segment of the market. The design of the restaurant should follow the similar characteristics of the previous restaurants, fio cook house & bar and fio, garden of five senses. The design should create a standardized template for other future projects which can be replicated following the same guidelines.

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3D visual rendered for the project

Design Aim To design a restaurant for an existing site in Epicuria food mall, at Aerocity,New Delhi. The design should by minimalistic and functional.

Design Objective 1. To design cafe version of the restaurant. 2. Making the design cost effective. 3. Optimal utilization of the space.

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Design Methodology

Literature Study

Data Collection

Concept Development

Minimalism Understanding a restaurant Different types of restaurant About Virtual Reality

Understanding the space Meeting the client Standards and bye laws

Approach Concept Explorations Presentation drawings / layouts

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Design Development

Design Development Material Palette 3D development / 3D renders Elements

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Detailed Design

Generating working drawings Creating final material board Sending out drawingws Revision

Prototyping

Developing the working prototype Co-ordinating with the manufacturer Making required changes and reissuing the drawings

• Design through decades • Minimalism • Types of Restaurant • Parts of a Restaurant • Virtual Reality • VR/AR/MR in Design • Approach

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Literature Study

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History of restaurant

Image 2.1

A Roman thermopolium (cook shop) in Pompeii

The modern idea of a restaurant as well as the term itself appeared in Paris in the 18th century. For centuries Paris had taverns which served food at large common tables, but they were notoriously crowded, noisy, not very clean, and served food of dubious quality. In about 1765 a new kind of eating establishment, called a "Bouillon", was opened on rue des Poulies, near the Louvre, by a man

named Boulanger. It had separate tables, a menu, and specialized in soups made with a base of meat and eggs, which were said to be restaurants or, in English "restoratives". Other similar bouillons soon opened around Paris. Thanks to Boulanger and his imitators, these soups moved from the category of remedy into the category of health food and ultimately into the category of ordinary food. Their existence was predicated on health, not gustatory, requirements. The first luxury restaurant in Paris, called the Taverne Anglaise, was opened at the beginning of 1786, shortly before the French Revolution, by Antoine Beauvilliers, the former chef of the Count of Provence, at the Palais-Royal. It had mahogany tables, linen tablecloths, chandeliers, well-dressed and trained waiters, a long wine list and an extensive menu of elaborately prepared and presented dishes. In June 1786 the Provost of Paris issued a decree giving the new kind of eating establishment official status, authorizing restaurateurs to receive clients and to offer them meals until eleven in the

evening in winter and midnight in summer. A rival restaurant was started in 1791 by Méot, the former chef of the Duke of Orleans, which offered a wine list with twenty-two choices of red wine and twenty-seven of white wine. By the end of the century there were other luxury restaurants at the Grand-Palais: Huré, the Couvert espagnol; Février; the Grotte flamande; Véry, Masse and the Café de Chartres (still open, now Le Grand Vefour).

Understanding a Restaurant A restaurant, or an eatery, is a business which prepares and serves food and drinks to customers in exchange for money. Meals are generally served and eaten on the premises, but many restaurants also offer take-out and food delivery services, and some only offer take-out and delivery. Restaurants vary greatly in appearance and offerings, including a wide variety of cuisines and service models ranging from inexpensive fast food restaurants and cafeterias to mid-priced family restaurants, to high-priced luxury establishments.

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Types of resturant Restaurants may be classified or distinguished in many different ways. The primary factors are usually the food itself, the cuisine (e.g. Indian, Italian,Chinese, Japanese, French, Mexican, Thai) and/or the style of offering. Beyond this, restaurants may differentiate themselves on factors including speed (see fast food), formality, location, cost, service, or novelty themes (such as automated restaurants). Restaurants range from inexpensive and informal lunching or dining places catering to people working nearby, with modest food served in simple settings at low prices, to expensive establishments serving refined food and fine wines in a formal setting. In the former case, customers usually wear casual clothing. In the latter case, depending on culture and local traditions, customers might wear semi-casual, semi-formal or formal wear. Typically, at mid- to high-priced restaurants,

orders are taken by aÂ waiter, who brings the food when it is ready. After eating, the customers then pay the bill. In some restaurants, such as workplaceÂ cafeterias, its self-serving; the customers use trays, on which they place cold items that they select from a refrigerated container and hot items which they request from cooks, and then they pay a cashier before they sit down. Another restaurant approach which uses few waiters is the buffet restaurant. Customers serve food onto their own plates and then pay at the end of the meal. Buffet restaurants typically still have waiters to serve drinks and alcoholic beverages. Fast food restaurants are also considered a restaurant.

Typology There are certain parameters that needs to be considered before settling on a certain concept for a restaurant design, There are many questions related to restaurant design, and answering those questions will lead directly to the concepts which can be helpful in designing and starting a restaurant. Questions like: Who’s your audience? What is your price range? Are you thinking formal or casual? Do you have a particular type of food in mind that you can build a brand around? Following are different types of restaurant concepts, from fast food chains to fine dining. Restaurant design theme can blur the line between concepts to make it unique.

Image 2.2

1. Fast casual

Image 2.3 Double roti cafe, Chennai (TN)

One of the hottest trends at the moment is fast casual, which is a slightly more upscale than fast food. Fast casual restaurants offer disposable dishes and flatware, but their food tends to be presented as more upscale, such as gourmet breads and organic ingredients. Open kitchens are popular with fast casual chains, where customers can see their food being prepared.

SAMCO family restaurant, Chennai (TN)

2. Family Style

It is also known as casual style dining, offerst moderately priced entrees from menus featuring a mix of classics cuisines, individualized with signature sauces, dips or other toppings cuisine. Causal style dining can be any number of themes, from barbeque to Americana to Mexican. Casual style restaurants offer table side service, non-disposable dishes, while still keeping the menu moderately priced.Inexpensive, low key setting.

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Image 2.4

Image 2.5 FIO cook house and bar, Nehru place, New Delhi

3. Fine Dining

The term Fine Dining brings to mind all kinds of images, from crisp white table cloths to waiters in tuxedos. Fine dining, just as the name suggests, offers patrons the finest in food, service and atmosphere. It is also the highest priced type of restaurant you can operate. Fine dining restaurants are usually are unique, even if they are owned by the same person or company.

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Image 2.6 Starbucks Cafe, Select city walk , New Delhi

4. Café or Bistro

A café is a restaurant that does not offer table service, customers order their food from a counter and serve themselves. A café menu traditionally offers things such as coffee, espresso, pastries and sandwiches. Cafes originated in Europe and are strongly associated with France. They are known for their intimate, relaxed atmosphere. Outdoor seating is another trademark of a café. A bistro is similar top a café, in that the food is simple, basic fare served in a casual setting. However, where a café may only serve coffee, breads, and pastries, a bistro may offer entire meals.

KFC, Panchvati, Ahmedabad

5. Fast food

Fast food is the most familiar restaurant to most people. Chains like McDonalds and Burger King became popular in the 1950s, and helped spawn countless other concepts like Taco Bell, KFC and In-n-Out Burger. Fast food service attracted customers for its speed, convenience, and cheap prices. Fast food restaurants are typically chains. If you are thinking of opening a fast food franchise, keep in mind that the initial costs of franchising are more expensive than opening an independent restaurant.

User Base The project mostly focuses on a younger audience which automatically increases the user base, the idea is to design a restaurant which is accessible to high-middle class group and not only to the high class. The design of the restaurant and the menu has to be designed in such a way that it appears compelling to all those who eat out on a budget. The restaurant targets an age group of 20-35 years, the youong adults as people belonging to this age group contribute upto 40 percent of the sales for the competitors.

Age Group

As per the data provided, the majority of Indian user base resides between the age group of 25-35 years of age , this is the same age group which caters to the massive workforce in the office sector. The idea of catering to such a customer base, makes it inviting to a larger group of people as compared to a specific class.

Per Cent Women

Per Cent Men

Reference: www.unstats.un.org

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Target Income Group The project aims at a market niche formed by premium middle income group of Delhi. In an attempt to reach the masses, an affordable version of the previous was crafted. The restaurant creates its own user base by targeting the similar users who prefer going to cafes like starbucks, barista, cafe coffee day, etc. The young adults joins the work force end up being the target audience. Due to location of the restaurant, the target audience can be easily found, as the people working in huge offices in aerocity can be easily placed in a middle high income group.

Indian Population by income brackets

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Parts of a Restaurant In order for a successful restaurant to flourish, there are many parts that must work together to create a positive experience and end result for the consumer. Understanding the differences between front of house and back of house functions will significantly help your restaurant flow more effortlessly and increase efficiency. Being knowledgeable about the parts of a restaurant, the breakdown between front of house and back of house, along with the specific roles of its employees is an important concept to grasp when working in the hospitality industry.

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Approach

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Design Through Decades

1920s

Bold colors and patterns sharp angles and zigzag form Deep red, bright blue, black, teal, orange.

1930s to 1940s

1950s

Simple and clean

Clean simple lines

Contrasting colors and textures

Unexpected colors

Grey, Red, Black, White and Orange

Blue, Green, Rust and Pastels

1960s

Heavily influenced by Japanese designs Emphasis on native space Red, Yellow, Blue, Balck and White

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1970s

Combination of high tech and natural elements

1980s

Floral prints and patterns

1990s

Art Deco, minimalist, and modern infkuences

Overstuffed furniture Bold patterns Brick red, Gold, avocado green, pink and rust

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Burgundy, gold, petals, beige, and mauve

21st

Century

Functional yet sophisticated

Metal and glass accent

Combines eleclectic elements with unifying theme

Grey, beige, hunter green, peach.

Navy, light blue, brown, orange, yellow

Minimalism Minimalism as a general aesthetic movement began post-World War 2 and was prominent in Western Art around the 1960s to early 1970s. Many claim minimalism was born out of a reaction against abstract expressionism. As the name implies, minimalism is certainly not a lavish style, but it is not an absence of design either. As a 60â&#x20AC;&#x2122;s grandchild of the Bauhaus movement, minimalism continued the trend of artists rejecting the lavish, highly-decorative styles of the past. Minimalism is a design principle that attempts to use the fewest and barest essentials and elements to achieve the greatest effect. There is a great focus on the material themselves above ornamentation. Minimalism as a design principle can be applied to all visual arts, music, architecture, user interface, and of course furniture design.

Image 2.7

Understanding Minimalism

Other definitions of minimalism

Minimalism is a practical approach. It flags the concept of learning through doing. Rather than learning a new technology by reading texts, it is more effective through practical application. For a slow user, the technical text can be confusing is easily misunderstood and with the usage of jargons even the meanings can be misinterpreted. This creates the user to move away from learning anything new and will be perceived as difficult and time consuming.

1. A school of abstract painting and sculpture that emphasizes extreme simplification of form, as by the use of basic shapes and monochromatic palettes of primary colors, objectivity, and anonymity of style. Also called ABC art, minimal art, reductivism, rejective art. 2. Use of the fewest and barest essentials or elements, as in the arts, literature, or design.

Minimalism is defined as the concept of minimizing distractions from what’s truly valuable or essential. As a result, a minimalist work offers a direct view at – and raises questions about – the true nature of the subject or object. It invites the viewer to consider it for what it really is: a shape, a thought, a movement—reminding us to focus on what’s really important. Minimalism finds application in many creative disciplines, including art, architecture, design, dance, film making, theater, music, fashion, photography and literature. The minimalist principle also forms the core of a lifestyle movement

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Where did Minimalism come from? Contrary to assumptions, minimalism was never inspired by poverty and austerity. In fact, it is frequently considered a style of the super-rich. The attitude is: I can have anything, but I wonâ&#x20AC;&#x2122;t clutter my home; instead, I will acquire only the most elegant, simple objects available. It is simple in form and function, devoid of pointless decorations, yet expensive. Nobody will ever say minimalism is a cheap option. Formally, minimalism is 1960s and 1970s invention. However, De Stijl and traditional Japanese design could be considered predecessors of minimalism.

Image 2.8

De Stijl Movement De Stijl (Dutch for â&#x20AC;&#x153;The Styleâ&#x20AC;&#x153;), also known as neoplasticism, was an artistic movement in the Netherlands. It began in 1917 and faded around 1931. Its leading figure was Theo van Doesburg who died in 1931, and this basically marked the end for the De Stijl movement. This movement existed only for a short time but laid the foundations of minimalism. The major principles advocated by De Stijl movement are simplified visual compositions to the vertical and horizontal directions, and use of only primary colors (together with black and white).

Image 2.9

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Source: sitepoint.com/what-is-minimalism/

Ludwig Mies van der Rohe and "Less Is More" Another hero of minimalism is the German architect Ludwig Mies van der Rohe (1886-1969). It is no exaggeration to say that in addition to being a key figure in minimalism, he was also one of the fathers of modern architecture with its clean forms. Van der Rohe aimed for simplicity and clarity and his trademark approaches are: • The use of modern construction materials like steel and plain glass • The reduction of structural frameworks to a minimum • The inclusion of lots of open space His principles are still in use today , not only in architecture but in design as well. His contribution to minimalism doesn’t end here. He is also the author of the “Less Is More” motto, which is one of the main principles of minimalism

Image 2.10

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Traditional Japanese Design Traditional Japanese design with its simplicity and clean forms is considered another predecessor of minimalism. This is a reflection of Japanese culture itself where simplicity has long been prized, and all that is not essential to the functionality of an entityis not included in its design. The list of heroes of minimalism across arts (architecture, painting, music, design) is long. Some of the more prominent minimalists include Buckminster Fuller, Dieter Rams, Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, Frank Stella.

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Minimalism Color Palettes and Shapes Minimalism is all about extreme simplification of form. As a result, you cannot expect complex shapes and all the subtle shades of a color nobody knew existed. The use of color palettes and shapes varies through time. De Stijl artists limit themselves to squares, rectangles, horizontal and vertical lines and primary colors. The minimalists of today use more complex shapes and richer color palettes. Nevertheless, itâ&#x20AC;&#x2122;s still typical for (neo)minimalists to use clean, simple shapes and color palettes that are either limited to multiple shades of one color, or that use a few different but high-contrast colors.

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Neo Minimalism A variety of minimalism that deserves special attention is neo minimalism, also called "neo-geometric" or "neo-geo". Itâ&#x20AC;&#x2122;s a style of today. Neo minimalism is again about simplicity of form and color but compared to traditional minimalists, i.e. De Stijl, it uses many more colors and shapes. This said, neo minimalism isnâ&#x20AC;&#x2122;t lavish on colors or fancy shapes but it definitely goes much beyond squares, rectangles, horizontal and vertical lines and primary colors. Neo minimalists use various shades of color but the total number of shades is strictly limited.

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Minimalism in Action

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Google

Modern Architecture

Google is arguably the best example of functional minimalism applied today. The startup interface of nearly all its services is clean and minimalist.

Modern architecture can give numerous examples of minimalism.

For instance, the starting page of the search engine is plain simple: a search box, 2 search buttons, and the Google logo.

For instance, IBM Plaza in Chicago and House Grangegorman are two good examples of minimalism in architecture – the first one from the 20th century and the second one – from the first decade of the 21st century.

What’s more, the logo itself is in (next to) basic colors, which is another typical feature of minimalism.

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Dieter Rams H.C. Dieter Rams (born 20 May 1932 in Wiesbaden, Hessen is a German industrial designer and retired academic closely associated with the consumer products company Braun and the Functionalist school of industrial design. His unobtrusive approach and belief in "less but better" design generated a timeless quality in his products and have influenced the design of many products, which also secured Rams worldwide recognition and appreciation.

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Furniture for Braun designed by Dieter Rams

In 2010, to mark his contribution to the world of design, he was awarded the 'Kölner Klopfer' prize by the students of the Cologne International School of Design and in 2009 awarded the great design prize in Australia. In addition, as successor to the Bauhaus, Rams eventually became a protégé of the Ulm School of Design in Ulm, Germany

Creating presentation in Virtual Reality

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What is it? Design is a collaborative process for deriving different proposals on the content and structure of any type of interior space. This process is partially supported by mainstream CAD systems which are not designed for that particular task but for general engineering or architectural design development. Although, several add-on modules have been developed for supporting mainly arctitectural design, still, significant effort is required in order to employ a CAD system due to their increased requiremenets and slow learning curve. However, if end-users (e.g., consumers) are to be directly involved in the process, new environments that emphasize on usability and intuitive interactions have to be introduced. VR technology can help in this direction as it provides the theories and tools to construct and manipulate 3D spaces using a ‘real-world’ metaphor. Desktop virtual environments can serve as a means to implement design applications for the end-users. For interior designers, communicating a concept to clients and contractors can be stressful. It’s understandable. Rooms are three-dimensional and real world, with a

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dizzying amount of things to factor in: furniture, finishes, fabrics, lighting. The conventional methods for conveying an idea, however, tend to be 2D sketches and renderings, plans and sections, and often don’t fully capture the sparkle inside the designer’s head. New virtual reality tools, from start-ups and tech giants (Google, Facebook’s Oculus Rift), are attempting to change that. Designers can now create richly imaginative digital environments that are both immersive and expressive. Clients, by way of a headset, can then step inside and walk around their future home or condo, gaining a deeper understanding of the intended look, feel and configuration. Like so many other industries, virtual reality, augmented reality, and mixed reality are taking the world of design by storm. From architecture to interior home design, VR and related technologies are changing the way we create the places we work, live, and play.The uses of VR in this field are innumerable, and range from applications for professional architects creating a new stone masterpiece, all the way down to a college student wondering if that used couch will fit

in their room. Virtual reality is quickly becoming mainstream, and soon the VR or AR headset might be as basic as the smartphone in our homes. It’s not surprising that the worlds of architecture and interior home design are taking advantage of this new technology, its popularity, and its widespread availability and affordability. What is surprising is the degree to which VR has already entrenched itself in design. Apps and programs for every kind of VR and AR hardware exist to aid architects and interior designers, and more are appearing all the time.

VR /AR /MR in design Virtual Reality technology has advanced rapidly in the past few years and in no other industry is this more relevant than in the AEC market. As large tech companies such as Facebook, Google, and Microsoft build their own game changing tools or buy companies in this space, things will only become more ‘real’. With all this progress, it is no wonder that architects, engineers and construction teams are already finding uses for this technology in their own workflows

Tools used for designing in VR Translating CAD/BIM models into virtual reality experiences used to take considerable time and programming know how. With the advent of the Unity gaming engine, bringing 3D models into a virtual reality space becomes much easier. A professional can take their 3D model, bring it into Unity, and create a VR experience. Unreal is a suite of tools for developers that can be used to create games and virtual reality environments. It is frequently used to visualize spaces and render architectural models in immersive environments. This tool enables architects and designers to design and build in a virtual reality environment by means of a powerful editor toolset. Oculus Rift’s headset in the AEC space, it makes working in virtual environments so much easier. Through the 3D experience combined with motion tracking capabilities, it becomes a lot easier to move around 3D models and look around corners than using a mouse and keyboard.

One thing that Fuzor does for AEC industry professionals is instantly transform Revit or Sketchup models into virtual reality experiences. This is a great tool for construction because greatly speeds up the process to get designs into VR – allowing users to iterate and improve on their designs

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Immersive Experience HTC Vive allows a‘walkable’ VR experience with tracking and 360˚ coverage. Wireless controllers are used to simulate natural interactions in a 3D environment with an impressive sense of scale, depth, and space. To “walk” around a building, the trackable area is about 5 meters by 5 meters.

Google Daydream uses a specialized smartphone to explore virtual spaces, play games, and watch films. Professionals can use this technology to improve design critique, quality control, and client communications without misinterpretations. It stands apart from the competition in that it has its own remote and relies on smartphones. The Cardboard consists of a folded cardboard holder with lenses. Through pairing Google Cardboard with a compatible smart phone, one can experience ‘3D models’ in a similar way to the Oculus Headset. This hardware uses the phone’s display and also relies on the internal rotational tracking sensors of the phone. Though it is rather limited to static prerendered views and relatively small environments, Google Cardboard is an efficient gateway to more expensive VR. What’s more, it is portable and can be customized.

For this project, Google Cardboard has been used for demonstration and presentation purposes. There are many stakeholders involved to create an immersive experience of the space to get a better understanding about the design. A combination of softwares and hardware has been used to create and compile various cubemaps generated through software.

A 3D modedling software to create scaled model of the space, rendered to create a photorealistic cubemap with the help of a rendering engine.

VR headsets avaible in the market offering VR experience

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• Location and Surrounding • Area Statement • Site Volumetrics • Volumetric Analysis • Understanding the Site • Interaction with the Client • Dimensions and Standards • Case Study

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Site Study

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Location and Surrounding The Site of the restaurant is located in the outskirts of New Delhi, on the way to Gurgaon . The area developed is known as aerocity and has been developed specifically to provide world class facilities to the multinational clients visiting the country and for the workforce present in the area working in the office buildings. The area is situated on the outer side of the city and has been cutoff from most of the city services thatâ&#x20AC;&#x2122;s why all the facilities has been developed within the area. The

site houses large brand names like Worldmark , holiday inn etc. The basement area of the Worldmark building has been given to epicuria to create a food mall , the restaurant is the part of the food mall and will be one amongst the many cafes, restaurants and bars in the mall.

Image 3.1 Worldmark buiding, epicuria food mall is located in the basement

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Image 3.2 Location map of the Worldmark building

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Epicuria Food mall, at Aerocity, New Delhi

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Image 3.3

Image 3.4

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Panoramic image showing the site and the surrounding area of the restaurant site

Panoramic view of the Restaurant site

Area Statement • INDOOR AREA : 1240 SQ.FT. • OUTDOOR AREA : 753 SQ.FT. • SERVICE CORRIDOR : 150 SQ.FT. • PERMISSABLE MEZZANINE AREA : 1000 SQ.FT. • ADDITIONAL OFFICE/STORAGE AREA: 100 SQ.FT

TOTAL AREA : 3243SQ.FT. • DESIGN SCOPE

2093 SQ. FT.

(INDOOR SPACE+ OUTDOOR SEATING+ MEZZANINE AREA)

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Epicuria Food mall, at Aerocity, New Delhi

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Site Volumetrics

View from South West Side

View from North East Side

View from West Side

View from North Side

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Volumetric Analysis â&#x20AC;˘ Northern edge to be treated in relation with neighboring outlets.

â&#x20AC;˘ West Side to have double height to create sense of grandeur into entry

Section marking

Schematic section of the mezzanine structure and volume

Section marking

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Section AA'

Section BB'

Section showing how the design of mezzanine structure can affect visual appeal of the resaurant

SWOT Analysis Strength

•Good Visibility of site from entry points. This is further strengthened by adding pie shaped quadrant in South West corner. •Outlet profile adds to Fio’s advantage and the Façade treatment to take advantage of the same.

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Image 3.6

Entry points to the restaurant site.

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Weakness •Site’s northern side to be addressed in terms of treatment due to close proximity with neighboring shops. •Floor level: Outlet F(Fio) periphery has changing landscape levels which would need to be addressed to create suitable entry points into the site. •Floor level: Within site there is level difference of 270mm (As measured) between verandah area & inside. •Ceiling Levels: are undulating (sunken slab, beams) and in portions especially at the mezzanine level in verandah area would result in low ceiling height which needs to be looked into

Image 3.8 View of the North side of the site

Image 3.9 Entry points to the restaurant site.

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View of the West side of the site showing ceiling height

Opportunities • Multiple vantage points of the site need to be exploited as per their potential • Volumetric massing of the site can greatly help in this along with façade treatment.

Image 3.10 Variation in ceiling levels

Image 3.12

Surrounding area of the restaurant site

Image 3.11 Water body in front of the site to direct crowd movement

Image 3.13 View of the site from the ground floor area

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Threats • Competitive & mediocre neighboring brands around Outlet F(Fio) • The visibility barrier hindering the customer’s line of sight at the north of the site

Competitive restaurants and cafes surrounding the site, offering similar product.

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Understanding the Site Survey Plan

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View of the site from the main entrance, the front facade

Image taken from the service area showing the west side

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Image showing floor difference and ceiling difference.

Interaction with the client Meeting 1 A meeting was held between all the people involved in the project. The agenda of the meeting was to discuss about all the aspects of the restaurant. This meeting was held to discuss branding, type, menu, design language, and what kind of the segment does this restaurant will fall into. The meeting initialized and gave a direction to the project. It gave a perspective to the project from client's point of view, as to what the client expects from the restaurant.

The meeting was attended by Client Mr. Vineet Wadhwa Project 810 ( Furniture and Interior Design) Vritima Wadhwa Kanina Jain Dhriti Gupta Shushant Verma Food and Bevarage consultants Sid Mathur Kula Naidu

As discussed in the meeting, the requirements discussed in the meeting were. 1. Approx. 60 covers indoors. 2. 12-14 high bar stools 3. Outdoor seating of 24-28 covers. 4. Table sizes to be based on cafe model and not fine dine 5. Bar counter front 26-30 ft. long.

Image 3.17 Discussion about the project at an early stage

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6. Bar counter detail should be of 4 levels

25. A south west extension (freshly included in space now) has a direct

7. Bar backdrop to be dramatic.

access to the bridge and onto escalators.

8. Visible and prominent Dj console 4’x 2’.

26. Balcony design and stairs location in style needs urgent decision.

9. Seating to be 20% 2 seater, 40% 4 seater, 40% 6 -10 seater

27. Mall's common loos to be used unless a unisex loo could be

10. 2 sideboards indoors and 1 sideboard in verandah, with 11.

incorporated in the balcony.

computer monitors.

28. There should be three prominent fio signage’s in the façade

12. A private event space for 60-80 pax.

facing north-west, west and south-west.

13. Staircase should be at a point where the event traffic does not

29.Hidden storage for linen and housekeeping material is important.

cross through the restaurant.

30. Verandah floor and balcony is being provided by mall management,

14. Double ceiling height drama should be fully exploited.

Hence they should be utilised in the best possible way.

15. Bar position to be strategic

31. Sound system advisory will be Andrew & co; kitchen layout will be

16. Kitchen on ground 400sq.ft. approx. and 400sq.ft. approx on

Vineet Wadhwa, Sid and the kitchen equipment company collectively.

mezzanine for store/staff areas.

32. Mall providing us the cold water piping for ac.

17. Cashier position according to vastu (north-east or east) tucked in

33. Mall brings to our kitchen doorstep, the freshair and exhaust

somewhere.

master conduit. We will execute the branch out of fresh air and

18. Balcony air-conditioning to be considered with indoor

exhaust.

19. Verandah and indoor areas to be at same level not sunken

34. Proposed crockery will be mildly brushed ceramic in colour chosen,

anywhere.

in camel brown or aqua blue.

20. Mall landscape should be understood and studied at site so that

35. Kitchen window to be similar to Fio cookhouse.

inherent challenges could be circumvented.

36. HVAC consultant to come on board for restaurant & kitchen.

21. Façade and doors could be considered open-able fully/partially/

Electrical, plumbing and civil consultant and agencies to be identified

flexible.

asap.

22. We hope to bring nightlife post sunset to this product.

37. Stress on wines and coffees are being proposed by Sid and co.

23. Mood lighting to be extra bright during day and dim golden at

38. Looking to work with mediums and surfaces which can be

night.

replicated at multiple outlets.

24. Mezzanine above the kitchen will hold a walk-in freezer, and dry store, Liquor Store and balance area will go for staff.

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Dimensions and Standards Dining space The minimum space required for a person to be able to eat comfortably should be around 60cm wide by 40cm deep. This provides sufficient clearance between adjacent diners

Height of the dining chairs

Minimum space requirements for a dining space

Dimension requirements for rectangular dinind table

Dimension requirements for circular dinind table

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Bar/Breakfast Seating The ideal height of the bar and the stool, with clearance for the server.

Heights of dining table, breakfast table and elevated dining area

Clearence dimensions for comfortable dining

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Height of the bar, with working counter and back counter

Bar stool placement, bar counter

Dining Room Layout Restaurant's seating layout sets the scene for the guests' dining experience and separates a restaurant from its competitors. Hence, it is not all about aesthetics

Based on discussions with client and subsequent feedback sessions, following parameters were to be followed for the the space allocation and restaurant layout

Before considering potential restaurant dining room design ideas, one needs to determine how many rooms are going to be allocated for the dining area, and then allocate all available space. Local code requirements could determine how much square footage is needed per customer, as well as aisle width. Local fire department or other government agency can help in getting these requirements. In this case, the restaurant follows the guidelines provided by the food mall, due to this, all other restaurants and pubs surrounding the site have standard guidelines to follow. These guidelines will be influenced by .the number and size of exits available at the venue Once the regulations are reviewed, they can guide area allotment that is mandatory for every customer.. Available space in your restaurant Â seating layout determines the comfort of the guests

Seating Area

1/3rd of the whole space is usually kept flexible in case of events and other activities 10sq.ft./person 14sq.ft./person 16sq.ft./person

The restaurant should consider 20%FOR 2 SEATER TABLES 40%FOR 4 SEATER rest 40% for 6-8 SEATERS, in case for business meetings and and small family events

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Restaurant Arrangement The organizational sequence should be carefully planned beforehand itself. The meal type and concept should be taken into account. Before deciding on the layout, it is important to know the anticipated number and type of clientele ads the customer mix The main room of a restaurant is a customersâ&#x20AC;&#x2122; dining room, and the facilities should correspond to the type of the operation

Cafe table Arrangement

Parallel table arrangement

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Minimal Seating Layout

Kitchen Layout Kitchen Design Principles After deciding the purpose of the kitchen, the first step is to get familiar with these commercial kitchen design ideas. Regardless of what type of establishment is planned, there are several objectives for designing a kitchen properly. According to the Certified Food Service Professionals handbook, the kitchen needs to maximize: 1. Flexibility and Modularity

3. Flow of Materials and Personnel

A commercial kitchen is a dynamic place, so its layout should be able to accommodate change. In case the menu is redesigned and new dishes are added, or a new chef is hired that operates differently than the last. The ability to mold and shape the kitchen is essential. This might take the shape of multi-use workstations or movable equipment.

A kitchen designed around the flow of materials and personnel will have a logical layout in which no employees or materials backtrack through the space. In other words, the kitchen will operate in some type of circular pattern. The refrigerated and dry storage areas should be near the receiving area, but the waste disposal and warewashing areas should be separate from the food preparation and meal cooking areas. Completed meals will exit the kitchen on one side and soiled dishes will enter the kitchen on the other. Adhering to this principle not only keeps the kitchen clean and food safe, but eliminates confusion and ensures a well-organized and orderly system.

2. Simplicity To maximize space and effectiveness, consider designing a kitchen with simplicity in mind. Locating server stations near the kitchen, selecting the proper equipment with only necessary accessories will save space and money.

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4. Ease of Sanitation A commercial kitchen optimized for easy sanitation is a must. Use of finishes that are easy to clean like tile floors, wire shelving units, and stainless steel tables. Most important, however, are food safety and sanitation codes that every foodservice establishment must uphold. There must be hand washing stations in every area where food is prepared, for example, but they must be cleaned regularly and not used for storage.

5. Space Efficiency Maintenance is expensive, and cooking equipment isn't cheap, not to mention there are staff paychecks to handle. Taken together, those factors put a high premium on square footage. Therefore, the exact needs of the kitchen should be carfully considered and bulky equipment should be limited. Some pieces, like a range, are necessary, but if dough baking is not done every day, then flour mixer is not required. It is easy to take space efficiency too far to the extreme. A kitchen that is too small, or lacking necessary equipment due to space concerns will severely hinder production

Kitchen efficiency workflow diagram

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Furniture Furniture Quality

Furniture Style

Furniture selection reflects, reflect on the business's long-term plans and goals. Furniture is an investment; therefore, Non commercial furniture should be avoided at all cost. The price of commercial restaurant furniture reflects its ability to handle everyday wear and tear for years. For quality sanitation, purchase tables, chairs, and booths that can be easily wiped down and cleaned. Plus, all fabric furniture should be stain resistant and colorfast.One should not forget to consider materials and fabric patterns that will complement the décor and desired environment.

When brainstorming dining room design ideas, one should consider the two different styles of furniture placement: anchored and portable. Anchored seating refers to any furniture attached to the wall or floor. Booths are the most popular type of anchored seating. Commonly referred to as "floating tables," portable tables and chairs can be placed anywhere. These seats are typically seen in the middle of dining rooms, away from walls or other structures. There are benefits to both styles; however, the best approach for a highrevenue business is a balanced combination of booths, as well as large and small tables.

Furniture Shape Furniture shape can also affect the dining experience. Round tables encourage conversation, but square or rectangular tables are spaceefficient. However, for cafeterias or fast casual venues, tray size is considered. The tables must be large enough to accommodate the intended size, shape, and number of trays. Many venues add twoperson tables, as they are perfect for dining couples and prevent leaving two empty seats at a four-person table or booth. Plus, these small tables are great for sliding an addition onto another table or the end of a booth to accommodate larger parties.

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Seating Capacity Recommendations Knowing how many people can comfortably fit at various-sized tables can be difficult guesswork. The guide below can be used to calculate seating capacity, and help determine which sizes and types of table tops will work the best.

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Case Study Fio Cookhouse & Bar Description SIZE: 5,000 SQ.FT. INDOOR + 1,500 SQ.FT. OUTDOOR TYPE: HOSPITALITY YEAR: 2012 LOCATION: EPICURIA MALL, NEHRU PLACE, NEW DELHI

Fio , Cookhouse and bar, Nehru Place, New Delhi

Fio Cookhouse and Bar is a casual dining restaurant that gives a one of a kind experience with its amazing offerings and services. The lipsmacking Continental, European, and Modern Indian cuisines inspired by the gourmet dishes of the provinces. The place features a wellstocked bar and enchanting live music. The classic ambiance paired up with a breezy outdoor seating instantly lightens up the mood.

brand name. From the wooden pergola, to the glass faรงade and finally to the wooden cubes stacked on the entire front walls, myriad layers seem to be unfolding as you enter the restaurant.

Bearing no resemblance to its existing restaurant at the Garden of Five Senses but maintaining a similar ideology, Fio establishes its unique stature with perfect organic, modern and warm ambience interwoven with lots of greenery for the promised delicacies of the

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Image 3.18

Entry

Image showing the outdoor seating and entry to the indoor area.

There are two entrances towards the retaurant, customers arriving in cars can get down at the dropdown point and proceed, while consumers visitng the mall can use the second entrance. There are two reception desks placed at both the entrances. The restaurant has outdoor as well as indoor seating, but there is only one main entrance to the indoor area. GROUND FLOOR PLAN

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Layout and Design

As the customers arrive, they can either choose to sit outsite and enjoy the greenery, which gives a sense of Fio, the garden of five senses, or they can enter through the main door and sit inside. Once inside, the eye automatically notices the huge bar, sitting at an angle, such that it is visible from all sides of the indoor seating area. There is a large chandelier right on top of the bar, beyond which is the DJ area. The bar is surrounded by bar stools that follow a design language similar to the dining chairs.

There is a shelf positioned right next to the bar that not only aesthetically compliments the surrounding, but also acts as a screen to enable connection to the back of the house activities seamless. The waiters and managers can freely move around behind the screen without being noticed by the customers sitting in the restaurant. The shelf also acts as a visual barrier for the toilet located behind and also hides the staircase. The staircase leads to the mezzanine floor, used by the management mostly.

Image 3.19

Image 3.20

Outdoor seating area , right before the main entrance

View from the table near the entrance door

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The space can be divided into two parts - back of the house and front of the house. The front of the house can be further divided into outdoor seating and indoor seating. Most of the people visiting the restaurant prefer indoor seating, but people who wish to smoke resort to the outdoor area. The indoor seating area consists of loose furniture mostly placed away from the wall, which can be removed in case of heavy rush. The walls on the other hand are mostly occupied with fixed furniture. Comfortable lounge type seating has also been provided for customers who wish

to stay for longer periods, or customers engaged in professional meetings which can last for hours. There is a large fixed seating arrangement to the east, taking support of the wall, facing the bar. The tables and chairs adjacent to the bench have been kept movable to provide flexibility to the space ivn case of birthday parties and family events.

Image 3.21

Image 3.22 long bench seating supported by the wall.

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image showing satvarior bar top and bar stools

Buiding Components The front of the house area of the restaurant consists of the bar, the seating areas and the toilet area. The components of back of the house area include a kitchen space with separate cooking stations segregated according to the food type they cater to. The wash area is kept at a distance from the cooking area. There is a locker room for the staff, a manager's room, area for accountant, DJ area which are accessible through stairs. There is a separate HVAC room as well. There are also designated spaces for liquor storage, dry store and a walk in freezer.

Image 3.23

Image 3.24 Kitchen layout shows segregation of working stations

Image 3.22

View of the serving window from the kitchen

View of the bar from the dj area

Image 3.25 Image showing pizza oven and other utilities in the kitchen

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Elements and Finishes The materials and elements used give a luxurious look to the restaurant. A single glance at the elements is enough to judge the high-end category that the restaurant falls in. Satvario marble for the bar and the sideboard, teak wood for the seating, and wood and brass for the shelves easily make the space look premium. Concrete flooring with brass spacers, chiseled plaster walls, finished with white paint gives a rustic look which provide the restaurant warmth and coziness

Image 3.26 View of the serving window from the dining area

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Image 3.27

Image 3.28

Image 3.29

Image 3.30 Dining chair used in the restaurant

• Proposed Moodbaord • Concept Design Options• Site Volumetrics • Client Feedback • Final Layout • Concept Sketches • Design Development Options

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Concept Design

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4. 99

Proposed Moodboard • Raw materials, rustic finishes • Warm colors • Sense of nature, greenery • Combination of wood and metal • Stone/Marble flooring • Large openings for natural lighting • Use of screens for a sense of privacy • Sense of drama with the help of elements

Wood and metal stairs

100

Large openings, indoor vegetation

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Thin MS frames

Clay brick floor

Perforated metal screens

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Shelving hanging from the ceiling

White marble with brass inlay

Stucco texture on walls

Wooden flooring

Micro concrete

Raw finishes

101

Identifying Spaces

102

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Vertical Circulation

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103

Identifying Bar Location

104

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Seating Areas

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105

Layout 01

106

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107

Layout 02

108

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109

Layout 03

110

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111

112

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Client Feedback Meeting 2

• Bar to be longer, more prominent such that it is visible from the outer area • More loose furniture, to increase flexibility in the space, in case of events • Smoking zone to be created on the mezzanine floor • Mezzanine area at the entrance to have overhang inside as well as outside. • Minor changes to the furniture to add more comfort. • Bar to serve alcohol as well as coffee. • Change in the placement of the main staircase • North side of the restaurant to be enclosed for air conditioning.

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113

Ground Floor Plan 1070

7564

1507

HIGH RAILING AND FOLIAGE COVER AS/DESIGN DEVELOPMENT

2946

13 11 09

OUTDOOR BENCH SEATING (14 COVERS)

1225

1225 750

1452

SCREEN / VISUAL PARTITION PIVOT DOOR TO THE INSIDE SPACE

750

SMALL COCKTAIL TABLE SEATING (14 COVERS)

1100

3090 1590

TABLE SEATING (6 COVERS)

1156

STEPS UP TO THE MEZZANINE LEVEL

5089

HIGH RAILING AND FOLIAGE COVER AS/DESIGN DEVELOPMENT

1325

17 94

ENTRY TO THE SPACE

3760

6395

94 67

SCREEN / VISUAL PARTITION

1761

4270

1200

165

STEPS UP TO THE MEZZANINE LEVEL

BAR BACK STORAGE WITH THICK COUNTER TOP. BOTTOM DEPTH: 600MM, SHELF DEPTH 450MM

650

OUTDOOR DISPENSE BAR

DOOR TO OUTSIDE AREA

OUTDOOR COMMUNITY SEATING (COVERS 6)

WASH UP 76 Sq. Ft.

(COVERS 12)

600 600

974

850

2323

1116

BAR FRONT WORKING COUNTER. DEPTH: 600MM

HIGH BAR STOOLS

625

BAR SERVICE COUNTER. DEPTH: 300MM

350

1500

1428

SMALL COCKTAIL TABLE SEATING (8-12 COVERS)

WALK IN FREEZER 38 Sq. Ft.

DRY + L4 STORE 99 Sq. Ft.

332 4

TOTAL NUMBER OF COVERS GROUND FLOOR OUTDOOR: 14 ; INDOOR : 46 MEZZANINE OUTDOOR: 36 COVERS EXCLUDING BAR STOOLS NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025

114

+91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

CONSULTANT REMARKS

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

RRF_AE_WD_000

DATE:

01/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

SHUSHANT VERMA | NID | M.DES | FID

Mezzanine Floor Plan 1193 1505

ENTRY TO MEZZANINE

11 09

7539

OUTDOOR BENCH SEATING (14 COVERS)

4246

3585

750

1275

1800

3090

TABLES OF 2 (COVERS 6 ) TABLES OF 4 (COVERS 16 )

3412

2590

900

3090

2965

750

8325

1100

3090

965

1290

11685 07

TOTAL NUMBER OF COVERS GROUND FLOOR OUTDOOR: 14 ; INDOOR : 46 MEZZANINE OUTDOOR: 36 COVERS EXCLUDING BAR STOOLS NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

NEW DELHIVERMA 110025 | NID | M.DES | FID 3. SHUSHANT +91 11 41055722 / +91 11 26316016 office@project810.com

All dimensions mentioned in the drawings need verification as per site This drawing is the property of the designer & should not be copied, reproduced without prior permission

REVISION

PROJECT:

PURPOSE

CONSULTANT REMARKS

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

1:100

DRAWING NO :

RRF_AE_WD_000

DATE:

01/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

115

Concept Sketches

116

SHUSHANT VERMA | NID | M.DES | FID

117

118

SHUSHANT VERMA | NID | M.DES | FID

119

Design Development Option 1 • Use of blue tones for the benches • Wooden frames over the bar area • Use of vegetation in the indoor area • Organic shaped lamp shade hanging from the ceiling • Cylindrical lamps for the lighing • Exposed brickword for the kitchen wallt • MS and glass partition separating indoor and outdoor seating area

120

SHUSHANT VERMA | NID | M.DES | FID

121

Design Development Option 2 • Marble bar top with concrete base • Wooden frames over the bar area • Partition made of wooden frame and wicker separating seating spaces • Wooden slats arranged vertically on on the mezzanine level • Use of fabric for the bench area and leatherite for dining chair and bar stool • Restaurant branding around indoor staircase • Menu inspired from blackboard providing the feel of a cafe

122

SHUSHANT VERMA | NID | M.DES | FID

123

• Color Palette • Material Palette • Floor Plans • Sections • Elevations • Isometric Views

124

SHUSHANT VERMA | NID | M.DES | FID

Final Design Development

SHUSHANT VERMA | NID | M.DES | FID

5. 125

Color Palette

126

SHUSHANT VERMA | NID | M.DES | FID

Materials and elements

SHUSHANT VERMA | NID | M.DES | FID

127

Ground Floor Plan

128

SHUSHANT VERMA | NID | M.DES | FID

Mezzanine Floor Plan

SHUSHANT VERMA | NID | M.DES | FID

129

Section

130

SHUSHANT VERMA | NID | M.DES | FID

Section

SHUSHANT VERMA | NID | M.DES | FID

131

Section

132

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Section

SHUSHANT VERMA | NID | M.DES | FID

133

Exterior Elevation

134

SHUSHANT VERMA | NID | M.DES | FID

Exterior Elevation

SHUSHANT VERMA | NID | M.DES | FID

135

Exterior Elevation

136

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Exterior Elevation

SHUSHANT VERMA | NID | M.DES | FID

137

Interior Elevation

138

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Interior Elevation

SHUSHANT VERMA | NID | M.DES | FID

139

Isometric View

140

SHUSHANT VERMA | NID | M.DES | FID

Isometric View

SHUSHANT VERMA | NID | M.DES | FID

141

• Dining Chair • Barstool • Cocktail Booth • Bench • Stand-Up Table •Rendered 3D Visuals • Developing an Immersive Experience

142

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Furniture and Elements in Space

SHUSHANT VERMA | NID | M.DES | FID

143

Dining Chair

144

SHUSHANT VERMA | NID | M.DES | FID

30-Nov-16 10:29:40 AM

DINING CHAIR

DIMENSION:450MM X 450MM X 940MM QUANTITY:

435

450

3D VIEW PLAN 280 200

UPHOLSTERED BENT PLYWOOD BACKREST

POWDER COATED Ø16MM MS PIPE

450

200

UPHOLSTERED BENT PLYWOOD BACKREST

95°

230

200

450

3D SIDE ELEVATION

3°

490

510

410

TAPERED WHITE ASH WOOD LEGS

PROJECT 810

REAR ELEVATION

SIDE ELEVATION

FRONT ELEVATION

PLYWOOD BASE BOLTED TO WOODEN LEGS

100 R4

410

940

9 SEAT WITH QUILTING DETAIL

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

3D FRONT ELEVATION

30-Nov-16 10:30:06 AM

450

A 435

PLAN

450

514 UPHOLSTERED BENT PLYWOOD BACKREST

DETAIL A

POWDER COATED Ø16MM MS PIPE

450

12 88

DETAIL C

DETAIL D

TAPERED WHITE ASH WOOD LEGS

SECTION A-A'

PROJECT 810

PLYWOOD BOLTED TO WOODEN LEGS

DETAIL B

414

410

HIGH DENSITY FOAM

SECTION B-B' REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

30-Nov-16 10:30:23 AM

TENON AND MORTISE

8MM PLYWOOD SEAT WITH UPHOLSTERY

BENT PLYWOOD BACKREST WITH UPHOLSTERY Ø8MM ALLEN BOLT

Ø8MM ALLEN BOTL Ø16MM MS PIPE

Ø16MM MS PIPE

DETAIL A

DETAIL B

464

218

WOODEN LEG 40

LEG DETAIL

12 MM PLYWOOD

WOODEN LEG

WOODEN FRAME HALF LAP JOINT

Ø8MM ALLEN BOTL

DETAIL D

PROJECT 810

DETAIL C

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:8

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

Bar Stool

148

SHUSHANT VERMA | NID | M.DES | FID

BAR STOOL

DIMENSION:420MM X 450MM X 1130MM QUANTITY: 420

440

D:\NID\Graduation Project\render\BAR SIDE.jpg

3D VIEW

350 450

PLAN

420

440

D:\NID\Graduation Project\render\BAR STOOL VIEW.jpg

450

3D SIDE ELEVATION

700

1135

381

POWDER COATED Ø16MM MS PIPE FOOTREST

1135

SWIVEL MECHANISM/ PIVOT

SWIVEL MECHANISM /PIVOT

700

100

93°

260 188

100

316

SEAT WITH QUILTING DETAIL

POWDER COATED Ø16MM MS PIPE FOOTREST

150

POWDER COATED 20MM MS PIPE

150

UPHOLSTERED BENT PLYWOOD BACKREST

400

150 150

UPHOLSTERED BENT PLYWOOD BACKREST

450

511

350

354

D:\NID\Graduation Project\render\BAR STOOL FRONT_1.jpg

TAPERED WHITE ASH WOOD LEGS PVC SHOE

PROJECT 810

REAR ELEVATION

SIDE ELEVATION

FRONT ELEVATION

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

3D FRONT ELEVATION

420

PLAN

150

450 420

DETAIL A

35 100

135

150

520

SWIVEL MECHANISM/ PIVOT

DETAIL B

700

835

Ã&#x2DC;17MM HOLE FOR INSERTING FOOTREST

381

1135

DETAIL C

338

DETAIL D

SECTION A-A'

PROJECT 810

SECTION B-B' REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

Ø8MM ALLEN BOLT Ø8MM ALLEN BOLT

Ø16MM MS PIPE

DETAIL B

DETAIL A

R2 16MM PLYWOOD SEAT WITH HIGH DENSITY FOAM

TAPERED LEG

SWIVEL MECHANISM/ PIVOT POINT

Ø17MM INNER DIA WASHER Ø16MM MS PIPE

FOOTREST DETAIL

WOODEN CAP WOODEN TIE

DETAIL D

DETAIL C

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:8

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

28-Dec-16 11:57:03 AM

8MM PLYWOOD SEAT WITH UPHOLSTERY

BENT PLYWOOD BACKREST WITH UPHOLSTERY

Cocktail Booth

152

SHUSHANT VERMA | NID | M.DES | FID

30-Nov-16 10:39:13 AM

COCKTAIL BOOTH DIMENSION:1025MM X 1600MM X930MM QUANTITY:

1025

1600

415

600

500

FRONT ELEVATION

PLAN 140

UPHOLSTERED BACKREST WITH QUILTING DETAIL

1025

500

620

LAMINATE

120

935

UPHOLSTERED SEATING WITH QUILTING DETAIL UPHOLSTERED WOODEN FRAME

WOODEN FRAME

315

TAPERED TEAK LEGS

FRONT ELEVATION

PROJECT 810

TAPERED WOODEN LEGS

TEAK WOOD TIE MEMBERS

3D VIEW

SIDE ELEVATION

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

WOODEN TIE 1600

1025

TENON AND MORTISE JOINT

DETAIL A A

A' HIGH DENSITY FOAM SEATING

415

600

WOODEN FRAME

500

PLAN WOODEN FRAME 18

12MM PLYWOOD TO SUPPORT BACKREST

DETAIL B

12MM PLYBOARD BACKING

DETAIL B

935

500

HIGH DENSITY FOAM

DETAIL D

HIGH DENSITY FOAM SEATING

DETAIL C

145

WOODEN FRAME WITH PLY INSERT FOR SEAT SUPPORT

12MM ALLEN BOLT

275

20 178

28 40

12 80

WOODEN FRAME WITH PLY INSERT FOR SEAT SUPPORT

DETAIL A

WOODEN TIE MEMBER PVC SHOE

SECTION AA'

TIE MEMBER TO SUPPORT SEAT

DETAIL C

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

30-Nov-16 10:39:42 AM

TAPERED LEG

Bench

156

SHUSHANT VERMA | NID | M.DES | FID

1600

BACKREST MEMBER

510

550

CUSHION

3D SIDE ELEVATION

PLAN

230

250

UPHOLSTERED BACKREST WITH QUILTING DETAIL

105

CUSHION

100

105

BACKREST MEMBER

100

3D REAR ELEVATION 12MM PLYWOOD FOR CUSHION SEAT WOODEN FRAME

TAPERED LEGS

350

WOODEN FRAME

TIE MEMBER

ELEVATION

PROJECT 810

SIDE ELEVATION

3D VIEW

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

21/12/16

DRAWN BY: SHUSHANT CHECKED BY:

158

SHUSHANT VERMA | NID | M.DES | FID

WOODEN FRAME

WOODEN INSERT TAPERED LEG

1600

DETAIL A

BACKREST MEMBER

490

550

CUSHION

PLAN

Ø20MM MS PIPE Ø8MM ALLEN BOLT

1600

WOODEN TIE

830 UPHOLSTERED BACKREST WITH QUILTING DETAIL

UPHOLSTERED BACKREST

66°

114°

115° UPHOLSTERED SEATING

100 105

DETAIL B

250 66°

48°

105

114°

100

250

R40 20 R

DETAIL C

115°

DETAIL A

DETAIL B

WOODEN BRACING

WOODEN FRAME

TAPERED WOODEN LEGS

350

DETAIL B

BACKREST

12MM PLYWOOD FOR CUSHION SEAT HORIZONTAL WOODEN MEMBER

TIE MEMBER

SECTION AA'

REAR ELEVATION

TENON AND MORTISE JOINT

Ø20MM MS PIPE WELDED WELDING

DETAIL C

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

21/12/16

DRAWN BY: SHUSHANT CHECKED BY:

Ø20MM MS PIPE WELDED

Stand-Up Table

1300 867

R7 0

1300 WOODEN TOP 709

3D SIDE ELEVATION

WOODEN TOP

760

4MM THICK MS PLATE WELDED TO MS PIPE

Ø20MM DIA MS PIPE

3D REAR ELEVATION

1200

760

4MM THICK MS PLATE WELDED TO MS PIPE

Ø20MM DIA MS PIPE WELDED

400

Ø20MM DIA MS PIPE

FRONT ELEVATION

PROJECT 810

3D VIEW

SIDE ELEVATION

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

162

SHUSHANT VERMA | NID | M.DES | FID

20MM DIA MS PIPE

WELDING

REAR LEG SUPPORT WELDED AT 30°

DETAIL A

WOODEN TABLE TOP BOLTED TO METAL PLATE Ø8MM ALLEN BOLT 4MM THICK MS PLATE WELDED TO MS PIPE

WOODEN TOP

DETAIL B

4 40

DETAIL C

8MM ALLEN BOLT

220

Ø20MM MS PIPE

80°

4MM THICK MS PLATE WELDED TO MS PIPE

1200

756

1156

DETAIL B

40MM THICK WHITE ASH TABLE TOP

Ø20MM DIA MS PIPE WELDED

DETAIL A

400

4MM THICK MS PLATE BOLTED TO TABLE TOP 28°

Ø8MM ALLEN BOLT

METAL STAND

SIDE ELEVATION

DETAIL C

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

3D Visual Notations

164

SHUSHANT VERMA | NID | M.DES | FID

3D Visual Notations

SHUSHANT VERMA | NID | M.DES | FID

165

View A

166

SHUSHANT VERMA | NID | M.DES | FID

View B

SHUSHANT VERMA | NID | M.DES | FID

167

View C

168

SHUSHANT VERMA | NID | M.DES | FID

View D

SHUSHANT VERMA | NID | M.DES | FID

169

View E

170

SHUSHANT VERMA | NID | M.DES | FID

View F

SHUSHANT VERMA | NID | M.DES | FID

171

View G

172

SHUSHANT VERMA | NID | M.DES | FID

View H

SHUSHANT VERMA | NID | M.DES | FID

173

View I

174

SHUSHANT VERMA | NID | M.DES | FID

View J

SHUSHANT VERMA | NID | M.DES | FID

175

View K

176

SHUSHANT VERMA | NID | M.DES | FID

View L

SHUSHANT VERMA | NID | M.DES | FID

177

Prototyping

MS pipe bent according to the drawings for backrest and the footrest

Wooden frame cut and assembled to form the lower part of the stool

All the furniture designed for the project follow the same design language. A full scale prototype of the bar stool has been manufactured to get a better understanding of the design and learn from the process involved. The process has been documented step by step to make mass manufacturing easy.

178

SHUSHANT VERMA | NID | M.DES | FID

12 MM plywood cut in shape for seat and backrest, corners rounded to match the curves.

Wooden legs cut on table saw according to the dimension.

All legs joined with tie members and then assembled with half lab joint.

SHUSHANT VERMA | NID | M.DES | FID

179

Holes drilled at 45 degree to insert the footrest

The surface is sanded with fine grain sand paper and applied with lacquer polish

MS pipe foot rest and backrest is applied with gloss black paint

180

SHUSHANT VERMA | NID | M.DES | FID

Foam cut in shape to fit the back rest and seating shape

Foam is covered with black leatherite, tufting details has been done according to the design.

Swivel plate installed to connect the lower part with the seating.

SHUSHANT VERMA | NID | M.DES | FID

181

Product Images

APOLLO

182

SHUSHANT VERMA | NID | M.DES | FID

183

184

SHUSHANT VERMA | NID | M.DES | FID

185

186

SHUSHANT VERMA | NID | M.DES | FID

Item Steam Beech 12 mm Marine Plywood 12 mm Bent Plywood seat 20mm dia MS pipe ( back rest ) 16mm dia MS pipe ( foot rest) Swivel Plate Miscelleneous Items

Quantity

Rate

(â&#x201A;¹) Amount

0.3 C.ft. 2.56 sq.ft. 1 5 ft. 3 ft. 1 lump sum

2000/Cft 60/sq.ft. 200 280 200 1000

600 600 600 600 600 600 600

4" thick High density foam 1" thick medium density Black Leatherite Labour Carpentery

4 sq.ft. 2 sq.ft. 1 mtr.

400 450/mtr.

450

Skilled Labour Unskilled labour Lacquer polish ( Material + labour) Metal Work

800/day 250 Lump Sum

3 days 3 days

2400 750 1500

Pipe bending

400

1 day

Total

500

Upholstery material

Total Overhead

30% of the total cost

Total

SHUSHANT VERMA | NID | M.DES | FID

1500

400 9400 2820

12220

187

Developing an Immersive Experience To get a better understanding of the design and space in true sense, few photo realistic cube maps of the design have been rendered with the help of Vray rendering engine. A combination of various softwares and hardware has been used to compile an immersive experience of the space virtually to get a better understanding of the design. The layouts and drawings of the space and the elements are drafted in AutoCAD. Anthropometric dimensions and ergonomics were considered to make the 2D layouts of the space to provide a basic understanding. The design was then converted into 3D with the help of Sketchup. This enabled the ability of detailed development and flexibility of design changes before final design. The sketchy looking 3D CAD model of the space was then rendered in Vray to produce high quality cube map of the space, which captures 360 degree around the camera. The image is then used on a platform that convert a cubemap

188

Image 7.1

Image showing the angle of focus in a VR headset

There are various VR headsets available in the market which offer a field of view of 90 degrees to 110 degrees. Though the cone of focus is limited, the extra degrees are provided to form a realistic visual which replicates human eye like vision.

SHUSHANT VERMA | NID | M.DES | FID

Scan the QR code to view the VR tour

Image showing components required to view a 360 cubemap in VR

Only for Android above 4.4 Kitkat

For this project, the VR image has been created for Google cardboard which gives it the flexibility of sending the file to the client who can view it on their own phone. They just need to own a VR cardboard. This changes the way how things are presented currently in the market. Big architecture and design companies have already adopted this idea and are working towards creating a people friendly VR experience. VR is not just limited to small spaces for interior design but can also help in creating flawless designs of large scale projects like skyscrapers and government buildings where the cost is high. Creating a VR experience of the same can reduce the wastage cost and can marginally lower the bugdet of the project. Industrial design will also experience changes as now the designer will be able to create designs in real time and in real scale in virtual space. The designer can even concentrate on minute details by getting a better understanding about the problem and its complexities. This new platform will provide a new medium of creating unique experiences which will help them convey their ideas in a better way to the customers.

Image 7.2

Different types of floating screen workspace that can be used while creating a VR display

SHUSHANT VERMA | NID | M.DES | FID

189

Furniture in Augmented Reality Few image targets have been placed on these pages, the image target triggers the furniture model it has been assigned to. After downloading the app via QR code, open the app and focus on a specific image target, the 3D model of the furniture wil pop up.

Only for Android above 4.4 Kitkat

Scan the QR code via QR code scanner application and download the app to continue. Be sure to select unknown sources option under the security option in settings menu to allow this app on your phone.

190

SHUSHANT VERMA | NID | M.DES | FID

191

192

SHUSHANT VERMA | NID | M.DES | FID

193

194

SHUSHANT VERMA | NID | M.DES | FID

195

196

SHUSHANT VERMA | NID | M.DES | FID

Experience and Learnings

This project taught me a lot about many subjects. During the college years, though group assignments teach team work, we dont get to actually practice in real life. A project requires efforts from all people involved in the project and they should all work in harmony with each other to achieve the desired result. The final product is always a by product of many arguments and creative ideas that go behind the process. This project has taught me a lot in terms of time management, communication and sharing. This project has also taught me about the practical implementation of designs we generate, which helped me create parameters in terms of designing within prescribed limits and within a given time frame. This project also provided an opportunity to test the implementation of VR in design, which adds a fresh dynamics to the project. Overall this project has helped me grow and learn a lot about many things that I would not have learned at an individual level.

SHUSHANT VERMA | NID | M.DES | FID

197

Bibliography Books

Documents

• Minimalism and Colour , Bueno, Patricia

• Veedon, Treesa. Braque Collection, NID Ahmedabad, 2016

• Minimalism edited by James Meyer

• Hironmoyee, Saikia. Interior Space design for Moira house, Goa, NID Ahmedabad, 2015

• Minimalist design Bertoni, Franco • Human Dimension and Interior spaces, Julius Panero and Martin Zelink • Architects’ Data by Ernst Neufert, Peter Neufert, Bousmaha Baiche, Nicholas Walliman

• Kadri, Zain. Interior Design and Detail for Serviced Apartment, NID Ahmedabad, 2016 • Moon, Deepali. Kroft, series of urban furniture for Indian residence, NID Ahmedabad, 2016

• Indian anthropometric dimensions for ergonomic design practice • The Invention of the Restaurant: Paris and Modern Gastronomic Culture (2000)

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Webliography

Image References

• http://www.nid.edu/education/

• Image 1.1 : http://project810.com/projects/outhousemumbai/

• http://project810.com/

• Image 1.2 : http://project810.com/projects/the-hungry-monkey/

• https://www.zomato.com/ncr/fio-cookhouse-and-bar-nehru-place-newdelhi

• Image 1.3 : http://project810.com/projects/gogourmetflagship/

• https://www.franchiseindia.com/restaurant/

• Image 1.4 : http://project810.com/projects/kama-store/

• http://communicationtheory.org/minimalism/

• Image 2.1 : https://en.wikipedia.org/wiki/Restaurant#/media File:GrandeTaberna.JPG

• https://www.sitepoint.com/what-is-minimalism/

• Image 2.2 : Author

• https://www.behance.net/gallery/53512259/Kiev-apartment

• Image 2.3 : Author

• https://www.thebalance.com/types-of-restaurants-2888525

• Image 2.4 : Author

• http://sketchuptexture.com/

• Image 2.5 : Author

• https://www.viatechnik.com/resources/50-virtual-reality-technologies-inarchitecture-engineering-and-construction/

• Image 2.6 : Author

• https://www.wired.com/2015/04/how-to-design-for-virtual-reality

• Image 2.7 : https://www.behance.net/gallery/53512259/Kievapartment • Image 2.8 : https://www.gordijnentotaalshop.nl/ • Image 2.9 : https://www.sitepoint.com/what-is-minimalism/ • Image 2.10 : https://www.sitepoint.com/what-is-minimalism/

SHUSHANT VERMA | NID | M.DES | FID

199

• Image 2.11 : https://www.sitepoint.com/what-is-minimalism/ • Image 2.12 : https://www.sitepoint.com/what-is-minimalism/ • Image 2.13 : https://www.sitepoint.com/what-is-minimalism/ • Image 2.14 : https://www.Google.com • Image 2.15 : http://www.skyscrapercity.com/showthread. php?t=559843&page=5 • Image 2.16 : https://www.dezeen.com/2017/02/06/modular-worldexhibition-dieter-rams-furniture-vitra-design-museum • Image 2.17 : https://www.dezeen.com/2017/02/06/modular-worldexhibition-dieter-rams-furniture-vitra-design-museum

• Image 3.10 : Author • Image 3.11 : Author • Image 3.12 : Author • Image 3.13 : Author • Image 3.14 : Author • Image 3.15 : Author • Image 3.16 : Author • Image 3.17 : Author

• Image 3.1 : Author

• Image 3.18 : http://project810.com/projects/fio/

• Image 3.2 : Author

• Image 3.19 : http://project810.com/projects/fio/

• Image 3.2 : Google Maps

• Image 3.20 : http://project810.com/projects/fio/

• Image 3.2 : Author

• Image 3.21 : http://project810.com/projects/fio/

• Image 3.3 : Author

• Image 3.22 : http://project810.com/projects/fio/

• Image 3.4 : Author

• Image 3.23 : http://project810.com/projects/fio/

• Image 3.5 : Author

• Image 3.24 : http://project810.com/projects/fio/

• Image 3.6 : Author

• Image 3.25 : http://project810.com/projects/fio/

• Image 3.7 : Author

• Image 3.26 : http://project810.com/projects/fio/

• Image 3.8 : Author

• Image 3.27 : http://project810.com/projects/fio/

• Image 3.9 : Author

• Image 3.28 : http://project810.com/projects/fio/

200

SHUSHANT VERMA | NID | M.DES | FID

• Image 3.29 :http://project810.com/projects/fio/ • Image 3.30 :http://project810.com/projects/fio/ • Image 7.1 :http://arkpad.com.br/ • Image 7.2 :http://arkpad.com.br/

SHUSHANT VERMA | NID | M.DES | FID

201

• Floor Plans

• Lamp Detail

• Brickwork

• Furniture Drawing

• Sections • Mezzanine • Structural Details •HVAC • Lighting Plans • Bar Detail • Partition Detail • Signage Detail

Working Drawings

1070

7564

1507

HIGH RAILING AND FOLIAGE COVER AS/DESIGN DEVELOPMENT

2946

13 11 09

OUTDOOR BENCH SEATING (14 COVERS)

1225

1225 750

1452

SCREEN / VISUAL PARTITION

PIVOT DOOR TO THE INSIDE SPACE

750

SMALL COCKTAIL TABLE SEATING (14 COVERS)

1100

3090 1590

TABLE SEATING (6 COVERS)

1156

STEPS UP TO THE MEZZANINE LEVEL

5089

HIGH RAILING AND FOLIAGE COVER AS/DESIGN DEVELOPMENT

1325

17 94

ENTRY TO THE SPACE

3760

6395

94 67

SCREEN / VISUAL PARTITION

1761

4270

1200

165

STEPS UP TO THE MEZZANINE LEVEL

BAR BACK STORAGE WITH THICK COUNTER TOP. BOTTOM DEPTH: 600MM, SHELF DEPTH 450MM

650

OUTDOOR DISPENSE BAR

DOOR TO OUTSIDE AREA

OUTDOOR COMMUNITY SEATING (COVERS 6)

WASH UP 76 Sq. Ft.

(COVERS 12)

600 600

974

850

2323

1116

BAR FRONT WORKING COUNTER. DEPTH: 600MM

HIGH BAR STOOLS

625

BAR SERVICE COUNTER. DEPTH: 300MM

350

1500

1428

SMALL COCKTAIL TABLE SEATING (8-12 COVERS)

WALK IN FREEZER 38 Sq. Ft.

DRY + L4 STORE 99 Sq. Ft.

4 332

TOTAL NUMBER OF COVERS GROUND FLOOR OUTDOOR: 14 ; INDOOR : 46 MEZZANINE OUTDOOR: 36 COVERS EXCLUDING BAR STOOLS NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

RRF_AE_WD_000

DATE:

01/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

1193 1505

ENTRY TO MEZZANINE

11 09

7539

OUTDOOR BENCH SEATING (14 COVERS)

4246

3585

750

1275

1800

3090

TABLES OF 2 (COVERS 6 ) TABLES OF 4 (COVERS 16 )

3412

2590

900

3090

2965

750

8325

1100

3090

965

1290

11685 07

TOTAL NUMBER OF COVERS GROUND FLOOR OUTDOOR: 14 ; INDOOR : 46 MEZZANINE OUTDOOR: 36 COVERS EXCLUDING BAR STOOLS NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

1:100

DRAWING NO :

RRF_AE_WD_000

DATE:

01/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

11 09 07

C' A

11 09

NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

RRF_AE_WD_000

DATE:

30/09/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

7564

3860

3595

Lvl +2850

4471

1375

3255

6110

6420

7395

Lvl +3000

9782

Lvl +2850

8595

965

1315

11 07

S. Bot 5880 Lvl +2850

1225

4925

NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

CONSULTANT REMARKS TO BE CHECKED BY STRUCTURAL ENGINEER

SCALE:

NTS

DRAWING NO :

RRF_AE_WD_000

DATE:

04/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

EDGE TREATMENT TO BE DEVELOPED

13 11 09 07

11 07

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

NOTES:

PROJECT 810

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

DATE:

01/12/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

11 09 07

11 09

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

NOTES:

PROJECT 810

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

DATE:

01/12/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

HIGH RAILING AND FOLIAGE COVER AS/DESIGN DEVELOPMENT

11 09

OUTDOOR BENCH SEATING (14 COVERS)

05 HIGH RAILING AND FOLIAGE COVER AS/DESIGN DEVELOPMENT

STEPS UP TO THE MEZZANINE LEVEL

TABLE SEATING (6 COVERS)

SCREEN / VISUAL PARTITION

PIVOT DOOR TO THE INSIDE SPACE

ENTRY TO THE SPACE

SMALL COCKTAIL TABLE SEATING (14 COVERS)

SCREEN / VISUAL PARTITION SMALL COCKTAIL TABLE SEATING (8-12 COVERS)

STEPS UP TO THE MEZZANINE LEVEL

BAR SERVICE COUNTER. DEPTH: 300MM 01

2323

03 05 07

BAR BACK STORAGE WITH THICK COUNTER TOP. BOTTOM DEPTH: 600MM, SHELF DEPTH 450MM

WASH UP 76 Sq. Ft.

DOOR TO OUTSIDE AREA OUTDOOR DISPENSE BAR

(COVERS 12)

OUTDOOR COMMUNITY SEATING (COVERS 6)

HIGH BAR STOOLS

BAR FRONT WORKING COUNTER. DEPTH: 600MM

WALK IN FREEZER 38 Sq. Ft.

LEGEND SYMBOL

DESCRIPTION

QUANTITY

150 MM WIDE PERFORATED CABLE TRAY

PERFORATED CABLE TRAY MOUNTED TILTABLE LIGHT FIXTURES WITH MANUAL DIMMER

CONCEALED DOWN LIGHT FIXTURES (FOR KITCHEN)

DRY + L4 STORE 99 Sq. Ft.

CABINET LIGHTS AT LVL + 2400 MM FROM FFL WOODEN LAMP HUNG BY THREAD WIRE FROM CEILING

TOTAL NUMBER OF COVERS GROUND FLOOR OUTDOOR: 14 ; INDOOR : 46 MEZZANINE OUTDOOR: 36 COVERS EXCLUDING BAR STOOLS NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

DATE:

01/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

ENTRY TO MEZZANINE

11 09 OUTDOOR BENCH SEATING (14 COVERS)

TABLES OF 2 (COVERS 6 ) TABLES OF 4 (COVERS 16 )

11 07

LEGEND SYMBOL

DESCRIPTION

QUANTITY

150 MM WIDE PERFORATED CABLE TRAY

EDISON PENDANT BULBS HUNG BY THREAD WIRE FROM CEILING

WOODEN LAMP HUNG BY THREAD WIRE FROM CEILING

TOTAL NUMBER OF COVERS GROUND FLOOR OUTDOOR: 14 ; INDOOR : 46 MEZZANINE OUTDOOR: 36 COVERS EXCLUDING BAR STOOLS NOTES:

PROJECT 810

All dimensions are in millimeters and are to be read not measured

D 810 NEW FRIENDS COLONY

Discrepancy found in drawings should be brought to the designers notice before execution at site

All dimensions mentioned in the drawings need verification as per site

This drawing is the property of the designer & should not be copied, reproduced without prior permission

NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

REVISION

PROJECT:

PURPOSE

ROMPA ROMPA_By Fio EPICURIA, AEROCITY CLIENT: Mr. VINEET WADHWA

SCALE:

1:100

DRAWING NO :

DATE:

01/10/16

DRAWN BY: SHUSHANT CHECKED BY: VRITIMA

CONSULTANT REMARKS

R5 0

POWDER COATED SHEET METAL

2600

350

KEY PLAN

350

BAR DETAIL DRINK SERVING TOP

160

220

600 MARBLE COUNTER TOP

WORK COUNTER TOP

1140

424

WARM WHITE LED STRIP

STORAGE COOLER

960 CIRCULATION/ PASSAGE

SECTION A-A'

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:15

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

6mm THICK METAL PLATE

6MM THICK METAL PLATE BOLTED TO WOODEN SLATS WHITE ASH SLAT BOLTED TO METAL PLATE 80

1440

DETAIL A

ROUNDED EDGE

655

170

PERFORATED METAL PARTITION

Ã&#x2DC;15MM PERFORATION

100

METAL PLATE WELDED TO VERTICAL UNIT

750

PERFORATED METAL PARTITION

DETAIL B

METAL PLATE CONNECTING PERFORATED PARTITION TO VERTICAL MEMBER

100

2330

1700

2500

3D FRONT ELEVATION

725

VERTICAL MEMBERS

WOOD + METAL VERTICAL SUPPORT

3D VIEW

METAL STAND BOLTED TO THE FLOOR

STAND FIXED TO THE FLOORING

ELEVATION

DETAIL C

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

Ø20MM MS PIPE

200

BLACK POWDER COATED 2MM THICK MS SHEET

200

200X200X4MM THICK HAND MADE WHITE TILES

200

12MM THICK PLYBOARD COPPER PLATED 4MM THICK MS SHEET PASTED ON WHITE TILES

200

1041

10MM THICK Ø30MM MS WASHER

200

PROJECT 810

200

WARM WHITE LED LIGHT STRIP WARM WHITE LED LIGHT STRIP

200

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

220

SHUSHANT VERMA | NID | M.DES | FID

10MM THICK Ø30MM MS WASHER

BLACK POWDER COATED 2MM THICK MS SHEET

200

200X200X4MM THICK HAND MADE WHITE TILES

200

200X200X4MM THICK HAND MADE WHITE TILES PASTED TO PLYBOARD

200

12MM THIK PLYBOARD

METAL FRAME

ELECTRICAL WIRE Ø20MM PIPE WITH OUTER THREADING 10MM THICK Ø30MM MS WASHER

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

NTS

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

222

SHUSHANT VERMA | NID | M.DES | FID

WIRE LOOSELY WRAPPED AROUND MS PIPE

481

1372

1370

MS PIPE

400

350

WARM WHITE BULB

LATHE TURNED WOODEN LAMP SHADE

2300

290 Ø30MM MS PIPE

Ø30MM MS PIPE

300 SHADE DETAIL

WOODEN BASE BOLTED TO MS PLATE

WOODEN BASE

MS PIPE WELDED TO METAL PLATE

SECTION

ELEVATION

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:20

DRAWING NO :

DATE:

30/12/16

DRAWN BY: SHUSHANT CHECKED BY:

30-Nov-16 10:38:12 AM

600

230

700

SECTION BB'

PLAN

390

MARBLE TOP

300 DETAIL C

4 20

MARBLE TOP

4MM THICK MS PLATE

DETAIL C

DETAIL B

21MM INNER DIA MS PIPE

4MM THICK MS PLATE

400

750

16MM THICK PLYWOOD WITH CHILL WOOD BEADING

MS TIE MEMBER

Ã&#x2DC;20MM MS PIPE 4X8 MM RECTANGLE MS PLATE

MS TIE MEMBER DETAIL A

21MM INNER DIA MS PIPE

296

21MM INNER DIA MS PIPE

PROJECT 810

SECTION AA'

MS STAND

FRONT ELEVATION

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

600

MS RECTANGULAR SECTION WELDED

MARBLE TOP MS PIPE WITH 21MM INNER DIA WELDED TO RECTANGULAR MS PLATE

MS PLATE 246

Ø20MM MS PIPE

6 24

Ø21MM MS PIPE

700

DETAIL A

4X8MM RECTANGULAR MS PLATE

MS PIPE WITH 21MM INNER DIA WELDED TO METAL PLATE

TIE MEMBER

104°

METAL TIE MEMBER PLAN

404

4MM THICK MS PLATE

Ø20MM MS PIPE

DETAIL B

268

MARBLE TOP BOLTED TO 16MM PLYWOOD Ø8MM ALLEN BOLT

LEG DETAIL

16MM THICK PLYWOOD WITH CHILL WOOD BEADING

3D VIEW

3D FRONT ELEVATION

DETAIL C

PROJECT 810

REVISION

PROJECT: FIO CAFE

D 810 NEW FRIENDS COLONY NEW DELHI 110025 +91 11 41055722 / +91 11 26316016 office@project810.com

CLIENT: Mr. VINEET WADHWA

SCALE:

1:10

DRAWING NO :

DATE:

23/11/16

DRAWN BY: SHUSHANT CHECKED BY:

30-Nov-16 10:38:35 AM

MS PIPE WITH 21MM INNER DIA

226

SHUSHANT VERMA | NID | M.DES | FID

National Institute of Design, Ahmedabad Paldi, Ahmedabad - 380007, Gujarat, India. www.nid.edu

Edited & Designed By: Shushant Verma vermashushant@gmail.com

Project 810 D810, New Friends Colony

SHUSHANT VERMA | NID | M.DES | FID

227