Craft + Future = INTERNATIONAL by Roshni Kurele

C R A F T FUT International

Roshni Kurele | PID21291

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

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

C R A F T FUT International

This is an academic publication outlining the details of the Studio: Craft + Future = ? offered for the students of Master of Design (Interiors). This course was conducted at the Faculty of Design, CEPT University during the Spring 2022. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form now known or hereafter invented, including photocopy and recording, or in any information storage or retrieval system, without permission in writing from Studio Tutors or Students. Publication Design: Anamika Gupta, Apurva Pandey, Shruti Kohli, Teja Payapalle

C R A F T FUT International

Roshni Kurele | PID21291

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

C R A F T FUT

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

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

Learning outcomes

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

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TUTOR’S PHOTO

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

Tutor’s Note The studio, Craft + Future is an attempt to understand the position of craft in interior architecture practices of India. Research intensive and design process driven, this studio allows each student to develop an individual position on how they see the approach towards craft in interior practices. The first few weeks expose them to craft, interior design practices, craft communities, ideas of the future. In the later weeks, they develop their own design manifestoes which are realised through interior design projects. The studio highly relies on theoretical and practical debates in the field of craft and interior design. The emphasis is not on the final ‘product/output’ but rather each stage and its process is given priority. The idea is not really to create a finalised position, rather to develop a voice/ opinion/ idea in which the designer believes. The following pages are a testimony to one such individual voice, on Craft + Future =? . It is xxxxxxxx (Add name of the student) ‘s perspective on how he/she imagines the craft would be in the future. The work shows the progress made over the weeks of engaging with books, drawing boards, workshops, craftspeople and us together. We hope this triggers a fresh perspective on positioning craft in Contemporary interior design practices. Rishav Jain May 2022 13

Roshni Kurele Education - Bachelor’s of Architecture from Maulana Azad National Institute of Technology, Bhopal Work experience - 3 years

Student Profile

I believe in the potential of design and the remarkable changes it can bring about in the world. Throughout my Undergraduate tenure, work experience, and Master’s journey till now I gradually understood the deep layers of design and its impact on our immediate environment and most importantly on humans. I was always fortunate enough to explore different spheres of my field-shaping my skills, thoughts, and perspective to see things holistically. My background taught me to be curious, sensitive, and enthusiastic about whatever I indulge myself in. It chiselled me to work in detail and always think about the bigger picture taking inspiration from everything around me and wherever I go. My ultimate goal is to contribute something meaningful to this world through my Profession.

C R A F T FUT ANY IMAGE / ILLUSTRATION THAT REFLECTS YOUR LEARNINGS

Learnings Craft + Future is not just two words, it raised a lot of questions and made us think deeper about where we started. Craft emerged as a necessity and grew in all dimensions. It is a reflection of where we come from and belong. It speaks about community, people, region, religion, era, culture, etc. The scale of craft expanded from household items to forming an identity. Even after years, it is still a medium that connects to our roots. With the Future going beyond our imagination, it’s important to stop for a moment and introspect where we are leading to. Craft already has a lot of potential to bring about change and fit in our future, it’s important for us as designers to give it a platform in our interior spaces by reinterpreting and transforming craft in a contemporary context through continuous processes of alteration, modification, and adaptation keeping alive tradition. Contemporary here is not disconnected from the past, but it carries forward our historical trajectory.

Contents

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

Propose Ex.4 | Theoretical Position

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

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

EXPLORE

EX. 1 C ARD S ORTING Method cards are intended to inspire and spark creativity in work. These cards show some of the ways crafts are positioned in contemporary interior practices and the ways in which the idea of crafts can be taken ahead to build a speculative future. These cards can help plan an approach or remind of various existing approaches. They can suggest ways of applying methods at subsequent stages also. They can be used to make a proposition and challenge peers for seeking new insights. These cards show some of the ways crafts are positioned in contemporary interior practices and the ways in which the idea of crafts can be taken ahead to build a speculative future. These cards can help plan an approach or remind of various existing approaches. They can suggest ways of applying methods at subsequent stages also. They can be used to make a proposition and challenge peers for seeking new insights. 22

EX. 2 VI S UAL MAPPING There have been significant changes in the way Designers interpreted craft in the 21st century in their interior architecture practices. Adding historical and cultural value to the space through various ways, a new language is being developed altogether reaching out to various platforms both globally and domestically. This exercise navigated us through varied ways a craft is utilized in space, gradually recognizing the kind of craft and getting a deeper understanding of its origin. There were Projects wherein craft was used at the application level over surfaces like Christian Louboutin Boutique by Rooshad Shroff in Mumbai and then there were Projects where craft carved the space out like Pakta Restaurant in Barcelona, Spain. Each Project made use of craft in an entirely different way than each other displaying the varied potential of craft in today’s time.

EX. 3 F I E LD M APPING Fieldwork was carried out in two phases – The first phase was interacting with local craftspeople of Ahmedabad and getting to know about their organization, techniques used, sourcing of material, awareness of new technology, family background, tools used, and explorations done by them. They narrated their side of the story related to craft and their growth/decline in recent years. The second phase of field work was at Waghai, a small town in the Dang district of Gujarat famous for its bamboo craft. Kotwalia community here in Waghai are extensively making bamboo products for many years. All members of the family are involved in Bamboo basket making which they sell off to merchants who regularly visit their village. Although bamboo products are used around the world, this small village has little to no exposure to the outside world.

Tools used for making Bamboo jewellery

In conversation with craftspeople of Waghai

Craftspeople of Waghai working in Bamboo workshop 29

Stone carving | Sompura Stone, Gota

Stone-Metal inlay | Stonescape, Gota 30

Stone CNC carving | Sompura Stone, Gota

Slip Casting | Clay club, Gota

Ari/Zardozi Embroideri | Hunar Arts and Crafts, Jivraj Park

Mozaic Art | The Karigari Studio, Thaltej 31

PROPOSE

EX. 4 T H EORI TICAL POSITION The Projects selected as part of the case study are analyzed, selected, and grouped into categories to arrive at a theme for the position of craft in the 21st century in interior design practice. Projects were looked upon critically, and in-depth, according to aspects specific to individual students. This exercise also helped in understanding various changes concerning the position of craft in interior practices each year in the last 10 years and the years which saw a maximum rise in such Projects. Based on the established theme, we developed an illustration that portrayed our theme incorporating all big-small details concerning interior design, craft techniques, and emerging narratives to form an interior built environment.

Iteration 1

Iteration 2

EX. 5 C AL I BERATING THE V ISION Further adding to the established theme to develop a design language for an interior space, a junction prototype was made which was a 3-way junction made out of actual material. This exercise also aimed at collaborating with craftspeople to execute the prototypes. The main concept behind the design of prototypes was selecting the visionary from the given list and materializing their thoughts and their vision which changed the world. Ludwig Mies van der Rohe was the visionary in this case and his vision of “skin and bone construction” and “less is more” is being reflected on the design.

Junction Prototype 1

Junction Prototype 2 37

DEVELOP

EX. 6 ENVI SAG ING THE FUTUR E Based on the learnings from contemporary interior practices, field mapping, and future visionaries, an equation is derived for Craft and Future. A perspective is drawn based on assumptions that could answer the questions raised and define the role of the designer to cater to the problems. This theoretical position considering the future, the role of craft, and the role of the designer will be a guiding concept in all the design decisions which will follow, and also it will be the basis to develop a language that suits all the aspects.

Iteration 1

Iteration 2

The future world is going to witness an increase in global warming, rise in sea levels, damaged ecosystems, deadly pandemics, lack of resources, chaotic social-political situations, cyber wars, and an increase in natural disasters. Amidst this, in the foreground, our immediate environment is guided by technology and machinery, everything will be mass-produced and commercialized in the next 15-20 years if we keep on going at the same pace. We will be surrounded by things that will be purely the outcome of technology. At a human level, we will be merely puppets of technology and machinery but on the other side, the repercussion of this scenario will be soon people would want to break this bubble. There will be an urge inside people to disconnect from this artificial world for the fear of what technology is doing to us, hampering us in every possible way. People are wanting to go back in time when they desire aesthetics and connect with their roots, they are discarding machinery and are moving towards simpler things. People are willing to spare time on what’s important for their well-being and their surroundings. The fast-moving world will slow down and there will be appreciation and acknowledgment for small things in life which in the present scenario is lost. With slowing down of time, fulfillment will replace the feeling of unsatisfaction. People will desire for the past to take a front seat but at the same time move towards a better future and leave behind a better world for generations to come. People will try to reconnect with what they left behind at personal and building levels.

Craft + Future = International

To cater to the needs of future scenarios and people, craft becomes a medium to translate intangible aspects into tangible means in our physical environment. The core quality of craft that is being handmade will drive the future world and will remind people of traditional aesthetics. The level of intricacy craft offers cannot be replaced by the machine, the embellishment through craft in all the cultures of the world is irreplaceable and timeless. It is not only a display of hand skill but also of the story and value it carries with itself. Craft has expression and character of its known and is an excellent mode that reflects the beauty of handmade. It is a way of building a strong relationship between humans and its surrounding ultimately shaping the future of reconnecting to our roots. Presently, the handmade character of craft is getting overshadowed by the coming up of technology and mass production. but it will be vice versa in the future. Craft has the potential to sustain and evolve if it goes beyond our boundaries and marks its presence at a global level. Interior practices are a platform to harness this potential. The more it expands the more craftspeople will be exposed and the more it is going to flourish. Since India is already rich in craft, a little push by incorporating interior design will open a lot of opportunities. Also, the craft can be re-interpreted and utilized in so many ways that it can easily take varied forms and aesthetics.

EX. 7 ABS T RACTION Translating proposition in the form of abstraction of the cube (300mm X 300mm X 300mm) to represent the developed perspective in three-dimensional and material-based outcomes. For strengthening the visual communication of our proposition, the abstraction of the cube at this stage of design was important to materialize the perspective and explore craft techniques that will result in our idea. Here, Proposition “International” is depicted through cube by bringing together different craft techniques in accordance with aesthetics which are cleaner and neater.

Iterations 47

MAKE

EX. 8 C RAF T FOR MANUFACTURE A space on the CEPT campus was selected having a specific function and translating proposition in interior design language keeping in mind future speculation. Interior design language includes the form, shape, the materials with which it is manufactured, and the elements that are fabricated within its exterior or interior. This mid-semester Project enabled us to test our proposition and use craft as a medium to give a holistic experience. Extensively using craft in the space making and transforming raw materials to an outcome, material specifications, fabrication, and assembly.

Front Axonometric View - CEPT Wood workshop 53

Sectional Perspective 01

Longitudinal Sectional Perspecti 54

1 - CEPT Wood workshop

ive 02 - CEPT Wood workshop 55

EX. 9 M ANI F ES TO A manifesto is a document meant to publicly declare the intentions of a group (sometimes an individual). These are typically passionate and very opinionated since they are meant to define the intent, actions and explain what it contributes that no other group/individual has. Design Manifesto helped us develop our vision and marked the starting point for the Final Project. It brought out the facts, intentions, assumptions, and proposition together to take up a particular direction for a bigger idea.

EX. 10 DE S IG N DE V E LOPME NT Bringing together all the design decisions which took shape in previous exercises and design manifesto to actually “Make” the final Project. The developed design language considering future scenarios and proposition is depicted in the Final Project. Appropriate drawings, abstraction models, and final prototypes are produced using various design tools and in collaboration with craftspeople to effectively bring out the Project.

A Craft Emporium and Lounge space in Mumbai International Airport with a vision of creating an experience through Indian craftsmanship and making waiting experience for both domestic and international passengers worthwhile. As airports are the 1st face of the country, it opens up a window of opportunity to represent India at a global level and reach out to international audience. This Craft Emporium and Lounge will house 1. A retail space which will have textiles from different parts of country handwoven by people belonging to varied culture and community 2. An small Exhibition Gallery showcasing 2d art forms of India like Madhubani painting, Worli painting, Kalamkari painting, Gond painting 3. A space which displays works of Indian furniture Designer who amalgamate craft in their design thereby opening up newer and contemporary avenues for craft 4. A waiting lounge which is mainly a dining/eating space with open kitchen serving fusion cuisines in the centre overlooking runway making waiting worthwhile USER GROUP

SPACE AND ORGANISATION

Professionals and Business people Age : 30 - 60 years Travellers - Solo/Group Age : 25 - 65 years

Small to large family Age : 0 - 65 years

Group work travel Age : 20 - 40 years

The Project is a combination of four spaces placed in staggered arrangement thereby opening up more faces for inside - outside connectivity, hence increasing curiosity. Project is imagined as layers which is slowly revealing itself. The elements are designed in such a way that they make space partially open/closed. One element lead to another which keeps people engaging and thrilled. 61

MATERIAL PALETTE

Vertical and ceiling elements are carved out of teak wood

Onyx Pink marble flooring to break the monotony and give a different character to the space

Thinly sliced Ambaji white marble is used as cladding to add traslucency in apperance. Also, used as flooring

Metal inlay(10mm thk) is used to highlight flooring

CRAFT AS INTERNATIONAL

Craft is interpreted in contemporary context keeping in mind international aesthetics using Indian craftsmanship so that it reaches out and can connect with maximum people. 1. Use of simple geometric form 2. Stripping off ornamentation 3. Use of grid but asymmetric layout Handmade skills are extensively utilised in a space in the form of small details like flooring inlay, intricate metal/stone detail over wooden members, use of traditional material adding character and expression in a space.

Abstraction model of site as how? : Visualising site as glass box with two bulky columns made to imitate actual site, two zones are highlighted with different character from each other

Iteration 01 - Photomontages of Experience

Iteration 02 - Photomontages of Experience

DISCUSSION ROOM

ROW WORKSTATION

ISOLATED WORKSTATION

RECLINERS OVERLOOKING AIRSIDE

CO-WORKING SPACE

BAR COUNTER

BUFFET TABLE

ISOLATED READING AREAS

RETAIL SPACE

NEWSPAPER AND MAGAZINE STAND

TOILETS

LUGGAGE ROOM

YOGA AND MEDITATION ROOM

FRONT DESK

Design Iteration 01 - Floor plan

SLEEPING PODS

SHOWER AREA

Design Iteration 01 - Flooring plan

Design Iteration 02 - Isometric view

Design Iteration 02 - Sectional Perspective

Design Iteration 03 - Isometric view

Design Iteration 03 - Sectional Perspective

Design Iteration 03 - View 1

Design Iteration 03 - View 3

Design Iteration 03 - View 2

Design Iteration 03 - View 4

Final Project - Exploded Axonometric View

Final Project - Front Axonometric View

FINAL PROTOTYPE

Material used - Teak wood member 30mm X 30mm cross section : edges chamfered, 8mm dia dowel, 3mm thk metal inlay Craft Technique - Wooden joinery and metal inlay Lap joint is used to create joinery which can be extended in three directions. Teak wood with significant grains is used to accentuate the character of the wood. Members are kept together in place using a dowel which is contrast to wood used in member to highlight the joint. The element is further detailed it using metal inlay. Faces of the member are embellished using metal in different geometric shapes. Same joinery forms the part of the ceiling as well as furniture in the retail space.

C R A F TUF T Utsav

Roshni Kurele PID21291