Tropic of Canara by Naina Shenoy

DIPLOMA PROJECT Tropic of Canara Sponsor : Quetzel, Bangalore

Volume :1 of 1 STUDENT : NAINA SHENOY PROGRAMME : Graduate Diploma Programme

GUIDE : NIJOO DUBEY

2013 INDUSTRIAL DESIGN FACULTY (FURNITURE & INTERIOR DESIGN)

National Institute of Design Ahmedabad

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

The Evaluation Jury recommend NAINA SHENOY for the Diploma of the National Institute of Design

IN INDUSTRIAL DESIGN (FURNITURE & INTERIOR DESIGN)

herewith, for the project titled " Tropic of Canara : Furniture for Tropical Living" on fulfilling the further requirements by

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Tropic of Canara - Furniture for Tropical Living -

at furniture and furniture designing. Also I would like to thank Nijoo Dubey for letting me take her as my guide through my lengthy project and bearing with me patiently with all her helpful inputs throughout the journey.

ACKNOWLEDGEMENTS

Before I start with telling you all about my final project of NID, it would only be right on my part to acknowledge all the people who have been a part of me and my days to reaching here. It leaves me with a very long list of those kind souls who I would like to thank from the bottom of my heart. Not everyday and every stage would be possible without you.

Firstly, I would like to thank my mom who introduced me and nurtured me into finding my steps into the National Institute of Design, a place I hold very dear to my heart. I would like to then thank my teachers who have helped me shape and grow to becoming someone worth calling a designer. I would like to personally mention Mrs Anuya Naik for always supporting and leading me in the right direction from the very beginning, Mr. Ramakrishna Rao who was always here to guide me, Mr. L.C Ujawane for his lessons, tips and inputs on design and material, Mr M. P. Ranjan for those long life changing conversation that would leave me for hours pondering on interesting subjects and Mr. Mann Singh who opened my eyes to looking

I would now like to thank the two most important people without whose acceptance and guidance this project wouldnâ&#x20AC;&#x2122;t have been possible, Mr. Sandeep Mukherjee and Ms. Sarita Fernandes. They have been very welcoming and very helpful in the last 10 months of my working with them. I have had an experience and learning I feel privileged to have gained. Also, I would like to keep the following people at the top of my list for all their immense help and patience with me. Meenal Gupte for bearing with me and my constant questioning, Shweta Sarwate for extending her help in every which way possible, Anees Mehkri and Abhijita Pandey for livening up my days, Swarup M.S for all his fun times and help with my project, Reuben Fernandes for his helpful words and feedback and last but not the least Satya for helping me with the entire process of prototyping. Finally I would like to extend a heartfelt gratitude to those people who have helped me and stood by me through all my days at NID and after - Trina Dasgupta, Hannelore Dekeva, Siddharth Hirwani, Komal Lakhanpal, Teesta Das and Samyak Jain. I would also like to acknowledge and thank all my batchmates and my college mates. Lastly, I will want to thank my dad, my brother Mahesh, my aunt Tara and my grandma for extending their love and care throughout my time then and now. Also would like to tribute all my strength to learn and get inspired to my only grandfather Mr. Ranganath Mallya. May his soul rest in peace and watch over me always. Love you ajja.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

trepreneurs, Sandeep Mukherjee and Sarita Fernandes. Both graduated from the National Institute of Design as furniture designers. Quetzel designs focuses on using our enriched Indian culture and way of life while making their furniture. It dreams of establishing a distinct Indian furniture line that appeals universally. It is this humble design mantra that attracted me to work with their studio.

SYNOPSIS The Diploma Project is the most crucial end project of any design student. And it was finally my time to do it too. The 4 years of my design learning and understanding is put into real use and execution in this diploma project. For my final project I knew I wanted to be part of a design house that is attached to a manufacturing set-up. This led me to apply to the only of its kind furniture company that goes by the name – Quetzel.

Quetzel Designs is a furniture brand that runs under the manufacturing company – Total Environment Woodworks Co. It is a fairly large-scale set up of design & manufacturing of wood furniture. It was started by two of the most creative en-

The studio is looking at introducing new ranges for the living room, as it is seemed to be more in demand in the market. Hence I was given this opportunity to create a new range, which would be high-end and cater to the upper class Indian. In order to do so, I had to make an in depth research and analysis of the living room furniture market in Bangalore, some user survey’s and a trend analysis based on my survey and research.

To make it more interesting and innovative, I was asked to set a mood board and inspiration board for my range. The inspiration was to be taken from the region I belong to, the South Canara district, which is the southern stretch of Coastal Karnataka.

The journey was rocky yet very interesting. I worked directly under Sandeep Mukherjee who guided me throughout at every stage of designing and execution. It took from exploring my region and myself to understanding conversion of concepts to execution of the furniture. More importantly I was taught to enjoy the journey all the way to its destination. It involved all of my being for the past 7-8 months in understanding a design process and making this product.

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

INTRODUCTION

About NID Quetzel Project Brief Project Timeline BASIC STUDY

CONTENTS

TROPICAL WOODEN SEATER Ergonomics Sketch Model Refining + Detailing (3D renders and samples) Bill of Quantities Prototype

Range Developed: Single Seater, Bench, Side tables REVIEW 47

Furniture House Furniture + India The Living Room, India. Define - High End Furniture

123

Feedback and Conclusions ANNEXURE

127

Production Drawings

MARKET SURVEY USER SURVEY Trend Analysis and Opinions THE TROPICAL CONTEXT

Design Initiation Process Conceptualisation of structure with wood + furniture

Work Flow and Design Process at Quetzel Material Study Machines and Processes Wood Finishing Quetzel Infrastructure RESEARCH AND ANALYSIS

DESIGNS AND DEVELOPMENT

QUETZEL PROJECTS Jungle Lodge Chair Interior Design&Details-Forest Free Store 67

Bibliography and Image Reference

147

My region: South Canara District Mood Board Study Visit: The Hastha Shilpa Heritage Village, Udupi. Re-Defined Brief

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Introduction About National Institute of Design | Quetzel | Project Brief | Project Timeline

The National Institute of Design, Ahmedabad.

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Image courtesy: http://www.nid.edu/institute/history-background

The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. The institute functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. NID is recognised by the Dept. of Scientific & Industrial Research (DSIR) under Ministry of Science & Technology, Government of India, as a scientific and industrial design research organisation. NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make Designed in India, Made for the World a reality. NIDâ&#x20AC;&#x2122;s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership. The National Institute of Design has an intake of students at both Postgraduate and Undergraduate levels. The Graduate Diploma Programme in Design (GDPD) is a 4-year intensive professional programme and offers Industrial Design (Product Design, Furniture & Interior Design, Ceramic & Glass Design), Visual Communication (Graphic Design, Animation Film Design, Film & Video Communication, Exhibition Design) and Textile Design. The curriculum at NID generates the scope for opportunities to integrate experiential and explorative learning in order to understand and achieve a high degree of creative innovation and quality. It also provides a flexible framework for student-centered learning, in which the courses and assignments are able to harness the potential each student has in terms of creative expression and multi dimensional learning. The institute encourages interdisciplinary and progressive knowledge of design. The courses at NID are structured to provide thorough understanding of technical, managerial and design fundamentals along with a strong exposure to the real life situations so that they are able to experience as how the intellectual, creative and other skills acquired could be adopted to benefit the user, society and industry. The curriculum aims at developing critical, analytical, speculative and reflective problem- solving skills in an integrated manner. One learns to understand the scenario plus user based and culture centric approach of design. The curriculum not only encourages enhancement to technical skills but also enables an individual to develop a sense of social and professional commitment.

Furniture & Interior Design at NID

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1.2 - 1.3 : prototype for the folding chair project

1.4 - 1.5 : prototype for the coir board workshop

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Image courtesy: Self

Furniture and Interior Design at the National Institute of Design is an integrated approach towards furniture and spaces. Furniture is approached as a vital part of all living and work and environmental habitats. The programme focuses on the growth of studentsâ&#x20AC;&#x2122; creative faculties by encouraging experimentation with new resources and methods keeping in mind the concern for material preservation. The programme ensures that students are able to perform at all levels of production-from industries engaged in mass production industries, to the small scale and craft sectors. Lectures, workshop practice and field studies, along with other design disciplines introduce students to various materials and their properties, as well as their engineering and production principles. The design projects that happen every semester help in the development of individual capability through an experimental approach. Practical experience of working with all sorts of materials, May it be wood, metal or plastics, is encouraged. Emphasis is placed on the detailing of furniture elements, keeping in mind man-object relationships and on the process of formal integration at the furniture construction level. Exposure to both craft and mass production techniques is given through field study and industry visits. The students get a first hand experience at production as they build the prototypes themselves in the workshops. At the undergraduate level designing spaces and spatial elements are given more importance. We define furniture and interiors as a dynamic, human scale, livingâ&#x20AC;&#x201C;spatial objects. At the undergraduate level we move from becoming design makers to design researchers, chair dominated elements to systembased elements, industrial objects to spatial objects, tangible objects to intangible experiences, from creating products to creating a brand. Great amount of freedom is given to the student to experiment and explore different materials and processes in and outside the workshop. The students are also taken out for several industrial visits to understand the furniture market. The students are also made to do a six to eight week internship in the industry and a in depth study of any craft in the country.

Sponsor Profile

Established in the year 1999, QUETZEL got its name from deep in the forests of Central America,home to a resplendent bird known as Quetzal. A remarkable bird revered by people for its strength of spirit and is considered a true symbol of freedom. Quetzal is said to opt to starve itself to death rather than accept life of captivity. Today Quetzel has traversed time zone and winged its way into the company’s philosophy. Quetzel creates furniture that constantly escapes stereotype. Their designs transcend boundaries, cultures and convections. In Quetzel’s every project is a new journey and almost always navigates uncharted territories.

Studio + Sponsor

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Quetzal / kwet-suhl / n.:

Elusive bird found in Central America’s rainforests. Embodies freedom; has always lived free.

Image courtesy:www.google.co.in/images

Mr. Sandeep Mukherjee Over 25 years design and business experience NID graduate: Industrial Design (Furniture) Founded Tessaract Design in 1985 Founded Kiri Design in 1995 Founder Director, Quetzel

Ms. Sarita Fernandes

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1.7 : Managing Directors of Quetzel

Image courtesy: Quetzel

Over 17 years design and business experience Graduate: Sophia College, Mumbai (Interior Design) NID graduate: Industrial Design (Furniture) Founded Sarita Fernandes Design in 1994 Founder Director, Quetzel

Company Profile

Located in Bangalore, Quetzel has a well equipped design studio and a state-of-the-art- production facility with a total investment of over 35 million rupees. The Quetzel facility is manned by a close knit team of skilled production team members, who adhere to most demanding of standards. Design is the prime focus at Quetzel.They constantly employ innovation and free thinking to arrive at designs that match client expectations. The Quetzel team encompasses designers, architects and technical staffs with a passion for innovation and free thinking. Quetzel wants to be known as a designed brand rather than a designer’s brand. It believes that each product is the culmination of efforts of a team rather than one single designer. It also believes in continuously improving its products so that the end product is the finest. Products that have been designed in the past also need to be improved over time with the help of feedback of the customers using it. Organizational Structure :

The organization team include : • • • • • • • •

Furniture, product and accessory designers Architects and interior designers Researchers Quality assurance managers HR, finance, retail, marketing and brand specialists Industrial and project managers Trained technical personnel Domain experts

Presently the Quetzel team has expanded to 200 with well established departments.

MANAGING DIRECTOR Executive Director

Technical support

Digital Support

Senior Designers

Marketing

Accounting

Designers

Trainees

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Milestones

1999 - Promoters establish Quetzel with just two employees 2000 - Move into permanent factory space of 10,000 sq ft. in the southern outskirts of Bangalore. Install first batch of manual and NC machines for mechanized manufacture. First sizeable installation project in Bangalore at an office with over 500 employees. 2001 - Handle first nationwide retail design and installation project. Turnover doubles from previous year 2002 - Team expands to 40. Hire professional management to handle operations and production.

The Brand : Quetzel

2003 - Participate in the first India International Furniture Fair at Bangalore. Additional factory space for a total of 20,000 sq. Ft. 2004 - Team expands to 80 people. Addition of hi-tech CNC machines to existing infrastructure. Participated in second India International Furniture Fair at Bangalore. 2005 - Team expands to 120 people. Additional space of 30,000 sq.ft. Added for a total of 50,000 sq. ft. nationwide retail tie-up with Home Stop

Vision • • • • • • • •

To enrich environments with the power of design Business Identity - Creative, design-focused company Thought leaders for furniture design in Indian beliefs Believe that good design can bring about positive change on a personal as well as community level Good design can and should be affordable and accessible to everyone A small group of people with shared beliefs and vision can achieve great things The impossible is always possible Being ethical is harder, but takes you further

Design Philosophy • • • •

Design lies at the heart and soul of our business Functional, usage-based design is our forte Create “experiences” rather than “products” Proud of our “Indian” identity

“Quetzel creates innovatively designed furniture that meets your needs with empathy and gives you the freedom to be yourself.” Quetzel Brand Statement

CLIENTELE Retail

Leisure

Corporate

Hospitality

Institutional

United Colors of Benetton Himalaya Drug Company Wrangler ITC Foods MTR Foods Planet Kids Coffee Day Civet Hotel Metropole HCL Technologies Ltd. Hindustan Lever Ltd. Wipro Technologies Siemens Reliance Indutries

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Kabini Resort Hotel Metropole, Mysore Manipal County Oakyard Apartments The Grand Ashok Marriot, Bangalore Manipal Academy of Higher Education Indian Institute of Management, Bangalore Karnataka State Board Road Transport Co-operation.

1.8 : Himalaya Drug Store 1.9 : Namdhari Store 1.10 : ITC Foods 1.11 : Kabini Resort

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Image courtesy: Quetzel

Quetzel Designs provide furniture for the home segment. They have launched a good number of ranges for the living room, the dining room, the bedroom and the outdoor. All their furniture are designed contemporary and Indian. Largely, Quetzel Design sell their furniture at Home Stop (a retail store in Bangalore, Ahmedabad and Chennai). They also sell them directly from their outlet attached to the factory. 1.13

Quetzel Furniture

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1.12 : Series 12, 1.13 : Flip Chairs, 1.14 : Asterix Dining Range, 1.15 : Kabini Dining Set, 1.16 : kabini Side Unit, 1.17 : Pi Dining Set, 1.18 : Bandy Range, 1.19 : kabini Bedroom Range

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All image courtesy: Quetzel

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1.19 Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Overview & Objective

Project Brief

To design and develop a high end range for the retail brand Quetzel. Quetzel purely caters to providing furniture for the home like the living room, dining, accent areas, bedroom and the outdoor. Quetzel is slowly building itself with increasing its number of interesting ranges. And my liking to their language and style mainly lies in their Indian contemporary design concepts. It is an organization that has a very varied environment to work in. I will have to adapt to the work efficiency required in a large manufacturing unit and also bring in my sensitivity to designing a new range contributing to their aesthetical convictions and language. I am to finally prototype one design that will be discussed and approved. It will be reviewed for improvements and changes, allowing it to be built into a range.

Scope of Work

Working in an organization such as this, not only allows the designer to understand various large machine processes and execution of the design, but also requires one to work towards being efficient with use and wastage of material, machine time on components and the entire product etc. Considering the mentioned priorities I have to also follow a design process that leads me to designing a fresh new range inspired from where I come from, where I have spent all my childhood and also retain the Quetzel language. Furthermore from all this study and conceptualization, I am to make a prototype of one design that covers all the design criteria. The design criteriaâ&#x20AC;&#x2122;s being the survey and study of the market, follow the efficient manufacturing method in-house, me and my inspiration and finally the Quetzel language.

Project Timeline JULY

AUGUST

SEPTEMBER

OCTOBER

Project Initiation •

• •

Detailed study of wood, hardware, wood finishes, machines and processes in the factory for better conceptualisation and execution in the end. Documenting and presenting to the design directors of the study. A small mock design project undertaken for understanding design processes.

NOVEMBER

Project brief, Research & Analysis • •

•

Project brief realised. Basic research carried out pertaining to my brief. Market and User surveys conducted as part of my detailed research. Analysis done on the surveys conducted and produced for laying down further design directions. Trend Analysis made from all the above. This is to cope with demand and supply in the furniture market.

DECEMBER

Putting into Context •

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Stating a context for the project, stretching the scope for conceptualisation. Study of the context. Developing an elaborate mood board. Making an inspirational study visit based on the context.

JANUARY

FEBRUARY

Conceptualisation of design • • •

Collation of all the research and study Making initiation sketches based on the collated information. Categorising concepts picked and to be used for better understanding.

MARCH

APRIL

Detailing Concepts • • •

Building and developing on the final extracted concept. Exploring the details using 3D modelling and scale models. Exploring various kinds of furniture based on the concept.

Product Realisation •

• •

•

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Choosing the most interesting furniture from the conceptualised range to carry forward. Detailing the product to its last inch. Working on the the complete form, material, structure and joineries for its production. Making of scale down models and 3D models

Prototyping •

• • •

Making production drawings of the final design and handing it over to the production head. Supervise the prototyping. Sourcing the special materials for the product. Refining various elements of the product

Documentation of the Project

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

The Basic Study Work flow & Design process at Quetzel | Material study | Machines & Processes | Wood Finishing |Quetzel Infrastructure

A new project first comes to the marketing department where the people deal directly with the clients.

Work Flow of Client Projects

Work Flow & Design Process

Completing a project to satisfaction level desired by client and promised by the production requires lots of hard work and a good coordinated team work between different departments. In Quetzel also all departments coordinate at different levels to achieve the desired results.

Presently Quetzel team has expanded upto 200 people with well established following departments: Marketing Finance & accounting Design Production Finishing Installation A dministration HR Purchase Store

Once the project is in, the marketing department gives the brief to the design team about the project and at the same to the finance and accounts department for a rough budget. The design team works on the concepts and then present it to the client. After discussions and feedback from client, design department works on the designs till the client is satisfied and designs are approved. Once the designs are final a production order for the prototype is made. The production department gets in touch with purchase and stores to procure materials. Once the prototype is ready, the client is called for a visit to the factory for approval. If the client suggests any changes they are made in the prototype, till client gives a final go ahead. Once the prototype is finally approved, the production of the entire batch happens whicn involve the stages of assembly and finishing. After the product is ready it goes to packing and then delivered to the client.

Work Flow of In- House Project For an in-house project, the design brief is directly given to designer or to design team by the MD or the Director. The new products are developed for the retail outlet. Once the brief is given, a market and user survey is conducted. Based on the analysis of the survey, conceptualization is started. Generally, the product is developed based on the demands of the customers in the outlet .

END USER/CLIENT

After a presentation to the MD and the Director, a concept is finalized and worked on further.

MARKETING

Concept is further detailed and developed. Also presented to the MD and the Director.

FINANCES & ACCOUNTING

DELIVERY & INSTALLATION DESIGN

PRODUCTION

PURCHASES

STORES

The final product is narrowed and defined. Again a concept is selected and taken to a refinement stage. The production drawings are made which again have to be approved by the MD and then the product/furniture is send for prototyping by sending a PO for prototype to the production team by the Design Manager. After the prototype is done, whatever changes are required are made in the production drawings.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

DESIGN METHODOLOGY

In Quetzel, design work involves more than one department. At every stage of designing, advice and feedback from various departments help the project move ahead. It works with an integrated end to end services and solutions.

Stage I: Conceptualization First of all, a design generation goes to design department where initial brianstorming and conceptuailzation is done. Concept stage drawings are refined based on the discussions and feedbacks.

Stage II: Design Engineering After design drawings are finalised they are forwarded to production department, where product engineering based on the production requiremnts and standardisation of the product is. If required changes are done and after everything from hardwares to sizes is finalised production drawings are done which goes to shop floor for production. Engineering requirements mapped to create production-ready blueprints. Stage III: Production ( Prototype) For a new product first of all a prototype is made and from the drawings a work flow is planned for a particular product based on the sophisticated machinery and assembly-line production to ensures quality and consistency. If any issue arises during the process designer is consulted and after mutual agreement production manager moves further with production. Based on these feedbacks a revised drawing is done and again send to production.

Stage IV: Study of prototype After first prototype is done, it is assesed for the problems and changes for the improvemnts in design. The feedback goes back to design and again a revised drawing is done for the product so that it could be put into production without problems. Stage V: The result A solution that dovetails perfectly with your business imperatives.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

After getting an overall understanding of the workflow & process followed at Quetzel, I made an in-depth material study. This was an immense help while designing the furniture. It helped me make the right decision and choices while choosing wood, hardware and the wood finish. WOOD - Wood can be broadly classified into two categories on the basis of plant reproduction. All trees reproduce by producing seeds, but the seed structure varies.

Material Study

HARDWOOD

•

SOFTWOOD

•

• •

Mapping of Timber

Hardwood trees are angiosperms, plants that produce seeds with some sort of covering. This might be a fruit, such as an apple, or a hard shell, such as an acorn. Hardwood usually has a higher density and is therefore harder. Are from deciduous trees, which have broad leaves that shed in the winters.

Softwoods are not necessarily softer than hardwoods and hardwoods are not necessrily harder than softwoods. For example - Balsa, a hardwood is softer than most softwoods. Yew, a softwood is harder than several hardwood.

Softwoods, on the other hand, are gymnosperms. These plants let seeds fall to the ground as is, with no covering. Softwood usually has a lower density, therefore most softwood varieties are softer than hardwood. Are from evergreen trees presumably all coniferous trees with needle shaped leaves.

Softwood: come from the temperate regions of the world – UK, Scandinavia, Russia and North America. Lower the Temperature, slower the growing of trees are resulting in better quality softwood. Hardwood: Durable harwood species – Africa, Central and South America and the Far East.

Moisture Content

Timber reaches equilibrium moisture content, which equates to its environment. A correct initial moisture content allied to a good design will generally prevent movement across grain of wood. -External Joinery (initial MC): 13-19% -Internal Joiner (initial MC): 8-14% Generally a 15% moisture is taken to be the equilibrium moisture. In Bangalore – 11-12% is taken as the initial moisture content. Places like Rajasthan – 16-17% is taken for initial moisture content. MC% = (Weight of water in wood/ OD of wood) * 100. OD- Oven dried 27

Wood The following study is of the types of wood that are sourced to make the wooden furniture at Quetzel.

List of the Harwood • • • • • • • • • • •

White Ash Wenge Beech Walnut American White Oak Silver Oak Sapele Rosewood Red Meranti Rubberwood Teak

List of the Softwood • •

Spruce Pine

Colour: white/ light brown, when steamed it turns pink. Texture: fine and even texture Grain: close and even grain Location: Europe, South-Easr Asia, West Asia Finish: Paint - not applicable, Transparent - excellent Uses: mostly used for chairs, toys, tool handles and mallets and turning, also for bread and butcher boards as it does not impart taste or odour to colour • •

WENGE (Miletia Lorentii)

• • • •

• • •

Hard and Strong High luster Poor decay resistance Good for steam bending

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Hard and heavy Exceptionally good for steam bending

WHITE ASH (Fraxinus Americana) Colour: white/cream coloured Texture: coarse texture Grain: long and straight grain Location: USA, Canada Uses: Used for making tool handles and shafts because of its resistance to sudden shock

BEECH (Fagus Sylvatica)

Colour: dark promiment streaks Texture: intermediate Grain: straight and coarse Location: West Africa Uses: good for turning and paneling, not used in acoustics(porosity deepen sound waves) 2.2

• • •

Tropical timber Heavy and hard Durable and resistant to termite attack Difficult to work with hands Porous Bitter sweet

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

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WALNUT (Juglans Nigra)

Colour:Gray brown with darker streaks Texture: Coarse texture Grain: straight to wavy grain Location: USA, Canada Finish: Paint - excellent, Transparent - excellent Uses: furniture and cabinetry, ideal for gun stocks due to dimensional stability, takes steam bending very well (thus used in making of wagon wheels and often in rocking chairs), piano cases, sewing machines • • •

AMERICAN WHITE OAK (Quercus Alba) Colour: greyish tan Texture:medium coarse texture Grain: straight grain Location: US, Canada Finish: paint is N/A, Transparent excellent Uses: interior and furniture 2.4

Colour grows lustrous with age Heavy and exceptionally strong Velvety and natural coloured sheen

• • • •

Heavy and hard Strong and outstanding wear resistance Steam bends well Greater tendency to chip and splinter

SILVER OAK (Grevilla Robusta)

SAPELE (Entandrophragma Cylindricum)

•

• •

Colour: pink to reddish brown Texture: medium coarse texture Grain:straight and silver Location: India Uses: panelling, cabinets, block and strip flooring • • •

Resistant to rotting (earlier used for external window joinery) Good for steam bending Below average strength Moderately durable and resistant to preservation treatment

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Colour: pale yellow Grain: interlocked and wavy grain Location: West, Central & East Africa Uses: boat and vehicle construction, guitar making, furniture and flooring

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• • •

Highly lustrous Medium weight and high bending strength Shock and decay resistance Not recommended for steam bending Has a pronounced stripy pattern when quarter sawn

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

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ROSEWOOD (Dalbergia latifolia)

Colour: dark purple/brown Texture: uniform, moderately coarse Grain: hard, heavy, interlocked grains Location:Brazil, Southern India, Belize, East Indies Finish: paint is N/A, transparent excellent Uses: furniture - veneer, panelling and cabinetry, good for turning, musical and mathematical instruments, guitar - strut board • • •

Medium shock resistance High bending strength Tendency to split when moist

RED MERANTI (Shorea Spp.)

Colour: salmon red to red brown Texture:coarse and even Grain: interlocked grains Location: South east Asia Uses: furniture, boat building and paneling, interior & exterior joineries

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RUBBERWOOD (Hevea Brasiliensis)

•

Very little shrinkage which makes it stable for construction When the latex is over(26 – 30 yrs)then only the wood is used for furniture

• •

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Colour: Reddish brown fawny yellow Texture: Coarse and uneven, oily feel and medium luster Grain: straight Location: India, Indonesia, Central America, Costa Rica, West Africa, South East Asia Uses: good turning and carving properties, ship building (specially decks), indoor and outdoor furniture, chemical tanks, laboratory benches, duch and draining boards, high class joinery • • • • •

Naturally resistant to decay and insects Average strength and hardness Stable wood

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TEAK (Tectona Grandis)

Colour: white to yellow or cream Grain: dense grain character Location: South East Asia Uses: suitable for indoor furniture and construction •

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Moderately hard and heavy Low stiffness and shock resistance Excellent decay resistance( contains oil) Good acid resistance Tough and fire resistance

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

SPRUCE (Picea Sitchensis)

Colour: cream to light golden yellow brown Texture: fine uniform Grain: long, tough, wild grain Location: Notheren pacific coast of USA & Canada Uses: for interior use only - suitable or steps, joinery, flooring, ceiling, musical instruments, aircraft construction, boat building, stadium seats • • • • •

When wet, impossible to clean up Low shock and decay resistance Good steam bending Moderately low in strength but high strength to weight ratio Good turning properties and easy to cut, glue, finish

PINE (Pinus Strobus)

Colour: pale light yellow Texture:smooth Grain:straight coarse grained Location:Canada, Mexico, USA Uses: accepts paint and stain, high value carpentary items (furniture, floors, panelling), carving, used in manufacture of matches and dowels •

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• • • •

• • •

They are among the most commercially used tree species, valued for their timber and wood pulp. Strength to weight ratio is high Artistic knots Resists shrinking and swelling Pines have no insect or decay resistant qualities after logging. So they are generally recommended for construction purposes as indoor use only (ex. Indoor drywall framing) Shock resistant Steam bending is possible It is commonly referred to by several different names which include north American timber, SPF and whitewood.

2.13

Conversion of Timber Crown Sawn: sawn tangentially to the annual rings.

Two main methods used to convert raw timber into usable sections -

1. Through & through cut (Plain or crown cut) resulting in tangential boards. 2. Quarter sawn resulting in Radial boards. Tangential Boards: (crown, plain and joists) • Stronger when placed correctly edge up with the load in the tangential axis • Prone to ‘cupping’ if not carefully converted, seasoned and stored. Radial Boards: (Quarter sawn or figured) • Cut on quarter • Expensive because of multiple cuts required to convert

Rift Sawn: falls between crown and true quarter sawn. Quality floorboards are from rift-sawn timber as it shrinks less and wears well. Annual growth rings are at an angle between 30-60 degrees. Rift sawn creates silver ribbon effect in Oak. 2.14

Image courtesy: http://www.israelcarpets.co.il/userfiles//wood-cuts.jpg

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Plain Saw:Lumber cut with a 30-degree angle between the face of the board and the wood’s growth rings. Quarter Sawn:Lumber cut with a 60-90 degree angle between the face of the board and the wood’s growth rings. Figured: It is a cut between rift and true quarter sawn.

Panels Medium Density Fibreboard (MDF)

Particle Board

•

MDF is an engineered wood product formed by breaking down hardwodd or softwood residuals into wood fibres, combining it with was and a resin binder and forming panels by applying high temperature and pressure. MDF is denser than plywood.

Available as: Raw, OSL(one side laminate), BSL( both side laminate), OSR(one side raw)

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Laminated Veneer Lumber (LVL)

LVL is a structural product manufactured from thin peeled veneers of wood usually 3mm thick, glued with a durable adhesive with the grain running parallel to the main axis of the member. Panels of LVL are cut into structural members which have high strength and stiffness.

2.18

Particle Board is an engineered wood product manufactured from wood partocles, such as wood chips, sawmill shavings or even saw dust. It is used with a synthetic resin or other suitable binder which is then pressed and extruded. It is a composite material.

Available as: Raw, OSL(one side laminate), BSL( both side laminate), OSR( one side raw)

Plyboard

Plyboard is made from an off number of constructional veneers, bonded face to face with the grain running in alternate directions. The greater the number of veneer, stronger the plywood. There are usually an odd number of plies so that the sheet is balanced and also reduces warping • Available as: commercial ply, marine ply, flexi ply, boilling water resistant ply

2.16

Honeycomb Board

Honeycomb Board is a rigid substance made from a recycled paper honeycomb core with laminated paper facings of various paper grades to suit application and performance requirements. For drilling purposes, the board is fitted with raw wood sections on all four sides.

2.19

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

2.17

Block Board

Block board is made up of a core of softwood strips. There strips may be uptp 25mm wide. The strips are placed edge to edge and sandwiched between veneers of hardwood. The sandwich is then glues under high pressure. •

Available as: boiling water resistant

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All image courtesy: Self

VENEERS

Vener refers to thin slices of wood, usually thinner than 3mm(1/8 inch), that are glued onto core panels. Veneer is obtained either by peeling the trunk of a tree or by slicing large rectagular blocks of wood known as flitches. The appearance of the grain and figure in wood comes from slicing through the growth rings of a tree and depends upon the angle at which the wood is sliced.

Types of VENEERS

There are a few types of veneers available and each serve a purpose. •

•

• 2.21

Raw Veneer has no backing on it and can be used with either side facing up. It is important to note that the two sides will appear different when a finish has been applied, due to the cell structure of the wood.

Paper Backed Veneer is as the name suggest, veneers backed with paper. The advantage to this is it is available in large sizes or sheets, as smaller pieces joined together prior to adding the backing. This is helpful for users that do not wish to join smaller pieces of raw veneers together. This is also very helpful when veneering curves and columns as the is less likely to crack. Phenolic Backed Veneer is less common and is used for composite or man made wood veneers. Due to concern for the natural resourse, this is becoming more popular. Ot also has the advantage of being in sheets and also less likely to crack when used on curves.

Laid Up Veneer is a raw veneer that has been joined together to make larger pieces. The process s time-consuming and requires great care, but is not difficult and requires no expensive tools or machinery. Veneers can be ordered through some companies already laid up to any size, shape or design.

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Heads and Drives

Hardware Any physical equipment(tool, gear etc) involved in performing a function. Example - nails, keys, locks, hinges, latches, handles, wire, screws, bolts, nuts etc. Mainly the hardware is used as joineries for wood and composed wood that can be attached and detached as many number of times. They will always retain the same strength when joined again. They are mostly of metal or plastic. There are specialised joineries developed for knock down furniture. This is for the sole purpose of easy transport by flat packing the components and setting it up at the destination for use.

The following documenting of the harware is done with harware used at the Quetzel hardware store -

NAILS

A nail is a pin-shaped, sharp object used as a fastener. Earlier used with a hammer, nails are now driven down on wood with nail guns.

• • •

In order to understand the screws, bolts and nuts, one must study the following table. Drives : Single Slot

Philips/Crosshead

Square

Pozi Drive

Hex(Allen)

Pan Head

Flat Countersunk

Oval Countersunk

Round Head

Hex Head

Heads :

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Ordinary nails for wood are usually of a soft, lowcarbon or “mild” steel. There are two types of nail guns: those that use an air compressor and those that are cordless, or batteryoperated. A nail gun that works off of an air compressor is called a pneumatic nailer, and the air compressor is attached with a hose.

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Blue Passivated ( zinc coated MS)

SCREWS

A screw is a kind of inclined plane wrapped around a cylinder, used to hold things together. A short, slender, sharp-pointed metal pin with a raised helical thread running around it and a slotted head, used to join things together by being rotated so that it pierces the material and is held tightly in place

• • • •

Tightened by clockwise rotation. Wood screws have coarse threads as compred to screws used for metal. Fine threads provide finer adjustment since they advance less per rotation than coarse threads. Most of these screws are self-tapping, they only require a pre-drilled hole, but some come with self-drilling.

Stainless Steel

Black (paint)

•

Countersunk + Philip Star

Sizes Available: Dia 3.5 X (19, 25) •

Coach head + Spanner

•

Confirmate Screw + Pozi Star

Sizes Available: Dia 7 X (40, 50)

Sizes Available: Dia 6 X 40 Dia 8 X 30

Countersunk + Philip Star

Sizes Available: Dia 3.5 X (16, 25) Dia 4 X (16, 38, 50) •

Pan Head + Philip Star

•

Confirmate Screw + Spanner

Sizes Available: Dia 4 X (12,16,19, 25, 32, 38, 50)

Sizes Available: Dia 6 X (50, 75)

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

•

Countersunk + Philip Star

•

Pan Head + Philip Star

•

Countersunk + Slot

•

Pan Head + Slot

•

Confirmate Screw + Pozi Star

Sizes Available: Dia 2.5 X 16 Dia 3.5 X (16, 19, 25, 32, 38) Dia 4 X (13, 16, 18, 25, 32, 38, 50, 60, 70)

Sizes Available: Dia 3 X 19 Dia 3.5 X (13, 16, 19, 25, 32, 38) Dia 4 X (9.5, 12, 16, 19, 25, 32, 38, 50)

Sizes Available: Dia 3 X 19 Dia 3.5 X (12, 16, 38, 50) Dia 4 X (16, 25)

Sizes Available: Dia 3 X 19 Dia 3.5 X (13, 16, 19, 25, 32, 38) Dia 4X (9.5, 12, 16, 19, 25, 32, 38, 50)

Sizes Available: Dia 6 X 40 Dia 8 X 30

Black (paint) CHIP BOARD SCREWS

The difference between a screw and the chip board screw is in its helical flute. The chip board has a wider flute for better grip into wood composed boards.

•

Countersunk + Philip Star

Sizes Available: Dia 4 X (16, 25, 32)

Countersunk + Philip Star

Sizes Available: Dia 3.5 X (32, 38)

Stainless Steel

Brass •

•

Countersunk + Philip Star

Sizes Available: Dia 3.5 X (16, 20)

Blue Passivated

•

Sizes Available: Dia 3.5 X (12, 16, 20, 25) Dia 4 X (15, 19, 25, 30, 38, 50)

•

Countersunk + Pozi Star

Sizes Available: Dia 4 X 30

Countersunk + Pozi Star

DOWELS

Dowels available in: wood metal plastic

It is where a small rod is used internal to a joint to both align on glue up and permanently strengthen the joint. It is a traditional method to improve joints. Traditional joints are used with natural timbers as they did not use any other material other than timber itself.

2.22

Sizes Available: 45X30X5 45X25X5

DOMINO BISCUIT

It is a non traditional way of improving joints. It is a trademarked tool, similar to a biscuit joint where a piece is larger than a biscuit. 36

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2.25

All image courtesy: Self Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

2.24

NUTS

A nut is a type of hardware fastener with a threaded hole. Nuts are almost always used opposite a mating bolt to fasten a stack of parts together.

Stainless Steel •

Dome Nut

Sizes Available: M6, M8 •

T Nut

Sizes Available: M6, M8 •

Cup Nut + Philip Star

Sizes Available: M6

Hex Nut

Sleeve Nut

Domed Nut

Flat Nut

T Nut

D Nut

Cup Nut

Barrel Nut

Black •

Barrel Nut

Sizes Available: M8, 18 X (18, 25) •

Barrel Nut + Slot

Sizes Available: M8, 18 X 35

Blue Passivated

Brass •

T Nut

•

D Nut

Sizes Available: M6

Sizes Available: M6 X (13,20) M8 X 18, 25)

•

Sleeve Nut + Allen

•

Hex Nut + Spanner

•

Barrel Nut + Philip Star

•

Barrel Nut

•

D Nut

•

Hex Nut + Spanner

Sizes Available: M6

Sizes Available: M8, 25 X 35

2.26 - 2.33 All image courtesy: Self

Sizes Available: M6, M8

Sizes Available: M6, M8 Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Sizes Available: M6 X 18

Sizes Available: M10, M12

BOLTS

A bolt is a fastener consisting of a threaded pin or rod with a head at one end, designed to be inserted through holes in assembled parts and secured by a mated nut that is tightened.

Galvanised •

Countersunk + Slot

Sizes Available: Dia 6 X 40 Dia 8 X 30

Brass •

Countersunk + Slot

Sizes Available: Dia 4 X (12, 19, 25, 30) Dia 5 X (20, 25) Dia 6 X (12, 15, 20, 30, 35, 40, 70) Dia 8 X (13, 16, 20, 30, 40, 50, 55, 60) Dia 10 X 40 •

Countersunk + Allen

•

Hex + Spanner

Sizes Available: Dia 6 X 25

Sizes Available: Dia 6 X (25, 30, 40, 50) Dia 8 X (15, 25, 30, 40, 50, 65, 70) Dia 10 X (30, 80) 38

Stainless Steel •

Countersunk + Allen

•

Pan Head + Allen

Sizes Available: Dia 6 X (12, 30, 50) Dia 8 X (30, 100) Sizes Available: Dia 6 X (15, 30) Dia 8 X (25, 30, 40) •

Pan Head + Allen

Sizes Available: Dia 6 X (15, 30) Dia 8 X (25, 30, 40)

Blue Passivated •

Hex + Spanner

•

Countersunk + Slot

Sizes Available: Dia 8 X (15, 75)

Sizes Available: Dia 8 X (16, 25) Dia 10 X 40

Zinc

Nickel

•

countersunk Slot

JCB Allen Bolt

Sizes Available: Dia 8 X 75

Sizes Available: Dia 4 X (16, 19) Dia 6 X 40

Black (paint) •

Pan Head + Allen

•

JCB(with neck) + Allen

•

Hex + Spanner

•

Allen Bolts

•

JCB + Allen

•

Allen Bolts (with neck)

•

Countersunk + Allen

Sizes Available: Dia 6 X (12, 15, 20, 25, 30, 35, 40, 50) Dia 8 X (15, 20, 25, 30, 40, 50)

Sizes Available: Dia 6 X 15 Dia 8 X 80 Dia 10 X 50

Sizes Available: Dia 6 X (15, 20, 30, 35, 40, 50) Dia 8 X (15, 25, 30, 40, 50)

Sizes Available: Dia 6 X 30 Dia 8 X 25

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Sizes Available: Dia 6 X (60, 65, 70, 75, 80) Dia 8 X (60, 70, 80)

Sizes Available: Dia 6 X (20,25,30) Dia 8 X (20, 25, 30, 40, 70, 100) Dia 10 X (20, 30, 40) Dia 12 X 25

Sizes Available: Dia 6 X (35, 40, 50, 60) Dia 8 X (45, 50, 60, 90) Dia 10 X (50, 60, 80, 90)

WASHERS

THREADED RODS

•

A washer is a thin plate (disk shaped) with hole in the middle. It is used to distribute the load of a threaded fastener, such as a screw or a nut. • • •

The outer diameter is twice the length of the inner diameter Material - metal, rubber, plastic, fiber Other uses - spacer, spring, locking device, wear pad, to reduce vibration Types - Flat(plain), Spring(split), conical

They are also known as threaded bushing. It is a fastener element that is inserted into an object to add a threaded hole

2.34

•

Uses: repair a stripped threaded hole, provide durable threaded hole, place a thread on a material too thin to accept threading directly etc. Types: captive nut, externally threaded insert, helical insert, mold in insert, press fit insert

2.35

The following combinations of hardware, help in making very sturdy knock down joineries. They are commonly used for furniture at Quetzel. Maxi Lunar Joint

is commonly used to join two perpendicular members. It consists of a threaded rod, a hex nut, D- bracket and a D-nut. The D-nut goes in one of the component while the threaded rod is inserted from the other member. This assembly is fastened by D-bracket and a hex nut.

2.39

JCB Bolt & Sleeve cup

2.36

2.37

2.40

Threaded Bolt & Sleeve cup

2.34 - 2.42 All image courtesy: Self

2.38

2.41

Barrel Nut with JCB Bolt

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

2.42

CSK Bolt & D-nut 39

PROCESSES

Wood, soon after converting the timber is carried through various processes. These processes have specialized machines to do them. The Quetzel shopfloor have their set of wood machinery. The processes seen and used here are: • • • • • • •

Machines & Processes

Cutting: band saw, crosscut, panel saw, beam saw, rip saw Moulding: planer, multi spindle planer moulder, spindle router, pin router, CNC, auto copy shaping machine, turning. Sanding: wide belt sander Boring /Drilling: router, CNC router, 3head multiple boring machine. Joinery: tennon, mortise, louver groover, domino, dovetail Routing: pin router, over head router, CNC router. Lamination: edge banding, with edge banding machine, hydraulic hot press, veneer splicer.

MACHINE + PROCESSES

Dovetail Tennoning machine: •

to make box joints

•

to cut timber into usable sizes

• • •

have 6 planing spindles can plane all the 4 sides moulding and profile cutting is possible

• • • •

Only round end(biscuit) tennons, no cuboids 5 – 120 mm diam. Maximum tennon height- 40 mm Maximum tennon length- 120 mm

Cross Cut Machine:

Multi-Spindle Paner Moulder:

Tennoning Machine:

Spindle Moulder: • • • • • •

French door slits for rubber bidding Slicing honey comb board Making steps and grooves in wood and panels Tennons can be made Angular cutting Making Fillets on this as cost is less

• • •

Functions just as CNC router (requires template) 300-1500mm diameter cutting Slow compared to a CNC

• • • • •

Curving edges Washers used to adjust depth Manual sanding is required after this. Making grooves Making slots

Auto Copy Shaping:

Pin Router:

Oscillating Slot Mortise Machine:

3 Head Multiple Boring Machine:

• • • •

• • • • •

To drill holes Min diam 2.5mm Max diam 40 mm Pitch – 32mm 3 Boring beds- 2 vertical upwards, 1 horizontal

• • • •

For curves Laminate strips are pre cut. Adhesive is in the form of plastic pellets that melt Requires finishing

• • •

Computerized numeric control Drilling, cutting, making grooves Reads CAD and Solid works file

• • •

Straight binding only Automatically sticks and cuts Set temperature

• • •

For flex, veneer, laminates Just folds the laminate after moulding and pressing thickness - 18,25,36 mm

• • •

Joins sheets of veneer to create bigger ones Leaves a gap if the veneer edge is not straight Manually done using a gummed tape

• • •

Sticking veneer, laminates to panels Time taken 7min Temperature- laminate 70, veneer 65

Bit sizes – 8, 10, 12, 16, 20 mm Spindles move horizontally 2 sided machine Sensors are placed and preset to determine the depth of the mortise

Beam Saw(CNC) • • •

Cut panel to desired lengths Consists of 2 blades Reads CAD file

• • • • • •

Cutting wood, aluminium, panels in desired lengths Angle and straight cutting Blade thickness is 4.8mm Laminated Panels and Wood: max RPM-5500 Aluminium: max RPM-7600 Cutting height is adjustable

• • • • •

Single drilling head Vertically or horizontally Capacity -90 mm thickness of material Wood and panel 3mm - 40 mm dia

• • • • • •

Has a Double belt: first coarser grit, second finer grit 1mm is lost in sanding Panel and solid wood Measured in per sq. Inch Belt grades 60 to 220 Belt width - 4 feet

• •

One side planing Adjustable height according to the wooden section

Panel Saw (Altendorf):

Edge Banding(Manual):

CNC Router:

Boring Machine:

Through Feed Edge Banding:

Post Forming:

Wide Belt Sander:

Planer:

Veneer Splicer:

Hydraulic Hot Press

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

A general order of finishing wood and panels are as follows:

FINISHES FOR WOOD

A finish is used on wood or panels for protection and beauty. The choice of finishing material depends on the following: • • • •

The type of wood The use of the furniture; The time available to do the finishing job and How you want the wood piece to look when you are through

Wooden Components RAW WOOD

Finishing

Surface Preperation

FILLERS(Putty)

SMOOTHING PLANE SCRAPING

ABRASIVE(Sanding)

Natural Finish

SEALER/ P.U SEALER SANDING

COATING (P.U/N.C)

Finish with colour

STAINING

SEALER/ P.U SEALER SANDING

COATING (P.U/N.C)

• • • • • •

Prepare the surface by filling or repairing blemishes and smoothing Stain ( if required) Fill the grain (if required) Apply an initial coat of polish Correct any colour errors ( of appropriate) Applying finishing coats of polish.

It is usual (except in the case of waxing and oiling) to gently rub down the surface between coats, partly to, adhering particle but also to provide a key for the subsequent coat.

Wood Coats NATURAL SYNTHETIC OIL POLISH

NITRO CELLULOSE

WATER BASED

POLY URETHENE

WAX POLSH

ACID CATALYSED POLYESTER EPOXY

SPRAY ROLLER DAB BRUSH

In order to get a basic feel and understanding of the stains, I got a small collection of stain swatches made. These particular stains are commonly used by Quetzel in most of their ranges. However I got them done in vrious gradations to help me in pick my final stain.

From L to R: White ash, light walnut and light oak

From L to R: White ash to 3 shades of Walnut

From L to R: White ash to 3 shades of Cherry Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

2.43

2.44

2.45

All image courtesy: Self

Located in Bangalore, sprawling in a space of over 50,000 sq. ft., Quetzel has a well-equipped design studio backed by a fully mechanized manufacturing facility Quetzel has a well established infrastructure for wood working. The manufacturing process of wooden furniture is varied but can be broadly classified as under: 1. 2. 3. 4. 5.

ROUGH PROCESSING FINAL PROCESSING FINISHING ASSEMBLY DELIVERY

Infrastructure

2.45

1. ROUGH PROCESSING The rough processing includes various operations to achieve the required size and quality.

2. FINAL PROCESSING This is the second stage of manufacturing and includes various processes that the components go through.

In the rough sizing process, the procured raw material i.e. boards/sleepers of wood are cut keeping in mind the tolerances for final sizing and finishing. The machines generally used for this operation are:

SlottingThe machines required for these processes are:

• •

• • •

Image courtesy: Self

Rough sizing Final sizing

Beam Saw ( sizing and cutting) Surface Plaining and Smoothening Machine Sliding Table Saw

• •

Molding Drilling

• • • •

Spindle molder ( bull nosing) Pin Router (grooving, molding ) CNC Router Drilling Machine Cross-cut Saw (lap joint, chamfering at 45 degrees, beadings) Mortiser Tennoning

• •

It needs absolute accuracy in final sizing and this stage of manufacture to ensure premium quality products. Once the final processing is done, the component is ready for finishing.

3. FINISHING

It is one of the most crucial stages of processing. It is one of the major deciding factors on quality of a product. This process in itself involves a number of operations before a good quality can be achieved. In most of the cases the product is assembled and finished. Whereas some cases may require sub assemblies or individual component to be finished separately.

2.46

4. ASSEMBLY

One mock up assembly is always done before sending products for finishing. This makes sure that everything is aligned and all fittings are working properly. This specially holds true for products which have to dismantled and flat packed. For all products which are assembled and dispatched assembly is done prior to finishing. Generally a product comprises of smaller sub assemblies which are further assembled to complete the product. All hand held operations like hand drilling, putting hardwares, and fitting all pieces correctly their respective positions is what carpenters generally do in this stage. If there is some problem with any operation like a wrong drill, wrong one is filled with a wood piece and send back to complete the operation.

2.47

5. DISPATCH & DELIVERY

For all products which are to be flat packed, each component is packed separately with hardwares required for its assembly at site. For pieces which have to be assembled and send, their final quality check is done and then they are packed. Generally a plastic wrap with a bubble wrap is used to pack these products along with a corrugated sheet.

2.48

All image courtesy: Self Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Furniture is largely movable but also is fixed in order to define human living. They are objects that help people to flow smoothly and organized in their day-to-day lives, making it more meaningful and comfortable to their mind and body.

Furniture

Furniture is required in every room, every space and every path that is walked on by man. Thus it is categorized based on its function and use. These categories influence the need of various materials and color it can be made in. This need of material and color furthermore explores the process and skill required in making them. Hence furniture for the mind and body of every individual can be easily divided under various types such as :

fur-ni-ture Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working. The term furniture has only one common and brief definition to it. But furniture does not end with just this one definition. It has been so vastly explored since ages and beyond. We have now come to a junction where furniture played a main role in time; narrating to us stories of culture, materials & processes, skill sets, industrial revolution, colors and also very interestingly of the people who made them. A journey one takes in making furniture includes applying ones understanding of various layers of human comfort, postures, human movement and space of being.

• • • • • • • • • • •

Movable and Fixed furniture. Furniture for the Home, Office, Workshops, factories, Hospitals, Education Institutes etc. Furniture made out of wood, plastic, metal, rubber, glass, concrete, stone, clay etc. Indoor and Outdoor Furniture Special Purpose Furniture Public Furniture Custom made and Bespoke Furniture Folding Furniture Accent Furniture

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

House Furniture + India House or a Home is where one is free to be themselves and rest peacefully. No matter how big or small it is, it is the contents of the house that makes that house a home. It is where the resident is at their most relaxed and intimate self. Furniture, fixed or movable defines the areas in the house for various activities. It establishes what they do where. A house will comprise of rooms for specific purposes. It is the juxtaposing of the various purposed furniture that makes the living more meaningful and comfortable for the people residing in that space. Selection of the furniture and its arrangement in the house also talk about the people that live in that house. They speak of the mood and interaction in the home. They speak of peopleâ&#x20AC;&#x2122;s belief and state of mind, their influences and tastes etc.

Furniture has never been a part of Indian tradition. Most people sat, slept and ate on the floor. Early European visitors to India were struck by the lack of furniture in mansions and palaces. What they found were low chairs if any placed on woven floor carpets. Dhurries and Bolsters were provided for sitting on or against.

The Portuguese thus commissioned copies of their own furniture. Indian carpenters used considerable freedom and created striking combination of Eastern and Western styles. Later the French and the British followed the same example and the roots of a foreign culture took hold and the craftsmen continued to produce furniture as was commissioned. The difficulty in obtaining suitable furniture locally for their settlements is what encouraged the European traders to export Western prototypes for copying. It was soon found however, that the Indian craftsman although an inaccurate copyist, was a skilled and imaginative adapter of foreign decorative detail. This led to the emergence of an independent Indo European style of furniture that was, much admired for its own sake and subsequently exerted fresh influences in the West. At first, the furniture was seen only in the house of the royals. Thus the possession of furniture also claimed the status of the people. Sooner furniture became more accessible to everyone with industrial revolution and distribution of power. Indian motifs and culture were brought in from those carpenters resulting in Indian styled and functional furniture. Furniture was also heavily influenced by Indian architecture in terms of structure and form. In brief, my outlook on home furniture and furniture in India for this project is thus:

Furniture with elements that are distinctly Indian makes them Indian ethnic furniture. So how can I contemporize it for a universal appeal? Furniture speaks of the people living in that house, how can I work out a form and feel, that appeals to my contemporary Indian? And lastly, with the globalization of taste and culture, how can I retain my culture in modern furniture, its making and use?

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

What is a living room in a house?

The Living Room ‘a public room in a private residence’

• • • • • • • •

Social centric room Used to carry out various activities/multi purpose room Usually the biggest space in the house Display room Displays class, stature, aspirations & taste It is the first room that a guest walks into. It is usually to be the most presentable room in the house. It can include the foyer and the veranda.

List of furniture in the living

Seaters : 3seater/ 2seater/ 1seater Loungers/ Day beds Ottomans/ Pouffs Bench Recliner Chairs/ Lounge Chairs

Chairs : low back/ high back Multi-purpose chair ( folding, stackable) Tables : Centre table, Side table Writing table A ccent table Console table

Storage : low storage/ high storage storage with seating display cabinet with storage shelving ( wall /floor) shoe racks book shelves newspaper/ magazine holder Others : T.V unit Display cabinets Room dividers Planters Lamp stands Phone stands Vase stands Curio stands tray stands Food Trolleys

Activities carried out in a Living room

Sitting Sleeping Drinking/eating : lunch, dinner Drinking Liquor : cocktail parties, wine Reading : newspaper, magazines, books Watching T.V Playing Video Games Entertaining guests Family get-togethers Meetings Display : souvenirs, photos, portraits, finidings and likings, paintings etc Storage : books, CDs, games etc Placing : entertainment appliances & portals, eletronic systems & gadgets Arranging /Setting

Basic Character of an Indian Living Room • • • • • • • •

Use of natural materials : wood, hide/ leather, fibers, clay-earthy Natural light & candlelight Respect shown by being barefoot Indulge into the space Family centric Sitting on the floor or close to the floor Sitting with folded leg. Hospitable and humble.

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

High End Furniture, when referred to a dictionary is simply defined as furniture that is most expensive and technically sophisticated. It cannot be defined any better. When we say high end we know what it should be. Different people look at high-end differently. When visualizing a space with high-end furniture, one will go back to images seen in the past that was considered rich and good looking. Hence when we are asked to visualize high-end furniture, each one of us will have different images in our minds.

Briefly Deconstructing what makes the furniture high end -

MATERIAL - leather/wood/stone/newly developed materials etc PROCESS - expensive advanced technology ( could be patented) HANDMADE - skilled artisans and crafts used FINISHED- perfectly finished

High End Furniture â&#x20AC;&#x2DC;high quality, high cost, high priceâ&#x20AC;&#x2122;

FORM- linear, assymetrical, organic, geometric COLOUR- whites, bold shades, blacks, darks etc STYLES- modern, tradiitional, minimalistic and functional LOOK- simple/ornate INFLUENCED- Scandinavian, Japanese, French etc who are celebrated for their advacnced thinking in making furniture. MASS- light/heavy

High-end Furniture for the Indian upper class. High-end furniture is usually to cater to the upper middle class and the upper class people. The Indian upper class people will have travelled, seen the furniture outside, import furniture from various countries and will want the same quality when they will look for good furniture in India. These form my target users for this project. Furniture in India is slowly growing in terms of quality and originality. Hence, I see wide scope for good high-end furniture market for our country. India has in it so many beautiful elements and cultural qualities, that can be carried forward in creating wide ranges of furniture.

In order to put a new product out, it is simply required to go out and look at what is already available to my target user. As Bangalore has one of the largest furniture markets in India, it was very helpful for me to visit some of the best high-end furniture stores in one city. I prepared a questionnaire for the sales person/ store manager of the store to study the kind of furniture and the designs they sell. It is also to understand what their customers have picked, their popular pieces that get sold and what the buyers come looking for.

STORES VISITED -

MARKET SURVEY Bangalore

Ekbote HAL 3rd Stage, New Thipasandra, Bangalore

Stanley Boutique 4000/2, A, HAL llStage, 100 Feet Rd, Indiranagar, Bangalore

Cane Boutique #272, Kishore Prabha Chanbers, Intermediate Ring Rd, Domlur llStage, Bangalore Furniture Quotient

ECC Rd, Hudi, mahadevpura, Bangalore

Studio Ebony Lakeview farm, Varthur Main Rd, Rg Halli, Whitefield, Bangalore Ligne Roset

Prestige Nebula 2, #144, Infantry Rd, Vasanth Nagar, Bangalore

Soul Scape 12th Main Rd, HAL llStage, Indiranagar, Bangalore

East India Distribution 598, 2nd Main, 80 Feet Rd, Koramangala 8th Block, Bangalore The above mentioned stores are furniture stores that sell expensive furniture of various kinds and styles. They are a mix of stores that sell bespoke furniture, imported store and one is also the flagship store opened in India.

STORE Furniture for : Caters to - middle class | upper middle class | rich

Kind/ style of furniture : Do they come with an idea of what they want/ looking for while entering your store? • How often? • Do they ask for any advice on selection? • What kind of advice have you provided?

How many come with a knowledge of material? eg : kind of wood, kind of veneer, wood finish etc.

How do they go about selecting Bed/ table/ chair etc.? • Priorities while selecting?

What materials do they prefer/ like to buy/ or even combinations of? Wood, plastic, leather/faux pas, felt, jute etc.

What is the price range of your furniture? • What price range do customers ask for? - Bed, dining , living

How specific are they about colours? • Do they ask for any specific colours? • Is there a colour palette your products ranges follow? • Do you depend on the colour trends of the year? • Is any survey of colour done?

How often do they pick furniture from 2 or more ranges and mix them? • Is your store flexible about it? What are your furniture sets/ ranges like? • How often do they pick the entire set provided? • If they don’t pick the full set, what are the pieces they have picked from any set or even left behind? Do they ask for any special purpose furniture? eg. Bookshelf etc. • If yes, what are they? What is the most preferred design in your store? Which piece has had the highest demand?

Have they suggested some styles or features the furniture should have?

Specifically for living Living room furniture provided by your store : Colours used/ provided for upholstery. Material of furniture provided for living? Preferred material by most? Preferences for movable furniture or fixed furniture?

Do they ask for customizing? How often?

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

EKBOTE (Pune based) • • • • • • • • • • • • •

MARKET SURVEY Bangalore

• • •

Living | dining | bedroom Solid wood furniture Contemporary and Victorian All are knock down furniture Import raw materials mostly beech wood Provide free interior consultancy, volunteer to visit site (homes) Have a set of standard designs designed by their internal designers. Introduce new designs approximately every 6 months. Special purpose furniture - bar units, bar stools asked for but not provided by them. Customization provided for polish and upholstery. But the design of the furniture is standard. No customization on single pieces but for hospitality customization is done on designs. Most preferred at the store - outdoor furniture now. Hottest selling - sofa set with 3 seater and two single seaters which have low seating height and wide armrests Popular - squarish, flat, broad hand rests, clean and neat forms. Wood Finishes popular in the following order - rosewood, walnut, mahogany and teak. Colour - pastel shades preferred.

STANLEY BOUTIQUE (Bangalore based) • • • • • • • • • • • • •

Living | office | home theatre Sofas, recliners and lazy boys Leather + seating Divide their seating into formal and informal seating Classical, modern classical, contemporary Visit customer space for measurements 5 Ranges: Beautiful Living : 9 lakhs | Emotion : 4.5-10 lakhs| So Fabulous : 3-12 lakhs | Couch Italia comfort range: 2-7 lakhs | Pinnaclemost affordable Lazy boy providers in South East Asia (rights bought) Customization only with colour Have 150 designs in sofas currently Are into automobile seating upholstery. Colours preferred: 1. Ivory and brown shades 2. Blacks, whites and greys Hottest selling: Couch Italia (suited for informal seating)

CANE BOUTIQUE (BAngalore based) • • • • • • • • •

Living | dining | bedroom | outdoor Wood, metal, wicker, cane Take up interior projects Highly customized Have a wide variety of wood furniture Use various styles - art nouveau, Italian, contemporary Colours used - gold, silver, browns and deep shades Colours preferred - dark and pastels Seaters and couches start from Rs. 80,000

SOUL SCAPE (BAngalore based) • • • • • • •

Living | dining | bedroom | office Contemporary, minimalist, fusion Materials -wood, leather, felt/velvet Prioritized by customers 1. Comfort and 2. Style Hot selling are the curved back chairs Provide only loose furniture Say the age groups who can afford go for more wood options than metal.

FURNITURE QUOTIENT (Imported furniture) • • • • • • • • • • • • • •

Living | dining | bedroom | office | outdoor Victorian, classic, contemporary, classic medieval Sofas - range from Rs 27,000 - 2 lakhs Large living seating size: 6.8 feet and above Modular space seating size: 5-5.8 feet Customer prioritizes comfort and design first Sofas range from Rs 27,000 to 2 Lakhs (pure leather) Clients buy 3 seaters separately if they do and pick 2 single seaters from somewhere else. Sets like TV units go with the display units. Mostly pick separate centre table and not come as a set with the couch or seating. The store lets the clients feel free to pick and mix Many ranges in contemporary Italian furniture are sold here. Say customers prefer a combination of leather and wood mostly. Light coloured wood or almost black colour preferred in wood.

STUDIO EBONY (Chennai based) • • • • • • • • • •

Living | dining | bedroom | outdoor Small scale set up Caters to upper middle class and rich Solid wood- Burma teak mostly and Rosewood Indian Contemporary Highly customized Colours used - reds, oranges, off whites Beds sold mostly - bed approx. costs 62,000 New ranges come once on 2-3 months Not a design-based studio

LIGNE ROSET (First flagship store of this French brand.) • • • • • • • •

Living | dining | home theatre Contemporary, Italian, American, Asian Materials - highly upholstered pieces: wood, SS, micro fibre, duck feathers, goose feathers. Prioritized by customers 1. Comfort 2. Style and 3.colour Trend: Low seating. Starting price 2.5 to 3 lakhs for their seaters Hot selling is the sink in couches Use beech for the exposed wood furniture. Walnut is also used.

EAST INDIA DISTRIBUTION (Bangalore based) • • • • • • • • • •

Living | dining | bedroom | office Contemporary, highly Colonial, Victorian, Indian, Mughal Materials -wood, leather, cotton upholstery Wood used - sheesham (light rosewood) Prioritized by customers 1. Design & 2. Comfort Out of 100, around 70 got for carved sculptural furniture and 30 went for contemporary. Known to customize furniture Refer to British and Old German magazines for furniture designs Used to export furniture to a British store in Los Angeles. Had a good collection of wood with woven cane furniture.

Naina Shenoy . Furniture & Interior Design . National Institute of Design © . 2013

Considering my buyer profile, I got 5 surveys to help me for my analysis in the end. For these surveys I went to each of their homes and sat with them asking them what their tastes and likings were. It was good help understanding furniture through them. This in turn helps me to make furniture that I love making and something they would like to own and use.

USER SURVEY

Living Room/Area in a house

NAME : AGE : OCCUPATION (Husband & Wife) : CITY : KIDS : APPROX AREA OF THE HOUSE : 1. Where did u get your furniture from? -Did you get it made from a local carpenter? -Did you buy it readily from a store? 2.

USER SURVEY

What look have you gone for in your living? Indian, Italian, American, if others please mention.

3. What kind of furniture has influenced you? Why do you like it? Is it the form? Elaborate. 4.

What furniture brands are you aware of in India and outside?

5. What is your opinion on traditional Indian furniture? -Do you think Indian traditional wood craft has the power to be carried forward? -Would you be interested in seeing some traditional wood furniture contemporarised to match todays lifestyle? 6.

Is furniture an investment? Or would you like to change it from time to time?

7. What are the furniture included in your living room> -t.v unit -2 seater | 3 seater | 1 seater ( how many ?) -side tables ( how many?) -coffee table -curio rack - a display rack of any size or form -bar -book shelf -display case -lamp tables -trolley(snack) -others

8. The seating in your living What are the number of guests to be seated in your living? aprox? What kind of seating do your have or prefer? - low, high or variation? 9. What kind of a feel would you go for in upholstery? -leather, woolen, linen\cottons, goose feather, felt, leatherite. 10. Would you like to change your upholstery from time to time? 11. Do you have separate living for formal and informal seating? -If not separate, is your living room mostly for guests or for family? ( to understand the postures for formal and informal use) 12. Do you like modularity in your furniture? 13. Do you prefer a light or heavy looking furniture? would you like a particular furniture to dominate your space? or should it all be co existant? 14. What kind of accessory furniture are you looking for? -vase stands -curio tables -consoles(side units) 15. Does a bar fit into your living? -Do you have separate space done for it? 16. What kind of upholstered cushions would you prefer? -Sink in cushions -Medium Stiff -Stiff 17. What all is the centre table used for -display something? -would you like storage? -other uses? 18. Do you like storage units in your living? If yes, What would you use it to store? 19. What colours have you gone for in your living room? wall colour? upholstery colour, cabinets (dark wood or light wood) ?

Mrs Parwathi Mirlay

Age: 51 Occupation: Travel Business City: Bangalore Kids: 1 boy Approx area of the house: 3000 sq feet.

Mrs Parvathi loves her furniture. She is very picky and goes looking for unique pieces for her house. She could be called as a collector of furniture. Her husband too is a furniture lover. Both of them pick various pieces they find all over the country or outside and set them up in their humble home. She mostly owns solid wood furniture be it anywhere in the house. Every piece she owns are fairly old and unique like cupboards used by the East India Company, a Dutch Burger boxes, Chinese Satin wood chests, French influenced Dresser table for a Bar unit, Indian Chesterfield wooden seaters etc. Thus her furniture certainly is an investment and a collection. The more she finds, she purchases them for their new houses. The living room: Can accommodate 8 guests to sit comfortably. Have two living rooms, for formal and informal seating.

Preferences: • Seating to have variation in height (both low and high). • Changes the upholstery from time to time. And usually goes for a linen or cotton upholstery fabric. • Medium stiff cushions for her seating. • Modularity in furniture – No • Storage units in the living room – No • Heavy looking furniture, have pieces that dominate the living room space.

List of living room furniture: A two-seater, a three-seater, 2 single seaters, a coffee table, 4 side tables, a curio rack and a bar unit. Colours seen in the living room: • Upholstery – black, grey, pastel blue, pastel pink, magenta, green • Furniture – light teak wood • Wall colour - stone

Mrs. Jaishri Narayan

Age: 49 Occupation: Agriculturist City: Bangalore Kids: 1 boy, 1 girl Approx Area of the house: 3000 sq feet.

Mrs. Narayan owns old wooden furniture. She has a big Portuguese styled storage lounger, Victorian + Indian styled seaters and coffee tables made from wooden buckets that were used to pull water from the wells in olden village times in India. Her living room and her foyer are very Indian. She is unaware of any particular brands in India. But, she is in need of some good neat and elegant looking Indian contemporary furniture. She got her seaters and her side tables made by a team of carpenters from Kerala. She is now looking to buy some good fresh looking furniture. She does believe that furniture is an investment because she always will prefer solid wooden furniture for her house. She wants her furniture to be calm and subdued because it would allow her to accessorize the room with lamps and paintings. She would always go for an Indian look with earthy and natural colours and materials. The living room: Can accommodate 12 guests to sit comfortably. Have two living rooms, for formal and informal seating.

Preferences: • Seating to have variation in height (both low and high). • Changing the upholstery from time to time. And usually goes for a linen or cotton upholstery fabric. She is open to new fabrics like goose feather and felt. • Sink in cushions and Medium stiff cushions for her seating. • Modularity in furniture – No • Storage units for photo albums and books • Light but solid wood furniture, all furniture to blend well into the space. List of living room furniture: A t.v unit, a two-seater, 2 single seaters, a coffee table, 4 side tables, a curio rack, a bar cupboard, a book shelf and 2 lamp tables.

Colours seen in the living room: • Upholstery – off-whites and cream, Cushions – reds, yellows ( warm colours) • Furniture – dark wood • Wall colour - white 59

Mrs. Anuradha Pandit

Age: 49 Occupation: House-wife City: Mangalore Kids: 2 boys Approx Area of the house: 3500 sq feet.

Mrs. Pandit has a very large living room. And she has furniture of various kinds put together. She has very old wood furniture which are Victorian and from Indian art deco time. The Art Deco furniture are from her parents house and the Victorian set were made by a team of carpenters from Kerala 12 years ago. She even has an American two-seater she bought from a local store about 5 years ago. Her house on a whole has a contemporary look. She is influenced by the colonial style in prints and colours which are seen in her upholstery. The living room: Can accommodate 12 guests to sit comfortably. Have two living rooms, for formal and informal seating.

Preferences: • Seating to have variation in height (both low and high). • Changing the upholstery from time to time. And usually goes for a linen or cotton upholstery fabric.. • Sink in cushions and Medium stiff cushions for her seating. • Modularity in furniture – No • Storage units for photo albums,books, music CDs, DVDs, entertainment gadgets • Dark solid wood furniture, all furniture to blend well into the space.

List of living room furniture: A fixed T.V unit, 3 two-seaters, 2 three-seaters, 4 side tables, a centre table, a curio rack, 4 lamp tables and floor cushions. Colours seen in the living room: • Upholstery – off-whites and cream, reds, rust and maroons. • Furniture – light and dark wood • Wall colour – white

Mrs. Sapna Pai

Age: 50 Occupation: Housewife & Painter City: Mangalore Kids: 1 boy, 1 girl Approx Area of the house: 3500 sq feet.

Mrs. Pai has a very conservative looking living room. She has used dark wood finished furniture completely. Her seater set are imported with tufted leather upholstery. All the furniture is Victorian in the Living room. From the T.V unit to the lamp stands, she has matched them all to the seater set. She got them made by a team from Rajasthan. She has not used too much of colour in terms of cushions or curtains even. They are all somber with dark leather and off whites. She has never liked steel or plastic and says she would never go for it too. She prefers Indian contemporary and colonial always to Italian style which is popular now. She usually likes it all streamlined and blending. Always sticks to a theme throughout the room and not mix and match different pieces. The living room: Can accommodate 10 guests to sit comfortably. Have one living room both as formal and informal seating.

Preferences: • Seating to be always high. • Changing the upholstery from time to time. And usually goes for a linen or cotton upholstery fabric. She is open to new fabrics like goose feather and felt. • Sink in cushions and Medium stiff cushions for her seating. • Modularity in furniture – No • Storage units for photo albums, entertainment gadgets, books • A big display unit to display their souvenirs from across the globe. • Solid looking furniture and all furniture to match a theme. List of living room furniture: A fixed t.v unit, a three-seater, 4 single seaters, a coffee table, 4 side tables, a curio rack, a bar cupboard and 2 lamp tables. Colours seen in the living room: • Upholstery – off-whites and cream • Furniture – dark wood • Wall colour - white

Mr. Nagendra Pai

Age: 43 Occupation: MD of a group of companies. City: Mangalore Kids: 1 girl Approx areas of the house: 4000 sq feet.

Mr. Pai is very particular how his house looks to himself and everyone else. He keeps changing his furniture every 3 years. He purchases imported furniture or buys them from high end stores in Bangalore. The house has a mix of Indian and Italian furniture, all very new and contemporary. He likes clean, uncluttered and straight lines making it look rich and in vogue. He goes for lightly sculptural but not too ornate and ethnic. The living room: Can accommodate 14-15 guests to sit comfortably. Have 3 living rooms - 1 formal living with leather and wood furniture. 2 informal living with sift sink in upholstered couches

Preferences: • Seating to have variation in height (both low and high). • Rich and latest trend in furniture • Sink in cushions and Medium stiff cushions for seating. • Modularity in furniture – No • Storage units for photo albums, books, music CDs, DVDs, entertainment gadgets • Dark solid wood furniture, Steel, Leather etc. Open to using various materials.

List of living room furniture (formal living room): A T.V unit, 4 two-seaters, 1 three-seater, 4 side tables and a centre table. Colours seen in the living room: • Upholstery – off-whites, creams and blues. • Furniture –dark wood, steel, plastic • Wall colour – off white, grey and blue.

While analysing my survey, I grouped my analysis in 5 parts for easy understanding and clarity.

FORM | MATERIAl | RANGE/SETS | COLOUR | AGE GROUP

FORM Forms in furniture kept evolving with different times and uses. Every decade had its changing styles and forms. They also get carried on from one era to the next, and changes according to the trend of the current generation. From my surveys, I can see an amalgamation of the following styles in trend: Modern + Classicism + Contemporary

ANALYSIS : Market Survey & User Survey

Modern - Simplification of form and creation of ornament from its structure and theme. It is visual emphasis on horizontal and vertical lines. Classicism - Orderly arrangement of columns, plasters and lintels as well as the use of semicircular arches, hemispherical domes, niches and aedicule. It places emphasis on symmetry, proportion, geometry and the regularity of parts. Contemporary - It is simple and clean offering an uncluttered look. Individual pieces of furniture are essentials of contemporary style. The lighting fixtures are installed to highlight specific element or piece like paintings, pictures etc. Hence I will consider the following elements while designing my form. • • • •

CLEAN RECTILINEAR LINES TRUTH TO MATERIALS SCULPTURAL AESTHETICS LAVISH

RANGE/SETS MATERIAL The material of the furniture and its finish always speaks for the class and stature it belongs to. This in turn reflects the kind of people living with it. The living room being the place of display of ones taste and stature in someone’s residence the furniture is always let to speak by itself. Wood- The one material that has predominated the furniture in the living is wood. Cabinets, storage, seating, table, chairs etc. has been all popularly and easily made in wood. Wood has always been the most favorable material used in making furniture no matter whichever style, time and age it’s belonged to. Wood has reached a high skill crafted level be it hand-made or machine manufactured.

Upholstery - Upholstery is what makes the seaters comfortable for anyone’s use. Hence the materials used for upholstery, is what speaks for the style and feel of the furniture. Materials popularly used for upholstery are leather, felt, leatherette, velvet, goose feather, micro fibre, cotton etc. Leather- is the most popular in India when it comes to high end seating for the living. Leather processing has evolved highly in Italy, France etc. which are now borrowed and made in India too. Goose feather and duck feather upholstery is a very advanced material used by the French furniture manufactures ‘Ligne Roset’. India is slowly exposed to it with one flagship store opened in Bangalore. However they are very expensive and are not very maintenance friendly when it comes to the Indian weather. Micro fibre- is another material that is popular with ‘Ligne Roset’ since it can be made in various shades of any colour. Plastic - Plastic furniture in India has not developed to an extent that it can come under high end like it has in the developed countries.

Metal - Metal with a combination of wood or leather has been popular on and off over the years in India

Furniture ranges usually found in stores are as follows. Seaters - one 3 seater/ 2 seater with two single 1seaters, two single seaters and one 3 seater/2seater. Entire display unit - modular TV unit with display unit Console table for keys, papers, directory holder etc. Shoe rack, which is also a foyer bench People find it exciting to have various kinds of pieces coming together in the living. A mix of materials is also seen to be popular. E.g. Wooden single seaters with plush cushioning and foam, three seaters/ two seaters with a wooden structure and upholstery of leather, velvet etc. Also their centre tables can be unique form in comparison to their seaters or even the display units.

AGE GROUP The age groups who can and are investing in expensive furniture are usually above 40 years of age. However the family can also include youngsters who are also a part in picking the furniture. Hence it should strike a balance that would suit the family with their lifestyle and people living in the house. The interactions of the family members in the house with the living will also determine the kind of furniture that suits their lifestyle.

COLOUR Colours that look rich are established to be close to natural and neutral. Leather - browns, greys, black, off whites and whites Wood - very light, Dark rosewood, dark shades of walnut Cloth - pastels, greys or retro shades (oranges, reds, maroon) The above colours then allow the people to include colours with additions of books, rugs, cushions etc.

Trend Analysis

Trends&Opinions

The uber-posh Indian people come back to their Indian tastes how much ever they have travelled and exposed to the trends overseas. Modern contemporary has adorned the Indian tastes now. The traditional and Ethnic has slowly been wiped out of the homes. But since Indian culture has been so strong over centuries, Indians would still like some hints and traces of Indian-ness in their homes. The evolving Indian culture is bringing about evolved Indian furniture and space. Travelling overseas has been commonly taken up by the urban people now. Hence the living room would have findings and pickings from various countries amalgamated, building the personality of the residents of the house. This requires the furniture in the living to accommodate the co- existence of various ethnic accents from the places travelled to. How can the furniture set that neutral personality in an Indian living room? Earthy and Green is the new order of the day. Going understated is the new ‘posh’. Living sustainably and the want to be closer to nature is a personality aspired for. Going back to old Asian ways of craft and use of materials is re-emerging. Influences found in India due to the colorizations by the foreign are – British, Portuguese and Mughal. So what is purely Indian has been lost some centuries ago.

In the new age I see that people go for smooth, straight and geometrical styles for furniture. But choose to accessorize with Indian forms in prints of upholstery, paintings, pots, and colours. They would want to add new elements to the living room without ruining the overall image of the Living. However the adding element could enhance the personality of the room. Thus I believe that the furniture piece should be subdued and part of the Living space rather than the accessory of the Liv-

ing. The newer India have adapted to a lifestyle, which incorporates the influences of the British in India and also the Old India. The contemporary includes the language, form and functionality, which is a global favorite now. Furniture making is also dominated by possibilities on the machines. With demand in quality and finesse, machines are inevitable. Also the making is dominated by the factors affecting in machining which should work out to be gainful economically. Material choice is very crucial when it comes to furniture. Material defines its structure, form and also the overall feel of the product. However the material also reacts a certain way depending on where it is placed.

Being sustainable is also largely related to maintenance. Understanding the Indian climate would also mean sustainable when we choose what material our furniture will be in. New age materials have been introduced in almost all the fields of products and technology now. But India has not accepted new materials for furniture. Plastic being so largely explored in furniture still has not appealed to the Indian people as yet. They are still comfortable with wood, metal, leather and various natural materials. Wood is a very expensive and exhaustive material. Hence good wood is considered to be rich and classy. However the treatment to wood has differed over the years to what looks rich and what doesn’t. India has borrowed largely from the developed countries the knowledge of machines, wood and finishes. But India has also had its highly skilled woodcarvings and structures seen from the past. Combining the two is what I see can be developed further to the liking of the Indian people.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

The Tropical Context My Region: South Canara District | Mood Board | Study Visit: The Hastha Shilpa Heritage Village, Udupi | Re-defined Brief

The Tropical Context The Tropical context is a direction taken to help me understand my Indian element. India has its own unique and vast elements to every state and region. Taking this Tropical context is another process of narrowing down my area and what better an area than the one I understand the best, my hometown, my district. The South Canara District is a mere district in comparison to India, but it has its own wide range of culture, customs, people and influences. For a better understanding and method, a mood board was developed through an elaborate process. This involved the design team at Quetzel helping me compose it. My mood board finally led me to my main inspiration, which is the study visit to the Hasta Shilpa Heritage Village. It was here I was exposed to a vast sea of culture and design that helped me start off my design concepts.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

South Canara, also known as Dakshin Kannada, is a coastal District in the state of Karnatake in India. It is bordered by the Udupi District to the North, Chikkamagaluru district to the north east, Hassan district to the east, Coorg to the south east and Kasargod District in Kerala to the south. It was a district under the British Empire. The people who first settled here were called Tuluvas. Bunts, Mogaveera, Billava are the major communities of this ethnic group. Brahmins, Vokkaligas, Muslims and the Mangalorean Catholics comproise the rest of the populateion. Tulu, Konkani, Kannada and Beary(Urdu + Hindi) are the most widely spoken language of the district.

South Canara District

â&#x20AC;&#x2DC;my region, my inspirationâ&#x20AC;&#x2122;

South Canara

The district Geography consists of sea shore in the west and the Western ghats in the east. The major rivers are Nethravathi, Kumaradhara, Phalguni, Shambhavi, Nandini and Payaswini which all join the Arbian sea. It consists of vast areas of everygreen forests which are native to trees like teak, ebony, wild jack (jackfruit tree) etc. In South Canara district, outside the main cities, houses are midst farm fields, garden or plantation of coconut/arecanut. This scenario of housing and vast areas of evergreen forests are slowly reducing because of unplanned urbanisation and hectic commercial activities.

3.1 Image courtesy: www.google.co.in/dakshinakannada/images

Mood Board

Making Mood Boards are a very interesting stage while designing. It is a stage of research and study, which in turn helps one in getting motivated and setting a direction. It is always important to find a direction and reason as to from where and why while designing a product. After my basic study, research and analysis I reached a point where I was in a slush of ideas. What should my range look like? What do I make of all the wood study and the trend analysis I have with me? I established a context and a theme. This became my start off point. Quetzel has always looked at Indian inspirations, which led me to take my region as my inspiration. This mood board was a small process in itself. Mood Board Process • I collected as many images for 6 different catergories that summed the feel and culture of the South Canara District. The 6 categories being - architecture, people, food, religion and sport. • These 5 slides of each category was presented to the design team here. • This was followed by a brainstorming session of describing the region with words for 4 new categories : Adjectives, Personality, Materials, Colour • The final feel from each categories were picked. • Based on these defined words I built my final mood board.

Architecture

Sights Adjectives

Amalgamation Influences Natural Fresh Earthy Greenery Wild

People

3.2

Serene Peaceful Subdued Balanced Grounded Simple Harmony

Materials

Religion

3.3

Laterite Hardwood Fibres & Ropes Brick Tiles Terracotta Ceramic Shells Fish nets Red oxide Coconut shell Husk Cotton Silk Gold Black metal Bronze Stone

Coarse Textures Weathered Religious Conservative Mysterious Beliefs Gossip Msyterious Spicy Exciting Tangy Intoxicating

Personality

Fertile Nurturing Warm Enticing Oomph Dignified Indigenous Multi-dimensional Layered Strength Depth Cultured Simplicity

Lush Fertile Humid Wet Marshy Agrarian

Ancient Lazy Colonized Sea faring Coastal Food

Colours

Green White/ Off white Brown Rust Grey Beige Deep Red Cobalt Sea Blue Maroon Slate Silver Gold Black Orange

3.2 - 3.7 : mood board collages made of images from online 3.4

3.5

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Sports

3.6

3.7

N AT U R A L F I B R E

DIGNIFIED

HARDWOOD

S T O N E

S I L K WHITE

T E R R A C O T T A

W A R M T H

B R O N Z E

C O B A LT B L U E

S L AT E

GREEN

L A Y E R E D RUST

MAROON

FINAL MOOD BOARD

C O N S E R VAT I V E

EARTHY

I N TOX I C AT I N G

LUSH

A M A LG A M AT I O N

C O A S TA L

W E AT H E R E D

BALANCED

3.8

Re-Defined Brief

To develop a high-end range Living Room furniture, whose form, style and functionlity exerts to fulfill the following design priorities: my basic study, the trend analysis, the tropical context and the Quetzel brand identity.

The Hasta Shilpa Heritage Village Manipal

3.9

The Heritage Village project was born out of an intense concern of Hasta Shilpa Trust of Manipal for the restoration and conservation of centuries old vernacular structures of architectural merit, aesthetic interest and craft importance and also for preservation of traditional objects of art and craft besides elegant artefacts of yesteryears. The whole concept is based on the trustâ&#x20AC;&#x2122;s conviction that art, craft and architectural traditions are integral to our cultural continuity. Hasta Shilpa has realised the fact that if all our traditional works of art, objects of craft and ancient buildings are allowed to be destroyed there would be no tangible thing left with us to identify ourselves with our roots. The whole crisis lies in the fact that when a society loses its sense of identity 74

Image courtesy: Self

with its roots, therefore its pride itself, it is deprived of a sense of judgement of values. A brainchild of Vijaynath Shenoy, a retred banker who convrted his own home into the Hasta Shilpa Museum, the Village is managed by the Hasts Shilpa Trust. Over the last decade, the Trust has relocated through the process of restoration 26 structures od immense architectural merit and fine craftsmenship. It is, indeed, a veritable treasure trove. The 15 heritage structure , which were in ruins in their original location in different parts of karnataka, were acquired, restored and reconstructed in their original form and character.

www.indianheritagevillage.org/mission.html

This study visit was my true inspiration. The restored architectural structures along with the articles and furniture inside were conserved with utmost care and respect. Every house and object has had a life so rich, it is still felt when one stands amidst it all. The most striking feature is the skillful use of wood as structures to build these houses and palaces which are still standing for 500 odd years. The wood used mainly here are teak and wild jack. These being the most commonly found trees in vast quantities in the region.

3.10

Kunjoor Chowkimane

3.13

Kunjoor Chowkimane

Each house had a character that depicted its residents. The houses differ from that of a brahmin, an agriculturist, a performing artist etc. The joineries used for wood from the smallest of objects, the furniture to the beams and pillars are very basic and the most effective. The joineries seen are mostly tenon and mortise, tenon mortise with a wedge(metal or wood) and half laps.

The following images are a selected few that were my key inspiration. • It was the massive pillars and beams that really caught my eye in all these architectural structures. • The repetative use of similar sections and geometry that brought about a balance in the structure like a piece of art. • A platform or base( usually of stone and mud) that raised and held each house. • Intricate facades and windows that enhanced the character of each house.

3.11

Shringeri Beedi Mane

3.14

Kukunoor (Kamal Mahal)

3.12

Hari Hara Temple

3.15

All image courtesy: Self

3.16

Bunt house (Agricuturists house)

3.20

All image courtesy: Self

3.17

3.18

Mudoda Palace

3.21

Kunjoor Chowkimane

Bunt neighborhood house ( artists house)

3.22

North Karnataka House Entrance block

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

3.19

Mangalore Christian House

3.23

Nandi Matt

Furniture Style and Influences seen around this tropical region Early Indo European furniture can be divided into 2 distinct groups according to whether the influence was primarily Portuguese or Dutch ( the English did not exert a national influence on styles until late 18th century) The Indo Portuguese group includes a Northern Indian or provincial Mughal style and a Southern or so-called Goanese style. The former is artistically the more interesting and includes a variety of furniture decorated with inlaid bone or ivory on Ebony and other dark wood. Tables and writing cabinets in the Italian Renaissance form are found in this category because this was the dominant style in Portugal. The second Indo Portuguese style, sometimes called Goanese (though in fact more probably made on the Malabar Coast, South of Goa) is more stereotyped in form and in decoration. It is distinguished

3.24

Mangalore Christian House

3.25

by large and rather cumbersome cabinets of a type known in Portugal as ‘contador’ the inlay ornament being either geometrical or semi abstract. The Indian contribution to those style is more inhibited and lacks altogether the charm and the fancifulness of northern Indo Portuguese furniture. With the growth of British power in India in the 18th century, all Indo European furniture styles came increasingly under British influence. Whole suites were made in ivory in the manner of Chippendale and Sheraton not only for European buyers but also for Indian rulers who increasingly favoured European styles of furniture. Unlike softwood like pine that tended to warp in the tropical humidity, dark wood stoop up to the most extreme conditions and were readily available in most of the colonies.

Mangalore Christian House

The estate houses of the sugar and rubber plantations throughout the British Empire led to a style all of their own. The gracious plantation chair with its low sat, sloping back and scrolled arms has come to symbolize the colonial West Indies style. Shutters essential to plantation houses to keep out hot mid day sun, found their way to armoires and cabinets. Ceiling fans often with rattan, fan like blades helped decorate as well as cool the rooms of the plantation house. The period of British raj in India developed its own style. Asian details help to distinguish Indian Colonial design. Inlaid Ivory and mirrors adorn tables, chests and dressers. Scrolled legs are more ornate here than in the West Indies or Africa, reflecting the Hindu architecture and design found in India.

3.26

Kukunoor ( Kamal Mahal)

All image courtesy: Self

3.27

Mudoda Palace

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

network and framing with half laps

Design Initiation

Basic Sketching

From the galore of inspirations and interesting details that I collected from the Heritage Village, it took me awhile to simply narrow down on what I could take forward. I looked at small details and joineries. I sketched quick ideas. I was looking at understanding the entire house to its insides. This took me a a good while, finding a direction for myself.

building from ground up

forming with slats

playing with movement in slats

Concept Initiation 1 : Placing on top a Pedestal. The Exploration sketches here are of seaters. I was inclined to making a seater first, since the most basic activity in the living room is sitting. The more I sketched, I realised one of the qualities that I saw myself taking forward is the fact how every house had a platform below it. It was like building a piece of art to live in, on a pedestal. That is the first concept I started off with.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Concept Initiation 2 : Repetitive Geometry The second concept is a wider one. It is the repetitive use of similar sections and order, these sections and order being completely based on geometry. Hence bringing out a beautiful balance and stability in the overall structure.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Concept Initiation 3 : Beams and Columns. The third concept in mind brought forward is that of the large columns and beams. The beauty of the massive wooden sections and its orderly positioning was what I also explored with. Hence I explored bringing this quality into a small scale structure for a furniture.

From basic cuboids for vertical section, I narrowed down to the following form. This was to reduce the weight visually as well as literally. With this, I slowly started building my language for form.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

Conceptualisation

wood + structure

I started refining this structure by detailing it out in terms of joinery, geometry and proportions. It was a one structure repeated to form a larger structure.

Triangulated structure Repetition to form a new structure

Sketch Model - working the joineries and stability. 4.1

4.2

The sketch model was essentially for exploration of the structure, understanding the weak points and also for correction of proportions.

4.3

All image courtesy: Self

4.4

The circled joinery was the weaker of the joineries that I had to work on in order to stabilize this structure. You will see minor options I tried and evaluated in order to find the best.

Addition of another horizontal member- to over engineer

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

PLAN

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Conceptualisation

structure + furniture

SIDE ELEVATION 86

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THE TROPICAL WOODEN SEATER

The elements I brought into designing the seater are chronologically as follows:

A Wood Structure : The basic structure was worked on to a point of refinement so as to reach a stage where it could nest my various elements in building the seater.

THE DOUBLE SEATER

The Seater was picked to be made. It is the most challenging and is the most exciting as it involves various elements and materials.

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

B Laminated Armrests : The armrests were considered out of function and structure to be of a laminated molded veneer. This not only introduced a new age look to the seater but also beautifully brought an interesting amalgamation of form and structure. C Woven Backrest : The backrest would be a frame that will have a tape/ chord woven completely around it. The weave chosen is a basket weave that is seen very commonly used for various applications in a tropical region. Weave used - Herringbone weave. D Seat Foam : To match the longivity of the backrest, I decided on keeping a single long seat foam. This would allow the users to lounge comfortably and freely on top this seater.

Ergonomics is a study of man in relation to his surrounding. The scope of ergonomics is very large because man is a dynamic being. And so this applied science is to co-ordinate man with his changing and evolving environment. It is a science for equipment or workplace design to be more functional, comfortable and the safest. Thus improving the productivity and performance of man. In my project, while designing the seater I did a basic anthropometric study.

ANTHROPOMETRIC DIMENSIONS CONSIDERED ( purely while designing the seater) Seat : Popliteal Height Buttock to Popliteal length Hip Breadth Knee to knee relaxed

Ergonomics

Backrest : Tip of Shoulder blade from seat Armrest : Elbow to Elbow relaxed Elbow Rest

4.5

http://www.k-state.edu/udlearnsite/img/L4-bodymeasurementsgif.gif 4.6

Popliteal Height Popliteal angle at the underside of the thigh, where tendons of biceps insert into lower leg 5th 50th 95th Final Percentile Percentile Percentile Dimension

Parameter

Gender

Popliteal

Male 380 Female 365

425 399

471 441

400

Horizontal distance from the most posterior point to the most anterior point on the knee (knee at right angle) Parameter

Gender

5th 50th 95th Final Percentile Percentile Percentile Dimension

Buttock to popliteal length, normal seating

Male

399

512 550

Female 384

439

Horizontal distance across the lateral surfaces of both the knees when they are in maximum relaxed position spreading Parameter

Gender

5th 50th 95th Final Percentile Percentile Percentile Dimension

Knee to knee (relaxed)

Male

284

388

535

Female 225

298

410

650

Elbow to elbow (relaxed)

Buttock to Popliteal length, normal seating

455

Knee to Knee (relaxed)

494

Horizontal distance across the elbow, when the upper arms are kept vertical downwards, touching the sides of the trunk and forearms extended horizontally downwards Parameter

5th 50th 95th Final Percentile Percentile Percentile Dimension

Gender

Elbow to elbow Male 345 (relaxed) Female 282

409

489

364

435

650

Elbow rest Lower most part of the elbow

Tip of shoulder blade Lower tip of the shoulder blade

Hip Breadth

Parameter

Gender

5th 50th 95th Final Percentile Percentile Percentile Dimension

Elbow rest

Male

158

213

270

Female

124

194

265

Tip of shoulder Male 373 blade Female 303

417

476

364

419

Maximun horizontal distance across the hips 5th 50th 95th Final Percentile Percentile Percentile Dimension

Parameter

Gender

Hip Breadth

Male 272 Female 259

331 314

405 429

550

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

200 450

NOTE: All dimensions are in mm 91

ANTHROPOMETRIC DIMENSIONS CONSIDERED

600

Ergonomics

450

200

105

400 1500 NOTE: All dimensions are in mm

4.7

Sketch Model

4.8

THE SCALE MODEL [1:5]

Exploring the details with the help of a small scale model. The scaled down model was useful in determinig the proportions and the structural stability. Also evaluating the overall look with the woven backrest and the seating.

4.9

All image courtesy: Self

4.10

4.12

4.11

4.13

Use of the scale down model: • A scale model is essential to understand how this particular piece of furniture would be manufactured from its components, pre-assemby and to its final assembly. • Working out the fixed joints • Working out the detachable joints with the use of hardware. • Choosing of the best hardware depending on where it will be used and how. • To finally get an over-all feel of the furniture. 94

4.14

The model helped in resolving the following issues: • Fixing of the laminated armrest to the main structure • The backrest frame structure. The chord woven around the frame compromised the frame to bend inwards since the span was long. • The back beam supporting the hind legs and the backrest frame. The span of the beam allowed it to buckle under the weight of anyone leaning against the backrest. • Requirement of a tie member to tie the C shaped seatframe with the front leg assembly.

All image courtesy: Self

Various options explored for Armrests

Option 1: Considering an easy manufacturing of the bent armrest.

Option 2: Considering the angle of an armrest that is comfortable to use.

4.15

4.16

Option 3: This is a reverse of the option 2 to hold wide cushion in the corner.

The idea is to have throws of cushions on the seater. This helping the customer to personalise their colour themes by their choice of cushions. The Option 2 is chosen to be the best considering the angle at which it is confortable to rest ones arms on the armrest.

Refining + Detailing

4.17

4.18

4.19

4.20

LEARNING AND EXPLORING THE WEAVE

THE WEAVING

Application of basket weaving into furniture has always been popular over ages. It is commonly found in many antique to new age furniture all over the place, especially in India. From the most common khatiya to beach furniture at a 5 star hotel, one looks at a various variation in basket weaving. From my trend analysis and from my study visit, I was inspired to use weaving to bring a unique mix of materials and form into this range. It fits right into bringing the high end feature as well as the indian element at the right proportion.

4.21

The Herringbone Weave:

Amongst the common basket weaves, I found the herrinbone to be the handsomest of the lot. Its simplicity yet the intricate feel brings an elegant look to the backrest and blending with the rest of the bold forms of the seater. The herringbone weave is a very classic weave commonly found in twill fabric. Itâ&#x20AC;&#x2122;s characteristic V formation gets its name from th herringbone of the fish.

All image courtesy: Self

4.22

4.23

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

METAMORPHISM OF THE BACKREST: 1

SKETCH MODEL ANALYSIS

A straight back with frame accomodating the weave

The Backrest frame is refined to have a wide U. This is following the form taken by the frame when woven without a mid tie on the long frame.

4.24

The U shape to the backrest (ref the sketch model analysis) 3

4.25

The backrest frame is refined and simplified. Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

All image courtesy: Self

The Back Beam is changed to form an L. This was to stabilize it from buckling when the user leans on the backrest.

The Final Design

Naina Shenoy . Furniture & Interior Design . National Institute of Design ÂŠ . 2013

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Orthpgraphic Drawings are essential in manufacturing of the furniture. The production drawings for this seater are included in the annexure of this document.

Drawings

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Orthographic Drawings of the wooden structure for an overall understanding of its components and assembly.

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Bill of Quantities PROJECT NAME :Diploma Project PROJECT CODE : BOQ : PRODUCT NAME : 2 Seater DATE 15/02/2013 : 13 / 02 / 2013 QTY : 1 MATERIALS SL.NO.