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Pattern

Ayooshi Jain | PID 20078

CCCCCCCraft Future Future Future Future Future Future Future Future

Faculty: Rishav Jain TA: Shail Sheth Spring’21

Pattern

CCCCCCCraft Future Future Future Future Future Future Future Future

First Edition: 2021 This is an academic publication outlining the details of the Studio: Craft + Future = ? offered for the students of Master of Design (Interiors). This course was conducted at the Faculty of Design, CEPT University during the Spring 2021. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form now known or hereafter invented, including photocopy and recording, or in any information storage or retrieval system, without permission in writing from Studio Tutors or Students. Publication Design: Shail Sheth

Pattern

CCCCCCraft

Faculty: Rishav Jain TA: Shail Sheth Spring’21

Future Future Future Future Future Future Future Future

RESEARCH PROCESSES

DESIGN POSITION

CRAFT

INTERIOR

PRODUCTION

PRACTICE

DESIGN METHODS

OVERVIEW The studio intends to discuss and identify the position of craft in contemporary interior architecture practices. With a combination of research and design methods, the studio focuses on envisaging future directions of craft productions through design concepts and craft design prototypes. The studio is largely divided into two parts: the first part uses intensive research techniques to establish a theoretical position of craft and the second part intends to test the position through a design problem. The studio involves rigorous reading sessions, theoretical analysis, field studies, hands-on explorations with craft techniques, along with design discussions. The studio responds to the diverse pluralistic landscape of interior architecture practices in India and positions craft as one of the forerunners in the design decision making. It intends to delve into various future directions that craft productions can lend to interior practice. The studio is largely divided into four modules,each emphasize the learning outcomes of the course: Know the contemporary position of craft, Ideate possibilities about the vision of the future, Develop an individual design position and Make relevant design explorations representing the design position. The key outcomes of the studio include a listing and categorization of contemporary craft design practices of India, essays based on student’s own developed theoretical positions, field notes, visualizations of design positions along with prototypes and material samples.

Learning Outcomes: • Analyze and categorize the contemporary craft design practices of India • Evaluate and critique literature and research done on contemporary craft and write/derive/formulate a theoretical position on craft • Formulate a craft-design solution based on pre field studies and given design constraints. • Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool. • Construct contemporary craft design prototypes, material boards and make presentation drawings 7

Learnings

Craft earlier for me used to be only about ornamentation and its value wasn’t greater either both in value and in monetry sense. This studio challeneged my notion of crafts to the very core and gave me an idea of what it could be. Also craft in a way became the sole connector to the bygone era where art used to be celebrated in a meaningful way. The technology today is a modern man’s craft so much so that every invention binds aesthetics with the usage in just the right amount but it is slowly loosing the personal touch and narrative since the last century. With the rise in capitalism, everyone seems to be growing further away from their own roots and craft happens to be the only binding agent between the two. People design change and tranquility with the objects they acquire since they want to relate to eras as well as stories from the part, craft, considering in the same language furthers the cause. At the same time, the beautiful collaboration can even enhance the objects and their usage. From a poor man’s craft, it can always evolve and happily welcomes modern tools. The beauty of craft also lies in the methodology and intricacy, its intimate and personal to every maker, thus enhancing the creativity and skills. Passing on the skills can be both enduring as well as challenging. The studio brought about all the changes of how I saw the craft then versus how I see it now, its more personal and intriguing for me. Ayooshi Jain 9

Contents

Know Ex.1 | Card Sorting Ex.2 | Visual Mapping Ex.3 | Field Mapping

Ideate Ex.4 | Theoretical Position

Develop Ex.5 | Accumalizer Ex.6 | Envisaging the Future Ex.7 | Abstraction Ex.8 | Elementalism

Make Ex.9 | Generating Interior Space Ex.10 | Manifesto Ex.11 | Design Development

Ex.1 Card Sorting

Duration: 1 week Each card has associations with the keywords: Contemporary. Craft. Design. Future. Understand each card: what it means and why is it important? What do these cards mean to you? How do they affect craft or design or practice? How will you take them ahead? Do they need a different design process? The amalgamation of two has always created some autonomous interiors and the process behind the two is worth a good discussion

as to why a person chose that particular craft and why. The design and design innovation always has been responsible for taking the craft ahead with new changes in techniques along with community because the same requires skill and evolution in prevalent practices. By far it has been a medium of communication and interpretation for many over the generations, the ornamentation and detailed work by a craftsman always gave a symbolic viewpoint of craft in general.

Ex.2 Visual Mapping

Duration: 1 week The relevance of crafts in interior architecture, especially, during the last two decades is dominated by various factors remaining at the centre of advocacy, both in theory and practice. With an effort towards the glorious past of the cultural heritage of India with varied and diverse craft traditions, the aspirations towards a global identity cannot be neglected. There are various degrees of application and integration of crafts which can be seen, each showcasing an individual

interpretation of craft in the built environment. As a designer, it is crucial that one is aware of the interior practices that surround us. It is important that these practices are reviewed criticallynot as what they are but rather what they do and how they do it. This exercise revolves around developing a position on current interior practices and builts it on the work done by design professionals across spectrums. This exercise intends to examine works of various architects and designers who have worked with craft - in any capacity.

Ex.3 Field Mapping

Duration: 2 weeks This week we were asked to explore the various crafts present in the said city, by this exercise we understood the ground reality of practicing craft in modern times. This also gave us an idea of how sacred this craft was to the specific people. We met with various clusters practicing a craft for generations as well as people who just started exploring the realms of the traditional crafts from the means of livelihood. This week made us realise some serious challenges in keeping

the dying art alive. We even visited mutiple studioes whose practices are heavily dependent on crafts, the factory visits helped us understand the intersection of modern contemporary designs via handmade methods. The various crafts were wood turning, bamboo weaving, mata ni pachedhi, block making, block printing, lacquer work etc. While understanding their conditions, we studied the crafts very closely which helped making our understanding of handmade work more intense and made us realize how sacred it is for some people.

clay club practicing Terracotta

Wood workshop

Bamboo cane weaving 29

Bamboo workshop

Stone carving and inlay

Nakashi work done in wood

casting workshop

Nakashi work done in wood

Mata ni Pachedhi and block making workshop. 31

Ex.4 Theoretical Position

Duration: 1 week In continuity to the positioning of contemporary craft practices, all students are required to gather the data and process it critically in order to form acomprehensive theoretical position in relation to crafts and its future. The card sorting exercise and the coding/categorization from the initial exercises will enable one to generate a standpoint which needs to be elaborated further by the reading materials provided as inputs. The assignment is briefly divided into three stages.

Stage-01 : The student is expected to look through all 245 projects that have been pinned up in class to try and comprehend what all has been explored with respect to the topic: Contemporary Craft. Design. Practice in India as well as abroad. Stage-02: After having scanned all the projects, the student is expected to identify keywords that they relate to in accordance to craft and the future later grouping them together to arise at a common concern or issue.

Interiors have always been a subject to the built environment surrounding the contextual site, the pattern of interiors is governed by the prevalent advancement in the trends or influences in thinking of the designer. There is, a much greater need to understand the making of collaborative practices of design with its other counter parts one being crafts of regions. The amalgamation of two has always created some autonomous interiors and the process behind the two is worth a good discussion as to why a person chose that particular craft and why. The process always has a different impact given a varied choice of materials and conditions of a site where it’ll be executed. The design and design innovation always has been responsible for taking the craft ahead with new changes in techniques along with community because the same requires skill and evolution in prevalent practices. By far it has been a medium of communication and interpretation for many over the generations, the ornamentation and detailed work by a craftsman always gave a symbolic viewpoint of craft in general. Though the craft was always looked upon as a way to decorate or celebrate daily use objects, it later on evolved as a way to communicate with oneself through either the symbols or the process. The application of craft has evolved over centuries and has been an extensive contributing factor towards functional interior practices, which have also been subjected to many factors such as the availability of resources in sociocultural settings, craftsmanship, impact on community etc. The elements in space making have been an important contribution in evolution of crafts, the resources and techniques which invited a plethora of distinct features in an expression and impression of spaces. The character of spaces was brought to life as the details became more and more minute, to the point where ornamentation became a way of life. it also further bridged the gap between the ever-growing requirements of a home/ work space etc. Even though

the traditional craft is somewhere on two extreme ends of ideologies in comparison- a poor man’s craft versus a heritage heirloom, it still seems to struggle to find its own identity via interior practices in todays time. One such project which aims to celebrate the bamboo craft is Anandaloy Centre by Studio Anna Heringer which became a catalyst for a collaboration between design innovation and community upliftment altogether. The working of bamboo was used to its full potential and not focused on the ornamentation part of it, the craft was more physically rooted in the design than just a surficial treatment. Craft more than being a heritage also became a motive to be called as a global practice and sustainable. The flexibility in the approach of this craft reflected the idea of the region and vernacular, here function guided the outcome and application of craft in general was more towards the reflection. There was no defined pattern for the space making elements like doors or windows. The concept of structure is now an ever-evolving part of aesthetics of a space, it also effects the quality of space and what all does the space offers. The grouping of the two is now quite seen around the world as an evolution in crafts in interior and space making. It has too much extent characterized craft as a mere ornamentation tool. In developing world, the concept of ornamentation has more evolved towards the structural part as well, the techniques remain the same but eventually are used on other materials providing us with some new objects, the use of these are not limited to just beautify but to extenuate the interior qualities of a space. Craft has always derived its meaning, textures and shape from nature, even more so, the population is bending towards the idea of connecting to nature via the spaces they inhabit. The idea of sustainability has become synonymous to nature and in near future, people might want to live in spaces which are up to date with the latest technology but at the same time choosing 33

to amalgamate the structural systems and aesthetics with nature with craft as a medium, Craft as always been subject to evolution due to advancement in materials, craftsmanship, production and community needs. Hence the future of craft becomes hybrid, a mix of ornamentation/ aesthetics with the required needs of a particular space. The ideation is now how to move from mundane idea of craft and to design it further that it fits a particular program without exactly identifying the craft with its region. The notion of craft production has now both, handmade and mass production, but the exclusivity has remained in its character always.

Craft+Future

Intercross Symbolic Prevalent Reorganize Interlinked Intricate Combination

Hybrid 34

Ex.5 Accumalizer

Duration: 1 week An international interior architectural office ( based out of India currently) is proposing to open up a Country office in India. Though the firm is of international repute but doesn’t have any projects built in India currently. To set out an office in India, they are looking for a Principal Designer who can lead the team in India. The firm will select the final candidate in a two staged process Shortlist and final selection. The selection process will consider applications in form of a pitch

presentation. The important points to be considered: 1. The international interior architecture office’s ideationthought process needs to be evident and prominently visible.Remember the design project is of the firm and not ‘you’ alone as a designer. 2. The design proposition should be well informed from the current notion of interior practices and the position of craft production. 3. The proposal is based on some ideas of future speculations which becomes the context of the project.

An idea of design intervention from studying one master ar

Olson Kundig Architects is a collaborative global design practice whose work expands the context of built and natural landscapes. 38

rchitecture firm, Olson Kundig Architects.

Working with artists and craftspeople is integral at Olson Kundig. In some cases, the architecture becomes the vessel that supports specific art installations. In others, the architecture and art are formed together to create a seamless spatial experience. In nearly all of its projects, the firm works with craftspeople to fabricate specific elements that support the larger intent.

Ex.6 Envisaging the Future

Duration: 2 weeks Imagine a future with lack of land and spaces to inhabit are getting disturbed, disordered and smaller, and since we are a fan of time-honoured techniques as much as their contemporary interpretations, the government appoints a designer who manifests a space for distressing, revitalising the people of the nation. The problem of disorder is serious, the people want a solution. And since we value the 10-digit technology, here the designer then collaborates with craftsmen since we value things

made by hand more, the original 10-digit machine. The objects envisioned necessarily needed to inhabit a space and not intrude. The journey is then realised as a pilgrimage, which once used to be the most famous expression of leisure and mindfulness, an activity that was for everyone. We value the unique and enduring, the built environment helps us build a narrative and resonate with it. It offers calm and peace. Hence the designer and craftsmen collaborate to come up with spaces which evoke emotions and offer order to the beings.

“If the final frontier of design is to breathe life into the products and buildings around us—to form a true material ecology—then designers must unite these two world views, which brings us back, of course, to the beginning. Here’s to a new age of design, a new age of creation that takes us from a nature-inspired design to a design inspired nature, and that demands of us—for the first time— that we mother nature.” - Neri Oxman. The future, as per my notion, projects itself very distinctly is - material ecology: an interdisciplinary practice that will sit at the cross-section of materials science, digital fabrication technologies, and organic design. Its goal will be to come up with ways of making things that are informed by the structural, systemic, and aesthetic wisdom of nature. For instance, Oxman closely studies birch tree bark and crustacean shells to gauge how organic life assembles itself, then demonstrates how architects can apply these principles at scale. Her ideology positions itself as a materials library for tomorrow, and proposes a new age in which biology, architecture, and design work seamlessly as one. Services like air purification, climate regulation, carbon sequestration, and waste decomposition should all be part of architectural briefs.According to her notion of future, the quality of life is inextricably linked to the health of the environment. There is a need to sustain climate and augment it with designs that facilitate the well-being of not one but all species. Given the urgency of climate change, architecture needs to serve nature at large while considering these ecological forces as clientele. Architecture is evolving into the design of ecological niches. 41

Ex.7 Abstraction

Duration: 1 week After nourishing from the study of contemporary craft practices and production; and after forming one’s position about craft in future, all students shall represent their notion of craft through an abstract model. The focus of the abstraction process will be to generate new expressions and perspectives by fusing ideas of design with craft, based on your write up from the previous exercises. The designer’s ideas have to be based on the wisdom of the craft tradition as well as inferences

from what they saw, heard, discussed and learnt from the field visits. In this abstraction exercise, students are expected to embody a theoretical construct into an abstract model by synthesizing the emerging craft design practices. Understanding of pattern came via understanding a Kaleidoscope, whose inherent quality was to showcase pattern from being held at any angle.

Craft + Future = Pattern pattern /ˈpat(ə)n/ noun a. a repeated decorative design. b. a model or design used as a guide in needlework and other crafts. c.

decorate with a repeated design.

d. to.

give a regular or intelligible form

•The ideation can be created digitally but the fabrication can be a semi-process, it will integrate the knowledge of the craftsmen and that of a designer to create something unique every time but that product in itself will always have a coherent set of pattern, it will be subject to performance and reason. 43

Ex.8 Elementalism

Duration: 2 weeks Elementalism was about designing 35 elements which helped me understand the word pattern to its core. Pattern was now observed by me almost everywhere, it was almost a major inherent character of our built environment hence it became imperitive to explore it structurally, as a planar design, or in the way things were built. Since pattern is responsible for curating expressions, it seemed apt to let the said word take over the space as well. Here I tried to use pattern against each

other, exploring domains where it could send a sane person to frenzy versus how it could create an aura of calm and peace. The coherent set of displays further explored the symbollic nature of spaces, where in again through pattern, with the change of vistas, changed its meaning tooas one walked closer. It was left to interpretation of the user.

Ex.9 Generating Interior Space

Duration: 1 week The site manifested in a place called the General Post office in Ahmedabad. The space was earlier responsible for connecting people via letters, its actually ironical how this space now lies in almost ruin. It seemed apt to transform the space into a place which connected people from all walks of life and in more responsible fashion. Each space is manifested in series of transitional areas, each area depicted stages of life and helping people explore

themselves. The yatra started off with a maze, it was conceived so to make them realize and appreciate the value of calm. The maze sent people into a frenzy, at the same time it created different pockets providing sudden meeting spaces for people, seating areas in between maze were designed as pause points helping people understand the area around them. This exercise further was a kickstart to an actual design process, it took forward our idea of conceiving a space via placement of blocks, like a bubble diagram.

Ex.10 Manifesto

Duration: 2 weeks Manifesto (Manifest-To) is referred to as a possible direction of a Bigger idea/need. It is structured as a single narrative, beginning from an abstract idea, need or a thought. The intention is to situate the thought, possible facts, readings that need to be incorporated to support or prove the potentiality of the design position. The idea of the manifesto is to act as a starting point of the design project. This needs to be built up through vision for future scenarios, an idea about lifestyle

of people, cultural nuances and habitation ideas . With all these acting as a raw material for the thought, all of these must generate a problem statement or a specific need for a design position. After the problem statement, development of a possible direction or a process is laid out in an abstract form in the Manifesto with a probable conclusion or an outcome. In the studio, the manifestos are in direction of future interior practice’s needs or problems which can be answered/ solved/ addressed by the Craft and/or Position on Craft.

Ex.11 Design Development

Duration: 6 weeks Name of the Project: Yatra Function: Distressing centre Built in: 2030 Site: General Post Office Location: Ahmedabad Idea of Speculative Future: Disordered and disturbed future, saved by pattern. Description : Imagine a future with lack of land and spaces to inhabit are getting disturbed, disordered and smaller, and since we are a fan of time-honoured techniques as much as their contemporary interpretations, the government appoints a designer who manifests a space for distressing, revitalising the people of the 88

nation. The problem of disorder is serious, the people want a solution. And since we value the 10-digit technology, here the designer then collaborates with craftsmen since we value things made by hand more, the original 10-digit machine. The objects envisioned necessarily needed to inhabit a space and not intrude. The journey is then realized as a pilgrimage, which once used to be the most famous expression of leisure and mindfulness, an activity that was for everyone. We value the unique and enduring, the built environment helps us build a narrative and resonate with it. It offers calm and peace.

Hence the designer and craftsmen collaborate to come up with spaces which evoke emotions and offer order to the beings. In this disordered world, the only thing monotonous is the pattern, our brain curates every expression creating an artistic expression. Pattern creates expression for everyone, its personal and calming.

Early ideations of what the space will look like, exploring pattern in space making via vertical elements. Also exploring enclosures created by similar pattern in a space, understanding stark contrasts in a monotonous structure.

The final design of the space

7. 6.

5. 4.

10. 9.

11. 13. 3. 2.

LEGEND 1. Entry 2. Maze 3. Transition to calm. 4. Space depicting chaos 5. Space for reflection/ Contemplation 6. Space meeting new people 7. Space for retrospection 8. Zenith 9. Towards exit 10. Space to self/ for self 11. Space to meet people 12. Space for guiding self and others.

The site manifested in a place called the General Post office in Ahmedabad. The space was earlier responsible for connecting people via letters, its actually ironical how this space now lies in almost ruin. It seemed apt to transform the space into a place which connected people from all walks of life and in more responsible fashion. Each space is manifested in series of transitional areas, each area depicted stages of life and helping people explore themselves.

The yatra started off with a maze, it was conceived so to make them realize and appreciate the value of calm. The maze sent people into a frenzy, at the same time it created different pockets providing sudden meeting spaces for people, seating areas in between maze were designed as pause points helping people understand the area around them. The maze led them into an open expansive area which was now a journey through different walks in life, it started off with chaos, chaos in time and held a symbolic structure which looked so dense from afar that it almost intimidated the visitors from afar, yet the journey would take way from there only. 99

11. 10.

12.

7. 5. 3.

100

13.

As one moved closer to the structure, they realized how simple and intricate it as, again symbolic of problems in life; no matter how daunting they were, the area made them realize that if they faced it head-on then it is a simple and can be solved easily. The chaos let them to other areas which helped them contemplate and introspect in their own life following the great view of a zenith, which helped them further connect with their higher self. The entire plan remarked and totaled a journey of a temple via a pilgrimage which used to once the more leisured activity among people. In search of calm and then later connecting with like minded people. The entire floor plate didn’t compromise of walls in order to breakaway from self-imposed rigidity, in fact the vertical members provided seclusion wherever necessary but not so much so that it actually still could be seen as a part of the space. The areas outside were completely for interaction or retrospection, the spaces encouraged conversations helping people guide others and leaving a legacy, encouraging the learning from various walks of life. 101

102

103

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The entire plan remarked and totaled a journey of a temple via a pilgrimage which used to once the more leisured activity among people. In search of calm and then later connecting with like minded people. The entire floor plate didn’t compromise of walls in order to break away from self-imposed rigidity, in fact the vertical members provided seclusion wherever necessary but not so much so that it actually still could be seen as a part of the space. 105

Chaos is everywhere, this space focuses on rebuilding self and understanding the power of facing problems individually. What may seem so daunting canbe just the matter of time, or only for a split second. This space helps one understand that it is temporary, the more you walk closer, 106

more it seems so simple yet intricate. It helps one speculate how the problem can be solved, or offers an ideal scene of less complications in life.

107

So stage two helps us to stand apart. In this time of life, we are ready to discover who we really are. We are also ready to push boundaries that we were previously taught to respect. We are now making our own decisions, and learning what makes us unique to others.

109

110

Life is a journey where each stage of life impacts the other and different life experiences builds or furthers away from our comfort zone. Thus represents the basics. In this time of life, you learn how to walk, talk and other simple tasks like feeding yourself. So stage two helps us to stand apart. In this time of life, we are ready to discover who we really are. We are also ready to push boundaries that we were previously taught to respect. We are now making our own decisions, and learning what makes us unique to others. 111

The maze led them into an open expansive area which journey through different walks in life, it started off with os in time and held a symbolic structure which looked so afar that it almost intimidated the visitors from afar, yet

112

was now a chaos, chadense from the journey

would take way from there only. As one moved closer to the structure, they realized how sim ple and intricate it as, again symbolic of problems in life; no matter how daunting they were, the area made them realize that if they faced it head-on then it is a simple and can be solved easily.

113

114

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guiding self and others 116

We are building skill sets, lifestyles, reputations, and habits within which we’ll engage in launching ourselves independently into the world. We don’t usually think of it at the time, but this is when we begin building our own legacies for the future. It’s an exciting period, often for trying new things, for being creative, and for gleaning the first deep satisfactions we may experience from making a difference for good for other people as well as ourselves. 117

PLAN

FRONT ELEVATION 118

SIDE ELEVAT

EXPLODED ISOMETRIC

TION

Vertical linear elements with horizontal planar elements encouraging dialogues and also omitting them whenever required in a space. 119

120

The chaos let them to other areas which helped them contemplate and introspect in their own life following the great view of a zenith, which helped them further connect with their higher self. The entire plan remarked and totaled a journey of a temple via a pilgrimage which used to once the more leisured activity among people. In search of calm and then later connecting with like minded people. The entire floor plate didn’t compromise of walls in order to break away from self-imposed rigidity, in fact the vertical members provided seclusion wherever necessary but not so much so that it actually still could be seen as a part of the space. 121

122

The maze led them into an open expansive area which was now a journey through different walks in life, it started off with chaos, chaos in time and held a symbolic structure which looked so dense from afar that it almost intimidated the visitors from afar, yet the journey would take way from there only. As one moved closer to the structure, they realized how simple and intricate it as, again symbolic of problems in life; no matter how daunting they were, the area made them realize that if they faced it head-on then it is a simple and can be solved easily. The chaos let them to other areas which helped them contemplate and introspect in their own life following the great view of a zenith, which helped them further connect with their higher self. 123

Here the craft of wood turning and joinery was used,this structure is extremely user friendly, at the same time it could provide required spaces like a table or a seating space for two, it also became a barricade in itself if and when needed by the user. 124

Scaled

prototype

the

module.a 125

Stackable elements providing personal space when needed and discouraging dialogues

PLAN

ISO

MODULE ORTHOGRAP

FRONT ELEVATION

126

PLAN

SECTIONAL

OMETRIC VIEW

EXPLODED ISOMETRIC VIEW

PHIC DRAWING

L ELEV.

SIDE ELEV.

ISOMETRIC VIEW

for the sanity of self Every individual have goals and certein set of expectations from self. The higher your expectations, the more opportunities and experiences you will have, and the closer you will get to achieving your goals and dreams. Every life stage is connected, and what happens in each, affects all the stages to come. The life experiences in each stage build upon one another and prepare a person for the future life stages. At some point, during this stage, you will see your limitations, and it will anger you. You probably won’t accept these limitations and push to try and achieve them regardless. 127

Yatra, the pilgrimage Ayooshi Jain l PID20078 MID, Faculty of Design l ID-4000 l Craft + Future = ? Tutors: Prof. Rishav Jain l Teaching Associate: Shail Seth 128