D/CODE DESIGN BIENNIALE 2020
Client
The Times Group
Timeline
14 weeks (June–Sept ‘20)
Tools
Adobe Illustrator, SketchUp, Rhino, Cinema 4D
Skills
Space Design, 3D Modelling, AR Exerience Design, Motion Graphics, Metaverse, Concept Design, Product Design
THE PROJECT
Developing a virtual experience for students, designers, and lovers of fine craft, to be introduced to curated spaces that were designed by the top 100 designers in India.
The D/code Design Biennale endeavours to bring together the culture and commerce of our industry, to explore how it can adapt and respond to extraordinary circumstances, such as the CoVID-19 pandemic.
As the first virtual art and design festival in India, the events will chart a new course in the history of art and design shows in India.
THE APPROACH
The project was based on a rigorous design process which included curating virtual spaces– since my knowledge in this regard was limited, the project provided me with great insight and learning.
As the designer for ‘Nizaara’, along with my mentor Tanish Malji, most of my time was focused on creating a singular 3-D space that was inspired by India aesthetics.
The process of design included:
- Design based research into historical and cultural motifs, design, and concepts
- Adobe Illustrator sketches to develop patterns, and surface design
-
SketchUp renders by the organizing teams to curate space and make layouts
-
3-D renders to incorporate materials, textures, and light sources through the colalborator: Orvi Sufaces
- Motion graphics and flat designs for promotion
THE IMPACT
Community Collaboration–
- India’s top 100 designers curated spaces for the show
- More than 600 people work virtually during the peak of the CoVID-19 pandemic, to make this show materialize
Accessibility–
- The show was free, and accessible to all
- Reached populations that are often excluded from attaining access to high art and design
- More than 1M new users were on the site during the first 6 hours of launch
New Business–
- Many designers received new business orders via the show publicity
- At Pavitra Rajaram Design, we received orders for the cypress floor tiles during the duration of the show.
THE COLLABORATORS
The D/code Design Biennale, is India’s first curated virtual art and design festival. The biennale will witness the congregation of the most renowned names in the worlds of art, design and architecture on a virtual platform.
THE TIMES GROUP
The Times Group is a long standing leader in the print business, as well as an emerging leader in all other forms of media. The Group's key brands include:
︎︎︎The Times of India, the world's largest broadsheet English daily
︎︎︎The Economic Times, India's largest (and the world's second largest) financial daily
︎︎︎Radio Mirchi, India's largest FM radio network
PAVITRA RAJARAM DESIGN
Pavitra Rajaram is the Creative Director of her eponymous design firm Pavitra Rajaram Design that straddles the worlds of interior design, styling, product design and brand strategy. She is also co-founder and Brand Custodian of the Sarmaya Arts Foundation, a digital museum with the mission of cultivating a love for the art, history and culture of the Indian subcontinent.
Pavitra has been included five times in the prestigious AD100 list of the 100 best architects and interior designers in the Indian Subcontinent and is a winner of the EDIDA award for product development and INTACH award for urban heritage & restoration.
ORVI SURFACES
ORVI blends creativity with craftsmanship, technology with tradition, Western aesthetics with artisanal techniques from Asia and beyond. They are India’s leading brand focused on marrying qualities of natural materials like stone, wood, metal, ceramics and glass with traditional techniques and methods.
THE BIENNIALE
THE CONCEPT
Indian Maharajas have always had a flair for design that’s idiosyncratic and reflects their very own culture, travel influences and context.
The adaptive approach of our country gives flexibility towards the idea of blending styles along with culture and context to truly define Indian modernism.
The Modern Maharaja respects culture, context, traditions, and heritage while being modern. He can be an artist, architect, influencer, fashion designer, author and so much more.
This Biennale aims to celebrate the inclination of Indian royals towards luxury by reinterpreting it in the modern context.
The adaptive approach of our country gives flexibility towards the idea of blending styles along with culture and context to truly define Indian modernism.
The Modern Maharaja respects culture, context, traditions, and heritage while being modern. He can be an artist, architect, influencer, fashion designer, author and so much more.
The Biennale will cover various mediums of design expression in the online world, with digital walkthroughs, product displays, art installations, live chats and webinars.
CREATING A VIRTUAL EXPERIENCE
CREATING A VIRTUAL EXPERIENCE
THE VENUE
THE VENUE
One can take a walk through this beautiful 3D render of the Palace of Dreams in Jaipur while enjoying the installations structured around the theme of the “Modern Maharaja.”
As you progress through the Palace of Dreams, you will be introduced to significant elements of the architecture of Jaipur, with a modern twist:
As you progress through the Palace of Dreams, you will be introduced to significant elements of the architecture of Jaipur, with a modern twist:
- broad avenues
- grand arches
- the square-shaped baradaris with multiple doorways
- open-to-sky central courtyards
“NIZAARA”
Arisen from the idea of a traditional Mughal tent, sprawled amid the greens of the forested cypress garden, this installation is a deconstructed recreation of the royal tents from the court of Shah Jahan, showcasing craft in a modern context.
- Reminiscent of the tent-like structure of the Sheesh Mahal, attributed to its peaked canopy, the various panels in the installation can be flipped to create a tent-like form.
- The play of light and shadow on glass by the cove of lit candles, and tall lanterns filled with the fresh scented gulaabs create a sensorial experience of the Palace of Glass as well as the Palace of Flowers.
The interplay of the colours, textures and materials in the magnificent Phool Mahal inspired the interwoven use of metals, glass, wood and limestone in this installation.
The jalis, filigree, marble carvings and stain-glass windows and screens were borrowed and fit into a modern narrative: the one of the Naksha, the map of a Maharaja's territory.
The PROCESS of DESIGNING “NIZAARA”
PANEL DEVELOPMENT
︎︎︎The series of moving wooden panels fan (that can rotate 360º) out to create a backdrop or come together to form a tent-like shape.
︎︎︎Crafted in a contemporary context, glass, wood, and limestone are inlayed with metal.
︎︎︎The motifs were inspired by Palestinian embroidery and the Piri Reis map’s from the Ottoman empire.
Techniques:Etching on Wood Etching on Glass Metal Inlay on Wood Glass Inlay on Wood Through & Through Cut Outs (Water Jets or Laser Cutting) Tarkashi Metal Wire Inlay on Wood
THE FLOOR
︎︎︎The flooring of brass and copper cypress trees inlaid in limestone recreates the ornate inlay which covers the floors of the Mughal Palaces and their innate love of carpets underfoot.
Techniques: Brass and Copper Inlay in Black Limestone
THE CANDLES
︎︎︎The play of light and shadow on glass by the cove of flickering fragrant candles and tall lanterns filled with freshly scented gulaab create a sensorial experience of a Palace of Glass as well as a Palace of Flowers.
Techniques: Etching on Glass
MOTIF DEVELOPMENT
SKETCH UP PLANS
RENDERING
This is the perfect atmosphere. a coming together of:
The panels were rendered in different wood textures, in order to test different light & shadow effects in the virtual space.
- material
- pattern
- natural elements
The panels were rendered in different wood textures, in order to test different light & shadow effects in the virtual space.
INFOGRAPHICS
REFLECTION
With new experiences and learnings, comes a large need for patience and determination–
Since this project was the first time I was working with several different softwares, and VR experience tools, I was learning a lot from the mentors and supervisiors I had. I worked a lot with managing the project, and understanding the needs of new software. This required a lot of determination to continue, and perserverence to push through the uncertainity of learning trajectories!
DISCLAIMER:
* THIS WORK WAS UNDERTAKEN DURING AN INTERNSHIP WITH PAVITRA RAJARAM DESIGN
** ALL WORK PRODUCT BELONGS TO D/CODE AND ALL RELATED SPONSORS AND ORGANIZERS
*** CONTENT ON THIS PAGE HAS BEEN TAKEN FROM D/CODE, TRENDS MAGAZINE, CASAMIA, ORVI SURFACES
Brown | RISD Dual Degree Program
About Me ︎︎︎
MUSINGS
“Interwoven” Microsoft AI
BRANDING
The Witching HourHeartland
Sarmaya Museum
APPAREL // TEXTILE
Nilambari Nightwear
Retro Bollywood
Knit Engineering
New England Home
Pondichéry Weaves
REVERIES
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