Space Design

World Architecture Festival – An Insight

November 27, 2018

Today sees the launch of the 11th World Architecture Festival (WAF), in Amsterdam. For the past ten years, this festival has been one of the most important international events in the world of architecture, featuring thematic conferences and talks, exhibitions and the opportunity to network with others in the industry. As its website explains:

The World Architecture Festival is dedicated to celebrating, sharing and inspiring outstanding architecture. It is the only architecture event where keynote talks from the industry’s most influential figures sit alongside live judging presentations from over 500 award finalists plus global networking and an international product exhibition.

One of the highlights of the festival is the WAF awards, which recognises the work of architects and interior designers from around the world, across 35 categories, such as Future Project of the Year, Best Use of Colour and Small Project of the Year. The pinnacle is the prized World Building of The Year award.

In today’s blog, we showcase five of the past ten winners of the Building of the Year award:

2009: Mapungubwe Interpretation Centre – Peter Rich Architects

The Mapungubwe Interpretation Centre is the perfect example of a structure that has been designed keeping its context and environment in mind. The Mapungubwe National Park, which sits at on South Africa’s northern border with Botswana and Zimbabwe was home to an ancient society, and one of the first places to ever produce gold. The region boasts of some spectacular flora and fauna, including Baobab trees that are over 1000 years old and over 400 bird species.

The building’s form draws its inspiration from the rondavel – a traditional, oval shaped hut made from indigenous materials – commonly found in the countries of Southern Africa.
The technique used by Peter Rich Architects merges the latest developments in structural geometry with ancient construction methods, including the use of timbrel vaults. As a result, the building, which houses ancient artifacts, combines the best of both worlds to achieve a cost effective solution that incorporates local material and labour, while remaining ecologically sustainable and sensitive to its surroundings.
From an aesthetic viewpoint, the visitors’ centre blends seamlessly into its Sandstone and mopane woodlands backdrop, as you can see in the pictures above by architectural photographer Iwan Baan.

2010: MAXXI Museum – Zaha Hadid Architects

In a city so steeped in heritage and ancient architecture as Rome, the MAXXI museum, which was 10 years in the making, is representative of the importance of structures being able to aesthetically and functionally co-exist in a contemporary scenario.
Envisioned as “a campus for art”, the open spaces, pathways and floating staircases overlap and flow, encouraging an interpretive experience for the museum’s visitors, rather than forcing a predetermined, contained one. The structure also allows for panoramic views of the city, reminding visitors of its context, while design elements allow for ample natural lighting of the space.

2011: Media-TIC – Enric Ruiz Geli

Located in 22@, Barcelona’s technology and innovation district, the Media-TIC building is the epitome of an innovative building, incorporating cutting-edge technology into its design and development, all the way up to methods to improve energy efficiency.

Architect Geli describes the design as an example of performative architecture – where the structure itself performs other functions. For example, 2500 sq.m of the building’s facade employs EFTE cladding, resulting in energy savings of 20%.
Envisioned as an information and communication technology hub, to incubate innovation, the Media-TIC building is able to house over 2400 people across various functional spaces, including an exhibition area, auditorium and office spaces.

2013: Toi o Tāmaki Auckland Art Gallery – FJMT & Archimedia

Restoring and renovating a space, especially on the scale of a public project poses a set of challenges different to those of designing from scratch. At the Auckland Art Gallery, the architects have devised a perfect balance between incorporating naturally occuring forms at the site, maintaining the identity of the existing structure and ensuring that the new building blends in seamlessly.

The new building’s canopied roof is made of light material, creating an extension to the indigenous trees of the adjacent Albert Park. Extensive use of glass on the facade embraces the outdoors, creating a feeling of openness and showcasing magnificent views of the park; while also enticing visitors to enter the space.

2015: The Interlace – OMA & Ole Scheeren

While developing the design for Interlace, an apartment building complex in Singapore, the focus was on designing a contemporary living space specifically within a tropical environment.

Moving away from Singapore’s traditional high-rise style apartment, Scheereen takes advantage of the property’s massive 8-hectare canvas to create a spread out, interlocking apartment complex that incorporates cascading sky gardens, private and public roof terraces and low-impact energy strategies to relieve the effects of the hot, humid climate conditions.
The striking external form alludes to the feeling of ‘community’ and ‘interdependence’, while functionally, it acknowledges society’s need for both, shared and individual spaces.

WAF 2018 – What’s in Store?

The theme at this year’s World Architecture Festival is Identity and some of the world’s most influential architects, designers and commentators will be sharing their views on a topic that is highly relevant in today’s world, including exploring questions like “How can our model of the city evolve when we think beyond oppositional relationships and focus instead on connecting for mutual benefit?” and “How can architecture extend our identities in new ways, while sheltering who and what we are?”

The WAF’s 2018 shortlist contains 535 projects from 57 countries. You can check them all out at this link:
https://www.worldarchitecturefestival.com/2018-shortlist

Who do you think will win this year’s Building of the Year award and why? Tell us in the comments below.

Note: Except where mentioned, all images copyright of Iwan Baan.

Design Strategy, Space Design

Designing For The Future – What Does It Mean?

By admin on

September 20, 2018

- Design Strategy, Space Design

“As human beings, we are vulnerable to confusing the unprecedented with the improbable.
In our everyday experience, if something has never happened before, we are generally safe in assuming it is not going to happen in the future, but the exceptions can kill you and climate change is one of those exceptions”

– Al Gore

Our landscapes are changing rapidly, and it is imperative, now more than ever, to inculcate a strong set of principles that define impactful and positive output.

COLLABORATION

Without collaboration, there is no progress. We can no longer rely on the conventional team structure (Client, Architect, Interior Designer, Structure, MEP, and Landscape Designer) when providing inputs towards holistic space design solutions to develop a thriving community.

Progressive teams today include professionals from a multitude of disciplines, from psychologists, social anthropologists and eco consultants to traffic consultants, geologists and disaster management consultants – a group of professionals you would have never imagined on a round table discussing space design. Breaking away from conventional ways of working, and inviting collaboration and encouraging participation from such diverse disciplines assures a more robust solution, one that is more structured, adaptive and more importantly, responsive to our current plight.

SUSTAINABILITY

This sits at the forefront, for we as humans have the sole responsibility (and rightfully so!) of reversing our own doing. We are solely responsible for the depletion of our natural resources and our environment, and apart from us damaging our own future, we are responsible for affecting the survival of other species as well.

The key here is that we address this not to survive but to thrive, and our approach needs to go beyond “patch-fix” solutions to such problems, only to add a few more years to the inevitable; but instead must provide a holistic solution that actually stops if not reverses the damage. The fact is that in order for species to thrive (not survive) there is an interdependency between all living things and whether we are willing to accept it or not, that time has come! So how does this apply to design, specifically, within the realms of space?

The key areas that need addressing are urbanisation, waste generation – solid and water waste, and energy (generation, consumption and wastage). We also need to work with government authorities to redefine building bye-laws and urban development policies to at least protect the environment from any further negative impact.

Firstly, we need to move away from centralised civic support systems and treatment solutions to localised systems and solutions, thereby developing the motto, “at source”. Our communities, homes and buildings must be designed such that we produce what we consume. Those that practice this are referred to as prosumers, and this in itself will tremendously change our relationship with our environment. This further applies to construction material, i.e. sourcing localised materials and using local labour. In addition, looking at recyclable building materials and using fast growing trees for furniture such as acacia and bamboo, which are excellent substitutes to teak and rosewood.

AFFORDABILITY

Land is no longer an affordable commodity for the masses. Addressing the needs of the masses is key to the successful development of our ecosystem. And it’s not just servicing the need for shelter, but to providing solutions to uplift their lifestyle at an affordable cost.

COMMUNITY

Remember you’re as strong as your weakest link. Designing for the community is crucial to ensuring holistic development. This also helps bring affordability onto the table. Designs today need to incorporate a multitude of facets into the living ecosystem developing it laterally. A lot of futuristic designs incorporate co living, co working, parks, open spaces, sports centres, malls, libraries and any such activities that foster community development and engagement.

TECHNOLOGY

Today technology sits at the forefront of progressive design. Deep learning, IOT and systems design are driving companies into the future, creating efficacy and improvement to already existing business models. Newer business models are emerging with embedded technologies for a competitive advantage in global markets.

IN CONCLUSION

The final piece to the puzzle is government support, to allow design thought initiatives the liberty to execute and flourish, keeping in mind the predicament we have put ourselves in.

Furthermore, it requires you to go beyond your conventionally defined scope and not just think about the project at hand, but more importantly, the relationship and responsibility it shares in context to its immediate surroundings, community, city, and the world at large.

In essence, designing for the future means taking an inclusive approach, using a multitude of perspectives from various disciplines to achieve a holistic solution that keeps the user at the center – what we call the design thinking framework.

Raoul Parekh
Founder & Chief – Design Management

Design Strategy

It All Begins With Empathy: Designing For Social Impact

By admin on

September 14, 2018

- Design Strategy

In a recent article entitled 5 Things To Keep In Mind When Designing For Social Impact, Tabitha Yong rightly pointed out that “too many designers use ‘design for social good’ to cushion personal legitimacy, buzzing about ‘social innovation’ and ‘helping the poor’ without thoroughly understanding what these concepts truly entail — or worse, without thinking about whether their contributions are actually doing more harm than good.”

This got us thinking about examples where people have used their designing skills to develop designs that truly do have the potential for great social impact.

A couple of weeks ago we showcased 3 examples of brands that were reimagined for enhanced social impact. Today we’ll look at examples in 3 other fields of design – product, application and space design – that were developed for enhanced social impact in the field of healthcare.

Product Design: HIV Home Test For Developing Countries

According to UNAIDS, in 2017 there were 36.9 million people living with HIV, globally. Of this staggering number, 70% live in Africa while 14% live in Asia and the Pacific, in low and middle income countries.

An early diagnosis is key to preventing the condition from progressing to AIDS. If diagnosed in the early stages, an HIV positive person who receives appropriate antiretroviral therapy (ART) treatment can go on to live a long and relatively healthy life. While notable progress has been made in curbing and preventing the spread of the HIV virus over the past 10 to 15 years*, one of the reasons the epidemic continues is because the societies where it is rampant have poor access to medical facilities. Lack of infrastructure and transport means that a person has numerous obstacles in getting to a facility just to get tested.

Product designer Hans Ramzan has come up with a solution. The reason his product – Catch – has the potential for vast social impact is that it has been developed keeping the two main constraints in mind:

1. People in developing countries who face huge obstacles in getting to a clinic to get tested, often don’t want to make the journey just to be told it’s “too late” – Ramzan solves this problem by developing a ‘test at home’ device, that reveals the results immediately.

2. Low and middle income sections of society, where the prevalence of the virus is the highest, do not have the resources to access superior medical facilities – Ramzan’s product can be mass produced at a cost of around $5 per piece.

This design helps in quick and easy diagnosis. If you’re interested to learn how the device works, click here.

App Design: BNF Drug Catalogue

Our next pick helps in quick and accurate prescription. With the multitude of drugs and drug combinations available today, doctors have a lot of criteria to consider before they prescribe one to a patient after diagnosis has been completed. Is the patient already on a similar drug? Will the new drug being prescribed result in an adverse reaction with one the patient is currently on. What are the side effects? In Britain, the British National Formulary (BNF) index is the go-to reference book for clinicians to check up on information like this. Recently, design studio Modern Human developed an app version of the index. The designers observed doctors, nurses, pharmacists and medical students struggling between sections of the book, with post-it notes everywhere and using five fingers to keep several sections accessible at once.

They designed the app to make it easier for medical professionals to search for and compare drugs from their electronic smart devices, without having to flip back and forth through the pages of a voluminous book. Not only does this save a lot of time and improve accuracy, especially when having to cross reference drugs, but it also means that doctors out in the field or on house calls can prescribe on-the-go.

Features like ‘smart search’ or those that highlight interactions with non-medical substances (certain foods for example) go a long way in improving the effectiveness of the user. The free app has been downloaded by over 126,000 clinicians in the past year to treat approximately 1.5m patients every month.

Space Design: GHESKIO Cholera Treatment Centre

The devastating 2010 earthquake in Haiti led to an unprecedented outbreak of cholera, a disease the country had not experienced in over 100 years.

When invited to redesign the GHESKIO hospital after it collapsed in the earthquake, instead of simply designing a space that could treat cholera patients, MASS Design Group looked at developing a holistic solution that would tackle the root of the problem and curb reinfection. Cholera is a water borne disease, so to nip the problem in the bud, MASS incorporated into the building design, a “specialized wastewater treatment system that removes all waterborne disease pathogens on-site to ensure that there is no recontamination of groundwater, and no need for off-site treatment.”

MASS specifically designed the building within its local context. It incorporated a rainwater harvesting system that enables the water so collected to be treated and used for cleaning, bathing and drinking, a clerestory design that allows for natural ventilation and cooling in the hot, humid Haitian climate as well as natural sunlight to enter, and made use of local building materials and craftsmen, to be able to have full control on quality and to sustain the livelihood of the locals. The GHESKIO CTC design embodies the prevention aspect of good medical care.

The designers highlighted in this article clearly began developing their designs by first empathising with the end user. By willingly embracing the constraints the projects posed, keenly observing the end user, designing within context and focusing on solving the root cause of the problem, rather than its symptoms – all principles that make up a Design Thinking framework – they were able to arrive at solutions that could truly impact society positively.

Do you have an idea that has the potential to impact society positively? Zeitgeist would be happy to explore the possibilities with you, using our innovative Venture Design framework. Get in touch today!

Gitanjali Singh Cherian
Marketing Manager

*New HIV infections have been reduced by 47% since the peak in 1996. (unaids.org)

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Business Tips & How To's, Space Design

Best Architects In India: Insightful Tips to Finding Yours

By admin on

August 6, 2018

- Business Tips & How To's, Space Design

The journey of finding YOUR designer for your dream home or office space, starts with their portfolio. If their style speaks to you, that’s what is primarily going to draw you to work with them.

However, a beautiful design will remain not much more than that if the visualisation and the intent cannot be executed well; and let’s be honest – construction projects being completed on time and within budget is not something India is known for!

Today we’ll go over some points that you should keep in mind while choosing an architect, to ensure that your project execution is an enjoyable and memorable experience, not a nightmare you just can’t wait to wake up from!

Some of these points may seem insignificant, but in the long run, they really do matter! Here are 8 questions to ask yourself:

1. Does The Architect Use The Metric or Imperial System Of Measurement?

Keep in mind the age old adage “The devil is in the details”, and make sure your architect works in millimetres, not feet and inches. It might not seem like much, but having a room measured a couple of centimetres off can make a big difference to things like alignment, achieving straight lines and interior design measurements – many of these which you will discover only after the project is completed.

2. Will I Be Provided With High Quality Photorealistic Renders Before Actual Construction Begins?

Some people believe that HD renders are a waste of money, but the reality is that they help you see exactly what the final project will look like. Investing at this conceptual stage can save you a lot of money, allowing you to make changes virtually, before laying a single stone. Making changes once something is built is far more costly, not to mention a waste of resources, time, and additional retainer fees.

3. Does The Architect Have A Good Working Relationship With A Reputed Contractor?

If your architect can recommend a contractor he has worked with on several projects, this is a major plus point. There can be many a slip between the cup and the lip when it comes to visualisation and actual execution. If an architect and a contractor have a demonstrably good working relationship, it can save you a lot of the headache that often accompanies being the middleman between the two!

4. Will I Have Access To Global, Tried And Tested Vendors?

A good architect and contractor duo should be able to give you as many options as possible when it comes to material and finishing, so that you are able to customise your space exactly the way you want it, within a budget that is comfortable for you.

5. How Progressive Are The Architect’s Methodologies And In-house Technology?

It is important to understand the design flow of the architect. What are the key deliverables and milestones, how will they be presented to you, how well do they integrate your vision etc.? The last one is extremely vital to ensure that there is a balance between your architect’s vision and your own. Of course you are paying for it, but you are also hiring someone to create your vision, and you must believe in their professional expertise and the direction. However, it is essential that certain key aspects of your vision are translated to make it your home. Here, it is also important to understand the architect’s process of capturing your brief. If they understand you and nail this aspect, you are assured that you will get a refined translation of your vision.

Secondly, check what technology the architect uses to deliver the design. There are a lot of tools such as SketchUp, AutoCAD, ArchiCAD, and 3ds Max that are used at various stages to deliver various intents of the design communication. Advanced tools, such as Revit, that use BIM based platforms can provide a faster turnaround time in the design process, and overall, a more efficient and robust package.

6. What Are The Architect’s Ways Of Working?

The ways of working of an architect or architectural firm will tell you a lot about how methodical and diligent they are – an indication of the quality you can expect to see in your completed project. Do they have a client workshop to thoroughly understand the experience you desire from the space being developed? Are they transparent about costs and timelines? Do they pay attention to the entire programme mix that makes up a space’s experience? Will they provide a comprehensive BOQ, with not more than a 5% cost deviation?

7. How Busy Is The Architect?

Generally, large firms or popular architects are very busy or too costly. Do some digging around and find a boutique firm that offers a more personalised touch. While they might be expensive as well, as they tend to take on only a handful of projects a year, what you will get in return is that personal touch where the principal is involved at the site level, ensuring that there is an absolute vested interest in your project, and that passion and pride are truly driving the manifestation of your dream.

It is well worth it to spend some time delving a little deeper into the material laid out in these guidelines. You office or home space is a place you will be spending a considerable amount of time, so it is imperative that you find a design partner that is capable of delivering an experience just the way you envisioned it.

Zeitgeist offers a variety of design services, including space design, interior design, 3D visualisation and brand development – reach out to us today!

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Space Design

Modern Architects In India: Dominic Dube

By admin on

July 17, 2018

- Space Design

As promised last week, today we feature three projects designed by Dominic Dube – a home, a concept design for a museum and a commercial project – each one modern, minimalist and functional.

INGE’S HOUSE, Auroville
This house was designed by Dominic for Inge Rieck in Auroville. Representing hands folded in prayer, the design seamlessly integrates modern minimalism within a natural setting. The cubist structure is built of exposed concrete and glass and sits comfortably ensconced in a garden surrounded by a moat.

An extremely functional home, the living room, kitchen, bathroom and storage areas are located on the ground floor, while the first floor is reserved for the bedroom, with natural light entering the space at strategic points – Inge wanted her home to visually frame what she had learnt in Auroville.

Dube designed the home keeping two frameworks in mind; one – the tangible, structural framework, and the other – the intangible spiritual framework, reflective of Inge’s time at Auroville.
At the intersection of these two frameworks, the design was born, with the process itself alluding to the duality that exists in Auroville – that of man and meditation.

From the unexpected spiral staircase inside the home and the light that floods through the skylight, to the calmness exuded by the exposed concrete walls and the open courtyard that connects to the cosmos, all the elements within the home embrace and celebrate this duality, and ultimately the inspiration experienced by Inge at Auroville.

CONCEPT FOR THE GUGGENHEIM, Helsinki
This design won the Best Concept Award 2017 at the Trends Excellence Awards for Architecture and Interior Design earlier this year.

Helsinki is renowned for being one of the most livable cities in the world, and a design lover’s paradise, even being named World Design Capital in 2012.

Against this backdrop, which boasts much Scandinavian modernist architecture, Dominic Dube’s vision for the Guggenheim Museum at Helsinki stemmed from the idea that art, in all its forms, springs from man; it is an expression of the spirit of the artist and as such Dube saw the space as one that should embody the idea of a blank canvas, allowing the artist to reach the highest level of creativity.

His minimalist, open design without ornamentation of any kind, entitled No Thing, shuns materialism, and represents inclusivity and a higher level of spirituality.

Museums, by and large, tend to be these alluring structures that attempt to narrate a tale but No Thing was devised to be as interactive as it could get. For example, a person walking through it could feel the snow falling via the mesh, the mesh that has aptly been christened the mesh of transformation. Snow has been treated as a living and breathing element of design. It is rather poetic, just like from cold comes warmth and yet this mesh was not something that stood out to make a point, but stands there in silence to engulf man in its interactive simplicity. Quite like enhancing understanding, or the very essence of one’s being, where the mind is free of any shackles and will begin to express itself most uninhibitedly
ASSETZ MARQ EXPERIENCE CENTRE, Bangalore
Designing within context always plays an important part in any Dominic Dube design.
When designing the Assetz Marq Experience Centre – an information and marketing centre for the Marq project – for the Assetz Group, Dube decided to retain the mass of the old factory building already on site, using it as a shell. A new skin was proposed for the structure, along with other modernist elements such as glass boxes for the entrance, to give the building a contemporary feel.

The factory, with its existing steel trusses and double and triple ceiling height spaces provided the perfect canvas to develop the contemporary design further.

At first glance visitors receive a kind of a three dimensional vibration of the Marq project through different levels of perception. Three free standing screens showcase views of the project from three different perspectives, while the central open theatre is used to show videos of the project or of art in general. Other elements include areas for discussion, a cafe, a material library and a large model of the project.
The open plan ties in well with Assetz’s philosophy of being transparent with its clients. It provides an experience on a large scale, but isn’t overwhelming. Rather, it is serene and elegant – the perfect gateway to the Marq project.

Reach out to Zeitgeist to infuse Modernism into your commercial, office or home space.

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Space Design

Modern Architecture In India: An Introduction

By admin on

July 13, 2018

- Space Design

Modernism as the preferred choice of design and expression in India still has a long way to go when compared to Western countries. However, there are glimpses in our country of this transition making a gradual yet powerful impact, highlighting the beauty in simplicity, function, form and aesthetics.

Our country has pockets of areas where there is evidence of this shift, clearly indicating how this style has made its way into the Indian landscape over the years. From farm houses to urban homes and apartments, there are examples that support this delicate yet spiritual transition.

It is important to understand that more than a physical form or shape, the intention behind a design is reflective of a way of thinking – our earlier article on incorporating Japanese philosophy into the design of a space has clearly brought this out.

Zeitgeist’s Principal of Space, French-Canadian architect Dominic Dube is unequivocally representative of the Modernist style of architecture.

What is Modern Architecture?

Modernism is the single most important new style or philosophy of architecture and design of the 20th century, associated with an analytical approach to the function of buildings, a strictly rational use of (often new) materials, an openness to structural innovation and the elimination of ornament.

– architecture.com

The style is characterised by*:

Rectangular or cubist shapes

Minimal or no ornamentation

Steel and or reinforced concrete

Large windows

Open plan

*architecture.com

For a visual understanding of modernist architecture here are 30 brilliant examples, put together by Trendir.

Modern Architecture in India

In a country like India, so vastly diverse and so deeply embedded in tradition, the Modernist style really only found its way here in any significant form when internationally renowned architect and city planner, Le Corbusier – famed for his functional designs – was invited by the Government of Punjab to design the city of Chandigarh, after India’s Independence. The photos in this blog show the exterior and interior of Palace of Assembly designed by him.

Le Corbusier’s work served as an inspiration to Indian architects in the years that followed.

This year’s Pritzker Prize winner, B.V. Doshi, worked under Le Corbusier and the Modernist’s influence can be seen in the former’s work, though Doshi went on to develop his own unique style – modern, but also reflective of his desire to design within the Indian context; against the backdrop of a country in cultural, economic and social transition.

Dominic Dube himself was employed by B.V. Doshi at the beginning of his career, while his methodology draws inspiration from that of Le Corbusier’s.

Next week we’ll be showcasing some of Dominic’s work, so do tune in!

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Space Design

THE FUTURE OF ARCHITECTURE: Part 1 – Dynamic Architecture

By admin on

June 26, 2018

- 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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Space Design

CASE STUDY: The Geometrization Of Architectural Form – Islamic Geometry

By admin on

June 11, 2018

- 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

0

Space Design

CASE STUDY: The Geometrization Of Architectural Form – Hexagon

By admin on

May 29, 2018

- 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

0

Space Design

CASE STUDY: The Geometrization Of Architectural Form – Triangle & Pyramid

By admin on

May 15, 2018

- 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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