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M22-COURSE-ID4602 Contemporary Interior Practices

Swetha

PID21369

Abstract:

“Architecture is visual art where building speaks for themselves” – Julia Morgan Architecture has always helped in creating identity. Whether it may be in creating a visual image of the city, the symbolism of the power, or an ideology, it has been a resource that tells us about the past and connects the present and lives through the future. It had always been a visual source of communication, informing the culture, and the change, it reflects the idea of the society, their skills, the resources they possess, and so on.

But what are the mechanisms in it that allow it to become connected to the culture and context? How ornaments do acts as one such mechanism?

As read in Architectural Review-Journal: ‘Whether we think of the appliqué classicism of Postmodernism or the thin veneer of decorative facades engendered by digital production, ornament today is almost inevitably seen at a remove. That alienation is at the heart of the problem - and it is a problem because the ornament is the language through which architecture communicates with a broader public and each remove puts another degree of separation between the profession and the public.’ (Architectural review 2015)

Ornaments have long been a feature of architectural design. They represented varied symbolic meanings at various times, but the goal was always to interact with societies.

Though the function of ornament and the role they play in creating the expression of the space is still debated. There is no doubt that ornamentation acts as a visual resource in communicating from the Greek column capital, roman domes, gothic articulated vaults and spires, art Novo and art deco motifs and geometry, and so on. It had always been a feature in creating the expression of the space. Even in modern architecture which resisted all the ornament the transparency and detailing act as the ornament in conveying the expression of the space

The line between architecture and ornamentation is muddled in contemporary architecture. Modern embellishments no longer serve as the building's afterthought, rather they make up the entire framework of the façade. This enables the structure to express multiple symbolic meanings and provides visitors with a multi-sensory experience.

So what is considered an ornament and function keep changing with time and style? And what are ornaments in contemporary times what is their role of it in today’s context?

Defining Ornament and ornamentation:

“The ornament is that which, superadded to utility renders the object more acceptable through bestowing upon it an amount of beauty which it would not otherwise possess“ – (the art of decorative design)

Dresser definition of ornaments Today every word of the context evokes an argument from the statement superadded to the utility” which suggests that the ornament lacks functionality. The notion of beauty is a measurable thing

When we think about ornament our mind goes to the 19th century, highly decorated Victorian rooms containing opulent furnishings, tapestries, patterned wallpaper, rich colors, flowers, and sentimental pictures and drawings. It represented status and opulence with the revival of the past styles in the newfound material in that locomotive era. (Ornament 1977)

It is this image of ornamentation, which in the previous centuries was a rational design decision with a challenge to invention, skill, and a trail of taste the ornament becomes a matter of conscience.

This idea of the ornament is what made modern architecture resist the whole idea of ornamentation. In today’s context definition of Ornaments are any element added to an otherwise merely structural form, usually for purposes of decoration or embellishment.

Ornamentation is applied embellishment in various styles that are distinguishing characteristics of buildings, furniture, and household items. (https://www.britannica.com/topic/ornamentationarchitecture n.d.)

For a much simpler understanding, an ornament is a form of decorative detail that helps to beautify. These decorations are used to symbolize and produce a visual image. but can also be functional The ornamentation is the imagery that an ornament gives like grandeur, royalty, power, ideology, and so on ornamentation can be decorative identification of the structure.

According to the Britannica, ornament can be categorized into 3 major categories

Mimetic or imitative ornament mimetic, or imitative, ornament, the forms of which have certain definite meanings or symbolic significance; applied ornament, intended to add beauty to a structure but extrinsic to it; and organic ornament, inherent in the building’s function or materials.

Arguments on ornamentation

Ornamentation has been the subject of controversy for more than a century, with opposing and praising sides.

The concept of ornamentation was altered by the industrial age's increased use of machines in the production of goods. As a result of mass production and the desire for economic expansion, ornaments are suddenly inexpensive and only used as decorations The Modernists' moralizing arguments result from the new ethical obligation to remove decoration. The ornamentation is described as a tool used by capital to make and market more worthless goods. Marx, Morris, and Loos' arguments were in opposition to these industrial ornaments. (Architectural review 2015)

William Morris was a strong opponent of Victorian ornament and was particularly disturbed by decorative arts produced by machines in mass quantity with no value but to decorate. He observed the terrible working conditions of the factories, their environmental consequences on the surrounding countryside, and the exploitation of cheap labor that led to shoddy products. The influence of this socialist idea is what made him oppose modern ornament and start the Arts and Crafts movement. (Roots of Arts and Crafts n.d.)

Whereas Adolf Loos’s ‘Ornament and Crime’. Disregarded ornaments and proceeded toward ore functioncentered approach to architecture

“Weep out Behold the true greatness of our age that it can no longer bring forth ornament. We have vanquished decoration and broken through into an ornament less world” - Ornament and crime – Adolf loos (Loos 1913)

Architects of the 20th century rejected traditional forms and techniques in favor of what was believed to be a more rational building process based on program, construction techniques, and humanitarian considerations. The symbolism of the traditional form no longer had meaning for "the new world "and was consequently discarded.

Adolf loos believed the new style of our age is the one that is functional and lacks any sort of ornament. The new style should be based on a rational and logical conception where the honesty of the material and the honesty in the construction is considered the key feature.

Ornamentation and modernism

Modernists with their ideology to resist all nonfunctional symbolism redefined the whole idea of ornamentation and use simple forms being true to the material and detailing to create e structural expression of the building

In his book 'Complexity and Contradiction,' Rober Venturi provided the most complex understanding of ornament among architects and designers today. There was an important viewpoint toward re-educating architects about symbolism. (Robert Venturi: Complexity and Contradictio 1966) This resulted in a groundbreaking investigation into the perceptual and symbolic content of ornament. For him, the perception of modernism was quite orthodox, and his words challenged it. The use of a single 'Ionic' column by Robert Venturi in his addition to the Allen Memorial Art Museum speaks to the manipulation of ornament and ornament found in traditional orders.

Frank Lloyd Wright was in favor of ornament. FL Wright used the technique of ornament intenerated the plan for his buildings.

Louis Sullivan's works were intended to express the building's character with an idea of materiality and technique Sullivan intended to find a sensitive mixture of form, structure, and ornament in his buildings. This mixture produced certain effects in displaying the function and detail of the building. This amalgamation of structure and expressing a character developed surface ornament in his buildings. In Sullivan’s work, the system of ornament was indeed contained by the structural form. But it has a strong dependence on botanic shapes and growth, which came from the movements in Europe like art & crafts and Art Nouveau. The expression of ornament can effectively express and glorify the function of the building.

Sullivan's urban architecture was largely based on an emphasis on the dynamic lines and patterns produced by modern steel-frame construction, but he kept interspersed bands and patches of naturalistic ornament on parts of his buildings' facades.

The International Style, in which Walter Gropius and Le Corbusier were the chief figures, used transparency as the tool of ornamentation. It helps to achieve the direct representation of other f architectural elements of space structure and program. Like in the example I’m pei's louvre pyramid transparency is used to create the expression of the building. The material and the detailing itself become ornaments to it With the Fagus factory of Walter Gropius the stripped aesthetic of Bauhaus is used to ornament the interior where the material becomes the expression of the building and the ornament.

It wasn't until the 1970s, with the advent of the Post-Modernist architectural movement, that the International Style's functionalism was moderated to allow for the modest use of ornament, including classical motifs. Postmodernism used décor and deconstructivism used the geometry of the collage as the style in place of transparency. All these are used as the tool of ornament in constructing the building expression.

With the changing notion of what ornament is and what function it performs, we have entered the new age of ornamentation which is both functional and symbolic.

Ornament’s in the contemporary age

According to the book “the function of ornament “by farshid moussavi

The previously used tools for constructing the building experience have to be re-evaluated. Currently, there is a growing number of building types that are “blank” for example department stores, shopping malls, Cineplex’s, libraries, museum power plants, and so on. These buildings are independent of the inside-outside relationship. New environmental regulations designed to achieve greater energy efficiency further contributed to this new condition with the contemporary technology and the need for sealed and controlled environments necessitate bigger service voids, plant rooms, storage spaces, and server rooms, increasing the size of these buildings.. Glass now alone is unable to provide the effective level of the environment control and needs to enhance through layering.

“Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly, and growth. It is through ornament that material transmits effects. Ornament is therefore necessary and inseparable from the object. It is not a mask determined a priori to create specific meanings (as in Postmodernism), even though it does contribute to contingent or involuntary signification (a characteristic of all forms). It has no intention to decorate, and there is in it no hidden meaning. At the best of times, ornament becomes an “empty sign” capable of generating an unlimited number of resonances. Whereas décor and representation promoted by Postmodernism correspond to a self-limiting movement from the possible to the real which cannot create anything new, the ornament is in line with nonrepresentational thought and the creative actualization of the virtual. The decoration is contingent and produces “communication” and resemblance. Ornament is necessary and produces effects and resonance (The function of ornament 2008)

'Functionalism' has been taken as a modern approach in which beauty was referred to as an ornament that becomes a functional attribute to the efficiency of a built environment. 'Ornament indeed corresponded with the concept of beauty but the return of ornament is based on the condition of it being functional.

The role of the architects need no longer involve the entire fabric of the building, it can now address the surface of the envelope through to the entire fabric.

This liberation of interior and shell helped in developing interior spaces with fewer constrain and more opportunities to explore. This helped in the development of interior elements which is independent of the architecture with new-age ornamentation.

Types of new age ornament

Ornaments in contemporary practice can be categorized into 3 major categories. It is divided based on the role they play in the space-making for the interior.

Structural ornament

It deals with the spatiality of a volume This type of ornamentation helps in the organization of the interior space. It uses the tools like form structure screens and surfaces. It is when the space-making elements help in building the overall organization to create the expression. The form helps the organization create a hierarchy and navigation. The structure includes various typologies of structural frameworks. Screens are the layering in the interior spaces which connect the interior to the exterior. Surfaces are the other layers that help in space-making. The structural ornaments create expression through junctions and details too

Functional ornament

It deals with the content and context of the space. It talks about the program, function, branding, color, texture, etc. . . . When ornamentation is used to satisfy certain functions like visual narrative pathfinding, branding act. The color texture lighting pattern is used in the space-making element to satisfy the function.

Digital ornament

It is an aesthetic ornament that deals with the effects. It is the resultant interconnection between spatiality and context that produces the ornaments which transmit unique effects in every interior design project.

New methods and systems of fabrication and construction have opened up the possibilities for contrast and customization. The new age ornamentation is variedly experimenting with form, structure, and construction by using technology as an active tool

In contemporary interiors, the digital, visual, tactile, sensuous, representative, structural, functional, and constructional facets justify the usage of ornament metaphorically and directly making ornament a profound mode of concepts and expression.

Case study of ornament in contemporary times:

The case study below are few examples of what and how ornament is used in contemporary times and its function

The goal was to create a concept that had strong ties to Asian culture and traditions.

Identity, Journey, and Memory were the three key points that were defined at the outset of the project. Neri&Hu aspired to create a space that appeals to all senses, that captures the customer as they approach the building that creates an experience that continues to unfold throughout the journey through the store, and leaves a strong impression on visitors long after they have left.

To achieve this they have used the brass lattice as the space-making element it fills the space, and carves out the parts unfolding the journey. These brass lattice structure function both as a structural and functional ornament. These help in defining the volume and also creating functional spaces. It renders the effect of infinite space. The brand of the flagship store and its ideology of the brand is visually communicated to the user through the ornament in the interior

AMORE Sulwhasoo Flagship Store SEOUL, SOUTH KOREA by Neri&Hu Design and Research Office

Figure 1 – Interiors of flagship store designed by Neri and Hu (amore-sulwhasoo-flagship-store-neri-and-hu-design-andresearch-office n.d.)

Starbucks Coffee - FUKUOKA-SHI, JAPAN - Kengo Kuma & Associates

Using a unique system of weaving thin wood diagonally, the project aimed to create a structure that blends in with such a townscape. This weaved element runs through the wall and ceiling surfaces making the space. Here it is the ornament that creates the expression of the space that defines the volume, giving it a sense of direction and exploring more complicated joints.

Digital Art Museum – Tokyo – Mori Building Company

It is an example of what is previously defined as the blank building in the function of ornament. The whole experience of the space is created using digital aid. It takes a borderless approach to art architecture and interior. The expression of the space is through user interaction with the art. Digital ornament is used to create a dimensionless experience.

Figure 2 Interior of Starbucks Coffee - FUKUOKA-SHI, JAPAN - Kengo Kuma & Associates (starbucks-coffee-kengo-kumaassociates n.d.)

Figure 3 – digital art museum – Tokyo (https://www.azuremagazine.com/ n.d.)

Wire Mesh Installation - Emirate of Abu Dhabi - Design Lab Experience

UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio

The Seed Cathedral was built with 60,000 transparent fiber optic rods, each with a different seed at the tip. The assemblage of the displayed seeds forms curvilinear patterns all over the building, whereas the tips of the seeds form a hairy texture on the outside. The pavilion alternates between inducing tactility with its distinctive assembly of fiber rods and evoking surface effects with patterns that are perceived differently from a distance and up close. This optical fiber structure serves all structural-functional aesthetic ornament in the interior

Figure 4 – Wire mesh Installation in the emirates of Abu Dhabi by design lab Experience - (wire-mesh-installation- n.d.)

This installation depicts the classical elements projected in the space through the layering of wire mesh. The light takes the role of ornament rendering the material and creating the visual effect of space.

Figure 5 – seed cathedral – UK pavilion - (uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio n.d.)

Conclusion:

The idea of what forms the ornament keeps changing with time. So its function. From being the imitation, covering the errors, and symbol of power it had shifted to more functional and expressive features in the interior spaces.

The ornamentation helps in creating identity, and visual language, it expresses the socio-cultural feature of the society it acts as a tool of narration and visual communication.

Apart from this ornament informs about the craftsmanship of the society the technique or skill processed and it tests the extreme of material property.

In this new digital era, the ornament has also evolved to absorb the changes. With ai and digital innovation, the ornaments help in creating an interactive experience in space.

Thus the definition of what form an ornament keeps changing but ornament and its function of creating an expression in the space stays.

References

Archdaily . n.d. amore-sulwhasoo-flagship-store-Neri-and-hu-design-and-research-office.

https://www.archdaily.com/788282/amore-sulwhasoo-flagship-store-neri-and-hu-design-and-researchoffice.

. n.d. Starbucks-coffee-Kengo-Kuma-associates. https://www.archdaily.com/211943/starbucks-coffee-kengokuma-associates?ad_medium=gallery.

. n.d. wire-mesh-installation- https://www.archdaily.com/871641/edoardo-tresoldi-wire-mesh-installationfeatures-architectural-fragments-constructed-at-1-1.

Archdaily. n.d. UK-pavilion-for-shanghai-world-expo-2010-heatherwick-studio.

https://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwickstudio?ad_medium=gallery.

Architectural Review. 2015. "‘Ornament is the language through which architecture communicates with a broader public." ORNAMENT.

Dresser, Christopher. 1862. the art of decorative design.

https://www.azuremagazine.com/. n.d. Mori-building-digital-art-museum.

https://www.azuremagazine.com/article/mori-building-digital-art-museum/.

https://www.britannica.com/. n.d.

https://www.britannica.com/topic/ornamentation-architecture.

https://www.utoledo.edu/. n.d. Roots of Arts and Crafts.

https://www.utoledo.edu/library/canaday/exhibits/artsandcrafts/roots.html#:~:text=Morris%20was%20a ppalled%20by%20the,no%20function%20but%20to%20decorate.

kieran, Stephen. 1977. Ornament.

kubo, Farshid moussavi, and Michael. 2008. The function of ornament.

Loos, Adolf. 1913. Ornament and Crime.

Venturi, Robert. 1966. Robert Venturi: Complexity and Contradiction.

List of Figures

Figure 1 – Interiors of flagship store designed by Neri and Hu (more-sulwhasoo-flagship-store-Neri-and-hu-designand-research-office n.d.)

8

Figure 2 Interior of Starbucks Coffee - FUKUOKA-SHI, JAPAN - Kengo Kuma & Associates (Starbucks-coffee-KengoKuma-associates n.d.)....................................................................................................................................................9

Figure 3 – digital art museum – Tokyo (https://www.azuremagazine.com/ n.d.)

Figure

9

10

4 – Wire mesh Installation in emirates of Abu Dhabi by design lab Experience - (wire-mesh-installation- n.d.)

Figure 5 – seed cathedral – UK pavilion - (uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio n.d.)

ATTENTION TO DETAIL

“God is in details”

Attention to detail has always been the fundamental principle behind any design. Details are the one that shapes the idea of a design. From Mies van der, Arthur Erickson's details are expression, Peter Zumberck's details as an inheriting part of the design, Tado Ando's detail idea of light, Carlo Scarpa's junctions, and the list goes on. . Every designer's eye for detail is what makes them who they are, help to create their signature

“The details are details. They make the product. The connections, the connections, the connections. It will in the end be these details that give the product its life.” - Charles Eames notice the ordinary; preserve the ephemeral; don’t delegate understanding; These back-to-basics mantras fed into everything Charles Eames did, which is why their work always felt so fresh and different, not only user-friendly but also easy on the eye. Nehal Bhatt’s STUDIO WORKS works follow the same.

In all her works function of the product supersedes all other factors next comes the materiality and then the form. All her furniture puts the comfort of the user as the main criteria the shape of the design and the material satisfies this. In works of seating from the swing sofa and the bar stool, all are designed and experimented with different forms and materials but keeping comfort as the key factor. Her collection of swings with different materials from cane, and wood to weave ropes shows her exploration of connection. Her bar stool design designed with wood metal and the rope show her craftsmanship and attention to detail. The metal used as the seating support which emerges from the wooden legs makes the whole furniture look light. To it, the yellow-colored thread weaved is a juxtaposition with the wood and metal. The contrast adds to the pop of color in the space. The wood legs and the backrest of the stool with the rounded edges and smooth finishing highlight and bring out the texture of the wood and adds to the detail. The junction between the metal and wood is designed in a way that the visual height of the stool is balanced and it looks lighter.

The other interesting piece was her jigsaw table. A free-standing coffee table made with wood and metal. the idea of the jigsaw puzzle is visualized in the form of each puzzle piece connecting one another in the arrangement but placed in different levels the connection points become the legs of the furniture pieces which visually paper detached to the furniture connected to it through metal plates the legs of the tables is turned wood complimenting with the other part so the tables where wood takes the smooth and softer geometry highlighting the metal attachments. The groove detail in the table defines the idea of the jigsaw puzzle.

In all her works he had experimented with material by highlighting its nature, with junctions and connections creating the expression of her idea altogether making her product functional and comforting to the user and the context.

Experimenting with Materiality

“Even the brick wants to be something” – Louise I khan

The experience of the space is created through the expression that a material creates in the space. It shows material potential in terms of its strength its flexibility its transparency etc With the usage designer has the ability to change the visual perception of the material. Let it be Louies I khan play with bricks Mies van der rohe details of steel and glass, Toyo ito fluidity through hollow column, Tado ando‘s concrete, Kengu kummas wood, Sanna usage of glass and the architects expression is create through the use of material and the techniques of detailing it which had changed the way we look at the material forever.

The experimenting with the expression and perception of material had always been one of the important feature behind any architecture. This experimentation in different scale are observed in different works of Sferablu architects. From experimenting with the Corian material for tables with cantilever testing its stability and strength.

In souq bistro and grill a Mediterranean themed restaurant designed with groined vaulted ceiling flooring with Greek blue and white china mosaic creating the experience of the place To create an identity of the brand a wall is created to display the pickled glass jar. The glass shelf is to house 6 tons weight pickled jar. So design the glass shelf without any frame was a challenge to resolve toughened glass was the first choice but the weight of it and the strength of it under compression did not work instead kaccha glass was used it worked perfectly fine for this purpose the strength under compression was more compared to the toughened glass making it a perfect choice. Thus glass strength is put to test in this project.

With the project office building for Steefo engineering manufacturer of tmt bars. The parametric form was designed were the steel is cladded to create the look of folded metal sheets. The corten steel was choose to clad around. The metal in the form of folded sheet in the slanting parametric form made it appear lighter. The whole visual perception of metal being the stronger, structural material is made to appear lighter and softer material.

In this project vansali the inspiration was from the brutalist style of architecture from Brussels. The concrete was choose as the primary material. The exposed concrete look to emphasis the style was done. But the expression of the concrete is changed with the use of bamboo scaffolding creating the vertical patterned texture of concrete throughout, these vertical bamboo pattern gives the building relatable human scale and proportion making it relatable to the context it is in.

Meethi mishit mati ghar was an example for a sustainable and ecofriendly design. The ramped earth was used as the major construction material. The material expression of earth is emphasized in the façade through lines of different colored soil. Repurposed wooden windows are used making it more sustainable.

Through these project different materials are put to experiment, testing its potential and changing its usual perception.

Expression through materials in krishnagrecha design studio

Living in the era of social media which influences our everyday activity from food to finance, architecture and design are no exception. In this era where the statement of contemporary is redefined with every likes and scrolls the role of the designer to design space not just for the user but also for the photographs. In this world of visuals the role of the designer in looming their practice where racing with the changing trend is inevitable.

Through all the projects the spaces designed has the strong visual image. Through the colors the materiality, lighting making the space friendly for Instagram posts. Along with this there is strong senses of honesty to the material is seen in the works. The balance of natural and artificial light reveals the nature of the material allowing it to lead the space with its color texture building the character of the space.

“There is a clear difference between men and women in the material and their use. Women have been surrounded by soft and solid material in a completely different way than man. They have a different experience of the textile and substance. Women have lived in a completely different world of materials, myself on very direct with regards to materials.” – Susanne using 1982.

Like quoted the honesty towards the material and the sense of materiality is argued in her projects. The mood board being the important design decision in in the process is always in the warm tones complementing and highlighting the natural materials. All tough her projects concept differ with the client’s needs the idea of experimenting with materials and patterned remains constant throughout.

From the hangout space which is also a gallery where colorfully patterns are juxtaposition against white wall guiding the viewer to the art works. The neutral composition helps to build the perfect backdrop for changing art work.

Natural materials like stone and wood are experimented in different ways from changing the texture of them making pattern and tessellations with them layering them in contrasting ways helps to change the whole expression of the material and create the contrasting experience to the user.

In office design with the wooden countertop over the stone hedge with the wooden backdrop and distinct lighting is a very good example. The whole notion of usual use of materials and the expression they create in the space is broken in a simple but strong manor. Having the stone for countertop is usual. Here the strong in this raw form unfinished rough with is natural texture and grain is used as the leg for the table. In it the void of birds convey the powerful message. The materials itself acts as the ornamentation. The ambient natural light helps material to shine.

Similar in her other projects is the natural interior color range with the warmth of the wood and texture of stone makes spaces look opulent. But in the spaces workspaces where function supersedes other factor the space is kept simple with subtle Platte. The light here plays in important role it guides and divides the spaces.

Her projects following the contemporary trends helps one to evolve with change and address the future easily

Organic forms in contemporary times

“There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners.”

- Antonio Gaudi

Architects working with organic form have always had a unique signature style. Their buildings are like an expression of nature's art and an experiment to try and study. The mystery behind organic forms and their connection to nature has always been an integral part of the design. Form and function relation, finding a correct balance between curves, and solving it structurally without compromising the form has always been challenging features in organic architecture. It challenges the material potential and changes the perception of both material and space. Shaile banker works are no exception in experimenting with organic forms. It gave us an idea of how organic forms are derived and constructed.

Garden villa, a 30,000 sg ft house with courtyards and gardens is one such project which plays with curves and organic forms. Luxury house with 2 levels shared by 2 clients demanding access and garden area in both the level was the main requirement to address. To accommodate, this different ramped garden was created which connects the ground to the 2nd level making the roof the part of the garden with ramped walkways with plants connecting it the house behaved like a nested garden blurring the line between the built and natural. The structure was designed to complement this style therefore instead of straight columns similar to Gaudi's style were used. The same kind of detailing was carried on throughout in the handrail, opening walls furniture, etc. . Also through this project, one could see the importance the scale played in perceiving organic forms and curves.

Jagged house smaller scale compared to the previous with the area of 3500sgft experimented with the form of a staggered box. The box is rotated from an axis that is broken to accommodate the double height glazing the form itself shades the glazing providing the house with ample sunlight. The different area is lit at a different time of the day.

Contrasting to this the corporate office building function super ceded the form and was given priority, a fun play of color was used as the key feature in differentiating zones and function.

And finally, the large-scale resort where the artificial pond was created and villas were arranged around it followed the straight lines contrasting the garden villa and jagged house. It gave raised some questioning like whether shouldn’t we address the context of the site and design the build with it instead of changing the nature of the context. Are organic forms becoming the symbol of luxury instead in contemporary architecture, unlike vernacular architecture where it was an extension of nature?

The function of ornament in contemporary interior practices

Part a: Ornament and ornamentation

Defining what is ornamentation and ornament – why and how ornaments in interior spaces function

Part b: Arguments on ornamentation

Industrial revolution and ornamentation – modern architecture and resist to ornamentation – argument of Marx, Morris, loos and vevam – Stripping of ornament as an ethical duty

Part c: ornamentation in modernism

Stripped aesthetic of Bauhaus – art and craft movement – example of ornaments in modern interior – le corb – impei – changing ornaments

Part d: function of ornaments – with example of contemporary architects

Ornament as a symbol – to hide mistake – status symbol – story telling – architects mark- material expression – scale and proportion – imitation

Part e: ornament in contemporary interior

Experimenting with form – structure and surfaces – with examples

Reference:

Function of ornament – edited by farshid moussavi and Michel kubo

Lost meaning of classical architecture: speculations on ornament from Vitruvius to venturi – heresy

George

Ornament – Kieran Stephen

Swetha suresh – PID21369

The role of color in interior spaces

Color being the first visual element which catches the attention, has profound influence on a space and the user Color as a design element had played an important role in different design movement. Like modern movement where white that is lack of color is used as the symbolism of clean and against ornamentation In de stijl movement use of primary color is the language of the style. In Memphis movement use of bright pop color grasping the attention is seen as the signature of the style influencing the design of 90es. It has the ability to make or break the space by changing the apparent size and proportion of the space.

The different role color played in interior spaces can be observed in different projects. The rhizome building where the whole interior is designing with bamboo as the main element created the muted palette for the colors to work. The color is used to zone different spaces. The different color represents different areas and different activity performed.

In the Gandhi ashram shop the color is used divide and change the proportion of the space and make the space look lighter. Yellow as a color in light beige interior brings life to the space. In the same way making the space visually look bigger than it exists. In this project color is used as one of the cost efficient method which can create an instant change in the space.

In the contemporary residence shagal house color is added through different materials in different layers. Materials adds different color texture and pattern to the space like from the onyx marble travertine stone cladding, and the landscape around, with the pool adjacent creating the first layer. To it bright pop colored painting are juxtaposition driving ones attention towards it It helps in visually dividing the volumes in the space and creating the focuses.

Color as the element in creating the feel of opulence is observed in the grandfather clock house where the color is added in the interior through the use of material which creates the feel of opulence. The use of wooden carved roofing, the marbled flooring the paintings and the inlay of gold metal creates the warm toned interior which symbolizes the richness and the power.

Bharmal residence an example of classical style where different texture of same color is layer in the space the serene white interior metaphorically represent the classic style. The color are added through the upholsteries and draperies like the velvet in the furniture against the wood. The glass and metal chandelier adds to the ornaments of the classical style and the gold colored metal inlay with wood and white surfaces highlights the character of the style.

Apog residence characterized as raw in which the whole palette of material is more rustic with different tones of grey which are layered through concrete grey colored flooring white walls glass and metal acts as the blank canvas for the color and texture in the upholsteries of the furniture to pop out. The graffiti wall further draws attention. The terrazzo, the texture wall with plants gives one the feel of Mediterranean

Thus color as a design element is used in different ways from zoning the space, changing its proportion, and expression of a language in the movement or a style