S22:Craft+Future=? Speculative Interior practices| Rishav Jain

Tutor: Rishav Jain

Teaching Associate: Teja Payapalle

Master in Interior Design Spring Semester 2022 Faculty of Design CEPT University

Thisisanacademicpublicationoutliningthedetailsof the Studio: Craft + Future = ? offered for the students of MasterofDesign(Interiors).Thiscoursewasconducted attheFacultyofDesign,CEPTUniversityduringthe Spring2022.

Allrightsreserved.Nopartofthisbookmaybe reprintedorreproducedorutilizedinanyformnow knownorhereafterinvented,includingphotocopyand recording,orinanyinformationstorageorretrieval system,withoutpermissioninwritingfromStudioTutors or Students.

Tutor: Rishav Jain Teaching Associate: Teja Payapalle

Master in Interior Design Spring Semester 2022 Faculty of Design CEPT University

speculative interior practices

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Studio Outline

The studio dealt in discussing the positions of craft in contemporary interior architecture practices. With a combination of research and design methods, the studio focused on envisaging future directions of craft productions and its manifestation in interior practices. The studio was largely divided into two parts: the first part used intensive research techniques to establish a theoretical position of craft and the second part intended to test the position through a design problem. As part of this studio, each student ideated an individual position on Craft+Future which was later developed with their own unique design projects, materialm samples and prototypes. The studio involved rigorous reading sessions, theoretical analysis, field studies, handson explorations with craft techniques along with design discussions. The process was structured into four modules, each emphasising the learning outcomes of the course: know the contemporary position of craft, Ideate possibilities about the vision of the future; Develop an individual position for its future’ and Make relevant design ideas representing the vision of future of craft. This studio was part of an International Academic Research Project - Threads of Innovation (TOI) - (2021 -2025) between the Faculty of Design, CEPT University and Faculty of Architecture and Design, Norwegian University of Science and Technology (NTNU).

Learning outcomes

Learning Outcomes

At the end of the semester, the student will be able to-

- Analyze and categorize the contemporary craft design practices of India

- Develop a design position and translate into an interior expression through 3- dimensional , material based design outcomes

- Organise and evaluate the programmatic and pragmatic potential of derived design position

- Build a design vocabulary and test it through the selected context.

-Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool.

- Construct contemporary craft design prototypes and make interior drawings.

Ex.1 | The idea of Craft Ex.2 | Positioning Crafts Ex.3 | Establishing a Theme Ex.4 | Field Mapping of Crafts

Ex. 5 | Caliberating the Vision

Ex.6 | Envisaging the Future Ex.7 | Abstraction

Ex.8 | Craft for Manufacture Ex.9 | Manifes-To! Ex.10 | Design Development

Alagappan Swaminthan

Anamika Gupta

Apurva Pandey

Hithasini

Jameela Noufa S

Prochetah Ghosh

Roshni Kurele H Shruti Kohli I Swetha Suresh

Exercise briefs and Student work

Students:

PID21030 Alagappan Swaminathan

PID21036 Anamika Gupta

PID20060 Apurva Pandey

PID20131 Hithasini

PID21151 Jameela Noufa S

PID21266 Prochetah Ghosh

PID21291 Roshni Kurele

PID20336 Shruti Kohli

PID21369 Swetha Suresh

EX. 1 CARD SORTING

Learning Outcome:

To identify various connotations and associations with crafts.

Brief:

Method cards are intended to inspire and spark creativity in work. These cards show some of the ways crafts are positioned in contemporary interior practices and the ways in which the idea of crafts can be taken ahead to build a speculative future. These cards can help plan an approach or remind of various existing approaches. They can suggest ways of applying methods at subsequent stages also. They can be used to make a proposition and challenge peers for seeking new insights.

The exercise is meant to act as an ice-breaker, encouraging dialogue within the newly formed group of students. The keywords from the above selection shall be reorganised according to their order of importance to form a phrase or an idea. Look at each card carefully, each card has associations with the keywords: Contemporary. Craft. Interior design practices and Future. Understand each card: what it means and why it is important. Each of you needs to sort the cards in the order of what is most important to what is least important. Each student needs to make three iterations, out of 24.

Step 01: Organise 24 cards in the order of importance where 01 is the most important and 24 is the least important. (03 Iterations)

Step 02: Now pick the 10 most important cards from the provided 24. The remaining 14 cards are not available anymore. (02 Iterations)

Step 03: Finally select the 05 cards that matter the most to you, from the present 10 and associate these final cards with cards of parallel futures. (03 Iterations)

Step 04: Final Set of 05 cards informing the idea of crafts. Contemporary Interior design practices along with cards of speculative futures. After selecting the top five cards, and their associations with Interior practices and futures think:

What do these cards mean to you? How do they affect craft or design practices? Which direction will you take them ahead? Do they need a different design process?

24 Cards arranged by students respectively in the sequence of their choice

Out of 24, 10 cards having most importance are selected by students through external readings

Anamika Gupta PID21036, 5 most important cards according to her are finalized

Alagappan Swaminathan PID21030, 5 most important cards according to him are finalized

Hithasini PID20131, 5 most important cards according to her are finalized

Jameela Noufa S PID21151, 5 most important cards according to her are finalized

EX. 2

POSITIONING CRAFTS

Learning Outcome:

To know the canonical works related to craft and contemporary interior architecture practices from the recent past. To analyze and categorize the contemporary craft design practices of India.

Brief:

All students are required to select a set of 30 projects which best fit the idea of the contemporary craft and interior design practice. The idea is not to merely describe a project but to critically examine the core key values of the project. Each student prepares a detailed review of individual projects which contain: a tagline of what describes the project, a description of why this project is crucial to know and what are the emerging keywords that best describe the project.

Stage 01: Each student is expected to identify 30 contemporary craft design practices/projects in India and around the world post - 2010. (Maximum 5 projects can be from outside India and no more than 2 projects from the same practice.)

Stage 02: Decode the various clues and information the project has to offer and formulate a tagline that describes it.

Stage 03: Understand the selected projects in totality by jotting down the various details such as the name of the designer, the location of the project, methods of construction, materials and technology used; and the year that it was built.

Stage 04: Once the project details have been written, give a brief description about the project, why it was selected and along with it, identify keywords that describe the project with the help of a craft matrix. These keywords will later be used as a base study for Part-B of the Exercise.

Inbetween A Thai Street

Why this Project ?

|

Sources: https://www.archdaily.com/899450/inbetween-a-thai-street-jc-architecture

towards craft: Experimentation in construction techniques

Built in: 2017 Designer: I con Architects Location: Rajkot Why this Project ? Key Words Identify Craft

https://www.archdaily.com/879656/mobile-retail-space-i-con-architects-and-urbanplanners Connectivity I Visual Neutrality I Re-Used I Composition | Paper | Brick

MID | Spring Semester 2022 | Faculty of Design

Exercise

Crafts in

Bamboo Streets

Faculty: Rishav Jain

| TA: Teja Payapalle

EX. 3

ESTABLISHING A THEME

Learning Outcome:

To comprehend learnings from the field study and derive a theoretical position about Craft and Future.

Brief:

In continuity to the positioning of contemporary craft practices, all students are required to gather the data and process it critically in order to form a comprehensive theoretical position in relation to crafts and its future. The card sorting exercise and the coding/categorization from the initial exercises will enable one to generate a standpoint which needs to be elaborated further by the reading.

The assignment is briefly divided into three stages.

Stage 01 :

The student is expected to look through all 400 projects that have beenpinXned up in class to try and comprehend what all has been explored withrespect to the topic: Contemporary. Craft. Design. Practice in India as well as abroad.

Stage 02:

After having scanned all the projects, the student is expected to identify keywords that they relate to in accordance with craft and the future later grouping them together to arise at a common concern or issue/ to establish a theme.

Stage 03:

The next step will be to select the projects establishing a theme and analyse based on:

i. crafts - Materials, Techniques, Production and finishing processes ii. Design decisions and iii. How does craft contribute to/inform contemporary design practices.

Roshni Kurele | PID21291

Keywords

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

Abstract

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

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

References

Jain, R.(2015), Crafts in Interior Architecture India, 1990 onwards. Ahmedabad: SID Research Cell

Patel, D. (2014). India contemporary design: Fashion, graphics, interiors. London.

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

Craft as two dimensional imagery

Keywords

Two-dimensional, abstraction, contemporary design

Abstract

The organization of our conceivable universe, our perception of it and cognitive abilities, is known as a narrative. The practice of visual narration has been an integral part of our Indian culture since the time of rock paintings. Like at Ajanta caves, the Guru used to guide the student through the visual journey of Jataka tales through the paintings. This type of practice has been instrumental in passing down culture, traditions and values down the generations. In interior spaces, visual narrative is not just limited to a narrative but to build up to an experience. In this regard, craft has been used as tool to achieve that narrative. However, in the examples recorded in the modern contemporary Indian practices in India, it has been limited to a two dimensional imagery or a much more planar approach. Furthermore craft has been used not to tell the narration of its making and technique but rather to depict the intended design narrative. This in turn, reduces the value of the authenticity and the value of the craft in its place in interiors. This might be due to the position of the designers and the architects with regard to craftsmanship and its evolution in modern contemporary design. Such school of thoughts use craft in interiors where craft may not be craft anymore but there is a presence of a new style.

Like in The Geometrification Restaurant by Renesa Studio, the approach was to take elements from Indian puzzle games like at Jantar Mantar and showcase them in a contemporary manner. However the interventions in the form of motifs, niches, carvings in the shape of traditional Indian architectural elements and geometric shapes, has been limited to the walls but at a very planar level. This, in turn makes the identity of the craft indistinguishable but there is a presence of a new fusion of languages.

There is a prominent theme of abstracting and translating the craft techniques in contemporary manner in the recorded projects. There has been a greater evolution in the process of image making in the country by in the terms of industrial processes and craft evolution there has been minimal development. The role of craft in interior design has been limited as a tool for imagery in replication & imitation.

References

Saraswat,Smriti. Interior – Architecture & Narratives, Craft a Medium, 2017. Print Patel, Divia. India Contemporary Design, 2014. Print

Craft is taking the position of revival in contemporary interiors

- position of craft in contemporary practices

Craft as theme based ornamentation

- position of craft in contemporary practices

Craft as a translation of techniques

- position of craft in contemporary practices

Craft

: Innovation as a celebration of context position of craft in contemporary practices

Apurva Pandey

EX. 4 FIELD MAPPING OF CRAFTS

Learning Outcome:

To identify the key qualities and characteristics of the selected craft technique and craft cluster.

Brief:

The field mapping of crafts involves visiting a range of craft practices ranging from industrial scale to studio-workshop setup and individual craft workshop units. It requires the students to observe the craft, its techniques, methods of production and its tangible and intangible associations. The idea of the exercise is to gain detailed knowledge of the craft and bring out the essence of the craft form. The exercise is divided into two parts:

• Thorough documentation of the crafts through interviews and visits represented mostly through line drawings and diagrams.

• A 500 word write up on your inferences

01. Know Craft

a. The origin and history of the selected craft b. The organizational structure of the craft in relation to its related crafts c. Scope and limitations of the craft d. Philosophy of the craft e. Location of the craft

02. Know crafts people

a. Name b. Age c. Gender d. How did they learn the craft? e. Experience f. Family system g. What do they feel about craft? h. Miscellaneous conversations

03. Know processes

a. The production process diagram b. Procurement

c. Preliminary process d. Production process e. Finishing process f. Packaging g. Transportation 04. Know product range a. Structural elements b. Surface elements c. Furniture d. Sculptures e. Others

05. Know infrastructure a. Work areas b. Lighting and ventilation c. Site and context d. Electricity consumption e. Services f. Tools and types of equipment 06. Know everything

Picture credit: Arjun Sachdeva

Craft: Stone carving and Inlay Craftsperson ; Niranjan (Jigneh Sompura) Location : Gota, Ahmedabad

Craft: Wood Turning Craftsperson: Pawan Sankhla Location : Narayan nagar, Ahmedabad

Craft: Ari and Zardosi Embroidery Craftsperson: Shahid Hussain (Hunar Arts and Crafts) Location : Jivrajpark

Craft: Ceramic casting Craftsperson: Fulchandra Patel (Clay Club) Location : Gota, Ahmedabad

Picture credit: Hithasini

Craft: Bamboo craft Craftspeople: Natives of Waghai dang village Location : Waghai, Gujarat

Craft: Bamboo craft

Craftspeople: Natives of Waghai dang village Location : Waghai, Gujarat

Craft: Wood carving and block making Craftsperson: Rahul Rathore Location : Mohini block, Ahmedabad

Craft: Metal casting

Craftsperson: Omprakash R. Kothari Location : Shahibaug, Ahmedabad

Craft: Mojari making Craftsperson: Ashok Bhai Location : Shahi baag, Ahmedabad

Craft: Moti Bharat Craftsperson: Sitaben Location : Old city, Ahmedabad

PROPOSE

EX. 5

CALIBRATING THE VISION

Learning Outcome:

The students will learn to translate a designer’s style using the craft techniques they learnt before into a workable XYZ junction The students will also be able to represent the selected designer’s vision through craft techniques and would be able to explore different avenues for material and technique exploration

Brief: Now that you have established a theme from current contemporary interior design practices and are studying crafts through field mapping, derive a language/design process to develop XYZ Junctions amalgamating the thoughts and ideas of visionaries as an outcome. The junction is an outcome of informed positions on craft and speculative futures by the visionaries, established themes from the mapping of craft practices and field mapping of crafts.

The process of derivation is broadly divided into three stages:

Stage 01: Select a Visionary from the timeline starting from the first Industrial revolution till date, adopt their ideation/ideology - decode their arguments, notions, design language, philosophy and practice.

Stage 02: Evolve the established theme from the mapping of contemporary practices through Field visits and Field mappings- interact with makers, craft communities to establish a position of craft production.

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

DEVELOP

ENVISAGING THE FUTURE

Learning Outcome:

To evaluate and critique literature and research done on contemporary craft, speculative futures and write/derive/formulate a theoretical position on craft.

Brief:

A theoretical perspective is a set of assumptions about reality that inform the questions we ask and the kinds of answers we arrive at as a result. In this sense, a theoretical perspective can be understood as a lens through which we look, serving to focus or distort what we see. It can also be thought of as a frame, which serves to both include and exclude certain things from our view.

Multiple theoretical perspectives can be used simultaneously to frame research questions, design and conduct research, and analyze their results.

Now that the envisaged future scenario is in place, comprehend the learnings from research and exercises done till now and derive a theoretical ‘position’. This individual position needs to be elaborated with the title ‘Craft+Future=?’ as a single word and backed up with theoretical perspectives from contemporary craft practices and speculative futures informing the field of interior architecture.

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

Craft + Future =Structural Systems

speculating position of craft in future scenario

Craft + Future =International

speculating position of craft in future scenario

Craft + Future =Materiality

speculating position of craft in future scenario

Craft + Future =Sensory Systems

speculating position of craft in future scenario

Apurva Pandey

EX. 7 ABSTRACTION

Learning Outcome:

On completion of this exercise, the student will be able to: 1. Translate their craft design position for the future inclusive of one’s theoretical position, from their written understanding, into a model. 2. Represent their vision of - craft production, interior practice and craft of future through abstraction.

Brief: Abstraction as a means of creating design and illustration goes well beyond one’s personal style or aesthetic. The process of abstraction compels us to carefully observe and analyze what we see, paying attention to how something is formed and how we can reform it for our own purposes. We become more aware of the parts, their relationships within the design space, and how everything comes together to express the whole design.

After developing one’s theoretical position about craft in future, each of you shall represent the notion of craft through an abstract model. The focus of the abstraction process will be to generate new expressions and perspectives by fusing ideas of design with craft, based on your write up from the previous exercises.

The abstraction should be based on learnings from the study of Contemporary Interior design practices, FIeld Mapping of crafts, Envisaged future scenarios and has to reflect the developed individual theoreticalbposition of Crafts+Future=? speculation.

EX. 8 CRAFT FOR MANUFACTURE

Learning Outcome:

The students will learn to translate their craft design position for future inclusive of one’s theoretical position into a spatial application from a selection of site choices in the CEPT university. One has to think about the future of their position and also of the site and how their position will validate the site, the interiors it beholds and the craft Brief: After abstraction, this exercise focuses on coming back to reality and testing the proposition through the idea of space making and manufacturing.vEach one of the students needs to occupy operational spaces in and around the interior built environment of the CEPT campus which cater to different functions and human activities.

Develop the proposition of craft and futures further and translate it into an Interior design language. The chosen spaces should not be repurposed to accommodate other functions rather the existing activities, programs, user groups and functions might be projected in accordance with the speculated future and reflect the learnings of crafts and craftsmanship from previous exercises.

The outcomes need to showcase constructability, speak of manufacturing processes, material specifications, surface finishes and assembly represented through sectional perspectives, oblique/front axonometric drawings and spot details wherever necessary.

Manifestation of the proposition in an interior space

Sectional Perspective of studio at Faculty of Architecture, CEPT Unversity, Ahmedabad

Manifestation of the proposition in an interior space

Sectional Perspective of studio at Faculty of Design, CEPT Unversity, Ahmedabad

Manifestation of the proposition in an interior space

Sectional Perspective of studio at Faculty of Architecture, CEPT Unversity, Ahmedabad

Manifestation of the proposition in an interior space

Sectional Perspective of Workshop at CEPT Unversity, Ahmedabad

Manifestation of the proposition in an interior space

Sectional Perspective of administrative building at CEPT Unversity, Ahmedabad

EX. 9 MANIFEST-TO!

Learning Outcome:

Ability to conceptualize a need for a design position which addresses future and relevance to interior practices. Ability to structure and develop an idea for the design language of the design project.

Brief:

Manifesto (Manifest-To) is referred to as a possible direction of a Bigger idea/need. It is structured as a single narrative, beginning from an abstract idea, need or thought. The intention is to situate the thought, possible facts, readings that need to be incorporated to support or prove the potentiality of the design position.

The idea of the manifesto is to act as a starting point for the design project. This needs to be built up through a vision for future scenarios, an idea about the lifestyle of people and cultural nuances.

Habitation ideas. With all these acting as raw material for the thought, all of these must generate a problem statement or a specific need for a design position. After the problem statement, the development of a possible direction or a process is laid out in an abstract form in the Manifesto with a probable conclusion or an outcome.

In the studio, the manifestos are in direction of future interior practice’s needs or problems which can be answered/ solved addressed by the Craft and/or Position on Craft.

DEVELOPMENT

Craft + Future = Generative

The future is fast-paced and undulating. For craft to survive it has to adapt to the changes and become something new entirely which amalgamates the traditional with the demands of the future.

If craft is an ever-evolving phenomenon in the dynamic context, it becomes a core subject around which all parameters evolve. Integrating the process and system thinking in terms of craft makes it a more viable option for its usage in the foreseeable future. Evolution in craft creates a scope to experiment and manipulate the materials with aid of technology in multiple ways with the help of integrating systems.

New age of craft makes a new definition of craft person, breaking the notion of the static idea of craft and its applications in varied fields. This calls for a space where the new parameters of the modern-day craft can be explored and experimented with and craftspersons harness their abilities to become material scientists.

Therein lies the proposition of the Craft Build Lab, a space for thinking, making, and doing, specifically designed to bring about the generative possibilities of craft. The craftsperson will no longer conform to their traditional definition but would rather be handson experimental makers, amalgamating their vernacular with modern technology to give way to the new, generative form of craft.

As the “Theory of evolution by natural selection,” coined by Alfred Wallace, craft has to embrace the dynamic evolution.

A beautified environment with a certain amount of individuality and beautiful objects which cater to the functional need, adds immeasurably to the expression and value of a space. Crafts and craft skills are important contributors to this ideal, and for this reason alone are worth continuing.

Craft + Future = Structural Systems

Craft has evolved with the minimization of a process for simplicity, honesty and it’s core function. It emerged with needs and limitations, but grew as innovation in materials. Today, craft is progressing as translation of traditional techniques in contemporary materials, yet, somehow is still limited to surface development and application, urging to transform into something more.

How can craft do more?

As we go into the future, due to growing technology, all products around us are so complex and refined, that the integrity of the material and technique behind them, is lost. Frustrated with these unnecessary layers, people have started questioning everything in their surroundings and are curious about what’s inside. We are gradually shifting away from ornamentation to purely function based and minimal surroundings. So, it’s time to take off these unnecessary layers and glorify the inside systems. But what can be the medium to do so? Craft has the potential to play that key role in bringing out the integrity of an interior space by innovating with materials and techniques to create an experience where simple craft techniques form the structural as well as nonstructural systems enveloping the complete space. This requires professional knowledge and skills of a craftsperson who is efficiently equipped and conscious about the latest developments.

To facilitate such opportunity to craftspeople, a craft school is proposed in Dilli Haat, where craftspeople coming from diverse regions can challenge their knowledge and skills by innovating on various craft techniques to form a design language for the contemporary needs, through the honesty and simplicity of craft.

Name of the Project: Virya Kala Kendra

Year: 2030 Site: Dilli Haat, New Delhi

The attempt to bring the 2 dimensionality of craft to a 3 dimensional space requires professional knowledge and skills of a craftsperson who is efficiently equipped and conscious about the latest developments, being able to manifest their knowledge into contemporary materials and design.

Front axonometric drawing

Flowing through the hierarchy of spaces from studios to workshops

Legend

A - Entrances

B - Studios

C - Model making studio

D - Textile Workshop

E - Metal Workshop

F - Wood Workshop

G - Clay Workshop

H - Studio

Inside the metal and textile workshop with students working on different machines and tools, represented

represented through a sectional perspective

Inside the clay workshop and studio space, represented through a sectional perspective

Sectional Perspective

Inside the foundation studio, with students learning the basics of design, repressented by a sectional perspective

Sectional Perspective

Inside the clay workshop and studio space, represented through a sectional perspective

Element - Studio table Materials - Metal, Plywood and Jute Fabric Craft - Metal bending, Inlay, Leatherwork

Element - Tool station Materials - Mild Steel, Wood Craft - Metal bending, Metal Casting, Metal Insertion

Element - Workshop Table and Stool Material - Wood and metal pipe Craft - Table: Metal bending, Inlay, Stool: Wood Bending

Element - Doors Materials - Mild Steel, Wood, Stained glass Craft - Wood Carving, Stained glass

Craft + Future = Materiality

The value of the hand will rise in the future, as the craft designer collaboration today will empower the craftsmen tomorrow to form their own guild. here the next generation of craftsmen takeover. The place can be leased on a monthly basis by craftsmen across the city.

Here, the roles are reversed, we as designers will step into their offices and collaborate on a project basis. A political agenda that the project caters to. Hence, the name ‘Punaragaman’ which means the return. A monotonous thud lies in the future. We cannot achieve through digital mediums what the hand can do.

The idea of the manifesto is to act as a starting point for the design project.This needs to be built up through a vision for future scenarios, an idea about the lifestyle of people, cultural nuances and habitation ideas. With all these acting as raw material for the thought, all of these must generate a problem statement or a specific need for a design position. After the problem statement, the development of a possible direction or a process is laid out in an abstract form in the Manifesto with a probable conclusion or an outcome. The manifesto is developed taking into consideration a future scenario and building a narrative for craft based on it for the future.

Craft + Future = Hybridity

Exploring the question of possible future, the speculations bring out that the cities can go underground due to war or any environmental disaster. As a contingency plan, thematlab is set up at underground structures.

Rani ki vav material lab is one such pilot project. The resources are scavenged from the surface of the earth and an inventory of material samples, a material bank is set up. There will be no more local materials. Materials are available everywhere to everyone. The regenerative generation who will be more aware of the product life cycle, depending on the needs, will source material from the material library based on the various assessments.

Hybrid models are developed as an outcome of intimate collaboration with the craftsmen and cross-cultural conversations. The material knowledge, skill and technique were taken advantage of and craft as a tool to build new interior spaces. Interbreeding of local with global occurs, which generates exaggerated polymorphism of craft objects (Forms, elements, parts, systems) forming an interior environment.

The developed manifesto that acts as a starting point for the design project, the next step is to actualize individual positions and ‘Make’. The program is developed for the proj ect and it is systematically applied characterised for the selected site. Detailed drawings that communi cate ideas of constructability, ex perience and the spread or extent of design intervention in totality is made. Plans, Sections, Sectional perspectives, Axonometric draw ings and views (represented in the most appropriate way in the benefit of the individual proposition) is used as tools to resolve and demonstrate design decisions (Nature and di mensionality of the elements, Mate riality as how), relationship with the intevention and host building. The position of craft and interior reflects organisation, experience and detail and relates back to the proposition and the design proposal. Internal spaces designed - cater to/reflect upon the qualitative, programmatic qualities. An inventory, preototypes, website were develped specific to the project

Interpretation

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

Tool : Clay firing Klin, Hoop needle, Scissors Skill : Traditional weaving, clay kneading Material : Cane wire, Stone clay Technique : Kneading, rolling, clay bisque firing, Open cane weaving

Imitation

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

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

Assimilation Integration

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

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

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

Tool : Hoop needle, scissors Skill : Traditional weaving Material : wooden frame, cane, transparent electrical wire Technique : Hand weaving-cross over pattern

Syncretism

Reassemblage

3D printed bamboo joinery. The ends of the bamboo poles are scanned. The scanned image was processed using Autocad. The joinery is gen erated using sketchup model and 3d printed.

Tool : Scanner, Autocad and 3d softwares, 3D printer

Skill : Software knowledge Material : SLA filament Technique : 3D printing

Hybrid reassembalge of the existing dilapilated columns. 3D scanning and tracking broken surfaces is done to create restorative elements. The original functionality is lost, but new aesthetic, performative, and cultural meanings are accrued.

Tool : 3d scanning, Mould, 3d printer, Tools for metal work. Skill : Software knowledge Material : SLA Filament, Brass, Steel, Molten iron Technique : 3D scanning, 3D printing, Metal casting, Welding

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

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

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

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

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

Craft + Future = Sensory Systems

Craft from its making to its usage has certain sensory qualities associated with it . The expression and the materiality contributes to tangible sensory experiences to its maker and user, while the narrative associated with it triggers a memory – an intangible sensory quality.

The project proposal discusses this idea with the help of a travelling exhibit, that propagates the Indian crafts with the works of Juhani Pallasmaa as a metaphor. The thinking hand discusses the sensory qualities corresponding to the linkage of the hand with the mind.

Name of the project : Kala KoodamYear : 2030 Site : Pudhumandapam , Madurai Function : Travelling Exhibit - Space as Exhibit and Craft as Exhibit Exhibits providing a knowledge on the current and traditional use of context based crafts and its making to its visitors

Craft + Future = Plug and Play

The design will revolve around deploying the system of Plug and Play in a space where the element of play is always exaggerated. With the man going more inwards, this concept of play allows for more collaborative takes and ideas on the play of things. The deployment of the system will cover the design of the “shell within the shell” or the interior framework of the plug and play. The language of the system has to be kept in mind and the universality of the plug and versatility of the plug ins have to be kept in mind.

It will then look towards a cataloguing of a kit of parts of plug ins and determination of which craft and technology can be used in its fabrication. The kit of parts give way to the assemblage of the whole but can be inter used to create plug ins. Considering the needs of the future, the design will look towards a possible extension kit to the provision of the basic kit. In this extension, prefabricated volumes and elements are readily available to be plugged in the current scheme and played. However the design of the extension cannot be determined without the design of the basic kit, that is, the extension kit is only approved according to function and design. Users are free to use these volumes, decide how they agglomerate and come together to solve a common cause.

Craft + Future = International

Craft emerged out of necessity and it’s an outcome of human consciousness and knowledge. Over the years, craft grew in different spheres but for craft to sustain, traditional craft skills and techniques need immediate intersection with design and reach out at the global level. The Project proposed is a Craft Emporium and Lounge in Mumbai International Airport with a vision of carving a space through Indian craftsmanship and making the waiting experience worthwhile. As airports are the 1st face of the country, it opens up a window of opportunity to reach out to the international audience.

Craft + Future = Maker’s Movement 2.0

SAHAYOGYASHALA | Space for Collaborative Learning

“The artist is not a special kind of man, but every man is a special kind of artist.” – Ananda Coomaraswamy.

The proposed project looks at all the people as makers with the instinct to connect to their environment through personalizing their space by learning from the indigenous makers i.e. the craftspeople. The designer helps in empowering makers by catalyzing the whole process by providing easy-to-install D.I.Y. systems that help in evolving crafts by challenging AND complimenting the old ways of making crafts.

Project : Sahayogyashala Year : 2030 Site : Anganwadi , Various Places, Gujarat Function : Temporary Makerspace for learning, collaborating and exchanging ideas

Craft + Future = Scalability

The way one sees craft determines its future . Is craft just the end product or the process ? The process is what informs the product, its properties, its true meaning, the people involved and its effort but currently the process behind the craft is lost with it is its functional knowledge and scope to development.

Scalability as a tool helps one to understand the process behind the making and can help in the future development of craft techniques from micro scale to macro scale. The project aims to showcase the scope of Indian bamboo craft in the international platform.

Through the bamboo pavilion in the Venice biennale one tries to experiment with the scalable property of the bamboo craft and celebrate the process behind it . It explores different craft techniques with bamboo which can be scaled in making different elements of space making .

Name of the project : unveiling bamboo Year : 2024 Site : alle tesa theatre venice Function : Pavilion in venice biennale celebrating indian bamboo crafts

Craft should be perceived with importance towards the process not just the end object .

Scalability helps in evolution of techniques from micro to macro objects thus the technique is not lost in transition

What is your position on the future of craft in interior architecture practices ?

The work done during the studio was featured in the Main Edition of TIMES OF INDIA and GUJARAT SAMACHAR newspaper and received wide appreciation

Students from Craft+ Future=? exhibited their work and prototypes at the Orland Cultural Centre, Norway.