Rowc Fnal Booklet

CRAFTING REFLECTIONS
FSDS-ROWC
CFP 2023-2024
CEPT
FOUNDATION
PROGRAMME
MINISHA BOTHRA
CEPT
FOUNDATION
PROGRAMME
U6 U23132
CRAFTING REFLECTIONS
FSDS-ROWC
Monsoon Semester 2023
CEPT
MINISHA BOTHRA
FOUNDATION
CEPT
FOUNDATION
PROGRAMME
PROGRAMME
U6 U23132
I
Crafting Reflections by Minisha Bothra
Published by CEPT University, Ahmedabad
Copyright © CFP 2023-2024
All rights reserved.
ACKNOWLEDGEMENTS
I express my gratitude to the Dean of CEPT Foundation Program

Sameer Shah, Program Chairs- Dr. Catrinel Dunca and Vishal Mehta. I would
also like to thank the Faculty Aarohi Panchamia, Susan Vivian George and
Teaching Associates Garima Sinha and Devapreeta Jena for their unwavering
support and guidance throughout the semester. Their helpful criticism and
suggestions enabled me to make the right choices, gain a reasonable com-
mand of the language, and utilize it to convey my ideas. Additionally, I want to
express my gratitude to my peers for their advice when needed.
II
CONTENTS
1 Introduction 1
2 Captions and Descriptions 3
Captions
Describing Objects
Describing Spaces
3 Documenting Processes 23
Mapping
Joining Elements
4 Formal Writing 37
Exhibition Introduction
Formal Email
5 Research Writing 45
Annotated Working Bibliography
Mind Map
Concept Note (I)
Concept Note (II)
Research Essay
6 Imaginative Writing 75
Narratives
Describing Settings
7 Reading 83
In Praise of Shadows
A Table Six Chairs and a Building
A New Typeface
Ghosts in the Machine
III
Designs for Living
Surat Semarang
Surat Semarang
Migration and Sexuality
8 Perspectives 101
Envy
Memories
Bibliography
1 INTRODUCTION
From captioning images to reading, researching and writing about it, this
booklet encompasses everything I did in Reading Objects, Writing Craft
(ROWC) throughout the year. All the exercises have helped me improve
my reading and writing skills as well as my understanding of the text. This
booklet has been categorized into 7 parts- Captioning and Description, De-
scribing processes, Formal writing, Research Writing, Imaginative Writing,
Reading and lastly, Perspectives.
On the writing part, different exercises helped me improve my thought

process, think about a text logically and create a flow in a piece of writing.
Research writing enhanced my ability to skim through a text and gather
important information, it also helped me refer to different sources and cite
other papers. This also made me understand what different design process-
es the designers go through and I was able to compare different works in a
structured manner.
Reading has been something I have always been interested in but articu-
lating and being keen on details was something I often missed, which has
changed drastically this year. The reading exercises helped me go into the
core of the texts and break them down structure-wise as well as find the
theme and argument of the texts while substantiating what the text argues.
This made me realise how we can extract useful information from different
writing pieces such as blogs, articles, academic papers and videos as well
This booklet shows how I have improved as a writer and a designer this
past year. These ROWC exercises have also improved my observing skills,
confidence, the way I express myself and how I can present my works and
thoughts through my writing.
1
2 Captions and
Descriptions
The first section comprises the captioning of images formally and in-
formally. In formal captions, I was introduced to the APA format for
the first time. I learned to look at an image and give it meaning through
our words. In describing objects, I tried to articulate the characteris-
tics like materials, form and technicalities of the furniture. I paid at-
tention to the joinery of the furniture and how every factor affects the
overall design. In describing spaces, the purpose of the place, archi-
tectural details descriptions of the environment and sensory aspects
of the place are some things I talked about. This analysis helped me
describe the objects and space articulating all the important details.
3
Captions
Theme : Together
1. Captions for Newsletter (Informal)
Figure 1
Figure 2
Learning something new, one step

at a time.Copyright 2023 by
Keertana Bhatt.
Memories are made when gathered

friends are around a table in the can-
teen.Copyright 2023 by Nandini
Neerukonda.
5
Figure 3
Students clicking pictures and making

memories in Shrenik Bhai Plaza. Copyright
2023 by Krithika R Bao.
Figure 4
Figure 5
New friendships blooming on

the first day at CEPT. Copy-
right 2023 by Priyanshi Shah.
An arm wrestling match is the found-

ation of friendship.Copyright 2023 by
Khushi Bhatiani.
6
2. Captions for Conference (Formal)
Figure 6
A New Chapter
Note. First ROWC session of the

batch of 2023 at CFP Building.
From CEPT Photobank by K.Bhatt. Figure 7
Copyright 2023 by Keertana Bhatt. Mornings at CEPT
Note. Students having breakfast in the

South Canteen at CEPT University.
From CEPT Photobank by N.Neerukon-
da. Copyright 2023 by Nandini Neeru-
konda.
7
Figure 8
A Place for Everyone
Note. Students meeting and socializing in

Shrenik bhai Plaza at CEPT University.
From CEPT Photobank by K.B.Rao. Copy- Figure 9
right 2023 by Krithika B Rao Finding Your Person
Figure 10
Strength of the Bond
Note.CFP students forming

friendships in the Sagara Base-
ment at CEPT. From CEPT
Photobank by P.Shah. Copyright
2023 by Priyanshi Shah.
Note. Friendly challenges between
students form stronger connections.
From CEPT Photobank by K.Bhatiani,
CEPT University. Copyright 2023 by
Khushi Bhatiani.
8
Object Description
The Student’s Table

Figure 11
Student's Workplace
Note.The table is spacious enough to keep all the supplies and equipment.
By M. Bothra, 2023, CEPT University. Copyright 2023 by Minisha Bothra.
This table is located in Unit 6 Studio in the CFP building at CEPT

University, Ahmedabad. It is designed by an architect and furniture de-
signer, Ismet Khambatta. The table is made of hardwood slab and has a
metal framework. Two similar tables are attached on the opposite sides
forming a large table so that two people can work opposite to each
other. They are connected by the metal legs and the meshed metal rack
under the table to The metal framework is painted with anti-rusting
9
grey paint.The table is at the appropriate height, 3 ft tall,which
makes it efficient to use while standing as well as sitting.
Figure 12
The Mesh Rack
Note.The bottom gives enough legroom and the mesh rack keeps the wires from
tangling. By M. Bothra, 2023, CEPT University. Copyright 2023 by Minisha
Bothra.
The metal rack in the bottom is designed for the keeping wires con-
necting the plug point and can also be used for extra storage space.
The top working space is 4.5x2 ft in length and breadth. It is large
enough that a person can put A2 sheets and their laptop and work
simultaneously.
10
Figure 13
Functionality of the Table
Note. The table stores all the important things students need during working in
studios. By M. Bothra, 2023, CEPT University. Copyright 2023 by Minisha
Bothra.
Figure 14
Components of the table
Note. The cabinet and the locking system are easily accessible to students. By M.
Bothra, 2023, CEPT University. Copyright 2023 by Minisha Bothra
11
The top of the table has scratches and tape marks and is covered
with white backing sheet stuck with brown tape. The table offers
two storage spaces- a drawer and a cabinet. The cabinet is made of
the same hardwood as the table. It is hinged on the left side of the
table and is spacious enough to keep sheets and a lot of stationery.
The drawer is made of the same material as the table and it can store
files, laptop and notebooks. It is put together with 2 L-shaped cor-
ner brackets. An electronic charging point is installed just above the
cabinet. It is made of plastic and is the same grey colour as the metal
framework to harmonise the design. The circular locking system,
which is also grey, ensures that the drawer and cabinet are locked
with one single lock.
Figure 15
FullView of the Table
Note. The table and studio stool complement each other and its surroundings. By
M. Bothra, 2023, CEPT University. Copyright 2023 by Minisha Bothra.
The edges and corners are rounded so it doesn’t hurt. It has enough
storage space and is durable. The table has been in Unit 6 since 2018
and has been serving its purpose. The drawer, cabinet and charging
12
point add to the functionality as well as the design of the table.
The Red Stool in the Grey

Figure 16
The Red and Black Stool
Note. The red top of the stool pops in the contrasting background.
The stool shown above is located in Unit 6 Studio in the CFP build-
ing at CEPT University, Ahmedabad. The stool is designed by Ismet
Khambhatta, a furniture designer and the director of TDW Furni-
tures. It has 4 legs which are black in colour. The legs of the stool are
made up of stainless steel and are coated with epoxy paint.
13
Figure 17 Figure 18
TopView of the Stool Form of the stool
Note. Holes on the top allow airflow Note. The stool’s joinery is kept
to prevent the formation of vaccum simple with parts welded together.
between the stacked stools. By M. By M. Bothra, 2023, CEPT University
Bothra, 2023, CEPT University. Copyright 2023 by Minisha Bothra.
Copyright 2023 by Minisha Bothra.
The circular seat is made up of aluminium. It is red in colour and has

7 holes in it. The height of the stool is 75 cm and the diameter of the
seat is 40 cm. The four legs are welded together in a cross under the
seat. And the circular seat is welded to the stand using 4 small steel
pieces which created the space between seat and the legs.The stool
is lightweight and therefore easily movable. Multiple stools can be
stacked together as it has no leg rest. It is used by faculty, staff and
students.
14
Figure 19
Working on the stool
Note. The stool is made with the help of ergonomics and makes working easier.
The stool does not feature a backrest, as seen in the image above,
due to which one can get back pain. The height of the stool is 2 ft
and can be put anywhere for other purposes. It can be seen across
the campus used by various people for different purposes.
The red and the black colour adds to the aesthetics of the stool and
the welding gives it a seamless joinery. The stool is designed accord-
ing to the professional aspects required and creates a productive
environment.
15
Describing Spaces
The Curvilinear Escape
The SID (School of Interior Design) Plaza is located in front of the

building of the Faculty of Design at CEPT University, Ahmedabad.
One can enter the plaza from the small gate near the old workshop
and the Toritos cafe. It is easily accessible from the building of the
Faculty of Design, and the stairs leading to the Lilavati library. As you
step from the narrow gate, on the immediate left, a watchman sits
under the shade to look out for people entering. A small step near
the tree pit takes you to the low plaza with a refreshing and joyous
environment.
Figure 20
The Peaceful Abode
Note. The serene-looking SID Plaza in the afternoon. From the author’s collec-
tion by M. Bothra 2024, CEPT University. Copyright 2024 by Minisha Bothra.
16
It is an open space for people to sit, relax, and chat with friends. It is
a popular hangout spot among the students as it is airy and well-lit.
The plaza is big enough to take a stroll while getting away from the
busy schedules. The plaza is surrounded by two main buildings of the
Department of Technology and the Department of Design and acts
as a connecting point. It is mostly filled with respective students it
is easily accessible, and many of their project discussions and exhi-
bitions take place in the plaza. It is also near the Lilavati Library and
due to the steps leading down, the levels of the plaza are emphasised
and give it a look of a conversation pit. This makes it a good place to
host small events and performances.
Figure 21
Levels and Landings
Note. Steps leading to the Plaza from the building of the Faculty of Design. From
the author’s collection by M. Bothra 2024, CEPT University. Copyright 2024 by
Minisha Bothra.
The flooring of the plaza is smooth and laid with a beautiful gradient.
It is covered with multi-coloured paved tiles like light yellow, ochre
yellow, and brick red creating a rhythm that makes the plaza stand
out from the rest of the campus. The tiles are laid in a curvilinear
manner which enhances the curves and the levels of the plaza. The
17
coloured tiles make the overall place refreshing and creative, in a
way, reflecting the design students who occupy the space.
Figure 22
Colourful Platforms
Note. The bright colours give a distinct feature to the plaza from the campus and
surroundings. From the author’s collection by M. Bothra 2024, CEPT Universi-
ty. Copyright 2024 by Minisha Bothra.
Since it is an open space, it gets a lot of natural light. The building

around the plaza makes it seem like an enclosed space and helps
block the harsh sunlight. There are a lot of trees which provide shade
and help reduce the heat in summer. The curvilinear levels are con-
structed in such a way that they can be used as a place to sit. The sit-
ting area is placed adjacent to the pit of the trees so that one can get
shade from the direct sunlight. The shade from the trees creates an
interplay of the sunlight and the shadow of organic patterns. It also
follows the same curvy patterns, which makes talking to peers while
facing each other easier. In the centre of the opposing wall is a white
screen with a raised level, giving it the feeling of a stage. This is used
as the centre of the events for performances and screenings.
18
Figure 23
Seating and Shade
Note. The SID Plaza provides open space for sitting under tree shade, making it
a popular hangout spot. From the author’s collection by M. Bothra 2024, CEPT
University. Copyright 2024 by Minisha Bothra.
The colours, curves and levels of the plaza make it unique from the
rest of the campus.Yet, the concrete walls and brick structures that
surround it blend harmoniously with the campus’s overall design
language, creating a sense of cohesiveness. The plaza is peaceful and
refreshing as it is covered with various trees at different levels which
makes the place interesting.You can hear the chirping of the birds
in the morning, during the afternoon one can find students having
lunch and in the evening people hanging out with friends after a tir-
ing day. The beautiful landscaping makes the plaza an escape from the
busy schedules and work of the students.
19
Figure 24
A Rejuvenating Space
Note. The cosy design of the plaza serves as an escape from day-to-day chores and
helps freshen the mind. From the author’s collection by M. Bothra 2024, CEPT
University. Copyright 2024 by Minisha Bothra.
20
3 Documenting Processes
This section captures the documenting processes of the works done

in studio. It talks about the steps taken to reach the final outcome so
that one can understand the back and forth done while working on a
project. The first group project of mapping talks about the building
in the Riverfront Area in Ahmedabad. We have tried to articulate the
information marked in the map in a detailed writing so one can
understand the key points.
The second group project describes every single descision and the
logical reason behind it we took while making a model from different
materials. It talks about different stages of designing a model such as
ideation, 3D Sketch model and process of making the model.
23
24
Figure 25
Exaggerated Horizon
Note. The exaggerated and colour-coded layout of the built-form. By K. Aggarwal, M. Bothra, CEPT University.
Copyright 2024 by Kanav Aggarwal, Minisha Bothra.
Mapping
Dynamic Buildings : A study on age, height and use.
The area between the Riverfront and the Ashram Road has varied
characteristics, from hustle and bustle to a peaceful environment,
from residential areas to hospitals and commercial buildings. The
riverfront area’s architectural layout has many new and old construc-
tions intertwining in the space. The site has been broadly categorised
into age, height, and use which is later depicted on the map. The
building ages from being a century old to being not even a decade
old. With a different set of heights and uses, the built form is con-
gested in a few areas with mixed uses of buildings and tall buildings
for sole purposes at some. To gather data on age and use, we consult-
ed with locals and frequent visitors in the area. The information was
gathered by interviewing multiple individuals and collecting sec-
ondhand data before including it on the map. The fieldwork for data
collection was done in the daytime to attain more appropriate data.
The height classification was determined by counting the number of
floors in each building and then using it on the map with a general
idea of the height of a single storey, approximately 3m for each floor,
of a building.
The map features different colours corresponding to different infor-

mation types, including building use and age. The highlighted yellow
25
buildings represent residential structures, while the orange buildings
denote commercial properties. Together, these two types of buildings
account for 28% and 30% of the site, respectively. Additionally, the
majority of structures in the area measure between G+1 and G+5
floors in height. Some buildings on Ashram Road are 60-70 years old
whereas some are fairly new and only 5-10 years old. The colours
used for denoting the use of the buildings correspond to the stan-
dard colours for land usage, while the monochromatic roofs of the
structures depict their age. The map is systematically and accurately
articulated with secondary information. From the details depicted
on the map, it can be inferred that the location is a blend of residen-
tial and commercial properties. It helps understand the varied char-
acteristics of the Ashram Road and the Riverfront Road, and how the
built form engages different kinds of people and has an impact on
their day-to-day lives.
26
Joining Elements
Screwing Up Materials
Design is a connection between many elements based on function.

The art of these joinery is not a piece of theoretical knowledge but
a practical interaction that needs to be experienced. To understand
the basic unit of these joinery, we were introduced to this module,
‘joining elements’, where we explored various joinery between
wood and metal at the CEPT Workshops. We used different tech-
niques such as bending, drilling, and cutting on our materials to
form a structure that was unique to its kind by neither being static
nor giving the impression of a solid shape. The maroon fabric was the
final touch to the composition of two interlocked elemental frames.
Introduction to Material and Joinery
Joinery is a crucial part of a structure, it results in stability, the com-

position and the overall look of the structure. The initial focus was to
explore various ways in which the same material or different mate-
rials interlock with each other to create a robust junction. We had to
make an assemblage exploring different joinery that could fit in the
space of 300*300*300 mm. The amount of material provided was a
certain amount, i.e. 40*40*800 mm of wood, 1400mm of a metal
rod with a diameter of 10 mm, 700mm of pipe with a diameter of
27
12mm and a metal sheet of 350*350 mm in area. To minimize mate-
rial wastage, we shortlisted the various material joinery options that
could be crafted using the available workshop machines. After select-
ing the joinery and creating some of our own, discussion with the
faculty and workshop assistant helped in incorporating the changes
into our assemblage.
Ideating the Composition
While conceptualizing, we drew a few iterations for the final assem-

blage. They consisted of the incorporation of joinery discussed with
faculty and a few of the aesthetic touches. We included interesting
components of our various iterations and stitched them into our final
composition. To gain a better understanding of the material and visu-
alise the final model, we first made a prototype. The materials used
were thermocol, straws and pipe cleaners, which were visualised
as different materials provided to us. This allowed us to ensure the
proper usage of material, and measurements of the parts and identify
any necessary changes that needed to be made regarding the joinery.
This helped us understand how joinery will hold up between differ-
ent materials. Once all the corrections were made, it helped us move
on to the Sketch Up part of this entire process.
3D SketchUp Model
The next step was creating a 3D model on SketchUp. It was to

understand the composition more accurately and visualise the ma-
terial and the outcome. Ultimately we created an exploded view of
the model, detailing the joinery used and the material required for
each component. The SketchUp model allowed us to view the model
from all possible angles and even produce it on a 1:1 scale. It also
28
helped us give dimension to each part, regardless of the size, under-
stand where was the hardware required and determine the required
quantity. After this, we moved on to the making process of the model
with the material we were provided, as we had the required dimen-
sions and views to understand the making of the model.
Figure 26
Isometric Composition of the Final Model
Note. To understand a design concerning proportion to its other parts one needs
to see the model in an isometric view. By doing so we get a clear idea of the
arrangement and the order we need to approach the design with. By N. Chan-
dra, M. Bothra, CEPT University. Copyright 2024 by Nandita Chandra, Minisha
Bothra.
Working Designs, Woods and Metal
Ideations may stand strong theoretically but the true way to under-
stand them is to make a physical model. Our plan of action required
us to make the first base of the outer frame of the model using
wooden joineries since they were the base upon which the struc-
ture was supposed to stand. To create these elements, machines like,
‘Bandsaw’, ‘Hand Saw’, Chisel, Jigsaw Machine, and drill machine
29
wood were used to chamfer, drill, and saw the wood blocks. The two
base joineries included one basic block of wood chamfered at the
edges and a hole drilled in it. The second joinery was a tongue and
grove joinery (see Figure 27) internally angled at 90 degrees and
externally at 45 degrees. The two blocks were then locked using a
dowel pin to secure the joinery.
Further wood elements such as a wooden sphere connected to the
outer frame - an aesthetic element we used to understand the possi-
bilities of wood exploration- required us to work on the Laith ma-
chine and was completed on day one itself. The second/ inner frame
required a wooden block to be levitated for which, slits on the edges
were made using a jigsaw machine to connect metal sheets in respec-
tive grooves. Completing the elements of wood we then moved on
to the metal components.
Figure 27
Wooden Joiney
Note. The angled dowel joint is a basic wood joinery which gives off an aesthetic
look while providing the structure with good strengthening. By M. Chanra, M.
Bothra, CEPT University. Copyright 2024 by Nandita Chandra, Minisha Bothra.
30
Figure 28
Metal Threading
Note. This exploded view of one of the edges of the outer frame showcases the
use of rod to rod joint i.e. by external and internal threading, and processes like
chamfering and lathe machine works done by us on the wood. By C. Chandra,
M. Bothra, CEPT University. Copyright 2024 by Nandita Chandra, Minisha
Bothra.
Sealing Steel
Wood worked with wood, but now about connecting metal with
wood. It was a challenging task to connect Metal rods, sheets, and
pipe since each joinery had to be thought upon individually and only
a few iterations were available on online sources. Finalising certain
joineries, we first went ahead with metal sheets since we wanted to
bite the frog by taking on the material least explored by any of us.
Processes like bending, cutting, and hammering were done on the
sheets. After tackling issues with straight-edge cutting on the ‘hand
cutting machine’ we carried forward with completing processes of
31
cuttings, drilling, and bending of pipe and rod respectively. However
we faced a slight challenge of making thorough holes in pipes with
them being on the same axis, we tackled it with a slight placement
change before drilling over to the other side which bridged the gap
with the next steps..
Figure 29
Metal Flaps
Note. This is not a conventional joinery but a designed joinery to interlock metal
sheet and wood firmly using flaps rather than using any hardware. By N. Chan-
dra, M. Bothra, CEPT University. Copyright 2024 by Nandita Chandra, Minisha
Bothra.
Final Strokes
After all our elements were made, we assembled them in their re-
spective structural frames as per the new restructured and modified
design. The wood, pipe, and rod elements fit perfectly in their posi-
tions with our maximum effort being slight hammering but the sheet
elements stood as hurdles since they were not as easy to mould into
the joineries we had decided to go for. After a lot of hammering, and
re-making of our second frame’s levitating wood block (see Figure
4) we finally had our structure ready. We constructed hardware like
the one on top of the pipe and bought some like the nuts and one
pin from nearby hardware stores. After slight restructurings such as
changes of slits of wood-metal sheet joinery and rod bending, we had
initially planned to complete our structure with the inside frame
32
levitating as planned. We finished our structure with the last step of
the addition of the red nylon fabric which was stretched in a tensile
criss cross manner to the ends of the centre rod and the axial edges
of the inside frame as seen in Figure 29.
With functionality and aesthetics, the form also depends on afford-

ability in the market. To learn the basics of cost estimation of dif-
ferent materials and their selling unit we made an Excel sheet with
calculating formulas to make an estimation chart of the charges of
the material and labour charges. The labour charges were calculated
by the number of hours we had spent at each workshop. The final
submission of the model included a report of the complete process
we took starting from basic iterations, to exploration of joineries, to
the stages of model making and the final structure. It also included
the steps of construction of each and every joinery, which stands as a
good way to understand and visualize the behind-the-scenes process
and making of the structure.
The Final Model
The final design comprises an outer and inner frame, connected

through a central rod. The inner frame allows for a 160-degree rota-
tion, facilitated by the rod. The outer frame features a wooden join-
ery, two metal to metal joinery, and several wood to metal joinery.
Two wooden blocks on either side of the outer frame serve as a base
for the entire model, connected to a metal rod and metal sheets.
The metal rod which seems like one is two metal rods internally and
externally threaded and joined together. A wooden sphere rests atop
the rod, adding a geometric element to the otherwise linear design.
Above that is a wooden sphere which provides another geometry to
the rather linear model. The rod is then connected to the pipe which
33
connects the outer square with the wooden block and the meta-
sheets. The pipe is fixed with a U-shaped metal sheet joining the
wooden block on the top.
The inner frame has a wooden block in the centre in which the metal
sheets on both sides are fixed by creating an L-shaped slit in the
wooden block. These sheets extend outward to connect with a rod
and a semi-circular metal piece, ultimately fastening to a pipe with a
bolt and nut to create the completed inner frame. The maroon fabric
attached by tying knots around the elements. It added texture to
our composition with it’s flexible and stretchable property. The final
model seamlessly blends joinery, geometry, and aesthetics, with a
rotating feature, which makes the model even more interesting.
Figure 30
Resulting Rotation
Note. The final model was a dynamic model which showcased all the joinery
learnt and were managed to sustain by us during this module while connecting
different materials which had varying densities and properties. By N. Chandra,
M. Bothra, CEPT University. Copyright 2024 by Nandita Chandra, Minisha
Bothra.
34
4 Formal Writing
This section gives an insight into the work that I have done in the stu-
dio. In the exhibition text, I have described the assemblage I had creat-
ed in the freehand drawing module of the studio. This is done in a way
that helps the reader understand the thought process behind the cre-
ation of the assemblage. Whereas, in a formal email, I pitched my de-
sign and explained the details of the product to a hypothetical client.
37
38
Figure 31
The Assemblage Park
Note. Assemblage made with six subtracted solids. By M. Bothra, 2023, CEPT University. Copyright
2023 by Minisha Bothra.
Exhibition Introduction
VOIDS IN FORMS
From learning about a dot to a line then shapes and 3d forms, ren-
dering and creating voids is what gives a sense of space to a struc-
ture. The idea behind this composition was to bring 6 different forms
with voids and subtractions in a way that they create a harmonious
composition. On the left side, we can see the front view, the cylinder
standing tall with a subtracted cone on top which resembles a bird
shelter in a park and the prism with subtracted cubes takes the form
of a bench. The cube is crowned with a pyramid in front of a cuboid
resembling a children’s ride. On the right side, we can see the rear
view which gives a glimpse of hollow spaces and the design of the
composition from the back. The forms are made using gauging and
construction lines to get every subtraction accurately.
39
Formal Email
From: minisha.u23132@cept.ac.in
To: sanjaybothra1211@gmail.com
Subject: Exploded view of the prototype model with its parts and
working mechanism.
Dear Sir,
Good afternoon. I hope this email finds you in good spirits. As per
our discussions, I have designed a prototype model of a multi-utility
swiss knife based on the specifications you requested. I have attached
a sheet of its drafted parts and a sheet of the exploded view with the
working mechanism, to achieve a better understanding of the mech-
anism as well.
The parts drafted in Fig.21 are drawn on A2 sheets at a 2:1 scale,

then scaled down to a 1:1 scale to achieve accuracy and precision. All
the parts are drafted in an isometric view. The isometric view, that is
at a thirty degrees angle from the ground line as it provides an easy
understanding of the parts and covers most of the view in accurate
proportions.
The prototype consists of 11 functional parts. All the parts are made
of stainless steel with a rubber grip to provide easy handling. The
parts include a bottle opener, a can opener, a corkscrew, a pair of
scissors, an awl, a fish scale, a nail filer, a wood saw, a small blade,
40
a large blade and a screwdriver. Other parts that help in the mecha-
nism of the prototype are liners, backsprings and rivets.
In Fig. 22, the assembly is exploded along a vertical axis, indicating

the placement of parts of the prototype. The font chosen to name
and explain the working mechanism was done keeping in mind that
it is legible and complements the drawing. The exploded view is
drawn in such a way that assembly can be easily understood with axis
lines indicating where the rivets go.
The working mechanism is explained on the bottom right of the

sheet so that it is easier to look at the parts and then assess the sec-
tion of the prototype. In the sectioned view, (Fig. 22) rivets 2 and 4
join all the functional parts, whereas rivets 1 and 3 combine all the
liners and backsprings and connect them with the outer body. The
rivets along with the backsprings provide tension against the func-
tional parts so that they can snap easily in and out of their place and
provide easy functioning. The exploded view has been arranged in
such a way that it leads the reader’s eye and guides them towards the
working mechanism.
I hope the sheet helps with a better understanding of the product

and its working mechanism.
I await your response and thoughts on the prototype, and for any
queries, you can get back to me whenever possible.
Regards,
Minisha Bothra
(Product Designer)
41
Figure 32
Parts of Swiss Knife
Note. Drafted parts of the swiss knife in isometric view. By M. Bothra, 2023,
CEPT University. Copyright 2023 by Minisha Bothra.
42
Figure 33
The Final Arrangement
Note. Exploded view explaining the arrangement and the working mechanism
of the swiss knife. By M. Bothra, 2023, CEPT University. Copyright 2023 by
Minisha Bothra.
43
5 Research Writing
This section focuses on the research done by me and my teammates.

The first research consists of an Annotated Working Bibliography, a
Mind Map and finally a Concept Note. This was a group project and
focuses on two very similar chairs in form by different designers. We
focused on gathering information from viable sources and comparing
the chairs on different criteria, such as context, material, etc.
The second research was an individual attempt which consisted of
a Concept Note and Research essay. It compares two famous muse-
ums based on their architectural features and important decisions ar-
chitects made to incorporate the history and the location of the two
buildings. The essay is a detailed piece in which all the information
gathered is articulated structurally while citing all the sources in a
bibliography.
45
Annotated Bibliography
The research will compare Eileen Gray’s S-Bend Chair (1938) and
Michael Thonet’s Rocking Chair Model 1 (1860) comparing the ma-
terials and design techniques of the two eras. (Modernism in
the 20th Century and Art Nouveau in the 19th Century)
Figure 34 Figure 35
Note. S Bend Chair by Eileen Gray. Note. Rocking Chair, Model 1 by

Copyright 2006 Victoria and Albert Michael Thonet. Copyright 2011 by
Museum. Brooklyn Museum.
1. Context : Time Period and Form
Taylor’s Classics. The History and Origin of Bentwood Furniture.

(2014)
https://web.archive.org/web/20141015150208/http://www.tay-
lorsclassics.com/blog/the-history-and-popularity-of-bentwood-fur-
niture
47
This article from the archives of Taylor’s Classics, published in 2014,
explains in detail how bentwood furniture started, the impact of
Gebruder Thonet, and the impact it still has today.
• Thonet’s Model 1 Rocking Chair was made using bentwood

technique, which involves the bending and shaping of wood with
the help of steam, to get the desired form.
• Thonet pioneered this method, and he was the first person to set
up an industrial level production line, circa 1860.
• Until that point in time, chairs were manufactured individually
by craftsmen, but while those were unique, it meant that com-
ponents were not always accurate and replacing them would be
difficult.
Ireland, J. (2018). History Of Interior Design 2nd Edition. pp. 464.
This extract from Ireland’s book elaborates more on bentwood fur-

niture and Thonet’s thought process behind this idea.
• He discarded the prevalent idea of that time, which was furniture

with construction methods, that had elaborate carvings with dis-
guised joinery, and came up with the process of wood bending.
• The idea was minimalistic and few joints are required to attach
the pieces to each other.
• Bentwood furniture became very popular as it was stylish and
cheap, so they were used on a large scale in coffee houses and
restaurants.
48
Figure 36
Note. The Model 14 Chair introduced in 1859. Copyright 2019 by Georg Mayer.
Rawsthorn, A. (24 February 2013). “Eileen Gray, Freed From Seclu-

sion”. The NewYork Times. ISSN 0362- 4331, Retrieved 7 May 2018.
https://www.nytimes.com/2013/02/25/arts/design/eileen-gray-
freed-from-seclusion.html
This article gives us a brief introduction to the S-bend and its design
principles.
• The S-Bend Chair was created in much more of a Modern set-

ting, with preference given to functionality and form, with
mathematical precision and utility which was against the standard
at the time, which was aesthetics.
• Her works were inspired by Le Corbusier and Marcel Breuer,
who were the original pioneers of the Modernist movement,
preferring to create geometrically simple, yet aesthetically pleas-
ing forms.
49
Oates, P.B. (2012). The Story OfWestern Furniture. pp. 218-221.
The author explains how Gray experimented and developed her own
unique style, which was a combination of previous artists and adding
new elements.
• Gray was a pioneer of the Art Deco Movement, which was also
a revival of lacquering, which she was one of the first to master
and pioneer.
• She perfected the art under the Oriental artist Sugawara, and ap-
plied it to furniture and screens, by treating it as an entirely new
material without referring to the traditional designs of the past.
• Her style, based on geometric shapes, had a limited appeal at
the time, but is very common now, still serving as an inspiration
to architects and designers worldwide, due to its simplicity and
style.
2. Michael Thonet (1796-1871)
Wilk, C. (1996). Furniture. Western Furniture 1350 to present day. pp.

148-149.
The book gives us information about the Thonets journey of discov-

ering and patenting his bentwood furniture technique.
• Around the 1830s Thonet began searching for an alternative to

cutting and carving shaped sections in an attempt to lower costs .
• He took stacks of thinly cut veneers, boiled them in glue and
moulded them into curvilinear shapes using a process he patent-
ed in prussia in 1840 and later in France in 1841
50
• 1820s were importation of new technologies and patenting of
new woodworking machines
• By the 1850s he was mass producing ‘bentwood furniture’ using
machinery designed and built by his own firm, Gebruder Thonet.
Rocking Chair
Rocking chair, model #1. Collection Menu. The Brooklyn Museum.
https://www.brooklynmuseum.org/opencollection/objects/94974
The article gives us a review about the Model 1 Rocking Chair made
by Thonet.
• Thonet was the first designer to fuse the means of production

and design to create superior products: his chairs were stronger,
lighter, and less expensive than traditionally made ones.
• He was also a master of marketing, selling his designs through
catalogues and an international chain of stores.
• He offered the same piece of furniture in different colours, and
he produced pieces for adults, children to capture as much of the
consumer market as possible.
• Medium of the chair used is copper beech and leather.
• The chair was designed in ca. 1860, manufactured in ca. 1900.
• Dimensions of the chair listed is 39 1/4 x 22 1/2 x 45 in. (99.7
x 57.2 x 114.3 cm)
Ryan, V. (2019). Michael Thonet and the model 14 chair. Boxed

learning exercise. Technology student.
https://technologystudent.com/prddes1/thonet1.html
The blog gives us a review about the making of bentwood chairs and
an insight about the material.
51
• This chair was manufactured from veneers of natural woods,
mostly beech.
• Thonet worked with beechwood because he found it was much
less likely to split than other natural woods.
• He developed manufacturing processes in which veneers (layers)
of beech were softened by steam.
• The lengths of beechwood were softened by the application of
steam in a sealed unit.
• The resin fibre between the fibres becomes pliable and when re-
moved from the steam unit the lengths can be forced into various
bent shapes.
Dulce Orellana Higginson(Channel). (2015, July 8). Michael Tho-

net-UPC [Video].Youtube.
https://youtu.be/HkP8vKQ4N8M?feature=shared
• In 1860 Thonet designed his very first rocking chair which set
an example for all the rocking chairs made after it all around the
world.
• Thonet also started the idea of advertising his products. He used
to publish catalogues about his furniture.
3. Eileen Gray (1878-1976)
Carmen, E. (2017). Eileen Gray. Women architects in the modern move-

ment. pp. 95-135. Taylor & Francis ltd.
The text tells us about the journey of Eileen Gray’s designing style
and inspirations.
52
• She was one of the first women to be admitted to The Slade
School of Fine Arts in 1901.
• She worked with lacquer and created furniture in the beginning
of her career. She experimented with glossy surfaces and art deco
style.
• In her 50s she started focusing on architecture and was inspired
by modernist ideas of De Stijl.
• Gray and her partner Jean Badovici published a magazine, L’ Ar-
chitecture Vivante, which had 21 issues between 1923 and 1933.
• Her greatest work, E.1027 was presented in the first exhibition
of Union des Artistes Modernes in 1930.
Connors, K. (2021). The Mother of Modernism.

https://floydhome.com/blogs/livedin/the-mother-of-modernism-
eileen-gray
The blog provides information on how Eileen Gray defied the con-
straints of design styles of her time and experimented with modern-
ism which was seen in her works.
• In 1910, Gray opened her design studio where she displayed her
lacquerware and woven rugs which had simple geometric motifs.
• After World War I, Gray shifted her focus to interior design and
architecture projects and designed the iconic Bibendum chair.
• The E.1027 Villa incorporates modern furniture which focuses
on the functionality. It is made of lightweight tubing steel which
was heavily used during that period.
53
The S Bend Chair
‘S’ bend chair. (2006, December 2). Victoria & Albert Museum.
https://collections.vam.ac.uk/item/O129668/s-bend-chair-folding-chair-
gray-eileen/
This article from the Victoria and Albert Museum explains the materials,
functions, and why the chair remained a prototype and never entered the
production process.
• The design was designed to be a folding chair, with slots along the length
of the “S” structural supports at the sides, with further stability given
metal rods connection the two sides
• The chair is made up of laminated wood which is painted brown and
cream and canvas.
• Gray initially came up with the concept for this chair in 1938 for her
house in Castellar, but was never able to finalise the design.
Figure 37 Figure 38
Note. Pictures from the Victoria and Albert Museum, recorded in 2006.
Copyright 2006 Victoria and Albert Museum.
54
• She wrote a letter to Carol Hogben in 1970, explaining the faults
in the design:’The cushions for openwork fold-up chair were not
well made; the head cushion which ought to fold forward as a
head-rest or hang backwards, was designed to button on to the
mattress in the middle to keep it in place, but the Tapissier, late,
in a hurry stuck it on with those dreadful tags that didn’t even
match, & it was too late to have them changed”.
4.Comparison
Both Thonet and Gray were very revolutionary in their time, but
they were quite different in their approaches to furniture making.
They were similar in their respective approaches to furniture mak-
ing, with Gray making simple works, with very few materials, and
minimal decorative elements added to it. Thonet too, preferred the
simplicity of bentwood, with no external elements added to it, and
the forms remained geometrically simple.
The similarities end there.Thonet broke away from the elaborate

decorations and carvings of that time to come up with his own
unique method of construction, whereas Gray adapted the prevalent
art style of that time (Modernism) and added her own unique style
to it, which was lacquering in her works.
.Thonet came with the first industrial level production line of the
1860’s, and was able to mass produce his chairs, at a low cost, to the
public but Gray came up with new and unique ideas every time, for
an individual buyer, and worked privately.
55
The Model 1 chair was the first Rocking chair constructed by Tho-
net, became a favourite of the public, and quickly went to mass
production, but the S Bend chair remained a concept design, as Gray
was not able to complete the planning process completely.
The Model 1 was a Rocking Chair, made of beechwood, with the

seat made of leather, and the S-Bend is an adjustable chair, with slots
in the “S” which makes up the arms and legs of the chair. The seat and
back fold to adjust the chair as per the owner, with the seat folding
upward and the back folding forward.
56
Figure 39
Wooden Masterpieces
Mind Map
Note. The mindmap above talks about the context, form and user experience of both S Bend chair and
Rocking chair and how this was achieved by the designers. By K. Aggarwal, M. Bothra, V. Menon, 2024.
Copyright 2023 by Kanav Aggarwal, Minisha Bothra and Vaudev Menon.
57
Concept Note (I)
Wood and Curve: A Comparative Study of The Rocking Chair

Model 1 (1860) by Michael Thonet and The S Bend Chair (1938) by
Eileen Gray
Figure 40 Figure 41
Note. S Bend Chair by Eileen Gray. Note. Rocking Chair, Model 1 by

Copyright 2006 by Victoria and Albert Michael Thonet. Copyright 2011 by
Museum. Brooklyn Museum.
Thonet’s Rocking Chair Model 1 was designed in 1860 in Vienna,

during the time of the Industrial Revolution whereas Eileen Gray’s
S Bend chair was designed in Casteller in 1938. Thonet’s chair was
designed in a way that it could be mass produced at a low cost and
be accessible for the public. On the other hand, Gray’s chair was
designed and handmade for her own personal use, hence only three
were produced.(The Brooklyn Museum, n.d.) (Victoria & Albert
Museum, 2006).
58
The research will help in understanding how even though both the
chairs have curvilinear forms, the purpose of the chairs determined
the material used which had implications on the technique used to
make the chair. This will also help in understanding the influence of
art movements during the two different periods on the design of the
chairs.
Thonet was heavily influenced by the Art Nouveau, an ornamen-

tal style of art which focuses on curves inspired by nature, and the
curves in the rocking rocking chair are a prominent indication. But
he kept the design simple with no ornaments as the main reason
for designing the chair was mass production. Gray was inspired by
the Modernist ideas and the Dutch art movement De Stijl, which
essentially focused on experimentation and functionality. (Carmen,
2017). Gray used simple geometric patterns and shapes in her de-
signs as well as her lacquer work, but S Bend chair was an experi-
ment where she used abstract form using wood.(Connors, 2021).
Both of the chairs are made of wood, but use different techniques
and inspirations. Thonet used the Bentwood technique, bending
wood by boiling, gluing then letting it dry to give it a new shape.
(Wilk, 1996).He used Beechwood, which was easy to use, found
in abundance and at a low cost. The beechwood was bent in curves
to make the rocking chair and leather was used for the upholstery.
(Ryan, 2019). However, the S Bend chair was handmade with lam-
inated wood and canvas, which was not a popular material at time,
like steel. Gray wanted the chair to be functional, hence the chair
was made foldable. (Victoria & Albert Museum, 2006). Both of the
chairs are important as they were both revolutionary at the time and
served as a prototype to different designs made by the designers.
(Victoria & Albert Museum, 2006). The Rocking chair was set as an
59
example to all the coming chairs, similarly, S Bend Chair has a simi-
lar form to Gray’s famous Transat chair.(Higginson, 2015).
This research is crucial for understanding the curvilinear forms with

respect to material choices, and influences of art periods between
Thonet’s mass-produced Rocking Chair Model 1 and Eileen Gray’s
experimental S Bend chair. It sheds light on the impact of design
philosophies, material innovation, and artistic movements.Moreover,
the functionality and techniques of these chairs continue to hold
relevance, making this study a valuable resource.
60
Concept Note (II)
Unravelling History and Architectural Narrative: A Com-

parative Study of Peter Zumthor’s Kolumba Museum (2007, Co-
logne, Germany) with Frank O. Gehry’s Guggenheim Museum
(1997, Bilbao, Spain).
Figure 42 Figure 43
Note. Kolumba Museum by Note. Guggenheim Museum by Frank

Peter Zumthor. Copyright 2017 by O. Gehry. Copyright 2017 by
Rasmus Hjortshøj. Guggenheim Museum.
This research aims to compare the Kolumba Museum by Peter

Zumthor in Germany (2007) and the Guggenheim Museum by
Frank O. Gehry in Spain (1997) based on their architectural style,
material and use of space concerning functionality. Both the build-
ings have a stark difference in the use of material, facade and the
planning, which results in a very refreshing and different experience.
61
The Kolumba Museum was constructed on the existing fragments
from post-war Germany. The museum’s design features a very min-
imal facade with grey bricks and small windows which results in an
interplay of light and shadow inside the building, whereas the Gug-
genheim Museum is an evident example of deconstructivism with
titanium sheets in various forms. It also features an atrium allowing
ample natural light and refreshing the place. The research scrutiniz-
es the two buildings’ design philosophy and process, which led to
contrasting decisions in terms of material and architectural style. It
will help understand the context, history and geographical location
which overall affects the design of the building, the materials used,
the ventilation and luminance.
62
Research Essay
Architectural Marvel of Museums: A Comparative Study of

Kolumba Museum by Peter Zumthor and Guggenheim Museum by
Frank O. Gehry.
Abstract
The research examines the characteristics and context of museums designed

by two famous architects, Peter Zumthor and Frank O. Gehry. In particular,
the projects to be analysed for this study are the ‘Kolumba Museum’ - de-
signed by Peter Zumthor, and completed in 2007, and the mecca of museum
architecture,‘The Guggenheim Museum’ by Frank O. Gehry, finished in 1997.
The research sheds light on the architectural styles both the architects ma-
jorly follow i.e. deconstructivism and modernism. The study concentrates on
the historical context, facade, light and ventilation, spatial organisation and
interior of the museums.
Keywords- Peter Zumthor, Kolumba Museum, Frank O. Gehry, Guggenheim

Museum, Deconstructivism.
63
Figure 44
The Kolumba Museum
Note. The museum is located on the former site of the St. Kolumba Church.
Copyright 2017 by Rasmus Hjortshøj.
Figure 45
The Guggenheim Museum
Note. The Guggenheim Museum, a dynamic structure, is surrounded by water

and reflects the grandeur of the museum. Copyright 2017 by Guggenheim Mu-
seum.
64
Introduction
Art and history, these two elements are what encompasses a muse-
um. It talks about the people, socio-political context, art and history
from time to time. The museum’s design complements the art it
is housing and also sets the visitors’ experience. Two very famous
museums which do justice to art and history are the Kolumba Mu-
seum (Figure 1) designed by Peter Zumthor and the Guggenheim
Museum (Figure 2) designed by Frank O. Gehry. Both architects
focused on the space’s form, facade and functionality. The museums
differ in their architectural style, facade and interior which explores
the use of materials and spatial organisation. This essay focuses on the
contrasting aspects of both museums and their context and highlights
their characteristics,
Architects Other Works
Zumthor’s major works include Kunsthaus Bregenz (1997), the cave-

like thermal baths in Vals, Switzerland (1999) and Saint Benedict
Chapel in Sumvitg (1988). He is known for his minimalistic design
style and doesn’t compromise with the context and the functionality
of the building with respect to its environment. Frank O. Gehry is
the pioneer of deconstructivism and is known for his unique de-
signs, Some of his major worlds include the Walt Disney Hall (2003),
Dancing House(1996) in Prague and the Museum of Pop Culture in
Seattle.
The facade of a museum sets the tone of the visitor’s experience and
conveys a dialogue of the interior of the building regarding culture
and history. The Kolumba Museum presents a stark contrast to the
dynamic Guggenheim Museum 65
dynamic Guggenheim Museum in terms of material and design. The
structure is predominantly composed of grey bricks which is simple,
modern and yet tranquil to bring attention towards the history of the
place. The warm grey bricks blend seamlessly with the tufts, basalt
and the bricks of the ruins of a chapel, which was destroyed in World
War 2, and sheds light on the site’s historical significance. The subtle
variations in texture created by the irregular placement of the bricks
add depth to the facade’s otherwise simple design. The large glass
windows punctured in the brickwork allow ample natural light to
the interior. The hundreds of perforations in the wall bring a change
to the rather blocky facade. They also play a vital role in preserving
the ruins by maintaining the temperature, air circulation and humid-
ity.
The Guggenheim Museum on the other hand boasts a dynamic and

futuristic facade with the use of titanium sheets. It is a prominent
example of deconstructivist architectural style, due to its material
and abstract shape. In this case, as well the use of titanium sheets is a
way to pay homage to the industrial history of Bilbao. The curves of
the facade are at such angles that the colours change as light reflects
on it during different times of the day. The entrance of the museum
is created using glass which gives a sense of welcome and allows light
which connect the outside and the inside.
The facade of the Kolumba Museum offers a play of light and shad-
ows in the interior despite being a solid wall front with small open-
ings. On the other hand, the Guggenheim Museum provides a more
accessible approach to the building with the use of curves covering
the major part and the large glass opening which constitutes 40% of
the facade.
66
Figure 46
The Ruins
Note. The facade of the building integrates the ruins of the chapel seamlessly.
Copyright 2018 by Laurian Ghintiou.
Figure 47
Entrance to the Museum
Note. The glass wall at the entrance and titanium shed is supported by the col-
umn, creating a welcoming atmosphere. No Copyright.
67
Beyond the exterior of the building, the interior of both museums
offers a contrasting experience to the visitors. They employ different
architectural styles to shape the atmosphere according to the expe-
rience they offer. Zumthor’s Kolumba Museum design adopts the
Gothic church’s previous floorplan. It boasts 16 exhibition rooms
spread out over three floors, supported by numerous columns that
also serve as a path leading to the centre of the museum where the
artwork is showcased. The interconnected galleries provide visitors
with an intimate connection to the art, while the warm and dark
interior is achieved through the use of perforated walls. The fluidity
of the space is further enhanced by the concrete walls and matching
limestone flooring. Additionally, the museum features a secluded
secret garden courtyard that reflects the overall history and serene
atmosphere of the space.
In the Guggenheim Museum, one can enter the atrium, which serves
as both the museum’s true focal point and a defining feature of Frank
Gehry’s architectural style. The Atrium is a spacious area that is
brightly lit by a big skylight and features curved volumes and large
glass curtain walls that connect the inside and outside. The museum’s
three levels are arranged around the centre skylight and connected
by curved walkways, glass and titanium elevators, and staircases. The
Atrium, which doubles as an exhibition area, serves as a hub for the
20 galleries, some of which have organic, asymmetrical lines and
others which are orthogonally shaped and have classical proportions.
The use of varying volumes and viewpoints creates interior environ-
ments that prevent visitors from feeling overpowered.
68
Figure 48
The Curved Exhibit
Note. The curved staircases connect the three levels of the museum and are sur-
rounded by glass curtain walls. Copyright 2017 by David Heald.
Figure 49
The Exhibition Space
Note. The exhibition area is supported by pillars has no partition wall and is
filled with warm diffused light. Copyright 2007 by Jose Fernando Vazquez.
69
Light is one of the fundamental elements of space design which helps
shape our perception about the form and the space itself. In muse-
ums, it plays an evident role in setting the atmospheric and experien-
tial effect. Kolumba Museum’s design and the openings play with the
natural light. The perforations in the grey brickwork allow diffused
lights in the exhibition area and play with shadows. With varying
seasons the mottled lights change and focus on different parts of the
ruins creating a peaceful ambience. The ground floor of the muse-
um hosting the exhibitions is intentionally kept dark and warm. The
above level encompasses large windows which makes the place well-
lit and enhances artwork.
In Gehry’s design, the museum features massive skylights, an atri-

um and clerestory windows which allow ample natural light inside
the museum and make the place lively. The titanium sheet on the
exterior also reflects tons of sunlight in different colours and makes
ever-changing patterns of light and shadow. Inside the museum, the
atrium is the centre of the museum and the interplay of light with
the curved volumes, glass curtain walls and the white interior gives
a dynamic and inviting atmosphere. Besides this, the lighting fixtures
around the museum play a crucial role in enhancing the artwork
around the museum.
Both the museum has an evident play of light and shadow where in
one it creates a dark and warm atmosphere to develop a sensory
experience and in the other, the natural is let in to create a dramatic
effect in the interior space by making the area more expansive.
70
Figure 50
Lounging Area
Note. The lounge areas on the top floors are well-lit due to the huge glass win-
dows on the north side. Copyright 2018 by Laurian Ghintiou.
Figure 51
Curvilinear Atrium
Note. The curvilinear walkways and the atrium in the heart of the museum get
ample natural light through the glass doors and skylight. Copyright 2022 by
Guggenheim Museum.
71
Conclusion
This study focuses on the comparison of three major characteristics

between two uniquely designed and well-known museums. Their
design is not only influenced by the ideologies of the architects but
also by the context and the functionality. The comparison tells us
about the history related to the Kolumba Museum which affects the
form and the material used related to the specific area. Similarly
for the Guggenheim Museum, the material celebrates the industrial
importance of the place and the facade reflects the art. Secondly, the
interior spaces connect with the exterior while creating a whole set-
ting related to the art it caters to. The large exhibition area and the
skylights are the museum’s important features. Third, both the ar-
chitects made sure that the openings in the building made an impact
on the overall interior space and allowed a play of light and shadow.
In sum, this study helps in understanding, how these museums use
diverse styles to justify the history and the art it houses and leave a
lasting impression on the visitor.
72
6 Imaginative Writing
This section comprises two creative pieces of storytelling. In the first

piece, ‘The Journey of Swara’, I have tried to describe the self-discov-
ery journey from a third person’s point of view.The story captures the
characters and their emotions at different points of their lives while
getting to know each other in college.This helped me understand how
to write a narrative of someone’s life from an outsider’s perspective
while capturing every detail and description.
In the second story, ‘Zakrug Island’ I have taken the Chinmaya Mis-
sion building as an inspiration and have described a fantasy island built
around it. It captures different features and architectural aspects of
the building as well as the surroundings and the sensory aspect of the
island’s setting.
75
Narrative
Journey of Swara
The morning Swara went missing was just like any other, bright and
warm. The sunlight streamed through the window on her desk in the
dorm room that she shared with Maya, her best friend. When Maya
woke up she couldn’t find her best friend but she thought Swara had
left for an early class. It wasn’t unusual for her to be the first one
up and leave. Hours passed and there was still no sign of her which
made her friends worried. It was unlike her to disappear for such
a long period without a text or call. Maya, Harsh and Sara began
searching for her. They went to a few places Swara often went to
spend her quiet moments- the library, the coffee shop and even the
riverfront.
As they retraced their steps back to the dorm room, defeated and
unsettled, Maya noticed a letter on Swara’s desk. The envelope was
sealed with wax and addressed to them – Maya, Harsh, and Sara. A
mixture of relief and confusion washed over them as Maya picked up
the letter and began reading it.
The letter read:

“My dearest friends,
By the time you read this, I will be gone. Please don’t be worried.
77
This is a journey I must take alone. There are aspects of my life that I
need to confront, questions I want the answers to. The weight of the
unknown has become too heavy to bear, and I must find the truth,
even if it leads me to disappear and be alone.
I appreciate your friendship more than words can express. Each of

you has been a pillar of support, and I am grateful for the laughter
and joy we’ve shared. But there are layers to me that I have kept
hidden, and the time has come to unravel them. I need to understand
myself before I can truly be present in our friendship.I don’t want
you to worry about me, I will be safe and sound. I promise to keep
in touch when the time is right. Until then, please trust that this is a
journey I want to take for my growth and understanding.
With love,
Swara”
Silence hung in the room as Maya finished reading the letter. Swara’
friends exchanged glances and an overwhelming feeling surged
through them. They had a lot of questions and no answers.
“What could have possibly happened that Swara left without telling
any of us?” Harsh wondered aloud. “Exactly! She seemed okay then
why suddenly, out of nowhere…?” said Sara. Maya started tearing
up, she was worried this would happen and it did, Swara actually left
without leaving any clue. Maya kept calling her but it went straight
to voicemail. Days turned into weeks, and there was no word from
Swara. Maya, Harsh, and Sara continued with their lives, attending
classes and socializing with others, but there was a void that couldn’t
be filled. Their friendship had been a source of strength, and Swara’s
absence left a palpable emptiness.
78
.
After two months, a letter arrived. It was from an unfamiliar place,
bearing Swara’s handwriting. In the letter, she shared her experienc-
es and the lessons she had learned during her time away. Swara had
embarked on a soul-searching journey, confronting her fears and
discovering the depths of her own resilience. A few days later, Swara
came back to town. And so, the four friends reunited, each carrying
the lessons learned from Swara’s journey. As they embraced, the
morning sunlight streamed through the windows once again, casting
a warm glow on the room that had been touched by the shadows of
uncertainty. Swara spoke of quiet introspection in remote places,
challenging encounters that pushed her limits, and the solitude that
forced her to confront the questions and demons within. Her narra-
tive unfolded like a novel, each chapter revealing a new layer to her.
She explained how she needed this to break free from her own secu-
rities and self doubts. The weightage of societal expectations, family
pressure and her own fears had become burdens too heavy to bear.
Her friends listened, captivated by her strength, vulnerability and

resilience. They realized how important it was for her to discover
what bothered her. As weeks passed, Swara seamlessly reintegrated
into the rhythm of college life. They started to go back to their rou-
tine but also transformed because of Swara’s experience. Together,
they faced the mysteries of life, knowing that their friendship could
withstand the tests of time and distance.
79
Describing Settings
Zakrug Island
The island Zakrug is half under the water protected by stones that
were their original inhabitants and trees provide shelter to the
angudkas ( offspring of Angud the last of his generation, half tree
and half stone). The buildings on the island only had 2 floors one of
which was under the ground i.e. the basement and the other floor
on sea level. The stones stacked together provided a wall to pro-
tect the island from the water and the trees rooted closely together
made a shelter. The stones had the magical power of merging and
making a strong rock wall which seemed like a cliff to protect the
island during the tides. In the night the stones and trees get alive to
strengthen their roots and stones dig the surroundings for water to
seep through.
The town hall of the island is made with tree barks and the roofing
consists of small pebbles plastered together, the woodpeckers mi-
grate in the summer and make holes in the trunks. The surrounding
of the town hall is filled with green grass and trunks of dead trees
resembling the stairs and the ramps. Being the center of the island
the town hall is accessible from different levels and different direc-
tions. The ramps lead the front and the first floor of the townhall
from the east directions, whereas the stair are situated in the north
and east direction. Just behind the townhall, there is a temple where
the angudkas pray their deities, the 4 elements, water, air, fire and
earth. The Angudkas take care of the island and the town hall while-
the ancient stones and the trees protect the Angudkas during the day
and come alive at night to celebrate the history of the island..
80
Figure 52
The Island of Stones and Trees
The
Note. The illustration shows the half underground island surrounded by cliffs and the town in the center in
front of the blue caves. By M. Bothra, CEPT University. Copyright 2024 by Minisha Bothra.
81
7 Reader’s Response
Reading is an important part which helps us to understand and write

better. Throughout the year, we have read a lot of texts, from articles
to essays to research works on various topics. This taught me how to
read a text correctly grasp its meaning and understand the theme and
argument. This section shows my understanding and my responses to
the various pieces we had read.
83
In The Praise of Shadows
1. Text details (author and title will do for now.)

In Praise of Shadows by Jun’ichiro Tanizaki
2. What is the overall theme of the text? (What does it talk

about?)
The text talks about the importance of lights and shadows in
Japanese culture.
3. What is the argument of the text ? (What does the text

try to convince you about?)
The text tries to convince us about the beauty of shadows and
light in Japanese culture and architecture and how different it is
than western culture.
4. How is the argument substantiated? Identify each step/

substantiation point and capture how it relates to the
argument.
The author starts with explaining how dim candlelight brings out
the beauty of lacquerware and how food has an aura of depth and
mystery in the black and golden lacquerware. He then talks about
architecture and correlation between light and space.
85
A Table Six Chair and a Building

Ismet Khambatta is the author of the text “A Table, Six Chairs and
a Building”.

about?)
The theme of the text is furniture design and chairs by GU.

The text argues about the mindset of architect G. Upadhyaya and
how it can help while designing furniture.
A New Typeface

The World as Design by Olt Aicher.

about)
The theme of the text is the development of typefaces.

The text argues about the evolution of typefaces and current situ-
ation.
86
argument.
The author talks about the evolution of typefaces and the need
for new typefaces. Earlier printing was done with hot metal
printers which limited the development of typefaces but now we
have come a long way. He also mentions the criterias that makes
a typeface a good one.The Bauhaus came up with a new type-
face Futura which was simple yet something very new. Then type-
faces were developed by typing designers which over the time has
changed. Now computers like fritz are used.
5. Summarize the text (without including your personal

reflections/ opinions/ observations).
The text talks about the need and development of typefaces and
how to define the criteria for assessing what a good typeface
is.The quality of typefaces and aesthetics has changed over the
years. He begins with talking about how typefaces were created
earlier by using hot metal printing and photo type settings. De-
velopment in typefaces has been massive with the way they are
produced and printed which leaves the question why we need a
new typeface which the author says is valid. He then talks about
the thought process behind creating a typeface. For example the
Bauhaus movement preached simplicity and as a result the iconic
“Futura” was created. Or how Claude Garamond or Giambattista
Bodoni created a font not keeping legibility in mind but pushing
the limits of what the structure of a single alphabet could hold.
87
Genius of Design- Ghosts in the Machine
1. Text details (APA biblio style once it is introduced –

Mentioning the author and title will do.)
Sparke, P. (2010) The genius of design, Ch 1 Ghosts in the ma-
chine, BBC

about?)
The theme of the text is what is a good design.
3. What is the argument of the text (if it has an argument)?

(What does the text try to convince you about?)
The argument of the text is that the design as a profession and its
process is constantly evolving.

argument.
The clay modelers, woodworkers and glassworkers explained that
for them, good design is something that has emotion, with time
and patience put into the work. They explain that the entire de-
signing process for them is to give a feel to the product.
The first major mass produced products of the industrial revolu-
tion were the cooking pot and the sheep shears. The users ex-
plained that they like the products, not because of their form, but
the way the materials have been manipulated for human use.
88
Genius of Design- Design for Living
1. Text details (APA biblio style once it is introduced –
Mentioning the author and title will do.)
Sparke, P. (2010). Ch 2 Design for living. The genius of design.
BBC.

about?)
The text shows the transition and contrast from the industrial rev-
olution in the 1800’s, to the Bauhaus, Art nouveau and Modern-
ism of the 20th century..

The text tries to convince the readers that items should be both
machines and should have aesthetic sense about it, maintaining a
good balance between the two.

argument.
The Bauhaus movement taught all the people from different back-
grounds together, letting the people from different fields learn
from each other, and this gave the Movement its uniqueness, and
its own innovative style.
The Modernists of the 1920’s and 1930’s, like Margarete Schutte
Lihotsky and Le Corbusier tried to create designs which accord-
ing to them were the most practical and ideal ways to create the
products, for the most efficient way of living, but the overall
reception to it was poor, with the public feeling that the design
89
was too alien and machine-like.
The policies of Dreyfuss and Loewy indicated that products
should be more user friendly, while being practical and cost
efficient at the same time. Dreyfusss in particular, was one of the
few people who looked at the way people actually used things,
and not how people should change to adjust to a designer’s
thinking.

The text talks about Bauhaus, the German design school which
consisted of designers and artists from all backgrounds. Art Nou-
veau focused on the emotional and semi erotic designs, but was
degraded by society as excessive products were used and it was
heavily decorated. Designers during that time focused on mod-
ernism and minimalism rather than consumer centric products.
Over time, like in America, this changed where designers focused
on what manufacturers wanted and people needed at cheaper and
larger production levels. The products were made more consu-
er centric by designers like Raymond Loewy and Henry Dreyfuss.
The MAYA principle was given by Loewy which stands for Most
advanced yet acceptable, which was modern and yet accepted by
people in daily life.
90
Surat Semarang
1. Link to the text - https://thecityfix.com/blog/photo-essay-

look-at-how-climate-change-affects-poor-urban-communities-surat-
semarang-lubaina-rangwala/
2. Text details (APA style.)

Rangwala, L. (2018, January 29). Photo Essay: A Look at How
Climate Change Affects Poor Urban Communities in Surat and
Semarang.
https://thecityfix.com/blog/photo-essay-look-at-how-climate-
change-affects-poor-urban-communities-surat-semarang-lubaina-
rangwala/

about?)
The text talks about how climate change affects different commu-
nities of two coastal cities, Surat and Semarang and their
resilience to it.

The text tries to convince us about how communities adapt with
climate change and the situations created by it and respond with
different solutions, to make a living.

argument.
Since Surat and Semarang are both coastal cities, in the monsoon
flooding is common. Morarji Vasahat in Surat faces extreme
91
floods and waterlogging but people there prepare beforehand
by cleaning drains before monsoons. They have also raised a 2 feet
plinth in front of their houses so that flood water does not reach
in. In Kosad Awas, people from different communities moved in
which created several issues and led to thefts and small crimes.
People there keep the house windows closed resulting in high
indoor temperature.
In Sukorejo, Semarang landslides occur due to shifting of porous
soil and the people struggle with severe water scarcity. But they
have adapted to it well by filling up water in buckets and barrels
from the well near them. Community Tanjung Mas lives with
flooding of the sea which also results in land subsidence for which
many people built their houses on high plinths or made stilts and
their neighbors with bridges or many of them have learned to live
with the sea and laid out bricks for the pathways.
6. Summarize the text (max 200 words, without including

your personal reflections/ opinions/ observations)
WRI’s Urban Community Resilience Assessment team assessed
two cities Surat,India and Semarang, Indonesia. The report shows
how the communities in these cities are affected by climate
change.
Morarji Vasahat, Surat, people solve their problems with trust and
friendship, clean the drains in the area before the arrival of mon-
soon, repair and waterproof the roofs and build high plinths for
their homes. The community temple also has a trust that leads
disaster management efforts. In Kosad Awas, people who had to
move due to the rehabilitation project live with lack of trust in
the community in small, not properly ventilated houses trapping
all the heat in. Due to lack of social ties small crimes and thefts
occur all the time forcing people to keep their windows and
92
doors closed and live in high temperatures.
In Tanjung Mas, Semarang,a community of fishermen have to face
extreme flooding from the oceans and high tides which also re-
sults in land subsidence for which many people built their houses
on high plinths or many of them have learned to live with the
sea and laid out bricks for the pathways. Community Sukorejo
deals with land slides and water shortage for which they have
divided days to particular sectors to fill water from the communi-
ty well.
Super Normal
1. Text details (APA biblio style)

Ellis, K. & Garland-Thomson, R. (et al) .(n.d.). Manifesto for the
future of critical disability studies. Routledge.

about?)
The theme of the text is redefining design for disabled people.
3. What is the argument of the text (if it has an argu-

ment)? (What does the text try to convince you about?)
The argument is for a new way of designing for disability and
urging the designers to adopt supernormal designs that seamless-
ly integrate into everyday life.
93
argument.
Rejecting Polarization: The author argues against the traditional
view that disability design should either hide impairment or draw
excessive attention, advocating for a more balanced and nuanced
approach.
“Super Normal Design”: The text introduces the concept of “super
normal design,” emphasizing the creation of objects that are both
familiar and unremarkable, challenging the conventional dichoto-
my in disability design.
Everyday Integration: The central point is the need for disabili-
ty-related design to seamlessly integrate into everyday life.
Objects should be created with familiarity, self-assurance, and
understatement, allowing them to become a natural part of daily
experiences.
Connection to “Super Normal” Principles: The argument draws
inspiration from the “super normal” design principles, originally
introduced by Fukasawa and Morrison, to challenge common
perceptions of design and shift the focus from what is noticeable
to what seamlessly fits into everyday life.
Encouraging Designers: The argument extends beyond theo-
retical considerations, calling for active participation and support
from disabled individuals, designers, researchers, policymakers,
and entrepreneurs to bring about a subtle revolution in disabili-
ty-related design.

The theme is Super normal design, a new way of approach pro-
posed to disability-related design. The author argues on
94
rejecting the polarized view that design either draws attention away
from impairment or else focuses attention on disability.
The manifesto is organized into different sections introducing su-
per-normal designs, The paradox of super-normal, Reintroducing
extraordinary bodies, and Towards super-normal disability objects.
In each paragraph, by saying different theme definitions are made or
given to build the argument.
In the first part of this manifesto, the authors reject the polarization
toward disability-related design and try to reframe the relationship
between disability and the object as disability is often treated as to be
hidden or disguised.
In Introducing Supernormal Design, the author introduces the
concept of supernormal and tries to define what is meant by super-
normal. Super normal differs from culture to culture and there is
no universal definition of it.Further in order to define the author
talks about the idea of supernormal. The author tries to convey that
supernormal design needs to blend with our everyday lives and ob-
jects.
By addressing the distinction between normal and supernormal
the author says that the super normal objects are both ordinary and
extraordinary objects. by highlighting the rejection of simple dichot-
omies the author connects the concept of extraordinary bodies to
super-normal design.
The author talks about the application and possibility of supernormal
design for disability objects like wheelchairs, prosthetic hands, hear-
ing hands, walking canes, and glasses. By talking about all of these
the author convinces us that we need a more nuanced approach to
disability-related design.
95
Migration and Sexuality
1. Text details (APA biblio style)

Shah, C. (2016, September 1). Leaving home and reclaiming self.
In Plainspeak.
https://www.tarshi.net/inplainspeak/issue-in-focus-urban-migra-
tion-reclaiming-self/

about?)
The text talks about various concepts of sexuality, gender norms
and migration and how they are connected. It further talks about
forced migration due to economic difficulties or voluntary migra-
tion due to gender norms and forced marriages.

The text argues how societal gender norms and sexuality have a
direct relationship with migration, especially for women because
of the hardships faced by them.

argument.
In the beginning the author talks about how she moved away from
home because of the notion of marriage. She further talks about
how she resisted it by going away to study and even find her own
meaning of life.
The relationship between sexuality and migration is shown by
taking account of women, gay and lesbian couples and transgen-
ders. The challenges faced by women who own their sexual
96
desires and sex workers are highlighted as well.
Few stories of trans women also explain how they are forced to
migrate to a new place because their home and community do
not accept their sexuality as it defies the norms.

The text sheds light on migration and its relationship with sexual-
ity and society gender norms.
Throughout the text, several groups of people in our society are
identified and the reasons causing their migration are specified.
For example, young women evade the set routine of life and
normative marriage by migrating for education. Similarly, gay
men, lesbians, transgenders or any other community formed by
defying societal norms migrate in order to discover their true
identity away from the control of their families and society.
Women sex workers are also looked down upon and are
alienated.
6. Does the text mention counterpoints/ counterargu-

ments that others may have? What are they and how
does the text respond to them?
No, the text does not have any counter arguments.
7. What is the nature of the text? (essay/ case study/ liter-

ature review; descriptive/ analytical etc)
The nature of the text is that of an article overviewing
case study on migration.
97
8. Does the text connect to anything else you have read? If
yes, mention
how.
No, the text does not connect to anything I have read before.
9. Write down your own personal reflections/ opinions/

observations (if you have any).
The text touches sensitive topics such sexuality and societal
norms about women and transgenders which is still a stigma in
our society. It somewhat shows how migration is a complex con-
cept, forced or voluntary, as to finding a home and safe place
away from your family and society which is generally regarded as
home. I understand this text focuses on women and transgender’s
hardships but it overlooks the challenges faced by men in society
and the effect of migration on them.
.
98
8 Perspectives
In the Perspective lecture series, different people from different back-

grounds shared their experiences and gave us an insight into their body
of work. This piece is my attempt to assimilate the essence of one of
those lectures while also adding my perspective to it, through writing
and illustrations.
101
Figure 53
Note. The elegance of a rose is timeless and it embodies symbol of

love, knowledge and art.
One of the perspective lectures which left me thinking about it even
after leaving the hall was “All His Moving Parts” by Joshua Muyiwa.
He uses his body parts to express his love for his lover through poet-
ry. This made me think about how body, mind, soul, and love com-
bined in poetry leaves a mark on you. Finding love is not easy but
what’s harder is learning to love yourself. In today’s world, with all
the lavishness and luxury around us, we sometimes or rather often
look down on ourselves and compare ourselves to others. We forget
how beautiful our body and mind is. Learning to love myself while
accepting all the flaws is a journey of a lifetime and I am glad that I
have found that path with the help of my friends and family. Here’s a
poem I wrote about flaws and love:
‘Envy’
This rose-tree, not destined to bear
The blue violet, not lily fair,
Nor the sweet mignionette;
Should it be discontent,
Wishing to alter its natural bent,
All fretting would be in vain.
It never beheld its crimson rose,
Nor, post a gentle shower,
Ever savoured its rose’s scent;
Thus, it could never be discontent
With its own charming flower.
Similar to a blind and senseless tree,
As envisioned by me,
All envious soul appear;
Through care and nurture, all can find
A lovely blossom in their own mind,
A talent that is rare.
103
Figure 53
Fragments of Memory
Note. Memories intertwine like a collage in mind, each moment and faces cap-
tured making a beautiful escapade. By M. Bothra, CEPT University. Copyright
2024 by Minisha Bothra.
104
Memories.
From a person’s childhood to their old age they come across thou-
sands of people, and places which affect them in a way which is
sometimes negligible and sometimes monumental. I often think
about what it was like to play in the summer afternoons or how I
ate lunch in the school playground, even the exams and visiting my
nani’s house. These memories might seem small but they are sig-
nificant to me and have shaped me as a person. I have tried to show
some special memories of mine through an illustration.
105
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Zumthor’s Kolumba Museum Through the Lens of Rasmus Hjortshøj.
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111

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CRAFTING REFLECTIONS

I express my gratitude to the Dean of CEPT Foundation Program

On the writing part, different exercises helped me improve my thought

1. Captions for Newsletter (Informal)

Learning something new, one step

Memories are made when gathered

Students clicking pictures and making

New friendships blooming on

An arm wrestling match is the found-

Note. First ROWC session of the

Note. Students having breakfast in the

Note. Students meeting and socializing in

Note.CFP students forming

The Student’s Table

This table is located in Unit 6 Studio in the CFP building at CEPT

The Red Stool in the Grey

The circular seat is made up of aluminium. It is red in colour and has

The Curvilinear Escape

The SID (School of Interior Design) Plaza is located in front of the

Since it is an open space, it gets a lot of natural light. The building

This section captures the documenting processes of the works done

Dynamic Buildings : A study on age, height and use.

The map features different colours corresponding to different infor-

Design is a connection between many elements based on function.

Introduction to Material and Joinery

Joinery is a crucial part of a structure, it results in stability, the com-

Ideating the Composition

While conceptualizing, we drew a few iterations for the final assem-

The next step was creating a 3D model on SketchUp. It was to

Working Designs, Woods and Metal

With functionality and aesthetics, the form also depends on afford-

The Final Model

The final design comprises an outer and inner frame, connected

The parts drafted in Fig.21 are drawn on A2 sheets at a 2:1 scale,

In Fig. 22, the assembly is exploded along a vertical axis, indicating

The working mechanism is explained on the bottom right of the

I hope the sheet helps with a better understanding of the product

This section focuses on the research done by me and my teammates.

Note. S Bend Chair by Eileen Gray. Note. Rocking Chair, Model 1 by

1. Context : Time Period and Form

Taylor’s Classics. The History and Origin of Bentwood Furniture.

• Thonet’s Model 1 Rocking Chair was made using bentwood

Ireland, J. (2018). History Of Interior Design 2nd Edition. pp. 464.

This extract from Ireland’s book elaborates more on bentwood fur-

• He discarded the prevalent idea of that time, which was furniture

Rawsthorn, A. (24 February 2013). “Eileen Gray, Freed From Seclu-

• The S-Bend Chair was created in much more of a Modern set-

2. Michael Thonet (1796-1871)

Wilk, C. (1996). Furniture. Western Furniture 1350 to present day. pp.

The book gives us information about the Thonets journey of discov-

• Around the 1830s Thonet began searching for an alternative to

• Thonet was the first designer to fuse the means of production

Ryan, V. (2019). Michael Thonet and the model 14 chair. Boxed

Dulce Orellana Higginson(Channel). (2015, July 8). Michael Tho-

3. Eileen Gray (1878-1976)

Carmen, E. (2017). Eileen Gray. Women architects in the modern move-

Connors, K. (2021). The Mother of Modernism.

The similarities end there.Thonet broke away from the elaborate

The Model 1 was a Rocking Chair, made of beechwood, with the