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SEWA Banas Na Aana Museum

Textiles and Space

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PG Textile Design & UG Exhibition Design

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March- April 2012

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Guide: Vineet Diwadkar & Romanie Jaitely

National Institute of Design Textiles and Space 2012


Timeline experience

Students Textile Design :Amruthalakshmi Rajagopalan, Ankita Sood, Monika Bairwa, Naresh Guduru, Nimisha Kale, Raksha Shisav, Saiqa, Smita Ngairangbam Exhibition Design: Anna Lena, Arpit Verma, Arpita Bhattacharjee,Kuldeep Gohel, Harnehmat Kaur, Himanshu Chauhan, Sumedha Vemuri

Contents SEWA and Radhanpur: The journey so far

04

Understanding the space: Kamala Sadhan, Radhanpur, Gujarat

17

Understanding the space: Environmental concerns

24

Developing Responses: mapping needs 29 Responses: 33 Concept 1: Bloom Concept 2: Reflection Timeline 65 Bibliography 76

National Institute of Design Textiles and Space 2012


SEWA Banas Na Aana Museum

The brief

Create an immersive cultural experience Components : A timeline of the lives of women | Display units for showcasing work | Installation Focus: Narratives of the womens’ lives and their empowerment. An experience built on their expression and meant to inspire both the women and museum visitors. The experience needs to be interactive and inclusive Intended use of space: - garba - community meetings - workshops Environmental concerns: - stark contrast in temperatures - rain - wind - dust and maintenance - temperature Physical conditions of space - dimensions - scale - structure - sound - heat Community semiotics - colour, structural and form associations

National Institute of Design Textiles and Space 2012


Timeline experience

SEWA & Radhanpur: The journey so far

National Institute of Design Textiles and Space 2012

4


SEWA Banas Na Aana Museum

Understanding the organization / journey so far

Awareness of rights of labourers

1920 Trade Labour Association founded

two goals Full Employment and Self Reliance

1968 classes for mill workers‘ wives in sewing, knitting, embroidery, spinning, typing & stenography

1954 Female wing started by Ela Bhatt

April 1972

SEWA was born

in a meeting to discuss a solution for problems faced by head loaders and other women

early 1970s

cart puller migrant women come for help (shelter, work)

now From 320 members Now, SEWA is family of over 13 lakh women 5

National Institute of Design Textiles and Space 2012


Timeline experience

Understanding the organization / organizational structure Sewa initiatives

SEWA‘s membership

A democracy elect

Representative

} 1 : 100

elect

Trade Council

Pratinidhi Mandal meets every 3 years

Executive Comittee Dhandha Samiti meets monthly

elect

President National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Understanding the organization / Radhanpur and SEWA

Banaskatha District Santhalpur and Radhanpur (102 villages)

Hostile climatic conditions degraded soil, saline water, severe heat, hot blasts of winds

history shows prolonged droughts(1850 -1857) (1985-1989)

Occupation 1

Occupation 2

Agriculture mostly dependent on rains (semi arid region so rainfall is less) single crop

Dairy summers shortage of green dry fodder for cattle poor economic condition of the area

GWSSB installs pipline for portable drinking water

forcing people and cattle to migrate in search of livilihood,food. SEWA-Research: Drinking water did not help stablise household income

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National Institute of Design Textiles and Space 2012


Timeline experience

Understanding the Women / Her everyday wear Aahir Brahmin Skirt (ghagro)

Motifs

Moyali (peacock), Ladva, Bhamedo

Rabari Veil (Ludki)

National Institute of Design Textiles and Space 2012

Top: Bajania jewellery Bellow right: Aahir Brahmin blouse

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SEWA Banas Na Aana Museum

Understanding the Women / Her wedding trousseau and dowry sack

motifs

Jhaad (tree) , gota phool, sudo (bird)

Khambino = mashru = fabric with silk warp and cotton weft Choradia Aahir dowry sack Choradia Aahir khambino wedding wear

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National Institute of Design Textiles and Space 2012


Timeline experience

Understanding the Women / Her children

motifs

Anjanu na phool (like kohl lined eyes, pandadi, jhaad

Choradia Aahir jhulodi, toplu, Rabari jhulodi

Jhulodi: Child‘s jacket

National Institute of Design Textiles and Space 2012

wooden baby crib with cradle cloth

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SEWA Banas Na Aana Museum

Understanding the Women / Fetching water

thendoni when viewed from the front

11

Top: birds‘ eye view. Above: the fringe

National Institute of Design Textiles and Space 2012


Timeline experience

Understanding the Women / Her home

1- thoran | 2- doorway | 3- goliyo 4- sakhiyo | 5- chaklo | 6- latkaniyo

3

1

4

2

5

6

thendoni when viewed from the front Top: Chaklo Above: thoran

National Institute of Design Textiles and Space 2012

latkaniyo

motifs

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SEWA Banas Na Aana Museum

Understanding the organization / Radhanpur and SEWA Pre-SEWA life and Life now milk co-operatives

construction work embroidery

fodder Bank

cooking

gum forestry and nursery

PRE SEWA

WITH SEWA

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National Institute of Design Textiles and Space 2012


Timeline experience

Understanding the organization / Radhanpur and SEWA / Timeline

SEWA- the timeline 1663 The State of Radhanpur was established in by the founder of the Babi dynasty, Khan Jahan.

?

1813 Radhanpur came under British control.

1819 Palanpur Agency is formed under control of Bombay presidency.

1857 First school an Library at Radhanpur. (Drought for 7 years, 1856 Drought, Plague before 1857)

1859

1871

First mill in Ahmedabad floated by Shri Ranchhodlal Chhotalal.

Second mill was built in Ahmedabad by Rai Bahadur Bechardas Ambaidas.

1924

1920

Palanpur agency merged into Indian States Agency.

Started selling cotton

1880 BATA company had commissioned some work to the mochi karigars of RADHANPUR, in 1980s, hrough Gurjari.Mashru mojaris were in fashion then.

1899 FAMINE (Mitti Bartan- use by 100 yrs old mother in law, Aluminum, 1980’s post steel vessels)

The National Uprising, across India.

S

1950 First Train/ Railway (Koliwada), Electricity (post)

1948

1947

1944

Pucca Road

Whole area became part of Bombay State Stopped use of Teracotta utensils. (post 1947)

WISA amalgamated with Baroda and Gujarat States Agency.

1933 Palanpur State transferred to Rajputana Agency. Banaskantha Agency merged with Mahikantha Agency to form Sabar Kantha Agency, subordinate to Western India States Agency (WISA)

1927

1925

VADIYAR BANK AT RADHANPUR

Designation of Palanpur Agency changed to Bans Kantha Agency.

1914 Commencement of World War I resulting in stoppage of mill building in Bombay.

1910 First radio with license.

World War I

INDIAN INDEPENDENCE

1952

1957

Famine, Red coloured wheat, Parents would go to Government jobs.

DROUGHT

1960 Brocade Kamkha fabric stopped. It came from Surat.

Divided into state of Gujarat and Maharashtra

1961 Electricity came to Radhanpur, 15yrs post 1947

1966 DUSHKAAL TIME. People collected in spoons and bowls from the bottom of the well. There was a small pond and then it was built into a larger pond

1970 FLOUR MILLS came up and in the same year village suffered from severe tapeworm infection.

1971 INDO-PAK WAR (blackout, bombarding, people would stay indoors)

1975 First TV in Radhanpur. Pushpaben Thakkar married and travels to USA. First person from Koliwada to travel abroad. POLYESTER was introduced.

1978 WATER SUPPLY PIPELINE BY GUJARAT AND NETHERLANDS GOVT.

1980 Kerosene primas used. When Indira Gandhi Died only 1 TV in village. Since 25yrs Newspapers in Radhanpur. When Indira Gandhi Died ther was only 1 TV in the village.

National Institute of Design Textiles and Space 2012

Gujarat National International

14


Khan Jahan.

1813 Radhanpur came under British control.

1819 Palanpur Agency is formed under control of Bombay presidency

SEWA Banas Na Aana Museum

1857 First school an Library at Radhanpur. (Drought for 7 years, 1856 Drought, Plague before 1857)

1859

1871

1880

First mill in Ahmedabad floated by Shri Ranchhodlal Chhotalal.

Second mill was built in Ahmedabad by Rai Bahadur Bechardas Ambaidas.

BATA company had commissioned some work to the mochi karigars of RADHANPUR, in 1980s, hrough Gurjari.Mashru mojaris were in fashion then.

1899 FAMINE (Mitti Bartanuse by 100 yrs old mother in law, Aluminum, 1980’s post steel vessels)

The National Uprising, across India.

1910

Understanding the organization / Radhanpur and SEWA / Timeline

First radio with license.

1914 Commencement of World War I resulting in stoppage of mill building in Bombay.

1920

1924

1925

1927

Started selling cotton

Palanpur agency merged into Indian States Agency

Designation of Palanpur Agency changed to Bans Kantha Agency

VADIYAR BANK AT RADHANPUR

1971

1970

INDO-PAK WAR (blackout, bombarding, people would stay indoors)

FLOUR MILLS came up and in the same year village suffered from severe tapeworm infection.

World War I

1999 Aid to Artisan in New York

1998 1st TV in village in premnagar gam kaka kke ghar. MARRIAGES POSTPONE FOR PARIS EXHIBITION Women revolution’, in order to complete their production for a French exhibition, 216 weddings were being postponed for eight months

1996

1993

Cyclone, Malaria hit the village of Radhanpur.

91 groups with a total membership of about 40,000 women formed a district-level federation called BDMSA ( Banaskantha DWCRA Mahila SEWA Association)

1992 Dead Stock Crisis, crisis with finished goods worth 20 Lakhs piled up in Radhanpur office. All production stopped for a full 3 months.

1991

1990

SEWA started mobilizing the local communities for taking up the revival of the traditional water sources and building local resources.

Electricity present in villages.

1989 Reema ben inititiated milk co-ops again in Banas region.

Shades of India designer Jeeni Hoasebo did workshop with Radhanpur.

First TV in Koliwada.

2001

2002

EARTHQUAKE

87 houses rebuilt by SEWA

Fair South Africa with Indian Merchant Chamber

15

Lotus Bazaar at the Smithsonian Folk Life Festival in June & Exhibition in Singapore

2005 Lotus Bazaar in Barcelona with Universal Forum of Cultures and fair in Japan.

Koliwada SEWA SANSKAR Kendra.

2006 Karman bhai Rasubens’s Nephew who was a lawyer, Now dead.

1987

1980

1978

Caste Panchayat had put a ban on women doing work which involved moving out of the village. to which women revolted by not cooking and serving in the meetings.

Ela Bhatt visited Santhalpur and Radhanpur with a team of SEWA members to look into a proposed Indo-Dutch program of supplying drinking water through pipelines to these Villages.

Kerosene primas used. When Indira Gandhi Died only 1 TV in village. Since 25yrs Newspapers in Radhanpur.

WATER SUPPLY PIPELINE BY GUJARAT AND NETHERLANDS GOVT.

1st exhibition outside Gujarat held in New Delhi in which Reemaben participated with Puriben and Bhachiben.

SEWA outlet on C.G. Road, the inauguration was done by Naveen Shastri, the then Ministry of Rural Development.

2000

1988

2009

2010

First Gobar gas plant in Rasuben’s house. 7 more Gobar Gas plants followed in Koliwada

Vavdi and Vadlitha received electricity. Last 10-15 years electricity started coming. Now all villages are covered.

1975 First TV in Radhanpur. Pushpaben Thakkar married and travels to USA. First person from Koliwada to travel abroad. POLYESTER was introduced.

When Indira Gandhi Died ther was only 1 TV in the village.

Hansiba Store in Delhi was opened in 2006.

National Institute of Design Textiles and Space 2012


Timeline experience

Understanding the organization / SEWA Trade Facilitation Center Designer

Sample Swatches

Finished Goods

65% of the profit goes to the SEWA members

Tracing

Sewing, packaging and marketing - STFC

Pattern on fabric

Handwork is handled by Radhanpur office where work is equally distributed among the women.

Sampling Unit

Embroidery Production center

-Workshops are organized for women based on projects SEWA takes up. Four to five project workshops and two to three training workshops per annum. Each workshop is of about five days if for project or 2 days if it is for skill development. -Training period is for 15 days or 1 month - 32 products with different color ways are made . -There are 2 women who look after the sampling once the production is done. -SEWA uses only natural fabrics. cotton, silk , handloom khadi, wool and mashru are most commonly used. -The Products that are made during the workshops are either taken by the Designers for whom the workshops are organised or are made for the Hansiba store. HANSIBA DESIGN : Designing is in-house. For the products that are made for home furnishing the women are free to use their own design and colors.In all projects, the patterning that the women make are the design that the designers asks them to.The color ,design and the materials are decided by the designer or the buyer .

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Understanding the space Kamala Sadhan, Radhanpur, Gujarat

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National Institute of Design Textiles and Space 2012


Timeline experience

Studying the space / location on the map

SEWA Kamla Sadan

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Studying the space / walk through

I

A II gate

II I

III

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courtyard

C

B

installation room

III

National Institute of Design Textiles and Space 2012


Timeline experience

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Studying the space / walk through

installation room

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Neem tress

B

4 STEPS 30/18.5

A E

III

4 STEPS 30/18.5

C

H Bore hole

Tank

II

H -1.05LVL

F 3.00 x 1.60 Tank Elect. Pole

Elect. Pole

G

I

G

9.00M Opening CENTRE LINE OF ROAD

National Institute of Design Textiles and Space 2012

20 • • •• ••

SATUN RADHANPUR ROAD

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT


SEWA Banas Na Aana Museum

Studying the space / walk through

IV

installation room

V

A VI

gate courtyard

C 21

B

VI

installation room

V

IV

National Institute of Design Textiles and Space 2012


Studying the space / section with measurements

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT National Institute of Design Textiles and Space 2012

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ED BY AN AUTODESK EDUCATIONAL PRODUCT

Timeline experience


SEWA Banas Na Aana Museum

Studying the space / floor and ceiling plan

Floor plan

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Ceiling plan

National Institute of Design Textiles and Space 2012


Timeline experience

Studying the space Environmental conditions

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Studying the space / environmental conditions / climate and festivals

25

National Institute of Design Textiles and Space 2012


Timeline experience

Studying the space / environmental conditions / wind data

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Studying the space / environmental conditions / rainfall

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National Institute of Design Textiles and Space 2012


Timeline experience

Studying the space / light, heat, sound and dust

light in the space in june

light in the space in december

National Institute of Design Textiles and Space 2012

reverberation of sound due to monolithic dome

ventilation and heat sink capabilities of the dome

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SEWA Banas Na Aana Museum

Developing Responses

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National Institute of Design Textiles and Space 2012


Timeline experience

Developing responses / mapping needs

what would the women want to show their younger generations & the world?

Traditional lives of the communities

what story would they like to tell?

connect use their visual language Bringing communities together

The experience inspire infuse with stories of their lives create positive energy

materials available

space & activities workshops & meetings Radhanpur timeline immersive cultural experience

environment extremes in temperature sound

20 april 2011 : 45 degree celcius 10 january 2011: 9 degree celcius reverberation due to monolithic dome

light available ventilation maintenance National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Developing responses / structural interventions

mezzanine

31

plinth

National Institute of Design Textiles and Space 2012


Timeline experience

Developing responses / circulation pattern

Garba & other festive occasions workshops visitor circulation

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Concept 1 for experience : BLOOM

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / initial ideas

would taking reference from a form as intimate as the ghaghra and placing it up in space have negative conotations like looking up a skirt?

to what level should we abstract? Isn’t our form like the blooming of a flower? maybe blossoming might be a better metaphor for transformation - then, it is more than transformation of just a form, but signifies transition, growth and change

Could this work as an open-close mechanism for the installation so that it can be closed when the space is not in use to avoid accumulation of dust and reduce risk of pigeons crapping on it?

when standing

turning

swirling at garba

the transformation of form from the closed state to a full circle National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / bloom / initial ideas / form explorations

panels joined to create circle: collapsible

gathered at the center: radiating outwards

35

crochet to show a twirl-like edge: looks a little floral

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / exploring structures something constantly hovering overhead might be distracting.

can the structure be mobile? will that make allow it to be more dynamic?

do these vertical supports have to be straight? it looks rigid?

full circles in helix

branching, like a tree with might look more fluid than the straight verticals

too pizza like. looks sliced and angular. not wholesome

parts to make a whole circle A circle made of panels positioned at different heights. The central space at the dome is blocked without creating a flat ceiling. Each unit can be closed and latched when the space is not in use to prevent accumulation of dust

many circles at varying heights

Several small circular units are strung from a grid on the dome to create a large twirling ghagro at the center of the dome. This composition allows for play of colour | some pieces could be lit

needs to be precicely caliberated. too complex led us to look at the motif vocabulary of the communities and the use of circular forms and flowering shapes

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / bloom / idea development

keywords: branching | blooming

“trees without flowers don’t look beautiful”

Ladva

Garba & the ghagra dancing in circles and swirling skirts

Bhamedo Phool spinning like a top Gota phool Composition of forms

motif on Rabari phulakia ludki understanding their visual representation of flowering

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Branched out flowers

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / idea development / mapping the experience

Can they take away something as a memory of the experience? Installation How do the women experience the space? Timeline

The space is about the womens’ expression. They will frequent the space. The language of the space has to come from their visual vocabulary

National Institute of Design Textiles and Space 2012

How will museum visitors experience the space?

They should be able to curate the content of the space. How do we facilitate this?

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SEWA Banas Na Aana Museum

Responses / bloom / idea development / mapping the experience

blooming like a flower

flaring out like the ghagra moves in space

evolves over time

gored and gathered panels to create circle Display system interspersed in the timeline used to showcase textile pieces - can be changed as and when workshops happen

Keywords rooted in tradition looking ahead interconnected transition & change dynamic interactive 39

floral branching like the bhamedo phool

Tradition is not frozen in time. It is ever-changing and evolving

Expression

inspiring

mobile structure?

the experience

Timeline modeled on oral traditions - not linear or static - ability to interact with the themes and scope for interpretation

Interactive The women develop a sense of ownership with the space. They actively participate in the nurturing of the space

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom/ idea development / structural variations

This structure has been taken forward for development Easier to construct and lowering of parts is easier for change of fabric sections.

when seen from below, looks like a flower in full bloom

similarity to ladva motif used by several communities

the height of a space creates relief. with this structure, the verticality of the space is kept intact. at the same time, the textile layers of the forms make the space feel more personal

helical arrangement of straight lines with blooming

Why branching?

branching stricture with bloom National Institute of Design Textiles and Space 2012

Traditionally, women spent leisure hours sitting in groups under trees and embroidering. Today, because possiblities of the pieces being soiled, this working style has been abandoned. The branching installation tries to recollect the tradition of working under trees 40


SEWA Banas Na Aana Museum

Responses / bloom / developing an idea / form

two-dimensional flat bloom each unit opens out in 6 steps. by opening at any particular step, six patterns can be generated.

Both structures have an open & close mechanishm so that when the space is not in use, the installation can be ‘switched off’. This will prevent dust accumulation and ease maintenance

The form can be bloomed whenever the space is to be used. As the museum is not fully functional yet, this mechanism allows the installation to be unveiled when necessary, avoiding accumulation if dust

the expression is richer than flat bloom and the colour & composition possiblities here is more varied. The mechanism for opening and closing has been figured out for this form and has been taken forward.

three-dimensional flower bloom The flower can either be closed, to create a semi-circle or opened to create a three-dimensional flower. The form can be bloomed whern the space is used. At workshops, as women have a tradition of starting the day’s work with song, this blooming of the flower can be included as a pre-work activity.

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What does bloom mean? like the blooming of flowers on a tree, the form opens to signify: growth transition reaching out to the world

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / 3-D scale rendering of model with structural interventions

installation with mezzanine

installation with plinth

installation with no structural interventions

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / bloom / dimensions of installation

1.0m

0.5m

5m diamenter

1.5m

2.0m

3m

3.5m

4.0m

vertical heights 2m diamenter

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / 3-D rendering of mechanism

To maximize the verticality of the space, the installation has been planned at ascending heights. From below, the form of their traditional Ladva motif is maintained. The pulley mechanism is used to lower each section of the installation at the same time using a single hand crank at ground level. Once lowered, the elastic textile form can be removed or replaced.

crank at ground floor level

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / bloom / lowering of discs

view from top of central frame

pulley mechanism for lowering

detail: connecting the pulley system to each vertical rod

lowering

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / opening of form

Each floral form is opened up with the help of a pulley mechanism. When the space is not in use, the forms can be closed to prevent accumulation of dust and bird droppings. When workshops are conducted, the women begin the session with a song. The flowers can be opened up when the session begins like the switching on of a light. Blooming represents the growth of SEWA and the communities of Radhanpur through their textile traditions. Each ‘flower’ is 2 metres in diameter and is made of textiles available at the SEWA Trade Facilitation center.

stages of blooming

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / bloom / colour palette

Based on the traditional colours used for embroidery and the darker, warm base cloth colours, a colour palette has been derieved to be used in the installation and timeline. Colours can be chosen from available fabrics at STFC and co-ordinated according to the preferences of the women. Medium to heavy weight fabrics are to be used.

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / construction of form

A

1) Cut circular fabrics of 2 mts in diameter.(8 to 10 pcs) They can be in one solid color

2) Now divide and mark into 8 equal parts on all the cirular fabrics as shown.

B

B

A

A

B

B

This is to guide where the stitches are to be made and with which fabric

A

44 inches eight circles are layered and stitched. Each circle is made from two pieces of fabric as the average width of fabrics available is 44�. This allows for several composition possiblities based on available fabrics

second and the third pcs to be stitch here

joinery

Or can be stitched in two different colors according to your choice along the diameter.

Stitches to be made with the first and the 2nd pc.

3) The First and the Second circular fabric are stitched 2 inches from the circumference inside to the centre on A as shown in the figure.

A B

B

A

A

B

B A

4) Now take the Third fabric and put it on top of one Second and stitch the second and the third on the point B Then we take the Fourth on top of the Third and stitch on point A again. This goes on until all the remaining pcs are done. 5) The last stitch has to be made with the same piece so it joins all of them together.

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / bloom / attaching form to structure

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / bloom / timeline, display and visitor takeaway Interactive timeline display unit

The thematic timeline traces the changes that have taken place in the womens’ lives These changes can be represented on this swirling circular display graphically.

Visitor takeaway

to carry a piece of the experience back home, visitors can take a blooming token from the space as a keepsake. The package could be an embroidery starter kit. We believe that to appreciate the skill and complexity of embroidery, one must try it firsthand.

textile sample display within the timeline, spaces are included for display of textiles produced at the workshops. The women can curate this section of textile display

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Concept 2 for experience : reflections

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / reflections / initial ideas

The idea of reflecting the work of the women, their lives , in response to the changing times, and the strength they draw from it.

Choradiya ahir

Desi rabari

The vibrant colours and their combinations in the pieces traditionally made by the women at Radhanpur.

National Institute of Design Textiles and Space 2012

Chaudary Patel

Women at workshop

Bajania -jewellery

Ahir brahmin

Vagadiya rabari

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SEWA Banas Na Aana Museum

Responses / reflections / brainstorming

Indirect

Feminine

Reveal

Change

Reflections Amplified

Growth Distinct

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Illusion

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / reflections / inspiration The spark came from the mirrorwork done across communities by these women, both on fabric and as wall reliefs.

Traditional and contemporary peices

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / reflections / the space We have tried to create an experience by looking into structural elements that would complement the language of the concept. We looked into the mezzanine, the plinth, and then just the hall with no intervention . Considering the variety of users, and the uses of the space, we understand that it has to be a unified, yet dynamic space, such that each element has its place in varied functions. We’ve tried to evoke a sense of grandeur, and spark a feeling in the ladies , who now see embroidery on such a scale .

Cirrculation path with mezzanine

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / reflections / installation and timeline

The layout of the timeline here can easily moulded into this concept, wherein, all the narrative units will be framed in the same manner as the concept structure. These frames also act as a flexible, interchangeable display system, allowing the ladies at SEWA a means of control over their narratives, as well as ready frames for any other forms of display of pieces of work and so on. These units put together become a mural on the wall, that the ladies can use as they see fit .

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / reflections / initial ideas Intial explorations were with circular rings. Here we tried to capture the way mirror work is done on the fabric. We tried various techniques such as wraping the thread around a ring,crocheting and punching holes into the circular wooden ring.

Installation in the space

Detail 57

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / reflections / structure / helix

Helix with mezzanine

Helix without a structure

Helix with a plinth

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / reflections / structure / assymetric

Asymmetrical with mezzanine

Asymmetrical without a structure

Asymmetrical with a plinth

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / reflections / structure / concentric

Concentric with mezzanine

Concentric without a structure

Concentric with a plinth

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / reflections / final installation The structure of the stitches used to capture mirrors on fabric, wherein, earlier, they were only used as means to create form, but here, in this treatment, every thread gains prominence, as does every lady at SEWA. The result is a dynamic , engaging installation , addressing the various needs that the space has.

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / reflections / final installation

Installation without any intervention in the space

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / reflections / construction

Reflections

overhead ropes

ropes extending across floors

Veiw of installation from bottom

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National Institute of Design Textiles and Space 2012


Timeline experience

We propose to add 2 cm diameter round hooks screwed into wall, 50 cm apart , for the rope to loop into. And small open hooks for display units.

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

timeline

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / timeline

SEWA- the timeline 1663

Time Line is a narrative of women living in and around Radhanpur . The entire time line is based on the evolution of women as an individual to someone who play a major role in running of an N.G.O. It tells us about their past and their present. The life of women has been divided into 6 themes. ( story of struggle, leisure ,celebration and play,embroidery private and public, connecting with the world, freedom, future each theme is treated individually representing the changes that have happened in their lives. the Time Line was developed by - swasti, tanishka and students of NID .

The State of Radhanpur was established in by the founder of the Babi dynasty, Khan Jahan.

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1813 Radhanpur came under British control.

1819 Palanpur Agency is formed under control of Bombay presidency.

1857 First school an Library at Radhanpur. (Drought for 7 years, 1856 Drought, Plague before 1857)

1859

1871

First mill in Ahmedabad floated by Shri Ranchhodlal Chhotalal.

Second mill was built in Ahmedabad by Rai Bahadur Bechardas Ambaidas.

1924

1920

Palanpur agency merged into Indian States Agency.

Started selling cotton

1880 BATA company had commissioned some work to the mochi karigars of RADHANPUR, in 1980s, hrough Gurjari.Mashru mojaris were in fashion then.

1899 FAMINE (Mitti Bartan- use by 100 yrs old mother in law, Aluminum, 1980’s post steel vessels)

The National Uprising, across India.

S

1950 First Train/ Railway (Koliwada), Electricity (post)

1948

1947

1944

Pucca Road

Whole area became part of Bombay State Stopped use of Teracotta utensils. (post 1947)

WISA amalgamated with Baroda and Gujarat States Agency.

1933 Palanpur State transferred to Rajputana Agency. Banaskantha Agency merged with Mahikantha Agency to form Sabar Kantha Agency, subordinate to Western India States Agency (WISA)

1927

1925

VADIYAR BANK AT RADHANPUR

Designation of Palanpur Agency changed to Bans Kantha Agency.

1914 Commencement of World War I resulting in stoppage of mill building in Bombay.

1910 First radio with license.

World War I

INDIAN INDEPENDENCE

traditional colour palette 1952

1957

Famine, Red coloured wheat, Parents would go to Government jobs.

DROUGHT

1960 Brocade Kamkha fabric stopped. It came from Surat.

Divided into state of Gujarat and Maharashtra

contemporary colour palette

National Institute of Design Textiles and Space 2012

1961 Electricity came to Radhanpur, 15yrs post 1947

1966 DUSHKAAL TIME. People collected in spoons and bowls from the bottom of the well. There was a small pond and then it was built into a larger pond

1970 FLOUR MILLS came up and in the same year village suffered from severe tapeworm infection.

1971 INDO-PAK WAR (blackout, bombarding, people would stay indoors)

1975 First TV in Radhanpur. Pushpaben Thakkar married and travels to USA. First person from Koliwada to travel abroad. POLYESTER was introduced.

1978 WATER SUPPLY PIPELINE BY GUJARAT AND NETHERLANDS GOVT.

1980 Kerosene primas used. When Indira Gandhi Died only 1 TV in village. Since 25yrs Newspapers in Radhanpur. When Indira Gandhi Died ther was only 1 TV in the village.

Gujarat National International

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SEWA Banas Na Aana Museum

Responses / timeline / themes

Story of struggle Leisure, celebration and play Connecting to the world Embroidery pricate to public Freedom Future

Climatic Crisis No Agriculture No food, money Migration Women start working with SEWA Women were forbidden to work Together in SEWA

On the base of the Time Line we devided the stories into 6 themes. Each theme itself has individual subtitles which will be discribed in graphical abstraction. This allows the women of Radhanpur to tell their own stories on the base of the themes and might inspire them to new ones. 67

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / timeline / themes

Story of struggle Leisure, celebration and play Connecting to the world Embroidery pricate to public

Technology (radio,TV, electricity)

Freedom Future

Pucca Road

First ever exhibition in New Delhi South Africa Fair Lotus Bazaar Exhibition Craft Exhibition Exhibition in Paris

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / timeline / themes

Internal elevation ground floor South east and North east

Scale 1:100

5.08

3.29

3.29

2.35 +0.60

1.50

2.95

eye level of average indian

-0.60

9.55

3.01

9.55

1.50

1.20

1.50

1.20 0.50 0.17 69

National Institute of Design Textiles and Space 2012


3.01

9.55

9.55 Timeline experience

1.50

Responses1.20 / timeline / bloom Circle Internal elevation South East and North East

Scale 1:100

Celebration

Connecting to the world

Future

1.50

1.20 Struggle

Embroidery private-

Free-

0.50 0.17

Perspective Room (view to south) Time line in combination with bloom installation

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / timeline / bloom

frame to place abstraction of subtitles remolvable and therefore redesignable by the women after their one interests

further information about themes like dates or incidents

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National Institute of Design Textiles and Space 2012


Timeline experience

Responses / timeline / bloom

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum 5.08

3.29

2.35

3.29

Responses / timeline / reflection

1.50

2.95 Mirror work Internal elevation South East and North East

3.01

9.55 Scale 1:100

Struggle

Celebration

9.55 Connecting to the world

Future

1.50

1.20

Embroidery private-public

Freedom

1.50

1.20 0.50 0.17

Inspiration Wall relief NID

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Perspective Room (view to south) Time line in combination with reflection installation

National Institute of Design Textiles and Space 2012


Timeline experience

Responses / timeline / reflection

Mirror work

frame to place abstraction of subtitles remolvable and therefore redesignable by the women after their one interests

further information about themes like dates or incidents

National Institute of Design Textiles and Space 2012

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SEWA Banas Na Aana Museum

Responses / timeline / reflection Mirror work

- The Circles will be attached on the wall but protruding out of the wall a bit. - The abstraction is changable and can be interpreted in way the women of radhanpur wants it to be . - The information written will be through embroidery . or any other medium they choose it to be. - Fabrics - Their traditional fabrics or fabrics availaible in STFC can be used.

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National Institute of Design Textiles and Space 2012


Timeline experience

Bibliography Bhatt, Ela R. “Embroiderers.“ We Are Poor but so Many: The Story of Self-employed Women in India. Oxford: Oxford UP, 2006. 141-65. Das, Sethu, Interview with Ela Bhatt. Ahmedabad: NID, 2012: http://www.designandpeople.org/creativeresistance/ela_bhatt_conversation.html Nanavaty, Reema. We Can We Will: Women’s Empowerment and DWCRA Programme. Ahmedabad: SEWA Academy, 1994. Tyabji, Laila, and Siddhartha Das. “Threads and Voices: Embroidery as Identity and Empowerment.” Threads & Voices: Behind the Indian Textile Tradition. Mumbai: Marg Publications, 2007. 120-133. Frater, Judy. Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris. Ahmedabad: Mapin Pub., 1995

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Space Design