LANGUAGE OF DESIGN

K. ABHISHEK UG190022

ROWC
 LANGUAGE OF DESIGN
A compilation of Reading Objects, Writing
Crafts works

Abhishek Kumaravel

UG190022
CEPT Foundation Programme
CEPT University
Navrangpura, Ahmedabad
Gujarat
Dedicated to my loving family
 ACKNOWLEDGEMENT
I would like to express my heartfelt gratitude to CEPT
University and the CFP team for helping me to create this
booklet successfully.
I extend my special acknowledgement to my teachers, Ms.
Manushi Desai and Ms. Kriti Thukral who were always
supportive and encouraging, making the course
interesting.
Credits to Ms. Catrinel Dunca for coordinating the
ROWC programme.
Thanks to Ms. Ayaan and Ms. Arathy, the teaching
associates, for assisting throughout the semester and
making each writing exercise, not just a mere assignment,
but a fun filled one.
Last and always the most, I thank my family for bringing
out the best in me by reading and reviewing all my works,
with sheer patience and love.
Abhishek Kumaravel
 CONTENTS
1. R1 Describing objects: Form, Production and
Experience

2. R3 Descriptive essay
The Hanging Garden: Villa Savoye – Le Corbusier

3. R4 Reflection on studio exercises

4.0 My first two weeks in CEPT
4.0.1 An artist’s reflex towards nature
4.1 Language of design: lines, shapes and forms
4.2A Precision in design: technical drawing
4.2B Evolution of a hexagonal prism from design
to reality
4.3A Wrong proportions paradoxically looking
right
4.3B Email on perspectives
4.4B Dismembering roller skates to see how it
works

4. Free writes
5. Bibliography
 ABOUT
This booklet is a culmination of the Reading Objects,
Writing Crafts works. The works include that of
describing objects from the perspective of a designer,
reflection on the studio, and writing descriptive essays.
This exposure to design vocabulary altered the way of
seeing and understanding the surrounding and thus a
language of design is developed.
 DESCRIPTION OF OBJECTS

Understanding the objects around us and describing them from a

perspective of a designer helps in the improvement of design language.
This exercise is a culmination of eight descriptions of daily objects talking
about their form, production and experience.

1
Laptop Backpack: A Perfect Companion

Figure 1. The hard rubber front compartment protects small gadgets and accessories.
Source: Author’s photograph.

The picture depicted above is that of a laptop backpack. The backpack is

suitable for students and working persons. The backpack has an overall
capacity of 35 litres which is a hefty amount of storage space. It is padded
in the back providing comfort. It has cushioned and adjustable straps
that fit the user’s back comfortably. It has three compartments for
storage. It has two sleeves for water bottles. It is made of nylon and other
synthetic materials which ensure long-lasting usage.

It is water-resistant which makes it perfect during drizzles. It is

rectangular on the top and blows out in the bottom for a trendy look. It
is mostly black with hints of gunmetal grey in some spots because
students and working persons prefer a neutral colour for their
accessories. The bag has two bright red lines at the front. The bag has a

2
glossy look on the outside to prevent scratch marks. It can hold a laptop
of size up to 15.6 inches. The laptop compartment has hard plastic sheets
on both sides to ensure that the laptop stays straight and provides
structural rigidity to the bag so that it cannot droop. The bag has a
divider and manager for smaller items inside the smallest compartment.

It is manufactured by HP which uses machine stitching for a clean and

elegant look. The front compartment is made of hard rubber to store
small gadgets. The backpack can also be used for short trips because it
can hold at most five pairs of clothes. The zippers in the backpack are
long-lasting and made of stitched nylon. It has a harness for a yoga mat
on the front side. The backpack has a handle to hold if carried by hand.
The bag has a foldable top which can accommodate more luggage if
necessary. It also has a special loop for hanging over-ear headphones.

3
Wrist Watch: Your Eye of Agamotto

Figure 2. The watch shimmers when light falls on it. Source: Author’s photograph.

The picture depicted above is that of a wristwatch. It is an analogue type

watch with a quartz mechanism. The dial is cylindrical in shape and the
straps taper towards the metal clasp. The colour and the facets made by
sharp edges make it ideal for men. The metal edges provide different
amounts of lustre when light falls on it. The watch weighs about 400
grams. It has a full glass dial of diameter 1.77 inches. The glass has a
gradual curve at the circumference of the dial. It has a stainless-steel body
and has an elegant glossy silver colour. The watch has a water resistance
depth of 30 metres. The watch has an alarm, a stopwatch and also shows
the date. It has three physical buttons on the right side: one is to alter
the date and the other is to adjust the stopwatch. The larger one is to
change the time. The rim of the dial is speckled with countersunk dips
done using a CNC. The straps and the back have a shiny silver finish.

4
The links in the strap are small segments that follow the contour of the
wrist. The watch is manufactured by the luxury brand Fossil.

The watch has a limited production run in a few countries around the
world which increases its exclusivity. It is worn mostly for parties and
weddings. The time is displayed in a classic bold font. The vintage font
brings nostalgia to everyone who wears the watch. The dial is backed with
rich black fabric which compliments the white graphics. The watch is
designed to be bold and sharp that goes well with a party suit.

5
Shoe Rack: Home for Your Footwear Legion

Figure 3. The simple yet rigid design of the shoe rack. Source: Author’s photograph.

The picture depicted above is that of a shoe rack. It is cuboidal in shape

consisting of three levels. It is 50 cm in height and 70 cm wide. It is
smooth in texture which makes it easy to dust. It is made of stainless-steel
pipes and bars. The entire rack is fastened with flat head metal bolts. The
welds are not visible from outside, giving it a cleaner look. It is powder-
coated in a glossy black colour. The structure is simple but effective as it
can hold a maximum weight of five kilograms. It can accommodate six
pairs of footwear which are more than enough for an individual.

The three levels are in the form of a rack with a net pattern so that the
dirt on the underside of the footwears fall off them easily. This eliminates

6
mud accumulating on the rack. The rack has no sharp edges providing
safety. All the corners are rounded and smooth. The height of the racks
can be adjusted by removing and replacing the bolts at a varied height.
This makes it usable for high top sneakers and boots. Most basketball
shoes can be stored in the middle rack. It occupies less space and can be
placed at the doorstep or the corner of a room.

The shoe rack is lightweight and can be easily transported by

dismantling it into four pieces. The horizontal top bar can be used to
carry it one-handed. It is open on all sides which allows the footwear to
dry quickly and eliminates bad odour. It can also be used as a floating
rack for tight spaces. The back has two poles to hang it from a wall. The
legs have silicon tips in the ends that do not damage the floor.

7
Study Lamp: Add Brightness to Your Knowledge

Figure 4. The metallic connecting rod is bendable. Source: Author’s photograph.

The picture depicted above is that of a study lamp. It is 30 cm tall when

extended completely. It has a circular base with a rubber mat that
provides stability when placed over smooth surfaces. The base has a
switch to turn on/off the lamp when plugged-in. The cord is attached to
the base. The cord is about one metre long to reach plug points that are
little away from the lamp. A thick metallic rod connects the base and the
lamp head. There are two parts to the rod. Half of it is a fixed one but
the other half is made of numerous segments to allow bending and
extending.

The lamp can project light in different directions according to the bend
in the rod. The lamp head is cylindrical in the back and flares out
towards the front in the shape of a frustum. A small piece of cord is
8
visible where the lamp head and the rod is connected. The entire lamp is
made of stainless steel which prevents rusting. It is powder-coated in a
sour cream colour. It can accept regular CFL bulbs used in the
household. The lamp is portable and can easily be stored inside a
cupboard. It is made by pressing and extruding metal sheets.

The light emitted spans a circle of radius 15 cm. The colour of the light
is white which ensures good visibility of books and other reading
material. The lamp has three light settings which can be cycled through
by rotating the lamp head. The brightest one is primarily used in the
night. The medium setting can be used for reading in daylight and the
lowest one can be used as a night lamp. The sleek design of the lamp
brings elegance to any room.

9
Teak Wood Chair: Bring Nature Indoors

Figure 5. The chair has a seat made of teak wood. Source: Author’s photograph.

The photograph depicted above is that of a chair. The seat is 45 cm in

height and the back is 80 cm in height which makes the chair
comfortable for both adults and children. It is made of pressure-treated
teak wood and stainless-steel piping powder-coated in zinc white. The
piping has a diameter of 1.5 cm. However, the seat is much more
interesting than the legs. The seat is a solid raw cut teak wood slab of 1.5
inches thickness. The chair implements both modern and antique design
because of the steel legs being powder-coated in white but the seat being
natural teak.

10
The frame is finished in a glossy texture. Besides, the frames are not
straight but bend away from the centre of the chair. The beeswax applied
over teak gives it a rich burnt sienna colour. Moreover, the wax makes
the natural wood grain pop on the surface. The back is fairly open and
the pipe frame is reinforced by a steel ribbon that connects the back to
the seat. The back has a teak slab which is cut into an oblong shape. It is
curved towards the back for better ergonomics.

The frames are connected by four arches below the seat to provide
rigidity. The chair is fastened with machine bolts that do not rust over
time. The legs have soft silicon tips that do not scratch or leave stray
marks on the floor. The chair has a clear coat of varnish which makes it
easier to dust it. The chair is simplistic in its design yet comfortable to sit
on.

11
Trolley Bag: Your Wardrobe on Wheels

Figure 6. The trolley has a rich violet colour. Source: Author’s photograph.

The photograph depicted above is that of a trolley bag. It is made of

polycarbonate. It is cuboidal in shape with curved edges that give a blunt
look. It is 77 cm high and 55 cm wide. It is check-in luggage for flights
and weighs 4.4 kilograms. It has a dark purple colour on the exterior. It
has an internal depth of 30 inches and the overall capacity is 92 litres.
The entire body is hard and has a grainy texture. Additionally, it is rigid
in structure and is reinforced in the back with stiff metal bars that keep
the trolley in shape. It is also the space for the handle mechanism. The
handle has three height settings which can be adjusted by pressing the
button on the top.

12
It is water-resistant and the outer surface is glazed with a plastic coating
which makes the dust particles fall off the trolley. The zippers are made
of stainless steel that ensures durability. The trolley has four castor
wheels at the bottom which can rotate full 360 degrees which makes the
trolley easy to roll in curves. Moreover, it has a side handle so that it can
be placed carried sideways without much effort.

The trolley has a main divider at the centre. One of the halves is further
divided into small pockets for keeping files and documents. The trolley
can be expanded in the front to accommodate a pair of shoes. The fabric
inside is synthetic which cannot be torn by small objects. The trolley has
a fixed combination lock which makes it secure.

13
Wardrobe: Single Door with Attached Mirror

Figure 7. The wardrobe has three shelves. Source: Author’s photograph.

The photograph depicted above is that of a single door wardrobe. It is

made of medium-density fibreboard and plywood. It is rectangular in
shape, 1.5 metres high and 0.05 metres wide which makes it fit easily in
corners. It has a natural hoop plywood colour and is simplistic in design.
The edges of the plywood are finished with edge banding which gives it a
cleaner look. The wardrobe has a single door with a mirror that is
attached with 3M tape. The wardrobe is mass-produced by the renowned
company - Oak and Teak. It is fixed with countersunk screws and all the
screws are covered with wood filler for a one-piece look.

14
It has three main shelves and a sliding drawer. The larger shelf has a
horizontal metal bar for hanging shirts. The smaller shelves are
approximately the same size. They are separated by a sliding drawer
which has a magnetic lock for safety. The shelves are adjustable according
to the will of the user. The wardrobe has a two-stage lock with a pair of
keys.

The bottom is lined with non-slidable plastic coating to prevent damage

to the floor. The door is hinged on the right side. The mirror is in the
shape of an elongated with curved corners.
The top of the wardrobe can be used as additional storage for large items.
It is perfect for an individual and large-scale paying guest hostels can
install it in all their rooms.

15
Dice Stool: Function with a Flair

Figure 8. The stool resembles a rolling dice. Source: Author’s photograph.

The photograph depicted above is that of a sitting stool. It is modelled

after a rolling dice used in board games. It is cubical in shape with curved
edges. It is bright yellow in colour and the top is matte black. The body
of the stool has a smooth acrylic texture. The stool is a cube of side 30
cm. A die has dimples or recessed dots on its faces to show different
numbers. Similarly, the signature of the stool is the dots on the faces like
a die. The dots are 3 cm in depth at their centre.
It is made by the process of vacuum forming. The top is anti-skid rubber
to ensure safety while sitting. The body of the stool is made from high-
grade ABS plastic for rigidity. The stool is ideal for kitchen, bathroom
and hall. It can be used for sitting, reading, writing etc. The stool is 40
cm in height so children can also use it comfortably. The stool is mass-
produced by Actionware company.
16
The stool is dust-proof and water-proof which makes it perfect for
bathrooms. Children will like the stool due to the bright colours and its
resemblance of a rolling die. The stool is stackable because the bottoms
have a rim that stacks on the top rubber mat.

17
 DESCRIPTIVE ESSAY
The first step towards the journey of becoming a designer or
an architect is to read and understand the works done by
professionals of the field. The essay expresses the thoughts of
the author on the work done by Le Corbusier.

18
The Hanging Garden: Villa Savoye - Le Corbusier

Abstract

Modernist architecture or modernism is an ideology that started in the

early 20th-century in
response to large-scale changes in both technology and society. Proper
use of materials with no ornamentation whatsoever and importance to
the function are related to it. Modernism became the reflection of the
response to technology and design.
Le Corbusier got inspired by modern engineering developments and
started implementing them into his works. “In his most famous book,
‘Towards a New Architecture’, he argued that ‘a house is a machine for
living in’” (Rowe, 2011). His approach towards the ideology of
modernism is an application of form follows function. His ideas were
futuristic and far beyond the ideas of other people at that time. The essay
talks about the early stages of modernism and the way in which Le
Corbusier incorporated in his works especially in Villa Savoye.

Keywords

Villa Savoye, Le Corbusier, Poissy, Modernism, Hanging garden, Floating

box

19
Introduction

The ideology of modernism emerged during the early 1920s when the
prominent figures of the movement - Le Corbusier, Walter Gropius and
Ludwig Mies van der Rohe - had established their eminence (Rowe,
2011). The design to meet the basic requirements was a major problem
but it was overcome by the bloom of modernism ideology after the
second world war. Modernist planning became the primary key to answer
these complications. The phrase ‘form follows function’ is often used
when discussing the principles of modernism. Modernist architecture
was based on new and innovative technologies of construction,
particularly the use of glass, steel and reinforced concrete (Rowe, 2011).
The materials have both symbolic and functional importance. The essay
talks about the ways in which Le Corbusier implemented the ideologies
of ‘form follows function’ and modernism into Villa Savoye.

Louis Sullivan: the origin of the term “form follows function”

Louis Henry Sullivan was an American architect (1870-1920s) who has

been called the father of modernism and skyscrapers. The famous quote
used by all modern architects “form follows function” actually comes
from Sullivan’s original quote “form ever follows function”.

Form follows function

Form follows function is a principle linked with the field of architecture.

The shape and form of a building should be associated with its function.
It is related to simplified forms and designs that have no ornamentation
than required for the function. “Family life and social interaction were at
the centre of the modernist dream for a planned environment” (Rowe,
2011). Modernists believed that the isolation of residential areas from
others would change the way people think of accommodation. “In his
introduction to Modernism in Design, Paul Greenhalgh outlined key

20
features in modernist design including function, progress, anti-
historicism and social morality” (Rowe, 2011).

Expansion of modernism

Villa Savoye is a key example of modernism as it merges this ideology

into its design language. The building has no needless ornamentation
and its placement in an open ground enhances social living and
communication. Maxwell Fry’s Kensal House in London was a big
achievement in integrating modernist ideals to a social housing scheme.
Many buildings followed the same principle of following modern living
after 1937. Modernism spread among the public as the buildings
associated with it expressed better aesthetics. Modernists believed that
the accommodation of the people would be far superior if there is a
boom in architecture.

A detailed look into Villa Savoye

Villa Savoye is located in Poissy, France. It is designed by Le Corbusier

who was one of the prime members among the architects who helped the
ideology of modern architecture to bleed through in public works.
Through his writings, he explained the characteristics of modern life
architecture. He writes, “The house should be a machine for living in”,
which is the major thing that architects realise in the design of the Villa
(Simon,2015).

21
Figure 9. Villa Savoye, Poissy. (1929). Source:
https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-
americas/modernity-ap/a/corbusier-savoye

The location of Villa Savoye is in the outskirts of Paris, isolated from the
crowded city for its higher-class people. The location is a bare land with
some vegetation which allowed Le Corbusier to play with his own
freedom. The delicate floating box that he designed is both functional
house and modernist sculpture, elegantly melding form and function
(Simon,2015).

The villa is intriguing to people in a way that, throughout the Villa, one
is invited to slide windows, click handles, touch sleek surfaces, move
metallic pieces and enjoy spaces which recall ship cabins or scientific
laboratories. The system of pilotis and overhanging beams that run in a
north-south direction of the main route at the entrance incorporates
directional thrust within the building. Although the exterior gives the
illusion that the structural grid is even and uniform throughout the
building, the size of the bay decreases at the entrance which results in a
play with the sense of spatial order (Samuel,114).
22
Le Corbusier strongly believed that manufacturing objects using
machines were more efficient than others. Minute details can be shown if
machines are used. To support his idea, he wrote a book, ‘Vers une
architecture’ in 1923, which had the entire collection of essays that were
in close quarters with the ideology of modernism.
Le Corbusier devised a standard called his ‘Five Points of Architecture’
which can be applied to any architectural site. His previous works helped
him frame the book by 1926. Few examples from the book are still used
in the architecture of the present. One is the lifting of the floor using a
colonnade for better circulation of air. This is a direct influence on the
Villa Savoye.

The architecture of older works still bothered him as he regretted the

extensive use of the newest technology in creating something beautiful.
One such work is the Parthenon which is certainly a gem in old
architecture. Type forms, as he called them, were the elements of design
that can work as a system across the board. They were present in the
fields of design, architecture and engineering.

Figure 10. Ground plan (left), first story (centre), atrium and roof garden (right). (1929).
Source: https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-
americas/modernity-ap/a/corbusier-savoye

The ground level is recessed from the form of the floor above which
makes the door into the hall to be hidden in the sweeping arc of the
plan. Although its central position gives it utmost significance.

23
Vers une Architecture was a major part in the design of the Villa. The
reinforced concrete structure of the ground level provides rigidity to the
hanging level. It looks like a hanging garden which is created by the green
colour paint used at the ground level. Simple touches to the exterior like
stark white walls and ribbon windows expressed his ideas of minimalism.
The ramp being the only curve in the interior is a stark contrast to the
boxy exterior. The dynamism of the interior enhances the whole
experience. The use of Le Corbusier’s favourite white 20cm tiles set on
the diagonal gives an impression of the hall bleeding away at its edges.
The horizontal strip windows, which appear equal on the outside, mask a
variety of internal realities that are jigsawed into the plan: in places, they
are glazed, in other places open. The salon-dining room, bathroom,
kitchen and other living quarters are grouped together here around the
roof terrace which opens to the southwest and exists ambiguously as an
outdoor room connected to the sky. It is the heart of the house, has the
character of a stage for entertaining guests and is linked to the salon by a
vast sliding window moved by a mechanism. The box hanging on pilotis,
so basic to his thinking, is in this case adjusted to fit the idea of
horizontal volumes floating in the landscape. Villa Savoye appears to be a
rectangular box, but on the inside, the concrete skeleton predominates
and a sense of space prevails. The form follows the function of creating
more space on the inside.

24
Figure 11. (2010). Axonometric Drawing of the Villa Savoye. [Scanned Image]. Source: Le
Corbusier and the Architectural Promenade. Basel: Birkhauser.

Villa Savoye was imagined as an experiment in housing. Villa’s design

was in such a way that the approach of vehicles was comfortable and
smooth. The semi-circular form of the ground level clearly incorporates
this function. Cars can be parked in the side garages and the curved path
makes unparking an easy task. “It is the minimum turning circle of a car
that apparently governs the dimensions of the whole thing,” writes Le
Corbusier. Laundry, garage spaces and other service spaces which are a
part of the ground level residence are painted green on the exterior to
camouflage with the greenery that surrounds the Villa. It is surrounded
by a fringe of trees which mask the open ground past them. The facade
leads to the minimalistic colonnade made of reinforced concrete
(Samuel,114).

25
Figure 12. Ramp and spiral staircase. (1929). Source:
https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-
americas/modernity-ap/a/corbusier-savoye

The ramp extends from the doorway up to the salon. The salon is a
formal interior space that merges with the roof terrace. The treatment on
the terrace is the best example of integrating landscape and architecture
as it is a room without walls. The ramp ends at the spherical solarium
which acts as a pinnacle to the villa. The Villa Savoye’s integration of
indoor and outdoor spaces allowed the family to spend time outdoors in
the most efficient way possible—the house was, in a sense, a machine
designed to maximize leisure in the machine age.

26
Conclusion

The Villa Savoye is Le Corbusier’s refinement of his architectural system.

Its essential geometric volumes integrate his concept of the type form.
Incorporating classic ideals by the consideration of proportion is a key
feature of the villa. Its clean simplicity and its use of concrete evoke the
precisely-calibrated works of engineering so admired by the architect.
This is expressed through spatial planning with spaces arranged to
maximise efficiency with minimalistic aesthetics. The form follows the
function at each individual areas of the villa. The curve in the first floor
plan, curved industrial glazing in the entrance, spiral staircase, ramp,
orientation of the garage, positioning of pilotis, recess on the base, boxy
exterior, horizontal ribbon windows on the first floor, the design of
furniture, open-air salon, large frame sliding glass windows leading to the
salon and the funnel structure around the solarium are in accordance
with form follows function.

27
 REFLECTION ON STUDIO EXERCISES
Documentation of the works done as a part of studio exercises

MY FIRST TWO WEEKS IN CEPT

This exercise is a writeup about the interesting incidents that happened

during the first few weeks in the campus. The exposure to the campus,
sketching, getting to know each other and many more.

28
My first two weeks in CEPT

After the busy schedule of the admission process that I went through in
CEPT University, I thought I was ready for the first day in college. This
was completely new to me as I have never experienced this sort of a start.
I thought that the first day would be restricted within a classroom
occupied by all the freshers. However, nothing happened as I had
imagined. We were asked to assemble in the auditorium and we were
branded as the CFP students (CEPT Foundation Programme). We were
asked not to talk about the course we have opted for which was
revolutionary. I come from Chennai where it is easy for me to mingle
with everyone but that was not the case in Ahmedabad. The scale of
students studying at CEPT is extraordinary. Students have chosen the
right path for the future. All of them have strived to reach here.

We were told about the first task on the campus. The task was to explore
the campus and sketch an object and a perspective view. This opened a
lot of ideas. We started to roam around trying to select an object. I found
the library to be interesting and went to view it from the first floor of a
building opposite to it. I decided to sketch the library in my pristine
sketchbook. The human eye visualises all objects in perspective. So the
concept of perspective was necessary to incorporate into my work. I
started by drawing the horizon and started sketching. I worked directly
on the paper without thinking much about the composition. My teacher
then looked at my work and started interacting with me. She explained
the importance of composing a page. Centring the object on the page
helps attract attention.

29
Figure 13. Two-point perspective view of the CEPT library. Source: Author’s
photograph.

In my opinion, the purpose of the task is getting to know each other and
the campus to the fullest. The lines were not perfect but I tried my best
to make them better. After finishing the library sketch, we were let free
for a short break. Then I started to work on an object. The object I chose
was a modern art installation of a horse on the campus. I thought that
the sculpture was unique in an artistic way. I observed each and every
detail in the sculpture and sketched it in my A3 sketchbook. There was a
discussion with our unit members and the faculties after sketching. We
were asked to showcase our sketches in the basement. This was the time I
was able to look into others work. One of my friends had drawn a
building but the entire thing was not visible due to the paper size. The
corners of the building were cut by the edges of the paper. This led to a
conversation between us and the faculty members. The faculty said that
the image should be contained within the page. This had an impact on
my future sketches. At the end of the day, I realised that I have never
observed minuscule details in any object. This changed the way I see
things vastly. I stare at objects that are present around me trying to
observe more details.

30
Figure 14. Grid view of the bicycle. Source: Author’s photograph.

The next few days were really descriptive. We were asked to attempt a live
sketch of bicycles from different angles. These bicycles belong to the staff
persons at CEPT. The bicycles were stationed throughout the campus
and we were separated into small units. I directly started sketching in
detail. One of the teaching assistants approached me and started a
conversation. He told me the steps to follow before sketching. He
explained that setting the view of the object as important and then
started talking about getting the proportions right. I drew three sketches
of the bicycle in different angles. My sketches were without a basic form
but I captured as many details as possible. This was taking me in a new
direction of keenly observing daily objects that surround us every day.

The schedule for the next few days was sent through mail along with a
list of objects. We were asked to bring any two from the list. I couldn't
concentrate on my work due to physical illness. I improvised what I had
in hand and removed one of my sneakers. I started sketching the shoe in
six different angles. I succeeded in the task and was very happy in the
end. I found the compass in my pencil case and sketched that in different
angles. This task was a way to think about how details in the objects
change according to the viewing angle. I learned something new at the
end of the day.

31
The next session was about getting the proportions of the bicycle correct.
The bicycles were again stationed around the campus. They insisted to
start by making a grid. The grid should have the basic frame and the
wheels in single lines. I got the proportions right in the first attempt. I
kept on sketching the same grid in different sizes so that the proportion
remains the same. Then we were told to draw the elevation with all the
details. This is what I like about drawing - finishing a piece with all the
details. I could see more details each time I viewed the bicycle. I sketched
them all. I realised my improvement in observation and analytical skills.
The spokes were a little tough and complicated to draw. There were forty
of them arranged in a specific manner. I did the math here to figure it
out but eventually couldn't perfect it. This was a setback to my entire
work. I didn't lose hope and wished to give it a try sometime later.

Figure 15. The bicycle in GIDC Bhavan. Source: Author’s photograph.

The next task was to draw the bicycle in perspective with all the details.
This was much easier to sketch as we had mastered the proportions in
the previous sessions. It was an easy task to draw the grid in perspective
and then work on the details. I finished the sketch within two hours and
the end result was fascinating. I am happy about what I had learnt so far
in CEPT. I am looking forward to the studio classes that are going to be
the real challenge. New goal, new start and I am finally into the game.

32
Figure 16. My final sketch of the bicycle in elevation. Source: Author’s photograph.

33
 REFLECTION ON SKETCHING

This exercise is an essential one as it is the author’s description of his

own work. Sketching with a new medium exposed to new methods of
using it. The techniques and the process of the final sketch is written in
brief.

34
An artist’s reflex towards nature

Figure 17. Live sketch of a girl sketching under a tree using ink and kitta. Source:
Author’s Photograph.

Sketching is an artist’s most direct and spontaneous expression which

reveals his true personality. Diluted ink is used for lighter shades and
finer strokes are done using kitta. Cross-hatching is widely used to show
depth in the tree. Shadows are done using the purest form of ink to
represent the pitch-black colour. Preserving the colour of the paper at
certain places added highlights to the sketch. The sketch in overall shows
the culmination of skills used to express natural life in a monotonous
colour.

35
 REFLECTION ON LINES AND BASIC FORMS
This write up shows the progress from drawing lines to rendering basic
forms and shapes. The problems faced and the ways to overcome them
are written in brief.

36
Language of design: lines, shapes and forms

A plan purely relies on the quality of lines and the understanding of

space and forms. Designers and architects have a different approach to
observe surroundings. It starts with a point, a series of points become a
line, a series of lines become a plane and extrusion of planes give
3D forms. The subtraction of basic three-dimensional solids gave an
insight into how buildings and joineries in various objects are
constructed.

Figure 18. Subtraction of a simple cube. Source: Author’s photograph.

The horizontal lines were far more difficult to draw as they span the
length of an entire A3 sheet. The sketching sessions helped to free our
hand, ultimately resulting in lines which were consistent. Discussions
with other peers exposed me to other methods of constructing a
particular angle.

37
Figure 19. Wireframes of a simple cube. Source: Author’s photograph.

Figure 20. Different styles of rendering. Source: Author’s photograph.

The assemblage took time, patience and was visualised to be a cityscape

of high-rises. The speed, focus and the level of understanding of drawing
skills had increased as a result of this exercise.

38
 REFLECTION ON TECHINAL DRAWING
Technical drawing is an essential aspect of design field. From
understanding the purpose of each drafting tool, using them to draw
plan, elevation of a matchbox model to making craft models of simple
three-dimensional shapes and explaining the learning process is written.

39
Precision in design: Technical Drawing

Technical drawing contributes to a major part of a plan or design.

Drawing with freehand during the S1 had lowered the errors in
approximation to a certain extent but precision comes only when special
tools are used. The field of architecture and design revolves around
technical drawing as the ideas that have been sketched get more accurate
when drafted. The plan and the elevations are projected from each other
by using technical drawing.

Figure 21. Drafting the matchbox model using a triangular scale, set square and parallel
bar. Source: Author’s photograph.

Parallel projections are used in technical drawing as a standard. The

object to be drawn in plan and projected to get the front and side
elevations is a composed model made of three matchboxes. Simple craft
techniques helped to cover up the boxes. The cut lines and the fold lines
need to be made with varied pressure to make the edges sharp and
precise which led to better control of the cutter and the steel edge. The
colour coding of the boxes had a significant impact while drafting as it
helped in the visualisation of the difference between objects in the
forefront and objects in the rear. The line intensities need to be varied to
express different meaning as intensities range from the lightest to the
darkest representing construction lines to section lines. Specific rules like
this are necessary to follow as they are standard throughout the world.

40
The clear relation between the plan and elevations is accomplished only
when the projection lines are crisp and accurate while drafting.

Figure 22. Matchbox model. Source: Author’s photograph.

The surface development helped to visualise 3D forms on a 2D sheet of

paper. The understanding of where the edges and the faces coincide so as
to get an accurate model is the reason behind drafting 3D forms on a flat
sheet of paper. Cutting the templates with an insight of where to place
the cut lines and fold lines and incorporating them on paper gave an idea
of how the model will look after folding it up. The models need to be 1.5
percentage larger than the drafted template. The angles remain the same
when scaled but the length of the lines differ and the knowledge of
scaling thus improved. The cone and the frustum were the complex ones
as they require numerous half cuts to mimic their curved surface. This
improves the overall visual appearance of your design or plan.

41
Figure 23. Models made from jute paper. Source: Author’s photograph.

Surface development is a way to express the ideas in three dimensions

and incorporating the skills that have been taught earlier was the sole
purpose of surface development. Implementing the unique cut-outs and
getting to see the subtractions building up has made the final models
look accurate and precise as the edges were neat and sharp.
Concentration and patience are the key skills gained from S2. The final
sheets were a culmination and reflection of all that has been learnt
during the exercise.

42
 EXHIBITION WRITEUP OF A MODEL

This write up shows the evolution of a three-dimensional model from

design to reality. The learning includes the methods used in surface
development and basic crafting techniques.

43
Evolution of a hexagonal prism from design to reality

Surface development bridges the gap between an abstract idea and reality
which is an important attribute that helps in communicating a design to
others. It is accompanied by drafting which in turn brings accuracy and
precision to the final model.

Figure 24. Completed model of the hexagonal prism with hinged truncation. Source:
Author’s photograph.

The hexagonal prism has a hinged truncation at an angle of 45 degrees.

The key to acquiring the template of the model is to use the idea of
orthographic projection. The plan of the hexagonal prism is drafted and
projected to get the side elevation. A clear understanding that the section
of a 3D solid, when cut at an angle, will result in a distorted 2D shape
and not a regular shape is very important. The model is glued edge to
edge, so it is necessary to draft the dimensions of the template with
maximum precision. The final model reflects the level of correctness in
the drafting and is a culmination of the drafting skills. The model is
perfect when the cut sections align exactly with each other.
44
 INDEPENDENT READING
The writeup is about attaining a connection between the perspective
exercise with the suggested sections of the text.

45
Wrong proportions paradoxically looking right

The human eye perceives the surrounding in perspective. The perspective

suggests the horizontal distance or range at which an object is located as
viewed from the eye. We put aside our pre-judgements, our stored and
memorized stereotypes and habits of thinking. The objects gradually
become smaller with horizontal range. The fact that perspective gives an
idea of three-dimension on a two-dimensional plane is an important
contribution to the drawings of architects and designers.

The great sixteenth-century Renaissance artist, Albrecht Dürer, invented

a device to help him draw in proportion and in perspective. The picture
plane used in S3 perspective drawing is a simplified version of Dürer's
device. Viewing through the picture plane causes the objects at the front
to be bigger in size. The picture plane is below a simple grid which helps
with the positioning of the various objects as used by the artist. The
vanishing planes can also be divided into grids to further confirm the
positions from different planes as done in the exercise. This shows the
progress of arriving at the correct placements from the old ages to today.

The purpose of Dürer's device, using the grid and the fixed viewpoint,
was to force himself to draw the form exactly as he saw it, with all of its
“wrong” proportions. Then, paradoxically, the drawing “looked right”.
This perception and understanding of perspective added to the
correctness of the completed drawing. The system worked beautifully and
solved the problem of how to create an illusion of deep space on a flat
surface, of re-creating the visible world.

Afflerbach says about the idea of the spatial constant which in turn is the
picture plane. All references and true measurements are taken from the
picture plane. The station point from which a building is viewed
influences the kind of perspective. The special aspect of central
perspective is that only the lines of building edges that are parallel and
run in space converge at the central vanishing point, all the other lines
46
have no vanishing point and therefore never meet. Finding the vanishing
point is as easy as extending the vanishing lines and arriving at a
junction.

Perspective drawings are particularly useful for the depiction of space. A

measurable spatial depth, which is imitated in all perspectives, cannot be
taken a freely drawn perspective, as perspectives do not have any scale.

47
 EMAIL ON PERSPECTIVE

The exercise is about writing an email, expressing our thoughts on the

process of shifting the vanishing point in one-point perspective.

48
18th October 2019

To : manushi.desai@cept.ac.in
CC : krit.thukral@cept.ac.in

Subject: Particulars regarding the shift in the vanishing point

in one-point perspective

Dear Manushi,
My name is Abhishek. I am a chief architect in Xavier designs. This mail
is to explain to you the changes that occur in a one-point perspective
drawing when the vanishing point is shifted.
They are the key to obtain a clear perspective view. The horizon line
represents our eye level and it can be moved from top to bottom. All
perspective lines meet at a point on the horizon line called the vanishing
point. The vanishing point is contained within an imaginary cone called
the cone of vision. The cone of vision represents the area of coverage that
can be perceived by our eyes. Objects inside the cone of vision are in
perspective but the others beyond it are distorted.

Figure 25. Photograph of a room in one-point perspective. Source: Author’s

photograph.

49
Figure 26. The room after shifting the perspective. Source: Author’s photograph.

Shifting of vanishing point occurs along the horizon line. All the
distances change when the point is shifted. An imaginary plane called the
picture plane is used as a reference for taking the measurements during
the process of shifting. Figure 1 has a table and walls that isolate each
room. The trick behind finding the vanishing point is to just extend the
line where the walls meet each other. These lines are vanishing lines and
they always meet at the vanishing point. The vanishing point can be
moved from left to right. If moved towards the right, all objects on the
right side appear to be less visible than before and the objects in the left
appear to be more visible. This denotes that the person is looking at the
room after he moved a few steps to the right. The walls are divided into
grids by joining their diagonals. This makes the shifting process easier as
the objects can be placed exactly where they are supposed to be, as the
position of objects doesn’t change when the shift has happened. All
measurements are taken at the picture plane which determines the true
lengths of the objects. The new vanishing lines are obtained by joining
the new vanishing point with the references taken at the picture plane

50
and extending them. This process is repeated for each object in the
room. The objects on the picture plane don’t undergo any changes. The
new perspective drawing after the shifting process is thus obtained.
Hope this detailed explanation helped you in understanding the process
of shifting the vanishing point to get a different view. Contact me
through the mail for any queries.
Sincerely,
Abhishek
Chief architect, Xavier firm
abhishekkumaravel@gmail.com
9500055807

51
 HOW THINGS WORK ?

This exercise is about analysing an object by removing the parts, learning

its manufacturing process and function.

52
Dismembering roller skates to see how it works

Figure 27. View showing the working and function of roller skates. Source: Author’s
Photograph.

Analysing an object by disassembling it gives the very idea of how it is

manufactured to serve that particular function. The composition of the
exploded view is drawn in isometric projection which is not a true scale
but an ideal one to show most surfaces. The spacing between the parts is
in a way that they don’t interfere with the parts behind it. The
breakdown of one-wheel assembly is abundant to explain the process and
need not be repeated for the rest. The dash-dot-dash line is the axis
which represents the central line of attachment. The continuous dashed
line represents the places where the parts overlay with each other. The
parts eventually combine into a complete object when these lines are
followed in order.

53
 FREE WRITES
Morning free writes to improve the way of thinking and expressing the
thoughts on random key words suggested by the faculty.

54
Bricks
Bricks are vital for one’s future. These are not the bricks used in
construction sites, but the ones that develop a person. Bricks build up to
success. Each one is varied from one another. They can be certain skills,
values or thoughts but all are collective in nature to make a better person.
Some bricks, may have minor cracks and some may have lost a chunk,
but all these reflect on the final wall segment. These need to be corrected
at the right time. Walls may fall over, but there is always a soul to rise it
up again. These impart a lot of changes to a person’s behaviour. One day,
these bricks rise sky high as a skyscraper and the person excels in his life
on this very day.

Stars
People know stars as astronomical objects made of plasma, but these are
not the only stars in nature. There are stars among people too. People
who excelled in the field of knowledge and arts. For example, Abdul
Kalam is still remembered as the former president of India though he is a
aerospace scientist. These people shine through their knowledge and at
the same time, hold their emotions and other distractions under gravity.
People of such stardom and skill are role models for the budding
generation. Unfortunately, similar skilful persons are scattered among
the nation like the stars. As the stars are at extreme distances, the poor
children who are determined to learn are at extreme distances from
education. This condition of the poor must be changed for the better
good of the nation.

55
 BIBLIOGRAPHY

Afflerbach, F. (nd), Perspective Drawing, Freehand Drawing, p. 70-77

Edwards, B. (1979). The New Drawing on the Right Side of the Brain,
Penguin Putnam Inc., New York, p. 142-145
Bradley, S. (2010). Form Follows Function. Retrieved from
https://www.smashingmagazine.com/2010/03/does-form-follow-
function/

Brody, N. (2015). Modernism - Form Follows Function. Retrieved from

https://ganjieyin.wordpress.com/2015/03/15/modernism-form-follow-
function/

Craven, J. (2019). The meaning of “Form Follows Function”. Retrieved

from https://www.thoughtco.com/form-follows-function-177237

Curtis, W. (2015). Le Corbusier: Ideas and Forms. New York: Phaidon

Gwendoen. (2015). A Dictionary of Modern Architecture. Retrieved

from https://voices.uchicago.edu/201504arth15709-
01a2/2015/11/16/glass/

Jim, L. (1999). The Bauhaus. Retrieved from

http://www.humanitiesweb.org/human.php?s=g&p=a&a=i&ID=578

Rowe, H. A. (2011). "The Rise and Fall of Modernist Architecture."

Inquiries Journal/Student Pulse, 3(04). Retrieved from
http://www.inquiriesjournal.com/a?id=1687

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Rowe, H. (2011). The Rise and Fall of Modernist Architecture. Retrieved
from http://www.inquiriesjournal.com/articles/1687/the-rise-and-fall-
of-modernist-architectur

Simon, M. (2015). Le Corbusier, Villa Savoye. Retrieved from

https://smarthistory.org/le-corbusier-villa-savoye/

Samuel, F. (2010). Le Corbusier and the Architectural Promenade. Basel:

Birkhauser

Stott, R. (2019). Spotlight: Le Corbusier. Retrieved from

https://www.archdaily.com/434972/happy-birthday-le-corbusier-2

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ROWC