Craft + Future = Hybridity .

C R A F T FUT Hybridity Hithasini Rajagopal | PID20131

Tutor: Prof. Rishav Jain Teaching Associate: Teja Payapalle Spring 2022

How does one position the practice of craft in the field of interior architecture today?

Hybridity

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 2022.

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: Anamika Gupta, Apurva Pandey, Shruti Kohli, Teja Payapalle

Hybridity Hithasini Rajagopal | PID20131

Tutor: Prof. Rishav Jain Teaching Associate: Teja Payapalle Spring 2022

Studio Outline The studio dwelt in discussing the positions of craft in contemporary interiorarchitecture practices. With a combination of research and design methods, the studio focused on envisaging future directions of craft productions and its manifestation in interior practices. The studio was largely divided into two parts: the first part used intensive research techniques to establish a theoretical position of craft and the second part intended to test the position through a design problem. As part of this studio, each student ideated an individual position on Craft+Future which was later developed with their own unique design projects, materialm samples and prototypes.

The studio involved rigorous reading sessions, theoretical analysis, field studies, handson explorations with craft techniques along with design discussions. The process was structured into four modules, each emphasising the learning outcomes of the course: know the contemporary position of craft, Ideate possibilities about the vision of the future; Develop an individual position for its future’ and Make relevant design ideas representing the vision of future of craft. This studio was part of an International Academic Research Project - Threads of Innovation (TOI) - (2021 -2025) between the Faculty of Design, CEPT University and Faculty of Architecture and Design, Norwegian University of Science and Technology (NTNU).

Primary Approach For this studio, each student will: EXPLORE the contemporary position of craft, PROPOSE a vision of the future, DEVELOP an individual design manifesto and MAKE design propositions and craft prototypes.

Learning outcomes

Learning Outcomes At the end of the semester, the student will be able to- Analyze and categorize the contemporary craft design practices of India - Develop a design position and translate into an interior expression through 3- dimensional , material based design outcomes - Organise and evaluate the programmatic and pragmatic potential of derived design position - Build a design vocabulary and test it through the selected context. Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool.

- Construct contemporary craft design prototypes and make interior drawings.

Each co provide opportu for t practic interior

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oncern es new unities the ces of r design

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TUTOR’S PHOTO

Program Chair Master’s in In Interior Design Faculty of Design 12

Tutor’s Note The studio, Craft + Future is an attempt to understand the position of craft in interior architecture practices of India. Research intensive and design process driven, this studio allows each student to develop an individual position on how they see the approach towards craft in interior practices.

The first few weeks expose them to craft, interior design practices, craft communities, ideas of the future. In the later weeks, they develop their own design manifestoes which are realised through interior design projects.

The studio highly relies on theoretical and practical debates in the field of craft and interior design. The emphasis is not on the final ‘product/output’ but rather each stage and its process is given priority. The idea is not really to create a finalised position, rather to develop a voice/ opinion/ idea in which the designer believes.

The following pages are a testimony to one such individual voice, on Craft + Future =? .

It is Hithasini Rajagopal‘s perspective on how she imagines the craft would be in the future.

The work shows the progress made over the weeks of engaging with books, drawing boards, workshops, craftspeople and us together.

We hope this triggers a fresh perspective on positioning craft in Contemporary interior design practices.

Rishav Jain May 2022 13

Hithasini Rajagopal Master’s in Interior Design 14

Student Profile

I Hithasini Rajagopal, pursued Bachelor’s in architecture under Anna University Chennai. and went on to practice at Fahed+ Architects, Cochin for 2 years.

Architecture has taught me the virtue of patience, effective time management, the desire to learn more, perseverance and optimism in delivering tasks regardless of difficulty. I strive to decode the ways that an interior space may evoke emotion, spark curiosity, which in turn establishes the relationship between program, space, time and users. I also envision to create spaces that are empathetic, inclusive and communitarian enriching the experience of the users and the perceivers.

The content of this booklet presents the output of my efforts and contribution to the Research + design project hereby showcased.

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ANY IMAGE / ILLUSTRATION THAT REFLECTS YOUR LEARNINGS

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Learnings “Craft + Future =?” being research and designbased studio, pushes one towards the holistic understanding of materials, materiality and nuances of making.

The pedagogy of the studio shifts from one mode of study to another such as Literature (Ref readings, case studies), Drawings (abstracts, photomontages, technical working drawings), Model making (abstract models, prototypes) which gives out different expressions of design.

The field mapping gives out a broader perspective on understanding the social, cultural, economic grounds of each craft. It helped in comprehending the realistic edge of the craft practices.

The speculation of future and the position of craft in that context is a crucial part of the studio, as it led to understanding the past and present position of craft. It involved in intensive experiments with prototypes in collaboration with various craftsmen.

Overall, the studio helped in realizing that there are multiple facets to the craft and craft practices, and how one chooses to interpret it.

It helps to take forward one bigger idea.

-Hithasini Rajagopal

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Contents

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

Propose Ex.4 | Theoretical Position

Develop Ex.5 | Envisaging the Future Ex.6 | Abstraction

Make Ex.7 | Craft and Manufacture Ex.8 | Manifesto Ex.10 | Design Development

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EXPLORE

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EX. 1 CARD SORTING Method cards are intended to inspire and spark creativity in work. These cards show some of the ways crafts are positioned in contemporary interior practices and the ways in which the idea of crafts can be taken ahead to build a speculative future. These cards can help plan an approach or remind of various existing approaches.

They can suggest ways of applying methods at subsequent stages also. They can be used to make a proposition and challenge peers for seeking new insights.

These cards show some of the ways crafts are positioned in contemporary interior practices and the ways in which the idea of crafts can be taken ahead to build a speculative future. These cards can help plan an approach or remind of various existing approaches.

They can suggest ways of applying methods at subsequent stages also. They can be used to make a proposition and challenge peers for seeking new insights.

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EX. 2 VISUAL MAPPING The visual mapping exercise helped to critically examine contemporary craft design practices of India through the interior design projects between 2010-2021. It involved understanding the selected projects in totality by jotting down the various details such as the name of the designer, the location of the project, methods of construction, materials and technology used, identifying various crafts, techniques and their application. The core key values of the project were analysed.

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Projects selected based on various assesments - Built year, location, craft involved etc

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EX. 3 FIELD MAPPING The field mapping gives out a broader perspective on understanding the social, cultural, economic grounds of each craft. It helped in comprehending the realistic edge of the craft practices. It helped to understand the Origin and History, philosophy of the craft, location of the craft, Organizational Structure in relation to other craft forms, Scope and Limitation of the craft, process involved, product range produced etc.

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Mojri Making

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Wood carving

Meenakaari

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Copper Utensils

Metal work

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Wood - kitchenware

Textile print wood block making

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Weaving - Handloom

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PROPOSE

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EX. 4 THEORITICAL POSITION Craft in interior practices in current scenario: Based on the case study of interior projects from 2010-2021 research was done. With the Ground theory research methodology, a variety of information is collected and taken through a four-stage analysis.

First, codes (or key points) are identified; second, collections of codes are grouped into concepts; third, broad groups of similar concepts are formed into categories; fourth, these categories are used as the basis for the creation of a theory (i.e. explanations of the research subject). The range of projects identified show the use of crafts in interior architecture today and are listed and then grouped together to form cohesive groups or concepts. The literature review undertaken becomes an integral part of data gathering, imparting it the same status as theother information. The projects identified are analyzed in-depth, to understand the concepts and critical issues in detail. They are the basis for the generation of a theory which is an attempt to classify and categorize the various distinct phenomena related to the subject.

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The case study samples sorted and analysed based on ground theroy research method.

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Craft is taking the position of revival in contemporary interiors - traditional practice to current trends

Keywords Collaboration, Revival, Traditional craft, Innovation, Current trends, Contemporary narrative —

Abstract

Indian crafts traditions are vehicles of cultural identity passed on from generation to generation. It has variations and regional specificities within each group. There is a shift in the role of the traditional crafts. It contains all the past and adapts to the current trends. Craft traditions keep evolving at different points in the timeline. The innovation and breakthroughs play a major role in revival. It intervenes with the traditional craft and produces new and varied forms and eventually gives out a new expression. The designers understand the program of the project, work with the craftsmen and come up with hybrid solution.

There is a deep understanding of the material and techniques. The diverse demands on them also called for improved tools and complicated technology in some projects. One such project is MuseTRIBEcontextual intervention of the Muse tribe curtain at Mill owner’s Association building. The designers worked with Channapatna (endangered craft) craftsmen and the design innovation allowed them to assimilate into the contemporary culture. In Lucky Chan restaurant, the designers collaborated with local artisans who specialize in hand lathe work and natural lacquering. The project used local materials and traditional techniques at a non-native themed restaurant in an unconventional way to give a contemporary narrative.

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References

Jain, R.(2015), Crafts in Interior Architecture India, 1990 onwards.

Ahmedabad: SID Research Cell Patel, D. (2014). India contemporary design: Fashion, graphics, interiors. London.

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Iteration 1 45

EX. 5 CALIBERATING THE VISION With the help of an established theme based on the pre established ideologies, a design language is derived in collaboration with the craftspersons.

History reveals clues to the future. It is when we study evolution that we seek to understand what the future of practices has to unfold.

Many visionaries had a significant impact on shaping our built environmentthroughout history. Some are known for their iconic works or lasting influence, while others shook the world with their innovative styles.

Juntions prototypes were realised with the design ideologies of one of these visionaries. It has symbolic meanings attached to it.

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The process of derivation is broadly divided into three stages: Stage 01: A Visionary is selected from the timeline starting from the first Industrial revolution till date, adopt their ideation/ideology - decode their arguments, notions, design language, philosophy and practice.

Selected visionary : Carlo scarpa , an Italian architect, influenced by the materials, landscape and the history of Venetian culture, and by Japan.Scarpa translated his interests in history, regionalism, invention, and the techniques of the artist and craftsman into ingenious glass and furniture design.

Stage 02: Established a position of craft production and theme based on the mapping of contemporary practices through Field visits and Field mappings- interacting with makers, craft communities.

Stage 03: Developed a language of the Junction based on the above three stages- prototype junctions reflects the philosophy of visionaries and establish an evolved position through collaboration with a craftsperson/informing the craft.

Stage 04: A set of junction library is developed for each prototype realised. Explorations based on: 1. Same Material | Different technique 2. Different Material | Same technique 3. Different Material | Different technique | Same Expression

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DEVELOP

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EX. 6 ENVISAGING THE FUTURE Based on multiple literature studies, a future is envisoned. Now that the envisaged future scenario is in place, The position of craft in that scenario is speculated. The individual position of the title ‘Craft+Future=?’ is elaborated, backed up with theoretical perspectives from contemporary craft practices and speculative futures informing the field ofinterior architecture.

The ‘position’ deals with future scenarios, environment, materials, resources and address the rising nuances related to Interior design and craft practices. Detail out the role of designer and the role of craftsperson in this speculated scenario.

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at its remarkable predictive ability – of the internet and global com

“Imagine if you can, a small room, hexagonal in shape, like the cel no musical instruments, and yet.. the room is throbbing with me armchair is in the centre, by its side a reading desk — that is all th

she touched the lighting apparatus, and the little room was plung But it was fully fifteen seconds before the round plate that she he gan to glow. A faint blue light shot across it, darkening to purple could see the image of her son, who lived on the other side of the see her.

Future Scenarios

The Machine stops

“that I want to see these stars again. They are curious stars. I wa from the air-ship, but from the surface of the earth, as our ancesto years ago. I want to visit the surface of the earth.”

dust and mud, no life remains on it, and you would need a respirat

E.M. Forster wrote ‘The Machine Stops’ in 1908/9 and for years people have outer airmarvelled would kill you. One dies immediately in the outer air.” at its remarkable predictive ability – of the internet and global communications.

Speculation of future based on the English literature from 1908

There were buttons and switches everywhere - buttons to call fo clothing. There was the hotbath button, by pressure of which a

out of the floor, filled to the brim with a warm deod “Imagine if you can, a small room, hexagonal in shape, like the cell of a marble bee. rose There are was the cold-bath button. There was the button that produced l no musical instruments, and yet.. the room is throbbing with melodious An weresounds. of course the buttons by which she communicated with he though it contained nothing, was in touch with all that she cared f armchair is in the centre, by its side a reading desk — that is all the furniture.”

she touched the lighting apparatus, and the little room was plunged into Shedarkness. made the room dark and slept; she awoke and made the roo ideas with her friends, and listened to music and att But it was fully fifteen seconds before the round plate that she held inexchanged her hands bemake the room dark and slept. Above her, beneath her, and aroun gan to glow. A faint blue light shot across it, darkening to purple, andhummed presently she eternally; she did not notice the noise, for she had been ears. could see the image of her son, who lived on the other side of the earth, and he could see her.

She would summon a car and it would fly with her down the tunne

lift that communicated with the air-ship station: the system had be many years, long before the universal system had been in use for long before the universal establishment of the Machine

“that I want to see these stars again. They are curious stars. I want to see them not Immediately an enormous apparatus fell on to her out of the cei from the air-ship, but from the surface of the earth, as our ancestors did, thousands of upon her heart. She lay powerless. Cool pad was automatically laid head. Kuno had telegraphed to her doctor years ago. I want to visit the surface of the earth.” dust and mud, no life remains on it, and you would need a respirator, or the cold of the outer air would kill you. One dies immediately in the outer air.”

There were buttons and switches everywhere - buttons to call for food for music, for

MID | Spring Semester 2022 | Faculty of Design Faculty: Rishav Jain | TA: Teja Payapalle

clothing. There was the hotbath button, by pressure of which a basin of (imitation) E.M. Forster wrote ‘The Machine Stops’ in 1908/9 and for years people have marvelled at its remarble rose out of the floor, filled to the brim with a warm deodorized liquid. There was the cold-bath button. There was the button that produced literature. and there markable predictive ability – of the internet and global communications. were of course the buttons by which she communicated with her friends. The room, though it contained nothing, was in touch with all that she cared for in the world.

She made the room and slept; and made the room light; ate and “Imagine if you can, a small room, hexagonal in shape, like thedarkcell ofsheaawoke bee.

There aresheno musical exchanged ideas with her friends, and listened to music and attended lectures; she make the room dark and slept. AboveAn her, beneath her, and around her, thethe Machinecentre, instruments, and yet.. the room is throbbing with melodious sounds. armchair is in hummed eternally; she did not notice the noise, for she had been born with it in her by its side a reading desk — that is all the furniture.” ears.

She would summon a car and it would fly with her down the tunnel until it reached the lift that communicated with the air-ship station: the system had been in use for many, many years, long before the universal system had been in use for many, many years, long before the universal establishment of the Machine

she touched the lighting apparatus, and the little room was plunged into darkness.

Immediately enormousheld apparatusin fell on to her hands out of the ceiling, a thermometer But it was fully fifteen seconds before the round plate thatan she her began to glow. was automatically laid upon her heart. She lay powerless. Cool pads soothed her forehead. Kuno had telegraphed to she her doctor A faint blue light shot across it, darkening to purple, and presently could see the image of her son, who lived on the other side of the earth, and he could see her. “that I want to see these stars again. They are curious stars. I want to see them not from the air-ship, but from the surface of the earth, as our ancestors did, thousands of years ago. I want to visit the surface of the earth.”

MID | Spring Semester 2022 | Faculty of Design Faculty: Rishav Jain | TA: Teja Payapalle

Craft + Future = ?

Hithasini R | PID20131

dust and mud, no life remains on it, and you would need a respirator, or the cold of the outer air would kill you. One dies immediately in the outer air.”

There were buttons and switches everywhere - buttons to call for food for music, for clothing. There was the hotbath button, by pressure of which a basin of (imitation) marble rose out of the floor, filled to the brim with a warm deodorized liquid. There was the cold-bath button. There was the button that produced literature. and there were of course the buttons by which she communicated with her friends. The room, though it contained nothing, was in touch with all that she cared for in the world.

She made the room dark and slept; she awoke and made the room light; she ate and exchanged ideas with her friends, and listened to music and attended lectures; she make the room dark and slept. Above her, beneath her, and around her, the Machine hummed eternally; she did not notice the noise, for she had been born with it in her ears.

She would summon a car and it would fly with her down the tunnel until it reached the lift that communicated with the air-ship station: the system had been in use for many, many years, long before the universal system had been in use for many, many years, long before the universal establishment of the Machine Immediately an enormous apparatus fell on to her out of the ceiling, a thermometer was automatically laid upon her heart. She lay powerless. Cool pads soothed her forehead. Kuno had telegraphed to her doctor!

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Articles that supports the speculated Future : Life below earth

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EX. 7 ABSTRACTION This exercise aimed to create a prototype that represents the preposition of Craft + Future = Hybridity. It is based on learnings from the study of Contemporary Interior design practices, FIeld Mapping of crafts, Envisaged future scenarios The prototype is a three-dimensional cubic model measuring 12” x 12” x 12”, which represents the notion.

The focus of the abstraction process is to generate new expressions and perspectives by fusing ideas of design with craft. The Materiality of abstraction informs the developed position through a heightened sense of craftsmanship. Material specifications (Form, shape, sizing and surface finish) are in accordance and appropriated. The components suit/complement each other with fine details.

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Traditional Palestinian pattern is translated into codes in grashopper using image sampler. Circles of different areas are generated. They pattern is seperated into multiple layers to create a perceptual shift. It is then translated in to transparent acrylic sheets. Based on the area of circle, the bead colours are decided and stiched using traditional Moti Bharat Craft

Palestinian pattern

Perceptual shift

Pattern in grasshopper using image sampler

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Beads inlayed on the wood piece -Trial

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The holes are drilled using Lase cutting machine on 10 1mm trasparent acrylic panels

Traditional Moti Bharat craft is used to stich beads on the panels

The model is scanned through an app to differentiate the colour that forms a pattern at a certain angle. This integrated system of Abstract is an output of hybridity of Traditional (Moti Bharat, Palestinian Pattern) and digital craft (Grasshopper-laser cutting, Application to scan the model).

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MAKE

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EX. 8 CRAFT FOR MANUFACTURE The developed individual theoretical position is translated into Interior design language. This exercise focused on testing the proposition through the idea of space making and manufacturing, place craft and design skills in the context of evolving developments in construction, fabrication and assembly. An operational space in and around the interior built environment of the CEPT campus which cater to different functions and human activities is choosen. The proposition of craft and future is developed further and translated it into an Interior design language. The existing activities programs, user groups and functions of chosen spaces are projected in accordance with the speculated future and reflected the learnings of crafts and craftsmanship.

The outcomes showcases constructability, speak of manufacturing processes, material specifications, surface finishes and assembly represented through sectional perspectives.

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EX. 9 MANIFESTO The Manifesto gives out a possible direction of a bigger idea/need .

It is structured as a single narrative, beginning from an abstract idea, need or 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 Craft + Future = Hybridity in the possible future. The manifesto actS as a starting point for the design project.

It is built up through a vision for future scenarios, an idea about the lifestyle of people, cultural nuances and habitation ideas. It generates a problem statement or a specific need for the design position with a probable conclusion or an outcome. It is structured in a way to develop ideas for the Interior design language of the project.

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Craft + Future = Hybridity

Keywords Hybridization, Glocal, Regeneration, Cultural hybridity, Indigenous Craft, Material library — Abstract Exploring the question of possible future, the speculations bring out that the cities can go underground. This paper briefly investigates when living spaces go underground, what sort of environment will be down there? How will be the lifestyle and social structure? What happens to the culture and communities? What is craft? What is the role of craftsmen and designer?

— Who owns the depth?

“I want to see these stars again. They are curious stars. I want to see them not from the air-ship, but from the surface of the earth, as our ancestors did, thousands of years ago. I want to visit the surface of the earth.”

“Dust and mud, no life remains on it, and you would need a respirator, or the cold of the outer air would kill you. One dies immediately in the outer air.”

‘The Machine Stops’, E.M. Forster (1909) The investigation begins with the evidences and signs of life already lived underground. The dwellings, concourses, and even a bustling urban life below earth. Further, predictions of future discuss about environment becoming so hostile and the climate crisis that will make the life of the surface of the earth uninhabitable As the living spaces increasingly grow down rather than up, it begs the question, who will own the depths? The regions and borders will extend beyond their areas. The geographical mapping changes. There will be an increase in cultural diffusion and endless intercultural communications will be happening around the world.

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The background of the distant future where, life in not possible on the surface of the earth and the we start expanding below the ground along with already established service (transit, sewers, electrical, optical lines etc.). The built environment above the ground is deserted.

Instead of depleting more material — System of craft Cultural diversity is observable in most human complex behaviors and their outcomes, including craft skills and artefacts.

Traditional design has arrived at an evolutionary impasse, as the reduction in techniques that instill personal values results in artifacts that seem less natural and less human. There has to be an area of intersection between rapid contemporary product development and artisanal skills.

But then, culture is a dynamic structure that integrates tradition (history,value and heritage) and contemporary (needs as per trends). Therefore, creating a product requires cultural hybridization that is not solely based on tradition, but also a consideration for contemporary needs.

As a result there will be an increase in intercultural communications will be happening around the world. Craft Knowledge (material, skill, technique) exchange happens at the local level and also at the global level. Hybrid reassemblage of craft is the outcome of this exchange.

Hybridity takes various forms (assimilation, imitation, interpretation, syncretism, repair, integration, or even interpenetration). this is a new kind of craft process that provides insight into the relationships among various traditional, Indigenous craft, modern technology, art and design.

— Role of Craftserson and designer Craft – Interior space resources, the materials (after life cycle assessment) can be scavenged from these built environment and the materials can be brought to the subsurface to create a material library. Regenerative Generation: people will be more aware of product lifecycle and where their things come from, and even renting items rather than buying to keep them in the lifecycle.

The underground establishment demands hospitable interior environment. The designer depending on the needs, will source material from the material library based on the various assessments. There will be no more local materials. Materials are available everywhere to everyone. There will be an intimate collaboration with the craftsperson. The material knowledge, skill and technique were taken advantage and craft as a tool to build new interior spaces. Interbreeding of local with global occurs, which generates exaggerated polymorphism of craft objects(Forms, elements, parts, systems) forming an interior space.

The craftsperson makes a series of personal and subjective decisions that define these objects.

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EX. 10 DESIGN DEVELOPMENT The developed manifesto that acts as a starting point for the design project, the next step is to actualize individual positions and ‘Make’.

The program is developed for the project and it is systematically applied characterised for the selected site. Detailed drawings that communicate ideas of constructability, experience and the spread or extent of design intervention in totality is made. Plans, Sections, Sectional perspectives, Axonometric drawings and views (represented in the most appropriate way in the benefit of the individual proposition) is used as tools to resolve and demonstrate design decisions (Nature and dimensionality of the elements, Materiality as how), relationship with the intevention and host building. The position of craft and interior reflects organisation, experience and detail and relates back to the proposition and the design proposal. Internal spaces designed - cater to/reflect upon the qualitative, programmatic qualities. An inventory, preototypes, website were develped specific to the project

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Possibilities of site in the speculated future for the Matlab project

Abandoned mine

Underground tunnels (transit or service)

Stepwells - Rani ki vav

The matlab is set up at the Stepwell - Rani ki vav as pilot project to prove the viability of a project idea. It can be implemented at multiple projected sites accross the country.

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Zoning and circulation diagram - Rani ki vav The host structure remains undisturbed. The hybrid intervention is implemented like a parasite in the space to accomodate multiple functions of the matlab

The lift shafts facilitate the vertical circulation for humans and materials. It connects to the surface of the earth. The horizontal pathways are interconnected throughout this multilevel space.

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Experience Photomontages

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Assimilation Lighting system : The traditional “patola pattern” of Patan, Gujarat is embroidered by the local crafts men. Thin copper wire is embroidered on that flame retardant grade fabric. The light units is soldered to the copper wire and lit up.

Embroidery shaft,Needle, Copper wire Traditional embroidery Copper wire, thread, 1W LED Light Diodes Copperwire assimilated into traditional patola pattern

Integration

Tool : Skill : Material : Technique :

Ceiling system : The panel units are created by weaving cane is with transparent electrical wire to creat an integrated ceiling syatem, where the electrical lines can be pulled from any point and the service lines remains seamless.

Tool : Skill : Material : Technique :

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Hoop needle, scissors Traditional weaving wooden frame, cane, transparent electrical wire Hand weaving-cross over pattern

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Interpretation The cane is woven on a baked 30mm x 30mm hollow clay shell. The shell is 5mm thk. This unit acts as a acoustic panel. The acoustic abilities of woven panels based on the absorption coefficient and transmission loss values.

Clay firing Klin, Hoop needle, Scissors Traditional weaving, clay kneading Cane wire, Stone clay Kneading, rolling, clay bisque firing, Open cane weaving

Imitation

Tool : Skill : Material : Technique :

Parametric Bamboo weaving. The fabic imitated woven bamboo is fied to the wooden lattice to expand the volumetric space. It supports ventilation. The transparency is modulated through the open and close weave.

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Tool : Bladed knife, splicing tool, 3D software Skill : Traditional bamboo Weaving, Software knowledge Material : Bamboo Technique : Form generation using software scripst, Bamboo close and open weaving

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Syncretism 3D printed bamboo joinery. The ends of the bamboo poles are scanned.

The scanned image was processed using Autocad. The joinery is generated using sketchup model and 3d printed.

Scanner, Autocad and 3d softwares, 3D printer Software knowledge SLA filament 3D printing

Reassemblage

Tool : Skill : Material : Technique :

Hybrid reassembalge of the existing dilapilated columns. 3D scanning and tracking broken surfaces is done to create restorative elements.

The original functionality is lost, but new aesthetic, performative, and cultural meanings are accrued.

Tool : Skill : Material : Technique : 98

3d scanning, Mould, 3d printer, Tools for metal work.

Software knowledge SLA Filament, Brass, Steel, Molten iron 3D scanning, 3D printing, Metal casting, Welding

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This app brings together all the materials exhibited in the material library. An inventory of its techniques, processes and associated crafts. It is also related to the craft clusters, Scavenging centers, manufacturing companies, and all their contact channels. The collection features material samples reflecting future building and design needs with a particular focus on smart, emerging and sustainable materials and technologies, showing their properties and craft practices in which they have been used. A simple and interactive app, a very useful professional and educational tool for the prescriber that improves knowledge in the science of materials and allows expanding the scope of the Materials Gallery at a national level beyond the physical space. It continually develops new hybrid and innovative samples.

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1. thematlab app interface- It provides data about material library, Manifesto, fbalab, carfts etc.

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2. Library of materials, its composition, form, process, properties, applications

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3. Details of the materials from the bank, its properties, availability, depletion rate, Associated crafts

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4. Provides data about the craft, ccraft clusters, their contact details, region specificities, process products and tools

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thematlab Hithasini Rajagopal PID20131

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