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Showing posts from March, 2014

SENSING OBJECTS BEYOND THEIR SIZE MEASURES

Dealing with Real Sizes and Scaled Forms:

Our Faculties of Perceptionshave inherent limitations. We see up to a certain fineness and distance. Beyond such a range we need to scale the effect for clearer comprehension. A site plan drawn at a smaller scale allows us to see the neighbourhood, or an enlarged detail allows greater manipulation. We scale measurements to avoid or enhance certain details and also to exploit the space available for recording on media.
We deal with entities at one level, as they really exist in original measuresor all conditions of enactments, and at another level, in their scaled representations. Designers are trained to manipulate, arrange, or compose scaled representations, and generally achieve results equal to their real size forms.

We also experience objects through the sensory affectations like light, colour, sound, temperature, smell, pressure, etc., as caused to our body. But such affectations are very subjective, and not easily accountable to any unive…

MULTI COATS of PAINT SYSTEMS

A surface of a industrial product, building, roads and even our body needs a coating. It could be single layer system or a multi-layer method. A single layer system due to its simplicity and frugality may not be very superior to multi-layer method. If the ground or the sub-surface is adequate on its own, perhaps a single layer system may suffice. In case of multi-layer method, each of the coat has a distinct function. The sequential design of multiple coat offers unique functionality. A multi coat layer could be formed of same material formulation (often applied by varied techniques) or each coat layer could have specific formulation. 
TECHNICAL COATS  Technical Coats operate with either the substrate or the environment. The substrate needs a sealing (filling up of pores), levelling (smoothening the surface or endowing new texture), binding (of loose particles) and preparing a receptive surfacefor the next set of treatments. Technical coats nominally are not required to offer any senso…

CHANGES IN BUILDINGS

CHANGES IN BUILDINGS Buildings during their life change, occasionally and continually. These changes are intentional actions as well as inadvertent changes. The later type of changes occur on their own (as the inevitable process of ageing), in spite of all the remedial measures, and also due to the side effects of the intentional changes. Intentional changes in buildings are due to maintenance, repairs, alterations, additions, extensions, preservation, reformation, conservation, downsizing and demolitions. Some of these changes occur several times in the life of a building. Some changes are made at regular intervals as a precautionary measure, because their needs are probable. Other changes are made very rarely, only when there are compelling reasons.
ADOPTIVE CHANGES Nominally a well conceived building will not require any change for the first few years. However, buildings, immediately on occupation, see adoptive changesfor several reasons. Buildings that have been designed with ‘commo…

CONCURRENT ENGINEERING or SIMULTANEOUS DESIGNING

Concurrent engineering or Simultaneous designinghas some bearing on component approach for design. However, the implications here relate to entire project, and not just theproduct. A product or an aspect of a project is recognised as an entity and then designed, produced as operating in a larger context. Till recently, these were dealt as distinctive task modules, and handled in a sequential manner. However in this process whenever a major change was proposed, everything had to be reset, forcing rethink and rework. It increased the ‘development time’ of a project.
An Integrated Product Development IPD, as the Concurrent Engineering is sometimes referred to, allows several teams to work simultaneously. It brings together multi-disciplinary teams working in diverse locations, taking advantage of locale talent or resources, the daytime zones and climatic conditions. The teams could be departmental, outsourced facility or free lancing entities.
The simultaneous approach needs, live or virtu…

CREATIVITY in DESIGN ORGANIZATIONS

Creativity in a Design Organization result from several factors, such as The Quality of Leadership, Structures of Authority and Responsibility, Work Culture, Work Climate and Specialization or Core Competence of the organizations.
A Convener of the Design Organization is normally the prime leader of the unit. A Formal authority to lead an organization is acquired by virtue of the capacity to reimburse or compensate people who work for the organization. Besides the capacity to compensate a person in a position or office (associated with expertise, skill, or experience) also gets a formal authority. However, something more than such a formal authority is required to lead a design organization. Some degree of Technical mastery that derives from superior knowledge, expertise, skill, experience, etc. is required. Similarly a leader must also have certain Personality attributes such as: age, sex, race, charisma, bearing, determination, will power, appearance, height, weight, etc. Formal aut…

BODY POSTURES and HUMAN BEHAVIOUR

Postures: Postures are transient body positions. Postures are taken for change, relaxation, transition, exercise, for conducting tasks, and also for expression, communication and interactions. Posturing is using own body limbs and sensorial nodes in coordinated manner vis-à-vis another individual, groups of persons, or the elements of the space.
One can also reposition the objects and reshape the surroundings, change the environment or force recast the connection with other beings or group, and thereby avoid some degree of posturing, or enforce certain posturing from the space users.

One uses body to take-up postures with and without the tools, amenities and facilities. Postures are reinforcing so create empathetic and confirming images. Certain body positions, patterns and movements suggest specific emotions. Postures directly and abstractly convey the state of interpersonal relationships, social standing, personality traits such as confidence, submissiveness, and openness, current em…

DOOR THRESHOLDS -myths and technicalities

Threshold or Udumbarais the most significant element of a traditional door. It perhaps began as a necessary entity to fix a door, but in every culture of the world its mythological connections are reinforced through customs and religious ceremonies from birth to death. In India the Udumbara has persisted mainly due to the importance given in Vastu Shastra (Ancient Indian canons of planning). The Vastu Shastra prescribes that every inner room should be at slightly higher elevation. In India it continues to be physically formed, elsewhere in the world, it is symbolically recognised as a point of initiation and manifestation.

A threshold, at physical level represents an edge or limit of a domain, a break or mark for entry-exit. The threshold represents an interim reality between inside and outside, that may not have dimensional reality only an abstract consideration. It is a Maryada, across which there is a change of state such as the behaviour, conduct, or experience. The line drawn aro…