Pattern making

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PATTERN MAKING

PATTERN AS GENERATOR


PATTERN : A regular intelligible form or sequence discernible in the way in which something happens or is done.


When abstracting patterns from pre-existing conditions, one tends to create fundamentally new connections. Alignments and rhythms on site tend to be generators of patterned approaches, the incidental nature of light that creates sharp shadows may inform sciagraphy inspired patterns, a singular pre-conceived form may spawn the deign direction for an entire project. The idea of chasing pattern-making across various scales is always to explore geometry, tessellation, progressive generative motifs, and other unifying formal features, that lend a coherence across varying site conditions. The discovery of a meaningful pattern is oddly satisfying, one that allows the mind to follow a line and make sense of the intent, and a misalignment in these patterns tends to disturb us in unnatural ways. We’ve explored pattern-making in various ways, this presentation tries to chronicle a few of these approaches and understand their grammar.


PATTERNS EXPRESS HARMONY A fundamental attribute of Pattern making is the search for harmonious alignments, naturally occurring rhythms or pre-existing site conditions that we could potentially use to create synergies. The resultant patterns tend to create coherence across diverse sites, scales and application.


PATTERNS ARE EVOCATIVE Patterns have the ability to evoke emotion, allude to influences and create mental images of great potency. By selected and applying the right pattern judiciously we can create very specific mind-spaces, that seem counterintuitive to the mathematical dispassionate design process. Patterns can also order interactions, and apply to workflows and efficiencies on layouts, as well as the end surface decoration.


PATTERNS ARE SCALEABLE Pattern making tends to create applications across various scales, which makes them very powerful tools. From inlay work on the edge of a table, to massive installations, they have the unique ability of transmutability, without a large generation loss in the translation. They find use across scales and across dimensions, seamlessly moving from 2Dimensionality to 3Dimensionality. Patterns suggest systems, not artefacts, making them inherently scalefriendly.


PATTERNS ARE MINIMAL-MAXIMAL The Minimalism of selected the Pattern making approach, the reduction to a single form of importance, and the maximalism of it’s application, as complex surfaces across 3 axes curves and a variety of graphic languages, makes the approach extremely fun to play with. The Maximal-Minimal slider approach creates a spectrum of possibilities to draw our own balance towards.


PATTERNS ARE EFFICIENT The base geometries of patterns makes them inherently efficient, both with material usage as well as resources. The base mathematics makes them easy to specify, fabricate and install, allowing projects to be conducted at ease over long distances and with varied installation partners.


#1 AKA1/AKA2

RESTO-BARS / KALAGHODA AND WORLI


At the two AKA Cafes, we used to very different sites to explore variations of the same pattern-making approach. The parent brand being a textile / apparel manufacturing company, the idea of deriving a Bombay + Pattern connect from the site and their own rich pattern making experience seemed a great direction to explore. By studying existing rhythms on both sites, we tried to use patternmaking as a generator for floor and ceiling layouts, installation and wall treatments, decoration and details, from the micro elements to the macro site rhythms, taking a maximal approach to patterning.


INITIAL PATTERN EXPLORATIONS BOMBAY DECO


ADAPTING TO SITE ALIGNMENTS AKA KALA GHODA


ELEVATION MOCK-UP AKA KALA GHODA


POLISHED INLAY SAMPLE AKA KALA GHODA


In addition to the 2 Dimensional pattern experiments we experimented with a 3 Dimensional idea to create a woven chandelier of sorts, that would stress the strong symmetries on site in a manner that creates a stylish backdrop for the site, as well as literally stitches up the staircase with an additional ceiling frame. The idea was to explore pattern in a non-traditional way, to create a large sculptural element.



The patterned symmetries then apply themselves onto all details, from lighting intents to AC Grills, in an effort to create a synergetic rhythm across the entire fit-out.





At the next site, a proposed all-day Cafe space at Worli, we decided to use the same pattern, although used in a completely different way. The idea was to use the same generator, but apply it in an extremely casual way to create a bright colour-filled space. The idea for AKA Worli was to activate parts of an otherwise dark property, by exploring large backlit walls, and use the pattern functionally to create varying illumination levels in the space for usage at different times.







Through Pattern at AKA, we tried to • Create distinct site symmetries using signature lines available and accentuating these through design • Create a city connect by referencing the resultant Art Deco nature of excessive pattern-making • Create a distinct scaleable identity for the brand, and demonstrate two approaches of interpretation of the pattern for future application • Create a base geometry, for further application through different materials spanning a diverse range of variants.


#2 SMOKEHOUSE ROOM

NIGHTCLUB / TASTING ROOM / COCKTAIL BAR


Pattern making at Shroom began with the abstraction of a single shape, a tightly curved ovaloid triangle form, that for us became the basic building block for the entire 16,000 sq.ft experience. Shroom and Smokehouse Room heavily referenced the psychedelic experience, where forms and colours melt into an edgeless homogenous flow. We free-drew multiple large sheets of these forms, in an effort to create a unique pattern language for application across various scales and materials. The idea was to eliminate any corners, so as to not disturb the flow of lines and forms.



We started applying the newly developed patterns into various applications, from the identity of the Club, to window profiles, chairs and an overall approach to form-giving, by moving these sinuous ovaloids into multiple axes.




Applications for the patterns involved using multiple materials, processes and formats, spanning across the digital to the physical, ranging in complexity from simple profile cuts, to complex 4 axes curves. This single profusion of forms was meant to suggest the essence of the psychedelic experience, and the experienced unity of everything.


The forms developed for the entire property essentially resulted in the project turning out to become 16,000 sq.ft of sculpture, with limited reliance of drawings, since the resolution of forms worked better at full scale on site, the tightness and looseness of each curve becoming critical to it’s homogeneity.







Through Pattern at SHRoom, we tried to • Evoke the psychedelic experience, by creating an unnatural landscape of melting forms • Unify 3 diverse experiences, from the more elegant formal Tasting Room, to the shape-shifting Cocktail Bar, and the darker, more tripped-out Nightclub. • Achieve a balanced expression between Minimal thought and Maximal expression • Frame the antiquity of the beautiful view of the Qutub Heritage Precinct with postmodern lenses • Explore the diversity of materials and process to express a singular patterned idea


#3 BINDAAS

DIVE BAR


At Bindaas, a new entrant into the vibrant Lan Kwai Fong precinct in Hong Kong, we used a base hexagon pattern to corrugate and complicate, in various bright reflective applications, to suggest a brash carefree Indian attitude in line with the direction for food and drink of the new brand. The tiny site of Bindaas, a small hole-in-the-wall in Hong Kong underwent a complicated design fit-out, with parts made in India and assembled on site. The patterning approach also helped us to standardise dimensions and ensure a precise fit-out managed long distance from India. We created a bright colourful space, offset by muted concrete greys, to create a new identity for Bindaas.



Patterns at Bindaas were designed to integrate various functions, including display shelves and the bar back, and help align and integrate many different site conditions to achieve a degree of coherence. Materials were assigned based on functional requirements, glass mirror and concrete panels were interspersed to create a unique mix of reflectivity and pattern. The brash bold colour scheme was meant to help the brand stand out in the chaotic Lan Kwai Fong marketplace.


Facade elevations : Bindaas HK


Internal Elevations : Bindaas HK


The detritus of pattern-making





Through Pattern at Bindaas, we tried to • Suggest a brash, new, irreverent India inspired mind space to an international marketplace, in a maximal unapologetic way • Create a heavily decorated reflective space within a tiny site to maximise effect and work within site constraints • Unify disparate alignments and multiple levels on a sloping road, and create a coherent response to the street • Use local, easy-to-source materials in a new way, to suggest an India inspiration in an executable fashion • Create an easy pipeline for executing project across distance, in a way that the pattern unified dimensions and line-outs.


#4 FAB UNROUNDS JEWELLERY FACTORY FLOOR / DESIGN STUDIO


At the Fab Unrounds Factory floor, one of our initial ideas was to observe closely the form and pattern of the Diamond, central to the business and traditionally generator of the most complex cuts and geometries. The opportunity to see how the pattern of the stone could create work culture was very interesting to explore. We delved into a parallel study, one of factory-floor workflows, through long detailed workshops with the entire team and every level of work in the organisation. The other purely formal track focused on studying the varying geometries of the diamond and patterns generated by its cuts, in an effort to find synergies on plan between both approaches. Pattern provided directions on integrating the two.


Our primary intervention on the entire building was to develop a skin that accommodated and shielded various parts of the building, providing views where needed, shade where required, and privacy in parts. The skin boldly advertised the developed diamond-inspired patterns as organisational communication to the outside world.


SKIN ON THE FACADE


EXPERIENCE OF THE SKIN ON THE TERRACE


Strategic ceiling lighting inserts demarcate zones of congregation on the Factory workfloor, which were designed for cross collaboration. We used these folded patterned lamp inserts to advertise these zones on the factory floor, to encourage inter-departmental interactions. The idea was to create forced zones of interaction to minimise mistakes and internal confusions and delays.




Through Pattern at Fab Unrounds, we tried to • Use pattern in a dual fashion, to generate layout hierarchies along with surface ornamentation • Suggest the trade, and advertise it in a non-linear yet functional way to the outside world • Use pattern in varied scales, from inlay patterns and lamps, to cover the entire building facade integrating various functional requirements • Create a visceral connection between the organisation and its trade, from the formal characteristics to it’s intrinsic workflow and functioning


#5 THE TRENDS TROPHY

TROPHY DESIGN / ARTEFACT


The Trends Trophy was an interesting exploration of pattern, creating a “primordial soup” of prisms and then using that as a base for pulling out forms familiar to Architecture and Design. The idea was to create an adaptable terrain, one which future trophies could explore to create many variants allowing the uniqueness of each year’s trophies to add more meaning to the winning teams. We intended the Trophy to be a literal strong signifier of Design Trends to come, referencing the additive manufacturing paradigm, one that is still at the periphery of our profession.


We created detailed patterns from a sea of triangles first, then combining and re-combining them to create interesting base geometries. Once the 2 Dimensional pattern seemed interesting enough, we started plucking forms from this base into 3D, improvising as we went along.


Various stages in the development of the 3Dimensional pattern, slowly corrugating surfaces to increase complexity, exploring reverse forms and negative space along with the base pyramid geometry.


The Final 3D rendering of the Trophy, to check forms and finish options. We decided to change the final finish to the finalised matte dark silver after reviewing this rendition, to create a more sophisticated version.


UNPAINTED TEST SCULPT / FIRST 3D PRINT


PAINT WORK IN PROGRESS




PAINT WORK IN PROGRESS



Through Pattern in the Trends Trophy we tried to • Use an abstract generative 3-Dimensional pattern, that would form the base for any recognisable solid to grow out of, in a fractal crystalline way • Create a new kind of trophy, with a lot of detail, to allow for repeat viewing and find it’s way to the winner’s desk • Set a template for future experimentation and improvisation, by creating a Trophy “system”, not a more static Trophy “object” • Be heavily based in patter and hence allow for customisation and personalisation.


FIN


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