Avishek Dey | Product & Interior Design | Portfolio

CLIENTELE

CERAMIC

FURNITURE

INTERIORS

AV I SHE K D EY

ACADEMIC

PORTFOLIO 2011 - 2020

AVISHEK DEY CRAFT PRODUCT DESIGNER

DOB: 27TH JUNE 1992

DESIGN PORTFOLIO Every project presented in this portfolio is merely a concise. The portfolio contains some of my significant projects related to interiors, furniture, accessories and ceramics produced between 2011 to 2019. My work follows themes of reinvention and experimentation in different mediums which is projected through playful articulation of design ideas and concepts. I look for relevant references and concepts that are challenging and unique, with an ultimate goal to translate them into products that work, inspire people and transform communities.

CON TE NTS

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THE CHANGED SEAS

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PERSISTENSE

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INHERITANCE

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EMBRACING THE AVANT-GARDE

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THE TALES OF A THOUSAND STORM

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HORSES OF AYYANAR

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UMA OFFERING BOWLS

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DECONSTRUCTED

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INTER-CONNECTED STREAMS

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THE GATSBY COLLECTION

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MONUMENTAL PILLARS OF ETERNITY

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HOMAGE TO PIXILS

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A FLOWER BURST COLLECTION

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WREATH & FOLIAGE

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BONFIRE

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WABI SABI

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SPIKE

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PITNEY ACCENT MIRROR

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EPICENE SIDE TABLE

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MONUMENTAL COCKTAIL HOLDER

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CARMA

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TROMPE L’OEIL

GRADUATION PROJECT

ACADEMIC

TABLEWARE PROJECT

ACADEMIC

SITE-SPECIFIC PROJECT

ACADEMIC

JAN’13 - FEB’13

INTERNSHIP

ACADEMIC

JUN’13 - JUL’13

SCULPTURAL PROJECT

ACADEMIC

JUN’13 - JUL’13

SITE-SPECIFIC GROUP PROJECT

CLIENTELE

MAR’13

FOR JONATHAN ADLER

CLIENTELE

OCT’15

FOR CB2

CLIENTELE

AUG’16

FOR KATHERYN POOLEY

CLIENTELE

FEB’18

FOR JAY JAFFERS

CLIENTELE

JAN’19 - MAR’19

PEAR 1

CLIENTELE

OCT’19

FOR ANTHROPOLOGIE

CLIENTELE

APR’15

FOR IRIS

CLIENTELE

JUL’17 - AUG’17

FOR BARRY DIXON

CLIENTELE

DEC’16

FOR ZIEHER AND CURREY & CO.

CLIENTELE

MAR’17-MAY’17

FOR CASA DORO

CLIENTELE

DEC’18- FEB’19

FOR ZIEHER

CLIENTELE

FEB’18 - APR’18

FOR ARTERIORS HOME

CLIENTELE

OCT’17

FOR CURREY & CO.

CLIENTELE

NOV’18

FOR ARTERIORS HOME

CLIENTELE

SEPT’17

BRIDAL BOUTIQUE INTERIORS

CLIENTELE

FEB’16 -MAY’16

RESIDENTIAL INTERIORS PROJECT

CLIENTELE

SEPT’18-DEC’18

JAN’14-MAY’14

NOV’12

YEAR: 2014

LOCATION: KERELA, INDIA

PROJECT: MURAL

TYPE: ACADEMIC

‘THE Jason de Caires Taylor is a sculpturer by profession. His pioneering public art projects are not only examples of successful marine conservation, but inspirational works of art that seek to encourage environmental awareness, instigate social change and lead us to appreciate the breathtaking natural beauty of the underwater world.

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CHANGED

SEAS’

A requisite set by a client gave set to this project undertaken during the internship programme held in the final year of undergraduate course. The brief was to create an Art installation in the form of wall pieces or a mural which could be installed indoors and outdoors. My inspiration was none other than the works of Jason Taylor who is also the creator of world’s first underwater sculpture park. His sculptures deal with the creation of coral reefs on site specific installations on the ocean floors.

Its my humble endevour to give life to an insentient form.

The project took place at studio Clayfingers. The entire installation has been left unglazed to enlighten people about the looming disaster of Coral bleaching—a phenomenon that starves and eventually kills coral and is a major threat to reefs around the world, making it a focal point for my work.

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Scale - 96’’ x 56’’ Here are some initial concepts and sketches of different kinds of corals before starting to play with the medium itself. A lot of things were taken into consideration for the research and planning of this project such as choosing and accessing the location, space restrictions and other considerations, technicalities of hanging and mounting, making the piece with a relivant material and budjeting.

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SCULPTING PROCESS:

Taking a lump of clay, I started pinching a small part of the lump, imitating as that of the form. Then I further pinched the clay in the same way in a different direction.

These forms have evolved with time and the method of pinching. Because the evolution of these forms came into existence only by practice.

These forms were made by making a large clay slab on a slab roller and flopping it onto a organic surface made by newspaper. Then I started attaching leaf like forms, made by pinching. Some forms are compact while some are open and flat, which is done on purpose and placed in the composition so that there is a harmony in the composition.

When the leaf like structures are attached, it needs support to dry. So, it’s a time taking process. Sometimes making a single piece can take up a whole day.

The Final Moments with the piece is always a delicate moment. At this stage texture is created with the help of different tools.

The pieces also have to be wrapped up within a sheet of polyethelene so that they dry uniformly without developing cracks.

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GLAZE AND STAIN EXPERIMENTATIONS: A lot of experimentations with surface finishes were conducted. Corals generally tend to have a lot of texture on their body so different kinds of glaze reciepies were tested on different stoneware bodies which gave a rustic look to the body of work. Some colored oxides were also tried on the bisqued pieces as seen below.

Co 7

Cu 34

Magnesium carbonate Nepheline syenite Soft borosilicate frit Cobalt oxide

70 20 10 01

Magnesium carbonate Nepheline syenite Soft borosilicate frit Copper carbonate

70 20 10 04

Iron oxide + manganese oxide Ratio - 50:50

Iron oxide(black)

Rutile + iron oxide (black) Ratio - 80:20

Chromium oxide wash

Fe 109

Cooper (CPR)

Soda feldspar 20 Magnesium carbonate 80 Iron oxide 10

Custer feldspar Silica Whiting Barium carbonate Zinc oxide Nickel carbonate

Cobalt oxide wash

Cobalt oxide + copper oxide Ratio -1:99

Copper oxide (black)

Rutile wash

Cu 74 33 05 05 40 15 02

Barium carbonate Kaolin

68 32

Manganese oxide + copper oxide Ratio - 5:95W

Rutile +iron oxide (red) Ratio - 70:30

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FIRING THE WORK It could be a subject of a book in its own right. Kiln size dedicates object size but not the size of the project. Small modules can make impressive pieces.

When firing, water is a major factor in most kiln disasters. And as more clay will contain more of this ingredient, it is essential to dry the work thoroughly. Even when dry; early stages of firing must proceed very slowly to avoid steam pressures within the piece.

Firing cycles will vary according to the work content. For pieces which are grogged but fairly thick , say two inches, an overnight warm to 100 degrees celsius should be enough to dry the pieces. Then it is proceeded gently to about 650 degrees removing chemically combined water.

From this point, the firing may be quite rapid to the desired temperature.

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Concept visualization

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YEAR: 2012 LOCATION: JAIPUR, INDIA PROJECT: TABLEWARE

Donald Judd is an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. He is generally considered the leading international exponent of “minimalism”. As shown above, this untitled artwork is an essential vocabulary of forms — a part of ‘progressions’. He firmly believed that methods should not matter as long as the results create art; a groundbreaking concept in the accepted creation process.

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TYPE: ACADEMIC

‘PERSISTENCE’ As a part of academic curriculum, the brief of the project was to design a ceramic Tea set which involved the industrial process of slip casting. The ability of Bone China- that it can be casted in a thin profile; motivated me to do more explorations. I interned at Clay Craft pvt.ltd. which is one of the biggest manufacturer and supplier of Bone China crockery and ceramic tableware. Being inspired by the minimal works of Donald Judd, the final product reveals my interest in the essence of form

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through reduction. Void of decoration, the surface of my work is expressed through protrusion and negation where rigidity meets languid. To go beyond minimalism, the overall shape and form of the sphere had to be retained where the elements of design are just an extension to the spherical form.

The process of slip casting is transformative by nature; so it required a lot of compulsion, persistence and patience to ensure that the final product could be mass produced in a desirable price range.

The shape and form of the final product reveals to what perfection could the details be achieved compared to the monochromatic CAD models.

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FORM STUDIES Form studies being one of the important aspect of the design process; it all had to be started with profile making. As the overall shape and form had to be derived from a sphere, I tried to maintain its uniformity till the end. Because its a tea set, every object has to represent similar characteristics in terms of design elements. So, the design of the tea cup imbibes it’s basic aesthetics form the tea pot.Figure-1.1 shows a series of profile out of which the highlighted ones were selected to be taken forward.

Fig-1.1

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RESEARCH AND SURVEY As a part of Research and Survey, trends and forecasting played a major role.The survey was basically conducted in two of the major cities in IndiaAhemedabad and Jaipur.

Some of the famous boutiques visited were Femina Town, Tata Ceramics, Shoppers Stop, Hyper City, Studio Scarlet and Options. Market for bone china tableware that especially catered the upper elite class were Jagson, Correl, Symphony, Luminarc, Tata Ceramics and Ivy. Comparing all the outlets, Studio Scarlet had a variety of collection in terms of form and design. While others had regular designs with floral decals, simple handles and spout. Scarlet had products that were not good ergonomically, but were diverse. This urged me to focus more on ergonomics. For details refer Figure 1.2 Sketches were a basic part of any design project. Shown to the right are some detailed sketches with sectional details.

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SECTIONAL DRAWINGS AND ERGONOMICS The saucer should be tall enough that you can pick it up without tipping the cup and its contents.

Internal space between the cup and the handle should be at-least 20 mm, to allow the finger in.

The spout has to be long enough to balance the handle and pour higher than the capacity of the body.

The lid must lock in place and stay while tilting the kettle.

Fig-1.2 The relationship between cup and saucer is important, the saucer acts as a stand for the cup.

The saucer provides a stronger footing, wider than the cup and 1.5 mm deeper.

A foot ring is a must for a tea pot, cup and saucer.

It doesn’t allow them to topple.

Handle has to be big enough for comfortable grip.

MOULD MAKING, SLIP CASTING & FIRING Model making is an integral part of mould making process which involves making live size models in desired dimensions. The design had to be derived from sphere so it was easy to model it on a lathe machine. The process involved making moulds out of 4 models- tea pot, lid, saucer and cup.

Modelling a tea pot- A sphere model is made on the lathe machine with plaster of paris. There is a 16 to 18 % shrinkage of the ware after the final firing which also includes the bone dry stage.

So, dimensions have to be worked out accordingly.

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A four piece mould of the tea pot being made. First, mustard oil and chapda is put on the body to make the body non absorbent and strong. Then soap water is put so that the mould does not stick to the model and releases easily. Bone china clay is used to block the other half or any other area of the body where plaster is not required.

Slip casting of the teapot is done using bone china slip. Slip is poured into the mould using a seive to avoid any lumps or impurities in the slip. After 10 to 15 minutes the mould is emptied.

The slip forms a surface on the mould which is then opened after 30-40 minutes depending upon the delicacy of the object and the thickness of the slip.

Oil is dabbed onto the green ware to foresee cracks in the kiln. Aluminium powder is poured on the the rim so that the refractory setter doesn’t stick to the ware. The bisque firing is done at 1250 o C , the glaze firing at 1050 o C and the decal/ tranfer firing at 700- 800 degree celsius( if required). Setters are kept on the mouth of the ware so that the ware doesn’t deform because bone china has a tendency of sagging and deforming during the firing process.

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YEAR: 2013 LOCATION: UTTRAKHAND, INDIA

PROJECT: LIGHTING

TYPE: ACADEMIC

‘INHERITANCE’

Tanioka Shigeo- As a former student of the famed multi-generational Tanabe family, Tanioka inherits a rich historical tradition which he has adapted to the contemporary. Whether symmetrical and regular like a traditional vessel, or an abstract aggregation of seemingly cascading bamboo, his pieces always highlight the inherent qualities of the material. Opting to use challenging bamboo types such as whole culms of a thin dwarf species or aged, smoked bamboo, he spends months of time on each piece.

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The collection is a collaboration between skilled craftsmen and a designer to help uphold the crafts community of India by creating a sustainable market for the artisans under a fair trade organization. These products have been carefully hand crafted by the ‘Rudiya community’ who have been perfecting the art of basketry using natural fibers. Due to the low light conditions at such high levels in the Himalayan region it was obvious to come up with lighting solutions which could be easily mass produced and are adaptable to their working environment. However due to its highly rustic look, the product can equally be placed both indoors and outdoors. The size and shape of this collection pay a subtle and discreet homage to the terracotta Amphoras formally used for garden and terrace decoration

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as shown in Fig.- 1.33.Natural fibers like hemp and ‘Ringaal’(long grass) is used to weave these baskets as shades with tripod base holding the light source. The light emitted by the ‘Inheritance’ Collection is full of nuances and shapes avoiding glare. The orchestrated effect of the diffused light shows how painstakingly the product has been weaved from inception to the end.

Fig-1.33

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Fig.-1.3 shows illustrated sketches of floor lamps in different sizes, each with a unique weave patten. Fig.-1.4 and Fig.-1.5 depicts the weaving pattern being used to develop these table lamps. The pine needle and the chrysanthemum bottom pattern are two of the most widly used patterns by the tribe community.

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Fig-1.3

“When craft was initially started, it was a utility. People used their nearby available sources to meet their needs.”

My Journey- As a part of ‘Craft Training’ module, we had to select a craft & region of our choice where an organization or a Master artisan would teach us the basics of craft. The explorer in me used this opportunity to travel remote locations where craft is still in its purest form. The slowly dying craft of Ringaal weaving caught my attention. The craft entailed a technique of interlacing handspun hemp yarns and long grass ‘Ringaal’ to form a strong base for basketry.

It all began when I met MP Ranjan, the author of ‘Handmade in India’ who introduced me to the world of handicrafts and encouraged me to visit and document different craft communities in rural India. This gravitated me to do my NGO training at AAGHAS. I lived in the main campus and traveled to the other centers around that region (some of which were only accessable by foot). I also had a chance to live with one of the weavers at his home. This close glimpse into their lifestyle made me treat them with great respect and at the same time be patient and persistent while getting the best out of them.

The experience had a profound impact in terms of meeting people from diverse cultural backgrounds who were absolutely selfless while sharing this precious skill. So, a good collaboration followed.

Fig-1.4

There are many other factors responsible for the depletion of craft but one of major factor is the changing lifestyle of the rural as well as the urban community. The artisans are not able to meet the needs of the new lifestyle. Over a period of time, a number of social taboos have been associated with this craft as it was considered as a demeaning occupation . Today many artisans exist in a no-man’s land, not knowing whether to persist with the craft or to leave it for manual wage labour. The current skill level of most of the artisans are very basic. They were never required to make aesthetic products as most of their products were bought because of their usability. Their skill never got converted into a fine craft.

It became more and more difficult for them to sustain their families on this craft alone. The skills have been passed on by their forefathers but the younger generation is not interested in pursuing their traditional occupation anymore. On the other side, the changing realities of the rural Uttarakhand, depleting forest and outgoing younger generation present a hard choice for them to continue. There are several other crafts which are dying and Ringaal is one of them. Formation of Self Help Groups is one of the ways to ensure its sustainability and revival of this craft.

Fig-1.5

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Product development process: 1. Clearing the outer layer of the stem so that it can be easily treated with coloured dye.

2. Spliting the long stem into required number of parts depending upon the thickness.

3. Using the sizing machine, each strip is sized uniformly according to the requirment.

4. Simultaneously, Dye is prepared using bowling water and natural colourant.

5. Ringal strips can be coloured either before weaving or after making the product. It is generally washed with cold water.

6. The craftsman lines up the strips depending on the kind of weave pattern.

7. After being chemically processed, the hemp fibers are beaten for 30 minutes straight to make it soft.

8. The hemp fibers are left for drying on rooftops for atleast 2 weeks.

9. The Fiber strands are individually seperated and hand spun for weaving purposes.

10. The artisan weaves the product by interlacing vertical and horizontal strips.

11. In case of larger products or baskets, the thicker strips are burnt to make it flexible.

12. The hemp fibers are also dyed and weaved to add an interesting ornamentation to the product.

13. Unlike textiles, in basketry weaving could be acheived with gaps or spacing.

14. A closer picture showing detailed ornamentation with significant gaps/spacing.

15. Loading the smoke chamber with products and using hay as a fuel.

16. Firing the kiln slowly for a brief period of 15 minutes.

It helps to suck out excess moisture from the product and gives it a yellowish tinge.

17. The traditional baskets made by the Rudiya Community.

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YEAR: 2013

LOCATION: MUMBAI, INDIA

PROJECT: TABLEWARE

TYPE: ACADEMIC

EMBRACING THE AVANT-GARDE Black Raku teabowl “aged pine with crane design by Raku IX, Edo period, c. 1810–1838

Raku ware is a type of Japanese pottery traditionally used in Japanese tea ceremonies, most often in the form of chawan tea bowls. It is traditionally characterised by being hand-shaped rather than thrown, fairly porous vessels, which result from low firing temperatures, lead glazes and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air.

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As a part of Internship program, the brief was to develop a Raku ware collection which should either be functional or decorative. In-depth research and my philosophical approach urged me to work between the layers of Art and Design.

Japan is home to a culture of fired clay that is both venerable and vibrant. It’s also the birth place of Raku- a type of traditional Japanese pottery which demands a lot of skill. After the country’s defeat in World War II, many Japanese lost confidence not just in political and ideological system that had brought the country to its knees but also in artistic and social conventions that had dominated creative life for centuries. The younger artists who returned from military service were determined to challenge the stifling control of the hereditary workshops and the assumption that the clay objects should

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be made in utilitarian shapes, using a potter’s wheel. While still respectful of their city’s craft traditions, they started to make work that was sculptural and aesthetically beautiful. This thought process played a huge role and forced me to break free from the concept of wheel thrown pottery. So, I would spend a lot of time in the studio trying out different ways and methods to manipulate uniformly rolled clay slabs into structural and sculptural utilitarian forms. Rather employing the mold pressing method, I used the method of flopping that paradoxically appears to deny the fact that its slab built. The resulting delicate, fragile looking forms suggests exiting new possibilities when compared to the wheel thrown mini vases displayed on the top-right corner. The created work is purely sculptural and intended solely for display and contemplation. The two different groups of work are somehow united, by technical innovation and ingenuity and a dedication to standards of perfection unmatched anywhere else on earth.

Inspired by Paul Soldner, other American form of Raku firing techniques were also tried and experimented such as Naked Raku and Horse Hair Raku.

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INITIAL SKETCHES

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Good pots begin and end with form.

Everything else should be stripped away– the decoration and the firing, the maker of the pot, where and when and how it has been made – and all that remains is a pot’s shape, its silhouette. No amount of glaze wizardry or decoration can save a bad form. A good pot should always have a well-balanced form; the proportions between different areas of its body, between the neck and the shoulder, the base and the belly; all these factors should be carefully considered so that there is a feeling of ‘correctness’, a harmony and flow throughout the pot that pleases the hand and the eye. Balance is the key word here. Good form is not merely a case of making symmetrical pots, or applying mathematical rules to make exact angles. Lines and curves can be played with and pulled around, and often the most interesting pots are those that dance around the principles of proportion rather than adhering to them strictly.

Clay bodies- Raku can be done on almost any any body that is porous at 800° -900° C and has a melting point above 1100°C. Many Raku artists add grog to the body to give it strength and a rough feel. The addition of talc also helps it survive thermal shock. Based on these facts we tested four bodies – two white and two red bodies to test the play of iron from the terracotta on the glazes.

Shown here are the experimental shrinkage slabs of Raku clay bodies.

Test pieces- Test Pieces are sampled to get a firm idea of glaze results on the selected clay body. Recipes of two clay bodies that were be taken forward: Clay Body 1

Clay Body 2

Gangatic Clay 20% Laterite Clay 10% Fire Clay 30% Talc 5% Grog 35%

Ball Clay Talc China Clay Fire Clay Grog

30% 10% 5% 50% 5%

Raku Glazes are usually low firing glaze with a firing temperature between 900° – 1050° C. Lead being an active low temperature flux, is preferred (as Raku ware is today mostly decorative). The addition of Copper in the form of oxide, carbonate and sulphate creates a luster when reduced. During our experiments, we experimented with not only lead as a flux, but also calcium borate, borax, and lead based frits.

Recipies of glaze test pieces that were selected for product application:

Calcium Borate China Clay Copper oxide

80% 20% 4%

Lead frit Dolomite Zinc oxide Ball clay

80 10 4 6

Red lead Silica Chinc clay Bentonite

64 30 4 2

Mg O2 Copper oxide

2% 4%

Copper oxide

4%

Lead bisilicate Tin oxide Bentonite

90 4 6

Borax Red clay Titanium oxide Dolomite Mg O2 Copper

oxide

70 20 4 10 2% 4%

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SCULPTING WITH CLAY SLAB

Usually thrown pieces for raku firing is considered.

Slab work is not preferable as the joints make the object weak and prone to thermal shock. The image shows uniformly rolled clay slab being gently picked up with the help of rolling pin. As it had to be done single handedly, it was the only way possible.

The clay slab was cautiously flopped over a wooden block wrapped with newspaper. Paper is wrapped all around the wooden piece to soak in all the excess water/moisture from the clay body.

It didn’t help due to the excess water content. The slab of clay also has to be flexible at the same time which is only possible through sufficient moisture level in the clay body.

After the initial failure, I wrapped the wooden block with a thick piece of canvas fabric which acted as a great cushioning device for the slab to rest upon. Though the attempt was successful, the body had minor cracks all over the place, especially the base.It was nutralized with minor application of slip & burnished withe help of spoon.

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FIRING PROCESS

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Generally updraft kilns are used for Raku firing. The door should be detachable so that the products could be easily tranfered to reduction box.

The kiln loading is usually done using a pair of iron tongs which ensures that the products could be easily removed the same way they were loaded.

Because the kiln has a small working area and the firing cycle is controlled by damper itself; the kiln doesn’t require more than one burner.

The Raku kiln, during the ongoing firing process with its door closed.

The technique involves rapid firing cycle and the products are removed from the kiln at or near the optimum firing temperature.

The pots are removed one by one with tongs and laid in or covered over by sawdust, wood chips, straw, paper or any organic substances.

The combustible material instantly ignites as soon as it comes in contact with the ceramic body in the reduction box.

The lid of the reduction box is almost opened after 2 minutes which allows the surface of the ceramic ware to be reduced properly.

Dramatic crackle patterns result from rapid cooling when the products are plunged into cold water and scotched to remove excess carbon stains.

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YEAR: 2013

LOCATION: JAIPUR

PROJECT: SCULPTURE

TYPE: ACADEMIC

THE TALES OF A THOUSAND STORM

‘‘ One drop alone can be interpreted as a form giving pleasure during a leisurely activity, ten drops become a cluster of forms drooping out of something, a hundred drops could be a burst, a thousand a storm.

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The above drops were created by melting colored glass rods and letting the gravity do the rest.

’’

The sculpture making course was part of the academic program which almost lasted for a month and students were given the freedom to pick a brief for themselves. The Artwork draws inspiration from the transitions caused by water droplets and the deformed forms generated by impact upon entering the water body. Despite our ability to scientifically explain the natural world, there is still a certain mystery to how matter changes form, seeming at first to be one thing, then becoming another. Light things become dark, soft things become hard, solid things begin to flow and some things just evaporate- is all a part of transition. I seek to translate this emotional experience of curiosity, sincerity and generosity into tangible form. Clay has the ability to be both tactile yet intelligent. I have worked to create and invite contemplative moments, where experiences of the physical hand and intellectual mind can co-exist.

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Scale: Largest Stoneware Droplet - 24’’H x 9.5’’ Dia Smallest Stoneware Droplet - 1’’H x 0.75’’Dia

Starting from the solid block, I methodically rolled, coiled and pinched the form. Encompassing many changes of the state, from the uncomplicated lump heavy with potential, through precarious and fluid chaos, ending with the form. Coiled and pinched clay has a remarkably clear and straight forward trace of touch, from maker to buyer my moment of touch can be experienced by others today or in thousands of years. Fig.- 1.6 depicts different stages of oil drop deformation while entering a water body.

Fig.-1.6

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SKETCHES AND CONCEPTS Being a sculptural project, major emphasis was on the form generation process and the concept of art installation. It can be seen through my sketches that the basic structure of the form must be respected and maintained as the active core of the final form. The transition of one form into the other must ensure the volumetric inter-relationship between form and the underlying structure; form and aesthetics between the elements based upon the working selection of any two geometric forms. The basic character is always centered around the identity of the Artwork so I planned the art installation to be as simple as possible.

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GLAZE TESTING

When it comes to ceramics, Glazing is considered to be one of the basic type of surface decoration.

A number of glaze tests were been conducted to get a firm idea regarding the nature, texture, color and maturity of the glass forming agents and oxides. The base recipe is a mixture of proportionate amounts of Silica/Quartz, China clay and Feldspar with fluxing agents like Dolomite, Zinc oxide, Calcium carbonate and Barium Carbonate. Opacifing ingredients such as Tin oxide, Zirconium oxide and Titanium dioxide have also been added which enhances the color and reders the glaze opaque. Flux plays a great role in reducing the melting point of glazes. Displayed towards your right are some of the best results achieved through this combination at 1250 0 C(Cone-8).

Oxides such as Copper oxide, Cobalt oxide and cobalt carbonate were used to bring out dfferent shades of green and blue. Line Blending and Glaze Layering are two of the most effective methods of creating and judging a glaze recipe.

Base Recipe with Dolomite + SnO2 (Opacifier)+Co3O4

Base Recipe with Barium carbonate + ZrO (Opacifier) + CuO

Base Recipe with Barium carbonate + SnO2 (Opacifier) + CuO

Base Recipe with Barium carbonate + TiO2 (Opacifier) + CuO

Base Recipe with Zinc oxide + TiO2 (Opacifier) + CuO

Base Recipe with Zinc Oxide+ ZrO (Opacifier) +Co3O4

Base Recipe with Zinc Oxide + ZrO (Opacifier) + NiO

Base Recipe with Calcium carbonate +ZrO (Opacifier) + CuO

Base Recipe with calcium carbonate + SnO2 (Opacifier) + V2O5

Base Recipe with Calcium carbonate + TiO2 (Opacifier) + Co3O4

Base Recipe with Dolomite + TiO2 (Opacifier) + Co3O4

Base Recipe with Dolomite + TiO2 (Opacifier) + CuO

Base Recipe with Dolomite +TiO2 (Opacifier) + NiO

Base Recipe with zinc Oxide+ SnO2 (Opacifier) + CuO

Base Recipe with Calcium carbonate + TiO2

Base Recipe with zinc oxide + TiO2

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GLAZE LAYERING

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‘Fluidity’, one of the main characteristics of water that expresses the ability of a substance to flow easily. How does one reflect the same through a surface decoration technique?

Glaze layering involves overlapping of different glaze recipes with common base ingredients fired at a particular temperature to create new visual effects on the surface. Glazes in combination can form what is called an “eutectic” which is two or more materials that, when combined, have a lower melting point than any of them individually. For our purposes, that means glazes that do not run very much individually might run down the side of the pot when combined. Displayed above are some of the examples of glaze layering tests conducted at 1250 0C(Cone-8) before applying them on the final pieces. Glaze forming oxides are divided into three categories- Basic, Neutral and Acidic. So, basic (flux) oxides help in lowering the melting point, neutral (refractory) oxides control the flow and acid oxides are basically glass formers. The tested glaze recipes contained good amout of flux and acidic oxides. Other than glaze layering , different surface decoration techniques were tried and tested such as Marbling, Nerikomi and Slip trailing.

PROCESS OF SCULPTING Instead of using a potter’s wheel, the art of sculpting was approached tradionally using the coiling technique.

1. A base is made in the shape of a bowl by gradually stacking and joining coils of clay one on top of the other.

2. After reaching a certain height, the coils are merged together with both the hands by pinching it on one another.

3. The process is repeated until it reaches the top, a paddle is simultaneously used to both shape the structure and

strengthen the coiled wall.

4. The coils can be left visible or can be smoothed away depending on your desired aesthetic end result. It is important that the coils join well during construction to avoid cracking or separation during the drying and firing process.

5. The surface of the end product is usually smoothened with the help of wooden or silicon rib.

6. During the Bone Dry Stage, the sculpture is thoroughly sanded using a 200 grit sandpaper before loading it into the kiln.

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YEAR: 2013

LOCATION: DELHI

PROJECT: SCULPTURE

TYPE: ACADEMIC

HORSES

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Ayyanar, Sastha or Saththan is a Hindu deity particularly praised in South India and Sri Lanka. His worship is prevalent among Malayalis, Tamils, kannadigas. His most famous shrine is at the hillock of Sabarimala where he is present in his Brahmacharya form as Ayyappa. He is primarily worshiped as one of the guardian folk deities of Tamil Nadu. The village temples of Ayyanar are usually flanked by gigantic and colorful statues of him and his companions riding horses or elephants.

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AY YA N A R

The Academic project is a part of site-specific installation at Sanskriti Art Kendra (centre for 3 museums), Delhi commissioned by Delhi Blue Pottery Trust.

For this 3-week group project, we were introduced to the traditional potters of Tamil Nadu, who have been making the great Aayanar horses for decades passed on by their forefathers. The main purpose of this course was to deal with ceramics at a larger scale other than functional products and decorative items. The Aayanar figurative & horses are one of a kind where sum total of all techniques unite- coiling, slab rolling, pinching and beating, therefore making it an excellent example to start with. Our college provided the studio space for the work to be developed.

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Scale: Big Ayyanar Horse - 3.5’ x 2’ x 8’ Small Ayyanar Horse- 2.8’ x 1.75’ x 6’ Ayyanar Dieties1.25’ x 0.5’ x 5.5’ The sizes of the horses and the figurines depends upon how skilled the Artisan really is. The height of the horses can pretty much go upto as good as 13’ which is usually fired in a dug out kiln.

Ayyanar is a pre-Vedic Tamil deity, usually enshrined with 21 sub deities. His origins are shrouded in mystery and any historical facts buried in tradition. As the principal guardian deity, Ayyanar is charged beyond the tasks of granting boons and ensuring bountiful rain and harvests. – with the protection of the village from all calamities. And he is said to fiercely fulfil that duty by patrolling his fiefdom each night. Sword in hand. Astride his shining white stallion. Traditional votive offerings in Ayyanar shrines therefore, are terracotta horses. Commissioned by grateful devotees and crafted by attendant Velars (non Brahmin potter-priests) in sacred ceremonies that involve processions from the priests’ houses to clay pits in temple premises. A mixture of (smooth and grainy) clay along with sand, straw and paddy husk is kneaded and shaped in specified order, before being fired in resident kilns.

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KILN BUILDING AND FIRING

Unlike residential kilns which are permanent, the kilns made to fire these huge sculptures had to be collapsible. Though the figuratives have been sculpted in three sections; they are pretty huge to be fitted inside any ordinary kiln. Usually a custom-made kiln is built depending upon the quantity, size and height of these sculptures. Traditionally the artisans source local materials such as hay, brick and mud for kiln building & cow dung as fuel. On the other hand, these Art pieces were fired using modern tools and techniques. Flexible Cerawool blankets are used for heat insulation properties and in addition wood is used as a combustible material to fasten the firing process. On the righthand side, an illustrated drawing was drawn up depicting an idea about making a kiln during discussion. Fig1.6 shows a detailed kiln cross-section with actual dimensions and materials used to make the kiln.

2’ BY 1 1/2’ CHIMNEY

1’

DAMPER AND SUPPORT

CERAWOOL

IRON SUPPORT RODS

8’

TOTAL VOLUMETRIC

WORKING VOLUMETRIC

11 8/12’ 1’

1’

CERAWOOL CIRCULAR LINING PEEP HOLE

COLDFACE BRICKS WITH MUD 4 4/12’

9 6/12’

STACKED COWDUNG

HOTFACE BRICKS WITH MORTAR REFRACTORY COLUMN SUPPORTS

1 8/12’

FIREBOX

PERFORATED PLATFORM 2’ BY 1 1/2’

ASHPIT

Fig-1.6

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Known as “One of the biggest sculptures made in history’ the Ayyanar figures, horses and elephants also reflect a close emotional connect of the artisan with the concept of the earth mother. Some of the most sophisticated and contemporary terracota made in Tamil Nadu surpass in quality and variety with those made in other regions. Generally the whole family is involved in making the sculptures. The sculptures being huge, is created in three parts- head, body and the legs.

It is assembled together after the figures are baked in a rustic kiln, fuelled with straw and dry cow dung pats. Clearly, image making is a specialized skill which is the main reason for the demand of artisans. Once a part of everyday village life, today terracota craft of Tamil Nadu is languishing mostly due to the lack of support and the lure of blue and white collar jobs in the cities. An illustrated sketch on the left shows how three different parts are stacked on the top of each other to complete the form. The images at the bottom depicts different leg positions which are frequently taken forward in terms of aesthetics and more commonly practiced.

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GLIMPSES OF THE SCULPTING PROCESS Some of the important moments captured while helping the artisans with the sculpting process: 1. The process of making a figurative basically includes coiling, slabwork, pinching accompanied with continuous patting with a paddle.

2. A craftsman smoothening the surface with the help of slurry with his bare hands without a sponge.

3. Surface decoration and ornamentation is basically done without the help of tools.

4. Apotter making some changes while concentrating on the proportions of a life sized figure.

5. An Artisan starts mending the cracks which developed suddenly due to the change in climatic conditions. Being persistent is the key.

6. Pottery tools are sometimes used to sculpt the intricate parts of the body and most importantly the facial expressions of the Deities.

7. A small army of horses are also developed for the customers to buy and pay homage to their beloved God. 8. Individual pieces being very heavy, it had to be transported from the studio to the firing pit using a cart.

9. Kiln building is a time consuming process and generally involves huge manpower. For further details refer Fig.-1.6.

10. Installation is critical because individual pieces had to be stacked on top of each other to complete individual sculptures.

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YEAR: 2015

LOCATION: GURGAON

PROJECT: TABLEWARE

TYPE: CLIENTELE

UMA OFFERING BOWLS

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Pillars of Hoysaleswara Temple The interior walls of the temple are quite plain compared to the outer wall, except for the lathe turned pillars that run in rows between the north and south entrances. The four pillars in front of each shrine are the most ornate and the only ones that have the madanika sculptures in their pillar brackets. Situated in Hassan district of the Indian state of Karnataka, the Hindu temple was built in the 12th century.

The project was undertaken in collaboration with Devi Design Studio during Jonathan Adler’s visit to India for inspiration.

Janathan Adler being a potter himself, insisted to come up with a series of small offering bowls that are functional, stackable and aesthetically pleasing. The overly decorated pillars of Hoysaleswara temple were a huge inspiration behind the development of these products. Looking at these pillars you get a solid evidence of ancient machining technology. There is something strange about these pillars; when you observe closely, minute circlular marks can be seen all around the pillar. These are created as a result of machining the pillar on lathe. There is no way of achieving this with chisels and hammers manually. On the contrary it offers no conclusive evidence or explanation as to how these 12 feet huge pillars were lathed and installed 900 years ago as stated by archiologists.

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Marble has made a modern comeback in the world of interior design. Odds are that when you picture marble as a design element, you have visions of large cold rooms. However the key to keeping the trend fresh is using it in small doses- accents and statement pieces; rather than in amounts that overwhelm the eye. Though it may seem uncomfortable when paired with correct pieces, marble makes an excellent material for table top and tableware accessories. It is strong, sturdy and will last a lifetime. The presence of marble as a material has to look lighter and softer in contrast to its heavier and bulkier nature. So the main focus always revolves around the form genration process while approaching the design concept.

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INITIAL

SKE TCHES AND F O R M G E N E R AT I O N

Fig-1.7

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Most of the design elements used for the purpose of form generation have been taken from the pillars .

This marriage of sculptural form and everyday function has resulted to an understated element which could be beautifully used both in homes and offices. Although made of stone, the form seems gracefully and visually light which offers a pleasing contrast to the natural look of stone. Majority of the bowls potray a ribbing efect (repeatition of symetrical design elements through manufacturing processes like lathing, turning and spinning) that lends dimension and sence of solidity to the design.

Fig-1.7 shows some initial concept sketches offered to the client before finalizing.

SECTION DRAWING Like wood, marble has grains and a material with grains can be easily stained. So, the inner body is fully polished with 3 coats of wax applied to it.

The ribbed edge is purposely designed both in terms of aesthetics & funtionality.

The ribbed body also helps the user with a firm grip while handling the product.

The product doesn’t require a footring because it’s already very heavy. The product has gone through a number of tilt tests and it proves to be successful everytime without toppling.

The outer texture on the smaller piece is entirely handcrafted and is meant to be an additional element of design. Each and every chipping is manually created with the help of chisel and hammer.

Fig-1.8

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CHOOSING THE RIGHT MARBLE

Morchana Black Marble

Thassos White Marble

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Himayan White Marble

Working with marble is a tedious process that requires expertise in craftsmanship as well as an eye for detail.

Each bowl is intricatly shaped through industrial process and polished by hand to achieve the overall look. Every marble has its individual characteristics in both color and appearence. Because of this, every lathed product is uniquely different from each other. As per clientele requierments, the product had to be made using Indian marble available in black and white. Shown towards the left are swatches of polished marble that are readily accessible and can be sourced from indian market. The obvious choice of selecting and going ahead with mass production were Makrana white marble and Bhainslana black marble; purely because of their grain structure and texture. Other technical aspects and qualities were also taken into consideration such as quality and durability.

Marine-Black-Marble

MysteryWhite Marble

Statuario-Venato-Marble

Bhainslana Black Marble

Calacatta-Bella Marble

Italian Carrara Marble

Makrana White Marble

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MANUFACTURING PROCESS Unlike wood turning, stone lathing is a time consuming process. Both the processes are a part of chip forming manufacturing technique.

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Before initiating with the process, its better to look for a good chunk of marble. A big crack might pose a threat while lathing.

The piece is generally glued on to the MDF board with industrial adhesive so that the jaw chuck has a good hold on it while spinning.

The piece tightly holds on to the center above tool post with the help of head stock spindle and tail stock spindle.

With the help of different tools the master craftsman carves out the excess mass from the volume.

The form slowly starts to reveal itself when the artisan uses a hand made profile to match the surface and carry out the intricate work.

The tail stock spindle is fitted with drill chuck to hollow out the bowl from inside.

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YEAR: 2016

LOCATION: GURGAON

PROJECT: TABLEWARE

TYPE: CLIENTELE

D E C O N ST R U CT E D A PRODUCT IN CONTINUOUS EVOLUTION

INTERTWINED TELEGRAM WIRES OF INDIA The wiring mess is a typical scene to look at while wandering the streets of India. It’s actually a gallery of electrical wiring gone wild. Sometimes it also suggests how complicated and messy we are. The mess that we are in, is not always our own making; some of the muck is a part of our own inheritance but we have to recognize that the continuation of the mess is a by-product of our own native genius.

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The entire series of products were exclusively designed and developed for the american retail store ‘ANTHROPOLOGIE’. The firm briefed to come up with a tableware solution that aimed to serve multiple food portions under one platform for hospitality services. A traditional Indian Thali is an excellent example of food being served in portions.

People rarely look up while they walk, or do they? Probably not. It is interesting to express these unnoticeable details in everyday life. Intertwined telegram wires are something that could be easily witnessed on the streets of India.

When I look up, electricity wires are usually up there. They overlap each other giving a wonderful composition. The wire itself could be a beautiful pattern and the pattern could also act as a

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framework of deconstructed geometric shapes to hold spun bowls and dye pressed platters. Exploring the aspects of design elements such as texture, rythem, color and form are definitely a challenge but worth it. The designs were executed using different mediums such as ceramics, glass, wood, metal and resin.

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SKE TCHES AND CONCEPTS The forms generated through sketches resembles more of a deconstructed jewellery as a mode of artistic expression. Industrial designs dominate the market, leaving hand crafted pieces by highly skilled artisans largely unseen and therefore unknown. Against these odds today’s craftsmen are facing unmatched creative freedom. Just as fine Art is been redefined to include new concepts, materials and presentations, so too is contemporary craftsmanship. The created objects are a result of collaboration between manufacturing processes and skilled Artisans providing an evidence of sustainable design practice.

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Based on the concept, the idea of individual serving bowls were also explored. The design of the bowl is unique like no other which basically focuses on the principle of balance with a firm base. The object obviously radiates a playful vibe which helps in attracting the customers from the sales point of view. After much speculation and discussion it was decided to hone in on a particular form without extending its family.

Fig-1.9 depicts the cross-section of a particular product from a diverse range which is basically made of Sheesam wood and antiqued brass.

Fig-1.9

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KE Y STEPS OF THE MANUFACTURING PROCESS

1 Brass foot rings are welded to already spun bowls which helps to support and maintain stability.

4 The extruded brass rod is never di rectly welded to sheet metal due to the difference in their melting points.

7 The process is followed by wirebrush ing the products with harder and softer grades for smoothness.

2 Lathed brass crowns are welded at the end of every framework to offer an aesthetic appeal.

5 The visible welding points are then cleaned off using a non-woven abra sive flap wheel.

8 The inner portion is totally buffed out in order to create concave reflections.

3 With the help of Oxy-fuel welding, the brass foot rings are been welded to the main body/brass rod.

6 Flap wheel is also used to get rid of un even edges of the bowls which usually develops during the spinning process.

9 The polisher can be seen applying a premium grade paste on to the buff ing wheel to achieve a polished finish.

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YEAR: 2018

LOCATION: GURGAON

PROJECT: TABLEWARE

TYPE: CLIENTELE

INTER-CONNECTED STREAMS ‘‘Perfection is extremely boring because there’s nothing to discover.

Imperfection is interesting because there’s some sort of mystry behind the irregularity.’’

‘Untitled’ by Ronan Bouroullec Ronan & Erwan Bouroullec are brothers highly noted and respected for their design work, which has been featured in publications and museums globally. Their contribution spans a wide range of products from tables and chairs to tableware, rugs, textile walls, office furniture, ceramics, art objects and urban projects. Winner of numerous awards and counting, they are undoubtedly the best of their generation.

They have been working together for about fifteen years bonded by diligence and challenged by their distinct personalities.

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For me, drawing is a little bit like breathing. Hand drawing is an incredibly important tool because it contains less information than the detailed reality generated by the computer. When you draw by hand, you get a kind of mis-reality, which used to be reality before. When you draw, you can’t have all the information perfect. Drawing by hand generates a certain meditation, condensing things, and making them clearer. To me, drawing can be a means for researching objects, a design oriented, repetitive kind of movement. But at the same time, drawing can be a more intimate, personal thing, a kind of free space which doesn’t have to be shared with everyone. The work is very much inspired by the fluid and fabrous drawings of Ronan Bouroullec. The fact that these intricate drawings on paper can be transformed on to the surface of sheet metal to form a 3D relief texture clearly shows how skilled the Artisans are. Kath

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Scale: Large- 16’’Dia x 4.5’’H Small- 12’’Dia x 3’’H

-arine Pooley, who has been a long time collaborator briefed to design a new Urli, especially for the AsiaPacific market. I often think metal is a powerful material; very intense in the sence that it has existed for such a long time due to it’s functionality. Brass being a soft metal is highly ductile and malleable, which allows it to be embossed and debossed. Variable surface techniques such as Repousse and Chase, Hammering & Chitai were tried out on pieces of bowls and swatches before approaching the final developments.

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R E P O U S S E A N D C H A S E & C H I TA I S W AT C H E S

Hammering- Over a period of time I had designed variously shaped hammers that render different patterns on the body of the metal vessel. As a matter of fact, the local craftsmen believe these multiple miniature dents make the sheet metal stronger and prevent further surface manipulation.

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I work on depth, on volume, translated in many different ways, so it seems obvious that I am trying to convey 2 Dimensional textures on 3 Dimensonal objects. In terms of style its more constructive, line after line, like a construction worker with bricks. Through these swatches towards your left, I have tried to depict the use of lines to build volumes. But it never starts with the silhouette of a shape, because that would mean I have projected an idea. It’s very interesting to see that objects can never be finished until it’s perfect but on the other hand, with drawings, people find them interesting because I don’t have specific criteria. Regarding drawings there’s always a need for it to be quick – in opposition to the lengthy work of design.

The approach towards this project is very different. Drawing for me is not intellectualized in the sense that I don’t think at all about what I’m doing. When I started, I didn’t know what I wanted it to look like. It’s not pre-conceptualized like writing, but a bit like self-hypnosis where you go from point A to point B and you don’t remember how you got there. In this case you are driven by a mechanical impulse. If observed closely, these stream of lines are basically constructions; they can be mechanic and demand more focus, or organic and more like dancing, as when the body takes over. It’s a free hand practice that’s not organized.

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MANUFACTURING PROCESS1. It all starts with right mesurements on a piece of 18 gauge brass sheet. In this case, the desired utensil is designed as a combination of two parts which are welded into a unanimous whole.

2. Using scissors, the sheet is cut into precise profiles.

3. The image shows the base of the product being shaped and prepped for the next process.

4. It is ensured that the metal profiles go through proper heat treatment. The process makes it soft and malleable so that it can be formed as desired.

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5. These disks are beaten up using a ‘Khachara’ or a mallet with varying weights and a wooden support. The wooden support of this tool is of indispensable importance as it equips the artisan with greater control for making dents.

6. The metal is beaten till it naturally bends along a concave or convex curve as required. Another important tool that assists this process is the ‘Bangad’ or a solid metal ring anchored in sand. This becomes the seat for the metal as it undergoes controlled bending.

7. In former days blacksmiths used a joinery technique which involves creation of a subtle ridge which camouflages the welding on further beating and finishing. This is still practiced in some parts of India followed by heating with the help of burner.

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8. Sealing wax is produced in large quantities and is used to pack up the inside of the product which is basically used to absorb the momentum of the force created through hammering while embossing and debossing.

9. Different kinds of sharp chisels are used to create intricate lines on the surface.

10.The Art work on paper is glued on to the surface of the product. It basically acts as a guideline for the Artisan.

11. Symonteniously, a person is seen correcting the art work and cutting out profiles so that they allign perfectly.

12. Because of the intricasy of the product; it almost takes 2 artisans to complete one piece within 2 days.

13.When working sideways, clamps are used so that the wax stays attached to the body and doesn’t fall apart.

14.The product then goes through the process of Acid Wash and Wire brush to achieve the look required.

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YEAR: 2019

LOCATION: DELHI

PROJECT: BARWARE

TYPE: CLIENTELE

THE GATSBY COLLECTION CHAMPAGNE HOLDER

COCKTAIL TABLE

ICE BUCKET

BAR TOOL BOX

From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the Vienna Secession; the bright colors of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe I and Louis XVI; and the exotic styles of China and Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Chrysler Building and other skyscrapers of New York built during the 1920s and 1930s are monuments of the Art Deco style. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. It combined modern styles with fine craftsmanship and rich materials.

O N E N O R T L A S A L L E B U I L D I N G E N T RY P O I N T

Jay Jaffers- the American buying house is heavily inspired by the glitz and glamour of the Art Deco movement. I remember the first time I met Jay Jaffers when he approached us to brief about the upcomming product range meant to be designed and developed for big Hoteliers in the United States. He clearly said and I quote ‘‘There is nothing wrong in designing something that is meant to be classic, atleast it stands the test of time. I always loved the 30’s and everything that came with the Art Deco era, it’s just a matter of taste.’’In order to relate what was going in the back of his head, he shared his moodboard cosisting of works from the specific era. One of them being the entry gate of One Lasalle Street Building in Chicago, which really caught my attention and provoked me to come up with an idea of designing a bar range around it.

Mr. Jaffers loved going through the swatches with different effects that were achieved via handmade Chitai technique. He was somehow convinced and insisted to apply the same on to the products as an element of opulence.

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A. SAVOY ACCENT TABLE Dimensions- 24’’H x 12’’ x 12’’

The collection helps to create a versatile and sophisticated enviornment, whether for hosting a fantastic cocktail party or a casual get-together. Traditional material such as antiqued brass take on intripid new shapes and creative combinations for a look that is glamorous without being over the top & bold without being clunky.

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B. MARCEL ICE BUCKET Dimensions- 10’’H x 8’’ x 8’’

D. DUVAL BOX Dimensions- 4.25’’H x 13’’ x 5.5’’

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C. PIERRE CHAMPAGNE HOLDER Dimensions- 9.75’’H x 12’’ x 6’’

Savoy Accent Table- The product basically serves the purpose of a cocktail table. The table top and the base is made out of cast brass, which then goes through a series of finishing processes. The column connecting the two is an extruded brass pipe. The product is quite heavy so the concept of adding a handle to the table top is purely functional which helps to reposition the product as per need.

Marcel Ice Bucket- A simple storage container for ice which is mass produced using industrial manufacturing techniques and sheer craftsmanship. The bucket contains a glass inner that slows the ice from melting away.

The jem cut handle is ergonomically viable and creates a beautiful contrast between antique and buffed finishes.

Pierre Champagne Holder- The holder can hold a maximum of 2 champagne bottles of each. It does have a glass lining so that it can be served cold as per requirement. Handle on both ends provides support to lift the container with great ease.

Duval Box- The hexagonal box acts as a small cache for essentials like Flat 2-sided bottle opener, Double jigger, Steel Knob bar spoon, Hawthrome strainer, liquor pourer and a pair of ice tongs. In terms of design it carries the same philosophy.

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YEAR: 2018

LOCATION: DELHI

PROJECT: FURNITURE & LIGHTING

TYPE: CLIENTELE

CLASSIC ROCK STACKING THROUGH COUNTER BALANCING

Stone or rock stacking is an art, discipline, or hobby in which rocks are naturally balanced on top of one another in various positions without the use of adhesives, wires, supports, rings or any other contraptions which would help maintain the construction’s balance. The number of rock piles created in this manner in natural areas has recently begun to worry conservationists because they can misdirect hikers, expose the soil to erosion, aesthetically intrude upon the natural landscape, and serve no purpose.

MONUMENTAL PILLARS OF ETERNITY

These monumental pieces are basically inspired by the strength of personal struggles. The stacked symmetrical forms portray various difficulties that we face in our day to day lives; but its experience is what really matters at the end. The seemingly weightless forms are a metaphor for pure growth and the ability to conquer the impossible. Each block teeters over the other, threatening to fall, yet gently supporting each other’s balance. In other words its similarity can be compared to the art of building a tower of cards, where we have to balance ourselves with every move we make. There would be downfalls as life doesn’t play fair. This particular product range isn’t about style; it’s something that will last for decades to come- it’s a basic philosophy to live by as a designer.

Other than aesthetics, there are a couple of factors that come to play such as durability, sustainability, functionality and effectiveness in terms of mass production. A 43 step process is employed to make the product range successful which involves casting, welding, annealing, hand finishing and anodizing to name a few. This tedious process ensures that you end up with a product that will last forever. Recycled Aluminum is used to mass manufacture these products that will have the least impact on the environment. Initially, it was designed and intended for Indian residential projects and hotels. Due to it’s celebrated success and press releases, PEAR 1 - a global buying house was the first to approach and sign an exclusivity for further customization and developments.

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From left to rightMONUMENTAL PILLAR SIDE TABLES S i ze : 24’’H x 16’’Dia MONUMENTAL CANDLE HOLDERS Scale: Height varies from 7’’ to 13’’ Base Dia 5’’ MONUMENTAL PILLAR FLOOR STANDS Scale: Height varies from 56’’ to 62’’ Base 6.5’’ x 6.5’’

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The form- versus - function debate has been hotly contested over the years. Meritorious arguements surfaced in favour of both schools of thought, shaping and reshaping the notion of design over the years. ‘‘Forms in art are inspiring and this inspiration becomes it’s function’’. This is rare, but when it happens, the boundaries of our imagination are streatched, and a fresh perspective manifests. For the development of this series, Aluminum seemed to be the natural choice since it’s both light and durable. Moreover it offered me the freedom to experiment with color. I played with silver base by finishing the different stacks in varying shades, something I achieved through nickel plating. Art has always influenced design and I have just removed the seperation between the two to create a single object. Just like Art & Design, these candle stands are also better together because you get to see their similarity and difference at the same time. In this group of versatile creations, the lamps are available in different sizes and colors, allowing for customization and creating a range of different effects based on how they are placed.

Before proceeding with the project, I experimented with finishes of different combinations most of which has been displayed on the right. The bottom right images show the process of making moquettes & pattern making processes on the way for sand casting.

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Surface finishes through Oxidizing and Plating

Buffed Brass

Aged Brass

Antique Brass

Brushed Nickel

Antique Brass & Aged Brass

Antique Brass & Brushed Brass

Antique Brass & scotched Antique

Antique Brass & Brushed Nickel

Brushed Brass

Form developments and Hollow Casting

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Sectional Drawings and CAD Renderings: Fig.- 2.1 shows the sectional drawing of the Monumental Pillar side table followed by 3 dimensional rendered images using solidworks and keyshot.

SECTIONAL VIEW

BOTTOM VIEW

18’’

4.5’’

24’’

2.25’’ COUNTER CAVITY THREADDED HEX NUT

13’’

1’’ BRASS PIPE 0.5’’ THICKNESS 1’’ THICKNESS

Fig.-2.1

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Shown above is a brief assembly process of the Monumental Pillar Side Tables. The candle stands are also assembled in the same format.

1. A 1:1 size of MDF board is cut and handed over to the vendor so that the granite slabs could be cut presicely according to the model without any mistake.

2. Every faceted element is developed via a 3 mould sand casting process and welded to achieve perfect edges.

3. The 16 gauge pipe not only joins the base and the top but also acts as a steady support not allowing it to wobble.

4. After going through the finishing processes, these rough edged sand casted pieces are painstakingly stacked and assembled piece by piece on a central spine.

5. The base is the last to be stacked with a built in counter washer and is bolted with the help of self threading nut.

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YEAR: 2015

LOCATION: DELHI

PROJECT: FURNITURE, WALL DECOR & TABLEWARE

TYPE: CLIENTELE

HOMAGE TO PIXELS

Colosseo Quadrato - Square Colosseum The Palazzo della Civiltà Italiana was constructed as part of the program of the Esposizione Universale Roma, a large business center and suburban complex, initiated in 1935 by Benito Mussolini for the planned 1942 world exhibition and as a symbol of fascism for the world. The Palazzo was designed by the architects Giovanni Guerrini, Ernesto Bruno Lapadula and Mario Romano and constructed between 1938 and 1943. It was inaugurated on 30 November 1940 as the centerpiece of the Esposizione and continues to be its most iconic building. The building is an example of Italian Rationalism and of Fascist architecture.

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An ode to all the Craftsmen and Artisans of India, the Pixel range boasts a strong profile and takes inspiration from Benito Mussolini’s Palazzo Della Civilta Italiana- it’s liniage comes clearly from it’s iconic appearance and bold relation of 6 rows of 9 arches.

Entirely handmade, the result is robust and a highly reflective object with a debossed pixelated effect which also acts as a acupuncture device for seating and textural grip for holding the platters firmly. The range includes a stool, raised platters and a wall decor. A Stool may very well be considered as a simple seating product but it handles the three most important requirements demanded by a stool: durability, a striking silhouette and an ergonimic form. The expressive shape is fatigue resistant and absorbs shock and load through it’s flexible properties. The Pixel Platter is a raised serving platter meant for hospitality purposes and comes in two sizes and two different finishes- silver plated and gold plated. The Pixel Mirror is an exercise in reductionism. A simple and generous Wall Decor with a polished mirror that takes on the colors

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Pixel Stool

Size: 15’’L x 15’’B x 18’’ H Finish : Aged Brass with brushed effect.

and characteristics of it’s surroundings. Overall the pixelated effect is much more fine tuned but doesn’t compromise on the dramatic look it offers. The range was designed and developed for ANTHROPOLOGIE- a global buying house and a brand in itself, it has more than 200 stores worldwide.

3D rendered models/concepts prior to the development of the product.

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The products express themselves clearly and concretely in the language which suits them most. They potray mysterious constructions in a pure and tangible form. The behaviour of intersections, overlaps, intervals and rhythmically moving lines spread accross the objects are wonderfully strange in this fundamental exploration that is set within the limits of the given dimensions. These objects are an investigation into spatial experience in the form of architectural structures. They are sculptures that effortlessly establish a link between matter and mind and give the viewer the opportunity to come up with their own interpretation. Fig.2.1 shows concepts of some products through sketches and the image above shows an artisan debossing every pixel to achieve a 3D effect.

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Fig.-2.2

Images to the right shows 1:5 scaled down model of a stool and other furniture explored through the same concept.

Fig.- 2.3 and Fig.- 2.4 shows how two stools are produced from a single Brass sheet (4’ by 8’) following a simple cut and fold method without any leftovers and scraps.

Fig.-2.3 The illustration depicts how the body of two stools are easily lazer cut from a standard sheet of brass measuring 72’’ by 50’’.

Bottom Plate The bottom plate is independently screwed and not welded because a thin strip of anglomorated cork and woolen felt is attached to the bottom in order to protect the ground surface from scratching.

50’’ Four independent angles are welded to the bottom of the stool so that the bottom plate could be easily screwed to the main body.

Bottom Plate

The highlighted area shows a single piece which is lazer cut and then goes through the process of repeated punching and hammering to create a 3D relief surface.

72’’

Fig.-2.4

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Pixel Mirror

Size: 24’’L x 24’’B x 1.25’’ W Finish : Aged Brass with brushed effect.

Pixel Serveware (Raised platters)

Size: 16’’ Dia x 10’’ H 12’’ Dia x 8’’ H Finish : Aged Brass with brushed effect; Brushed Nickel with Highlights.

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Process behind the development of the mirror

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The cavity of the mirror frame is levelled with a disinfected layer of plyboard which also adds a platform for the mirror to rest.

Additional plywood blocks are glued on to the corners so that there’s no possibility of loose mirror inside the frame.

The whole mirror is taped/laminated from behind which helps the glass pieces to stay put when shattered.

A back board is screwed on to the frame with a universal cleat which helps with easy installation.

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YEAR: 2017

LOCATION: DELHI

PROJECT: FURNITURE, WALL DECOR & TABLEWARE

TYPE: CLIENTELE

Different Phases of Moon

Our Moon doesn’t shine, it reflects. Just like daytime here on Earth, sunlight illuminates the Moon. Illustration showing the eight phases of the Moon. We just can’t always see it. When sunlight hits off the Moon’s far side — the side we can’t see from Earth or without the aid of a spacecraft — it is called a new moon. When sunlight reflects off the near side, we call it a full moon.

The rest of the month we see parts of the daytime side of the Moon, or phases. These eight phases are, in order, new moon, waxing crescent, first quarter, waxing gibbous, full moon, waning gibbous, third quarter and waning crescent. The cycle repeats once a month (every 29.5 days).

A FLOWER BURST COLLECTION The small prominances looking like navals of the earth, reflect the light as mirrors from one concavity to the other in a magic Kaleidoscope which radiates pure light. The overall form also represent the different phases of the moon and through their golden Spherical light, supervise the planet, the sprouting of the plants and the reproduction.

The birth and the rebirth. Save the planet, Energies of life, the value and the preciousness of greenery has become the unique priorities for the whole of mankind, a commitment that the world has the duty to face. Therefore the golden mirrors, archetype and ancestral object of reflection are the methaphor for these promises.

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The flower burst collection consists of serveware and wall decor in the form of mirrors which is an experiment in the magical effect of miniature hammered leaf patterns. This graphic surface pattern produces a subtle kinetic effect in blisttered yellow light. The dramatic sculptural mirrors are stripped of its frame for a minimalistic take & the raised platters are first deep-formed and then hand crafted with care. The platters come with slumped glass inners to prevent the pieces from oxidizing. The whole collection was designed and developed for IRIS - a UAE based buying house catering to the customers in Saudi.

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Flower Burst Moonlight Mirror

Size: 32’’ Dia x 1.5’’ H 43’’L x 29’’W x 0.75’’ H Finish : Brushed Brass with buffed Highlights; Brushed Brass with scotched antique.

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Flower Burst Stand Bowl (Set of three)

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Size: 6’’Dia x 7’’H 9’’Dia x 8’’H 12’’Dia x 11’’H Finish : Brushed & Buffed - Gold Plated.

Brushed & Buffed - Silver Plated.

Flower Burst Raised Platters (Set of two) Size: 12’’Dia x 7’’H 14’’Dia x 8.5’’H Finish : Brushed & Buffed - Gold Plated.

Brushed & Buffed - Silver Plated.

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YEAR: 2016

LOCATION: DELHI

PROJECT: FURNITURE, WALL DECOR & TABLEWARE

TYPE: CLIENTELE

WREATH & FOLIAGE IVY Claude Lalanne was a French sculptor and designer most widely known for her work in the collaborative duo Les Lalanne with her husband, François-Xavier Lalanne. Claude Lalanne’s personal work often manifested itself in the form of decorative flora and fauna, drawing from Surrealism and Art Nouveau in her furniture pieces. The artist also created jewelry which were often molded from twisted flowers, leaves, and branches made in copper and gilt bronze.

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Today, the lives of the people entail an interesting mix of multitasking, flexibility and above all, the freedom of living. They have new habits, new hobbies and preferences.

They are big on creating experiences, thrive on entertainment and depend on technology 24/7. They look for things that make their lives easier, unique and more enjoyable. Catering to this evolving lifestyle different filters of furniture and wall decor is already available in the market. So, the question remains- is your space a true reflection of you.

The objective is to go beyond functional because a piece of Art should always be appreciated.So, just like interesting people, I also like to break the rules too.

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There are no rights and wrongs. There is just an imagination that is given the liberty to run wild. Experimentation should be given importance because the possibilities are endless. It blurs the lines and enables you to ‘‘script’’ your own space based on how you would use it.

An American Interior Designer Barry Dixon likes to work on Bohimian concepts when it comes to decorating interior spaces. His Brief involved designing wall pieces and mirrors with a bohimian twist which were meant to be installed in a casino in Miami, Florida. Inspired by the works of Claude Lalanne, i tried to amalgamate the elements of flora and fauna with a warm, personalised aesthetic that fuzes the contemporary and midcentury style.

The Wreath Mirror - ‘Wreath’ an assortment of leaves and flowers which were used as a symbol of adaornment in the Greeco-Roman world has been used to wrap around a seamless frame with a candle pillar holder. The idea was to recreate my version of wreath on a mirror where the reflection of candle dimly lights the space. The concept reminds me of my grandfather’s library which was warmly intimate and reminiscent of my childhood.

Foliage Ivy Mirror - More Gothic than Bohimien, the fluid forms are basically derived from foliage subjected to Abstraction. In other words it’s the interaction of fallen twigs with the shadows of densly vegetated forest. I wanted to bring in the formalness with a wild attitude; and what I ended up with was something quite contemporary and slightly Gothic.

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Wreath Mirror

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Size: 39’’L x 24’’W x 10’’H Material: Cast Brass.

Finish : Scotched Antique with Highlights.

Foliage Ivy Mirror

Size: 36’’Dia x 1.75’’H Material: Cast Bronze.

Finish : Scotched Antique with Highlights.

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YEAR: 2017

LOCATION: DELHI

PROJECT: CATERING

TYPE: CLIENTELE

Screen by Andy Goldsworthy, 1998 Andy Goldsworthy is a British artist known for his site-specific installations involving natural materials and the passage of time.

Working as both sculptor and photographer, Goldsworthy crafts his installations out of rocks, ice, leaves, or branches, cognizant that the landscape will change, then carefully documents the ephemeral collaborations with nature through photography.

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THE BONFIRE COLLECTION At first glance, the golden Branches carefully strapped to a bundle are reminiscent of a besom and braided objects of different kinds. The buffet displays and luminaires of the ‘’Bonfire’’ series are assembled from organically shaped, casted twigs which are made of solid brass in traditional sand casting. These single components resembling brittle branches, are afterwards molded in complex handicraft to impressive, unique pieces. The matt golden surface of ‘bonfire’ series harmonizes elegantly with the grey glass of the hand blown bowls, which are specially adapted to the shape of the small stands. The two bigger buffet raisers form a precious basis for bowls and buffet platters of all kind. Optionally available black rubber caps can be fixed if required to improve the slip resistance and to protect the sensitive surface of the serve ware. The smallest version of these little pieces of art also impresses at a set table. An amuse-bouche, bedded on a nest of golden branches, will be treasured by the guests for a long time.

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Bonfire Raised Bowl

A mock-up/ scaled -down model of the products made out of wires and acetate sheet.

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The Wind Light(Image 1.1 and 1.2) of the ‘’Bonfire’’ series is equipped with a solid baseplate with an elevated rim. This base avoids the leakage of wax and protects the table surface from heat. Furthermore, it forms the frame for a removable cylinder made of heat resistant glass, which by way of its satin surface intensifies the mood of light and protects the flame from the wind at the same time. With candle light, this extraordinary lighting objects create fascinating effects and provides for the cozy and comfortable ambience. For clients like Zieher and Currey & Co., the entire collection is meant to be elegantly served and stylishly presented in the form of etageres, newly interpreted for culinary culture.

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SIDE VIEW

TOP VIEW

45.5 cm 5 mm 4 mm

DIMENSIONS AND DETAILS 20.5 cm

A. In order to protect the glass from scratches, silicone tabs/ feet may be attached if needed.

4 mm

B. Hand blown gray glass, turned to profile with ground edges.

C.Hardened colored glass, 4mm thick, round edge, polished and deburred with 4 transparant silicone feet.

19.5 cm

19.5 cm

5 mm 4 mm

40.5 cm

D. Suitable for cold and dry food only; not dishwasher safe.

13.5 cm

8.5 cm

4 mm

E. Transparant coated lacquer which is also food safe.

21.5 cm

21.5 cm

Image 1.1 and 1.2

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Bonfire Drinks TableThe angular look with top shallow dish top showcases high quality workmanship and delicate appearance. The stable dish top welded to the rim ensures the stability of the product as a cocktail table. The polished rim at the bottom guarantees it doesn’t scratch the floors.

Measurements: Bonfire Raised Bowl- 23.5 cm by 22.5 cm H 15.5 cm by 13.5 cm H XBonfire Drinks Table-13’’ by 25.5’’ Bonfire Wind Light- 16.5 cm by 19.5 cm H

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3D - CAD concept prior to the development of the product.

MANUFACTURING PROCESS

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1. Model being removed from the mould creating multiple cavities.

2. Casting molten brass into multiple moulds with the help of a smelting pot.

3. Gringing away all the extra runners attached to individual twigs.

4. Each and every twig goes through the process to soften the surface of the twigs.

5. Applying rough scotch in order to get rid of casted upper skin.

6. The twigs get buffed in certain areas of the body in order to reveal the highlighted effect.

7. The twigs are sorted according to their sizes and then welded together using a dye.

8. The image shows how final form of the product is achieved through alteration with subsequent heating.

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YEAR: 2017

LOCATION: DELHI

PROJECT: CATERING

TYPE: CLIENTELE

Wabi-Sabi Thali Collection

‘‘Imperfection is beauty, madness is genius and it’s better to be absolutely ridiculous than absolutely boring...’’

The Wabi-Sabi collection is inspired from a product range ‘Melt’- a mix metal combination in a molten metal form developed through an open cast method. Molten brass and copper are abruptly poured in an open cavity and allowed to cool down.

The texture formed is that of a lava-flow which is caused due to the outpouring of two metals. Due to their difference in their cooling temperatures, it tends to clog and resist the flow creating a smooth, billowy, undulating or ropy texture. To the left is an example of candle stand developed through this manufacturing process.

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WABI-SABI

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The trays and bowls of Wabi-Sabi series are fascinating and diversified at the same time. The inside with its perfectly polished surface creates an interesting contrast to the matt outside. The handcrafted rim impresses by its irregularity and is crowned by a circumferential brass edge. The combination of hammered and plain surfaces of massive stainless steel and brass awards this series with that certain elegance. ‘Wabi- Sabi’ a series of contrast; the plain surface trays facilitates the service and prevents unpleasant noise. When used at the buffet, creatively arranged food can be presented in an appealing way and is accentuated by the refection of polished surfaces.

The design and development of the product range got it’s inspiration from ‘melt’ which is accomplished through open casting process. It’s a live example of how Magma travels fluidly on any surface and slowly cools down with its texture intact, irregular and imperfect. That’s how it earned its name “Wabi-Sabi”- which is centered on the acceptance of transience and imperfection. An aesthetic beauty which is well immersed in Japanese culture and tradition.

Wabi-Sabi 3- Tier Finger Food Platter

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Designed and developed specifically for Saudi Clients- IRIS and CASA DORO; the utensils are meant for daily use as well as a selection of fruit can be put in the limelight by a proper repository. As a purely decorative element, the product range conveys it’s message in their own special way.

Wabi-Sabi Bread Holder

Wabi-Sabi Chip N Dip

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Scale: Wabi-Sabi Thali Collection Plates:33 cm by 3 cm H Q Plates:23 cm by 2.5 cm H Bowls: 25.5 cm by 9 cm H 16.5 cm by 8 cm H 14.5 cm by 7 cm H 11.5 cm by 5 cm H Wabi-Sabi Finger Food Stand 33 cm by 45 cm H Wabi-Sabi Bread Holder Curved: 22cm by 13 cm by 7 cm Flat: 22 cm by 15 cm by 3 cm Wabi-Sabi Chip N Dip 23 cm by 13.5 cm H

Fig-2.5 illustrates a glimpse of sketches prior to the development of the entire collection. Material, finish and manufacturing techniques are kept in mind while proceeding with the concepts.

Fig-2.5

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Brushed Stainless steel

Brushed Brass

Polished Stainless steel

Scotched Brass Antique

Brushed Copper

Scotched Copper Antique

Displayed above are different kinds of finishes related to this specific range of products. However at one point it seemed that something needs to be added to elevate the look of the product. The third preferable dimension to add elegance to the product could only be achieveed by incorporating texture. The uneven bashing of the sheet metal added opulence in terms of imperfection. Depicted below are some initial mock-up models to observe and learn how dissimilar sheet metal reacts to abrasive hammering.

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The Thathera Community The Thathera are basically a community of artisans who exceptionally expertise in metal work, business and repair of utensils in India. It’s considered to be one of their traditional occupations. Many of them even cultivate land, and some of them are also jewellers. Basically, they are involved with sheet metal artisan works like ‘brass’, ‘bronze’, ‘aluminium’ and ‘copper’. As you can see towards your left, a master craftsman tries to form a sheet using a traditional wooden mallet.

Process behind mass manufacturing 1. The plates /containers are pressed formed and manually hammered followed by brass welding on stainless steel edges. The irregularity formed is due to the uneven melting of stainless steel due to high temperature torching.

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2. To create a beautiful contrast between gloss and matt effect, the outside of the body is wire brushed to contradict the polished edges.

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3. The inside of the container is partially polished before welding which makes it much easier to finish during the final finishing stage.

4. After the finishing stage, all the containers are stacked up for quality control and the rectified ones are sent to be cleaned using an alchohol rub.

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YEAR: 2017

LOCATION: DELHI

PROJECT: CATERING

TYPE: CLIENTELE

THE SPIKE CONSEQUENCE A Regular Sea Urchin

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Sea urchins are typically spiny, globular animals, echinoderms, inhabiting all oceans and depth zones. Because of their hard, round and spiny shell structure they are often referred to as ‘Sea hedgehogs’. They have a rigid, usually spherical body bearing moveable spines, which gives the class the name Echinoidea. In the Image above, the outer shell has been used as a plating aesthetic.

These geometrically shaped bowls take inspiration from the sea creatures that float silently through the deapths of the ocean. Even if the tentacles modelled in numerous processing steps appear very filigree, they still provide a safe base. Despite being a solid brass cast, these hammered bowls award a natural airiness and an almost floating inspiration. “Spike” offers a perfect setting for all sorts of seafood or extravagantly presented salads or desserts. Even as a decorative storage space; these bowls cut a good figure. The stand bowls ‘Spikes’, a tight web of root like structures compose well with ‘Matrix’- strictly geometrically constructed of hexagons & ‘Metal Mache’- a stretched

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canvas from all directions; and could hardly be more opposing. Especially this aspect makes the combination of three more interesting. Besides the presentation of bread and fruit on the buffet, these bowls act as sculptures. An interesting add-on to the collection are the round glass platters which can be laid on easily and thus generate an option to use the impressive objects on both the sides. Stealing the form factor from a regular sea urchin was an instant connection while working on kitchen accessories to enhance culinary stylization. The shells being used as a tool for plating in high end resturants inspired me to design something around it.

SCALE: Large- 18 cm by 10 cm H Medium Flat- 15 cm by 8.5 cm H Medium Round- 12.5 cm by 10.5 cm H Small- 7.5 cm by 11.5 cm H

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SECTION VIEW

TOP VIEW

15 cm

15 cm

8.5 cm

B

2.5 cm

C

A

3 mm spike thickness 10 cm

2 mm rim thickness

Fig.-3.1 A. Transparant

coated B. A thicker profile in the lacquer; food safe inmiddle so as to help side with dark patinatmolten brass to flow ed outside. easily inside the cavity.

C. Transparant

tabs under 4 spikes which prevents the surface from scratching.

D. Suitable

for cold and dry food only; not dishwasher safe.

E. Hardened

clear/colored glass, 4mm thick, round edge, polished and deburred.

The above image shows the bottom side of the pattern. Texture is created to add some sophistication to the product. Fig.-3.1 shows the sectional drawings of a medium sized bowl. The two bottom right images are CAD concepts before proceeding with the pattern making process.

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The product line is ideal for those who treasure the spectacular and quests an extravagant interior for his/her personal environment as it becomes much more eye-catcher on the table. Bowls are versatile and can be used as decorative objects or storage options on any table. Keeping all these factors in mind the collection was exclusively designed and developed for a German client-ZIEHER. As an object it certainly helps in terms of functionality as it is meant to be flexible and allows a quick service in resturants.

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Mass Manufacturing Process 1. Hot smelting pot being taken out of the furnace so that molten brass can be poured into the moulds.

2. Here, the channels in itself are an aesthetic part of the product but sometimes they break off when released from the mould. So, they have to be welded back.

3. Following the process of welding, the spikes are cut to a specific length so that the product stays leveled on the surface.

4. Pin holes have a very bad tendency of exposing themselves during the finishing process; so they have to be filled back with molten brass using flux.

5. The inner is stone textured for a rustic look and proceeded for final finishing.

6. The flapwheel helps getting rid of extra runners connected to the body.

7. The spikes are flattened from the bottom in order to ensure that they don’t accidentally scratch the surfaces on which they are kept.

8. The products are been stacked on top of each other before sending them off for wire brushing and chemical treatment.

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SCALE: Metal Mache - 14.5’’ by 2.5’’H Finish - Brushed Brass with Highlights Matrix - 15’’ by 2.75’’H Finish - Brushed Brass and Patination.

The bowls and baskets of the ‘‘Metal Mache’’ range are veritable eye-catchers due to their organic structure and exceptional shapes. Its hard to acknowledge the fact that the whole piece has been casted from a single mould which creates an exceptional form of art consisting of texture reminiscient of molten metal being streatched like a web.

In the lobby and at the reception area or at the dinning area; which are considered to be hotel’s land mark, these impressive bowls guarantee a lasting impression with guest and visitors especially when decorated with blossoms or flower bouquets. The out side texture of the bowls differs within the series: whether smoothly rounded or roughly structured with complicated, interconnected root like structures, with each variant having its own charm.

‘Matrix’- The light and shadow effect created, emphasizes the atmospheric ambience which turns any given space into a fine experience. Used as a storage space for hospitality purposes or standing on its own as a decorative sculpture, even off the table the containers definitely find their application. Even carefully drapped towels can also exquisitely presented in the bathroom or in the wellness area. The Jaali pattern is cleverly overlayed on one-another creating a complex yet delightful tesselated pattern. The design takes it’s inspiration from the window screens of Palaces in Jaypur, Rajasthan.

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The bowls as usual go through several manufacturing and refinement processes. The first image towards your right shows every layer being individually processed before being formed and welded together. Products related to the field of hospitality strictly undergoes quality checking to ensure its food safe.

The second image on the right shows the product being sprayed with hardened lacquer and getting it oven baked.

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YEAR: 2017

LOCATION: DELHI

PRODUCT : WALL PIECE

TYPE: CLIENTELE

PITNEY ACCENT MIRROR

‘BLAZE 1’ BY BRIDGET RILEY The first of five ‘Blaze’ paintings, Blaze 1 is an important early work by Bridget Riley. It was first displayed in London 1963 and is one of the works for which Riley became internationally recognised. Although it appears to be a spiral, Blaze 1 is formed from a succession of concentric circles made of zigzags.

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The design and development process of the mirror was heavily inspired from ‘Blaze 1’, one of the artworks by Bridget Riley. The journey of making the product follows the process of disintegration, abstraction, assimilation and simplification which reveals a lot about the decision-making process. The way precious stones are cut to create faceted folds; the same method is utilized to fragment the artwork.

The angles of all the cut pieces should be as acute as possible. It’s then re-arranged as a puzzle to create an abstract polygonal form. The resulting collage is an artwork radiating lines at different directions with the concept of centre being void, in this case the mirror itself. Overall, the design also creates the perception of movement. In a way, the final product pays homage to Riley’s decision-making processes which adds a definative character and is timeless.

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MATERIAL: 18 Gauge Brass Sheet, MDF, Mirror FINISH: Matt with polished highlights SCALE: 36’’ x 33’’

The Pitney mirror was exclusively designed and mass manufactured for Arteriors & home, a global buying house with an eclectic collection of luxury lighting, furniture and accessory designs and decor, including artisan lamps, luxury chandeliers and one of a kind designs developed by guest designers all around the world. The monochromatic image depicts faceted explorations through paper modeling to better understand it’s relationship with light.

These models had to be simplified as the complex folds won’t really be possible in the real world.

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EXPLORATION THROUGH COLLAGE AND MODEL MAKING LEFT: Triangles and polygonal shapes have been cut and assembled in such a way that these intricate lines tend to form a zig-zag pattern.

R IG HT : Develo p men t of 3D models to better understand the elements of design required to be further assesed such as the faceted angles which adds depth to this wall piece.

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Top:

3D- CAD concepts to explore the faceted edges and it’s play with light.

Bottom: Photoshoot for the promotion and marketing of the product.

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CONSTRUCTION AND ASSEMBLY INSTRUCTION: 1. The main frame is constructed out of three different parts of brass sheet which is then welded together after chase and repousse work. One inch machined rods are strategically welded on to the back of the frame in order to hold the mirror with the help of hardware. The rods are later on bored and threaded.

2. A Medium Density Board is used to fill in the cavity of the frame so as to stop it’s warpage. Double end threaded screws are used for the threaded rods and the installation of the clips.

3. A small hollow pipe acts as a suspension platform to support the clip at a correct height.

4. Hex nut tightens the grip of the clip holding the mirror supported by a Medium Density Board. A knurled nut can also be used in case a hex nut isn’t aesthetically appealing enough.

5. The mirror comes with a pre-fitted cleat so that it becomes easier for the customer for installation.

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YEAR: 2018

LOCATION: DELHI

PRODUCT : SIDE TABLE

TYPE: CLIENTELE

E P I C E N E S I D E TA B L E

“The Mirror Sees Best in the Dark”- by Bose Krishnamachari A project where Bose explores the thresholds at which potentially unifying concepts like nationalism can become unhealthy obsessions, dividing the world into Us and Them, injecting toxicity into collective life.

Bose uses ten words—fascism, narcissism, religion, capitalism, nationalism, regionalism, chauvinism, technology, casteism and god in different settings, compelling his viewers to think of the impact these words have on our society today.

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Inspired from ‘9 Rasas and 1 soft cut’ which displays 9 ornamental teak wood carved panels that reflect in the mirror beneath it stresses on the glorification and preservation of these values. The very decorative panels that are used to frame the artwork are considered to be an art in itself. A simple notion that has been forgotten with time.

There’s a true and crucial motive behind using a mirror as a table top. For me the mirror symbolizes ‘obsession’- which draws you in and entraps you but at the very same moment it is also welcoming. Hence, the mirror is mounted in the centre of a traditional handcrafted frame made out of brass sheet which also reflects back the talents of the local artisans who have put so much effort to make the product successful. A mirror is not just a receiver, it’s also a reflector and a giver.

It will reflect anything in the front. This side table is among a series of furniture which is still being exclusively developed for a buying house and a global retailer- Currey & Co.

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MATERIAL: 20 Gauge Brass Sheet, Cast Iron, CARB, Mirror FINISH: Powder coated black matt, Polished Brass.

SCALE: 17’’L x 10.5’’B x 22’’H

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DESIGN EXPLORATION THROUGH SKETCHES, FORM STUDIES, MODEL MAKING AND DIGITAL ART

As usual the project started with sketches of furniture consisting of layered segments and platforms. This overlayering of forms gave birth to organic and symmetrical frame like structures when viewed from top. The final designs were meant to be kept simple with Japanese minimalism and Indian aesthetics. The furniture looks elegant with a touch of Central European Modernism. If we go back in history, there’s a general connection between economy and cultural expression of the society- rich cultures were very expressive whereas the cultures of poverty have been celebrating design that are simple and timeless.

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To p R i g ht : CAD representation of the visualized side table.

Bottom Left: Models made using sun board sheet, mildsteel mesh and wooden strips.

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DECONSTUCTED VIEW OF EPICENE SIDE TABLE: 1. 5 mm Antiqued or oxidised mirror.

2. 20 gauge brass sheet metal frame.

3. Back board supporting the mirror and

the frame.

4. MS base plate 5. Allen Key Bolts 6. 4 legs for steady support.

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FURNITURE ASSEMBLY:

1. A MDF mould is created which acts as an accurate measurement for the profiles to be cut out from the brass sheet.

2. The upper frame is made up of four sheet-cut profiles which is assembled and welded. The unfinished product is then sent for intricate Chitai work.

3. Mirror of specific mesurement is cut and pasted upon plywood with the help of industrial adhesive.

4. A CARB board is screwed as an undercover to the frame for a cleaner look which also supports the base plate.

5. The base plate is an elliptical and is made of mild steel.

6. Base plate is bolted on to the CARB board with the help of allen key bolts.

7. The legs are individually screwed on to the base plate made of cast iron.

8. The base plate and the legs are powder coated black in order to stop the course of corrosion. There’s a reason why the base of the table isn’t made of forged iron; manufacturing technique of forged iron is a handemade process which makes it very expensive, a part of furniture making which didn’t cater to the client’s need.

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YEAR: 2018

LOCATION: DELHI

PRODUCT : COCKTAIL TABLE

TYPE: CLIENTELE

MONUMENTAL COCKTAIL HOLDER

Juicy Salif lemon squeezer by Philippe Starck Not all squeezers are actually meant to squeeze. Perhaps the most famous example of this is the Juicy Salif, designed by Philippe Starck in 1990. It is considered an icon of industrial design that has been displayed in New York’s Museum of Modern Art. It is manufactured by Italian kitchenware company Alessi.

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Embodying the concept that design should follow construction, the octavia is assembled or welded using separate leg components that has been independently produced for optimal quality and efficiency. The product was developed with an intention to create a durable cocktail table, which equally qualifies for high style entertainment and casual living and was meant for European and American market; it features hollow brass casted legs for the lightness of the product, and hand selected Belgium Black Marble for table top. The table is developed carefully with identical legs welded in balanced proportions which creates a sense of harmony, and encourages you to throw a better party. The framework creates a strong yet elegant profile with an architectural quality, which somehow resembles the ancient Greek columns, though it’s totally inspired from Phillipe Srarck’s Juicy Salif. This Monumental cocktail Table has no visible welding lines, creating an extremely fluid and photogenic aesthetic experience without any interruptions.

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MATERIAL: Cast Brass and Belgium Black Marble.

FINISH: Brushed Brass with Polished Highlights.

SCALE: 19’’Dia x 24’’H

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CONCEPT SKETCHES AND FORM STUDIES Coming down to the present from Ancient Greek and Ancient Roman civilization, the architectural orders are the styles of classical architecture, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of column employed. It were the legs of juicy Salif that inspired the design and development of the octavia cocktail table but it was also the Greek architectural columns that helped to visualise a table with multiple legs. To this date these ancient pillars (orders) have been consistently used as a part of European Neoclassical architecture. As a part of form studies, the process of alteration, multiplication and simplification were exercised using design elements and different profiles.

However the constant criticism has always pushed us to thinkwhether a cocktail holder needs so many legs; but its also important to deviate and approach the subject of object making from a classical point of view. The furniture also resonates GrecoRoman Temple Architecture.

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Top R i g ht : CAD representation of the visualized cocktail table.

Bottom Left:Scaled down mock-up models of octavia with different leg profiles and height to figure out the correct one.

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YEAR: 2016

LOCATION: DELHI

PROJECT : ARCHITECTURE & INTERIORS

Client: Malvika Poddar Structural Consultant: A&T Designs LTD Main Contractor: Manish Khandelwal

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Total Area: 6865 sq. ft.

Build-up Area: 4655 sq. ft.

Construction Cost: Undisclosed

TYPE: COMMERCIAL

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Sheesh Mahal of Mehrangarh Fort Jodhpur The above image is an inspiration and provides a characteristic feature of the royal Rajput architecture, the Sheesh Mahal in the Mehrangarh Fort of Jodhpur is a treat to the eye of the beholder. Also known as Glass Palace of Jodhpur, this marvellous piece of architecture is decked from ceiling to floor with intricate mirror work. These decorative ornaments are complemented well with the brightly coloured paintings of various religious figures made in plaster.

The ceilings and floors are inlaid with mirrors, earning the room the title of Hall of Mirrors. Mehrangarh’s Sheesh Mahal was the bedchamber of Maharaja Ajit Singh who reigned over Jodhpur between 1679 and 1724.

Carma

A fashion beautique in the heart of Delhi 116

PALACE AREA

BEAUTIQUE AREA

WATER FOUNTAINS AND GARDENS

S itting in the shadow of the Qutub Minar, in New Delhi, for

25 years, Carma has reflected the tides of fashion in the Capital. For its silver jubilee, September 2016, it was redesigned with an emphasis on architecture, design, art and craft, taking fashion beyond a space to an experience. Carma, one of the first fashion stores in the country, was founded by art collector Lekha Poddar in 1991. This year, when the opportunity to redesign Carma emerged, the Poddars, with their sensibility for business, joined forces with Devi Art Foundation to create a more wholesome experience. Everything had to be rethought and started from scratch, from architecture to interiors.

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Designing an Experience I n its newest avatar, Carma is a thought-

fully curated boutique of fashion, material and light. “We wanted to create something timeless,”. Stepping through a grand Darwaza into the leafy courtyard provides an immediate respite from the heat and dust of Mehrauli. The row of newly constructed classical Mughal arches draws you in. Historically a carriage house, the building’s basic terracotta brick structure has been retained, giving Carma its distinct character. Though it was in a very bad condition, a part of it had to be broken down and reconstructed again. As soon as you enter this old wing, the eye travels into the deep passage that opens into six recessed spaces that house the garments. There is a balance of intimacy and openness. As you leaf through the pastel gowns, you feel enclosed in a pocket of space as natural light pours through the arched windows. The interiors are a mix of matt and shiny flamed copper, creating a rich, layered effect, while providing a muted backdrop to the clothes. The concept was inspired from ancient mirrors a tool particularly used by the Kings and Queens for grooming. The backdrop has deliberately been kept quiet and muted, refraining from any patterning on the walls, because “the clothes are so embellished and beautiful”- they act as ornaments.

Weddings are traditional affairs—hence the variety of selection, which requires additional spaces. A new showroom has been added which is entirely constructed using ash bricks which creates an element of contrast between 2 buildings. With striking striped floors, angular cubes that stand as consoles and brass lighting fixtures on the ceilings, it is a modernist alter ego to the old Mughal structure.

“It’s no fun knowing what you’re going to find. There has to be an element of the unexpected.” There is an emphasis on detail that may not be evident individually, but comes together harmoniously.

Carma leaves you with that nostalgic reminder that fashion and shopping can be slightly more elaborate and enjoyable than the act of picking things off a rack or the click of a button at an online store.

The copper-lined interior arches at each bay replicate the building’s main arches; the copper edges and marble skirting have been carefully chamfered. Carma’s two buildings—old red bricks contrasting with new bricks in grey cement—are set around a large walled courtyard paved with slate tiles shaded in greys and russets. For the first renovation in the late 1990s, AD100 architect Rajiv Saini fortified the building’s old brick arches and a staircase leading to the flat-topped roof.

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PLAN

RESTROOM COMPLEX B COMPLEX A WAREHOUSE STAIRWAY TO TERRACE MAIN ENTERANCE TO THE SITE FRONT COURTYARD

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INTERIORS OF COMPLEX A

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Model

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Scale- 1:50

Sun board, Wood and Card

OVERALL SUSTAINABILITY PRINCIPLES With open spaces and wild vegetation surrounding Meherauli, the site gets colder by the night. The stone flooring in the front courtyard and the open brick complex act as thermal controllers to delay daytime- that leads to the colder nights.

1. Sunlight at Summer Solstice- The red bricks and ash bricks being porous helps reducing the heat gained

in the summer, while allowing the daylight into the room.

2. Sunlight at Winter Solstice- Direct sunlight can enter through huge window panes for additional thermal

comfort in the winters.

3. Reflective Copper Wall- The wall with reflective surface would allow more natural daylight to enter deep into the complex.

4. Southwest Facing Glazing- The heat transmission of vertically glazed surface in this direction would

drop slightly in the summer as the angle of sunlight increases.

5. Polished Marble Flooring and Open Brick Walls- Marble flooring and open brick structure has high thermal mass which can absorb excess heating during the day, and re-emit when the temperature drops at night.

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LAYOUT The building masses are composed of connected group volumes. After collaborative discussions, it was decided that the Beautique be made in two parts or two seperate volumes with a frontal courtyard space.

Complex A which has been rebuild with Red bricks is a sealed spine of cellular spaces holding all the shared compartments.

Complex B which has been constructed using Ash bricks is an open space acting as a big art gallery.

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The above image shows the interiors of Complex B which is different from the interiors of Complex A; instead of flamed copper walls, the insides are panelled with stone/slate veneers which actually proved to be as good as stone walls. Due to the limited time constraint and tight budget, the veneers proved to be an effective solution. The bottom left image puts emphasis on lighting during the night time. The lighting on the outer walls reveals the raw and rustic look of an open brick structure during the night time.

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The top-left image shows different sample swatches of stone/slate veneers yet to be selected for the project. The other main focus of the project was the surface finish of the interior walls. The priority was to get the flaming technique right and standardized. The irregular patterns formed while flaming metals like Stainless Steel, Brass, Copper to high temperatures are merely controllable during mass production. Copper being the most stable with minimum warpage at high temperatures and producing vibrant colors, qualified itself to be used as panels for interiors. The two ashtrays shown below have been heat treated through the flaming process- one made out of Stainless Steel and the other out of Brass.

These were just a part of experimentation to examine the success rate of the finishing technique on geometrical forms.

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YEAR: 2018

LOCATION: DELHI

PROJECT : INTERIORS

TYPE: RESIDENTIAL

“Architecture itself can become a sculpture’’ - Josep Lluís Sert After years of incessant travel, in 1956, Joan Miró settled down in Mallorca, an island he had visited ever since he was a small child. It was at this point that Miró was able to have the studio of his dreams, the Sert Studio. The studio was designed by Josep Lluís Sert, a prestigious architect and friend of Miró’s, representative of the modern architectural movement. Sert had been disqualified from working as an architect in Spain for 20 years, and so the studio marked a turning point in his career.

The client being a chef and a restauranteur wanted his space to be a living Art studio where he could easily escape the bustling life of Delhi and always stay inspired for his new culinary creations.

TROMPE L’OEIL A Getaway place for a Restauratuer in Delhi 129

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Client: Ishaan Kashyap Build-up Area: 2478 sq. ft.

Utility Area: 2195 sq. ft.

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Reliving the Nostalgia T he

time-worn terrazzo staircase that leads you up the first floor flat in south Delhi- does nothing to prepare you for the drama, around the corner.

The starkness of uncut, unpolished Jaisalmer stone on the landing wall and the glistening curve of a brass plate placed at an angle are the first things how innovation and creativity have been put together. The curves, circles , dots , ovals are the recurring design forms used in this house , offering a feeling of voluptuousness. In terms of approaching the project, it was very clear from the beginning that it shouldn’t be the standard display of art where the things are boxed or hung in a frame.

The drawing room is a dramatic study of textures and geometry. The mantel piece above the fire place is a jigsaw of stone and the enormous copper mirror, almost like an installation.

The curve of the red and purple carpet echoes the curve of the metallic foiled discs on the wall complementing the deconstructed bar and the furniture in purples and grey. A space meant for savoring sunny mornings is adorned with both metallic and non-metallic accents, such as candle stands vases and many more.

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A part of the marbled wall is placed on the floor in the form of a carpet, from where the windows look out to the dense tree line. In complete contrast to the drawing room is the kitchen, where juxtaposed with pots and pans are objects and art collected on the homeowner’s travels. The glitter fabric on the walls makes an otherwise ordinary room come alive, creating a cheerful space for cooking experiments. Opposite to the kitchen is a wall pulsating with bold strokes of color in the form of Gotai.

The dining table is a pool of textured melted brass, as if it’s a moonscape.

Leading on to the guest room, which is a whole happy universe of circles in different sizes; the concept is a study in pointillism. Color also spills on the master bedroom’s walls, lined with kite paper in bright turquoises and pink that are echoed in the bed linen.

A cut – out in a wall of slim bamboo frames the stunning facade of the Khan-I-Khanan Tomb, which dominates the skyline of the Nizamuddin East. The screen also blocks out neighboring structures which offers a feeling of privacy. The thatched rooftop set up with linear lights creates a perfect mood for barbeque nights.

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The importance of natural light in Interior Architecture Light: wave or substance? Light is not built, but its perception is a cultural interpretation and can be designed. How do you define a dark room? How do you define a patio? What is a narrow street on a summer evening? The spaces we design are light pickers, quiet or intense light, artificial light or natural light. In these type of projects we have worked with light in different ways; specifically, we have used it as a structure, as an element to provide depth or as a physical color. Light is always an essential element to take into account, but in some of our works this fact is appreciated with special clarity.

Lighting has always been a fundamental element in the conception of architectural spaces, for it is capable of playing with volumes, distorting the perception of space and even dramatizing the shapes and textures of the materials, enhancing their aesthetic features dramatically. But light does not only play a major role at a decorative level. The quality of illumination makes all the difference when it comes to the comfort -even the health- of those who experience living in these spaces. Although this is common knowledge in the world of architectural design, it is usually only applied to the use of natural light. But, what about artificial light? Whether it is simply to replace natural light as night falls, or to bring light to areas where natural light does not reach, artificial lighting is also an absolute necessity. Moreover, it has ceased to be a simple method of basic lighting and has become one of the fundamental pillars of interior and exterior design.

The above illustration depicts the science of natural light in combination with the interior colour scheme.

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PLAN

Guest Bedroom Dinning Area Master Bedroom Bathroom Second Bathroom

Drawing Room Kitchen Dressing Room Lobby Stairway

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Supports to each and every wall were important as the model had many curved extensions.

These extensions had to be supported by bamboo dovels and sun board beams to make it sturdy at the top. This is the actual model sized representation of the first floor apartment building. The apartment surprizingly doesn’t have any balcony.

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Model

Scale- 1:50

Sun board and Card

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ENTERANCE HALLWAY

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DRAWING ROOM

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DINNING AREA

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DRESSING ROOM

KITCHEN

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BEDROOM

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TERRACE

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GUEST ROOM

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Displayed are some of the swatches sucessfully weaved using copper, aluminium and brass metal stripes.

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BASKET WEAVE

TABULAR WEAVE

STRANDED WEAVE

PLAIN WEAVE

DUTCH TWILED WEAVE

STRANDED WEAVE

Top: Experimentations with finishes and materials are very important prior to any interior project. Weavingusing the metal stripes was one of those experimentations that had to be tried out for the development of limited edition products.

Bottom left: Formed and polished brass bowls are exposed to different chemicals for the oxidized effect.

The finishing achieved is not at all food safe and can only be used for furniture.

BEHIND THE SCENE A collective images of work in progress 1. The final placement of candle light pillars before the welding process.

2. Metal weaving in action for a dinning table fruit basket.

3. A part of the console being hand polished using talcum powder to bring out the extra lusture.

4. Bits and pieces of bark textured fragments are welded together using an internal dye as a support.

5. A padestal in it’s final finishing process.

6. Rightly forming all the sides of the cocktail table for the terrace.

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YEAR: 2019

LOCATION: DELHI

PROJECT: EXHIBITION DESIGN

CLIENTELE: RAHUL JAIN, STUDIO ASHA

PRA-KASHI: Silk, Gold & Silver from The City Of Light 155

The exhibition co-presented by Devi Art Foundation and Eka Archiving held at the National Museum, Delhi offers a new way of looking at cross- cultural influences, craftsmanship and celebrates the skill of Varanasi Weavers. The forty-three textiles on display have been woven on drawlooms, recreated and re-imagined from historic examples from the courts of Mugal India, Safavid Iran and Ottoman Turkey. The contemporary textiles had been juxtaposed with historical textiles, miniature paintings and jwellery from the collection of the National Museum, to situate them within the era of patronage where such luxury art by royal Courts where popular. The exhibition as a whole speaks of a story that these splendid art forms were not being practiced in isolation, but the artisans actually worked together in imperial workshops or Karkhanas to create these textiles. As the lead exhibition designer, my role involved discussion and clarification of brief with the client which coverd the themes and ideas for the promotion of the show; plans and prototypes followed by the actual execution of the gallery space. I toook a total of six working days for the completion of the project on site.

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Growing up in multiple cities in India and having the oppurtunity to practice design world wide allowed him to view interiors, architecture, society and culture through a different perspective. ‘‘I totally credit my parents for where I am today; I picked up a lot from them, their keen interest in oil paintings on large canvases’’ says Avishek Dey. Dabbling with art from a young age motivated Avishek’s decision to study design at IICD, Jaipur where he specialized in Fired Material Application.

Before joining Devi Art Foundation as a Senior Project Lead, Avishek had had a rewarding and extensive experience as a product designer at Devi Overseas Pvt. Ltd. dealing with global buying houses and design agencies such as Barney’s New York, Pear 1, Global Views, Baker’s & Crate and Barrel to name a few. With a work experience spanning more than 6 years, Avishek has worked on a broad spectrum of interior design projects. His design vocabulary for ‘‘CARMA’’ a commercial project in Mehrauli, Delhi led the team to win the Trends Excellence Award. The big break came in the form of ‘‘ TROMPE L’OEIL’’, a residential project in East Nizzamudin, Delhi which let him to win the first AD 100 Award for his team.

Avishek also recieved nominations for Philips Award and Lexus Award.

Since an early age before joining the college, Avishek had a keen interest in Photography, so in 2019 he went on to persue a fellowship programme from ICP (International Centre of Photography) for creative practices. Currently he is working as a Creative Digital Manager and Content Strategist at GREY Advertising Global.

COLLABORATIONS Iris Nieman Marcus Arterior’s Home Currey & Co. Palecek Kara Mann Armani Hotels

Casa Doro Anthropologie Jay Jaffers Katharene Pooley Tom Dixon Pottery Barn CB2

FAIRS & EXHIBITIONS Ambiente Frankfurt- Messe Frankfurt, Germany | 2016, 2017 Maison & Objet- Paris, France | 2015, 2017, 2018 Index Trade Fair- Dubai, UAE | 2016, 2017, 2018 London Design Fair- London, UK | 2017 Highpoint Market Trade Fair- North Carolina, USA | 2017, 2018 Design Miami- Florida, USA | 2016, 2017 Madrid Design Festival- Madrid, Spain | 2018 Export Promotion Council for Handicrafts- Noida, India | 2015, 2016, 2017, 2018 India Design ID- Delhi, India | 2016, 2018 AD Design Show- Mumbai, India | 2018 Singapur Design Week- Singapore | 2015, 2017 Sleep + Eat- London, UK | 2018 China International Furniture Fair- Guangzhou, China | 2018

COPYRIGHT 2020 | AVISHEK DEY | ALL RIGHTS RESERVED NO PART OF THIS PUBLICATION MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM BY ANY MEANS ELECTRONIC OR MECHANICAL INCLUDING PHOTOCOPY, OR RECORDING ANY INFORMATION STORAGE AND RETRIEVAL SYSTEM WITHOUT PERMISSION IN WRITING FROM THE PUBLISHER.