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Space Design

What is now proved was once only imagined

-William Blake


Without imagination, there would be no progress. Architecture has a huge part to play in the direction mankind advances. It is responsible for defining the multitude of interactions and dialogues among people, their surroundings and the circumstances that govern life itself. It also determines the direction of our future – sometimes adapting and evolving, at other times, defying norms, and hopefully, revolutionising the way we live and experience life. It is important that architecture constantly learns, reviving and reversing the way we live to ensure not only preservation of life but its budding and, without creativity and imagination this would be impossible.


This series explores the future of architecture by looking at various examples covering existing and upcoming buildings, and those ideas currently under research and development.


In the first part of the series, Zeitgeist will look at the Da Vinci Tower of Dubai, a dynamic 80-storey skyscraper by David Fisher.


What is Dynamic Architecture?

David Fisher defines it as:


architecture as part of the environment, adjusting to the sun and the wind, to the view and to our momentary requirements



The term ‘Dynamic’ is a discipline within mechanics responsible for movement of objects with the effect of forces. Movement of a building is known as Dynamic Architecture and it involves a fourth dimension – time. The beauty of Dynamic Architecture is that the building’s form and shape are constantly changing, making it fluid, while exhibiting the building’s ability to adapt to change.


The Beginning



At the mere age of five, David Fisher’s mother use to take him to watch the Mediterranean sunset every evening – a beautiful gift, to be able have dinner with a magnificent view everyday. From a very young age, Fisher was enamored by time, the only constant that is ever-changing. The sunsets made him reflect on life, its movement; a powerful visual – the sun consumed by the water and how it happened everyday!


The Eureka Moment



One late afternoon in New York, David Fisher was visiting a friend who lived on the 51st floor of the Olympic Tower. His friend and owner of the apartment said “David, did you notice that you can see the East River and the Hudson river both from my apartment, and nobody else in this building has this view. I am the only one who has such a view.” David replied, “Why don’t we rotate the entire floor so that everybody gets a view.” He went back and worked on it, discovering that if he rotated each floor separately with different speeds in different directions then the building would change shape continuously, and was astounded with the results.


From this point on, Fisher’s designs changed with time, not just in shape, but also in functionality.


Everything is changing and everything is changeable in our lives

– David Fisher



The Manifestation of Fisher’s Dream – The Da Vinci Tower, Dubai

David Fisher named it The Da Vinci tower in honor of Leonardo Da Vinci, one of the greatest visionaries and inventors.


Because Leonardo Da Vinci did everything; he invented from the gill box to the helicopter, the submarine to the milling machine…Everything, but, he didn’t think about one – the rotating building.

– David Fisher




So Fisher created the first rotating tower, The Da Vinci Tower, a concept yet to be executed. Planned construction is anticipated to commence this year and is to be completed by 2020.


The enormous, towering building would have floors that rotate, completing a 360-degree rotation every 90 minutes. So there would be no need to pay a higher price for the view you wished for, as you would be able to change the view of your suite anytime you wanted, seeing the sunrise and the sunset from the same suite that you live in. The suites would enjoy all four cardinal directions covering the building. Further, sustainable innovation is also evident as the tower would be equipped with wind turbines in between each floor within a 2 feet gap that generates electricity for the tenants and supports the energy requirement for the rotation. The penthouse residents would be able to park their car at their apartments. Not only will the building sustain the energy requirement for itself, but it will be the first digital building actually producing energy, and supplying energy to a further seven buildings in its neighbourhood.


Construction Methodology



Traditional construction takes 2000 workers, 6 weeks for 1 floor and 30 months for the entire building whereas dynamic architecture will take 90 workers, 6 days for 1 floor and 18 months for the entire building. This method of construction technique is the future. Dynamic architecture is keeping up with time, and changing with time. There are studies being conducted on prefabricated modules for building vertical cities especially in war-affected areas, where workforce and construction time play a crucial role. The building will be made in a factory and shipped directly to the site. Further, the ability to produce energy not only for itself but for the surrounding buildings is the future.


Mechanism of the building



Construction



Our Reflections



When the sky’s not the limit but the beginning, you will never stop yourself from imagining.


Imagining the impossible will draw a lot of criticism, but translate that into your challenge and a concern that you must address. It should never become a hindrance but rather a design parameter.


And how do you go about it? Creativity and passion will help you ride the storm and conquer the impossible – sometimes you may reach for the stars but you might walk away with the moon instead – no complaints there! The key though, apart from all these attributes, is the application of a holistic approach to the problem when deriving a solution – the framework of Design Thinking, which I am proud to say is a core part of the Zeitgeist process.




Raoul Parekh
Founder & Chief – Design Management

with research support by
Mahek Khan
Designer – Space




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Brand Strategy, Business Tips & How To's, Design Strategy, Space Design

At Zeitgeist, we design experiences for people.


The best way to do this we feel, is to design a space keeping its “soul” in mind.


For a private project, this “soul” may be reflective of an individual’s (or group’s) aspirations, personality or achievements. For a commercial project, it should be reflective of the venture’s brand. In both cases the experience is designed keeping the end user in mind.


The best opportunity to do this arises when a concept is born, but its personality (brand) has not yet been developed.


One of the instances where Zeitgeist had the opportunity to develop a brand and then give it life via a space and brand extensions was when a client presented us with their idea of developing an authentic Italian pizzeria in Whitefield, Bangalore.


Understanding The Personality

The project proposed by the client was for their flagship restaurant, which they had plans to expand into a chain in the future. Upon immersing ourselves into a Brand Development Workshop with the client, it was clear that their USP was to be an authentic Italian pizzeria.


As part of the Brand Audit process, we conducted in depth research into our target market – expatriates – using Focus Groups as our methodology for this particular project. We chose this method, since we were given a very clearly defined market segment. (You can read more about the relevance of Focus Groups in the brand development process in an earlier article of ours.)


From this we understood that the target market would respond well to a homely “mamas and papas” pizzeria – the kind you’d find in a quaint alley in Naples.


Further expanding on what our research revealed, we used the framework of design thinking to design the entire experience for the end user.




Once we were clear on the brand’s personality and had ensured that it represented a match between the client’s vision and the market’s desires and expectations, we set about the Brand Development process, beginning with ideating for names, logo direction, fonts and colour palettes we thought would work.


Now that the Brand Language we needed to develop was clear, we also began to work on integrating it into the design of the space.


The proposed site for the pizzeria was an abandoned 8000 sq. ft. industrial warehouse that had previously been used to manufacture aeronautical parts.


Speaking the Language

The finalised Brand Name, Affettato – Italian for “sliced”, represents authenticity, while alluding directly to the product.


Staying true to being authentic, we proposed retaining the feel of the old warehouse and developed a Space Design that would tie in nicely with the Industrial look trending across the globe. The idea was to give the customer the feeling that he could be at a trendy, hip restaurant in any part of the world.


Nothing says ‘authentic’ like inviting a customer into the process, and so we developed a plan wherein the kitchen wall would be conceptualised as the window to good Italian street food. In the same vein, we also designed a large, open pizza bar, allowing for a seamless transition between the indoor and outdoor spaces, while simultaneously working this idea into the design of the logo as well.




The Logo is framed by a large cutout, just like the bar – open and authentic; the triangles represent slices of pizza, while the sans serif font is in harmony with the trendy, industrial vibe of the brand and space.


Finally, we set about extending the brand language to the Brand Collateral – including the menu and branded merchandise like pasta sauce and wine bottles.






Tying It All Together

The benefit of interweaving the brand development process with the design of a space, is that it puts us in the advantageous position of first understanding the market we are designing for.


Once we understand the end user it becomes easier to design a brand and a space that speak to each other and to the end user, and does not end up being a disjointed, unsatisfactory experience – something that benefits neither the end user nor our client.


Do you have an innovative idea or a new venture just about to take off? Using the framework of design thinking, Zeitgeist can help you develop your brand’s personality, give it a unique voice and translate it into an experience of value to your customer.


Get in touch today.


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Space Design

Creating a sound photorealistic render involves staying true to a process that keeps the intention of the render in mind at all times.


An idea usually doesn’t immediately get translated into a final render. Rather, it is arrived at after several iterations that allow for subtle changes that can make all the difference to the final output.


These adjustments broadly come from two main areas – Elements & Textures, and Lighting.


Here’s a sneak peak into how we used these elements to create Zeitgeist’s ‘Wabi Sabi Hotel Lobby’ render from a couple of weeks ago.


Wabi Sabi is the Japanese aesthetic of embracing the beauty in imperfection. To achieve this, we brought together machine-cut marble and quarry waste into the waiting area of a hotel lobby.


ELEMENTS & TEXTURES

It began with a distressed finish wall, a water body, planters, light fixtures, benches and a reception table in the centre.

The table’s driftwood base fused to each crude edge accommodates the raw marble centrepiece and the meticulously cut Statuario slab hugs the curves of the cedar wood block it sits on.

Using the process of elimination, we brought in the warm, minimalist Zeitgeist touch. The video below shows how we moved the plants around, played with the lamp sizes and tried different arrangements for the benches, finally deciding to eliminate them entirely, along with the water body – all to give the unique reception desk the undivided attention it deserved.




LIGHTING

To make a good shot look great, it needs mood – and nothing does this better than the right lighting. The video below shows how we played with the light coming from the lamps, the ceiling and the water to stimulate thought and imagination, .




This illuminated the way to the two final shots of our hotel lobby render – raw, minimalist and Wabi Sabi.






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Space Design

GEOMETRY – Point, Circle, Triangle, Angle, Cube and so on are elements which can be described as vocabulary used to generate more complex architectural forms.


GEOMETRIZATION of architectural form rose from the desire to achieve an identity between conceived form and perceived form.


ARCHITECTURAL FORMS – Form in Architecture is not only related to space and its function; it also represents a meaning or a sign. It is also related to elements themselves; their arrangement and combination with each other, their relationship with each other (syntax); the meaning (semiotics) and its effect on people (pragmatics).

1. Space-defining element (related to use)

2. A sign (related to arrangement, significance and effect)

3. Structure (dependent on the laws of static structure and the strength of materials)


GENERATION OF ARCHITECTURAL FORM

There are 2 sets of elements:

The conceptual element (point, line, plane and volume)

The visual elements (shape, size, colour and texture)


CONCEPTUAL ELEMENTS OF ARCHITECTURAL FORM

Architectural forms and space can be narrowed down to 4 element types: points, lines, planes and volumes. Architectural elements are generally three-dimensional volumes defined by vertex(points), edges(lines), segments(planes).


DESIGN BRIEF

To create a ‘Centre for Islamic Art’ with 2 broad objectives:


1. To educate visitors about the history and tradition of Indo-Islamic art & crafts. Art includes architecture, the arts within books – miniature painting and calligraphy. Crafts include ceramics, glassware, metal ware and weaving.


2. To promote contemporary Islamic art, architecture, literature and performing arts. Some may be calligraphy and others miniature paintings. Many present-day artists paint in the miniature style.


The centre will invite artists and craftsmen, training people in arts and crafts through contemporary expressions via the studio and workshop areas. It will also function as an art gallery for artists to display their works and have exhibitions. To promote and raise awareness of the history of Indo-Islamic art, a provision for a small permanent exhibition area that displays various mediums that narrate, emphasise and preserve this dying art, which holds a significant place in the realm of Arts and Literature of a magnificent era.


Consideration was given to facilitate lectures and seminars by scholars from a multitude of disciplines including literary activities like poetry recitals, teaching Urdu and translation workshops from Urdu literature to Hindi, Marathi and English. There was also a requirement for housing for artists, faculty, and guest speakers. Finally, an area was required for screening documentary films and a small library.


All in all, a centre for history enthusiasts, art lovers, artists and scholars. A place which is open for all who are curious about Islamic art in India or want to learn and practice art as contemporary expression.


DESIGN INSPIRATION

Islamic Geometry – Almost all geometric compositions are set within a rectangle. A perfect composition is made when there are quarter star patterns on the corner and half stars on the border (See Image below).




√5 RECTANGLE-10 FOLDED STAR PATTERN COMPOSITION


This star pattern is known as the √5 rectangle. It is a tenfold star pattern. It is based on a circle divided into 5 (or 10) equal sections, and thus, the proportion of the is √5 rectangle.


DESIGN PROCESS

The design process was inspired by the geometry of the generation of architectural forms. (see intro)


THE CONCEPTUAL ELEMENT chosen for this project was the different geometric solids formed on the basis of an Islamic pattern.


THE VISUAL ELEMENT chosen for this project was an Islamic Pattern.


The site dimensions were in the ratio 5:6 and accordingly a pattern was designed in the same ratio using the principle of the perfect composition as discussed above, having quarter star patterns on the corners and half star patterns on the borders.




12 FOLDED STAR PATTERN COMPOSED UNTO A SITE PLAN




ZONING PLAN OF CENTER FOR ISLAMIC ARTS


DESIGN DEVELOPMENT

GUEST HOUSE PLAN ON SITE

For this article, we have focused on the design of the guest housing block within the Centre for Islamic Arts. As indicated in the diagram above, this area is half of the 12-pointed star pattern. The first objective was to zone it and create a program for the area. Here, the outer circle was defined as the green space, which then leads into the private spaces (indicated in dark grey in the image above).




ZONING OF GUEST HOUSE ROOF PLAN


Within the interior of the private space (the area indicated in light grey), there is an additional outdoor area with seating that faces a waterbody which forms the central core of the space. Hence, achieving a public space, private space & semi-public space. The image below illustrates the program in further detail.




DETAILED GUEST HOUSE PLAN


The spatial folded plate structure is made of glass-fibre reinforced concrete (GRC) with a metal framed Islamic pattern forming the glass skylight. The tile pattern on the floor is intentionally left incomplete at the central portion and that missing pattern is reflected on the sky light. At a specific time of the day, the sunlight completes the entire pattern on the floor – a beautiful way to integrate nature with art.




GUEST HOUSE ELEVATION


The roof of the guest house has a lever system allowing a portion of it to be raised or dropped from the front and back, allowing one to optimise the view facing the waterbody or the garden space along the periphery.


Using the principles of Islamic Patterns, which are interlaced and repetitive, we created a strong connect when it came to the planning of the guest house in context to its surrounding spaces. In this example, the interpretation of Islamic geometry through architectural design provokes the senses, heightens the experiences, and strengthens connections between various spaces and also within such surface modulated structures.




Mahek Khan
Designer – Space

in collaboration with
Raoul Parekh
Founder & Chief – Design Management




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Space Design
UNDERSTANDING THE IMPORTANCE OF GEOMETRY IN ARCHITECTURE

GEOMETRY – Point, Circle, Triangle, Angle, Cube and so on are elements which can be described as vocabulary used to generate more complex architectural forms.


GEOMETRIZATION of architectural form rose from the desire to achieve an identity between conceived form and perceived form.


ARCHITECTURAL FORMS – Form in Architecture is not only related to space and its function; it also represents a meaning or a sign. It is also related to elements themselves; their arrangement and combination with each other, their relationship with each other (syntax); the meaning (semiotics) and its effect on people (pragmatics).

1. Space-defining element (related to use)

2. A sign (related to arrangement, significance and effect)

3. Structure (dependent on the laws of static structure and the strength of materials)


GENERATION OF ARCHITECTURAL FORM

There are 2 sets of elements:

The conceptual element (point, line, plane and volume)

The visual elements (shape, size, colour and texture)


CONCEPTUAL ELEMENTS OF ARCHITECTURAL FORM

Architectural forms and space can be narrowed down to 4 element types: points, lines, planes and volumes. Architectural elements are generally three-dimensional volumes defined by vertex(points), edges(lines), segments(planes).


VISUAL ELEMENTS OF ARCHITECTURAL FORM

Three dimensional forms are seen differently from different angles and distances, under different lighting conditions and in different colour and texture. Elements to be independent of such variable situations: Shape, Texture, Light, Colour, Size & Scale.


HEXAGON– HEX-FACADE


DESIGN BRIEF

To design a skin structure having a hexagonal facade inspired by its Brand.


DESIGN INSPIRATION

The Hexagon logo prompted the design direction for this project. This was further reinforced by creating a link with nature – a beehive, a symbol of strength, tenacity, and a collective.





DESIGN PROCESS

The design process was inspired by the geometry of the generation of architectural forms. (see intro)


THE CONCEPTUAL ELEMENT chosen for this project was the

  • CUBE – It is the simplest of the rectangular solids. It has six surfaces, and each of these is a square which is equal in size to the other five. The angle between any two adjacent faces is a right angle. Because of the equality of its dimensions, the cube is a static form.


THE VISUAL ELEMENT chosen for this project was the hexagon.


But before exploring the hexagon, we started with the Square – the primary shape and in this case, the Square formed the extents of the unit. It is probably the most used shape in architecture. Most buildings are made from squares with other shapes added or subtracted from the square; it forms several bases for architecture. Squares appear on seven of the thirteen semi-regular solids, and their sides are parallel. Although the perimeter is probably the most efficient in a square, it is proportion-less. Using the truncation of the square, architects get a pattern of octagons with small squares in the open spaces. All the regular polygons whose number of sides divides evenly by four are suitable for architecture. This series is called the progression of the fourths. For example, squares, octagons, and dodecagons.


The next step was to incircle the square and divide it into 6 equal parts, thereby, forming the hexagon, the visual element.


  • HEXAGON – The most elementary shapes either singly or in combination are the regular polygons. They are symmetrical, equilateral, and equiangular. Combination & manipulation of grids like basic geometric figures (CIRCLE, TRIANGLE, SQUARE & RECTANGLE) by rotation, translation, overlapping and bisecting creates more complex architectural forms. The Hexagon is a six-sided polygon that is a highly tessellated regular polygon. Furthermore, six is a highly composite number that is considered as the 1st perfect number and, is the only number that is the sum and the product of three consecutive natural numbers (1,2,3).





DESIGN DEVELOPMENT

Using the principles of design – Harmony, Balance, Similarity and Emphasis – the architectural from was created. The skin of the building is determined by a CUBE & HEXAGON inscribed in a SQUARE. The aesthetics of the Hexagon window and 6 hexagons protruding out are titled UNIT A, while units titled UNIT B do not protrude. Together they form the components of the fascia of the Cuboid that compliments the scale of the skin and achieves emphasis.


In this example, the interpretation of the Hexagon Geometry, and Hexagon inscribed in a square in a cuboid architectural design provokes the senses and heightens the experience.


This was a strong way of emphasising the brand and giving it an identity, and was further reinforced by designing multiple Hexagons. The protrusion of some hexagons beyond the standard level of the facade of the building gave the fascia depth and a stronger personality rather than keeping it flat.




Mahek Khan
Designer, Space

in collaboration with
Raoul Parekh
Founder & Chief – Design Management



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Space Design

How do you ensure you will create your Client’s vision, but with your designer touch?



EMPATHISE – BRING OUT YOUR SOUL



Passion, dedication and detail will be the driving forces behind every project being a success. When you are designing the project, slip yourself into the Client’s shoes – and often this is no easy task! You have to think like the Client and eat, sleep and breathe like the Client to get the best out of the process. When you have meetings stay focused, attentive and sensitive, make note of phrases or points that stand out and always try to empathise.



BUILD A PERSONAL RAPPORT



Our process at Zeitgeist begins with a few casual meetings over a meal or a cuppa good coffee. Ask what music they like, what their childhood was like, where they grew up and what their interests are – keep it light. Get out of the “professional” bubble if you really want to build a personal rapport with you Client. The key is to get personal!



ADAPT INTO SHERLOCK



Here comes our design questionnaire. Think about how you frame your questions. It’s not just about aesthetic preferences. Get to know your Client’s daily routine, their personal hygiene routine, what they wear during the different times of the day, weekday and weekends. Find out what they enjoy doing with their free time at home and where. The point here is to get to know your Client and your passion will ensure that you go as deep as possible by probing them with the right questions without being afraid of getting too personal.



KEEP YOUR EARS AND EYES WIDE OPEN



The communication process throughout the project is key to ensuring a successful conversion of your Client’s vision. Constant dialogue and encouraging engagements throughout the course of your project with the Client will ensure a successful translation of your Client’s vision. Watch their body language and be a great listener. Keep repeating back to them what they say and summarising your understanding of what they are trying to say.



BE THE GURU



Finally, the binding agent to ensure that you, the designer, are still leading the vision of the project, is to become an encouraging and engaging leader on this journey. Ask what they know about design. Expose them to your understanding of design and lead the way in the process of discovering design.




Raoul Parekh
Founder & Chief – Design Management



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Space Design
UNDERSTANDING THE IMPORTANCE OF GEOMETRY IN ARCHITECTURE

GEOMETRY – Point, Circle, Triangle, Angle, Cube and so on are elements which can be described as vocabulary used to generate more complex architectural forms.


GEOMETRIZATION of architectural form rose from the desire to achieve an identity between conceived form and perceived form.


ARCHITECTURAL FORMS – Form in Architecture is not only related to space and its function; it also represents a meaning or a sign. It is also related to elements themselves; their arrangement and combination with each other, their relationship with each other (syntax); the meaning (semiotics) and its effect on people (pragmatics).

1. Space-defining element (related to use)
2. A sign (related to arrangement, significance and effect)
3. Structure (dependent on the laws of static structure and the strength of materials)

GENERATION OF ARCHITECTURAL FORM
There are 2 sets of elements:
The conceptual element (point, line, plane and volume)
The visual elements (shape, size, colour and texture)

CONCEPTUAL ELEMENTS OF ARCHITECTURAL FORM
Architectural forms and space can be narrowed down to 4 element types: points, lines, planes and volumes.
Architectural elements are generally three-dimensional volumes defined by vertex(points), edges(lines), segments(planes).

VISUAL ELEMENTS OF ARCHITECTURAL FORM
Three dimensional forms are seen differently from different angles and distances, under different lighting conditions and in different colour and texture. Elements to be independent of such variable situations: Shape, Texture, Light, Colour, Size & Scale.


DESIGN BRIEF

To design a Pyramidal Glass Restaurant & Bar


DESIGN INSPIRATION

The company’s logo emphasised a pyramidal shape, which they wanted translated into their space. Being a F&B project, with the bar as one of the key functions of the space, the pyramidal form was proposed to house the bar. This was further reinforced by the generation of a number of triangles on the faces of the pyramid.





DESIGN PROCESS

The design process was inspired by geometry of the generation of architectural forms. (see intro)
The conceptual element chosen for this project was the PYRAMID – a geometric solid having a triangular, square or polygonal base and triangular sides which meet at a point.
The visual element chosen for this project was the TRIANGLE – another important shape in both geometry and architecture. All the regular polygons, prisms, pyramids and solids are dependent on the appropriate triangle (for eg: isosceles triangle, scalene triangle and equilateral triangle)
The triangle as an aesthetic and structural element is interesting as it has an adaptive nature, allowing for complex structures to be embedded within the simple triangular form. The pieces are both minimal and complex at the same time.





All four faces of the pyramid are divided into 16 triangles, with each of the 16 triangles having a patterned panel.





DESIGN DEVELOPMENT

Using the principles of design – Hierarchy, Proportion, Similarities, Balance and Emphasis – the architectural from has been created. The form of the building is determined by triangles and a pyramid. The monumental appearance of the bar with glazing and back-lit brass metal plates as the facia of the pyramid compliments the scale of the pyramid and emphasises it.




In this example, the interpretation of triangle geometry and triangulation within architectural design provokes the senses and the experience.


90-degree angles create spaces; other angles create experiences.

  - AR. FAIZAN KAZI


Read about the geometrization of architectural form – circle & sphere here.




Mahek Khan
Designer, Space

in collaboration with
Raoul Parekh
Founder & Chief – Design Management





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Space Design

When I started writing this article, I was going in the direction of walking our readers through the Louvre, Abu Dhabi. Then I realised that, thanks to the Internet, any one curious enough could see the multiple YouTube videos and documentaries that exist on the subject, so why bother.

It then hit me that apart from the beauty and splendour, what is it that is so amazing about this feat? What can we all learn from this?


HOW TO DREAM BIG

There are many lessons from Jean Nouvel’s bold attempt at the Louvre Abu Dhabi. For us at Zeitgeist, it’s about dreaming, challenging the norms and pushing the boundaries, yet being sensitive to the context, and, in fact, embracing it – something Pritzker Laureate, Jean Nouvel, holds dear to his heart and is at the forefront of all his works.

He doesn’t believe in a particular style; the style is derived based on its surroundings. He once wrote, “The future of architecture is not architectural” and has followed what he then stated: architecture is not an autonomous discipline; one must look beyond architecture to push the boundaries and the future of architecture.


MAKING THE BIG DREAM A REALITY

So how do I process this magnificent creation? When you dream big, you allow yourself to be free; free from the shackles of norms, society, discipline – of the conventional way. Achieving this is no easy task. Fear of the unknown, fear of being judged, and most important, fear of failure govern all of us; a common trait within all us “common folk”.

And this is one of the fundamental differences between us folk and those that have achieved such greatness. Awareness is a very handy tool; be aware at every point when you hear that inner voice warning you or stopping you. Don’t use the words “but”, “no” and “not possible” because when you do, you are holding yourself back. Be open minded and let the creative juices flow.


Passion and pride are also traits that sit at the forefront of creative geniuses like Jean Nouvel. Passion drives you to explore, to study, to discover. Knowledge and the willingness to constantly learn and grow will open more doors in your journey to greatness.



“I am mad, mad about architecture… But, I suspect many of my friends and heroes who have preceded me on this stage suffer from the same affliction.”

– Jean Nouvel


Pride, although sometimes looked upon as a sin, can actually be an asset if applied in the right mindset. Humility helps govern this “sin” to a very powerful place, as with dedication, commitment, and effort – characteristics sought out by the greatest firms and the need of the hour for entrepreneurs trying to “make it in the big world”. With pride and humility come collaboration, without which nothing is possible. As Nouvel said, “Architecture means the adaptation of the condition of a place to a given time by the willpower, desire and knowledge of human beings. I could never do this alone. That’s why I’m not here alone, but with many of the companions who have done this with me…”



LESSONS FOR DESIGNERS

Bringing it all together finally, is Jean Nouvel’s mantra of respecting the context; embracing the surroundings; highlighting the history;

As Jean Nouvel said during his Pritzker acceptance speech, “Architecture means transformation; organizing the mutation of what is already there. It means to reveal, to give direction. It means prolonging lived history and its traces of past lives, listening to the breathing of a living place, to its pulsations, interpreting its rhythms in order to create.”








So, what do I take from a great like Jean Nouvel to our team at Zeitgeist and the client’s we service?

A powerful imagery; a juxtaposition so impactful that only a bold visionaire could perceive – in a desert where you have little or no rainfall throughout the year, Jean Novel made it rain light!





Raoul Parekh
Founder & Chief
Design Management



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Space Design
UNDERSTANDING THE IMPORTANCE OF GEOMETRY IN ARCHITECTURE

GEOMETRY – Point, Circle, Triangle, Angle, Cube and so on are elements which can be described as vocabulary used to generate more complex architectural forms.

GEOMETRIZATION of architectural form rose from the desire to achieve an identity between conceived form and perceived form.

ARCHITECTURAL FORMS – Form in Architecture is not only related to space and its function; it also represents a meaning or a sign. It is also related to elements themselves; their arrangement and combination with each other, their relationship with each other (syntax); the meaning (semiotics) and its effect on people (pragmatics).
1. Space-defining element (related to use)
2. A sign (related to arrangement, significance and effect)
3. Structure (dependent on the laws of static structure and the strength of materials)

GENERATION OF ARCHITECTURAL FORM
There are 2 sets of elements:
The conceptual element (point, line, plane and volume)
The visual elements (shape, size, colour and texture)

CONCEPTUAL ELEMENTS OF ARCHITECTURAL FORM
Architectural forms and space can be narrowed down to 4 element types: points, lines, planes and volumes.
Architectural elements are generally three-dimensional volumes defined by vertex(points), edges(lines), segments(planes).

VISUAL ELEMENTS OF ARCHITECTURAL FORM
Three dimensional forms are seen differently from different angles and distances, under different lighting conditions and in different colour and texture. Elements to be independent of such variable situations: Shape, Texture, Light, Colour, Size & Scale.


CIRCLE & SPHERE – POTTER’S HOUSE



Design Brief

To design a Potter’s house with a small studio and exhibit area.


Design Inspiration

Spherical clay pots (matka) prompted the design direction for this project.


Design Process

The design process was inspired by geometry of the generation of architectural forms. (see intro)

The conceptual element chosen for this project was the SPHERE – a special solid form in which every point on its surface is equidistant from a common center. This results in a continuous curved surface in which there are no edges.

The visual element chosen for this project was the CIRCLE – the simplest 2-dimension shape and most compact geometric shape. It only has one dimension, the radius or diameter, and the point of reference is located at its center.
Architects can use the strength of the circle while manipulating its appearance. The circle is the strongest 2-dimensional shape, so is the use of semicircular arches in architecture. Semicircles are often also found in the designs of amphitheaters.
Unlike a square and a rectangle, which can be further subdivided, a circle can only be divided into 12 equal parts. This gives the circle great adaptability in architecture



Design Development



Using the principles of design – balance, proportion and harmony, the architectural from has been created with defined functions for each space. The form of the building is determined by circles, cylinders and hemispheres. The dimension of the building is in harmonic proportions. The overall height of the spherical space and the diameter have a 1:1 proportion. The proportion of the height of the cylinder to the overall height is 1:2.

In this example, the interpretation of circular geometry within architectural design provokes a sense of experience that aligns with the profession of a potter.




Mahek Khan
Designer, Space

In collaboration with
Raoul Parekh
Founder & Chief – Design Management




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Space Design

Zen aesthetic, which is predominant in Japan, draws its form from the idea of unity between the mind, body and spirit.

In an article we shared last week, we touched upon the Zen tenets of Kanso, Shibui, Shizen, Fukensei, Yugen, Datsuzoku and Seijaku to help you find peace within yourself.

At Zeitgeist we admire the Japanese design culture for the way it infuses spirituality into homes. More so now with the rat-race that we all get consumed in, we forget to pause or reflect. Nourishing your soul is important and is a dying practice for most of us. These principles of Japanese decor have been developed with the intention of helping you to reconnect with your spiritual side. We believe, now more than ever, in the importance of creating a space that nudges you in the direction of re-centering yourself.

It’s often easier to say rather than do, so this week we’d like to show you our interpretation of those seven ideas, via a space we’ve designed to promote peace, rest and rejuvenation.




We’ve used Zen principles to enhance the function of this room in the following ways:

By imagining this space as an extension of the interiors of our mind – a mind that wants to be peaceful and focused – we’ve practiced Kanso and eliminated all forms of clutter. Can you see how the elimination of clutter makes this space less distracting and more conducive to being focused?

The minimalist Japanese low bed and the unadorned window tie in with Shibui, allowing both the features to deliver their respective function in an unobtrusive, unadorned manner.

The simple window also allows natural sunlight to stream in, in all its glory, enhancing the energy of the room – a perfect example of Shizen, which is about balancing natural and intentional elements.

We’ve incorporated the idea of embracing irregularities or practicing Fukinsei, by fostering asymmetrical balance. Though the height of the bed is asymmetrical with respect to the heights of the bedroom and window, it serves the function of enhancing the feeling of relaxation and serenity. A bed that was higher might have hampered the overall effect. Though we’ve placed most of the furniture on one side of the room, the asymmetry enhances the Zen feeling and doesn’t appear unbalanced.

We’ve demonstrated Yugen by leaving a large section on the left of the room empty. In doing so its use has been left open to interpretation. Perhaps it could be used for Yoga or a hobby such as painting. The single dried branch also lends an air of ambiguity – it’s pretty, but where did it come from? Did the user of the room find it while walking one day and find beauty in it? What does it signify?

By introducing a mirror into this small space, we’ve allowed for the unexpected ‘wow’ factor – making the space look much larger than it actually is. This is what Datsuzoku is all about.

We’ve incorporated Seijaku in the form of finishing touches, such as the statue of Buddha and Japanese art above the bed, which enhance the feeling of stillness and contemplation.

Inspired to create your own little haven? Do contact us for a consultation on creating a minimalistic and functionally driven space that brings you your much needed R & R.






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