Year: 2017-18 Batch No. 15
Undertaken by: SONALI BORDIA Enrollment No.: 13E1AAARF1XP121 V Year B.Arch (C)
Prof. N.S. RATHORE
Prof. N.S. RATHORE GUIDE COORDINATOR
Aayojan School of Architecture
ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022
The study titled “INTERACTIVE WORKSPACES” is hereby approved as an original work of Sonali Bordia, enrolment no. 13E1AAARF1XP121 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota.
It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.
December 2018
EXTERNAL EXAMINER 2
Jaipur i
Prof. K.S. MAHAJANI PRINCIPAL Prof. N.S. RATHORE COORDINATORI, Sonali Bordia, here by solemnly declare that the research work undertaken by me, titled ‘INTERACTIVE WORKSPACES’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report.
This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.
Sonali Bordia V Year B.Arch (C) Aayojan School of Architecture, Jaipur
This is to certify that the research titled, ‘INTERACTIVE WORKSPACES’ is a bonafide work by Sonali Bordia of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota.
This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University.
Prof. N.S. Rathore Guide
Aayojan School of Architecture
The past five months of working on this dissertation has instilled in me a greater passion towards the field of architecture. There were a good number of people, without whose support, I would not have been able to make it so far. Their recurring words of encouragement and inputs have enabled me to stay focused and have a deeper comprehension of the subject. I would love to take this opportunity to express my heart-felt gratitude to all those who have assisted me through the journey.
I would like to begin with thanking my guide, Prof. N.S. Rathore, whose relentless support and knowledge imparted during the session has been highly instrumental in shaping the dissertation. I am beholden to him for his kind support.
I am also grateful to eminent artist Shreyas Karle, founder and director of CONA foundation, Saviya Lopes, director of Clark House Initiative, Dhara Seth, project coordinator of The Drama School and artist Basudeb Biswas, Mahesh Bulbule, Gopal Nandukar and Somnath Adamne for sparing their valuable time, enlightening me with their thoughts and advices. They have not only contributed in making me attain a deeper understanding towards the linkage between art and architecture- the core of the study, but also have helped me in growing as a student.
My work would have been incomplete without the help and support of my family, my father, Ajit Kumar Bordia, who pushes me to my limits and my mother, Kusum Lata Bordia, who has never stopped believing in me. I am thankful to my friends, Brishti Biswas and Anirudh Govind, who helped me throughout, provided me with their cooperation and constant support during my research.
Finally, I’d also like to thank my faculties, Prof Archana Singh Rathore and Prof. Girish Vishwanath, for their valuable advice and invigoration.
Sonali Bordia V Year B.Arch (C)Aayojan School of Architecture, Jaipur
4.1 Individual workspace
4.1.1 Visual Arts
4.1.2 Literature Arts
4.1.3 Performing Arts 4.1.4 Common Areas
4.2 Collaborative workspace
4.2.1 Artist from same profession
4.2.2 Artist from different professions 4.2.3 Artists and artisans
4.3 Individual workspaces vs. Collaborative workspaces
Serial No. TitlePg. No.
1.1.1Evolution of nature of workspaces 2
1.1.2Professions of the creative industry 3
1.1.3Concentration of creative coworking spaces in India 3
1.1.4Evolution of collaborative workspaces 4
1.1.5Concept of collaboration 4
1.1.6Components of an Interactive Workspace 5
2.1.1Modelling the creative industries on the basis of cultural expression9 2.1.2Modelling the creative industries on the basis of characteristics10
2.2.1Evolution of work timeline- generation of creative cities 11
2.2.2Collaborative working 12
2.2.3Alternative designs for workspaces 13
2.3.1 Interaction in Visual Planning Area (Source: The creative office 14 2.3.2Interior view and section showing interaction in Visual Planning Area15 2.3.3Plan of space 16
2.3.4 Interior view with concept sketches for flexible furniture 16 2.3.5U-shaped Plan of building 17 2.3.6Roof of building 18
2.3.7Interior views of the spaces 18
2.3.8Conceptual zoning diagram of building 19 2.3.9Conceptual zoning diagram of building 19
3.1.1Artist- Basudeb Biswas 22 3.1.2Metal sculptures by artist 22 3.1.3Painting by the artist 22 3.1.4Stone sculptures by the artist 22 3.1.5Plan of Artist’s Workspace with its views 23 3.1.6Exterior view of artisans’ centre 24 3.1.7Interior view of artisans’ centre 24 3.1.8Location of Artisans’ centre 24 3.1.9Handmade textiles 24
3.1.10Handmade ceramics 24 3.1.11Books and city maps 24
3.1.12Location of The drama school 25 3.1.13Practicing and performing hall 25 3.1.14 View of office/ administration 25 3.2.1Sign at entrance of Khoj 26 3.2.2View of Khoj from the street 26 3.2.3Location of Khoj, New Delhi 26 3.2.4Floor Plans of Khoj with its views 27
Serial No. TitlePg. No.
3.2.5Sections of Khoj 28
3.2.6View of Administration block 29
3.2.7Location of Space118 29
3.2.8Exterior views of Space118 29 3.2.9Works by previous artists 30
3.2.10Space for exhibiting works 30 3.2.11Space for small talks 30 3.2.12Open ground for workshops 30 3.2.13Plan of Space118 with its views 31 3.2.14Entrance of Kanoria Centre 32 3.2.15Location of Kanoria Centre 32 3.2.16View of Kanoria Centre for Arts 32
3.2.17Plans and Section of Kanoria Centre for Arts 33 3.2.18Plans of Kanoria Centre for Arts with its views 34
3.2.19Entrance way to CONA 35 3.2.20View of CONA 35 3.2.21Location of CONA 35 3.2.22Walkway to print studio 35 3.2.23Workspace on terrace 35 3.2.24Floor plans of CONA with its views 36 3.2.25 View of office space 37 3.2.26Community board 37 3.2.27View of Makerslab 37 3.2.28 Location of ATOLYE 37 3.2.29Aim, objective and framework of ATOLYE 38 3.2.30Isometric view of site plan 38 3.2.31Isometric view of building plan 39 3.2.32Variable plan layouts 39 3.2.33 Section AA 39 3.2.34Options for Architectural Layout 40 3.2.35Inside 1Shatiroad 41 3.2.36Interiors of residence 41 3.2.37Location of 1Shantiroad 41 3.2.38Plan of 1Shantiroad with views 42 3.2.39Entrance of Garhi Studio 43 3.2.40Location of Garhi Studio 43 3.2.41Schematic plan of Garhi Studios 44 3.2.42Exterior views of Garhi Studios 45 3.2.43Interior views of Garhi Studios 45 3.2.44Workshop and Canteen in Garhi Studios 45
Serial No. TitlePg. No.
1.6.1Objectives, data required and their sources 7
4.1.1Analysis of Individual Workspaces- Visual Arts 47
4.1.2Analysis of Individual Workspaces- Literature Arts48
4.1.3Analysis of Individual Workspaces- Performing Arts (Theatre)49
4.1.4Analysis of Individual Workspaces- Performing Arts (Music)50
4.2.1Comparative Analysis- Collaboration between artists from same profession54
4.2.2Comparative Analysis- Collaboration between artists from different profession55
4.2.3Comparative Analysis- Collaboration between artists and artisans56
4.3.1Comparative Analysis- Individual workspaces vs Collaborative workspaces57
Throughout history, Art and Architecture have invariably been two intertwined entities. The former cannot evolve without innovation in latter. The creative industry comprising of designers, painters, sculptors, writers, dancers, musicians and performers has thrived around the world contributing to global economy constantly. The progress and expansion of this industry has forced architecture to fabricate new ideas that cater to needs of designers, artists and artisans. Recent innovations embrace collaboration in workspaces.
In the last two centuries the way we work has evolved. The shift from the industrial age, with an emphasis on production of goods, to the service-based economy in the 1930s was followed by the formation of a “knowledge economy” with an emphasis on information process in 1960s and The rise of information technologies in the 1980s and the formation of “creative industries” – a separate economic segment dedicated to creative production - have caused the formation of a completely new social group, creative working spaces with the production of new and original data in the late 1990s.
The term “creative workspace” became a buzz word, attracting key young talents to the main technology and other “creative knowledge industry” related companies. After the 1990s the character of such spaces became a playful and unique work environment, disguising the main function and purpose of the space. The changing nature of work resulted in changing requirements for the workforce, and hence changing needs for the workspace.1
1
Figure 1.1.1: Evolution of nature of workspaces (Source: Coworking- A Transdisciplinary Overview by Julian Waters-Lynch, Jason)
The “Creative workspace”: A comparative analysis of stakeholder perceptions by Augustina Radziunaite
Creative industries provides US$2.25 billion revenue, 3% of world GDP, and 29.5 million jobs worldwide. The creative arts industry in India reached INR236 billion in 2012 and is expected to witness a CAGR of 2.5% over 2012—2018 to reach INR275 billion in 2018. With increase in the popularity of the creative industry, the spatial requirements and working trends have changed to “open” and collaborative nature of workspaces with enhances interaction and innovation. The growth of coworking spaces for the creative industry has increased by 80% since 2000.2
Figure 1.1.2: Concentration of creative coworking spaces in India (Source: Coworking space by Colliers Radar)
This research attempts to understand the working of these interactive workspaces and explore the effects of collaboration on work of its users. To proceed with the research study, the following terms need to be defined:
An area allotted to artists, painters, sculptors, writers, musicians, illustrators, photographers, stand-up comedians and designers such as web designers, fashion designers, and graphic designers etc to produce, perform or execute their work.
Figure 1.1.3: Professions of the creative industry (Source: www.creativeindustriesfederation.com)
2 Creative arts in India: Theater, dance and crafts industry (December 2016) by FICCI
Collaboration is a working practice whereby individuals work together for their benefit. It enables individuals to work together to achieve a defined and common purpose.3 Change in behavioural patterns, advancement intechnologyandstructuraleconomic changes have challenged how the workforce occupies the commercial office spaces today. Cellular offices have been phased out in favour of agile, flexible work spaces that are interactive, technology enabled and encourage collaboration.
Figure 1.1.4: Concept of collaboration (Source: www.klazz.com)
Figure 1.1.5: Evolution of collaborative workspaces (Source: Deskmag 2015, Coworking Wiki 2015)
www.aiim.org/What-is-Collaboration
The changing nature of innovation is transforming workspaces into open, flexible locales such as research institutes, incubators, accelerators, innovation centres, co-working spaces and start-up spaces where separate professions and disciplines more easily converge.4 The changing demographics of workers are altering designs to be more comfortable, social and collaborative with technology. Such interactive workspaces are an initiative to catalyse a new form of city building that fosters cross-disciplinary approaches to urban growth and development.
Figure 1.1.6: Components of an Interactive Workspace (Source: www.bbcdigital.com.au/innovation-centre
4 Innovation Spaces: The New Design of Work by Julie Wagner and Dan Watch
1. Are collaborative workspaces more suited for creative pursuits than individual workspaces?
2. Does collaboration happen only through interactive workspaces?
3. Can collaboration with different creative professions aid the artists to find sources of inspiration and innovation?
Collaboration of various professions from the creative industry through interactive workspaces enhances creativity and innovation.
Aim- To prove that collaboration of various professions from the creative industry through interactive workspaces enhances creativity and innovation.
1. To identify the various professions in the creative industry, their nature of work and the factors that influences their work culture.
2. To compare and study different models of workspaces for the creative industry through case studies.
3. To interpret the spatial design of interactive workspaces for creative industry to promote collaboration.
4. To conclude and recommend design solutions for creating workspaces where various professionals from the creative industry can collaborate. 1. The research is applicable to workspaces for the art and design community. 2. The scope of the study is limited to spatial design of workspaces
Hypothesis: Collaboration of various professions from the creative industry through interactive workspaces enhances creativity and innovation.
Need of Study
Understanding scope of study and setting limitation
Objective 1
To identify the various professions in the creative industry, their nature of work and the factors that influences their work culture.
Identifying the user group- Listing the professions of the creative industry & understanding their spatial requirements
Theories and concepts related to interactive workspaces
Sources Sources
Primary Sources: Interviewing 4-5 artists and discussing their work culture and spatial requirements
Secondary Sources: Books, Articles, Researches, Website, Blogs and Documentaries
Analysis and Interpretation
Objective 2
To compare and study different categories of workspaces for the creative industry through case studies.
Identification of pertinent case studies & categorizing models of workspaces
Defining parameters/aspects for comparison and analysis
Sources
Primary Sources: Live case studies, Surveys and interviews
Secondary Sources: Literature case studies and observations
Objective 3
To interpret the spatial design of interactive workspaces for creative industry to promote collaboration.
Objective 4
Toconcludeandrecommenddesignsolutionsforcreatingworkspaces wherevariousprofessionalsfromthecreativeindustrycancollaborate.
Statement of inference made from analysis concluding design solutions and recommendations regarding interactive workspaces for various professions of the creative industry
GUIDE: PROF. N.S. RATHORE SONALI BORDIA SEMESTER IX
To identify the various professions in the creative industry, their nature of work and the factors that influences their work culture.
Identifying the user groupListing the professions of the creative industry
Understanding their spatial requirements
Theories and concepts related to interactive workspaces
Primary Sources: Interviewing 4-5 artists and discussing their work culture and spatial requirements
Secondary Sources: Books, articles, researches, website, blogs and documentaries
Categorizing models of workspaces
To compare and study different categories of workspaces for the creative industry through case studies.
Identification of pertinent case studies
Defining parameters for comparison
To interpret the spatial design of interactive workspaces for creative industry to promote collaboration.
Understanding parameters of spatial design
Characteristics of interactive workspaces
Primary Sources: Live case studies, surveys, interviews and observations
Secondary Sources: Literature case studies and observations
Analysis of data to determine the design of interactive workspaces on the parameters of spatial design
To conclude and recommend design solutions for creating workspaces where various professionals from the creative industry can collaborate.
Statement of inference made from analysis regarding ideal spatial design solutions for interactive workspaces.
Table 1.6.1: Objectives, data required and their sources
Conclusion of study and recommendations
Creativity has never been more valued by individuals, society and employers. Creative workers play an important role in driving economic, social and cultural development. The notion of creative industries generally includes textual, music, television, and film production and publishing, as well as crafts and design.For some countries,architecture,thevisualandperformingarts,sport,advertising,andcultural tourism may be included as adding value to the content and generating values for individuals and societies. They are knowledge-based and labour-intensive, creating employment and wealth. By nurturing creativity and fostering innovation societies will maintain cultural diversity and enhance economic performance.5
Create, communicate and design: The lines between creative fields are increasingly blurred. Visual artists use interactive and moving images, performers use digital media in site-specific works, and collaborative teams create sophisticated productions that captivate our senses.
Technology provides new possibilities for artists - in the creation of their works, as new outlets for their creativity, and as a means of promoting and distributing their work. Cutting-edge use of digital technologies produces networked performances and cultural experiences.6 This opens up new ways of categorising the professions or occupations or industries. The creative industries can be classified on the basis of cultural expressions. They can also be grouped based on the spatial requirements or characteristics of the creative industry.
Figure 2.1.1: Modelling the creative industries on the basis of cultural expression (Source: United Nations creative economy report) 6 www.qut.edu.au/creative-industries
5 www.wikipedia.org/Cultural_industry
The dominant industries of the nineteenth and twentieth century’s depended on materials and industry, science and technology but the industries of the twenty first century will depend increasingly on the generation of knowledge through creativity and innovation matched with rigorous systems of control. Creativity is a central idea to for cities of the next century.
Figure 2.2.1: Evolution of work timeline- generation of creative cities (Source: The creative workspace: A comparative analysis of perspective of stakeholders by Augustina Radziunaite)
In this century the main solutions went a step further, based on the theories of how to create the good city associated with authors like Patrick Geddes, Lewis Mumford or Jane Jacobs. They emphasized not only how a city might be shaped physically but also what could improve people’s lived experience of cities. Yet when these ideas were taken up by the emerging planning profession, they were interpreted mainly in physical terms, disregarding the more subtle psychological effects on people. The theorists realized that everything interconnects the way a building is put together or a city laid out, affects how people feel about it and that in turn shapes their attitudes, motivations and behaviour. 7
The focus today has shifted on how to create innovative milieu that encourages people to interact and participate. In the inter-urban competition game, being a base for knowledge intensive firms and institutions, such as universities, research centers or the cultural industries, has acquired a new strategic importance. The creative city identifies nurtures, attracts and sustains talent so it is able to mobilize ideas, talents and creative organizations. Conditions need to be created for people to think, plan and act with imagination in harnessing opportunities or addressing problems. This means a city needs to embed a culture of creativity in the way it operates and to infuse how all of its organizations operate. There should be focus on the contribution of the art and creative industries in driving innovation in cities and helping to make them distinctive. This approach has given birth to new aspects of workspaces.
The workspace design address those issues of social dynamics and individual psychology sought to suppress. Fundamental cost and competitive pressure are clearly forcing many large, lumbering companies to start behaving like smaller, more agile ones. That means rethinking work method and locations to become less conglomerate and more focused. Creating more innovative office environments can realize many tangible business benefits, not least improved efficiency and lower property costs
Collaboration and team working is an important aspect in creative workspaces. The move towards people working together in multi disciplinary teams for significant periods of time has led many organizations to create new and dedicated spaces for this to happen effectively.
Figure 2.2.2: Collaborative working (Source: www.vestianglobal.com)
It is well known that people working in traditional office buildings rarely interact with each other unless they sit together. But as we move towards a workforce comprised of creative workers whose productivity is increased by a random encounters that stimulate new ideas and thinking, there is a need to re-plan the workplace so that these informal and spontaneous meetings can take place relatively easily. Streets imply movement and the concept that people will physically circulate more around their workplace during the day rather than be based in the same place is recurring trend. The benefits derived from unexpected interaction now override the principles of time and motion efficiency that have set people in fixed positions, performing repetitive tasks based in a single location, for much of this century.
Making workspaces more creative means abandoning the old rules about space analysis and allocation. New approaches to space planning has broken away from the efficiency of the rectangular grid in favour of more innovative and unusual solutions that create unexpected environments within buildings.
Figure 2.2.3: Alternative designs for workspaces (Source: www.pinterest.com)
Where corridors or circulation routes were once straight and narrow , minimized for the sake of efficiency, they are now regarded as valuable spaces and given prominence in workplaces designed to encourage movement and collaboration.
There is a transfer of investment and influence from workspace to public space. Areasaregenerouslygiventocommonactivitiesorsharesfacilitiesandthesecentral spaces that are publicly owned have been given names to reflect their status. The “market square”, the “plaza” and the “street: with its connecting lanes, for example, all describe a new planning paradigm that has redefined space within the workplace and which is often based on the complexity and diversity of the city plan.
As well as this changing allocation of space on horizontal floors or planes, the realization that people very rarely move between floors has given way to solutions to bring them together. “Verticality” is used to describe this trend, demonstrated by the spectacular staircases that punch through floor slabs in buildings to connect floors.
The nature of workspaces depends on various factors that change the culture and characteristics of the workspace. These determinants can be broadly identified as:
1. Teamwork
2. Exchange of information
3. Community
4. Mobility Teamwork: Workspaces were once designed to keep people apart. Space planning was based on the ruthless division of hierarchy and status.The earliest twentieth century offices even banned conversation between colleagues. But in a interactive workspace, the important role of the team is at last being recognized. No longer do team solutions rely on occasional use of anonymous meeting rooms or private offices. Dedicated places and spaces that support the cognitive needs of group working over a continuous period are now an integral part of workspaces. Multi-disciplinary teams are being given their own homes which encourage collaboration and interaction, and stimulate creativity and ideas. The following building example promotes the concept of team.
This concept was developed by Apicella Associates for the London offices of brand and packaging design consultancy Coley Porter bell.
The Visual Planning Area is a team space that has been designed to stimulate creativity during the design development process. It provides clients, consumers and the project team with a dedicated and inspiring space where brain storming and concept development can take place. The flexibility of the space allows for this process to unfold and tracks the development of ideas that remain displayed on boards and walls during the visual planning process. It is well known that the presence of familiar objects and imagery stimulates memory.
Figure 2.3.1: Interaction in Visual Planning Area (Source: The creative office by Jeremy Myeron and Philip Ross)
The team section looks at workspaces which encourage team building and group working. These are not divide and rule environments but ones that promote more cognitive work processes and greater interaction between people working there.
Figure 2.3.2: Interior view and section showing interaction in Visual Planning Area (Source: The creative office by Jeremy Myeron and Philip Ross)
Exchange of information: Workspaces were once paper factories dedicated to repetitive processes where information was hoarded, not shared. Strict division of labour precluded any real interchange of knowledge or ideas. But in the interactive office, the linear processing of traditional work culture is giving way to a more fluid, progressive approach in which knowledge is power- to be built, bartered, shared and transferred. In this spirit of exchange, working environments are taking on many of the traits of universities: learning is taking place within organizations by virtue of them having the space and facilities to develop.
The exchange section explores workspace environments that are designed to facilitate the building, sharing and presentation of knowledge. Here the collegiate focus of academic and training environments adapted to the accommodation needs of learning organizations. The following example demonstrates the free exchange of ideas in a workspace.
This exchange concept was developed by Mahmoudieh Design for the offices of a major German car manufacturer. The design brings people out of cellular offices into open plan team space that provides a legible area for six- eight people. Within each area users are provided with a choice of environment that allows them to work either in a standing or seated position at adjustable desks or at a shared round table. The exchange section explores workspace environments that are designed to facilitate the building, sharing and presentation of knowledge. Here the collegiate focus of academic and training environments adapted to the accommodation needs of learning organizations.
Figure 2.3.3: Plan of space (Source: The creative office by Jeremy Myeron and Philip Ross)
The team is given privacy by placing of a wardrobe at each end of the space: a flexible piece of furniture that has storage on one side and versatile writing or projection surface on the other.All people within the space are equipped with pocket office telephones allowing complete flexibility. for privacy, users can go to one of a series of think cells where they can work alone.
2.3.4:
Community:
Workspaces were once rooted in a work ethic in which conviviality and comfort had no place. Workplaces were functional and impersonal and frowned on social contact. But in an interactive office, there is growing recognition that work has a social dynamic which is productive and valuable. Old fashioned adjacencies are replaced by a new approach to workspaces, in which buzz and colour of real city life is simulated by the design of neighbourhood , cafes, restaurants and boulevards as spaces in which we work. The compact communities and good neighbours that result from such thinking frequently produce more creative and collaborative work styles. The following workspace scheme demonstrates the concept of community.
The community component was developed by Morphosis for the US offices of design firm SHR. The workplace has been cleverly divided into different zones that distinguish activities within the space. The U-shaped building footprint has been used to good effect, creating an office, community that locates cellular space around the perimeter of the floor, using a continuous wall of office partitions that bends and folds its way in an arc from one end of the space to the other.
Figure 2.3.5: U-shaped Plan of building (Source: www.morphosis.com)
The community section looks at offices that have been planned to foster a spirit of community and promote greater social cohesion. A key focus here is on creating ‘town square’, ‘neighbours’ and ‘city street’ within office interiors.
Figure 2.3.6: Roof of building (Source: www.morphosis.com)
Figure 2.3.7: Interior views of the spaces (Source: www.morphosis.com)
Mobility: Workspaces were once static and sedentary places to work. People sat at fixed locations under the constant gaze of a supervisor. Both management control and technological constraint anchored the office worker to the spot. But in an interactive workspace, movement from place to place is encouraged as people work how and where they want within the building or campus, supported by new and cordless technologies. The concept of mobility allows work to become a series of journeys which create chance encounters and informal meeting that are all the more productive because they are spontaneous and unplanned. The following examples shows workspace that supports mobile work patterns.
This concept was developed by architect Matthew Calvert and Philip Ross for use by Booz Allen & Hamilton in its offices worldwide.
The concept examines non-territorial workspaces which offer unprecedented freedom and choice for employees to work where and how they want. There are a range of work settings - from open spaces to private cells- supported by mobile technologies. Every day is different as entirely new work patterns can be created.
Figure 2.3.8: Conceptual zoning diagram of building (Source: The creative office by Jeremy Myeron and Philip Ross)
Figure 2.3.9: Conceptual zoning diagram of building (Source: The creative office by Jeremy Myeron and Philip Ross)
Theworkspacescanbecategorisedonthebasisaffinitybetweenvariousprofessions of the creative industry.
Workspace of artistBasudeb Biswas, Jalandhar
Artisans’ Centre, Mumbai
The Drama School, Mumbai
Collaborative Workspace
Artists from same profession
Artists from different professions Artists and Artisans
Khoj, New Delhi
Space118, Mumbai
Kanoria centre for arts, Ahmedabad CONA, Mumbai ATOLYE, Instanbul
1Shantiroad, Bangalore
Garhi Studio, New Delhi
Artist Name: Basudeb Biswas
Located In: Jalandhar
Vision of the project: Born in 1958 in Andaman, Basudeb Biswas completed his Bachelors and Masters in Fine Arts (Sculpture) from Shantiniketan, Kolkata in 1983, to eventually become the Head of the SculptureDepartmentofApeejayCollege of Fine Arts in Jalandhar, Punjab. He captures the simultaneous strength and fragility of a woman through traditional techniques in metal, wood and paper. Each of his sculpture dolls have been influences by the art and architecture of the Indus Valley Civilisation. “I have been especially influenced by the dancing girls of Mohenjodaro. His works are recognized widely by many distinguished institutions like Rabindra Bhawan, New Delhi, Punjab Lalit Kala Akademi, AIFACS, New Delhi etc
The son of a carpenter, Biswas inherited his father’s talent in carving. A true master Basudeb Biswas is able to transform Brass, a strong and hard material, into a fluid and delicate works of art. Biswas employs traditional techniques, there is no mould. There is no way of re-creating a piece. Each pieceisuniqueandcannotbereplicated. All details and textures and created by hand individually. This is a very tedious, time consuming and disciplined skill that the artist has nurtured over many years. It is great credit to the artist to be able to create such weightlessness from a material that is so weighted and dense. He resides in Jalandhar and has created a workspace inside his residence which includes working desk, furnaces for baking and melting metals, display and storage areas.
Project Name: ARTISANS’ CENTRE
Project Location: Mumbai
Year of establishment: 2001
Vision of the project:
ARTISANS, ‘where art craft and design converge’isasocialenterprisecommitted tosupportingIndia`sindigenousart,craft, and design heritage, with a sustainable marketplace that inspires conscious consumer choice. The exhibitions at the venue have ranged from mata ni pachedi (shrine cloths) from Gujarat and Kutchi embroidery to old textile mill labels and contemporary handwoven clothes made by little-known designers from around the country. In a way, Artisans’ is where three recent trends converge. The evolution of the neighbourhood, the recent interest in design in the city and the revival of handloom.
In addition to workshops on everything from calligraphy to pottery, Artisans’ is a store that retails clothing of every hue in light, handwoven textiles by local designers, handmade ceramics and plenty of books and city maps made by independent publishing houses. Look out for a two-storey building whose top floor is covered in a mural by Bombay Duck Designs.
Project Location: Mumbai
Year of establishment: 2014
Vision of the project: Drama School Mumbai was founded to forge a new generation of theatremakers; actor-creator-entrepreneurs professionally trained to perform and create work to a higher global standard of storytelling. Drama School Mumbai also works to promote the awareness of theatre and its processes to a wider audience interested in exploring and understanding the medium for themselves through shorter workshops, lectures, and regular presentations of work created by the students and faculty.
Project Location: New Delhi
Year of establishment: 1997
Built Area: 860 sq mts..
Vision of the project: KHOJ: (to) search, hunt, explore, discover, discern, seek, inquire, trace, track, quest, research, investigate.
Khoj began as a proposition: a space for artists, run by artists. Khoj aims to connect creative practitioners and catalyze interdisciplinary collaboration and experimentation to create new possibilities art-making. It also seeks to build networks and informed audiences who engage critically with contemporary art in India. Khoj is building an institutional infrastructure for exhibiting and researching contemporary art to support creative thinking.
Design Programme: Studios for artists Art Residency Library Media Lab Workshop area Multi-disciplinary hall Cafe Administration
Khoj is an experimental art laboratory in an urban village ghetto in New Delhi; where dialogue, exchange, and transfer of information, energy & skills takes place as an intensely lived experience. It provides a financial, physical and intellectual space for artists through its various programs. It has built an international reputation as outstandingalternativeartsincubationspace.Itplaysacentralroleinthedevelopment of experimental, interdisciplinary, and critical contemporary art practice in India–constantly challenging the established thinking about art. Khoj conducts a variety of programmes including workshops, residencies, exhibitions, talks, and community art projects.
Figure 3.2.4: Floor Plans of Khoj with its views
Project Name: SPACE118
Project Location: Mumbai
Year of establishment: 2010
Vision of the project: Space 118 aims to nurture the interdisciplinary impetus of global art practitionersthroughcreativeworkshops and residencies for experimentation in the visual arts and art making. The provide the opportunity for artists to interact with a range of institutions (scientific, industrial and cultural) based in Mumbai or to simply use their studio term as a playful engagement with the city and its landscape in order to build a sustainable art ecosystem in India.
Design Programme: 5 Studios for artists Art Residency Library Workshop area Storage area Kitchen Facilities Administration
Space 118 is the first art residency that opened in Mumbai, back in 2010. Selffunded, it comes with a room and basic living facilities. Artists from anywhere in the world can spend one-two months there. During this time, they are expected to work on a proposed project, but not necessarily complete it. The artists have to pay her with one of their artworks. Doshi hosts an Open Studio day every four months to show the work of the residents to gallerists, curators and collectors.
1. To educate and to expose emerging visual arts practitioners on various art forms and practices
2. To provide opportunities to those who have limited access to multi-cultural exchange programs and aim to contribute towards their enrichment of the same.
3. To build support structures (creative, curatorial & informative) for research, contemplative study, independent & collaborative projects and most importantly networking with fellow artists, enthusiasts and the art fraternity of Mumbai.
4. To facilitate mentorship and guidance programmes for the artists through our Visiting Mentors initiative.
5.To build awareness of artist studios and residency practice amongst the larger publics in India.
Space118 becomes a lively dynamic ground for artists to share and showcase their ideas and research which they have developed during their time at our studios to friends, family, collectors, gallerists and the art fraternity at large. Open Studio Days are held every quarter of the year, usually at the end of their studio or residency period.
Visiting Mentor Sessions where distinguished artists, curators, and art historians from various fields of art practice are invited as mentors. These intimate discussions provide a platform to receive valuable knowledge, guidance and sharing of experiences of our Mentors from their respective fields of expertise.
Open Call is an extremely distinguished initiative practiced by studio spaces worldwide, offering artists a unique opportunity for a multicultural exchange program nationally and internationally.
Apart from studio practice, Space118 constantly provide creative stimulation and inspiration to artists at our space through various talks, workshops and events conducted by artists, writers, intellectuals and researchers in the field of visual art.
Project Location: Ahmedabad Year of establishment: 1984
Project Architect: B.V. Doshi
Vision of the project: Kanoria Centre for Arts is a working environment for art students as well as professional artists, providing them with tools, and access to an environment that would foster the germination of ideas.
The built form has been dealt with alternating negative and positive spaces to create breathing pockets of recreation. Angular corners have been utilized to create semi-private spaces and the contemporary style of the building compliments the urban character of Ahmedabad.
Facilities at the Centre Art gallery
Art ResidencyPainting Studio Sculpture Studio Ceramic Studio Classrooms Open Air Theatre Library Chauraha Cafe Galleria 30
Figure 3.2.14:Entrance of Kanoria Centre
Figure 3.2.15:Location of Kanoria Centre
Figure 3.2.16:View of Kanoria Centre for Arts
The Kanoria Centre for Arts (KCA) is situated amongst the foliage within the KL campus, CEPT University, Ahmedabad. KCA has grown to encompass a variety of art spaces within its surroundings, from studio spaces to an art gallery. KCA is first and foremost a working environment for art students as well as professional artists. It is a self-funded institution which gives it the freedom to grant scholarships and thereby indulges in providing a value added system. KCA has the vision to provide students and professionals with tools and access to an environment that fosters creativity and the germination of ideas.
Project Name: CONA
Project Location: Mumbai
Year of establishment: 2013
Built area: 200 sq mts
Vision of the project: CONA is an artist residency and coworking space for the creative or social science field, such as photographers, designers,writers,artists,writers.CONA, literally meaning corners is a space where teaching, making and learning about the creative arts converge. This not-for-profit arts organization was started by artists, Shreyas Kalre and Hemali Bhuta. It intends to function as an ongoing mind space, a point of contact that kindles ideas, facilitates discourse, stimulating both thought and action. In a word, here is an adda for ideas, perspectives, happenings and people to meet, where they can work.
Community studio
Community office/ library space Private office
Printmaking studio (Risograph & etching press) Community kitchen/canteen Three bedrooms Facilities
Project Location: Istanbul
Year of establishment: 2014
Built Area: 700 sq mts.
Vision of the project: ATOLYE Istanbul is an interdisciplinary creativity and interaction platform, geared towards bringing together freelancers, startup companies and the wider public in an inspiring postindustrial setting within Bomontiada, Istanbul’s new emerging cultural hub. The project’s foundational motivation is to create moments of serendipity and synergy by strategically programming the space to accommodate a wide range of uses: isolated work, group collaboration,rapidfabrication,exhibition and education.
ATÖLYE İstanbul ‘s architectural design is a by-product of a larger system, an entrepreneurship endeavor that is focusing on a truly transdisciplinary design: from branding to interface, from furniture to space. Ultimately, the design acts as a tacit, yet influential body language of an emerging independent institution, one where the aspiration is to seed, nurture and witness new startups and design projects at all scales.
Design Programme:
Shared office
Meeting rooms
Event space
Storage spaces
Seminar room
Fabrication room Workshop area
Makerlab
Kitchen & Breakout
Figure 3.2.29: Aim, objective and framework of ATOLYE
Figure 3.2.30: Isometric view of site plan
Figure 3.2.31: Isometric view of building plan
Figure 3.2.32: Variable plan layouts
Figure 3.2.33: Section AA
Adjacency-based architectural layout: Visually neighbouring yet acoustically separated areas for thinking, making, learning and sharing create fluidity within the space, allowing the individual to seamlessly pursue their creative journey without going into the more distracting urban condition of Istanbul.
Future-proofed,
Custom designed, locally crafted modular furniture: Natural materials coupled with ubiquitous wheels and adjustable separators allow maximum flexibility. Curved corners accent the fluid nature of member circulation. Whiteboards and natural uncolored felt expand use capacity by allowing writeable surfaces and pin-up walls for ideation along with acoustic absorption for event planning.
Project Location: Bangalore
Year of establishment: 2001
Built area: 700 sq mts
Vision of the project:
1Shanthiroad, Bengaluru, is an art space founded by Suresh Jayaram that nurtures creativity and cutting edge art practice. The Studio/Gallery at 1Shanthiroad provides space for slide lectures,smallconferences,installations, performances, screenings and informal gatherings. It is administered by a notfor-profittrustVAC–VisualArtCollective. Since its inception in 2003 1Shanthiroad has grown to house artists from diverse countries in its residency programmes.
1Shanthiroad conducts lectures, talks, exhibitions, screenings, music events and panel discussions. Open to all creative individuals, this is a place that serves as a catalyst for conceptual ideas that connect artists to a wider audience. 1Shanthiroad has been responsible for hosting a large number of international artists from the Indian subcontinent and beyond and for the cultivation of new audiences at critical moments of contemporary Indian art. As the name suggests this place is a multi functional space: there are two open courtyards that can be used for working and having meals together, there’s a gallery for exhibitions, screenings and lectures and there are different rooms for the artists-in-residence spread over three floors. The rooms and floors are connected to one another through twisted stairs, hidden paths and even a small bridge.
Project Location: New Delhi
Year of establishment: 1976 Built area: 1272 sq mts
Vision of the project: Named Kala Kuteer to meet the needs of practising artists, the entire complex is located on the premises of a heritage site, locally known as Village Gargi Zharia Maria, Delhi. The existing land of four acres was allotted to the Lalit Kala Akademi for establishing its Regional Centre at Garhi. The land for the Centre was allotted by the Delhi Development Authority for promotion of Art activities. The Centre undertakes art activities of the surrounding regions of Punjab, Himachal Pradesh, Jammu & Kashmir, Uttarakhand and Delhi from this Centre.
Design Programme:
Studios for artists - for sculptures, print making and paintings
Open spaces for wood carving, stone carving and metal casting Spaces for interactions and gatherings Display areas
Storage spaces Facilities and Parking
The Lalit Kala Adademi provided the Delhi Development Authority (DDA) with funds to set up Garhi studios. The inspiration was the ‘City of Art’ in Paris where individual artists are provided with studios and lodging. However, Garhi has some distinctive features. Only qualified professional artists can apply to the Lalit Kala Adademi. Their work is evaluated, and those with talent and education are admitted.
It has studios for both – groups of artists, and for individuals. The range of disciplines is impressive – painting, print-making that includes etching and silkscreen painting, pottery and sculpture in clay stone, fibre glass, wax and plaster of Paris. It is always well populated and has the advantage of a genuine art fortress in fencing out nonartists, while allowing insiders full play for the exercise of their creativity.
Garhi, provides four community studios for graphics, sculpture, pottery and painting and seven individual studios. Eight to 10 artists can work at a time in a community studio. The Akademi gives the space to the senior and junior artists from different parts of India at affordable monthly rental of Rs. 100, 300 and 500 depending upon single or shared spaces. They can also use the stock of raw material provided to them on no-profit no-loss basis.
has
and proper lights and ventilation.They also two-storied structures where more artists can accommodated. The sculpture studio is 1,200 sq ft area with an additional 600 sq ft mezzanine floor. It has been provided with huge but basic washing and disposal area with appropriate lighting and cross ventilation for sculptures to dry.
The painter’s studio has partitions, but the others are just large halls where artists work in their own selected corner. Each community studio has a supervisor, a crucial person, for he is in charge of making materials available to the artists at cost price, and for maintaining the studio. The common factor that unites the artists, men and women painters and sculptors in various media is need-cum-commitment, so that the atmosphere of professionalism is genuine and reflects both the quality of entrant and evidence of individual and collective artistic growth
• Space is too small/ no storage space
• No flexibility of space; unable to accommodate large scale work and messy materials
A multi-purpose arts facility could help address this problem by providing:
Personal Studio Space
• Lack of natural light or adequate light
• No peer group or sense of community
• No access to peer review
• Unprofessional appearance to clients/ patrons
• Suffocation due to improper ventilation and toxic fumes released from paints, paint thinners, inks, oils, dust etc.
1) Community/ Public: An access point for the public to connect with artists. Open studio days, teaching (private lessons), and artists talks are all means of bridging the gap between the public and artists.
Production/ Fabrication Workshop (Wood working, print making & metal work)
• Lack of natural light, which is of great importance for rendering colour accurately
• Insufficient space to display or work, with some ability to view work from a distance
• Accessibility issues: freight elevators, ground level production facilities
2) General office support: Most artists could be described as self employed – entrepreneurs. Access to general office support could be a great resource to help artists promote their work and generate client bases.
Exhibition Space/ Galleries
• Difficult to find space which match requirements of artists
• Too expensive
Table 4.1.1: Analysis of Individual Workspaces- Visual Arts
3) Art gallery and gallery retail: To support the work created by resident artists and create another point of connection to the community.
(Writing/
Workstation/
Publication and Display Area
The writing community includes fiction writers, poets, playwrights, organizations that produce literary publications, foundations and advocacy groups. The spatial requirements of the writing community primarily involve studios: small rooms similar to office space with some storage capacity.
• Insufficient office support
• Insufficient storage space
• Domestic distractions
• High rent
Workstation/ Desk in isolation
• Absence of professional appearance for public
• Absence of peer community/ peer review/ group discussion/ readings sessions
Publication and Display area
• Absence in the community of a dedicated venue for readings, workshops, lectures, public talks, and writing community activities
• Lack of facilities for printing and publishing
Writers studios should be included in the space program, providing space for writers, literary arts organizations and other disciplines requiring similar office space. The space will be included within the Office space component of the space program.
• Space is too small/ no storage space
Office/ Administration Space
• No flexibility of space; unable to accommodate meetings of large groups
• Lack of natural light or adequate light
• Too expensive
• Inability to control temp
• Size and proportion of the rehearsal space don’t match that of intended venue
Rehearsal
• Acoustics and lights are not available as per requirement
• Relocating sets, props and costumes is time consuming and can present risk factors such as loss or damage of property, and physical injury.
Performance Space (Theatre/ Auditorium)
Table 4.1.3:
Same as above
The interview sessions with theatre practitioners confirmed the need for affordable office space and dedicated rehearsal space that addresses the basic concerns discussed here. Th ere are many full time professional theatre companies in the city, requiring rehearsal space at similar times throughout the year, all currently sharing (effectively) one dedicated rehearsal space. It is recommended that one large rehearsal space is included in the space program, along with three small rehearsal spaces. These will accommodate theprofessionalcompanies, in addition to the individual practitioners and future emerging practitioners who could not be accounted for in our stakeholder group.
• Size and proportion of the rehearsal space don’t match that of intended venue
• Acoustics and lights are not available as per requirement
• Space is too small/ no storage space
• No flexibility of space
• Too expensive
• Cannot be accessed regularly
Dedicated individual rehearsal rooms should be included in the building program to accommodate the needs of the many individual musicians seeking an alternative dedicated private rehearsal space.
• Size and proportion of the rehearsal space don’t match that of intended venue
• Teaching is often conducted in administrative offices, don’t have the acoustic qualities
• Relocating instruments and PAsystems is time consuming and can present risk factors such as loss or damage of property, and physical injury.
• Too expensive
• Cannot be accessed regularly
• Size and proportion of the rehearsal space don’t match that of intended venue
• No flexibility of space
• Relocating instruments and PAsystems is time consuming and can present risk factors such as loss or damage of property, and physical injury.
• Too expensive
• Cannot be accessed regularly
A new space that could accommodate classes, workshops and the hosting ofsessionswouldbeideal.It is recommended to include one rehearsal/instructional room in the space program.
Comfortable,clean space with good acoustics. In addition, the supply of minimal items like a standard PA system and major large scale equipment (i.e. - drum kit and grand piano) would be beneficial.
Rehearsal spaces need to be of a similar same size and shape as the performance venues throughout the city. This is to ensure that a rehearsing group can accurately anticipate what will happen on stage. According the stakeholder group, it can be a challenging process to find a rehearsal space at all, let alone one that matches the size and proportion of the intended venue for the performance.
Appropriate Design:
Improper floor surfaces (either dirty, or inappropriate material) can cause accident andinjury,orbringbackoldinjuries.Dancestudiosrequirespecificfloorconstruction, high ceilings, mirrors or dance bars, and audio equipment in order to properly serve the purposes of dancers.
Neutrality:
Many of the studios have themed décors to suit their commercial identity (yoga studio, belly dance studio etc.) that can be distracting and even dangerous. In the very least, an overwhelming décor can inhibit the creative process.
Acoustics and Lighting:
Rehearsing groups require spaces that also mimic the technical capacity of existing theatres in the city. Light and sound is an integral part of any performance, and the ability to experiment with these elements throughout the rehearsal is crucial to the creative process.
Consistency:
A unique scheduling approach is needed for dance troupes and individual dancers. It has been recommended that longer term rental scheduling (a number of weeks –similar to theatre rehearsal) is required to properly rehearse for a production.
A dedicated professional studio space, specifically for dance, with consistent reasonable rental rates and suitable floor conditions is required. According to the stakeholder group, the existing handful of spaces that are “available” for rent by professional dance groups are for the most part, not up to the basic standard required by the discipline. There appears to be enough demand in the metropolitan area to justify including one large dance studio for rehearsal of large productions, and one smaller studio for smaller productions. The studio design should address the issues listed above. Each studio can have moveable partition walls in order to further subdivide the space and follow construction and design strategies which fulfil the requirements.
There is a desire amongst the arts community in all disciplines to have a place that anchors the creative energy of the city. At the same time that it provides a space for people to work, it must also be a venue for the arts scene to take place, full of life and energy and people.
Common/ public spaces are essential to an arts centre because they help to cultivate an audience and patrons for the arts in city. By having a space for the general public to be connected to the arts community, arts practice is demystified and becomes more meaningful to the community. Another reason why the addition of common spaces is crucial to the space program, is that they are a key potential area to create revenue that will help keep the centre alive.
Figure 4.1.1: Common Public Spaces
An event space, that has the capacity to support food and bar service, could host weddings, conferences, office parties etc. The guests from these events will open the centre up to a whole new demographic of non-artists, and help break down barriers between fine arts and the general public.
A gallery will provide another connection point to the public, and help generate revenue. It will help tenant artists promote their work, and create client bases. Profits from the gallery would be divided between the artists and the centre. The retail aspect of this gallery would include not only visual art, but also books, music, magazines, show tickets, t-shirts, or any other merchandise from the work produced at the centre.
A cafe/bar is an essential component of any arts centre, and also works harmoniously with the event space. It is also a destination for the public: this part of the centre will be busy at all times, serving coffee and lunch to people during the workday, and a hip spot to have a glass of wine in the evenings, before heading to a show.
Figure 4.1.2: Cafe/Bar
An ‘Information Commons’ area within the centre could be a key connection point, where the general public could access an archive of information about local or even global art. It could house periodicals for artists’ reference, and catalogue all of the work produced in the centre and be an Arts library; a rich resource for the community.
Figure 4.1.3: Library/Archive
ParametersSub- DivisionKHOJ, New DelhiSpace118, Mumbai
Building Configuration
Character
Spaces
Studios for artists
Art Residency Library Workshop area Multi-disciplinary hall Cafe & Facilities Administration
Studios for artists Art Residency Library Storage area Workshop area Kitchen & Facilities Administration Spatial Relationships
Entrance
Circulation
Mobility
Light
Amenities
Views
Art Residency
Studios Hall Administration Bedrooms
Cafe Kitchen
Entrance Art Residency
Administration Storage Workshop Library Bedrooms Kitchen
• Building planned with intermediate courtyards
• No artificial light required during the day
• Daylight and ventilation achieved though large windows facing the courtyard
• Located in khirkee extension, posh locations of Delhi
• Can be easily approached by public and professionals
• Easy access to various art institutions and organizations
• In-house library and workshop area
Front facade opening on street, all the windows open in the inner courtyard
• Building planned with around a courtyard
• No artificial light required during the day
• Daylight and ventilation achieved though courtyard and semi-open corridors
• Opportunity to work with and learn from various artists
• Access to industrial workshops where wood and metal work can be done on a large as well as small scales
• Easy access to various art institutions and organizations
No direct interaction with the outer road, a dead wall of the workshop faces slum
CollaborationAmong artistsNo collaborationCollaboration
ParametersSub- Division Kanoria Arts Centre, Ahm Cona, Mumbai
Building Configuration
Zoning
Character
Spaces
Art gallery Painting, Sculpture, Ceramic Studios
Classrooms Open Air Theatre Library Cafe
Community studio Community office Library space Private office Printmaking studio Community kitchen Three bedrooms Spatial Relationships
Open Built Open Built
Entrance
Circulation
Open air theatre Studios Galleries Library Cafe
Mobility
Light
• Building planned around courtyard and open-air theatre
• No artificial light required during the day
• Semi-open studios with openable partitions facing the courtyard
• Located in CEPT campus, access to its facilities and inhouse library data
Amenities
• Can be easily approached by public and professionals
• Easy access to various art institutions and organizations
Views
Entrance from cept campus and is easily accessible by public, blends with landscape
Print-making studio Bedrooms Kitchen
Community Studio Library space
• Constructed as a residential bungalow with no inner courtyards
• Artificial light required during the day
• Openings provided in each room for light and ventilation
• Opportunity to work and spend time with people from different professions
• Home- like- stay as it is a renovated residence acc. to the needs of residents
• In-house library and printmaking studio
Sits in an isolated residential setting in the corner of the city and is not directly visible
CollaborationAmong artistsCollaborationNo collaboration
ParametersSub- Division1ShantiRoad, BLRGarhi Studio, Delhi
Spaces
Studios for artists Art Residency Library Courtyard Galleries Kitchen & Facilities
Building Configuration
Mobility
Light
Character
Views
Studios for painting, sculpture & graphics Workshop area Courtyard Galleries Canteen & Facilities
• Building planned with intermediate courtyards
• No artificial light required during the day
• Daylight and ventilation achieved though large windows opening in courtyard
• Opportunity to work with and learn from artisans and artists
• Located in heart of the city surrounded by galleries and art residencies
• Easily accessible to pubic and professionals
• In-house library & workshop
Front facade opening on street, all the windows open in the inner courtyard
• Building planned around courtyard with corridors along edges
• Artificial light required during the day
• Daylight and ventilation achieved though courtyard
• Opportunity to work with and learn from artisans and artists
• Can be easily approached by public and professionals
• Associations with institutions and organizations
• Studio for painting, sculpture & graphics
Entrance can be easily identified from the road, the campus is not directly visible
Isolated
Building Configuration (Spatial relationships)
Private workspaces negate social interactions and increase communication gap leading to unmotivated, unproductive, and overly stressed attitude
Integrated yet unique
The workspace is about connecting with others, taking inspiration from different professions and their surroundings but also maintaining individuality
Zoning (Mobility)
Ergonomics is achieved through workarounds
Character (Light & Ventilation)
Minimum scope of customization in the space with less or no spill out spaces
Spacious, comfortable, inspiring environments which are active, social and flexible in nature
Geography of location (Amenities)
Effectiveness through single focus physical space and technology are misaligned. Lack of capital funding to afford equipment and facilities
Work effectiveness is achieved through multitasking and technology is the enabler. Physical space and technology are well integrated
Collaboration
Difficult to build and maintain contacts/ network
Opportunity of mingling, networking, and learning from fellow professions. Building large network through potential clients/ projects
Interactive workspaces are the physical manifestations of economic, demographic and cultural forces. The changing nature of work culture is transforming spaces into open, flexible locales where separate professions and disciplines more easily converge. The changing demographic of workers is altering designs to be more comfortable, social and collaborative with technology.
While there are considerable studies on the design of interactive workspaces, this research has arrived at design through a different path: first by understanding the changing nature of work culture in the creative industry, their influence on professionals and their work and then, ultimately, how this implicates design.
With the methodology followed here for the analysis, we get to the conclusion that collaboration of various professions from the creative industry through interactive workspaces enhances creativity and innovation.
One may refer to the parameters and the process derived in the study for a refined comprehension in the process of architectural design. Few of the strategies for facilitating collaboration through design as follows:
1) Building configuration:
a) Intermingling of various professions through spatial design- Applying creative spatialstrategiestostimulatebothmixing(ofpeopleanddisciplines)andcollaboration (between people and across disciplines).
Profession 1 and profession 2 are sharing a floor but still unable to collaborate given the physical barrier (wall)
Both the professions can begin to communicate and interact by meeting in common public spaces
The potential for communication and collaboration is now maximized as they have direct contact
b)Adjacency-based flexible architectural layout- Flexibility requires thinking through allaspectsofspace,includingtheapplicationofmoveablewalls,furniture,machinery and other components.
c) Striking the balance: Designing for both collaborative and individual work- Factors favouring an open office in an innovation setting include a reduction of silos and hierarchies, an increased level of interaction and face-to-face communication, increased flexibility, and increased spatial efficiencies. But it also leads to increased noise and loss of needed privacy. Therefore a hybrid approach should be adopted where both open and closed spaces are integrated across the floor. There is a need for a balance between interactive (social) and private (reflective) space. Some spaces are intentional in creating thick, soundproof walls in key areas to signal the value of privacy and quiet, others liberally apply glass walls to give visual cues of openness, though activities and spaces are segmented. Women’s Toilet
Before even stepping inside, the overall building configuration—its shape, size and height—will define the extent to which a company can successfully facilitate faceto-face encounters. Single storey or same floor locations should be preferred over multiple stories.
Other strategies of manipulating the physical to strengthen connections between people, including the following:
a) An Atrium- An often effective but expensive approach to reducing barriers across floors, where part of the floor section, often the core, is removed. When designed well, an atrium can be an important leveller.
b) Internal staircases-The grand internal staircase, has become a smaller, neglected version of its prior self—physically moved to the edge of floor plates and far away from any real activity. In its revived constitution, staircases can be located centrally in buildings offering both the depth and decoration to facilitate encounters and interaction as people traverse floors.
c) Corridors- They can be designed to create serendipitous encounters. Corridors canhelpfunnelpeopleawayfromspecificzonestominimizenoiseforartistsneeding to concentrate. Also some corridors evolve into unstructured gathering places.
The character of space should aid in communication and collaboration among the users of the building. Spaces should be designed and carved in a way that the work towards achieving the follow goals:
• Create visual transparency—visually connect people outside with the uses and activities inside.
• Create permeability—spaces where people are willing to enter and own.
The changing nature of technology naturally leads to real challenges in predicting how technologies will change the workspace. Technologies found in interactive workspaces can be collapsed into three general classifications:
a) Technology as a collaboration and communication tool
b) Technology as a research and/or production tool- Using facilities such as 3D printers, In-situ visualization etc.
c)Technologyasadisplayandshowcasetool-Installingamenitiessuchasinteractive LED video walls, digital whiteboards, interactive screens, interactive tables etc.
As discussed in in section 4.1.4 Individual Workspaces- Common spaces, facilities such as event spaces, galleries, cafe/bar, library/ archives should be provided to increase interactions, therefore leading to source to inspiration. This aids in enhancing creativity and innovation.
Artisan: A worker in a skilled trade, especially one that involves making things by hand.
Artist: Any person pursuing a profession from the creative industry.
BuildingConfiguration:Relativearrangementofspace;bothopenandenclosedspaces.
Character: Quality of space.
Collaboration: To work together with another person or organization for a particular purpose or activity.
Creative Industry: Includes professions such as artists, painters, sculptors, writers, musicians, illustrators, photographers, stand-up comedians and designers such as web designers, fashion designers, and graphic designers.
Cultural Expression: Forms of art by which culture on the region is expressed.
Interactive: Allowing the exchange of information between the users or involving communication among people; can be physical interaction or visual interaction.
Literature Arts: Imaginative or creative writing, especially of recognized artistic value.
Performing Arts: Forms of creative activity that are performed in front of an audience, such as drama, music, and dance.
Spatial Requirements: Spaces required to house specific functions or activities.
VisualArts: Creative art whose products are to be appreciated by sight, such as painting, sculpture, installations etc.
Workspaces: Area allotted for work and storage facilities.
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