GRADUATION PROJECT Advitiya Luxury furniture range for Living Room Sponsor : EHAM Total Home Solutions Volume : 1 of 2
STUDENT : ADITYA D. CHIPLUNKAR PROGRAMME : BACHELOR OF DESIGN GUIDE : PRAVINSINH SOLANKI
2015 INDUSTRIAL DESIGN FACULTY (FURNITURE AND INTERIOR DESIGN)
The evaluation jury recommends, ADITYA D. CHIPLUNKAR for the
BACHELOR OF DESIGN of National Institute of Design INDUSTRIAL DESIGN FACULTY ( FURNITURE AND INTERIOR DESIGN)
Herewith, for the project titles Advitiya - Luxury furniture range for living room On fulfilling further requirements by
Chairman
Members
*Subsequent remarks reagrding fullfilling the requirement s
Registrar ( Academics)
Advitiya -Luxury furniture range-
Furniture and Interior Design, B.Des 2015 National Institute of Design
Graduation Project by Aditya D. Chiplunkar Guided by Mr. Pravinsinh Solanki Sponsored by EHAM Total Home Solutions, Kerala
Aditya D. Chiplunkar l B.Design l 2015
Privacy statement Sponsored by: Eham Total solutions, Malabar Gate, Ram Mohan Road, Palayam, Kozhikode, Kerala 673004. India No part of this document will be reproduced or transmitted in any form or by any mean, electronically or mechanically, including photocopying or recording in any other forms without written permission from the publisher. Aditya D Chiplunkar and National Institute of Design. © 2015 – 2016 Student Document publication, meant for private circulation only All rights reserved. B.Des, Furniture and Interior Design, 2011- 2015, National Institute of Design, Ahmedabad. Edited and Designed by – Aditya D Chiplunkar National Institute of Design Project Head: Ali Afzal, Vijesh Nair Graduation Project Guide: Pravinsinh Solanki © NID 2015
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Advitiya l Furniture and Interior Design
Originality Statement I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgement is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduat1ion project (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name in Full: Signature: Date:
Copyright Statement I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. Student Name in Full: Signature: Date:
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Aditya D. Chiplunkar l B.Design l 2015
acknowledgements 8
Advitiya l Furniture and Interior Design
I would like to begin this document by thanking my guide Pravinsinh Solanki, for motivating me to explore and push my limits, for always making sure that my work gets better after every feedback. Next I must thank Mr. Ali Afzal and Mr. Vijesh Nair, for firstly giving me the opportunity to undertake the Graduation Project with EHAM Furniture, and secondly putting their faith in me to design something worthy of their time and resources. I am also thankful that they provided me with their guidance and relevant feedback and inputs to shape my ideas into design. Arjuna, Sachin, Vishnu and all staff at Malabar Gold and Diamonds, Calicut who made the office hours fun. I am grateful to Mr. Shalil Khanna and his team at Woods India, Powai, for transforming my ideas to life. Sakharam Dada, Vasant Kaka for their extraordinary workshop skills.
The city of Calicut and Ernakulam for its beautiful beaches and interesting restaurants. Vineesh and Ramsheed, for making Calicut hospitable for me.
Deshmukh and other academic staff for ensuring that we have an enriching and enjoyable educational experience at NID. Jayra j Chavda, Siddhesh Salvi, Prakhar, Kushwaha, Akash More and Kshitij Tambe for making the guide visits more fun.
I would like to thank the Furniture and Interior Design Department at NID for imparting me with 3 years of knowledge and appreciation for this field.
Aditi Khare, for being a consistent source of encouragement and support.
My faculties Mr. L.C. Ujawne, Mr. Ramakrishna Rao, Mrs. Anuya Naik , Ms. Nandita Mehrotra, Mrs. Nijoo Dubey Ms. Rachita Sareen and countless others who have helped me become the designer I am now.
Lastly, my parents for supporting my decisions all these years and having faith in my abilities. For being my constant source of inspiration. My younger brother Siddhant, for being there.
Also my peers, juniors and seniors for sharing information, ideas and making the class more fun. I would take this opportunity to thank the Director, Mr. Pradumnya Vyas, the Chair person Education, Mr. Vijay Singh Katiyar, the Registrar, Dr. Vijaya
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Aditya D. Chiplunkar l B.Design l 2015
synopsis 10
1. Fountain at the National Institute of Design, Paldi
Advitiya l Furniture and Interior Design
As a part of the National Institute of Design curriculum, all final year students are required to undertake the Graduation Project which is a full scale design project in the industry. The graduation project which is expected to be of 4- 6 months duration, is a complete demonstration of independent client service by the student, and is expected to generate a professional design assignment with application and implementation capabilities. It exposes the student to the real life scenario of working in the industry and helps him/her to understand the constraints and limitations of an organization. The project involves understanding the strength, infrastructure of the organization, analyse that and give them an appropriate solution within the given extent and time constraint. It also helps to understand the role of a designer, which in a practical situation is not only restricted to just design alone, but also includes management, communicating your ideas and directing your design as per the changing situations. The graduation
project helps the student to realize their strengths and weaknesses and assimilate it to the market environment. I was given the opportunity to work with Eham Total Home Solutions which is a venture of Malabar Gold and Diamonds in Kozhikode, Kerala. The project aimed at designing a luxury range of furniture for Living Area. So far EHAM total home solutions has only specialised in all imported furnitures. This project was their first step in producing something in-house. This gave me a wide arena of possibilities and a chance of producing a range that not only suits and speaks the Brand Language but also gives the store a more personal touch. This document maps the project; covering each stage of the process, from initial concept and brief development, the research and study of the company profile, its way of working, relevant research
preceding concept building, design development, to the final execution and implementation of the project. The documentation has been written as a personal journey of the opportunities and challenges at each stage, the applications of learning and skills acquired at NID and the attempt to strike a balance between creativity and practicality in a real life scenario. The range of furniture developed at Eham Total Home Solutions over a period of 6 months, from February to July 2015, has drawn its inspiration from the classic Scandinavian style and juxtaposed with the enchanting architectural forms of Kerala. Every part of the project has been an opportunity to do and learn something new, right from adapting to a new language, place and culture, to the designing of each furniture piece and validation of this design at every step. This document is a reflection of this wonderful and enriching experience.
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Aditya D. Chiplunkar l B.Design l 2015
01 about 15 17 17 18 19 19
National Institute of Design Furniture and Interior Design granduation project Malabar Gold and Diamonds EHAM Total Solutions Woods India
03 design process 24 26
step by step design requirement
05 inspiration 60 62 65
about Scandinavian Design case studies inspiration board
02 methodology 20 24
04 market research 32 34 38 42 46 52 56
About EHAM Total Solutions calicut ernakullam kollam mumbai delhi bangalore
06 theme 68 70 73 74 76
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project brief: proposed and final project timeline : proposed and final
about Kerala architectural Elements theme Board colour palettte Kerala motifs
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07 furniture range 82 84 110 116 124 132 138 148 156
Ergonomics armchair sofa coffee table side table telephone stand lounge chair and ottoman television unit complete range
09 photoshoot
08 prototyping 160 164 172
woodworking polishing material and hardware
10 appendix 182 186
dining chair dinign table
11 reflections 12 links and references 195 196
bibliography image referrences
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Aditya D. Chiplunkar l B.Design l 2015
about 14
1.1. Main Gate National Institute of Design , Paldi
Advitiya l Furniture and Interior Design
National Institute of Design
The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. Through three campuses in Ahmedabad, Gandhinagar and Bangalore, NID offers professional design programme at Undergraduate and Post graduate levels with five faculty streams and 18 diverse design domains. NID has established exchange programmes and on-going pedagogic relationships with more than 55 overseas institutions. NID is also been playing a significant role in promoting design. NID is a unique institution with many problem solving capabilities, depths of intellect and a time-tested creative education culture in promoting design competencies and setting standards of design education. The rigorous development of designer’s skills and knowledge through a process of ‘hands on-minds on’ is what makes the difference. The establishment of NID was a result of several forces, both global and local. The late 1950s saw a confluence of these forces, and this time would be a significant one for Indian culture and education. This was a time of reappraisal and reconstruction in a newly independent India. The Modern Movement, the
philosophy of Machine Aesthetics, and revolutionary experimentation in the arts, architecture and design were all taking place at the same time. There was a search for the Indian identity across all aspects of life. In 1955 Pupul Jayaker, the noted writer met the renowned American designer Charles Eames at the Museum of Modern Art in New York. The 1950s were a decade of rapid industrialization in India and clearly, the need for such an institute grew stronger. In 1957 the Government of India requested the Ford Foundation to invite Charles and Ray Eames to visit India. On April 7, 1958, the Eameses presented the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India.
application towards raising the quality of life. It aims to offer integrated design consultancy services and cutting edge design solutions providing practice opportunities to students as well as a revenue stream to the institute. The institute acknowledges that higher education in design will have greater responsibilities to meet the needs of society both in India and abroad. and hence we must be prepared to accept this challenge so that we can continue to lead advances in educational and technological innovation, creative expression and design led problem solving. At the same time NID anchors itself to cultural strengths of India and fosters strategic design linkages of innovation and entrepreneurship with the various sectors of industry.
Based on the recommendations made in the India Report, the Government of India with the assistance of the Ford Foundation and the Sarabhai family established the National Institute of Industrial Design, as it was originally called as an autonomous all-India body in September 1961 at Ahmedabad. The mandate for NID is to offer world-class design education and to promote design awareness and
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1.2 Furniture display at FID studio Picture credits - Aditi Khare
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Furniture and Interior Design
Graduation Project
Furniture impacts our immediate living environment breathing life and function into empty spaces. Objects around us become extensions of our bodies and directly affect the quality of life. Through sensitive design, furniture can cater to a variety of human needs such as those of the elderly, children, and the differently abled.
The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the Graduation Project and subsequent documentation of the same that this investigation takes place. This is the annual academic project for the student. A jury comprising faculty members evaluates the students’ performance in the Graduation Project, after which, students are awarded NID’s professional education programme degree. The Graduation Project is an opportunity for students to demonstrate their expertise as independent practitioners of design.
The first year of the Bachelors Programme at NID is the Foundation Programme. This rigorous programme ensures students are well-versed with all aspects of design, and their understanding of design basics is thorough. The Foundation Programme includes courses such as Colour, Form, Geometry, Design Concepts and Concerns, Environmental Perception, and many more inputs including field trips. After the Foundation Programme students join different disciplines based on their choice, aptitude, and Grade Point Average.
This project must be done with academic rigour incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method by which the student must carry out his/her project.
The Furniture and Interior Design Course is a specialized programme under the Department of Industrial Design. The focus is on learning by doing, with a strong hands-on approach. Students gain a thorough understanding of form, structure, context and material by building workable prototypes in the workshops and labs. A combination of courses, projects and field visits ensures exposure to both the craft sector and mass manufacture. The subjects of waste material, ergonomics, modularity, anthropometry, traditional techniques, lifestyle, manufacturing, and customization are concerns of the furniture designer. Furniture is a large component of interiors, and a good knowledge of furniture helps design interior elements.
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1.3 . Malabar Gold and Diamonds, Pallayam, Calicut
Malabar Gold & Diamonds
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Malabar Gold and Diamonds is the flagship company of Malabar Group, a leading diversified Indian business conglomerate.
across India, GCC & Singapore. Malabar Group is best known for its activities in the field of gold, diamond and precious metals.
Established in 1993 in South Indian state of Kerala, Malabar Gold & Diamonds today has a strong retail network of 134 outlets spread across eight countries, 10 wholesale units in addition to offices, design centres and factories spread in India, GCC and Singapore. With an annual turnover of $3.5 billion, the company currently ranks among the world’s top five jewellery retailers in terms of annual turnover. With 7 cluster manufacturing units in India and GCC – the company currently has 6 jewellery brands to cater to the discerning needs of customers. With headquarters in Kerala, India and branches
The company, which has a strong corporate social responsibility scheme embedded in its system, is committed to make a difference in human lives by spending over Rs300 million in charitable activities in the year 2015, part of the Rs850 million earmarked for charitable activities between 2012 – 2015.
Advitiya l Furniture and Interior Design
1.6 1.4 Eham Total Home Solutions Store, Kollam
1.5 and 1.6 Wood Work at Woods India, Mumbai
EHAM Furniture
Woods India (prototyping)
Eham is the branded furniture division of the Malabar Group, one among the leading diversified business conglomerates of India.
Woods India, Mumbai was founded in the year 1995 and has been in the business of furniture and interiors for the past 30 yrs. The company is not only catering to retail customers by providing them customized solutions for their furniture requirements but is also taking up projects specifically for the loose furniture items for hospitality and corporate sector like Hyatt group, Novotel hotel, Citi group, Happy Home group Surat, etc.
Conceived on the idea of ‘total home solutions’, Eham offers an innovative range of home furniture, soft furnishing and accessories of international standards right from contemporary designs to classic furniture. Eham associates with world-class furniture brands for manufacture. Affordability without compromising on comfort, aesthetics and quality makes every ‘Eham’ product distinct and desirable. Eham has excellent service support to assist the customer at every stage, right from assessing their needs, to delivery and prompt after sales backup.
Sofas, coffee tables, end tables, dining tables, dining chairs, lounge chairs, etc. are usually produced here. For hotel projects the range includes beds, bed side tables, study tables, study chairs, luggage racks, coffee tables, sofas, sofa chairs, tables and chairs for restaurants and lounge areas both indoors as well as outdoors are produced here.
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Aditya D. Chiplunkar l B.Design l 2015
Client Brief To design a furniture range that is a blend of traditional and modern style. The range of the furniture should reflect the design principles of EHAM and Malabar Gold And Diamonds.
Proposed Brief In order to make the brief more specific, it was decided to combine the traditional raw essence of WABI SABI and the modern nature of Scandinavian furniture. WABI SABI is Japanese concept of beauty. Finding beauty in imperfections and admiring the beauty of nature through the roughness and rawness of it is the whole essence of WABI SABI. Scandinavian furniture on the other hand complements the design with its minimal and classic form. Weaving the threads of WABI SABI to Scandinavian forms was the main aim of this project.
project brief 20
proposed
2. 1 wabi sabi interior- japanese art movement
WABI SABI
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Methodology Primary research Research on the brand image, and defining what the brand stands for. Defining client base and their requirements, as well as competition from other living furniture brands in the same bracket. Also, conducting a market study in Calicut and other parts of India, in order to better understand the points stated above.Performing case studies of the selected style of furniture and producing mood boards accordingly. Secondary research Understanding more about WABI SABI and Scandinavian furniture pieces. Understanding of ergonomics and human anthropometric data. Deliverables Armchair Sofa 3 seater Lounge Chair and ottoman Coffee table Side table Telephone stand Television Unit
Scandinavian
2.2 scandinavian study table
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Aditya D. Chiplunkar l B.Design l 2015
Final Brief After having a first glance of Kerala I was mesmerized with it scenic beauty. The traditional facades and the serene backwaters brings out a very strong character about Kerala. Looking at EHAM total solutions showroom and after discussing the brief with my mentor, it was decided to use Kerala as a main feature in the range of furniture. The whole idea of the project was to bring together the attributes of vibrant facades of Kerala Architecture and the chic and contemporary structure of Scandinavian furniture.
project brief 22
final
2.3 scandinavian arm chair
Scandinavian
Advitiya l Furniture and Interior Design
Methodology Primary research Research on the brand image, and defining what the brand stands for. Defining client base and their requirements, as well as competition from other living furniture brands in the same bracket. Also, conducting a market study in Calicut and other parts of India, in order to better understand the points stated above. Researching about the important and famours landmarks of Kerala. Studying the facades and forms of the houses. Understanding the proportion of elements. Secondary research Understanding more about Kerala Architecture and Scandinavian furniture pieces. Understanding of ergonomics and human anthropometric data. Deliverables Armchair Sofa 3 seater Lounge Chair and ottoman Coffee table Side table Telephone stand Television Unit
Kerala
2.4 . Local ferry in backwaters of Kerala
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Aditya D. Chiplunkar l B.Design l 2015
Begins 15th July, 2015 2nd February, 2015 6th July, 2015
23rd February, 2015
2nd March, 2015
1st June, 2015
Research and Analysis 4th May, 2015
Conceptualization Final Sketches and Autocad Drawings
timeline 24
proposed
20th April, 2015
6th April, 2015
Scale Model and 3D Renders Prototyping and Documentation Final Changes and Documentation
Advitiya l Furniture and Interior Design
Begins 2nd February, 2015
15th September, 2015 10th February, 2015
15th July, 2015
2nd March, 2015
29th June, 2015
15th June, 2015
Research and Analysis Conceptualization Final Sketches, Autocad Drawings and 3D Renders
timeline final
20th April, 2015
Autocad Changes and Prototyping Prototyping and Documentation 25
Aditya D. Chiplunkar l B.Design l 2015
Before starting the design of the furniture range, it was necessary to formulate the design process. The process was also a guideline for the entire 6 month long project time. The Brain mapping provides a basis of the design. It also becomes simpler to deduct things and reach a solution faster.
design process 26
Advitiya l Furniture and Interior Design
Design study
Market study
To study the principles of Scandinavian design and forms and motifs of Kerala architecture To make it more modern and contemporary Manufacturing friendly.
Clientele
Analyze the present trend Deduct what is needed (to find the quirk) To make sure it fits the clientele Local Market Study - Cities of Kerala Outside citites - Mumbai, Bangalore, Delhi
Potential buyers - Elite and upper middle class
Durability Design Language Colour Form Patterns Art/style
Requirements by EHAM
FURNITURE RANGE
Process Materials and finishes Servicing by EHAM. Customization in furniture pieces
Ergonomic and Human anthropology To provide adequate comfort tohave a better seating experience
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Aditya D. Chiplunkar l B.Design l 2015
Based on the discussions with my mentor, there were some pre requisites on which the design was supposed to be based. A furniture range was proposed including the following furniture : Armchair Seater Sofa Lounge chair with ottoman Coffee Table Side table Telephone Stand Television Unit Based on market study and the identity of EHAM furnitures, the target clientele was narowed down to the upper middleclass, to be sold in the local markets all over Kerala. The price range was estimated around 15,000-20,000 Rs. After combining the availibility of material in said area and production ease with the design language of EHAM, teak wood was agreed upon as the primary material for the furniture range. According to the design requirements shown on the opposite page, a framework for the designs was setup.
design requirements 28
3.1 scandinavian dining chair made out of teak wood
Advitiya l Furniture and Interior Design
Fusion of Traditional and Contemporary
Wooden joineries to be revealed
Melamine finish
Teak wood
Living room
FURNITURE RANGE
20,000 - 25,000 Rs.
Upper middleclass and Elite
Should follow the Brand language
Local market (Calicut, Ernakullam, Kollam)
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Aditya D. Chiplunkar l B.Design l 2015
EHAM Total solutions is a startup venture of Malabar Gold and Diamonds. With its base at Calicut, EHAM aims to become a ma jor business in the furniture market all over India.
kozhikode
Market study helped the project to see the things in a clearer manner. Analysing the local competitors and manufacturers gave the study a more profound vision. The kind of materials used, quality of products, range of products, price range, colour pallete, feel of the store etc. were some determinants that helped the study to connect the points of practicality and design. In-order to have a wider vision, the market study was performed in other cites like Mumbai, Bangalore and Delhi. Stores of various styles and ranges gave the study an overview of collaborating different things to reach the desired design.
market survey 30
4.1 Beypore beach
4.2 . Fishing nets, Cochin
ernakullam
This project was EHAM’s first step to design and produce furniture. With the change in project brief and getting to know the prerequisites of the company, it was necessary to take a tour of the local market. This facilitated and provided the basis of the project. In-depth knowledge of the present style and trends would help the outcome to reach closer to the mass.
4.3 Backwaters, Kollam
4.4 Bandra-Worli Sea link, Mumbai
4.5 Qutub minar, Delhi
bangalore delhi
delhi
mumbai
kollam
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4.6 Mahadeva, Bangalore
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Malabar Gold and Diamonds group’s own brand, Eham, is a one-stop solution for home furnishing needs, offering an innovative collection of home furniture, soft furnishing and accessories of international standards. Its unique, elegant and well-designed products include furniture for living room, bedroom, kids’ room, and modular kitchens. All their products are manufactured using state-of-the-art technology by experienced professionals. EHAM assures world class quality, supported by warranty and efficient aftersales service. EHAM realises that every home and its furnishing reflect the individual’s personality and identity hence each product is chosen with precision and care. Whether the customer wants traditional, classic, or contemporary furniture, Eham has something to offer for every individual’s needs.
4.7 Side table and sofa at EHAM
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4.8 colonial arm chairs at EHAM
Advitiya l Furniture and Interior Design
EHAM follows a very simple philosophy of providing signature pieces that are absolutely unique to an individual, lending a very personalized expression to design. The current designs at EHAM speak a lot of their versatile approach. From traditional Victorian to modern Scandinavian furniture, from genuine Leather to pure silk, they display furniture of all types. The current furniture pieces, although imported, have been selected sensitively to suit the Indian market. With this project EHAM hoped to produce one of a kind furniture pieces conceived and realised within their company itself. In-order cater to a growing need to produce unique furniture pieces, EHAM hopes to deliver a product that complements the aesthetics of contemporary style by nurturing the traditional Indian roots. Juxtaposing these two values and transforming them into a piece of furniture is the next aim for EHAM furniture.
Range of Products
Materials - Mango Wood, Teak Wood, Mahagony, Plywood, SS, MS etc. Aesthetics - From Traditional to modern and classic to contemporary, EHAM displays all types of furniture piece. The form is elegant. Upholstries have a pleasant colour palate. Variety in finishes and upholstries makes EHAM one of the finest furniture stores. Quality - The furniture shows high efficiency in terms of joineries and fixtures. Premium woodwork makes the furniture quite durable. Efficient servicing reduces the tear and wear of the product. Clientele - Eham Targets Upper Middleclass and Higher Middleclass familes. Cost - The cost of a single arm chair is around 15,000 to 25, 000.Rs 4.9 Coffee table at EHAM total solutions
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kozhikode, kerala
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5.1.1 Victorian Style Sofa
5.1.2 Victorian style arm chairs
5.1.3 Queen Victoria Arm chair
N H Mini Bypass Road, Puthiyara, Kozhikode, Kerala 673004
ConClassis offers a world of Classic and contemporary luxury products in the latest home decor trends. Edge cutting, eclectic, high quality collections are available at value prices, creating a world of affordable luxury very attainable to the design conscious. It helps its cutomers to indulge in modern elegance, contemporary vintage and aesthetic luxe of the collections handpicked from China and Indonesia. Conclassics mantra of ‘’LUXURY WITHIN REACH‘’ makes haute living available to its clientele furnishing lakhs of homes across India.
Range of Products
Materials - Compressed wood, Rubber-wood,Rexin, Leather. Velvet, Poplene Aesthetics - ConClassis exhibits a lot of victorian era gothic furniture. Excessive carving work with chrome finish. The upholsteries are bright and have a shiny lustre. Velvet and Leather dominates their upholsteries. The finish mostly is dark or chrome and gold . Quality -Con Classis uses a lot of rubber wood that makes the furniture a little less durable. Clientele - Middle class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 25, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.1.4 Dining set at Homz n Roomz
5.1.5 Railing pattern inspired by floral forms
Vee Pees Plaza, Pavagad, Kozhikode, Kerala 673021
Homz n Roomz import high class furniture from countries like Indonesia, Malaysia & China.
Range of Products
There is a wide selection of modern furniture for living rooms, dining rooms, bed rooms and to fit all other furniture needs.
Materials - Compressed wood, Rubber-wood,Rexin, Leather. Velvet, Poplene
An excellent design team at Homz n Roomz produces some marvellous custom style furniture, specializing in custom kitchens and stair cases. Numerous customers vouch for Homz n Roomz quality and workmanship.
Aesthetics - Homz and Roomz displays a lot of traditional furniture. The finishes are mostly glossy and in oak finish. The upholstries are mostly fabric poplene and rexin. Overall the form and nature of products is glossy. Quality - Rubberwood and Compressed wood dont really stay the same for a long time, thus the life of the product is comparatively less. Clientele - Middle class and higher middleclass clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 5,000 to 10, 000 Rs.
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5.1.6 Chair display at SOLID home solutions
5.1.7 Sofa Set piece with coffee table and side table
Central Arcade, By-Pass Road, Puthiyara, Kozhikode, Kerala 673004
Streamlining home decor to create a chic and calming sanctuary. They believe the home should be a personification of the customers taste and style. Furniture and furnishings are vital elements that define spaces and impart a new life and character to the decor on hand. Solid home solutions believe that a truly beautiful home needs the right blend of furniture & fabric that co-ordinate with the colour schemes. Keeping in tune with the changing lifestyle of the populace, Solid Home Solutions based in Calicut offers a wide spectrum of classy furniture and furnishings that reflects individual tastes on every level, overt and subtle.
Range of Products
Materials - Rubberwood, Mango wood, Plywood, MDF , SS, MS Aesthetics - Solid total Solutions have no defined style or language. The store display furniture of all kinds. The finishes have wide range form natural to gloss. The upholstries overall dont really appeal a lot. The sensitivity in the furniture pieces is required. Quality - Using Mango wood and compressed wood, reduces the lifespan of the furniture. The wear and tear can be received soon. Clientele - Middle class in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 7,500 to 10, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
ernakulam, kerala
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5.2.1 Armchair
5.2.2 2 seater sofa
5.2.3 Three leg stool .
KVJ Arcade, Ground, First & Second Floor, Opp. Lulu Mall, Edappally Kochi - 682024
@home is a retail division of Nilkamal Limited. @home’, positioned as a Home styling expert, is a one-stop solution store for home planning, with finest quality furniture, soft furnishings & home accessories to enhance indoor and outdoor spaces. The designs at ‘@home’ are contemporary yet practical, mirroring Indian taste & requirements. @home delivers a fine range of furniture that doest dig into the customers pockets and gives their home a pleasant range of furniture.
Range of Products
Materials - Rubberwood, Compressed wood, Sheesham, Burma Teak wood, Mahogany, SS, MS, Plywood, MDF Aesthetics - At @home the furniture is beautiful, the humungous range of furniture of all kinds makes its a versatile furniture store. There is not a defined style in the products, one can find all kinds from traditional to modern. Customization in upholstries and finishes give customers the advantage of making the product more personal Quality - @home uses mostly rubberwood an compressed wood which in humid conditions tend to expand soon. Clientele - Upper middle and middleclass clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 10,000 to 20,000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.3.1 Nesting coffee set
5.3.2 shelving systems
5.3.3 Three seater sofa
NH Bye Pass Vysali Bus Stop, Chakkaraparambu, Kochi,Ernakulam, Kerala
Godrej Interio is India’s largest furniture brand. From manufacturing the humble Storwel cupboard 80 years back to the modern wardrobe with advanced fixtures and fitting, Godrej does it all.
Range of Products
Godrej loves bringing alive a dream space. They emphasize comfort and aesthetics while delivering well designed, fun and functional furniture solutions.
Aesthetics - Godrej Interio provides modern contemporary furniture pieces that fit any background. The form and shape varies according to the market. Their upholsteires are bright and cozy.
True to the Godrej mission to conserve the environment, one can see that they design products, set up processes and use raw materials that are eco-friendly to do their bit to preserve natural resources.
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Materials - Rubberwood, Compressed wood, Sheesham, Burma Teak wood, Mahogany, SS, MS, Plywood, MDF
Quality - Godrej gives you quality and finish in equal proportions, using genuine material they provide you with the best possible products. Clientele - Upper middle and middleclass clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 10,000 to 20,000 Rs.
Advitiya l Furniture and Interior Design
5.3.4 Sandwiched plywood coffee table
5.3.5 3 seater leather sofa
Stanley Boutique - 1st Floor, Compass, Chakkaraparambu, NH bye pass, Cochin 682032
Everything changes countries, cities, homes, aspirations & life styles. Evolving with times, being able to design & develop products, keeping in mind the everlasting values of quality, durability & beauty that are appreciated by our discerning clients seems to be their endeavour. Stanley discloses the world of fine leather art. Expressing its own language with leather has been STANLEYS forte. Ever since its inception STANLEY has emerged as the ma jor design hub for leather products.
Range of Products
Materials - Teak wood, SS, MS, Plywood, MDF , Leather Aesthetics - At STANLEYS, leather-work is a craft. The hard work they put in its detail, be it stitching or buttoning is mesmerizing. The laminates are glossy and printed , this makes the furniture one of its kind. Wood joineries are worth noticing. Quality - STANLEYS material is undoubted with its quality. The leather work simply justifies the genuine nature and material. Clientele - Elite and Highclass clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 35,000 to 45,000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
kollam, kerala
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Advitiya l Furniture and Interior Design
5.4.1 seater sofa with chambray upholstery
5.4.2 Coffee table
5.4.3 Velvet upholstered Dining chair
NH Bypass, Kulathoor, Kollam, Kerala 695583
Tip Top import high class furniture from countries like Indonesia, Malaysia & China.
Range of Products
There is a wide selection of modern furniture for living rooms, dining rooms, bed rooms and to fit all other furniture needs.
Materials - Rubberwood, Teak wood, Sheesham, Mahogany, Plywood, MDF , SS, MS
An excellent design team at Tip Top helps its cutomers to indulge in modern elegance, contemporary vintage and aesthetic luxe of the collections handpicked from China and Indonesia. Numerous customers can vouch for quality and workmanship.
Aesthetics - The designs in Tip Top furniture are quite decent. They have introduced metal quite effectively. The Sofa have a lot variety with the beautiful rexin work in them. The armchairs show a lot of sensitivity with the form and shape. The colour pallete is warm and this gives the furniture a very cozy finish. Quality - Tip Top has a high range of products. The quality varies from piece to piece and cost to cost. Overall the furniture pieces can take a good amount of period to wear off. Clientele - Middle class and Higher Middleclass clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 20, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.5.1 Rexin upholstered sofa set
5.5.2 dining chair
Mavoor Road Kollam, Kerala
DAMRO is among the world’s largest furniture manufacturers offering a diverse range of modern and traditional furniture.
Range of Products
Materials - Compressed wood, Rubber-wood,Rexin, Leather. Velvet, Poplene DAMRO owes its success to a simple formula high quality furniture at affordable prices backed by excellent customer service. DAMRO provides customers with a pocket friendly product that suits any surroundings. DAMRO loves bringing alive a dream space. They emphasize comfort and aesthetics while delivering well designed, fun and functional furniture solutions.
Aesthetics - DAMRO displays a lot of modern sofa ,mostly in Rexin and some in fabric and leather. Wooden finishes are seen in their dining chairs, mostly gloss and melamine finished. Coffee tables have glass tops and wooden structure. The furnitures are assemble and linear. This provides a perk a transportation Quality - Rubberwood and Compressed wood dont really stay the same for a long time, thus the life of the product is comparatively less. Clientele - Middle class and Elite class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 20, 000 Rs.
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Advitiya l Furniture and Interior Design
5.5.3 6 seater Dining table
5.5.4 Television Unit cabintet
Sowbhagya Shopping Cplx, Mavoor Rd, Calicut Ho, Kollam - 673001
Style Spa helps to designa home because they know that it is a reflection of taste and lifestyle.
Range of Products
At Stlye Spa the furniture is not a product but its a responsibility that the designers and carpenters take to provide customers with the best possible comfort at affordable prices.
Materials - Compressed wood, Rubber-wood,Rexin, Leather. Velvet, Poplin
Expertise backed by the experienced team of creative designers and skilled craftsman,Style Spa has a lot to offer.
Aesthetics - Style Spa has a stylish looking multifunctional furniture that satisfies the space of a metro city space. The furniture is sleek and minimal and the elegance that gives it a chic character overall. The finishes speak of its sensitivity towards the recent trend. The upholsteries are decent with a lot of leather and rexin work. Quality - Style Spa gives quality and finish in equal proportions, using genuine material they provide cutomers with the best possible products. Clientele - Higher Middle class clients in residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 10,000 to 15, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
mumbai
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Advitiya l Furniture and Interior Design
5.6.1 occasional chair
5.6.2 side tables
5.6.3 occasional seating
101, Bayside Mall, 1st Floor, Opp Sobo Central Mall, Tardeo Road, Ha ji Ali, Mumbai 400034, India.
Drawing inspiration from everyday life, Josmo strives to incorporate modern and traditional influences to its work while adopting sustainable practices at every stage of production.
Range of Products
Adding a quirk to a furniture piece has always been JOSMO’s forte. Driving away from the prescribed process of furniture making JOSMO has successfully achieved designing furniture in tangible manner.
Aesthetics - Speaking of form and style, JOSMO speaks a lot of Bauhaus and Scandinavian style through its furniture. The upholsteries are in pastels that makes the furniture universally acceptable. Metal is used very efficiently and innovatively. Not only its makes the furniture stronger but also makes it classic.
Josmo exhibits an exclusive range of furniture that speaks of the process of transforming radical ideas into purposeful furniture.
Materials - Teak Wood, Mahogany, Compressed wood, SS, MS, Gold leafing , Brass fixtures, Chrome plating.
Quality - Quality In terms of material is very efficient. Traditional wooden joineries enhances the furniture age. Clientele - Residential and Retail. Cost - The cost of a single arm chair is around 25,000 to 35,000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.6.4 scandinavian armchair with side table
5.6.5 classic wood study table
G-11 Laxmi Woollen Estate, Mahalaxmi Bombay 400011
At the heart of their repertoire is the range of solid Burma teak furniture. Painstakingly crafted and finished, these upscale, luxury products, represent the Indian essence of design on the world stage. All their products are crafted from premium materials and hardware and will undoubtedly stand the test of time. red blue and yellow exhibits an exquisite range of Scandinavian furniture. The furniture pieces through its wood joinery and keen detail work can ensure the efficiency of the designer and the skill of the carpenter. The sincere effort of producing classic and contemporary furniture has made red blue and yellow a promising furniture store. 48
Range of Products
Materials - Teak Wood, Mahogany, Burma Teak, SS, Brass fixtures, Chrome plating. Aesthetics - red, blue and yellow follows very a very minimal and classical style of furniture design. They dont prefer melamine polish and prefer the wood to show its natural beauty. Upholsteries are mostly neutral and in pastel shade. The colour palate is overall warm. Quality - Quality in terms of material is very efficient. Traditional wooden joineries enhances the furniture age. Clientele - Mostly Residential. Cost - The cost of a single arm chair is around 25,000 to 35,000 Rs.
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5.6.6 coffee table
5.6.7 stone side table
5.6.8 side table
2nd Floor Raghuvanshi Mills, Senapati Bapat Marg, Lower Parel, Mumbai, 400013
Pinakin has over the years mastered the art of creating signature pieces that are absolutely unique to an individual, lending a very personalized expression to design. While giving distinction to the customers favourite spaces, the Pinakin’s march continues unabated, championing their credo: to be distinctively modern, distinctively Indian. The furniture at Pinakin is perfect juxtaposition of craft and style.
Range of Products
Materials -Pinakin uses all non furniture building materials in most of it furniture. Cement, Stone, Marble, SS pipes, MS pipes, Wood etc. Aesthetics - Pinakin has its language set up to transform the Indian art into tangible furniture and home decor. Pinakin is highly inspired by the traditional wooden jalis and carving. It contemporises it by adding quirk in the form of chrome finish in it. Quality - The quality of a product is rigid and strong. Portability is restricted. Clientele - Elite and high class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 35,000 to 45,000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.6.9 shel ving units
5.6.10 compact storage system
5.6.11 modern dining chair
55, Dr. E . Mosses Road, Worli Mumbai, Maharashtra
Furniture is not simply an object of use. It also expresses the personality of the manufacturer and the customer.
Range of Products
Materials - Teak Wood, Mahogany, Burma Teak, SS, Brass fixtures, Chrome plating. h端lsta furniture stands for quality made in Germany. their furniture is exclusively manufactured in Germany and sold to customers worldwide. It is of ma jor importance to them to create timelessly beautiful shapes and long-lasting products that will help to create an inspiring home.
Aesthetics - Hustla dsiplays a vivid display of modern german furniture. The furniture is minimal and sleek. Finishes in terms of natural and laminate makes the furniture suit any environment. Plastic and metal gives the furniture a modern look. Chrome handles and knobs, with natural finished wood speaks a lot of Scandinavian essence. Quality- With German fixtures, the quality of the furniture is top class.
Trends come and go, but high-quality craftsmanship lasts. Their commitment to quality starts with the selection of the raw materials and does by far not end with their first-class-service.
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Clientele - Mostly Residential. Cost - The cost of a single arm chair is around 30,000 to 40,000 Rs.
Advitiya l Furniture and Interior Design
5.6.12 coffee table
5.6.13 occasional seating with side table
5.6.14
armchair with side tables
5.6.15 chessboard inspired coffee table
F-11, Laxmi Mills Estate, Shakti Mills Lane, Mahalaxmi, Mumbai - 400 011
Tucked away in the heart of central Mumbai in Mahalaxmi, Tranceforme Designs is a store that melds an old industrial look with a stylish contemporary vibe. Located inside a vast, vaulted industrial warehouse, this furniture and lifestyle store creates a purely aesthetic shopping experience. Tranceforme keeps with the philosophy of encouraging Indian craft and design.
Range of Products
Materials - Burma Teak wood, Mahogany, SS, MS, Plywood, MDF in its furniture. Aesthetics - Tranceforme has encouraged traditional Indian craft into contemporaryfurniture through its material and clean upholsteries. It has certainly used its inspiration to the fullest. Sleek and chic metal finishes adds appropriate glamour to the product. Quality - Tranceforme has always produced good quality furniture. The upholsteries and decor is strong too
Customization of furniture as well as styling homes and offices are a couple of the special services that Tranceforme offers its clients.
Clientele - Elite and high class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 25,000 to 35,000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
delhi
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Advitiya l Furniture and Interior Design
5.7.1 side table
5.7.2 three seater sofa
5.7.3 side table
Udyog Vihar Phase IV, Sector 18, Gurgaon, Haryana
At Iqrup + Ritz, classic shapes from periods, styles and international influences are transforemed up to date for contemporary living. The accent is on scale, proportion, form, comfort and detail. The pieces are designed in-house and in conjunction with some of the best designers / makers around the world. Through their handmade collections Iqrup and Ritz aim to keep the skill and tradition of handcrafting alive. They honour their materials by using the highest quality craftsmen and makers to create pieces that last a lifetime.
Range of Products
Materials - Sheesham, Burma Teak wood, Mahogany, Plywood, MDF Aesthetics - Iqrup and Ritz, display a range of contemporarised version of traditional style and forms. The finishes are mostly dark . Upholsteries are keenly selcted keeping in mind th colour palate and essence of an era. Quality - Iqrup and Ritz gives a perfect blend of quality and aethetics. The material used a genuine and carpentry is skilled. Clientele - Higher middle and elite clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 25,000 to 30, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.7.4 occasional arm chair
5.7.5 Leather three seater sofa
CRC 369 First Floor, Sultanpur, New Delhi, Delhi
Living Space helps to design homes because they know that it is a reflection of taste and lifestyle.
Range of Products
At living space the furniture is not a product but its a responsibility that the designers and carpenters take to provide the customer with the best possible comfort at affordable prices.
Materials - Rubberwood, Compressed wood, Sheesham, Burma Teak wood, Mahogany, Plywood, MDF
Expertise backed by the experienced team of creative designers and skilled craftsman, Living Spaces has a lot to offer.
Aesthetics - Living spaces displays furniture that blends with any surrounding. Customization in terms of finish and colours gives it a more personalized touch. The colour pallette is pastels and joyful, the finishes are kept natural according to the look of the furniture. Quality - Living space doesnt compromise with the quality and usage of genuine wood gives appropriate strenght to the furniture. Clientele - Higher middleclass and elite class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 20, 000 Rs.
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5.7.6 traditional sofa set
5.7.7 arm chair
27, Meher Chand Jorbagh, New Delhi, Delhi 110003
5.7.8 jali patterned cabinet
Market,
Every piece designed is shaped to complement the space it belongs to. If it is designed for a particular person’s home, chances are they will never see anything like it elsewhere.
Range of Products
At NIVASA, furniture is not merely objects. The design ethos dictates that everything that is part of the look must belong to it intrinsically, it must be visualised in the context of the space it will inhabit.
Aesthetics - NIVASA displays an exquisite range of furniture. Speak of its style , its form or its material, everything has a story to tell. The essence of the furniture is classic and royal. The upholstries are rich in textiles. Pure silk and genuine teal wood blends together to build a unique piece of furniture.
Much like an artist who starts out with a blank canvas and slowly fills in a painting, NIVASA starts with raw material and transform it, inch by inch, layer by layer, into visual, livable furniture.
Materials - Sheesham, Burma Teak wood, Mahogany, Plywood, MDF, SS.
Quality - NIVASA and its genuine material distinguishes the whole quality of furniture at a level par excellence. Clientele - Higher class and elite clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 35,000 to 40, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
bangalore
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Advitiya l Furniture and Interior Design
5.8.1 three seater sofa
5.8.2 occasional chair
83, Cropexium, Karthik Nagar, Marathahalli, Dodda Nekkundi, Bengaluru, Karnataka 560037 (e-retail store)
Urban Ladder offers a unique selection of stylish, contemporary, and chic furniture online.
Range of Products
Buying furniture online is convenient and allows the customer to browse as many products as they like, across categories, access new designs as soon as they’re available, and compare prices.
Materials - Sheesham, Burma Teak wood, Mahogany, Plywood, MDF, SS.
Urban Ladder not only provides the buyer with modern stylish furniture but also gives them the complete home solutions.
Aesthetics - There is no defined language at Urban Ladder. The form and style of the furniture pieces are very contemporary. Urban Ladder gives customization that makes the furniture personal . The finishes can be duly changed as well. Quality - Urban Ladder gives quality and finish in equal proportions, using genuine material they provide you with the best possible products. Clientele - Middle class and higher middle class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 20, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
5.8.4 side tables making pattern
5.8.3 chair
5.8.5 scandinavian side tables
No.99, 1st Cross,4th Main, Indiranagar, Bangalore - 560008
Esthete is a design based company. A dynamic team of highly experienced and creative individuals. A commitment to unflincnching quality, integrity and a highly evolved aesthetic sensibility are the defining characteristics of Esthete. Esthete cover the entire gamut of design and build, from architecture,interior design, construction, product design and manufacturing. Esthete offers TOTAL TURNKEY SOLUTIONS! Esthete is the single window to all your design-build requirement.
Range of Products
Materials - Rubberwood, Teak wood, Sheesham, Mahogany, Plywood, MDF , SS, MS Aesthetics - Esthete designs furniture that speak of form and function. Nothing is done without a function here. Product are mostly space saving. The finish is kept natural in most of the pieces. Upholsteries are simple and minimalistic. The overall feel of the furniture pieces is subtle and soothing. Quality - Esthete doesnt compromise with the quality and usage of genuine wood gives appropriate strength to the furniture. Clientele - Middle class and elite class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 20, 000 Rs.
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Advitiya l Furniture and Interior Design
5.8.6 modern living room decor
5.8.7 utility coffee table
100 Feet Rd Koramangala Bangalore, Bengaluru Urban, Karnataka India
Ebony Gautier’s range of contemporary home solutions allows one to make a strong style statement.
Range of Products
Materials - Sheesham, Burma Teak wood, Mahogany, Plywood, MDF, SS, Rexin, Leather They add on a distinctive character and unmatched elegance to living spaces in the home to complement lifestyle and aspirations. Be it bedroom spaces or living room spaces or a child’s personal zone, Ebony Gautier has world class contemporary solutions to enhance your style of living. Ebony Gautier help the buyer bring stylish French living into home.
Aesthetics - Ebony Gautier has stylish looking multifunctional furniture that satisfies the space of a metro city. The furniture is sleek and minimal and the elegance that gives it a chic character overall. The finishes speak of its sensitivity towards the recent trend. The upholsteries are decent with a lot of leather and rexin work. Quality - Ebony Gautier gives quality and finish in equal proportions, using genuine material they provide the buyer with the best possible products. Clientele - Higher Middle class clients in retail and residential sector with a hospitality sector. Cost - The cost of a single arm chair is around 15,000 to 25, 000 Rs.
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Aditya D. Chiplunkar l B.Design l 2015
Why Scandinavian Design?
Principles of Scandinavian Design
Scandinavian design is not just a design movement that appeals to the eye, but its a way of life. Its minimal elegant forms blends into any given environment and make the most out of any space.
The principal appeal of Scandinavian Design perhaps lies in the warmth which it generates through the use of simple expressive means and materials.
With the requirement given by EHAM furnitures, Scandinavian design fits into the place perfectly. The recent collection and the design language expected by EHAM furnitures speak a lot of Scandinavian design.
The enormous influence which Scandinavian Design exerted throughout the world, especially in the field of Industrial Design, after the end of Second World War is a matter of common knowledge. Being a product of a cultural tradition fostered amidst severe but rich natural conditions and a unique geographical environment, Scandinavian design has continued in the most fundamental senses to maintain a relationship between people and things.
The material limitations and the essence of the products too overlap the attributes of Scandinavian design.
“A piece of furniture from Scandinavia is practical, well-constructed, unpretentious, thoroughly thought out and elegant. It can melt naturally into any sort of setting�. -Hans J. Wegner What is Scandinavian Design? The land of the Viking, the Kalevala and the Edda Sagas - Denmark, Finland, Iceland, Norway and Sweden - are known as Scandinavia. And the design emerging from this region is called as Scandinavian Design.
inspiration
Design springs from the same sources all over the world. It is a consequence of the interaction of place (geography and ecology), time (history), human behavior (culture), and information (communication. For every object that man has made or makes he creates a form, a purpose and a meaning. The design language of object and products tells of the relation between this creator, their country and the environment in which they were created. The same applies to Scandinavian Design.
6.1.1 Teak wood chair by Hans J. Wegner
60 modern dining chair
The idea that beautiful and functional everyday objects should not only be affordable to the wealthy, but to all, is a core theme in the development of modernism and functionalism. This is probably most completely realized in post-WWII Scandinavian design. The ideological background was the emergence of a particular Scandinavian form of social democracy in the 1950s, as well as the increased availability of new low-cost materials and methods for mass production. Scandinavian design often makes use of form-pressed wood, plastics, anodized or enamelled aluminium or pressed steel.
Advitiya l Furniture and Interior Design
The three pillars of Scandinavian Design are: good design for everyone; beauty despite functionality; optimal use of available resources. Designs are kept simple and often stylise the local natural environment. Yet despite their symmetry and clarity, Scandinavian designs always radiate warmth and a distinct and homely cosiness. This is something the Danes refer to as hygge, and is especially important to a Nordic lifestyle in light of the cold climate and long dark winters.
Conclusion Since Scandinavian design first achieved worldwide recognition after the Second World War in the 1950s and 1960s, its impact on design in the industrial countries has generally been considerable. In short Scandinavian design maybe said to represent warm, unpretentious and simple elegance. In today’s world, living in the shadow of a dark future, it can guide humanity along a road. A road which will lead to a more balanced, safer way of life with a closer regard for nature.
6.1.3 twin tables
6.1.2 Mid century vintage side table
6.1.4 jokla side table
6.1.5 Scandinavian style ceramics by Post Fossil
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Aditya D. Chiplunkar l B.Design l 2015
PP 501 Round Chair (The Chair) 'The Round One' as Wegner referred to it with his usual provincial modesty, is one of the most famous Danish pieces of furniture - certainly the most distinctly Danish. In its own modest and simple way it sums up the very essence of traditional Danish woodworking and design philosophy. And it is absolutely the most important work of Hans J. Wegner. The back of the pp501 Round chair is carved out of a 5 inch piece of solid wood. pp501 Round chair comes with seat in nature or light cane. The material used in caning chairs is derived from the peeled bark or skin of the rattan vine native to Indonesia, the Philippines and Malaysia. Some vines reach 600 feet in length. Rattan vine looks somewhat similar to bamboo but is much more flexible. pp501 Round chair comes with upholstered seat. In this oak desk chair Hans. J Wegner uses a simple construction and devotes himself to perfecting the shape and scale of the parts. The top rail, a complicated collection of twisted curves and joints, was wrested into quiet obedience. The sturdy legs are tapered just enough to seem muscular rather than overfed, and the seat dips slightly to look willing but not seductive.
case studies 62
6.1
PP 501 Round Chair (“The chair”) Design : Hans J Wegner , 1949 Oak, Ash, Mahogany, Cherry or Teak Frame, Woven cane, leather, or fabric seat. H 30”, W 24 3/4”, D 20 1/2” (76 x 63 x 52 cm) Producer: PP Mobler
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PJ 149 Colonial Chair The Colonial Chair is Ole Wanscher’s most famous chair. It has an elegant finish and is ideal for any room. Despites its beautiful, light design the chair is immensely strong and durable. It is available in mahogany, cherry wood, walnut and oak and the cushions in several variations of fabric and leather. Wanscher’s signature curved armrests, a hand-woven cotton webbing seat, and upholstery available in leather or fabric complete the design. It has an elegant and timeless expression with its visible solid wood frame and softly rounded cushions providing great comfort. The seat is made of hand-woven cane. The cushions consist of cold foam and can be upholstered in a variety of fabric or leather options. The cushions are turnable in fabric, but not in leather.
PJ 149 Colonial Chair Design: Ole Wanscher, 1947 Rosewood, woven cane, loose cushion. H 26”, W 26 1/2 “, D 34” (66 x 67 x 86 cm) Producer: P.J. Furniture.
6.2
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Aditya D. Chiplunkar l B.Design l 2015
DREYFUSS Walnut Contour chair Comfortable, stylish vintage armchair by Vladimir Kagan, Wallnut wood frame with swooping teak arms is beautifully crafted and in excellent condition. New cushions in medium-gray wool contrast nicely with the warm honey tones of the frame. This chair offers full comfort but has a compact footprint, so it fits neatly in small rooms and preserves a sense of spaciousness in large ones. Maharam Remix by Kvadrat (color 143) is the upholstery. This high-end commercial fabric has a pleasingly soft hand and is extremely durable. It’s a modern fabric with a look and feel that’s well-suited to mid-century modern classics.
6.3
DREYFUSS Walnut Contour chair Design : Vladimir Kagan, 1953 Wallnut Wood Frame, Finnished with Rubbed oil. Woven cane, leather, or fabric seat. H 31 3/4”, W 28 3/4”, D 35” (76 x 63 x 52 cm) Producer: PP Mobler 64
Advitiya l Furniture and Interior Design
inspiration board 65
Aditya D. Chiplunkar l B.Design l 2015
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Advitiya l Furniture and Interior Design
Still from the backwaters of Kollam, Kerala
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Aditya D. Chiplunkar l B.Design l 2015
Kerala is a land believed to have been raised from the sea and gifted to the Brahmins by Lord Parasurama. The most beautiful part of the tropical India with evergreen forests harbouring ibex and lion tailed monkeys and tigers and lagoons. The land of high literacy and health – care. The land where five religions – Hinduisn, Christianity, Buddhism , Jainism and Islam- co exist peacefully. The land where basic Dravidian streams of culture got interwoven with superimposed Aryan influences. The Land where the Chinese and the Arabs, the Portuguese and the English with French and Dutch left their mark. The land of Kathakali, Koodiyattam, theyyam and Ottanthullal. Its rich heritage is a beautiful mosaic fashioned by Keralites and others through the centuries. In a country that has used stone to create art and architecture, Kerala has used wood. Kerala as a state or province is a blend of a lot of cultures and traditions. Their style and architecture
Kerala Architecture Kerala’s wooden houses have been in existence for as long as the temples. The abundance of timber allowed the evolution of this form of construction. Larger homes are known as illams with the rooms surrounding one or two courtyards. Occasionally the size can be extended to four courtyards. There is usually a veranda before the main entrance. When the system of cast was more prevalent, most visitors were not allowed inside the houses and this space was meant for meeting. The first part of the house consists of the court and open areas with one or two closed rooms. The Ara or store for valuable is located at the centre of the one side of the court along the corridor and doubles as a strong room of the house with elaborate locks on it. The kitchen is normally close to the well of the house.Walls are of ‘post and beam’ construction are used in the open Aras to support the roof beams.
“Proportion, Geometry and simplicity are the features that make traditional Kerala architecture eventful.” is perfect example to witness the juxtaposition. The form and shape of motifs reconnects to the ancient tradition till date.
theme 7.1
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Facade of a typical kerala house of the Nair community
The evolution of the simple plan and shapes was from the early dwelling that, over a period of time, got refined in detail and scale. They did however follow a careful set of measurements, units of measurement are related to body parts of the human body - one of the ma jor one being the distance between the top of the middle finger to the tip of the elbow. The roof form creates different compositions and is able to interact visually with the sky and surrounding landscape. This makes it one of the distinctive features in the architecture of Kerala.
Advitiya l Furniture and Interior Design
Elements of style Style is a medium of the architecture. Without a style, it would mean dealing with abstractions. The analogy between language and architectures extends to the forms in a style too. The architectural development in the 15th to the 19th century in Kerala and its stylistic fusion, is considered as a juxtaposition of styles, signifying that the forms are used outside the system they originally belonged to. Communication through architectural language is vital in bridging the gap between the architect and the society: that is the designer and the user. Portuguese elements have played a crucial role in shaping the architecture in Kerala. Its fusion with the local architecture created a fine fabric, resulting in an interwoven interesting language. These elements gave the facade its form, demarcate a position of infinite space and set up a pattern of interior spaces.
7.3
7.4
In an age of rapid change, there is a risk of ignoring the tried and tested. -Dalai Lama.
7.2 narrow stairs in a Kerala house
7.5 perspective view of a Kerala house
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Aditya D. Chiplunkar l B.Design l 2015
The following are the design elements that make the typical Kerala facade into a story of blending styles. Flooring
8.1.2
8.1.3 8.1.1 Flooring patterns seen in a traditional Kerala house
Floors are the flat level base planes of interior spaces. In the absence of any furniture, the floor becomes an integral element of the day to day lives. Traditionally, the floor is made from earth, almost excavated and then beaten with a wooden spatula to make it smooth. Paste of cow dung mixed with water is layered. This makes the floor softer and the cow dung also acts a disinfectant. Some of the earliest residences, especially that of the royals and higher castes have a flooring that lasts even to this day; made of jaggery, eggshell, lime, river sand, herbal extracts, the white of eggs, tender coconut water and burnt coconut shell powder. The herbal extracts have a cooling effect and the coconut shell powder gives a black colour. The Dutch introduced the tile factory in Kerala. Spanish tiles are seen in some houses. Despite the easy availability of wood, it was never used as a flooring material.
Walls
8.1.5
8.1.4 perspective view of the front facade of a Nair house
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Walls provide the occupants of a space with visual and acoustical privacy. Walls define the interior space and gives enclosure. The traditional wall can be categorised into three types : one type is the use of carved and slotted wood; the second is laterite walls with mud plaster and the third type is trellis walls. Wall treatment in form of mural paintings with religious themes using vegetables dyes, is a traditional method of adorning walls. After the European influence new wall planes like the multiple arched ones were added to the faรงade of the building; arched niches were also introduced for storage purpose. In most cases, the differentiation between wall an the ceiling is made by the simple cornice work using lime plaster.Motifs seen on walls included forms inspired by animals, flowers birds and religious symbols.
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Ceiling Another important feature of kerala architecture is the ceiling. The interior spaces in the kerala houses are simple and bare except the intricately carved ceilings. They are heavily carved and that defines the volume in the space. With the influence of Europe, the ceiling in kerala went through some minor changes. The height was raised creating airy, open and lofty atmosphere. Mirros were used as decorative element in rare house.
Staircase Staircases seen in the Kerala houses are narrow and steep; making the ascent physically tiring and forbidding. Post European influence the staircases became wider and started having balustrade used as railings. A simple square window later developed into a segmental arch, with fanlight, and pointed as well as semi-circular arches. Mother of pearl shells collected from shallow water were dressed to make up square pieces of transluscent nacre. With the coming of the Portuguese, and then, the other colonial powers, the shape, scale and proportion of the window openings changed. Stardust design seen on the frame and toanel shutter, a motif taken from the early churches
8.1.6 Ceiling pattern found in a kerala house
8.1.8 Ceiling pattern e
8.1.7 Intricate floral and geometric details on the ceiling
8.1.9 Railing patterns on stairs
Windows Windows are transition elements of architecture and interior that link both visually and physically one space to the other. In the traditional architecture, the window was either very small or altogether absent. The function of window was carried by the open to sky courtyard, door openings, trellis and punctured wooden walls. These gave the interior the dramatic play of light through the small pocket opening through the trellis. Windows although small added a distinctive feature the facade of the house.
8.1.10 Narrow vents in between the windows is a typical kerala architectural feature.
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Doors
8.1.12
8.1.11 perspective view of the front facade of a Nair house
Doors in Kerala are very narrow and low in height. This is attributed to the social norm, where one must bow their heads down in salutation before entering. The width of the door opening is in proportion to the width of the room, 1/8th or 1/4th of the width. The door shutter is made from thick sections of wood held by iron plugs or copper strips, creating an interesting pattern. Shutter detail in doors is the introduction of wooden cross members, carvings with motifs of flowers and gods. The door knocker is in the form of crescent and full circle; combination of the two is actually a religious symbol for luck, depicting the sun and the moon. A lot of carving was seen on metals like brass on doors.
Columns and pillars
8.1.13 Railing patterns of Kerala architecture
Pillars in Kerala are not only used to support the roof but also to define spaces. They are large, solid andintricately carved. They have floriated brackets and pendants
Railings Railings are the most intricate embellishments on the facade of the house. Floral, geometric patterns and motifs taken from nature were adapted from the temples to the churches and Christian residences. Railing were also made from wooden strips laced together to create a pattern, or from carved wooden strips arranged together vertically to form a continuous pattern.
8.1.14 Railing patterns of Kerala architecture
8.1.15 Thick wooden pillar at Putthiyara temple, Calicut
8.1.16 Window patterns inspired by portuguese architecture
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Kerala’s natural beauty cannot be explained through words as it’s a matter of experiencing the real scenery. From Trivandrum to Kasaragod , all of the Kerala cities have something to share with the nature lovers once they drive through. The natural beauty of Kerala is not limited to a single theme, but it consists of cool and tranquil climate, green mountains and valleys, rivers and waterfalls, opaque and hazy woods, green paddy fields, flowery meadows and lakes and also shares the part of Western Ghats. An overall look into the natural attractions of Kerala gives the observer a picture by illustrating the blessings it has. The picturesque serene feel gives the essence of calm and peaceful joy. The following colour palette is an attempt at comprehending these tones into a structure.
colour palette 74
9.1 Backwaters in Cochin
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9.2 Backwaters in Cochin
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No doubt the architecture in Kerala is a confluence of various styles and forms. The facades show a fascination blend of Dravidian, Portuguese, Victorian and Dutch architecure. Somewhere this artistic blend and mixing of styles has given the architecure in Kerala a language of its own. The elements of architecture are responsible to bring in the character of the house. Sturdy wooden railings to the enchanting pattern of windows, add an exquisite layer of Kerala to a faรงade. Where the intricate detail work in the pillars, columns and ceiling enhances the architectural beauty inside, the patterns seen in wooden windows and railings define the outer beauty of the faรงade. The motifs mainly are symmetrical in nature, and are inspired a lot from floral beauty in Kerala. The animals and scenic beauty are very well imbibed in the architecture as well. The following sketches translates the radical transformation from a motif to a component of a furniture piece . Thinking of aspects like structure and aesthetics, the motifs are selected to achieve not only the essence but also the function in the furniture. The sketches also represent the study of facades, proportion, visual language and design principles that will be translated in the furniture.
kerala motifs 76
10.1 Interiors of a traditional kerala house.
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exploration of Kerala form and motifs 77
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exploration of Kerala form and motifs 78
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exploration of Kerala form and motifs 79
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exploration of Kerala form and motifs 80
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parameters
minimum
5th 25th 50th 75th
95th
maximum
mean
aâ€
normal sitting
650
715 768 805 836
886
929
803
b
tip of the shoulder blade
231
350 389 411 437
470
600
412
c
elbow rest
102
150 188 210 234 268
335
211
d
popliteal
305
374 399 419 439
466
540
420
e
buttock to popliteal
340
394 429 451 474
509
595
453
f
bi-deltoid
276
349 393 417 443
479
672
418
g
chest breadth (on bust)
203
249 276 295 314
354
596
298
h
waist
150
211 235 253 275
312
470
258
i
hip breadth
209
269 304 326 353
406
550
331
j
mid thigh to thigh breadth
273
289 334 369 394
479
530
371
k
elbow to elbow
330
389 451 494 539
632
821
501
l
knee to knee
252
529
681
375
ergonomics 82
percentiles
191
314
369
419
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f g k
h b i
aâ€
j
c
l
e
Human factors and ergonomics, also known as comfort design, functional design, and user-friendly systems, is the practice of designing products, systems or processes to take proper account of the interaction between them and the people who use them. Ergonomics is the scientific discipline concerned with the understanding of interactions among humans and other elements of a system, and
d
the profession that applies theory, principles, data and methods to design in order to optimize human well-being and overall system performance. The parameters above were considered prior to the design process.
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After scrutinizing the architectural details in the facades of Kerala , the motifs and forms needed to be transformed into a rational components in a furniture. Armchairs can be explored to a limitless extent, intrusion of human movement is seen the most with chairs and seating of any kind. An armchair provides the basis of a design language and one can easily comprehend the entire panoramic view of the entire collection. Considering the aesthetic language and functional values, the motifs were moulded and given a scandinavian form. These components thus resulted in the structure of a furniture.
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The following sketches shows the journey of transformation from a traditional motif to a furniture component.
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armchair explorations 86
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On the basis of the feedback given by my mentor and guide, it was decided to shortlist three armchairs and explore them further. The first exploration was a marriage between Poul Jensen’s Danish “Z Chair” and the motifs drawn below.
“Z” chair Design : Poul Jensen, 1953 Producer: J.M. Birking & Co.
The Danish “Z Chair” is one of remarkable designs of Scandinvain period because of its lightweight yet sturdy design. Poul Jenses approach of using wood in varying thickness during the time where technology and machinery lacked the modern day advancement, led him to produce a classic chair that stands out even today. Its sleek and sharp silhoute create a mesmerizing drama and at the same time provides the user with optimum comfort. Motif A and motif B with their dramatic nature of forms coordinates with the structure of the “Z Chair”. The form transformation thus shows the process of moulding the traditional motifs into modern elements to suit the structure of the chair.
exploration 1 94
Motif A
Motif B
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Form study and transformation 95
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front elevation
More attention was given to the arm of the chair as that was the main junction connecting the back and the legs of the chair. Varying the arm sectional thickness gave it a more dramatic feel. The transformed motif was then adjusted at the end 96
back elevation
to enhance the aesthetic sense and to provide the user with a grip to relocate the chair. The back detail is a pattern of wooden members that holds the back cushion.
side elevation
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half lap joinery
perspective view
arm detail
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Motif A
Motif B
The second exploration was a direct depiction of the motif into a tangible component. The arc motifs are seen commonly in the exteriors and interiors of a traditional Kerala house. Inspired by the shape of a duck and sea horse, these motifs bring a very welcoming feel to the facade of the house. The motif is used as structural member and as a decorative member in the exteriors and interiors of the Kerala house respectively. The form transformation was limited as the form of the motif needed to be retained in larger proportions. The thickness of wood had to be carefully utilised in appropriate places. This would not only give the armchair a design in itself but would also make it light weight.
exploration 2 98
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Form study and transformation 99
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front elevation
The motif was used as the side detail for the back and for the arms. The form of the motif allowed the design to maintain the continuity throughout. The width of the chair was kept wide to give the user a cosier seating experience. The variation of arm thickness resulted in the widening of back legs, that 100
side elevation
gave the chair a more royal look. The back detail was kept traditional with horizontal wooden sections holding the two arms together. The contrast created between the dark walnut polished sections with beige chambray seating creates a lot of drama.
back elevation
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perspective view
perspective back view
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Motif A
Motif B
The third exploration was an attempt to merge two Kerala motifs. motif A is usually seen as a pillar in the interiors of the house and motif B is used as an aesthetic element for the window grills. The design was aimed at merging the form of two motifs and creating a mould that brings the rigid and sturdy nature of motif A and long continuous curve of motif B. The design of the chair needed to be more modern and of sleek nature. The form exploration thus needed to be more along the lines of motif A.
final design exploration 3 102
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Form study and transformation 103
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front elevation
back elevation
side elevation
The back detail was a direct representation of the grills and railings seen in the traditional Kerala house. In order to make the back detail production easy, the design was made simpler by increasing the negative space. The back details adds a lot of drama to the armchair. This overall composes the essence of traditional Kerala architecture and modern Scandinavian design.
back detail A 104
back detail B
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arm detail explorations
perspective view tenon mortise joinerry
final arm detail
The joineries are through and through tenon and mortise. Along with strength it also enhances the aesthetics of the structure.
Highly inspired by Scandinavian Design, the arm detail gives you an optimum percentage of comfort and aesthetics.
The change in wood colour and grains gives the structure a better detail.
The form transformation results in an exquisite continuous surface that extends till the hand grip. 105
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On the basis of the feedback and combined opinion of the mentors, the third exploration was cemented to be taken further. A temporary 3D model was made to give the mentors a better understanding of the design. The design consisted of two seating options. One was white leather (fig. 12.1) and the other one was chambray with piping (fig. 12.1) The finish of the wood was kept deep walnut to enhance the gold leafing . The colours of the upholstery were selected considering the current furniture in the store.
12.1 Armchair render with seating variation
The arm detail was highly inspired from the sharp and conical sections of the motifs of the kerala architecture. Variation of wood sections and the natural play of woodgrains add to the aesthetics of the armchair. Dowel joinery with its natural strength to hold two components together not only makes the structure stronger but makes it look better.
12.2 Arm detail
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12.3 dowel joint at the leg junction
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On the basis of feedback given by the guide, it was decided to change the form of the arm. The change in the form resulted in the change of the joinery. Making the front leg scoop inside the arm made the joinery stronger and more durable.
extended to make it visible from the front, this adds to the visual comfort of the armchair. Where the back detail enhances the traditional nature of furniture, the arms and legs bring the modern scandinavian feel to it, thus making a perfect fusion altogether.
To add a special feature, a dowel was included in the joinery. This made the arm not only strong but visually appealing. The flat surface of arm would allow the user unresticted movement of his forearm and hands. The back of the armchair narrates the contrast created by the rich walnut finished teak wood and calming beige chambray. The green piping on the upholstery adds a Kerala feel to it. The back is
12.5 Back view of final Arm chair
12.4 revised arm detail
12.6 perspective view
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The approach of this design was not just to design an armchair but also juxtapose the thoughts and cultural background of Kerala architecture into a modern mould of Scandinavian Design. The arm chair comes with upholstered seating and back rest. The back of the armchair is carved out of a 2 inch piece of wood. Representation of a motif at the back brings a lot of character and drama in the chair. The front legs are sturdy and are tapered proportionately to seem muscular rather than overfed. The back leg provides stability and enhances the aesthetics of the entire structure. They are not only visually appealing but the whole intention of clubbing components together is achieved because of them. The seat dips slightly to look willing but not seductive. The arm is a complicated and beautiful form transformation that provides optimum arm rest and notches up the aesthetic value of the chair. The silent warm upholstery neutralizes the deep rich walnut polish of the chair. The pillow cover complements the jali pattern at the back.The gold leafing at the bottom of legs adds an adequate amount of glitter to retain the classic nature of the chair.
12.6 Final arm chair
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3 seater sofa was an extruded version of the arm chair. Keeping the side elevation exactly same, the design was made stronger structurally.
sofa 110
The tie members were made thicker to hold thrice the weight of an armchair. As there was very little to explore in the sofa, more importance was given to the back detail and joineries.
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Though the side elevation didn’t change for the sofa, but the back detail had to be figured out. The same motif was used in different ways to achieve the back of the sofa. Repeating the motif thrice continuously needed longer wooden sections and the strength was compromised. Thus, the motifs were placed in the same proportion and a vertical tie member was introduced to hold the two sets together. This not only made the structure stronger but it also made the motif prominent and allowed it to retain its ethnicity.
13.1 Back details
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13.2 back view
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13.3 perspective view
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The sofa is an extension of the armchair. Keeping thing unchanged and focusing mainly on tie member gave the sofa the attributes of the arm chair. The tie members were given more width to sustain the pressure and hold the structure together. The side elevations were kept the same to show connectivity between the armchair and the sofa. Sleek wooden arms connecting to the slender tapering legs and the traditional wooden jali pattern at the back projects the cultural and modern values of Kerala architecture and Scandinavian design respectively.The deep walnut finished wood plays a vital role in bringing a royal flavour to it. This sofa is available in two seater and three seater. The fact that the proportion of the length doesnt affect the sturdiness of the structure makes the sofa a versatile piece of furniture.
13.4 final Sofa (3 seater)
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The coffee table is a standard household item that is constantly over-looked. It is not only used for beverages, like the name entails, it can be used as a foot rest, an object to gather around for conversation or even a meal. It helps to create a flow of traffic through the furniture The design of the coffee table was largely inspired by the trapezoidal structure of the facades of Kerala architecture. The angular sharp lines of the facades provided the basis of the design.
coffee table 116
Taking the same design language of the armchair, the design of the coffee table needed to have the same design language as the arm chair. Taking the same motifs and form and altering them to create a structure was the main intention of the design.
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Explorations were sketched to derive the form of the motifs and integrate the joineries fills all the loopholes of a structure. The following sketches communicate the whole process of a motif study and form exploration that led to the final structure of coffee table.
Form study and transformation
The motif was transformed and explored with varrying thicknesses to give the structure a sleek look. 117
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Form study and transformation 118
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Form study and transformation 119
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14.1
14.1 exploration 1
14.2 exploration 2
At the initial stage, the back motif of the arm chair was taken as the main design element. Because of its linear form, the motif was best suited as the top of a coffee table.
frame structure. 3mm metal plate with gold chrome job would make the piece an eye catcher.
Exploring the material, the same exploration was transformed from solid wooden sections to a metal 120
Mitre joint was used to connect two wooden pieces. Because of the diagonal cut section, mitre joint gives more glue area to the surfaces which increases the durability of the structure.
14.3 exploration 3 (metal sheet)
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14.4 exploration 4
Post feedback, It was decided to explore the coffee table further and to make the design simpler. Getting back to the trapezoidal forms, the coffee table was given a much sophisticated marble top. The beauty about marble is that it’s easy to clean and its adapts to any surroundings. The jail motif was used as an aesthetic element to break the uniformity of the
marble. A thin slit of 3 cm was introduced between marble and wood slab to place newspapers and documents. This gives the user the scope of saving space and keeping the top clean.
14.5 material exploration
and one entirely marble. Using the combination of wood and marble breaks the homogeneous nature of the piece and breaks the visual weight, thus making it look light and subtle.
The design was given three material options. One being marble and wood, one was entirely wooden 121
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Drawing inspiration straight from the trapezoidal facades of Kerala architecture, the coffee table reflects it strong hold of culture and form of Kerala architecture. Giving the coffee table the sleek and chic look enriches it modern flavour. Scandinavian design’s traditional look of having thin sections and tapering legs make this side table a perfect blend of modern and tradtional design piece. The whole intention was to keep things simple and bring the expression of facades to a rational furniture structure. Emphasizing more on the central jali motif gave a breakthrough in terms of visual balance of the table. The gold jali motif in a very subtle manner breaks the uniformity of the flat marble surface. The tapering legs and the gold leafing at the bottom transforms the wooden structure into a beautiful composition.
14.6
final coffee table
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Side tables are mainly used to store daily documents like telephone diary, memos, cards etc. they provide a small storage for the living space. The form of the side table needed to be directly complementing the arm chair and coffee table. Thus, the trapezoidal form was introduced to show the visual connection.
side table 124
Tapering legs and bentply top which is signature of Scandinavian design makes any structure look light and classic. Implementing both attributes in adequate proportions was the whole idea of this design. The form exploration involved an ellaborate process to collaborate the storage needs and aesthetic requirement.
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Form study and transformation 125
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Form study and transformation 126
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15.1 exploration 1
The trapezoidal form was elevated in height which gave it a defined shape. To show the same form language the tapering legs were used as the common feature. The initial exploration had a marble top to show the visual connection between the side table and the coffee table. The legs in the first exploration have been transformed for the initial motif. The second exploration was a much simpler design with more prominence given to the form than the material. Using gold leafing to define the drawers 128
15.2 exploration 2
gave a classic feel to the overall design. The drawers have the semi-circular opening which is inspired by the moon motif in Kerala architecture. The tapering legs and bent ply top is a classic Scandinavian design structure. Moulding it into a traditional Kerala faรงade helped the design to achieve the look it needed. The side table has a marble top to show connectivity with the coffee table. The top of the side table was left open at the end to store magazine and books.
15.3 exploration 3
The third exploration was minimal in terms of material.The form was achieved by the bent plywood. The opening from the front gave the structure a vacant and lighter feel.
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15.4
front elevation
15.5
side elevation
15.6
perspective view
15.7
perspective view
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The side table perfectly comprehends the likes of traditional vernacular façades of a Kerala house. The trapezoidal form and the natural finish of wood don’t fail to enhance the rich character of Kerala. The slender legs are tapering proportionately to make the piece classic and not fragile. Gold leafing on the top does a lot more than defining the drawers. The corner openings give the structure an added function and optimizes the space perfectly. The top jali motif on an elegant marble piece gives a more silent feel to the entire structure. The small yet sturdy side table brings more than design and function to the range of furniture.
15.8 final side table
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Telephone stand is a luxury furniture piece that is used mostly as an aesthetic element in the space. Primarily used to keep telephone, it can be used as a display stand as well.
telephone stand 132
Using the traditional method of having tapered legs with with golden leafing at the bottom was the initial idea of the design. The whole intention of the design was to have a sleek and sturdy looking structure that blends in perfectly with rest of the pieces.
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Form study and transformation 133
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16.1 telephone stand views
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16.3 top jali motif
The design of the telephone stand comprises of three legs ,a central joinery and a top piece.Same Motif was used in this stand . This ensured visual connectivity of telephone stand with the armchair. Using the same motif in a triangle created a pattern within it, which gave the entire form a sense of individuality.
16.2 perspective view
The three legged structure was held together with a thick block of wood. Tennon and mortise joint gave the structure the rigidity and balance. Marble top with jali motif was used. Having a round shaped top made the structure look soft and light. Marble enhanced the softness and also gave the structure needed sophistication. 135
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The telephone stand is a perfect blend of principles of Scandinavian Design and the rich culture of Kerala.Slim tapering legs come together to form a joinery as well as a design element White marble slab dilutes the visual weight of the material; gold leafing and the traditional jali motif at the top looks modern because of the material innovation and make this telephone stand a unique piece of furniture.
16.4
Final telephone stand
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Lounge chair is a symbol of luxury and royalty. Presence of lounge chair in a space defines a strong hold of class and richness. The traditional motif used earlier in the armchair was repeated and transformed for the lounge chair.
lounge chair and ottoman 138
Taking the same motif and moulding and bending it according to the angles required fetched a design that would be taken forward for the lounge chair. The explorations were sketched considering the ergonomics and design language of the previous furniture pieces.
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Backrest to seat angles
17.1 ergonomic data for lounge chair
ergonomics 139
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Form study and transformation 140
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Form study and transformation 141
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The lounge chair was designed keeping in mind the design language of the entire range. Thus, the motif and the form of legs were kept similar. The arms for the lounge chair were made inclined to give the user a proper setting of comfort.
Form study and transformation 142
The back was made more royal by having gold chrome plating which made the motif glow brighter
against the deep walnut finished wood. Tapered legs and perfect use of bent plywood gave the structure Scandinavian feel, whereas the dark brown finish restored the traditional attributes of Kerala architecture.
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Form study and transformation 143
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Ottomans are basically foot rests. They provide the user a soft cushioning surface to lay their feet on. The design of the ottoman needed to be complementing the lounge chair. Various explorations were sketched to meet the aesthetic and functional needs of this furniture piece.. Form study and transformation 144
The uni-legged structure of the ottoman with a strong metal base was cemented. Using bentplywood for the top would make the the structure lighter and thus balanced. Using two metal plate to hold the structure together and the bent- plywood for the cushion resulted in a full design of an ottoman.
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17.2
17.4
side view of a lounge chair
17.3
back view of a lounge chair
perspective view of a lounge chair
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The lounge chair is perfect fusion of comfort and class. Its adequate angular seating and wide arms give you the perfect seating posture. Long back and neck support give a full body support. Slender tapering legs and sleek tie members provide the structure the classic Scandinavian feel. Natural teak with deep walnut finish and the gold leafing sets this furniture into a different genre of products. The motif is bent appropriately to showcase the traditional and contemporary mix in it. The jali motif at the back sets the tone high for the lounge chair. Pattern of wood grains on the arm dissolves the rigidity of wood. The ottoman with the matching upholstery and the one legged structure justifies the function of the furniture. Classis bent ply seat gives it the Scandinavian feel. Gold metal plate for the base makes the ottoman more than a piece of furniture.
17.5
final render of a lounge chair
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The design of the television unit was kept in line with the design of side table. Using the trapezoidal form of facades, the explorations were sketched to meet the storage demands.
television unit 148
Set top box, DVD player, and home theatre system unit were the three units required. Side drawers and space for remote controls were the other prerequisites. The form of the structure needed to meet the visual language of the other furniture pieces. Considering all the determinants the following explorations were sketched.
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Form study and transformation 149
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Form study and transformation 150
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Form study and transformation
The form of trapezoidal faรงade was transformed by making it more dynamic; adding arc and giving sharp edges. The legs were thicker than the other furniture pieces. The main cabinet was a frame structure of bent- plywood. Intrusion of frosted glass was usedto keep the electronic units diluted the uniformity and rigidity of the entire structure. The gold leafing above the drawers and the semi -circular opening was a common element from the side table. 151
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18.1 exploration 1 perspective view
18.2 exploration 2 perspective view
To give the Television Unit more personalised feature colours representing the culture of Kerala were introduced. Care was taken that the television unit doesn’t take too much attention because of the colour, and that the entire composition blends in well. Using crimson red and leaf green to depict the vibrance of Kerala culture were picked.
18.3 exploration 1 front view
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To show the vibrance of the culture of Kerala, Crimson red and Leaf green were picked. Thus, on the feedback given, the colours were then altered to dilute the attention. To highlight the form and the gold leafing, the drawers were provided with lighter shades. This shades also depict the scenic beauty Kerala offers, the backwaters and the dense forests are depicted through this shades.
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18.4 colour variation (crimson red and warm white)
18.5 colour variation (warm white)
18.7
18.6 colour variation (prussian blue and warm white)
final colour (warm white and dark green)
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The television unit is a beautiful composition of colour and form. The trapezoidal design with the scenic cool shades of backwaters of makes it more personal. The celebration of form and function is mesmerizing. Frosted glass and beautiful natural grains of wood gives the design the required solidity. Gold leafing on the drawers and legs gives the design an adequate amount of bling which makes its elegant. Marble slab for the top gives the entire structure a modern and contemporary feel. The television unit is proper fusion of traditional and modern style of furniture.
18.8 final render of Television unit
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the complete range 156
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19.1 Final furniture range
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prototyping 158
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The prototyping of the furniture pieces took place in Woods India, Mumbai. The company was founded in the year 1995 and is been in the manufacturing process for over a span of 30 years. Mr. Shalil Khanna, the current manager and one of the founders of the company comes from a furniture background himself. Having his root immersed in furniture making, he is been taking the family tradition forward. With efficient machinery, Woods India also serves with skilled carpenters. The machinery ranges from a basic wood sander to a CNC router. Having an expertise in wooden furniture pieces, Woods India also undertake metal and corian furniture work. The company is not only catering to retail customers by providing them customized solutions for their furniture requirement but is also taking up projects specifically for the loose furniture items for hospitality and corporate sector. Woods India has got aroung 10 – 15 highly skilled and experienced carpenters. Machinery includes a bend saw, circular saw, jigsaw machine, CNC router etc. It has also got sewing machines and staple guns for making upholsteries.
20.1
wood works India workshop
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Full scale Autocad drawings
Cutting wood slabs
Base structure members cut
At the beginning of the wood working stage, a full scale drawing is produced. Since the work is largely hand tooled excess material cut is cut in order to make changes to the members.
The chair prototyping commenced with the cutting of seasoned wood into required sizes as per the drawings.
These pieces were then used to produce the wooden members of the base including the back legs and supports.
woodworking 160
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Components are cut The components were cut, keeping a reasonable margin for little alterations later
Components are given their shape and form The front leg was lathed to give the same proportion and look. Legs were tapered keeping in mind the drawings given.
Joinerries and details The main joineries that would determine the structure of the design were made. Completion of this would provide a full scale structure. This also determined the proportion and aesthetics of the chair.
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Back details and joinerry
Basic structure ready
Back detail ready
Tie members were fixed using tenon mortise. The whole structure has been built using tenon mortise joinery.
The entire structure was ready; Tie members and components were sanded and given desired shape and form.
The back detail was a bit tricky as it required the wooden members to be attached to each other. Half lap joinery was used to build the entire frame and then it was attached to the back legs using tenon mortise.
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The entire structure was ready for a polish. 163
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Applying ‘lapi’
Sanding
Surface cleaning
Lapi is a mixture of polish powder and fevicol. Lapi is a filling agent that fills all the loopholes like knots and damaged parts of the surface. It not only fills but merges the entire surface to look flawless. Other than lapi ‘kacchi chalk miitti’ mix of chalk powder and water is also used for the same purpose.
After applying lapi, it is allowed dry and then sanded with a 60 grit sand paper followed by a 100 grit sandpaper. The variation in sandpapers makes the surface smoother and less vulnerable for any rough surface.
After sanding the surface is cleaned with a soft cloth to get rid of dust and other minute particles.
polishing 164
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Stainer
Sealer
Sanding
The stainer is mixed with thinner and then applied to the surface of the product. This is then wiped immediately to remove the excess stain. This process is repeated a couple of times until the desired finish and colour is achieved.
After the stainer has been applied a layer of sealer mixed with thinner in a 50 – 50 percentage mixture is applied to the prototype. This is applied with the hand or the spray gun.
After the process of sealing, another round of lapi is applied to the areas with defects and then sanded with much lighter 320 grit sandpaper. This very deliberately smoothens out the surfaces without affecting the neighbouring areas. After this the process of stainer and sealer is repeated to achieve a flawless finish.
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Spirit polish
Final touches
Spray gun (final)
The prototype is then ready for a coat of polish, which is then mixed with spirit. The layer is applied to all the surfaces with a soft cloth.
Finally any defects on the surface are corrected with the help of thin brush paint. This not only gives it a flawless finish but also makes the surface vibrant.
A final coat of melamine is applied with a spray gun.
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The entire structure was ready with a final coat of polish. 167
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1. Full scale drawing is prepared 2. Wood slabs are cut 3. Template for legs is prepared 4. Turnign of legs on lathe machine to give define shape and form 5. Base members are fixed with the joinerries 6. Cutting plywood and veeneer for carcass 7. Veeneer is cut and pressed with plywood 20.9
structure of sidetable
20.10
structure of sidetable with drawer sliders
8. Cuttng and giving the plywood defined shape. 9. Margins are fixed 10. Carcass is ready 11. Drawer face is prepared 12. Drawer face is marked and reeded 13. Drawer sliders are installed 14. Installing the whole structure.
20.11
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structure of sidetable
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20.12
structure of coffee table
Due to material limitation the design of the top component was altered. The material of top component was changed from marble to plywood. The marble inlay was replaced with gold leafing.
20.13
structure of coffee table
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material and hardware 170
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21.1 teak wood textures
Teak, though easily worked, can cause severe blunting on edged tools because of the presence of silica in the wood. Teak wood has a leatherlike smell when it is freshly milled.
teakwood
Teak (/tik/) is a tropical hardwood species of tree known as Tectona grandis. The species is placed in the family Lamiaceae. It is sometimes known as the "Burmese Teak". Teak wood has a leather-like smell when it is freshly milled. Teak timber is particularly valued for its durability and water resistance, and is used for boat building, exterior construction, veneer, furniture, carving, turnings, and other small wood projects. The word teak comes from Tamil "tekku" Malayalam word thekku via the Portuguese teca. Teak is a yellowish brown timber with good grain and texture. Teak, though easily worked, can cause severe blunting on edged tools because of the presence of silica in the wood. Teak is often an
effective material for the construction of both indoor and outdoor furniture. Teak’s high oil content, high tensile strength and tight grain makes it particularly suitable for outdoor furniture applications. Over time teak can mature to a silvery-grey finish, especially when exposed to sunlight. It is used in the manufacture of outdoor furniture, boat decks, and other articles where weather resistance is desired. It is also used for cutting boards, indoor flooring, countertops and as a veneer for indoor furnishings. Teak is used extensively in India to make doors and window frames, furniture, and columns and beams in old type houses. It is very resistant to termite attacks and damage caused by other insects. Mature teak fetches a very good price. It is grown extensively by forest departments of different states in forest areas.
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21.2 gold leafing roll
Gold leaf is gold that has been hammered into thin sheets by goldbeating and is often used for gilding. Gold leaf is available in a wide variety of karats and shades. The most commonly used gold is 22-karat yellow gold. Gold leaf is a type of metal leaf, but the term is rarely used when referring to gold leaf. The term metal leaf is normally used for thin sheets of metal of any color that do not contain any real gold. Pure gold is 24 karats. Real yellow gold leaf is about 91.6% pure gold. Silver colored white gold is approximately 50% pure gold.
21.3 laminate samples
Laminate materials are basically melamine adhesive countertop surfacing and plywood. Decorative laminates are produced with decorative papers with a layer of overlay on top of the decorative paper, set before pressing them with thermoprocessing into high-pressure decorative laminates. A new type of HPDL is produced using real wood veneer or multilaminar veneer as top surface. High-pressure laminates consists of laminates "molded and cured at high pressures.
Layering gold leaf over a surface is called gold leafing or gilding. Traditional water gilding is the most difficult and highly regarded form of gold leafing. It has remained virtually unchanged for hundreds of years and is still done by hand.
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laminates
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21.4 plywood
Plywood is a sheet material manufactured from thin layers or "plies" of wood veneer that are glued together with adjacent layers having their wood grain rotated up to 90 degrees to one another. It is an engineered wood from the family of manufactured boards which includes mediumdensity fibreboard (MDF) and particle board (chipboard). All plywoods bind resin and wood fibre sheets (cellulose cells are long, strong and thin) to form a composite material. This alternation of the grain is called cross-graining and has several important benefits: it reduces the tendency of wood to split when nailed at the edges; it reduces expansion and shrinkage, providing improved dimensional stability; and it makes the strength of the panel consistent across all directions. There are usually an odd number of plies, so that the sheet is balanced—this
reduces warping. Because plywood is bonded with grains running against one another and with an odd number of composite parts, it is very hard to bend it perpendicular to the grain direction of the surface ply.
21.5 bentply plywood
Flexible plywood is designed for making curved parts, a practice which dates back to the 1850's in furniture making. Aircraft grade plywood, often Baltic birch, is made from 3 plies of birch, as thin as 1/16" thick in total, and is extremely strong and light. At 3/8" thick, mahogany 3-ply "wiggle Board" or "Bendy Board" come in 4' x 8' sheets with a very thin cross grain central ply and two thicker exterior plies, either long grain on the sheet, or cross grain. Wiggle board is often glued together in two layers once it is formed into the desired curve, so that the final shape will be stiff and resist movement. Often, decorative wood veneers are added as a surface layer.
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21.6 foam sheets
Flexible polyurethane foam is the most common cushioning material used in upholstered furniture. Foam has a variety of applications in upholstery. Some are functional; others are aesthetic. And the type of foam used varies from application toapplication. The design of the furniture is a key determinant of the type of foam that should be used, and foam can also have an impact on the design. Flexible polyurethane foam is one of the ma jor contributors in the sitting-comfort system of upholstered furniture. The versatility of different foam grades gives furniture designers more freedom to develop new ideas and to make specific designs work.
foam 174
upholstery
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21.8 SH Fevicol Adhesive
Fevicol SH is a Synthetic Resin Adhesive in the form of a milky white viscious paste and is ready to use. Fevicol SH gives very strong bond. The following are its features: Unsurpassed bonding strength Resistant to water and heat Economical in long run Gives higher coverage It is mainly used for bonding wood, plywood, laminates, mdf, veneer and other wood working components. It is also recommended where one of the materials is porous e.g. paper, cardboard etc.
21.7 drawer MS sliders
A mechanism employing guides and rollers that support a drawer and permit its easy operation. There are different types of bearing slides, such as linear ball-bearing slides, roller bearing slides, progressive action slides. Modern drawer slides are usually categorized in how they are mounted, including center mount, side mount, bottom mount and European mount drawer slides. Drawer slides are intended for use varying from light to heavy drawers and thus contain load ratings ranging from 75–450 pounds (34–204 kg). A load rating of 100 pounds (45 kg) is considered typical. Drawer slides often have a mechanism to keep the drawer from accidentally being pulled fully from its enclosure.
adhesives
drawer sliders 175
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22.1
Scene Render
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22.2 Scene Render
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appendix 182
Based on the design and the decision of the mentor, it was decided to extend this project to the Dining room. The dining room covers a 6 seater dining table and dining chair. The design language was kept unchanged. Using the same motifs and form, the dining room range was designed. The appendix conveys the 3D visualizations of dining chair and dining table.
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23.1 perspective view of dining chair
23.2 front view of dining chair
23.3 side view of dining chair
dining chair 183
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The dining chair displays the ethnic culture of kerala. The vibrant feel is showcased through the jali motif at the back. The soft cushion for the seat gives enough comfort for a dining experience. Slender legs tapering down to meet the chic gold bottom make the structure royal and rich. The contrast created by the dark walnut finish and classic gold leafing makes the whole structure a vibrant and enriching composition.
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24.1 perspective view of dining table
dining table 186
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24.2 front view of dining table
24.3 side view of dining table
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24.1 perspective view of dining range
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24.2 top view of dining range
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The design of the dining table was kept simple and elegant. The base or legs of the table was the main focus of the structure. The whole idea was to match the attributes of the dining table and chair so it complements each other. Using the jali pattern as legs gave the table a traditional and quirky feel. The top of the table was kept spacious with rectangular block providing maximum optimisation of the space. The centre part of the table was made out of onyx. With warm led lights the onyx would give the table a very cozy and pleasant dining experience. This also would make the dining table stand out. Dark polished wood with yellow light was making a beautiful contrast. Tracing its way from the traditional Kerala architecture, the dining range provides the user with an ethnic and royal dining experience.
24.4 final view of dining range
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At the end of the project I am really happy that I was able to cease it on a good note. I was sort of proud of myself with the way the range of furniture came out. When the project commenced I was mesmerized with the whole idea of combining Kerala and Scandinavia. Bringing two vividly different backgrounds and merging them in one was a difficult task. With the commencement of the project, there were a lot of thoughts about the formulation of the design process. My company EHAM total solution is a new venture in the furniture market. As they expertise in importing furniture piece from international markets, it was difficult for them to adapt the traditional method of design process. Also as my mentors were not from any design background, it was difficult for them to comprehend the thought process. This project, more than design, improved my decision taking ability. As the scope of feedback was less, all the ma jor decisions were taken by me. Bringing in all the hypothetical thoughts on paper and then into reality was one of the ma jor accomplishments I achieved in this project. Unlike other classroom projects, this project made me grow into a much sensible designer, as things were more professional and practical. As the sheltered life in NID was over, this drastic change to face the technicalities and practical issues of a project was little difficult to cope with.
reflection and learning 192
As this project was more research based, I was able to travel to different cities. There I realized the importance of travelling and how random ideas hit you in the most unconventional ways. Travelling through different cities helped me develop a versatile approach towards design. One of the best parts about this project was that it was a form based project. I have always liked connecting and blending two things together. As this project demanded the same, it was really interesting to transform the forms of Kerala into a furniture piece. As in NID, we are taught to stick to the process and connect ideas; it was easy ride to merge two backgrounds. With a number of explorations and sketches I was able to produce a unique range of living furniture that was classic mixture of traditional and modern style. Overall the project was a nice experience with very little glitches. Apart from designing, I learnt that learning never halts and you have to constantly raise your standards and be updated about the recent trends. Thinking about the end of the student stage, I feel a little bit nervous as the whole sheltered life will be over and that no one is going to be covering for your mistakes and errors. To conclude, I would like to say that this project and life at the National Institute of Design has transformed me into a much mature and vigilant person.
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links and references 194
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Bolander, Lars, and Heather Smith. MacIsaac. The Scandinavian Home: A Style Sourcebook. London: Thames & Hudson, 2010
http://nid.edu/education/bachelor-design/furniture-design/p-overview http://nid.edu/institute/campuses/ahmedabad
Fiell, Charlotte, and Peter Fiell. Scandinavian Design. KoĚˆln: Taschen, 2002 http://nid.edu/institute/mandatemission-vision-values Segerstad, Ulf HaĚŠrd Af. Scandinavian Design. New York: L. Stuart, 1961 http://nid.edu/institute/history-background Gura, Judith, Scandinavian furniture : a sourcebook of classic designs for the 21st century. Denmark, 1990
http://nid.edu/institute/national-institute-design-act http://www.malabargoldanddiamonds.com/about-us.html
Sommar, Ingrid. Scandinavian Style: Classic and Modern Scandinavian Design. London: Carlton, 2007 Jose Mridula, guide Eugine N. An eclectic juxtaposition : a perspective study of the transformation that set in on account of the early trade to the Kerela built form with respect to its defining interior elements & its aesthetics.New Delhi, 2000 Katakam, Ramu, and Joginder Singh. Glimpses of Architecture in Kerala: Temples and Palaces. New Delhi: Rupa, 2006.
http://eham.in/about-eham http://www.pp.dk/index.php?page=collection&cat=1&id=11 http://www.carlhansen.com/products/lounge-chairs/ow149/ https://www.liveauctioneers.com/item/3411469_vladimir-kagan-dreyfusswalnut-contour-chair-uph https://www.youtube.com/watch?v=apzE7L3S19I
Rediscovering Kerala. New Delhi: Vikas Pub. House, 1985. Splendours of Kerala. Bombay: Marg Publications, 1979. Chakrabarti, Debkumar. Indian Anthropometric Dimensions for Ergonomic Design Practice. Ahmedabad: National Institute of Design, 1997.
http://www.designaddict.com/forum/General-discussion/Poul-Jensen-Z-chairhelp https://en.wikipedia.org/wiki/Teak http://www.teak.net/about.htm https://en.wikipedia.org/wiki/Gold_leaf https://en.wikipedia.org/wiki/Lamination https://en.wikipedia.org/wiki/Plywood www.technologystudent.com/despro_flsh/flexply1.html https://en.wikipedia.org/wiki/Foam http://www.hettich.com/us_EN/product/cabinet-drawer-slides.html
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http://nid.edu/institute/national-institute-design-act
http://eham.in/
http://www.malabargoldanddiamonds.com/about-us. html
http://www.godrej.com/godrej/godrej/index.aspx?id=1
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damroindia.com https://www.youtube.com/watch?v=apzE7L3S19I
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http://www.designaddict.com/forum/Generaldiscussion/Poul-Jensen-Z-chair-help http://www.crownetravels.com/kerala-6-night-7-dayspackage/
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pinakin.in/ http://www.tripoto.com/travel-itineraries-india www.huelsta.com/ http://www.mumbailocal.net/2487/bandra-worli-sealink-road-in-mumbai/
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image references 196
esthete.in/ www.ebonygautier.com woodworkingtalk.com
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