Rajinderpal Singh Rakhra

MA Interior Architecture and Design : Research and Enquiry

[rajinderpalsingh]

Learning Outcomes :

Learning Outcomes - Knowledge and Understanding of:

1. Demonstrate a knowledge and understanding of research methods and a critical awareness of current issues and debates that inform areas of practice that relate to their specialist discipline;

2. Demonstrate a critical awareness of primary and secondary literature on the social, cultural, aesthetic, therapeutic, technical, professional and ethical frameworks that relate to the student's discipline.

Learning Outcomes - Skills and Attributes, be able to:

1. Research and critically evaluate current issues, debates and trends relevant to the student's discipline

2. Critically evaluate their own work, with informed reference to current issues, debates and trends within their discipline;

3. Work independently and take responsibility for applying research skills at an appropriate academic / professional level;

4. Communicate using appropriate academic and professional conventions;

5. Produce self-directed work of high quality demonstrating initiative, autonomy, self-management, personal responsibility and critical self-awareness;

6. Use an informed understanding of current ideas and practice relevant to their discipline of study to reflect on their own practice;

[rajinderpalsingh]

10 : Reflection + Methodology + Research and Creative Process

Figure 48 RAJINDERPAL, S. R. (2021). Reflection + Methodology. [Image]. London: Own Private Collection.

Through the research and development phase of the module, I have reflected on my professional and academic practice and the technical and historical context. I have reviewed and reflected on my creative process and the underpinning methodology.

My professional and academic practice has evolved through subjects related to Interior Architecture and Design through initially both primary and secondary research methods, focusing on both objective and subjective research methodology. In both objective and subjective research methodology, we carry out primary and secondary research to support our findings, debate our research, and make relevant conclusions.

“With regard to specific research strategies (i.e., qualitative, quantitative, logical argumentation) and tactics (observation, interview, etc.), the humanistic psy​chology framework permits freedom in methodological choices, embracing both qualitative approaches that capture lived experience and quantitative a posteriori strategies that allow an idea to be considered without unduly generalizing the phenomena” (Giorgi, 2009, cited in Thompson and Blossom, 2015 p.272)

Objective research can be known as both unbiased or impartial and based on factual or real information (Resnik, 2001). For example, I have carried out experimentation on the research study on thermoregulation strategy and vibration collecting primary data. I have also carried out technical CAD experimentation to collect data (Factual) to support my objective research without making a moral or political judgement. Subjective research, as defined by Diffen (n.d.), is based on personal opinions, assumptions, interoperations, belief, and judgements. For example, in the most part, my reflective blogs posts are based on subjective research and some factual objective research.

My earlier work in blogs three, five, and six are more subjective and based on secondary research practice and limited primary research experimentation. My recent work in blogs four and seven looks at primary and secondary research practice focusing on exploring ideas and testing theory through experimentation. As I reflect upon my creative process and journey, I can identify that I use both an objective and subjective framework in my methodology, when investigating my project brief and developing a design concept.

As I reflect on my past projects, such as the Exhibition Design Project at the V&A (Blog 5: Geometry + Shape) there is a large part of the study which is subjective. Also, I have collected secondary data on Global environmental issues, through text-based research and limited primary research in the design development stages and outcome.

Analysis of secondary research can inform interpretations but this becomes complex when different authors present different findings based on different variables. The limitations would be the influences of the author and what information might be left out. I had to choose peer-reviewed literature to ensure the information is trustworthy.  One way would be to use creditable published research studies.

Another past project that comes to mind is the Retail Design Projects when I carried out objective secondary research on consumer behaviour and buying habits in-store and online. The data allowed me to form analytical unbiased and impartial judgements creating a clear hypothesis on which decisions can be reached. Crucially, I needed to question the validity and authenticity of the data. What were the variables of the data? Was this a large enough study with the consistent rigorous examination? I also needed to consider the level of subjective interpretation of the data collected and how the information might be used to form the design development stages. When considering the sources, I needed to be aware of any possible bias. To make the research valid, it was necessary to collect data from a variety of sources and compare it, to reach objective valid conclusions.  

Since I have started further academic study and writing a blog on my current and past experiences I have become ever more critical of my process. As I researched Biomimicry principles, I soon realised it is simply not sufficient to carry out text-based secondary research but it is fundamental to do primary field research. Currently, I am carrying out several short studies on the Biomimicry strategies and principles of honey bees and penguins. The study will look at human collective behaviour, thermoregulation strategy and vibration. The primary data will be collected using a Thermal Imaging Camera FLIR TG165 IR thermometer, from a period of timed conditions, with each (primary research) field experimentation using different materials such as metal, glass, ceramics, wood, card, and fabric. Inevitably, there will be variables such as the quantity of material density, speed and time, these will need to be controlled and measured to make the analysis credible, and authentic. One way to assess the primary research would be to repeat the process several times, analyse the variable and use a large pool of subjects and materials. For example, when mimicking honey bee thoracic vibrations process, my study would be best conducted using several humans to investigate the disposal of heat from the body in motion and when static. Such studies can only be validated while the data collected give the same or similar results. The authenticity of the study would be validated if it was sufficiently large to compare the data and its variables.

I have identified some of the limitations with my work, as I realised upon reflection how certain projects can be pushed further, with research and development, and experimentation. Critically evaluating each process, I am keen to develop my use of handmade modelling techniques using malleable materials such as clay and mushrooms mycelium. In addition, I am currently learning two new software applications Rhino Grasshopper (3D CAD Software), and Lumion (3D visualisation software). These software packages will enhance my digital drawing skillset.

During each stage of the creative process, research, conceptual development and presentation I assess the findings by ‘Reflecting on Practice’ (Petty, 2004) and being a learner myself, I use the Kolb and Learning cycle 1989 (Kolb, 1984) through the use of concrete experience, reflective observation, abstract conceptualisation and active experimentation. For example, as I develop a conceptual direction and start to formulate my presentation, I continually refer back to the research and development where I actively reflect on testing my design ideas, comparing 2D and 3D drawing and possibly creating alternative solutions reflecting with peer and practitioners.

The selection of the blogs has been one of elimination, as I brainstorm some ideas and topics. I realised I could interweave my discussion and look at different artists in my field of work. Primarily, I was interested in discussing current debates and issues. I also wanted to discuss subjects related to my practice: biomimicry, computational modelling, craftmanship, product design and consumer behaviour, reflect upon past interior design projects, look at the research and development of conceptual direction. We tend not to look back on projects, and this process has indeed been rewarding.

I look to accumulate information and debate the impact of facts and outcomes, which allows me to problem solve, find a solution through self-reflection and improve my decision making. Writing these blogs has encouraged me to consider the importance of reflective practice. I have considered my past experiences in teaching, previous learning and topics of personal interest as well as on learning on the Master's course. Cross-disciplinary issues have triggered my interest in the current innovation possibilities within my subject area. 

References 

KOLB, D. A. (1984). Experiential Learning: Experience as the source of learning and development. New Jersey: Prentice Hall.

PETTY, G. (2004). Teaching Today. Cheltenham: Nelson Thorns.

RAJINDERPAL, S. R. (2021). Reflection + Methodology. [Image]. London: Own Private Collection.

RESNIK, D. (2001) International Encyclopedia of the Social & Behavioral Sciences ‘Objectivity of Research: Ethical Aspects’: Amsterdam: ElsevierN/A (n.d.) Diffen ‘Subjective vs Objective’ [online] Available at: https://www.diffen.com/difference/Objective_vs_Subjective

THOMPSON, J. A. A. and BLOSSOM, N. (2015). The Handbook of Interior Design. Hoboken: Wiley & Sons.

[rajinderpalsingh]

09: Future of Design Practice and Consumer Behaviour

Figure 47 RAJINDERPAL, S. R. (2021). Future of Design Practice and Consumer Behaviour. [Image]. London: Own Private Collection.

I finished my teacher training in 2010, a few years after the global financial crisis of 2008, which lasted around 5 quarters. The design narrative did look very different, with a lack of innovation and development which was not assisting designers’ needs.

Before the Covid pandemic in March 2020, there had been an expansion of the design sector and applied technologies in the previous decade where design companies, and end user consumers communicated through ever increasing interactive digital platforms. This is highlighted in the paper, The Design Economy 2018 (Benton, Miller and Reid, 2018) by the Design Council. The expanding digital language means that more companies brands are targeting consumers and investing in customer behaviour.

As I reflect on the last 10 months through the evolution of the coronavirus pandemic, businesses have had to reconsider and evaluate their business model. Where are the products manufactured? How do we receive them? Who bears the costs and delays? Where do we get our services? Companies are evaluating their business model in light of the pandemic, Brexit and the transformation of commerce in the 21st century.  As a result of this, companies are considering holding less physical stock and consider design based on demand.  

Design practices such as Tom Dixon, Tomas Heatherwick and British manufactures are now considering change, by reducing the global supply chains model, instead choosing to source materials and products from closer to home, supporting the local economy and communities. This debate has been circulating for years, although now we are forced to consider radical changes, discussed at the Virtual Design Festival, May 2020. This has highlighted how consumers have greater choice now as they move to an online platform, which is impacting the small/medium size retailer.

Changes in consumer behaviour have been fast-tracked due to the pandemic and consumers have moved to online shopping where there are many suppliers and competitors. Although this has a greater impact on the store-based high street retailers, furniture manufacturing companies such as Sofa and Moore look to reduce business overheads, warehouse costs and unnecessary waste.  For example, Tom Dixon discussed his collaborative venture with Austrian Architectural lighting brand Prolicht, adapting their business model to a made-to-order model to order, reducing unnecessary cost and waste.  Dixon compares his practice with an extensive supply chain which he looks to reduce.

In an interview with Fairs (2021), Dixon commented on the problem of outsourcing where different components need to be ordered in different parts of the world: 

“But what Walter (Norz, Prolicht CEO) does is to promise nothing in stock, but delivery within five days of the order, which is kind of an amazing and phenomenal promise, particularly to architects and designers in a tight spot."

"I do not want to produce stock because this is the biggest single waste," he said since the unsold stock has to be discounted. "We produce exactly what the person wants. We can do this at the same cost as other manufacturers who are in mass production."

"I believe mass production is something that we should change to get more value," Norz added. "If you can produce it locally, I think that's a big advantage."

The reality of the trade deal between the UK and EU will have known and unknown hidden costs for distribution compounded by the shifts in online consumer habits. Consequently, businesses are looking at reviewing their business models to buy to order.

Maybe there is a silver lining here: interior and product designers, architects, manufactories and suppliers can reconsider their business models and how best to support the current economy, encourage and devise growth.

References 

BENTON, S., MILLER, S. and REID, S. (2018). The Design Economy 2018. [online] Designcouncil.org.uk. Available at: <https://www.designcouncil.org.uk/sites/default/files/asset/document/Design_Economy_2018_exec_summary.pdf> [Accessed 15 January 2021].

FAIRS, M. (2021). "Why Would You Make More Than You Can Sell?" Says Tom Dixon. [online] Dezeen. Available at: <https://www.dezeen.com/2020/06/08/tom-dixon-code-made-to-order-lighting-interview/> [Accessed 15 January, 2021].

RAJINDERPAL, S. R. (2021). Future of Design Practice and Consumer Behaviour. [Image]. London: Own Private Collection.

[rajinderpalsingh]

08: Craftsmanship + Computational + Parametric Modelling Digital World Part II

Figure 46 RAJINDERPAL, S. R. (2021). Craftsmanship + Computational + Parametric Modelling Part II. [Image]. London: Own Private Collection.

The notion of craftmanship has been in decline since the Industrial Revolution. There is a new vigour and revival of craftsmanship. However, through a new generation of practitioners in the field of design, architects and designers

who want to explore the craft and harmonise the digital mediums with the craft, designers are considering new forms of linking craftsmanship with the digital age.

Craftmanship is considered to embody the notion of the handmade, individual and unique and is not considered as machine manufactured. As previously discussed, it is evident in the work by Morris, Mackintosh and Wright, where they questioned the ethics of machine production. We now look at products and homes which make use of handcrafted joinery and consider these as aesthetically beautiful and unique.

What type of craftmanship would those designers such as William Morris, Frank Lloyd Wright and others have created in the digital age? Would the performance be considered as individual and handmade, with wood carvings and masons, when it is replaced with CNC methods of digital application?  Where do architects and designers redevelop the ideas of modern design, and fabrication techniques?

One could debate that the gear has shifted and craftspeople are intuitively incorporating digital design processes through computer modelling, simulating, manufacturing, fabricating in which to embody the richness of craft and complex technology methodology, in which we create ‘smarter’ fashion, products, surfaces and architecture.

I will discuss five key principles that should be considered.

1. Application of Material Manipulation:

Material application and its desired purpose is an integral part of the design process now, where you do not only look at the material specifications but also consider the embodied computational process and methodology of its usage for the given space. Today we can analyse the material through composition, density structure and thermal conditioning. A greater analysis of the arguments for choosing to use one material rather than another can be conducted through the computational process. Brandon Clifford and Wes McGee’s interdisciplinary, Matter Design, practice debates the notion of systematically being involved with the design process and critically investigating the material applied for the given project.

2. Brief Intention and Traditions of Craft:

The origins of craftmanship will never be the same as those used in the pre-industrial era although we can develop the nuances of the hand-generated form, for example, modelling and simulating a building structure and assessing computational data and information, robotically carved and produced using clay modelling.  

In another example, San Diego sculptor Ken Gangbar uses an articulated 3- dimensional arm (like a keyboard) to sculpt with digital modelling. Crafting using the computational mode allows the additional flexibility, manipulation and mimicry of the hand in precision and control.

3. Purpose of Parametric Modelling:

Parametric modelling is a fundamental part of architectural working. The methodology allows us to debate and assess the building data through macro and microelements; responses to the environment, airflow, surface density, durability manipulation and depreciation. We can consider a tessellated formation using the process and principals of biomimicry principles, using computational analysis techniques and advanced high-tech assessments of building structures. This looped system will provide data and statistics as to the performance of the building metrics.  This is highly debated by Principal Dr Patrick Schumacher at Zaha Hadid Architect.

4. Designing and Fabrication of a Mutual Feedback Loop:

Traditionally, there has been a separation between the design process, fabrication and construction where drawings are translated in CAD/CAM robotic construction. Recent research and development with Software application using the Rhino plugin Grasshopper and Mosquito has been conducted to embody the building performance, geographical location, thermal and fabrication response. Building dentistry and airflow can be simulated at very early stages in the design process, to assess the quality of the building. Practices Clifford and McGee Matter Design, Thomas Heatherwick, and Zaha Hadid Architects and many others use preference driven data and development.

5. Language of Craft and Bespoke:

Through consumerism, there has been a shift to focusing on the bespoke, rather than the mass-produced quantities.  Recently people are moving and returning to bespoke, where pieces are created individually or sourced, to produce that one-off product. Crafting is through digital fabrication and mass customisation and not mass production.  Alvin Huang at Synthesis Design + Architecture Chelsea Workspace, Home office CNC milled plywood ribs and assembled ribbed origination form, braced by exposed spaces and representing a world man. The production method has informed the process which gives rise to a more looped system of production, with autonomous individualisation and which is not defined by how the material was cut.

In conclusion, with my design practice, this discussion and method become ever so important as I consider integration of craft and enhancing technologies, to better support the ideas of individualisation and a sustainable process.

References 

RAJINDERPAL, S. R. (2021). Craftsmanship + Computational + Parametric Modelling Part II. [Image]. London: Own Private Collection.

[rajinderpalsingh]

07: Biomimicry Nature Design Innovation Part II

Figure 31 RAJINDERPAL, S. R. (2021). Biomimicry Definition. [Image]. London: Own Private Collection.

I am currently researching the Biomimicry subject specialism ‘Communication, Sourcing information and Memory’ to develop surface through the given project briefs.

Figure 32 RAJINDERPAL, S. R. (2021). Communication Information Memorable. [Image]. London: Own Private Collection.

I am currently investigating the ways in which honey bees and penguins communicate with one another through physical and verbal/non-verbal (sound) to identify certain information, such as source of food, heat, cold and threat. The research has allowed me to understand collective behavioural strategies, in which the colony responds for the greater good of the collective.  

Figure 33 RAJINDERPAL, S. R. (2021). Collective Behaviour Strategy Approach 01. [Image]. London: Own Private Collection.

For example, the honey bee has a built in solar compass which allows them to navigate from point A to B, sourcing pollen and come back to the hive and effectively communicate and relay this message back to the other honeys bees. They do this through thoracic vibration in the figure of eight. The bee to bee communication through a figure of eight wiggle dance at desired angles effectively communicates where the food source might be. Did you know bees would headbutt other bees to notify if there is danger at the food source? They have effectively mastered essential key communication methods to effectively keep the hive in continual production.

Figure 34 RAJINDERPAL, S. R. (2021). Navigation Algorithms. [Image]. London: Own Private Collection.

In essence, the specluation that has been driven from the initial research and development looks at the navigational algorithm that has been built in to the biological make up of the honey bee. Speculation from the research Analysis of navigational algorithms, mapping through solar compass where navigation is automated through points A to B and B to A.  

The planning stage of my experimentation has lead me to look at several threads. Firstly, to investigate the possible navigational algorithm that could be translated to collective human behaviour? Crucially this is a vast new area of study, which scientist in the Case study by Murray (2021). ‘Scientists Discover The Secret To Bees’ Flawless Navigation’, look at the potential GPS navigational potential of bees to possibly develop a system for humans. I am currently researching and developing explorative ideas in this field of study. I am investigating primary research methods in which to collect the data, use to create (aesthetic, functional) surface. 

I have branched out with this thread and developed the notion of communication and collective behaviour strategies. Honey bees use their wings to cool and heat the hive. This is crucially dependent on their positioning. Rapped movement of their wings as they are closely packed together will allow for their core body temperature to rise, and to heat the hive. The opposite will happen in order to cool the hive, Honey Bees are separated while they flap their wings. Some bees would leave the hive in order for the cooling process to proceed.

Figure 35 : RAJINDERPAL, S. R. (2021). Collective Behaviour Strategy. [Image]. London: Own Private Collection.

I have branched out with this thread and developed the research of communication and collective behaviour strategies. Honey bees use their wings to cool and heat the hive. This is crucially dependent on their positioning. Rapped movement of their wings as they are closely packed together will allow for their core body temperature to rise, and to  heat the hive. The opposite will happen in order to cool the hive, honey bees are separated while they flap their wings. Some bees would leave the hive in order for the cooling process to proceed.

Figure 36  RAJINDERPAL, S. R. (2021). Experimentation Method. [Image]. London: Own Private Collection.

The experimentation mode will look at mimicking this process in humans and look at the disposal of heat from the body by using thermal imaging camera and video to record a time lapsed imaging process to while the human flaps its winds in continued motion for set period of time. The forecast in research outline the extremities will cool faster then closest to the heart centre of the body. The hypothesis investigation looks at how ‘Surfaces communicate and respond to collective human behaviour changes, through environmental variation'. The primary research data will be used to form the development the Biomimicry principal applied surface. 

Figure 37 RAJINDERPAL, S. R. (2021). Hypothesis. [Image]. London: Own Private Collection.

The research has also indirectly led me to look at the biomimicry process when considering the collective behaviour survival strategies of Emperor penguins in artic conditions. Firstly, the dense body mass supports the preservation of heat loss. Secondly, the penguins display a huddling process in a continual circular motion to keep the core central temperature so the penguins all have equal distribution of heat conduction. Further experimentation could be conducted regarding the distribution of heat using different material conductors and transference of water and a heat source.

Figure 38 RAJINDERPAL, S. R. (2021). Emperor Penguins Collective Behaviour Strategy. [Image]. London: Own Private Collection.

While looking at the thermoregulation strategies to regulate temperature, I will carry out an experiment looking at the disposal of heat (hot water) from different materials, metal, glass, and ceramic. It is a micro study mimicking the surroundings of the penguins with ice. I will be looking at the disposal of heat, while also assessing the cooling process using a thermal imaging camera, recording the process through time lapsed period of 10 to 20 minutes. The primary research data will be used to form the development the Biomimicry principle applied surface.

Figure 39 RAJINDERPAL, S. R. (2021). Emperor Penguins Experimentation. [Image]. London: Own Private Collection.

In the second thread in my exploration, I am looking at the honey bee expressions and links to human behaviour and collective behaviour through an ecstatic dance. This is where the expression of feeling and emotion is conducted through movement. In the image below, I investigate and attempt to make a comparison and a link to a bee behaviour and human behaviour through forms of communication and sending coded messages.

Figure 40 RAJINDERPAL, S. R. (2021). Honey Bee Link Ecstatic Dance. [Image]. London: Own Private Collection.

Figure 41 RAJINDERPAL, S. R. (2021). Major Data Collection Tool. [Image]. London: Own Private Collection.

The critical development has lead me to look at the antenna receptors of a honey where the honey bee receives data information, such as touch, taste, temperature, smell, humidity, carbon dioxide, deceptive gravity and wind speed. I look to investigate how this might link to the threshold surface I am looking to communicate. The hypothesis is: ‘Physiology influence and expression through movement which emulates current state and emotion’.

Figure 42 RAJINDERPAL, S. R. (2021). Hypothesis Ecstatic Dance. [Image]. London: Own Private Collection.

Figure 43 RAJINDERPAL, S. R. (2021). Ecstatic Dance Experimentation. [Image]. London: Own Private Collection.

The expression would be recorded through infrared thermal cameras while the person holds handheld lights. The experimentation will look at two key areas: a) the type of ecstatic and erratic movement; b) it will also look at the dispersion of heat and cooling process of the human body. Recording will be completed for a period of 10 to 20 minutes.  

In the third thread under investigation at this stage are honey bees that are being used in the Los Alamos National Laboratory Sensor Project (Scientists train honeybees to detect explosives, 2008). Bees have a natural reaction to nectar as they use a proboscis extension reflex, as they stick out their tongue to respond to a scent. 

Figure 44 RAJINDERPAL, S. R. (2021). Behaviourist Theory. [Image]. London: Own Private Collection.

Pavlovian theory techniques in research are used to train bees to respond positively and detect scent using the proboscis extension reflex (PER) response, when they are exposed to sugar source and are trained to respond to vapours of TNT, C4 AND TATP explosives.  

Figure 45 UNKNOWN. (2008). Scientists train honeybees to detect explosives. [Online Video]. Los Alamos National Lab: https://www.youtube.com/watch?v=_T7d0bze4kM&feature=youtu.be.

Bees are inexpensive to train and store, although ethical and safe guarding considerations should be put in place. The use of bees to detect explosives can be a good alternative in high risk areas such as Iraq and Afghanistan instead of the use of trained military dogs as it would put neither the dogs or their owners at risk.

Why am I looking at this area of biomimicry? In its simplified examination selected bees respond to a sugar reward, when their antenna sensors react by sticking out their tongue the  proboscis extension reflex (PER) and kick their legs vigorously. The Pavlovian Theory technique indicated a trained response from the bees. I am particularly interested in how specific proteins in bees develops their sense of memory. The primary research data will be used to form the development the Biomimicry principal applied surface.

References

GINGRAS, P. (2018). ‘The Design Development and Manufacture Of Biomaterials: The practice and value of Biomimicry’ Orthopaedic Proceedings, 100-B (SUPP_14), 82–82. 

MURRAY, G. (2021). Scientists Discover The Secret To Bees’ Flawless Navigation. [online] The Independent. Available at: <https://www.independent.co.uk/news/bees-navigation-brain-secrets-discovery-science-a7985481.html> [Accessed 15 January 2021].

RAJINDERPAL, S. R. (2021). Behaviourist Theory. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Biomimicry Definition. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Collective Behaviour Strategy. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Communication Information Memorable. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Ecstatic Dance Experimentation. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Experimentation Method. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Hypothesis Ecstatic Dance. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Hypothesis. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Honey Bee Link Ecstatic Dance [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). 2021 Emperor Penguins Experimentation. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Emperor Penguins Collective Behaviour Strategy. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Major Data Collection Tool. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Navigation Algorithms. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2021). Collective Behaviour Strategy Approach 01. [Image]. London: Own Private Collection.

UNKNOWN (2008). Scientists train honeybees to detect explosives. [Online Video]. Los Alamos National Lab: https://www.youtube.com/watch?v=_T7d0bze4kM&feature=youtu.be.

[rajinderpalsingh]

6 : Craftsmanship + Mechanisation Part I

Figure 30 RAJINDERPAL S, R. (2013). Ginge Table Lamp. [Image]. London: Own Private Collection.

In collaboration with Gong London Guillaume Everard, in 2015 I was involved in creating a lighting range. The brief was very loose and I could look at different movements in which to form my conceptual approach. The initial design development I investigated was lighting styles in 1920/the 1930s in furniture and fashion: detailing in shape and form, referring to films such as Grand Hotel 1932, and The Great Gatsby 2013.  

Although I did not take the Art Deco linear lines, shapes and form the of the period the colouration of black and gold.  The lamp became a hybrid of different influences from shapes I warmed too from the period and the lace beaded hats worn by women at the time.

I developed a set of drawings, that were later modified as the prototype evolved. The base of the lamp change form and the angle of the hood of the lamp took on a more angular formation. The prototype was constructed with a base antic brass finish, inlay gold spray, top hood black matt finish. I am particularly pleased with the form and the contrasting colour of inlay gold and black matt finish. 

The prototype was made in India, old Delhi, on an industrial site, with small shopfronts, where the individual components were handcrafted and modelled using traditional methods and machinery to create a circular dome for the base and hood. While the parts sprayed in a different section of the market. The finish was rough, smooth and elegant.

With a self-reflective eye and my own critique of the design cycle and process, I now question why this prototype was produced in India? This becomes dependent on other products being manufactured and shipped to the UK by the practice from India at the site. This process has indeed made me reflect on whether craftsmanship and machine production would be beneficial with the use of local crafts where I/we would be responsible for all aspects of the design decision and production. 

I recently watched a BBC2 programme looking back at the Industrial Revolution (Cruickshank, 2003) and how it affected Shropshire.  Although only a small part of the UK, it still highlighted the same issues. The technology was becoming a breakthrough, and mass-production was a cost-effective means for new markets to develop in Britain.  It targeted a large part of the population which was on an average income, which reflected on their buying habits.   Manufacturing has a lot to do with social and consumer acceptance, it was influenced partly by Government intervention and the revolution in the nineteen century. 

The Arts and Craft Movement was gaining new ground as soon as it was established industrialisation and mechanisation was starting to take shape.  Although Frank Lloyd Wright suggests mechanisation was not at fault but the designers as machines simply repeatedly produce objects they do not produce art.  

I believe that integration of the two methods Arts and Craft (handcraft) and machines should become an equal partnership.  Penny Sparke suggested products were becoming standardised via pattern books. The moral ground would be for designers to have control of their original designs.  Designers should learn to embrace mechanisation and technology like the American craftsmen and women, while craftsmen and women have the freedom to explore the arts and craft from a mechanisation view.  Adrian Forty’s theory of effect would suggest an ever-changing social structure is moving toward the new age of technology, where traditional craftsmanship could be integrated with mechanisation and new technology.  For example, designing a clock radio using hand-craftsmanship, where machines shape and size the object and the craftsman finishes the object with the use of new technology.  

I develop this area in my further research in part II where I will discuss the developmental approach of technology, mechanisation and craftsmanship.

References 

CRUICKSHANK, D. (2003). What The Industrial Revolution Did For Us. [video] Available at: <https://www.open.edu/openlearn/body-mind/ou-on-the-bbc-what-the-industrial-revolution-did-us-series-summary?in_menu=13412> [Accessed 15 January 2021].

RAJINDERPAL S. R. (2013). Ginge Table Lamp. [Image]. London: Own Private Collection.

[rajinderpalsingh]

5 : Geometry + Shape

Figure 16 RAJINDERPAL, S. R. (2009) Exhibition Design Proposal V&A. [Image]. London: Own Private Collection.

As I was looking through past projects, I found an Exhibition design project I developed, for The Victoria and Albert Museum which I hoped to show in an exhibition space.

The space engages with the audience with several levels highlighting the efforts of the greenhouse effect. Within the body of the exhibition, there is room to incorporate a retail store and a cafeteria.  In my analysis of the past project, I looked at the aspect of green design, energy, material and innovation. The original design project was an investigation of the environmental effects of pollution on the land, sea and in the air around the world. There was a focus on the green house effect as a reference to the ‘hothouse’ on earth.

Figure 17 RAJINDERPAL, S. R. (2009) Falling Boulders V&A. [Image]. London: Own Private Collection.

Hollow boulders were used with the exhibition designed pieces placed within them, each boulder represented a different region in the world. The boulders were angled at about 30 degrees so that they looked like they were falling towards the viewer. From the viewing platform and retail stores above the exhibition, it was evident that the boulders represented the outline of the continents of the world.

Figure 18 RAJINDERPAL, S. R. (2009) Boulders vs Continents V&A. [Image]. London: Own Private Collection.

The abstract boulders were angled as though they were falling towards you or away, depending on where you were standing. The visitor would be able to walk freely within and out each boulder, view the environmental effects within the different regions of the world.  If I was to develop this work further, I could have looked at how the boulders might be constructed, while creating a low impact carbon footprint.  

Figure 19 RAJINDERPAL, S. R. (2009) Falling Continents V&A. [Image]. London: Own Private Collection.

While working on another project for set design, I came across the material, mushroom mycelium, where the material can be grown in moulds, surfaces once constructed can be strong as bricks.

Figure 20 UNKNOWN (2018). East Beach Cafe. [Image]. Available at: <https://eastbeachcafe.co.uk/gallery> [Accessed 15 January 2021].

With a critically subjective perspective, I do think I was influenced by the work of Thomas Heatherwick and Zaha Hadid.  If you consider the shapes and lines and angles of Thomas Heatherwick’s East Beach Café  (East beach cafe, 2018) and Zaha Hadid’s multi-perspective angle approach and views, there are similarities in the development of ideas and direction, although the narrative and outcome, becomes one of environment and global impact.

This is one project I would like to revisit to develop the internal content of Exhibition space.

Figure 21 RAJINDERPAL, S. R. (2009) Shelving Unit Powder Lab Retail Store. [Image]. London: Own Private Collection.

Another previous project, I have been reflecting on is the Hospitality retail design project for the Powder Lab Retail Store which was to create a retail paint and artists store to engage with consumers. An additional challenge was to ensure that consumers engaged with raw materials and were involved with mixing pigments and supplying paint pots. 

Figure 22 RAJINDERPAL, S. R. (2009) Interior Facade Powder Lab. [Image]. London: Own Private Collection.

The concept was developed through the exploration of throwing powder, and capturing the unique and dynamic shapes that were generated using a time laps camera. From this research and analysis I noticed their was epicentre as the explosion took place, creating geometric abstract shapes. I emulated the shapes in the interior façade creating abstract triangulation shapes.

Figure 23 RAJINDERPAL, S. R. (2009) Interior Perspective Powder Lab. [Image]. London: Own Private Collection.

This was one of the first projects I became completely hooked on colour and shape, with its endless possibilities and configuration.  I was influenced by Thomas Heatherwick and  Zaha Hadid’s work, and Anish Kapoor’s playfulness of colour, where you never feel restricted in the possible outcomes.

Figure 24 RAJINDERPAL, S. R. (2009) Interior Final Drawings and Sketches. [Image]. London: Own Private Collection.

The exploration started by throwing paint and capturing the movement of paint.  The material consideration had been Formica and MDF CNC construction, although I would look at more sustainable repurposing solutions in the project. I was potentially looking at recycled materials for sustainability reasons.  I would also look at the complete Formica and 3D materiality company where the material was recycled in some instances and repurposed.

Figure 25 RAJINDERPAL, S. R. (2009) Orange Light. [Image]. London: Own Private Collection.

In the third previous project I have reflected on is concerning a lighting design made from sugar paper. The concept was developed by looking at an "orange peel" where  initial ideas were developed considering the through segments of an orange and layering the shapes together to form light and dark forms. 

Figure 26 RAJINDERPAL, S. R. (2009) Orange Light Sketches. [Image]. London: Own Private Collection.

The initial idea was developed as I was given the word ‘orange’ and looked at how I might form a shape for a light. I thought of the idea of how segments of an orange peel might fall into segments. I then explored how to layer the sugar paper segments together and layer the lines. I am pleased with the initial development of this product design. Although the next phase of this project, I would build a prototype and investigate the materiality and technicians needed for sustainable production. I would need to be mindful of where the material is sourced from and the construction process.

Figure 27 UNKNOWN (2001). Sydney Opera House Orange Segments. [Image]. Available at: <https://technologystudent.com/prddes_2/nature1.html> [Accessed 15 January 2021].

In comparison to the geometric shape, this design is very similar to how Sydney Opera House, 1959 was conceptualised, where the process was actually developed  through considering the segments into  a half-sphere.  In this instance, the architect, Jorn Utzon wanted to emulate the sails on Sydney Harbour.  This project was geometrically challenging of its time, as it was one of the first in its examination through the use of computer analysis, looking at the tension points in the building and also establishing the shell of the building to provide a solution which avoided expensive construction framing.

Figure 28 STATE LIBRARY OF NSW (1962). Spherical Solution Model. [Image]. Available at: <https://www.sydneyoperahouse.com/our-story/sydney-opera-house-history/spherical-solution.html> [Accessed 15 January 2021].

I worked at the Sydney Opera House several years ago. It is truly a landmark building of its time. The iconic shapes and form are unmistakable from any angle but together the geometric formation contributes to the dark and light areas of the building and identifies the building’s refined complexity and detail.

Figure 29 UNKNOWN (1991). Sydney Opera House Sky. [Image]. Available at: <https://www.sydneyoperahouse.com/our-story.html> [Accessed 15 January 2021].

References

RAJINDERPAL, S. R. (2009). Exhibition Design Proposal V&A. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Falling Boulders V&A. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Boulders vs Continents V&A. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Falling Continents V&A. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Shelving Unit Powder Lab Retail Store.  [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Interior Facade Powder Lab. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Interior Final Drawings and Sketches. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Interior Perspective Powder Lab. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Orange Light. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2009). Orange Light Sketches. [Image]. London: Own Private Collection.

STATE LIBRARY OF NSW (1962). Spherical Solution Model. [Image]. Available at: <https://www.sydneyoperahouse.com/our-story/sydney-opera-house-history/spherical-solution.html> [Accessed 15 January 2021].

UNKNOWN (2018). East Beach Cafe. [Image]. Available at: <https://eastbeachcafe.co.uk/gallery> [Accessed 15 January 2021].

UNKNOWN (2001). Sydney Opera House Orange Segments. [Image] Available at: <https://technologystudent.com/prddes_2/nature1.html> [Accessed 15 January 2021].

UNKNOWN (2001). Sydney Opera House Orange Segments. [Image]. Available at: <https://technologystudent.com/prddes_2/nature1.html> [Accessed 15 January 2021].

UNKNOWN (1991). Sydney Opera House Sky. [Image]. Available at: <https://www.sydneyoperahouse.com/our-story.html> [Accessed 15 January 2021].

[rajinderpalsingh]

4: Biomimicry +  Nature Design Innovation: Part I

Figure 14 RAJINDERPAL, S. R. (2020). Biomimicry Modelling Process. [Image]. London Own Private Collections

Designers always look for inspiration and we tend to look towards the natural environment, although not integrally through functionality, but through aesthetic endeavour.

Crucially, we should be looking at nature closely for answers and find solutions through imitation, simulating nature’s processes for solving human problems. Biomimicry is one such approach to look at sustainable direction to solve human problems. For example, the Kingfisher Beak gave engineers inspiration for the high speed train design or responsive Façade of Esplanade Theatre mimics the semi rigid skin of a plant which Is covered in thorns which protects the inner content. The façade responds to the sunlight without overheating space.

This reminds me of a quote by Buckminster Fuller “When I am working on a problem, I never think about beauty but when I have finished, if the solution is not beautiful, I know it is wrong” (Mascarenhas, 2011, p. 73).

Recent activists, such as Greta Thunberg: International Children’s Peace Prize (2019) have highlighted environmental issues such as threats to biodiversity, water pollution, deforestation and global climate change and natural disasters. Thunberg has indirectly been instrumental in the global action through her peers. I do not believe that was her intention as she wanted her own government to recognise the global crisis and her message resonated with others around the world. Her work highlights the importance of caring for nature.

Nature has the answers we might be looking for, although we need to explore, examine, and experiment with an investigative eye. There are many examples in which imitation of nature, through biomimicry processes (Benyus, 2020) has remarkable triangulable results, in computational building structures, surface materiality application, product and automotive design. 

Figure 15 BENYUS, J. (2020). The promise of Biomimicry. [Online Video]. Biomimicry.org. Available at: <https://biomimicry.org/videos/> [Accessed 15 January 2021].

Innovation takes time, global collaborative research and development through government interventions with interior architectural and design research and development practice can help in developing design which is close to nature and sustainable.

The ultimate goal for designers, engineers, scientists is to create sustainable innovative solutions evoking design for behaviour change. The Design Council in collaboration with Behavioural Design Lab, Dr Kristina Niedderer and Dr James Mackrill from Universities of Wolverhampton and Warwick, initiate and develop a new Arts and Humanities Research Council arts funded project.

From my initial research and development on Design Practice One, I will continue this discussion in Blog Post 07: Biomimicry Nature Design Innovation Part II.

References

BENYUS, J. (2020). The promise of Biomimicry. [Online Video]. Biomimicry.org. Available at: <https://biomimicry.org/videos/> [Accessed 15 January 2021].

RAJINDERPAL, S. R. (2020). Biomimicry Modelling Process. [Image]. London Own Private Collection.

[rajinderpalsingh]

3: Voronoi Structures + Natural World

Figure 11 RAJINDERPAL, S. R. (2020). Voronoi Structure Development.  [Image]. London: Own Private Collection.

As I reflect upon my practice, I have come  across some of my previous work. This was part of a demonstration to a group of students, which I developed as one of my projects. I explored 2-D shapes and complex 3-D geometry, where the final exemplar explores undulating curved twisted levels and openings. The source of ideas and concept were souced  from the natural world, Voronoi structures. This concept originated from the mathematician Georgy Voronoi. His diagram is also known as tessellation, decomposition or partition.

Figure 12 RAJINDERPAL, S. R. (2020). NURBS Voronoi Structure. [Image]. London: Own Private Collection.

Critically, I looked at this work and considered not only its aesthetic qualities but also consider the functionality, the purpose and durability. Could this 3D form provide other complex solutions for designers to assess performance, through the collection of data.  There needs to be greater in-depth research and development within my own practice, where the form is investigated through purpose, composition and innovation. Could the form give feedback to the given space, where the form is informative and maybe stores data or information? One area I am currently researching is parametric Voronoi cellar structure, where the façade could respond to the changing environment.

Within my own practice, further critical analysis and thinking is required to consider  the application of Voronoi diagrams. For example, the diagram is frequently used when locating a communal function such as a school or when locating a new service point for a community, where the diagram locates the central location at the quickest point.  

The cross-disciplinary application of Biological Voronoi diagrams are applied in aviation, engineering, and epidemiology, for example they can support the identification of  the source of infections. This principals of modelling are used to identify and solve complex problems. This reminds me of a quote by Buckminster Fuller: “You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.” (Ray, 2018, p.9)

The advances in CAD application and technology allows designers to consider these complexities in form and structure. This unlike our predecessors, such as  Antoni Gaudi, who created La Sagrada Família, who used handcrafted modelling to visualise and realise the prototype. Critically, it is sometimes the only way you would realise the potential of the structure and its limitations. La Sagrada Família was realised through its construction engineering requirements. How might this large expansive space support its tension and weight. The building structure was realised through placing weights on string to ascertain the tension and angles of the columns and also the direction of the columns. He placed a mirror underneath the model, which was reversed to see the elevation of the structure and angles of the columns (Antoni Gaudi La Sagrada Família, 2021). This helped him to realise his design and to communicate his ideas to other practitioners.

Figure 13 THOUGHTS, C. 2021. La Sagrada Familia. [online]. Available at<https://chrispythoughts.wordpress.com/2012/09/15/la-sagrada-familia/> [Accessed 20 January 2021].

This building has evolved since its original construction in 1882 when methods of craftsmanship and stonemasonry were vastly different, and where handcrafted detailing stone facade was used in sections. Today the building is crafted through CNC laser stone cutting processes. Technology and computer modelling methods are used to streamline production, which creates less waste based on time and material application, while the construction engineer looks at safeguarding the building from earthquakes by reinforcing steel columns through each section of the towers.

The building visionary architect Antoni Gaudi would not have envisioned this methodology in construction. Controversially, the building stone materiality is highly criticised as its evolution quality resulted in differentiated stone colouration.

References

RAJINDERPAL, S. R. (2020). Voronoi Structure Development. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2020). NURBS Voronoi Structure. [Image]. London: Own Private Collection.

RAY, A. L. (2018). Fulfilling the Needs of Teachers: Five Stepping Stones to Professional Learning. United States: Rowman & Littlefield Publishers.

THOUGHTS, C., 2021. La Sagrada Familia. [Online]. chrispy thoughts. Available at: <https://chrispythoughts.wordpress.com/2012/09/15/la-sagrada-familia/> [Accessed 20 January 2021].

[rajinderpalsingh]

2: Practice, Learning & Me....

Figure 2 RAJINDERPAL, S. R. (2020). Artists Names. [Image]. London: Own Private Collection.

The initial lectures and discussions ignited my own passion for the subject study and direction, while also considering professionals I have read about independently.

“Great leaders develop through a never-ending process of self-study, self-reflection, education, training, and experience." (Buon, 2015).

The practitioners in Figure 2, over the years, have influenced my own practice through their projects, discussions, lectures, and exhibitions. I have considered their methodology, research, development, conceptual direction and realisation. Anish Kapoor’s iconic ‘Cloud Gate’ is a sculptural realisation through the use of NURBS (Non-uniform rational B-Spline), using overlay processing modelling and a stainless steel structure. He realised his conception through the use of geometric form, deploying the reflection and refraction of light using mirrors and lenses.

Figure 3 KAPOOR, A. (2006). Cloud Gate. [Video]. Available at: <http://anishkapoor.com/210/cloud-gate> [Accessed 15 January 2021].

It was a controversial and debated project of its time, in 2004. I was inspired by the fact that other creators had used the NURBS method for the creation of unusual organic, undulating forms. I have used examples of Kapoor’s use of NURBS and that of other practitioners such as Thomas Heatherwick at Longchamp, USA; Bombay Sapphire Distillery, UK and Temple Kagoshima, Japan.  In each space, Heatherwick deploys undulating organic formations in his work. Analytically, from observation and study, he pushes the envelope of vertical and horizontal plains.  

Figure 4 Heatherwick, T. (2001). Heatherwick Studio | Design & Architecture | Temple. [Image]. Heatherwick Studio | Design & Architecture. Available at: <http://www.hatherwick.com/project/temple/> [Accessed 15 January 2021].

Figure 5 BAAN, I. (2014). Bombay Sapphire Distillery. [Image]. Available at: <https://www.dezeen.com/2014/09/22/thomas-heatherwicks-gin-distillery-bombay-sapphire-opens/> [Accessed 15 January 2021].

Thomas Heatherwick; Bombay Sapphire Distillery has a deeper functionality purpose. The two curbing glass greenhouses  channel through hot air through the pipes of metal strip from the distillation process.

Figure 6 HEATHERWICK STUDIO | DESIGN & ARCHITECTURE. (2010). Heatherwick Studio | Design & Architecture | Bombay Sapphire Distillery [Image]. Available at: <http://www.heatherwick.com/project/bombay-sapphire-distillery/> [Accessed 15 January 2021].

Figure7 HEATHERWICK STUDIO | DESIGN & ARCHITECTURE (2010). Bombay-Sapphire-Distillery. [Image]. Available at: <http://www.heatherwick.com/project/bombay-sapphire-distillery/> [Accessed 15 January 2021].

These examples in practice have not only supported my own professional practice and while also supporting students using unique process and produces while exploring the methodology. One example I have given here the use of NURBS in creating unique surfaces through applied CAD (Computer Aided Design) software NURBS Surface (2020). 

Figure 8 RAJINDERPAL, S. R. (2020). NURBS Voronoi Structure. [Image]. London: Own Private Collection.

For example, when creating organic shapes and forms using undulating surfaces. Creating three dimensional dropped ceiling structures.  The advantages of creating such forms on CAD application allows practices to quickly note how the surface might appear, consider the costing and dimensions, while also quickly make alterations to the shape and form. While also giving designers and clients quick overview of the given design intent. This is particularly true for Bombay Sapphire Distillery, were computational mapping was applied in processing material requirement, construction methodology and engineering, and following the step by step process through to the build. 

Upon reflection another of my most memorable trips was to the London Design Museum to see an exhibition by the architect Zaha Hadid. Through reading her biography and studying her work, I was moved by her remarkable ground-breaking conceptual narratives and realisation. The Baghdad-born Iraqi architect configured her stamp on the world, becoming a ground-breaking trailblazer as one of the first architects from her background within male dominated landscape.  I was impressed with how she defined a radical new approach to architecture with multiple perspective points and fragmented geometry evoked both disorder and order in modern structures. Hadid’s earlier work explored through more geometric distorted plains of construction and deconstruction as realised in the BMW Central building in Leipzig, Germany (2005), contrasting with more recent work acquit centre for Olympic Park, London (2012) where the forms are more fluid. 

Figure 9 UNKNOWN (2005). BMW Central Building – Zaha Hadid Architects. [Image]. Available at: <https://www.zaha-hadid.com/architecture/bmw-central-building/> [Accessed 15 January 2021].

There is no irony in the work: the concept is driven from the droplets of water and observing the rippling motion and movement of liquid. From a distance, it almost starts to look like the beginning of wave. Certainly, there is a shift in her design expression through applied design parametric approaches and computational algorithmic topology.

Figure 10 BINET, H. (2020). Architecture Projects | London Aquatic Centre. [Image]. Arch2O.com. Available at: <https://www.arch2o.com/category/architecture/> [Accessed 15 January 2021].

These two practitioners and many others have influenced my own passion for forging and exploring design direction through exploration and experimentation.  There are so many designers and artists that have inspired me over the years and I hope to tap in to their work while on this continued reflective journey.

In my own work, I explore and experiment with geometric shapes and forms and start to look organic form in Voronoi Structure.

References 

BAAN, I. (2014). Bombay Sapphire Distillery. [Image]. Available at: <https://www.dezeen.com/2014/09/22/thomas-heatherwicks-gin-distillery-bombay-sapphire-opens/> [Accessed 15 January 2021].

BINET, H. (2020). Architecture Projects | London Aquatic Centre. [Online]. Arch2O.com. Available at: <https://www.arch2o.com/category/architecture/> [Accessed 15 January 2021].

HEATHERWICK, T. (2001). Heatherwick Studio | Design & Architecture | Temple. [Online]. Heatherwick Studio | Design & Architecture. Available at: <http://www.hatherwick.com/project/temple/> [Accessed 15 January 2021].

HEATHERWICK STUDIO | DESIGN & ARCHITECTURE. (2010). Bombay-Sapphire-Distillery [Image]. Available at: <http://www.heatherwick.com/project/bombay-sapphire-distillery/> [Accessed 15 January 2021].

HEATHERWICK STUDIO | DESIGN & ARCHITECTURE (2010). Heatherwick Studio | Design & Architecture | Bombay Sapphire Distillery. [Online]. Available at: <http://www.heatherwick.com/project/bombay-sapphire-distillery/> [Accessed 15 January 2021].

KAPOOR, A. (2006). Cloud Gate. [Video]. Available at: <http://anishkapoor.com/210/cloud-gate> [Accessed 15 January 2021].

RAJINDERPAL, S. R. (2020). Artists Names. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2020). NURBS Voronoi Structure. [Image]. London: Own Private Collection.

UNKNOWN. (2005). BMW Central Building – Zaha Hadid Architects. [Online]. Available at: <https://www.zaha-hadid.com/architecture/bmw-central-building/> [Accessed 15 January 2021].

[rajinderpalsingh]

1: Learning, Design & Me,

Figure 1 RAJINDERPAL, S. R. (2020). Starting with Zero. [Image]. London: Own Private Collection.

Interior Architecture and Design

Introduction

This blog will focus on fundamental discussions in Interior Architecture and Design. It will include discussions on professional practice, education and learning and considerations for possible future changes in practice.

The discussions, review and critical analysis focuses primarily on my studies and reflections for my Master’s in Interior Architecture and Design. I will focus on computational design application, craftmanship and sustainability and will consider how architects make their decisions regarding aesthetics, material and ethical implications.  

I am hoping that I will further deepen my critical analysis and understanding through the writing of these blogs and how to consider objective and subjective practice.

This site will be divided into three core sections, continued live posts of current interests in Interior Architecture and Design (Blogs) an Annotated Bibliography, and critical analysis of a key text.

I will reflect upon my own professional and academic practice, becoming a critical reflective practitioner allows me to consider the four lenses “...autobiographies as teachers and learners, students eyes, our colleagues experiences and theoretical literature’ (Brookfield, 1995, p.29)

This blog is initially being developed through academic reading on the Master’s module Research and Enquiry with supported references.

Reference: 

BROOKFIELD, S. (1995). Becoming a critically reflective teacher. San Francisco: Wiley.

RAJINDERPAL, S. R. (2020). Starting with Zero. [Image]. London: Own Private Collection.