Pattern making 2 by The Busride Design Studio + The BusrideLAB

PATTERN MAKING #2 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 design 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. Weâ&#x20AC;&#x2122;ve explored pattern-making in various ways, this presentation tries to chronicle a few of these approaches and understand their grammar.

PATTERNS CREATE SYSTEMS In the conception of a pattern family one discovers the building blocks of a new universe of ideas. Self-similarity, fractal growth, exponentially increasing or decreasing complexity, self recursive and self referencing patterns are all subtle variations of the base algorithms used to create vastly different end results.

PATTERNS ARE IDEA GENERATORS By imposing a pattern onto a surface, site or object, one then is able to mentally move on to notice other defining characteristics, like light, shadow, material and reflection. Pattern creates a base layer of design intent that then finds a multiplicity of expression through all the secondary iterations. Pattern forms a bedrock of alignments and rhythms, from which eccentric extensions find order.

PATTERNS ARE CODES Intelligent pattern applications serve as codes or even manuals to decode spaces with. Floor patterns conceal or suggest movement and congregation, hurried rushes or slow pauses, contemplative stops or hasty getaways. A ceiling may code relationships between disparate objects. When used consciously they suggest inter-relationships, and create meaning between the objects and surfaces that populate spaces.

PATTERNS REGULATE COMPLEXITY Committing to a pattern means committing to a way of solving complexity. Various issues of site alignments, rhythms and incidental inclusions are given a sense of coherence by judiciously selecting the right pattern. The right pattern will create a clear roadmap for adaptation across various materials and processes, and structure the entire process in an extremely seamless way.

PATTERNS CREATE BRIDGES Patterns span the distances between ornamentation and function, between code and utility, between Art and Workshop labour. When used meaningfully patterns hold clues to end results while beautifying the present usage as well. Patterns could spell out function, and in doing so, selfgenerate meaning for their context.

#1 ORIGAMETES

A RANGE OF TILES FOR BHARAT FLOORINGS

Our very first engagement with Bharat Floorings began almost a decade ago, using their Heritage tile products, and evolved into an extremely fun collaborative process over the course of multiple projects. Recently we worked on an paper-folding pattern inspired family of tiles, called the Origametes. Our ideas were informed by their inherent modular nature, the simplicity of the repeated square tile, and how we could build multiple variations through very simple straightforward designs. We visualised these products for large spans, primarily for application in commercial space.

For inspiration to create patterns for the iconic tile company, we looked at the art of paper folding for inspiration. Origami forms the base technique for creating fantastic variations with a simple square sheet of paper, which to us instantly resonated with the idea of a tile and the myriad forms that arise from intelligent uses of orientation and pattern.

THE ORIGAMETES

The Metamorphosis range was visualised as a shape-shifter, the idea was to create a relatively simple series of tiles, that could demonstrate huge diversity in application depending on how it was rotated and laid. We experimented with hundreds of iterations to create patterns both on a smaller ‘carpet’ scale, as well as a larger ‘hall’ scale, to push the limits of metamorphosis and tessellation.

THE ORIGAMETES : METAMORPHOSIS RANGE PATTERN DEVELOPMENT

THE ORIGAMETES : GIZA RANGE LARGE SPAN PATTERN DEVELOPMENT

The Azul-Iket range of patterns evolved from site observations around mistakes made while laying precisely pre-visualised patterns. We started wondering if we could create a range that would look good no matter what orientation it was laid in, and aligned up automatically. The idea was to create a process that virtually eliminated errors and allowed faster install times.

THE ORIGAMETES : AZUL-IKET RANGE PATTERN DEVELOPMENT

The Giza range was an exploration in movement, to be applied primarily across larger spans, or in a way where one had to code movement patterns, like a corridor or hall. We wanted to create a range that suggested directionality, and a narrative that could be built up gradually, and create slow optical illusions of sorts.

THE ORIGAMETES : GIZA RANGE PATTERN DEVELOPMENT

One of the simplest applications of the Giza range to code entrances and exits at the Taj Mahal Tea house. We restored a damaged old floor by patching in more contemporary inserts to clearly differentiate between the old and the new. We also used a combination of other patterns to demarcate areas within the floor-scape, and suggest navigation within the Heritage property.

An interesting usage of the Giza range allowed us to suggest movement toward a central void at The Folly House, Pune. The pattern guides the eye to the centre of the grey space, which is coded to indicate the proximity of a folding bed that eventually folds into place just above. The surrounding ochre part of the pattern allowed us to synergise with the Jaisalmer stone floor as well, to create a seamless transition.

Through Pattern for Bharat Tiles, we tried to • Create a thematic connect through Origami patterns across different explorations with geometry • Create parallels between paper-folding and the development of larger span flooring patterns • Imply movement and directionality through subtle modulations of the chosen pattern. • Create a simple series with immense flexibility, by reducing the focus on individual tiles and exploring pattern development in exhaustive detail • Complement their existing strong heritage range with a series intended to appeal to a modern sensibility.

#2 THE BLUE FROG

ACOUSTIC CLUB : PUNE

The approach to pattern-making at the BlueFROGs varied significantly from the other projects weâ&#x20AC;&#x2122;ve worked on. BlueFrog prided itself on itâ&#x20AC;&#x2122;s unmatched audio experience and being a venue of choice for artists and audiences alike. We used pattern-making to synergise better with their stringent acoustic guidelines to better serve the Audio experience. The BlueFROGs both served as variations of the iconic Bombay venue ( designed by SERIE Architects ) which we created unique adaptations of. The germ of the idea started with a shift in the basic building block of the Club.

One of our first ideas was to shift our typological building block from the existing circular one to a hexagonal one. This allowed us to stack closer, optimising space between pods, and work in a new form language while staying true to the process of creating the new BlueFROG.

BLUE FROG PUNE HEXAGONAL 3D SURFACING : SURFACE 1

BLUE FROG PUNE HEXAGONAL 3D SURFACING : MODULE EXPLORATIONS

BLUE FROG PUNE HEXAGONAL 3D SURFACING : MODULE EXPLORATIONS : THE COCOON

+0.0" hall of fame

hall of fame

+12"

CAMILLE STORAGE

+24.0"

+18.0"

+12.0"

P.O.S SERVICE STATION

HOSTES S

+6.0"

SIGNAGE

TOILET 2.7 SQ M

+24.0"

+0.0"

SOUNDBOOTH

+6"

+12"

+0.0"

+6.0"

P.O.S SERVICE STATION

+12.0"

+18.0"

+24.0"

INDOOR COVERS 32(BOOTH) 10(TALL TABLES) 7(BAR)

OUTDOOR COVERS 22(HIGH TABLES) 20(BOOTH) 9(BAR)

OPEN OUTDOOR KITCHEN 250 SQ FT

OPEN INDOOR KITCHEN 150 SQ FT

+18.0"

+12.0"

+6.0"

ADMINISTRATION 17.5 SQ M

+12.0"

P.O.S

MACHINE ROOM 2.5 SQ M

OFFICE 7.3 SQ M

GREEN ROOM 5 SQ M

+0.0"

+6.0"

+12.0"

+18.0"

+12.0"

P.O.S

INDOOR BAR

+12" OUTDOOR BAR

COVERS 22(TABLES) 8(BAR)

In an effort to create the best audio experience, we tried to create strong symmetries, for sound to propagate in the best way possible from the source on stage.

hall of fame

+0.0"

Once we worked in the hexagonal unit, symmetries and organisation started appearing on the floor-plan.

ENTRY (RAMP UP TO 12")

RECEPTION

hall of fame

+12"

+18"

ENT RY SER VICE

SERVER ROOM 2 SQ M

STUDY 3D MODELS : VISUALISATION BLUEFROG PUNE

SPACE VISUALISATION BLUEFROG PUNE

The hexagon base module then became the formal language for adaptation onto all elements, ranging from door profiles and cabinetry details, to acoustic patterns and wood framing. We extended this idea across all elements at the BlueFROG to create a singular coherent formal language.

Pattern making at BlueFROG helped us decide the path to solve various emerging site issues and constraints, from perforations in timber surfaces to create bass traps, to creating the acoustic baffle panels that regulate sound throughout the club. Pattern-making took on an extremely functional role here, helping resolve multiple issues.

THE BLUE FROG

ACOUSTIC CLUB : BANGALORE

BlueFROG Bangalore was our attempt to adapt the hexagonal pattern to a very different site. Where Pune was a low-ceilinged, single height long property, Bangalore had a lofty height double volume with a connected outdoor. Our approach was to start applying the same patterned approach to the new property, to discover details and symmetries on the new site.

GROUND FLOOR LAYOUT BLUEFROG BANGALORE

MEZZANINE LAYOUT BLUEFROG BANGALORE

REFLECTED CEILING PLAN / ACOUSTIC PANELLING BLUEFROG BANGALORE

The framing of the ceiling, work in progress. The ceiling plan required to have reflection as well as absorption, which required a complicated framing design, allowing for mounting of both kinds of panels. Add to this the stage lighting trusses, sound mounts and air-conditioning, and the ceiling layout became a sub project in itself.

Through Pattern at BlueFROG we tried to • Structure stringent acoustic guidelines and use them to generate a design outcome through patternmaking • Carve out symmetries on asymmetrical sites to ensure a better audio performance and experience • Create a distinct form language to both depart from and pay homage to the initial iconic design • Solve functionality of tighter packaging and smaller pods using a variation of the selected pattern, by moving typology from circle to hexagon • Create a scaleable process for larger roll-out, through pattern-making.

#3 MASALABAR GASTROPUB

At MasalaBar in bandra, we were offered a fantastic site, with the epic sunset we had grown up watching, and the opportunity to work on a very open brief. We decided to pay homage to the view, and adapt a unique approach through pattern-making. We aimed to create an Indian-inspired motif to synergise with the concept, and then interpret it purely based on the epic views. The idea was to create a patterned shell, running across the entire property, and then select transparency and opacity, reflection and refraction, hardness and softness purely based on what that pattern encountered.

PRELIMINARY MOTIF IDEAS MASALABAR, BANDRA

Initial pattern explorations at MasalaBar aimed to study various densities of application to understand the variety of grid sizes we could work with and create all the variety of functions needed. We combined the few selected motifs to create denser and rarer areas within the same grid. The idea was to see how versatile we could make the hexagonsquare tessellation, and by varying size and density of corrugation purely on a 2 dimensional surface. This preceded the move to materials or site relevance, and existed as a pure graphic exercise.

Material explorations on the selected motifs

Folded geometrics using the developed motifs

The finished ceiling mockup experimented with the idea of reflecting the fantastic light-play from the windows to create an optical funhouse experience. In an effort to gold-tint the light entering, we used specifically aged mirrors and patinas, to magnify light in the darkish site. Through this experiment we arrived at the idea of working with a purely candle-lit bar, the pattern created the necessary reflectivity and optical complexity required to elevate the lighting idea beyond the ordinary.

The intent for the windows created the opportunity for an expanded and rotated version of the same pattern, to interpret as a section of a Kaleidoscope. We intended the windows to stick out of the facade like light wells, and refract and curate the view for each guest, customised for each vantage point. We stood in front of each window, and defined levels of transparency and opacity based on the view at sunset. This allowed us to place magnifying glass precisely, to allow for the sunâ&#x20AC;&#x2122;s colours to pop momentarily at the exact moment it went into the Bandra ocean.

Sunset at the MasalaBar

Pattern exploration at Bar Back : Complete reflectivity

In-house experiments with working images

MasalaBar, Bandra

Through Pattern at MasalaBar we tried to • Create infinite opportunities to then adapt to site conditions and requirements • Create an optical fun-house using expanded and contracted version of the same base pattern • Allow the base pattern to flow in and out of the site’s signature view and features, and create areas that open to the view and some that curate the mess • Suggest the North-Indian roots of the concept by creating a Delhi inspired geometrical reference • Solve emerging functional problems on site in a stylish contextual way

#4 LIFW INSTALLATIONS INSTALLATION ART AT THE LAKME FASHION WEEKS

For the consecutive Lakme Fashion weeks we developed a base patterned geometry to be executed as two iterations, to save costs. The idea was to create the first instalment in muslin, and the second â&#x20AC;&#x2DC;monsoonâ&#x20AC;&#x2122; week in bubble-wrap, adapting the same base and geometries. The Fashion week installations explored a large chandelier format for place-making, allowing long lines of visibility, to signify important locations within the large pavilion. Guests could then navigate towards these for events and shows. Pattern helped us create interesting geometries for repeated interpretation.

Base working geometry : Lakme Fashion week chandeliers

Through Pattern with the LIFW installations we tried to • Create economical and reusable structures, with different skins for repeat applications • Create a modular yet artistic system, that allowed for quick and easy installation on site • Articulate a self-replicating hanging system, and emergent geometry thereof. • Use the patterns on the rig to define larger areas of fabrics, and smaller geometrical stresses of rope-work and eccentric hanging objects. • Use a combination of draping and tensioned ropes to create an interesting composition

#5 THE FOLLY HOUSE CODED CEILING AND FURNITURE

The Folly house was a residence design with a simple two word brief, ‘Make mistakes’. We created a patterned approach to the entire home, choosing to code functionality into the home using patterns. Each surface is subtly coded, resulting in a pattern that we in turn used as a decor idea. The pattern allowed us to speak of the relationships between otherwise obscurely eccentric objects. Each surface held clues to it’s function. The cabinet coded hinges and opening orientations, the ceiling created relationships between seemingly disparate parts of the home, the curtains indicate how they will eventually move. The Folly house was replete with the patterns of it’s potential and desired usage.

The Door handles and veneer patterns indicate the 3 sliding shutterâ&#x20AC;&#x2122;s movement pattern

The ceiling patterns corrugate above the Living Folly, to stress itâ&#x20AC;&#x2122;s presence. The circle demarcates it.

Lines on the ceiling connect the Living Folly with the Study follow, implying an existing relationship.

Lines above the Study folly code itâ&#x20AC;&#x2122;s closed position, allowing clues to itâ&#x20AC;&#x2122;s movement.

The Floor pattern and ceiling motif both hint the appearance of a function in the centre of the room.

The circle signifies an existing function above the Guest Bed, which typically is folded away.

We used a bold striped monochrome pattern to create an optic funhouse Powder room

Through Pattern at the Folly house, we tried to • Code hidden functionality into the conception of the house, to suggest relationships • Derive ornament and surface decoration, and still stay true to original function • Add a layer of intelligence, to outline the original plan of the design intent many years after the house is inhabited • Create a diverse tapestry of materials that follow the same guiding principle and pattern

FIN