Conducting Research This module focuses on the skills required to not just conduct research but also to cite sources, to develop a theme and a lens for an analysis and to present the findings. This excercise was completed as a group with Sebin Kurisingal and Shubh Bansal. 51
A concept note introduces a topic of research and summarises the initial findings, often to determine whether if the study has merit. Figure 18 Mies Van Der Rohe’s BRNO Chair Note. Copyright 2022 © Knoll Internatiional 52 Words
Concept Note Socio-Cultural Advancement: A Comparative Study of the Design Processes of Mies van der Rohe’s BRNO Chair and Alvar Aalto’s Aalto Stool 60 Modernism was a movement that emerged in the 1920s as a means of disrupting the classical ideas of forms by focusing on incorporating the evolving technology of the times into everyday designs and reducing an object to only its essential parts (Modern vs contemporary furniture, n.d.). A diverse range of design philosophies, such as Bauhaus, Scandinavian and L’Esprit Nouveau, emerged from the different interpretations of Modernism as a result of their varied location and time period. This study will compare Ludwig Mies van der Rohe’s BRNO Chair (1930) and Alvar Aalto’s Aalto Stool 60 (1933) on the basis of the design process, manufacturing, aesthetics, structure and material in order to understand the difference between Bauhaus and Scandinavian Modernism. Designed by Ludwig Mies van der Rohe, the BRNO Chair was one of a series designed for the Tugendhat House in Brno, Czechoslovakia. Now a classic modern interior, the elegance of this chair is derived not only from its size and the simplicity of its design but also from the contrast (Brno chair, 2009) between its tubular steel frame and luxurious foam cushions. The chair’s attention to detail and abstraction of form are typical to modernism as a whole, however, the way it blends its simple design with an industrial aesthetic is definitive of Bauhaus Modernism (Welch, 2019) which can be seen in its exposed steel frame, cantilevered form and covered cushions. The other piece of furniture is the Aalto Stool 60, designed by Alvar Aalto, that encapsulates the ethos of Modernism. Composed of what seems to be only four main parts, namely the base and the three bent wood legs, the stool strips itself down to only its most basic parts and unlike the heavy industrial BRNO chair, it is constructed only with birchwood. By showcasing Aalto’s patented ‘L-leg’ method (Nestcouk, 2020) of bending wood and using locally occurring materials for its construction, the stool represents the best of Scandinavian Modernism visually Conducting Research 53
Figure 19 Alvar Aalto’s Aalto Stool 60 Note. Copyright 2022 © Hive. 54 Words
in its affinity for lighter colours and simple forms (O’Neill, 2017) and additionally through its innovative design that ensures the stool’s stackability. Ultimately, the BRNO Chair and the Aalto Stool 60 are two pieces of furniture that appear different from the get-go. Despite both pieces being construct- ed with a few simple parts, the different design ideologies they represent are evident. The contrast between the iconic Bauhaus industrial aesthetic and the classic Scandinavian style lighter furniture is just the beginning. The chair’s us- age of metal and the stool’s focus on locally available traditional materials also serves to further situate the two pieces into their different ideologies within Modernism taking into account their different locations and the priorities of both branches. What makes these two pieces of furniture interesting to compare is the fact that they claim to be from the same broad movement yet seem to identify their Conducting Research 55
The presentation allows the research conducted to be displayed in a visual and simple manner. Presentation Figure 20 Powerpoint Slide on the Socio-Economic Context of Modernism. Note. A side by side comparison of both submovements. By M. Musaliar, S. Bansal, S. Kurisingal. Copyright © 2022 CFP, Manaal M 56 Words
Musaliar, Shubh Bansal, Sebin Kurisingal. Conducting Research 57
Figure 21 Powerpoint Slide on the Aalto Stool 60 Note. Draws attention to the various parts using anotations. By M. Musaliar, S. Bansal, S. Kurisingal. Copyright © 2022 CFP, Manaa 58 Words
al Musaliar, Shubh Bansal, Sebin Kurisingal. Conducting Research 59
Figure 22 Powerpoint Slide on the Brno Chair Note. Annotated image of the chair. By M. Musaliar, S. Bansal, S. Kurisingal. Copyright © 2022 CFP, Manaal Musaliar, Shubh Bans 60 Words
sal, Sebin Kurisingal. Conducting Research 61
g 62 Words
Exhibition Text A wholly new concept, exhibition text provides context and information about the work exhibited without distracting from that itself. This section follows proposed exhibition layouts for the work already completed in studio. 63
Figure 23 Freehand Assemblage Note. Isometric assemblage of subtracted forms. From “Freehand Drawing,” (Unpublished Undergraduate portfolio for CEPT Fo Copyright © 2022 by Manaal Musaliar. 64 Words
oundation Programme). by M. Musaliar, 2022, CEPT University. Is Less Really More? Composed of only the most fun- damental of forms, the composi- tion on display is one that revels in its simplicity. Though it ap- pears complex, the sheet houses only cubes, cones, pyramids, cyl- inders and prisms. Creatively removing portions from simple forms can create a host of visually diverse objects. From the tapering platform in the upper-left corner to the abstract ‘N’ shaped cube resting on a cyl- inder, everything in this compo- sition has been made from these elementary forms. Arranging twenty-five such ob- jects into a single plane and manipulating their orientations and sizes allows a clear under- standing of subtracted form to emerge. Additionally, the sheet allows for an exploration of the art of composition. The act of extracting, thereby lessening the mass of an object, makes the object more compel- ling than it was before. In a sense, subtraction functions as addition and works to add intrigue to the composition. Exhibition Text 65
Figure 24 Creating Another Dimension Note. Surface developments of a hinged and truncated hexagonal prism.From “Technical Drawing I,” (Unpublished Undergrad 2022, CEPT University. Copyright © 2022 by Manaal Musaliar. 66 Words
Truly Unhinged duate portfolio for CEPT Foundation Programme). by M. Musaliar, A map that details the manner in which two dimensions can be transformed into three, the sheet on display illustrates the surface development of a hexagonal prism. It serves as a guide on how to create not only a simple three dimensional form from a flat, two dimensional paper but also the art of truncating it, of re- moving its topmost section, and attaching a hinged mechanism in its place. The sheet outlines in precise de- tail exactly how to achieve the final prism by using different line types to contrast lines that must be cut to those that must be folded. Representing the object from its front, side and top allows the sheet to accurately depict the entire prism. Besides unveiling the mystery behind the hinge, the displayed sheet documents how paper can transform its very dimensions and add moving elements to its otherwise rudimentary form. Exhibition Text 67
Figure 25 Figure 26 Completely Planned Cut Through Note. The plan of the bedroom with gauged and actual dimensions. From “Gauging Note. Sections of the Sizes,” (Unpublished Undergraduate portfolio for CEPT Foundation Programme). by M. Sizes,” (Unpublished Musaliar, 2022, CEPT University. Copyright © 2022 by Manaal Musaliar. by M. Musaliar, 2022 68 Words
e bedroom from two diffrent vantage points. From “Gauging Three Views, One Undergraduate portfolio for CEPT Foundation Programme). Room 2, CEPT University. Copyright © 2022 by Manaal Musaliar. Deconstructed to its simplest form, the sheet displayed houses various represen- tations of a bedroom. The plan, on the left, depicts the bedroom as if it is seen from the top whereas the sections, on the right, demonstrate what the same room would look like when viewed from within. As seen in the sheet, cer- tain views expose particu- lar details associated with the room, be it the heights of certain walls that can be seen only in the sections or the length of the room which can only be depicted in the plan. Hence, a single space transforms entirely when observed from different van- tage points but each differ- ing outcome is essential to the representation of the ac- tual room. A complex and intricate space, the bedroom, is stripped into these three separate views in order to accurately visualize it in its entirety. Exhibition Text 69
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Perspectives The culmination of a series of lectures conducted by various creatives, perspectives is an excercise meant to broaden our horizons. By interacting and engaging meaningfully with those in creative careers, we are able to get a deeper understanding of the meaning of creativity. The next section sums up my take on this series of perspective lectures. 71
‘All Art Is Quite Useless’ Or so Oscar Wilde wrote in his preface to The Picture of Dorian Gray. A prolific literary figure and an icon even today, the then champion of the Art for Art’s Sake movement couldn’t have been further from the truth. An often-overlooked artist, the illustrator, reminded us that her work, although sometimes underappreciated, features prominently in the early memory of a child. Quite literally bestowed with the power to mould the minds of the future, she stood firmly in the belief that not being critical of the world she depicts in her art would be damaging. The socio-political landscape we exist in today and that our successors will inherit is indeed complex and highly flawed but through her illustrations, Priya Kuriyan strives to break the cycle that is in place by being political and purposeful. She believes that art is not just shapes and colours, in fact its power is far greater than we can even begin to comprehend. An artist that works with both games and words, Lavanya Lakshminarayan, relayed the lengths she went to in order to be able to pursue her dreams. She told us of her many unsuccessful attempts at finishing a novel and narrated the long and winding road she had to traverse. Through her speech, one thing shone through – her passion. Yearning for the day she could finally call herself an author, this artist reminded us just how much fervour a career in the arts required. To truly be great, to make a real difference, we must be able to accept setbacks for what they are – instances that shape us into the people that we are to become. Poets, artists who use words as their medium, have been valued and memorialised throughout history, yet in our modern-day have been relegated to the background. A clear contrast, the poet Sabika Abbas, refuses to be pushed back and silenced in any and all aspects of her life. She believes that her rhythm, her stanzas, and her metrics have the power to raise marginalised communities and instil a sense of agency within them. She believes poems transform the places where they’ve been spoken and strives to tear down the walls and reclaim the spaces we deem public. Globally, as we move further to the right, it becomes imperative that we have clear voices that aren’t afraid to be heard and Sabika Abbas promises to be one of them, reshaping the world to be more equal. 72 Words
An illustrator, an author, and a poet – three distinct and powerful women who share one resounding belief – Art has the power to change. Really, art without a purpose neglects to be art all. Perspectives 73
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Bibliography Brno chair. (2009, June 24). Victoria and Albert Museum. https://collections.vam.ac.uk/item/O372148/brno-chair-chair-mies-van-der/ Brno flat bar side chair. (n.d). Knoll. http://www.knoll-int.com/home/by-designer/classic-designers/ludwig-mies- van-der-rohe/brno-flat-bar-side-chair Design icon: Artek 60 Stool. (n.d.). Nest. https://www.nest.co.uk/design-icon-artek-60-stool Eckardt, W. V. (2021, August 13). Ludwig mies van der rohe. Encyclopedia Britannica https://www.britannica.com/biography/Ludwig-Mies-van-der-Rohe Galloway, P. (2016). Ludwig mies van der rohe. MoMA. https://www.moma.org/artists/7166 Kamamoto, M. (2016). Alvar Aalto and the theory of play: Through analysis on Alvar Aalto’s furniture design. DOI 10.5151/despro-icdhs2016-04_007 Modern vs. contemporary furniture. (n.d.). Modern classics furniture. https://www.modernclassics.com/mc-modern-vs-contemporary.html Nestcouk. (2020, January 28). The making of stool 60 designed by Alvar Aalto in 1933 made by Artek in Finland. [Video]. Youtube. https://youtu.be/00DTa_gvgcY Poon, S.T.F. (2017, September 22). The role of minimalist aesthetics in influencing consumer preferences for furniture design. New Design Ideas, 1(1), 50-58. http://jomardpublishing.com/UploadFiles/Files/journals/NDI/V1N1/PoonS. pdf Stool. (2006, February 27). Victoria and Albert Museum. https://collections.vam.ac.uk/item/O121407/stool-alvar-aalto/ Winkelmann, G. (1981, August). The influence of steel and plastics on modern chair design [Unpublished Master’s thesis dissertation]. Texas woman’s university. https://twu-ir.tdl.org/bitstream/handle/11274/7764/1981WinkelmannOCR. pdf 76 Words
List of Figures Bansal, Kurisingal, Musaliar (2022). A journey of design: a comparative study of the de- sign rocesses of Mies van der Rohe’s BRNO Chair and Alvar Aalto’s Aalto Stool 60. CFP Communications. CEPT University Gilankar, Kuwar, Mehta, Musaliar (2021). Arts and Crafts Movement Mapped. CFP Communication. CEPT University Gilankar, Kuwar, Mehta, Musaliar (2021). Mapping the Genius. CFP Communcations. CEPT University. Musaliar, M. (2022). How Things Work. CFP Studio. Unpublished portfolio for CEPT Foundation Programme. CEPT University. Musaliar, M. (2022). Digital Representation. CFP Studio. Unpublished portfolio for CEPT Foundation Programme. CEPT University. Musaliar, M. (2022). Freehand Drawing. CFP Studio. Unpublished portfolio for CEPT Foundation Programme. CEPT University. Musaliar, M. (2022). Technical Drawing 1. CFP Studio. Unpublished portfolio for CEPT Foundation Programme. CEPT University. Musaliar, M. (2022). Gauging Sizes. CFP Studio. Unpublished portfolio for CEPT Founda- tion Programme. CEPT University. Weston, R. (2011). Stairs. Laurence King Publishing. Weston, R. (2011). Sustainability. Laurence King Publishing. 77
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