Greduation documentation 2016-17

Graduation Project 2016

By Naman Singhi

Product design

“Complexity of the area is enormous but the solution developed are simple�

Graduation Project 2016

INDUSTRIAL DESIGN INTERVENTION IN CRAFT Sponsor AKFD Story, Jaipur

Student Naman Singhi Product Design Faculty guide Mr. Manish Nath Jha Industrial guide Mr. Ayush Kasliwal Principal Designer | AKFD Sudio Jaipur

Content About the college Project brief Project time line About the firm Preface

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About the craft............................19

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Dhakoli Craft................................21

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Chitai Craft...................................61

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Horn Craft....................................83

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Facet Pendent Lamp......................94

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Vortex Pendent Lamp..................100

Short description of Indian craft

Swing Chair.............................................41 Bar Stool.................................................54

Chandelier ( Mala lamp )..........................72 Knobs

• Learning and experiencing • Bibliography • Acknowledgement

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About college

Unitedworld Institute of Design (UID) is a private educational institute in India established in 2012. It is an institute of national repute that follows the philosophy "Have a passion to create something new & influence change".

The institute provides guidance and training in a unique way and prepares students to understand the intrinsic values of design. Unitedworld Institute of Design provides the perfect ambience where an aspiring student of design can show his creativity. The Institute of has benchmarked nationally recognized faculties, teachers and equipment. They undertake to impart education that cultivates artistic capabilities and in-depth design knowledge to foster a creative education

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Project brief To design ''CRAFT IN INDUSTRIAL DESIGN FURNITURE" under the AKFD following the brand language .

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Using different traditional craft and artisan, understanding their mythology, architecture and culture for coming up clever industrial design furniture Contemporary aesthetics.

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An ergonomic and functional range of product.

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An extension to its current product range.

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Object that can be carried toward as a range in future.

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To conceptualize and create new addition to the brand.

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Project time line

Sales Photoshoot

Design Brief

March Installing

April

June/july

Understanding the craft and interviewing the artisans

Refinement Ideation, material analysis and final concept approval Sampling

May Production phase

Understanding costing

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DESIGN Creating innovative design solutions combining state of the art technology and modelling and traditional artisan’s indigenous knowledge.

MAKE Small-batch production, artisan’s workshops, quality control, global testing and a transparent value chain are all incorporated in making AKFD Storey products.

INSTALL Our complete design experience, whether large or small, provides excellent references, quality installation and on-time delivery of the services.

AKFD is a globally recognized design and manufacturing brand using local, sustainable and repurpose materials in an intentive combination of ancient techniques with high tech modelling; AKFD offers a comprehensive range of furniture, lighting and accessories with design services and for Individual Client, Architects, Builders and Planners. Crafted products with the versatility to grace a living room, hotel lobby or corporate setting are teamed with dynamic design services to transform interiors and exteriors into ‘meaningful spaces’.

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Genesis The brain child of Ayush Kasliwal, a graduate of the National Institute of Design (NID) inthe evolving field of Furniture Design, and his wife Geetanjali, an architect, AKFD represents a fusion of unique creativity and uncompromising integrity rare to find in the highly competitive world market Geetanjali and Ayush began their collaboration by focusing on interior design and architectural projects. Soon the paucity of simply-made but beautiful objects became apparent to these discerning professionals. From this sense of wanting to fill the gap grew the bold decision to launch AKFD. While earning a satisfying and creative living appeared to be the Company’s original incentive, a global vision soon emerged and Ayush and Geetanjali realized how perfectly they were poised to rejuvenate the ancient skills and arts of Rajasthan into the mainstream world of design. The company began as “Ayush Kasliwal Design Pvt. Ltd.”, with the brand “AKFD”. It soon morphed into a retail format, Anantaya, which, while carrying AKFD products, also began to showcase other designers and crafts people.

Eventually it also moved into the business of curating items ranging from antiques and textiles to objects of cultural significance, each intended to optimise daily living.

AKFD was launched in 2006, with a shop and design studio located in the heart of Jaipur.

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Vision, Mission & Philosophy I believe that design is in the relationship between an object and the people who interact with it. This is a very individual experience and the result is value. For me, it is giving this `value’ to our customer, not only for what the product is, but for what it stands for simplicity, honesty, and a sense of play, another aspect which is very important and dear to us is how things are made, who makes them, and do they do this out of choice, or circumstance. India as a country has a long tradition of making, and it is upon us, the young design people to take this forward into the centuries to come.

As a designer I believe that ecology cannot be coded, it is an attitude, an understanding of ourselves and the environment- are we the controllers, or are we controlled? At the same time, it is important to take measures to prevent ecological degradation- be it cultural, economical, environmental,or any other sphere, keeping in mind that we need to evolve and grow. We support local craft traditions and technologies by providing capital, technology and design. Key among these things is to use- less and to use more of less, like reusing, like getting things that last. And so is the case with luxury products use things that age beautifully,that have value over time.

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Manufacturing The manufacturing capabilities range from the sourcing of raw material, to the packing and dispatching of the finished product. The factory offers quality wood and metal working and finishing facilities and imported woodworking machines ensure quality and speed. Flexible manufacturing policy is the most effective and inexpensive way to work.

Its network of workshops enables us to maintain lower operative overheads preserving maximum flexibility in the products we are working on.

Its partner with several dedicated workshops that are continuously involved in our work.

These Include: • • • • • • •

Wood working Metal Fabrication Stainless Steel & Mild Steel wire Brass Casting & Spinning Stone Turning Durrie Making Workshops Metal & Wool Polishing & Finishing

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Ayush Kasliwal Design Pvt. Ltd.� (AKDPL) is a design driven, quality conscious company involved in the manufacturing of high quality furniture items that are now finding their way into design showrooms the world over. AKFD is committed to development of ideas using local crafts that have evolved over centuries. Strategically based in Jaipur the company has a large variety of crafts to play with be it beaten brass, stone carving or even mirror work.

Today AKFD employs close to two hundred skilled locals. Its retail outlet and showroom at Jaipur, has attracted considerable attention in the design conscious market for its minimalistic yet classic interior & has been publicized in international design magazine.

Jaipur :

AKFD Storey F-677, RIICO Industrial Area, Sitapura, Tonk Road, Jaipur - 302022, INDIA akfdstudio.com

Bangalore :

AKFD C1, Hotel Leela Palace, 23 Old Airport Road, Kodihalli, Bangalore - 560008, INDIA

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Preface History of crafts in India , its evolution over time and the need to document and reminisce the essence of the declining crafts.Craft documentation features the facets and complexities involved in the craft. This is done by observing the process of making product, experience craft and working area and an interviewing the craft person as well as member who involve in it. This process required a systematic collation of information and a logical structure for the proposed document.

The documentation is based on basketry weaving.

The actual project and fieldwork was done over a period of 4 month by visiting the geejgarh village of Dausa district in Rajasthan. Here the craft was documented and techniques were learnt. This project is started in March- July 2016. It is craft form which often combines both utilitarian and aesthetic qualities using natural fibres.

This project is done under the guidance of AKFD Story Jaipur provided information regarding the craft, its processes, the craftsmen etc. Questionnaires were developed on studying the other craft.

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I­­­­­n troduction of craft Crafts are a substantial medium to preserve the rich traditional art, heritage and culture, traditional skills and talents which are associated with people’s lifestyle and history The tradition of crafts in incredible India has grown around religious values, needs of the common people and also the needs of the ruling elite and it continue to flourish due to the enthusiasm of the Indian craftsmen to accept and incorporate new ideas.

There are three main classification of craft : Folk craft People develop object for their personal use, or for a limited client base create Religious craft It developed around religious centres and theme.

Commercial craft Specialized craftsmen of a particular group who are specialized in a particular skill and who can completely master the craft.

The mention of Rajasthan immediately transcend one into a world of cultural richness , tradition and heritage states of incredible India and with the capital of one of the largest state of India jaipur is a major hub for art and craft which include bandhani, block printing, stone carving and sculpture, tarkashi, zari, gota, kinari and zardozi.

Silver jewellery,gems, kundan, meenakari and jewellery, miniature paintings, blue pottery and various other crafts.

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About Dhkoli Craft Dhakoli craft Nature has taught man the beautiful art of integrating material to create object which provide him with comfort in his daily existence. The weaving of nests by birds, the crisscross texture formed by branches, leaves and twigs, the intermingling of marshy grasses and reeds surely brought to the mind of man the immense possibilities within the reach of his fingers.

Basketry has been practiced for thousands of years by peoples. It is an art form which often combines both utilitarian and aesthetic qualities. There are many different types of baskets, with countless variations made by different tribes, region and individual artists.

Traditionally in this type the raw materials were the locally grown date palm leaf and a wild grass grown in the swampy area were made into coiled baskets intended for domestic use by the womenfolk of the household. The products include a range of round bottomed, cylindrical and shallow baskets with and without lids such as food gathering and storage, furnishings and ceremonial uses.

Dhakoli Craft

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About Geejgarh Village Geejgarh village Surrounded by Aravalli hills, Geejgarh is an ethnic village in Sikrai tehsil of Dausa District in Rajasthan State. It belongs to Jaipur Division.

It located 95 km from State capital Jaipur and takes about 2 hrs to reach via Sikandra village. It takes about 1 hrs 30 minutes to cover 88.5 km from Jaipur to ikandra by a local bus that goes via Dausa and from there it takes 15 to 20 minutes to cover 7 km by jeep and local transportation facilities for Geejgarh There are few guest houses and resorts are available nearby for an accommodation to experience culture and tradition .

Tehsil Name : Sikrai District : Dausa Division : Jaipur Language : Hindi and Rajasthani Pincode : 303502

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Socioeconomic Factor Socioeconomic factor With a diverse population of approx 14000, the average household in Geejgarh is comprised of more than 22 people. Most rely on agriculture to make a living. Virtually all of the women in Geejgarh are housewives and, based on recent history, half of the male population will leave their families to seek work in other cities or districts. A staggering 40% of females are unable to read and their literacy ratio is nearby 55%. The total literacy ratio of Geejgarh village is aprox 70% There is a READ (Rural Education and Development) India non-governmental organization has built Library and Resource Centres in geejgarh and announced the successful culmination of a socioeconomic empowerment programme for women through skill enhancement in Geejgarh and surrounding villages of Dausa district in Rajasthan.

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About READ INDIA READ INDIA READ (Rural Education and Development) India is the Indian affiliate of READ Global, an international nonprofit organization focused on making rural communities in Bhutan, India and Nepal viable places for people to learn and prosper. Combining education, enterprise and community development, READ Global partners with rural villages and local non-governmental organizations (NGOs) to create sustainable livelihoods, utilizing Community Library and Resource Centres (READ Centres) as a vehicle for creating lasting social change, Since 1991, READ Global has built more than 62 Community Library and Resource Centres and provided access to dynamic resources for more than 1.9 million individuals. READ India currently works in Delhi, Haryana, Karnataka, Manipur, Maharashtra, Rajasthan, Uttar Pradesh, and West Bengal, with plans to expand into additional states in India in the next few years.

Skill to succeed In 2014, they reached out to Accenture to present their unique model and invite their team to check out a centre in action. After seeing all of the activities going on in the Delhi READ Centre, Accenture decided to partner with READ India for “Skills to Succeed” – Accenture’s global initiative to equip people with the skills to succeed in business.

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READ INDIA...

The main objective of this programme is to create employment opportunities for women living in isolated rural communities. There is immense potential and ambition hidden in these communities that have never been explored, so they help these women build their business, skills and, then give their skills a platform. This monetary success creates a sense of pride in the community and feel proud to financial contribute for their families.

Skills to Succeed operates on a basis of two principles – the existing skills in a community and the need of a community, means they do surveying for a month to analyse and ensure those craft should speak to the place and marketable as well, so the training program organize for 3-4 month and categories them according to their skill and ability and the programs are customized to meet those criteria. Additionally, these skills–such as basketry and cot knitting–are traditions that have been passed over generations, so there is often an emotional connection and even an identity connected with having these skills.

A key outcome of Skills to Succeed is the showcase events that are put on after the trainings. READ India organizes events where potential buyers are invited to browse and purchase the women’s handcrafted, high-quality products. This exposure brings a plethora of relationships and opportunities.

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Working Environment

Working environment Geejgarh is the first village in the Rajasthan state of India to collaborate with READ Global. In January 2011 READ India opened the Geejgarh Centre to the public as the very first eco-fWriendly READ Centre include the use of natural limestone instead of concrete for the sustainable building design, solar panels and sandstone screens . So with solar-powered lighting villagers can access books and computers even at night.

Resources Library/Reading Room with 3,000+ books in Hindi and English The Geejgarh Centre provides a wide range of books for all literacy levels. School textbooks are available for students, and books related to agriculture and rural livelihoods offer villagers practical knowledge. Local schools come to visit the Center regularly to access its educational resources.

Children’s section with books, educational DVDs, CDs, and toys The Geejgarh Centre offers a dedicated space for young children to socialize, play and learn, including age-appropriate books and toys for young readers.

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Working Environment...

Women’s Empowerment section with resources on women’s rights and health This section is entirely for women, and one of the most popular parts of the Centre, hosting savings groups and literacy trainings.

Information Technology (IT) section with computers, printer/scanner/copier/fax 70 community members are currently enrolled in basic computer and Internet skills courses. Some programs include typing and MS Office.

Multimedia resources including a TV and DVD/CD player This section brings the community together to watch cultural movies and documentaries, as well as children’s educational videos.

Meeting/Training hall for special community programs.

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Working Environment...

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The Artisans The Artisans “Our story is what we have to offer the world” The artisans stories of individuals who handcraft beauty.

The interview format created by us has provided an insight in the life of an artisan .A day of meticulous workmanship and detailed narration of their lifetime devoted to the craft.

They are the oldest yet most active participant working with READ India , Despite of family’s barriers and concerns about their age, they stepped outside from her home and decided to become part of the program Skills to Succeed by READ INDIA. They felt joy when working with basketry, they get trained under the training programme basketry trainings which help them to flourish their skills to the extent of understanding the significance of every aspect of the object and trying to make as qualitative product as possible.

They were not only supported their family through the practicing of this craft, but also ensured that they passed on the craft to future generation and other women to earn income and take charge of their own futures.

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Purva Bhuwnesh, READ India Design Consultant and Project Manager PurvaBhuwnesh did her graduation in B.Techfrom Jaipur National Uiversity 20072011 and specialized in space/product design , craft and community studies from Srishti school of Art, Design and Technology 2013 - 2015. As a design consultant and project manager for READ India, she currently works with multiple communities in Uttar Pradesh and Rajasthan to help develop products for craft-based sustainable enterprises.

Name: Rafikand Age : 42 Cast : Momden Education : illiterate Children : 3 sons Husband name : Rafik Khan Husband occupation : Tailor She learned this craft from her grandparents.

After so many years of marriage, she came out to show her capability in Dhkoli work (basketry craft) and wants to earn income to support their family at the same time wants to learn more about this craft with the support of READ INDIA NGO.

The Artisans...

Name: Tofa devi Age 60 Cast Saini Education -illitrate Children : 3 sons and 2 daughter Husband name Daychand saini She is old but very experienced and enthusiast about her work and task.

Name : Shanti Devi Age : 50 Cast : Mahwar Education : Children : 3 Son and 2 daughter Husband name :Gulab Mahwar Husband occupation : Tailor/Driving She like to work with this NGO and craft .Her work to the extent of understanding the significance of every aspect of the object and trying to make as fine as possible

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Design And Motif Design and motif This craft is mainly done by women so, according to their skill and use they developed their products. But with the help of NGO they push their limits towards larger area.

Concepts are develop on the bases of round and spherical bottomed and the object with radius .In this craft technique is also important to conceptualize the object .

In this type, they are using Coiling technique which gives continues form of spiral pattern.

Coiling is a technique which involves sewing. A foundation material is coiled upwards and stitched into place.

A pointed tool called needle is used to pierce a hole in each coil and stitching is placed. The sewing element is threaded through the hole and sews that coil down to the coil below it.

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Raw Material Raw material As a raw material there are two components used in this type of basketry weaving date palm leaf and wild grass.

They are called by different local names in different areas. In Geejgarh, people called wild grass as ‘’Taper’’ and date palm leaf as ‘’Pani’’.

Date palm leaves The Date Palm is a tree. It has been cultivated for a very long time because of its edible fruit. This fruit is called date. The tree is between 15m and 25m high. It has long leaves that look like feathers. Such leaves are called pinnate. The leaves are 3-5 metres (13–20 ft.) ong, with spines on the petiole, and pinnate, with about 150 leaflets. The leaflets are 30 cm (12 in) long and 2 cm (0.79 in) wide. The full span of the crown ranges from 6–10 m (20–33 ft.)

Wild grass The raw material wild grass -Tapper is much thicker and greener when it brought and can be found in almost all areas.

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Tools Tools Sui (Needle) The main tool used by the women is a 5-6 inches long needle with a sharp tip and a bigger eye which is used in stitching threading the leaf Kaichi (Scissor) Mainly two type of scissor are being used smaller and the bigger one used by the tailor. Scissors are using mostly at the end of process . To cut unwanted the grass smaller scissor is used and to cut the layers of coil .

Bucket of water is also used to soak palm leaf. The tools used for basketry weaving are brought from a local market.

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Process Process Date palm leaf is used as a skin because it has good structural strength and wild grass is used for the basic form and material for coiling purpose which is stitched together with the use of date-palm leaf means first wild grass is coiled and then it is stitched with palm leaf.

READ Centre makes sure that all the raw materials and processing facilities are availed from the village itself in order to bring maximized revenue and other benefits to the community. They collect both from nearby seller or nearby village within 5-10 km.

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Process

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Course of action

Course of action Preparation of raw material The date palm leaves are collected from the date palm trees. These wild grasses growing in swamps and barren area, so it can be easily obtainable. The semi dry palm leaves are completely dried. The midrib of the dried leaves is removed splitting the palm leaves into two halves separating the stick to get more thin strips.

Weaving of basket Before use, leaf is soaked in water to make it more pliable as it is coiled around the wild grass. They leave the palm leaf in the bucket of water while working in summers, but in monsoons, they just need to dip it and leave it outside, and it is still moist enough to work.

Now the main form is shaped with wild grass to provide the basic shape start with base which coiled and give additional strength to the product. The wild grass is completely coiled over and covered with palm leaf through stitching, so that it is not visible through the encasing.

Stitched place by threading the leaf through the lower coil of wild grass, using a big needle with a sharp tip to push palm leaf through.

Finishing The leaflets at the base of the fan-shaped leaf are known as “throw leaflets” and at the tip are known as “nose leaflets” which they used it with the wild grass for filling and for repair the gap of palm leaf. The extra palm leaves are cut with the help of small handy knife and scissor.

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Course of action...

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Course of action...

The palm leaves and wild grass collected from the tree and dried.

The midrib leaves removed and splitting the leaves into two half.

Stitched place by threading the leaf using coiling technique.

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Palm leaf is soaked in water to make it more pliable. Then wild grass is completely coiled over and covered with palm leaf through stitching.

Push palm leaf through the hole of big point needle.

Range Of Products Range Of Products Basketry weaving is not use to make only baskets, their are numerous household product and furniture pieces will be created through this craft.

This showcase is done by geejgarh artisan under READ INDIA for exibition organised by Aarohan.

“Aarohan is READ India’s platform for rural women to showcase various products made using indigenous skills.

These products are culmination of year intervention by professional designer, skill enhancement program & empowerment. It provides a unique opportunity to designers, corporate, export houses & retailers to interact and partnerships”.

Products • • • • • • • • •

Chakore - shallow circular tray Sundhada - narrow necked basket with lid Boiya - roti/bread basket with lid Koop - cylindrical basket with lid Central table Short stools Drawers Flower pot Different sizes of trays

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Process Understanding Cost Process understanding cost 9%

23%

68%

Labour

Raw Material

Other

The NGO doing remarkable job in a support of women empowerment.

This Pie chart is the sample representation of the understanding cost of making products . This chart shows the distribution of cost between artisans (labour). raw material and other expenses. NGO paid artisan on their working hour spent on product.

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Swing Chair Design brief and conceptualization The swinging motion makes us feel free, calm and relaxed.

The sweet sensation we feel from swing, It does make us feel good even when we read a book or just relax on a hanging chair With the sweet sensational aspect, we design a swing chair using dhkoli craft (basketry weaving), The chairs are to be used in the indoor as well as outdoor spaces, along with its adaptability in high end residential & commercial spaces as well, flowing brand language is used.

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Swing chair I Conceptualization

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Conceptualization I Swing chair

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Swing chair I Detailing

Detailing

The chair were now detailed on rhino and solidworks.

712 mm

662 mm

354 mm

Expected Basketry weaving direct downward coiling from outer rod.

355 mm

Diameter : 1 inch Angle : 95 degree

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For the outer frame 10mm iron was used and for back and bottom support 25.4*3mm wide strip was used.

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Detailing I Swing chair

6 mm ro

314

Hook 246 183 183

Under the bottom strip leather belt is used to support weaving.

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92

12mm brown Rope is going Rope through the pipe and tighten with rings of swing chair as well as made knots at the ends of suspender pipes.

6 mm ro

246

Stainless Steel Pipe

This suspendle made from 16mm diameter stainless steel pipe which diagonally wielded and in centre 10mm thick stainless steel hook placed.

All dimension are in milim

16mm SS pipe is u All dimension are in milim

16mm SS pipe is u D h a ko l i C ra f t

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Swing chair I Detailing

Material Swatches

Wild grass ( tapper )

14mm Brown rope

Date plam leaf (pani)

25.40mm wide and 3mm thick iron strip are used with powder coating

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• The maximum weight load is 125 Kg • Only one person at a time should be

246

6 mm rod

16mm SS pip

seated

8mm and 12mm iron rod are used with white powder coating

• Allow the chair to fully dry.

183

92

• Ground clearance up to 18 - 20 inch

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16mm stainless steel bend pipe and 10mm hook

Production I Swing chair

Production process

Quality conscious company involved in the manufacturing of high quality product this is due to the effortless craftsmanship done by their experience worker with effortless possibilities. Geejraj ji and Bhagawan ji are one of them with whom I worked and with their support design team come up with new possible solution.

Production was carried out in 3 stages Preparation of frame • Usually frame was prepare as a base content.

• Shape Strength on which basketry weaving is done.

• Fabrication is used for prepare a frame using bending and wielding process.

Powder coating White Powder coating was done after fabrication.

Powder coat-covers the object with a polyester or epoxy powder, which is then heated to fuse into a protective layer.

Basketry work After powder coating frame were handover to the artisan.

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Swing chair I Production

Preparation of 1st Prototype Full scale cad drawing was created with proper dimension to production craft person for preparation prepare frame.

Time taken for preparation of first prototype Fabrication of frame - 5 working days Powder coating - 1 working day On basketry work - first prototype starts from 17th april to 14th may This was first time for artisan, working with designer oriented company. They took their time to understand the perception of new possibilities and range of product.

Problems with the 1st Prototype Iron strip for back support was not good choice to support because strip were too wide, • Stitching problem occurred • Upper layer of coiling came forward which effect the sitting position and balance of swing chair.

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Production I Swing chair

Uncomfortable Sitting Positions

1 Sitting deep inside the chair

2

3

Uncomfortable back rest.

Sitting middle of chair due to problem of chair which unbalance the chair.

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Swing chair I Production

Redesigning the frame for Basketry Weaving • Strip was replace by 10 mm iron rod to support back rest.

• It was welded with the lower bottom part.

• Given the radius at lower bottom and back support was straight and angular compared to the first prototype.

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Production I Swing chair

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Swing chair

I Estimate cost

Estimate sheet Material Iron Frame Powder coating Weaving Suspender Rope Leather strip Total

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Quantity 1 Pcs 1 Pcs 1 Pcs 1 Pcs 8 meter 4 Pcs

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Rate per pec 2500 Per Pcs 400 Per Pcs 3580.00 Per Meter 2200.00 Per Pcs 15.00 Per Pcs 40.00 Per pcs

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Amount 2500.00 400 3709.00 2200.00 120. 00 160.00 9089.00

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Bar Stool Design brief and conceptualization Design a bar stool using same craft (basketry weaving) with an ergonomic solution for dining something minimalistic with clean lines without any compromising is comfort centred on simplicity and honesty.

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Dhakoli Craft

Conceptualization I Bar stool

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Bar stool I Conceptualization and detailing

Upper frame 10 mm iron fram was used and for lower back and bottom support 25.4*3 mm wide strip was used.

Lower frame is also made up off iron rod and the strip with the same distance at the top of lower frame used to support upper frame bottom part.

313 mm

764 mm

412

456

212 mm

440 408

212

Exploded view

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Production I Bar stool

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Bar stool I Estimate sheet

Estimate sheet Material Iron Frame Powder coating Weaving Total

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Quantity 1 Pcs 1 Pcs 1 Pcs

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Rate per pec 2500 Per Pcs 400 Per Pcs 1350.00 Per Meter

Dhakoli Craft

Amount 2500.00 400 1118.00 4018.00

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About Chitai Craft Chitai craft India is the largest brassware making country in the world. According to archaeological records, brass was popular in India since the third century BC and most of the idols of gods and goddesses were made of this metal.

Rajasthan and Moradabad in UP are best known for art brass ware in the country but Moradabad is a leading cluster for art brass ware in the country. Brass objects are made either by sand casting, moulding or sheet metal forming process and various levels of production are handled by specialized craftsmen.

For ornamentation various techniques of engraving, embossing, jali cutting filling in coloured lac in engraved areas, etching, tinning, electroplating 24 carat gold plating are being used.

Chitai work is one of the most beautiful forms of art, that Indian craftsmanship has to offer .Chitai is decorative art made with a nail hammer metal embossing process for producing raised motif in sheet.

C h i t a i C ra f t

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About Moradabad City Moradabad city It was founded in 1625 and named after one of the Emperor Shah Jahan`s sons. The history and culture of the Moradabad district is linked to the Rohillas,a group of medieval Afghan adventures. Their military exploits and conquests in this part of western Uttar Pradesh bordering Kumaon led to the region to be called Rohilkhand.

The Rohillas belong,originally,to the region called Roh in Afghanistan. They came to India in 1707 to trade in horses,among other things. The region is thus predominatly Muslim. Amroha has a substantial Shia Muslim Presence. Urdu and Hindi are spoken here,Today it is an important trade centre and one of the most densely populated cities. There are many smallscale brass ware industries and art brass ware is exported. The open plains of Moradabad district are drained by several rivers. The fertile terai has forests which have trees of Sheesham,se mal,babul,ber,gular,eucapyptus and khair.

MORADABAD REGION is historically a part of Rohikhand,now called Bareilly division. The Moradabad city,headquarters of Moradabad district,is located 150km from Delhi on the banks of River Ramganga.Moradabad city popularly known as “Pital Nagari� assumes significance in brass industry since long. The brassware and carved brassware goods are most important products manufactured and exported from this city to other parts of the country and abroad.

Moradabad has over 600 units crafting brass ware for the export and home markets. Brass objects are made either by casting,moulding or sheet metal forming processes.

A number of ornamentation techniques are being used engraving,embossing, filling in coloured lac in engraved areas,etching,tinning and electroplating.

Horn and bone carving is done in Moradabad and Sambhal. Rampur is well known for its handmade knives.

Crafts such as zari,gold thread embroidery, block printing and ironwork are practiced in Amroha.

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The Artisan The Artisan Name: Dilshad hussain Age : 65 Cast : Muslim Wife : Rukhsan begam Children : 5 sons 4 daughter Occupation : Art metal master craftman Address : Makhbra II kaithvali mazzid, gali no. 1, Moradabad The traditional crafft is probably five hundred year old and the artisans learned this traditional art from their ancestors and forefather engaged into practice from many generation.

National awarded Dilshad hussain has inherited the skills from his ancestor. He is master in brass engraving and national awarded in 2012 and at state Shilp guru 2004.

He also like to attended the workshop programme organised by government and private organisation to teach and train artisan to secure the art and passed it over generation to generation.

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C h i t a i C ra f t

Design And Motifs

Design and motifs Moradabad metal art is a fine and a delicate art. This craft shows the traces of Islamic culture.

The intricate ornamentation is a legacy of the Mughals who also introduced newer designs. Craftsmen in Aligarh cast brass locks,statuettes,ornamental door handles and fittings. Jalesar is known for cast bells made in brass.

The designs are mostly floral arabesques or bird’s animal, geometric designs. Some of the names for designs are blue chicken, chidia chiken, lily-chicken, irani chicken, Bidar design, angoori, guldasta, pachranga etc.

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Tools Tools Darza- Casting box A casting box is a type of container used to contain a mold in metal casting .

Bhatti- Furnace Brass is prepared by melting scrap-metal by coal fire furnace Gharia- Crucible A ceramic or metal container in which metals or other substance may be melted or subjected to very high temperatures Sansi- Tongs An instrument with two movable arms that are joined at one end, used for picking up and holding things Thapi- Mallet Hammer with a wooden head Chisels A long-bladed hand tool with a bevelled cutting edge and a handle which struck with a hammer or mallet, used to cut or shape wood , stone or metal.

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C h i t a i C ra f t

Raw Material Raw materia l Brass is called “Pital� in our national language. Brass is an alloy (mixture) of copper and zinc and with the addition of small amount of other elements may be added to the alloy for special uses.

The story of Indian Brass as is generally known began during the age of the Indus Valley civilization i.e. Around 2400BC to 1700BC. The extraction of this spread to other sites such as Kalibangan in Rajasthan, Lothal in Gujarat and Laimabad in Maharashtra. The two most well known sites are of course Mohanjodaro and Harappa. The Harappan figure of a dancer, with her carefree stance, is one of the first metal sculpture pieces discovered in India.The large Buddha figure at Sultanganj is possibly the largest surviving metal work of ancient time and is a monument to the skill of Indian craftsmen in melting and casting metal.

During Shah Jahan`s reign the brass ware of Moradabad was exported to Iran,Turkey and the Middle East.Aligarh and Jalesar are two other important centres of brass work in Uttar Pradesh.

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Process

I

Course of action

Course of action

The steps followed on the metal sheet or casted hollow object.

Mould making The first step is to make the mould or master piece from which multiple product would be cast. These are usually made of wax,as it soft and easy to work with. Sometime wood is also used. This master-copy is always created in two or more parts to make sand casting convenient.

Sand casting Sand casting is the traditional method of making brass ware. Sand is used in the two halves of the mould box to cast the metal which is prepared by packing sand (locally called ‘masala’) around the ‘master-copy’ tightly.

The chemical binder in the sand aids in holding the shape of the mould after which it is removed and molten metal poured in its cavity. After being allowed to cool for few minutes, the cast metal is removed from the mould box.

The sand and the ‘gating’ (path way made in the mould for directing the flow of molten metal into the cavity) are broken from the cast using a hammer. These are re-used in the next casting.

Tracing and Embossing The design is traced by hand, with the help of chisels on metal. The metal is pushed with an embossing tool (blunt pen tool) in order to create a raised effect on the opposite side. Later on khudai is done by smaller metal sharp chisel.

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C h i t a i C ra f t

Course of action...

Joining the joints Borax powder, commonly known as suhaaga mixed in lukewarm water, for making a thick paste. The pieces to be joined are then placed edge to edge touching each other and this paste is applied on the joints. Its then kept in the sun and allowed to dry.

Welding Gas welding is then done on the joint, above the dried paste, using brass welding wires.

Acid wash The prepared product is now washed with Gandhak ki tezab so as to remove all the dust and other dirt particles from the surface of the metal.

Washing in water The acid washed utensil is now washed thoroughly with water to remove the acid which can corrode the metal on prolonged exposure.

Neutralization After water washing acid is not completely removed. So to neutralize the surface of the metal it is dipped into Kishta or Khatai i.e. Tamarind solution. Acid present on the meta surface darken the color of brass due to corrosion.

Polishing Polishing ainly includes cleaning the brass ware with a soft scrub and then buffing it on the machine for golden sheen.

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Range Of Products Range of products Some of the artisans actually have their manufacturing units and workshops in their own homes. Quite naturally, the tradition of this art form is being passed on from one generation to the next. Each one specializes in a skill (expertise) and handles that respective level of the production process Products The range of brass products from Moradabad • Idols for worship • Flower vases and planters • Surahis (round pots) • Tableware (plates, bowls, boxes etc.)

• Ash trays • Diyas • Candle stands • Instruments • Locks and fitting • Antique jewelry • Furniture • Trophies • Paandaan-container for storing paan • Hookahs • Decanters • Pot holders • Mirror • Frames, • Table lamps

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C h i t a i C ra f t

Range of products...

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Mala Lamp Design brief and conceptualization The lamp hangs like a beaded necklace (or MALA) from the ceiling, the perforated `beads’ connected by thick hollow brass ropes casually refer to the ‘rudraksh’ , the holy bead used by saints and mendicants in India. The unique configuration allows it to be used in many ways.

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Conceptualization I Mala lamp

Theiscurved leaf pattern is develBlack part oped using truncated icosahedron metal sheet

This was 1st Truncated icosahedron sample, using laser cutting and flowers of life. pattern on mild steel for artisan to understand the pattern Truncated icosahedron is an Archi- which crafted on a 6 inches brass medean solid, basically combina- sphere. tion of 12 pentagonal faces and 20 hexagonal faces.

Flower of life is a geometrical shape composed through overlapping circles using vertex of hexagon.

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Mala lamp

I Detailing

Detailing The lamp were now detailed on rhino and solidworks

Diameter : 10 mm Diameter : 1.5 inch

This is the first sample made through etching process. In etching, metal is subtracted through chemical solution.

Finalised sample made through Chitai process which gives more impression of handcrafted. In Chitai, metal embossing process for producing raised motif in sheet.

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C h i t a i C ra f t

Different sizes of holes both the side of sphere for installing light.

Detailing I Mala lamp

1665

2286 mm

2286

1665 mm

Inside view of sphere which shows arrangement to hold both side capes of a sphere using cord-grips as well as connectivity of all the sphere according to segments.

Cap for sphere tightened with the help of cord grip and braided chain. It is made from brass

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Mala lamp I Detailing

Sphere shaped fixture design accordingly to solve the problem of carrying the LED bulb and strengthen to globes by holding both the axis while hang on the roof.

This fixture divided into two parts Upper part: It used to hold LED bulb with its holder and cord grips through which braided brass chain passing for electricity supply will be easily done.

Section for Led bulb and its holder Section for fro cord grips

Lower part: It is a cap for the fixture ,used to hide the wiring inside the fixture.

Instead of threading Twist and turn mechanism is used to open the fixture

Mirchi LED Holder for cord and LED Cord Grip

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32mm

Detailing I Mala lamp

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Mala lamp I Production

Production Mixture of resin, oil and brick powder put inside the casted sphere for making base, After that metal is pushed with an embossing tool in order to create a raised effect on the opposite side. The positive impression has a smooth surface that will shine or can take pigment.

After finalised chitai work sample 20 pieces were ordered. 4-5 weeks taken by artisan to place the order. Between that time period, I went to Delhi to source the braided chain at Trukman gate as well as to get market experience for sourcing.

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C h i t a i C ra f t

Production I Mala lamp

Material Swatches

Brass 18 gauge Holder for LED glossy` finish and cord grip

Loops and require attachment was done with gas wielding. After that assembly was done

After preparing the spheres and all the require part assembly was done with the help of bhagwan ji.

C h i t a i C ra f t

Tra n s p a r e n t cord grip

Brass ceiling attachment

Braided Brass chain

220v LED-G4 (Mirchi LED) and its holder

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Mala lamp I Estimate sheet

Estimate sheet Material Chitai Worked Brass Ball Dia Cielling Attachment Wire Mirchi Led Holder Mirchi Led 3D Printed Fixture Cord grip Braided Brass Chain Brass Hook Dc Transformer Finishing & Material Total

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Quantity 7 Pcs 1 block 2 Pcs 5 Meter 7 Pcs 7 Pcs 7 Pcs 30 Pcs 5 Meter 2Pcs 1 Pcs 1 Pcs

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Rate per pec 700 per Pcs 4000 150.00 Per Pcs 30.00 Per Meter 10.00 Per Pcs 150.00 Per Pcs 200 Per Pcs 3.00 Per Pcs 80.00 Per Meter 30.00 Per Pcs 50.00 Per Pcs 50.00 Per pcs

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Amount 4900.00 4000.00 300.00 150 70 1050.00 1400.00 90.00 400.00 60.00 50. 00 50.00 12520.00

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About Horn Craft

Horn Craft In India, the state of Rajasthan is renowned for its eyepleasing art styles. Rajasthan is all about heritage, art, monuments and folks. When talking about Rajasthan’s heritage, art one should especially know is about Bone and Horn Craft of Rajasthan. Formerly, the artistic structures were manufactured from Ivory. In the modern era, ivory is considered to be a rare element and is obtained from animal bones. For obtaining ivory, many animals had to be killed, so animal welfare society has banned using ivory After the ban imposed on ivory in 1989, many artisans took to carving bones and horns to keep the craft alive.

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Horn knobs Design brief and conceptualization Rajasthan is a hub of animal Bone and horn reason being the extreme weather in summers. These bone and horn obtained from dead animals are cleaned and washed with certain chemicals to make them infection free. Beads and Cravings are made in different shapes to make beautiful articles from these remains.

Designing knobs inspiring from chess player which cleverly control opponents mind that to play the step what he wants. Solution would be an ergonomic with qualitative contemporary value

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H o r n C ra f t

Conceptualization I Horn knobs

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Horn knobs

I Detailing

Detailing

The knobs were now detailed on rhino and solidworks Height

Height Height

Diameter

38 mm

10 mm

16 mm

10 mm

Height

Diameter 10 mm

35 mm

16 mm

Diameter

Height

Diameter

10 mm

10 mm

Diameter Height

9 mm

Diameter

Height

Diameter

10 mm

33 mm

15 mm

9 mm

36 mm 10 mm

34 mm

30 mm

10 mm

17 mm

46

13 mm

Corion / Horn

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Corion / Horn

Corion /Horn

Corion / Wood /Horn

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Horn

Horn

Horn

Horn

Horn

Horn

Horn

Horn

Horn

Horn

Horn

Horn

Production I Horn knobs Tools Saws Hand saws were the type most likely used - coping saws and hacksaws are acceptable substitutes Hand drills Used for both drilling holes and incising designs Hot iron drills Heated rods used to burn holes in bone or bone Wood carving tools and knives Many small carving tools can be easily and cheaply made from masonry nails, needles, broken epee blades, broken needle files and hacksaw blades.

Set of gouges and blades Precision quality tools for cutting, levelling,shaping and whittling Files in various sizes Lathe Sandpaper Tongs and pliers for handling hot horn Vise with wooden and iron (mild steel) jaw inserts

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Horn knobs I Production

Jigsaw Power drill Belt sander Sandpaper in various grades Steel wool Propane torch (possibly with a copper pipe extension) Power buffer

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H o r n C ra f t

Production I Horn knobs

Raw material Buffalo horn is commonly used due to its large size and tapered base; bullock horns are smaller and hence, useful for making smaller objects. The horns of the bull is only occasionally used since it is hollow and suitable only for carving the form of a peacock with a sweeping tail Course of action Boiling and Striping Scrapping and Boiling is quickest and makes for a more sanitized piece but it can be very smelly. The upper layer of the horn is striped off using chisels. The cleaning process by boiling the horn in water with laundry detergent in it. The soap helps to break down the fat and clean the piece more quickly. Even so, it may take several hours of boiling or more than one session of boiling to complete the cleaning. In the end, scrubbing with a good stiff brush and a strong detergent is nearly always necessary Burning Bones and horns are processed in a workshop by heating them in a furnace so that extra fibre and extensions are burnt

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Horn knobs I Production

Carving The desired shape is marked with chalk and the extra areas are sawn or chiselled. Then the surface of skeletal materials is with a belt sander. This method is certainly not period but it is very fast and efficient. A belt sander will allow you to remove the roughest scale and knobs from horn and antler without hours of tedious work. A much safer method but more time consuming, is to start with a file or rasp. Remove the roughest scale with a rough rasp. After the roughest parts are removed then to finer files or rough sandpaper to further smooth the surface.

Polishing The simplest, easiest and quickest technique is to use a power buffer. In this method, use a hard cloth buffing wheel and start with Black Diamond polishing compound, then work through Red Rouge, Brown Rouge and White Diamond compound. Then finish up using just the bare cloth wheel. This leaves a bright polish on the horn that needs no further work.

Polishing compounds were probably used in period for horn just as they were used on metals. Polished horn is very beautiful in its own right.

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H o r n C ra f t

Horn knobs

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Horn Craft

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Facet Pendent lamp Design brief and conceptualization Designing facets ceiling lamp inspired from the facets of gems with simplified geometrical elegance of a pendent.

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Fa c e t Pe n d e n t L a m p

Conceptualization I Facet pendent lamp

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Facet pendent Lamp I Detailing

Detailing

730 730

The lamp were now detailed on rhino and solidworks

423

All dimension are in millimetre

168

This part is to beislaser in 20 SS sheet This part to becut laser cutgudge in 20 gudge SS sheet

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Fa c e t Pe n d e n t L a m p

8° 916 4°

153°

153°

96 °

98 °

98 ° 5

71

5

96 °

196

168

168

71

24°

196

196

196

24° °

96

°

168

96

423

Metal part Metal part

8° 916 4°

197

197

197

Detailing I Facet pendent lamp

Ceiling Attachment

25

25

25

330

25

197

100

141

70

All dimension are in millimetre

70

195

336

336 195 70

70

195

195

336

336

141

141

Cord Grip Bulb Holder Bulb

141

1000

1000

1000

1000

Braided wire

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Facet pendent Lamp I Production and Estimate sheet

Production and Estimate sheet Material Stainless Steel sheet 20 gauge with laser cutting Cord grip Braided Wire Bulb Holder Ceiling Attachment E - 27 Golf ball bulb 40 watt Total

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Quantity 1 Pcs

Rate per pec 1200 per Pcs

Amount 1200.00

1 Pcs 1 Meter 1 Pcs 1 Pcs 1 Pcs

3.00 Per Pcs 35.00 Per Meter 28.00 Per Pcs 50.00 Per Pcs 40.00 Per pcs

3.00 35.00 28.00 50. 00 40.00

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Fa c e t Pe n d e n t L a m p

Material Swatches

Braided wire

Cord grip

Highly polished stainless steel 20 gauge sheet

E - 27 Golf ball bulb 40 watt and its holder

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Vortex Pendent Lamp Design brief and conceptualization Designing a symmetrical ceiling lamp using Gestalt law of closure which mentally close in gaps of perceived shapes and interplay with the positive and negative shapes.

Designing inspiration taken from the vortex. It is a region inn a fluid in which the flows is rotating around an axis line, which may be straight or curved

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Vo r t e x Pe n d e n t L a m p

Conceptualization I Vortex pendent lamp

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Vortex pendent lamp I Detailing

Material Swatches

Detailing

The lamp were now detailed on rhino and solidworks Design and detailing of a ring was inspired from the wheel of a bicycle spokes.

507mm

D

138mm

D

38mm

802mm

Section view Grove was done for placing LED strips in acrylic tube cover with ring of aluminium.

Mirror finish brass

Mirror finish Aluminium sheet

8mm

100mm

100mm

E - 27 Golf ball bulb 40 watt and Plastic holder

237.5mm

483mm

237.5mm

200mm

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Vo r t e x P e n d e n t L a m p

White LED stripe

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Learning and experience My journey started with introduction with the firm and staff of the AKFD family. It’s very exciting after project was given to merge Indian craft with industrial design; it means to convert a valuable craft into mass production with their brand language. I have grown and leaned a lot throughout the project. The learning was met with numerous challenges like to convert flame into fire mean to see the possibilities of small scale craft and convert it into larger industrial production mean to much bigger area.

After getting the project brief on basketry craft my excitement went down because I wanted to work related to stone, wood or metal craft but after interacting with artisans who was looking forward and trying to move their own mountain, I realize the value of craft and got the opportunity to place it to the infinite possibilities.

The project gave me a scope of experimenting with a new material, interacting and working with artisan, and a lots of travelling and sourcing experience which helped me in enhance my value by adding a variety, depth and experience.

After given the brief to the artisan about products, I had travelled to Geejgarh 2-3 times in a week and spent my whole day with artisans to understand the craft while interviewing the artisan and getting hand on experience, with that regular inspect of our products which are done by artisans. Meanwhile I travelled to Moradabad, Uttar pradesh to collect our product with that I interviewed the artisans and he showed his products and given the glimpse of Moradabad showcase. Sourcing for braided chain I moved to new Dehli, trukman gate.

Rather than design project, Workshop for photoshoot by Shaine bhole and craft documentation by Skyee morison planned by Ayush sir to improve our skills that was the cherry on cake. Experienced mahiroz event organized by Anantaya for his 10th anniversary and celebrating earthday. In this they gave platform to companies for showcasing their sustainable designed product and accessories with that, too many respectable designers from all the areas shared their experience which was so motivating to look ahead.

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Project Certificate

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Bibliography Book Ashley books of knotes Crafts of India Archimedeian surface development Site www.readclrc.in www.readglobal.org www.iitk.ac.in www.tripadvisor www.idc.iitd.ac.in Reference Images www.google.com www.idc.iitd.ac.in flickrhivemind.net Some of the images taken by me (Naman Singhi).

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Acknowledgment It was an immeasurable experience to be able to explore and understand brand language of AkFD story and artisans.

I’m thankful to a lot of people I thank AkFD story for giving me an opportunity to be a part of this project and for all the co-operation they offered as I worked on it. I sincerely thank my industry guide Mr. Ayush Kasliwal for their support and guidance throughout the project, even encouraging me to explore and take work under his gentle direction. I would like to extend my gratitude to my internal faculty Mr.Manish Nath Jha, whose contribute immensely to encourage ideas of my project. I would also thank my colleagues and friends who appreciate or pointed out the scope of opportunity where I could improve.

Special thanks to all the artisans, READ India NGO and AKFD family without their support it couldn’t be possible.

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The End