Sanjana Mahadevan - Interior Architecture Portfolio (2020-2023)

CONTACT : +91 9840946109

EMAIL : sanjana.uir20123@cept.ac.in/ sanjanam2014@gmail.com

DOB : 29 November 2002

ADDRESS : B-204, Bridgewood, Hiranandani Upscale Apartments, Old Mahabalipuram Rd., Navallur, Kanchipuram 600130.

STATE : Tamil Nadu

CITY : Chennai

EDUCATION : CEPT University | Ahmedabad

Bachelor’s in Interior Design (2020-ongoing)

PSBB Millenium School OMR | Chennai (2018-2020)

Higher Secondary (11th & 12th std.)

Hiranandani Upscale School | Chennai (2013-2018)

Secondary (6th to 10th std.)

Good Shepherd MHSS | Chennai (2006 - 2013)

ACHIEVEMENTS :

CEPT University Excellence Awards

Winner (Monsoon 2021)

[Project: Adorning Identities: Motifs, Colours, Experiences.]

ADI Battle of Projects

1st Runner up (December 2021)

[Project: Ajrakhpur, a card game.]

Merit Based Scholarship - Norway

Cept University, Summer School 2022

[Course- NEST, Trondheim, Norway]

Taiwan International Student Design Competition (TISDC)

Finalist (2022)

[Project: Ajrakhpur, a card game]

Merit Based Exchange Programme

HFT Stuttgart, Germany (Sept’23-Mar’24)

[Exchange semester]

Academic Secretary- Student Council (CFP)

(First year @ CEPT University)

[Period of 1 year]

Bharatanatyam Arangetram

(November 2019)

[Trained for 10 years]

ADDITIONALS : CEPT Faculty of Design Newsletter

Masterhead - Graphic Design

Illustrated Storybook for children

Published on ‘Folklog’ website

SKILLS :

AutoCAD 2D

Adobe Photoshop

Adobe Indesign

Adobe Illustrator

Rhinoceros 3D

Sketchup

V-ray

MS Office

Sketching

Hand Drafting

Wood Workshop

Metal Workshop

Model Making

Manual Rendering

INTERESTS :

Writing

Graphics & Illustration

Sketching

Proficiency (low-high)

Travel/Travel documentation

Stamp Collection

LANGUAGES:

English

Tamil

Hindi

French

WORK PROFILE :

CEPT portfolio website: https://portfolio.cept.ac.in/student/ sanjana-mahadevan-uir20123

Sanjana Mahadevan

STUDENT (INTERIOR DESIGN)

RE-IMAGINING THE VERNACULAR Visualisation, Representation, Production 01

The board game prototype was made as a result of a field visit to ‘Ajrakhpur’. After the devastating earthquake of 2001, artisans from Dhamadka in Bhuj were forced to relocate to Ajrakhpur to continue their craft and livelihood, Ajrakh. The game incorporates this history into its narrative, with the players doing their part in rebuilding a community of Ajrakh artisans from scratch. The information was obtained through one on one interaction with the artisans and hands on attemps at the craft.

Semester 3 | Monsoon 2021

A card game. AJRAKHPUR

The game ‘Ajrakhpur’ is an integration of the techniques, processes and motifs involved in the traditional craft of Ajrakh(block printing). Designed for 7-10 year olds, the game breaks down these complex processes into basic game strategies which apart from being fun, also educate children about the craft of Ajrakh that seems to be dying in this age of machine and mass production.

‘A well-conceived and produced board game. It is the result of detailed studies and craft workshop visits with hands-on instruction on vernacular craft based skills and production techniques. The final design is faithfully based on the motifs and techniques used in Ajrakh block printing.’

Jury Citation Cept Excellence Awards Winner (M’2020)

AJRAKHPUR

A card game.

Each of the four players play on their respective character’s player mat. The illustrations were printed on canvas fabric and stitched with pockets. The colours used - indigo, deep red, beige and yellow are colours widely used in Ajrakh printed textiles.

FIELD VISITS | WORKSHOPS

A Visit to Kutch, Gujarat

A field visit to Kutch exposed me to the techniques, processes and lifestyle followed by the craft communities there. The conversations, experiences and learnings helped me develop an experience map following which a concept and prototype for the final board game were developed.

ADORNING IDENTITIES

An Experiential Story Map

The experiential story map is a representation of the various motifs, colours and textures that I encountered in the craft clusters that we visited. The intricate motifs are represented as leaves of the “Tree of Life’ - a well known Kalamkari motif. The central tree is surrounded by sketches of my experiences in these different areas. The map is titled adorning identities signifying the concept of motifs, textures and colours defining an artisan’s identity and sense of belonging.

TRAVELER’S HOME

Visualisation,Space planning,Representation

The design intends to serve as a temporary abode for a group of historians with a desire to immerse themselves into the lifestyle, culture and customs of Kandy, Sri Lanka. The home reflects the landscape through the incorporation of a stream of organic interior elements amidst a grid of columns. The stream serves as a visual and physical circulation guide, inviting locals to the core cooking and dining areas while enveloping the travelers’ private work and sleeping spaces. The design draws from traditional homes in relation to living arrangements, interior elements, categorization of space and functionality.

Semester 4 | Spring 2022

DESIGN PROCESS

The site and context around the site was thoroughly analysed and represented in the form of diagrams. Abstract models were made, following which a concept was developed. Volumetric analysis and exploration models were made to introduce the concept into the existing site and building envelope.

FURNITURE - TYPOLOGY AND SIZING

EXPLORING INTANGIBLES (Abstract Models)

The home reflects the landscape through the incorporation of a stream of organic interior elements amidst a grid of columns. The stream serves as a visual and physical circulation guide, inviting locals to the core cooking and dining areas while enveloping the travelers’ private work and sleeping spaces.

Concept & Process ‘A Streamlet : Envelopes and Voids’

The design intends to serve as a temporary abode for a group of historians with a desire to immerse themselves into the lifestyle, culture and customs of Kandy, Sri Lanka. The home reflects the landscape through the incorporation of a stream of organic interior elements amidst a grid of columns. The stream serves as a visual and physical circulation guide, inviting locals to the core cooking and dining areas while enveloping the travelers’ private work and sleeping spaces. The design draws from traditional homes in relation to living arrangements, interior elements, categorization of space and functionality.

THE ART OF DETAILING 03

Details, Working Drawing, Making

Semester 5 | Monsoon 2022

The project involved the analysis and documentation of existing doors, windows and staircases in detail, followed by a detailed proposal for each of the same. The facade of the Kanoria art gallery was the site for the door and window design. The materials explored were mild steel and teak wood, with the design aiming to tackle the existing drawbacks, highlight the assets and showcase the verticality of the site’s facade. Faculty of Design’s Double height was the site for the proposed staircase. The staircase is built around the existing column and makes the users engage with the activities on site.

The Art of Detailing | Monsoon 2022

A card game.

3MM

3MM

3MM

30MM DIA MS PIPE (TREAD SUPPORT)

30MM DIA MS PIPE (RAILING)

30MM THK KOTA STONE

SLAB (TREAD)

3MM X 70MM BENT

MS FLAT (BRACING)

3MM X 70MM MS FLAT

30MM DIA MS PIPE (TREAD TO STRINGER BEAM)

3MM MS FLAT (BOLTED TO STRINGER BEAM)

3MM X 75MM X 150MM

MS BOX SECTION (STRINGER BEAM)

30MM THK KOTA STONE SLAB (TREAD)

2MM RUBBER (SHOCK ABSORBENT)

3MM BENT MS FLAT (SIDE SUPPORT FOR TREAD)

3MM X 30MM DIA

MS PIPE (SUPPORT FOR TREAD)

3MM X 50MM BENT

MS FLAT (BRACING)

10 MM DIA

CARBON STEEL J BOLT (ANCHOR)

25MM THK STONE

10MM THK MORTAR

RCC

3MM X 70MM BENT

MS FLAT (SIDE SUPPORT)

30MM MS PIPE SUPPORT

30MM THK KOTA STONE SLAB (TREAD)

10 MM DIA GRADE STEEL BOLT

3MM THK MS FLAT (WELDED TO TREAD SUPPORT PIPES AND BOLTED TO TREAD)

3MM X 30MM DIA MS PIPE (SUPPORT FOR TREAD)

25MM THK STONE

10MM THK MORTAR RCC

25MM THK KOTA STONE

10MM THK MORTAR

60MM SAND

3MM X 50MM X 50MM

MS L SECTION

30MM THK STONE SLAB

3MMX125MMX100MM MS SECTION

Cept University’s Faculty of Design’s double height was the site for the proposed staircase. The staircase is built around the existing column and makes the users engage with the activities on site.

Intent for Proposal :

1. Make users focus on the activities in the double height space.

2. Wrap staircase around existing circular column.

WALTER GROPIUS, HOUSE IN CHELSEA

The polished teak treads are supported on metal trays screwed to steel channel strings. The balustrade has a teak handrail with glass panels in a steel channel between intermediate ss supports.

R.H. PEARSON, STORE IN LONDON

40MM DIA TUBULAR HANDRAIL

20MM DIA TUBULAR METAL UPRIGHTS

CONCRETE CURB (160MM X 70MM)

REINFORCED CONCRETE TIE BEAM

REINFORCED CONCRETE COLUMN

TREAD FIXED TO RCC BEAM

50MM X 6MM MS TIE BAR

10MM DIA MS TUBULAR RODS

SCREWED TO UPRIGHTS

50MM X 6MM MS TIE BAR

RCC BASE

40MM DIA TUBULAR HANDRAIL

S1 S2

RCC BEAM UNDER TREAD

RCC SUPPORT TIE BEAM

RCC BEAM UNDER TREAD

CENTER LINE OF STAIRCASE

20MM DIA TUBULAR METAL UPRIGHTS

30MM THK HARDWOOD TREADS

12MM DIA MS BARS

REINFORCED CONCRETE RAKING

BEAMS

The hardwood treads are carried on reinforced concrete beam: the balustrade is made of tubular steel.

SS INTERMEDIATE VERTICAL SUPPORTS

30MM POLISHED TEAK TREADS

RCC 3MM MS PLATE

METAL TEAK COUNTER SUNK CONNECTING TO CHANNEL FINISHED FLUSH SIDE 9MM DIAMETER INTERMEDIATE SUPPORTS FOR HANDRAIL

D2 Scale 1:5 OF C STRING 30MM POLISHED TEAK

DETAIL SECTION 1

6.2

Hardwood and MS Staircase

hardwood treads are carried on an ms structure 30MM DIA ENAMELLED TUBULAR HANDRAIL 10MM DIA MS BALUSTER WELDED TO HANDRAIL BOTTOM OF BALUSTER FISHTAILED AND CONCRETE FLOOR 40MM THICK MAHOGANY HARDWOOD TREAD RUBBER WASHER 15MM DIA MS TUBULAR COUNTERSUNK 50MM X 12MM AND FISHTAILED CONCRETE FLOOR LINOLEUM DETAIL D1 Scale 1:4 Sanjana Mahadevan | sanjana.uir20123@cept.ac.in The Art of Detailing | Monsoon 2022

Ex: 06 DOCUMENTED WINDOW DOCUMENTED

The

ANCHOR BOLT FIXING C STRING, METAL PLATE TO RCC 6.1 Ex: 06 DOCUMENTED WINDOW DOCUMENTED STAIRCASE 1

METAL TRAYS SUPPORTING

TEAK TREADS

SUNK SCREWS

CONNECTING METAL TRAYS

CHANNEL STRING, FLUSH ON OUTER STRING

TEAK TREADS

50MM DIA T.W MEMBERHANDRAIL

30MM X 6MM CONVEX STAINLESS STEEL SCREWED TO T.W MEMBER

GLASS PANELS ATTACHED TO INTERMEDIATE SUPPORTS

BALUSTER SECTION SCREWED TO INTERMEDIATE SUPORT

WASH LEATHER

BLACK OXYDISED METAL SHOE FIXING INTO BRICKWORK (SECTION THROUGH END OF HANDRAIL)

15MM X 15MM SS CHANNEL

9MM DIA SS INTERMEDIATE SUPPORT

150MM X 60MM RS CHANNEL

EDGE OF NOSING OF STEP FACE OF RISER

150MM X 60MM RS CHANNEL

60MM X 60MM IRON L SECTION

IRON L SECTION WELDED TO CHANNEL STRING AND ANCHOR BOLTED TO RCC

30MM X 6MM CONVEX STAINLESS STEEL REINFORCING SCREWED TO L IRON

50 X 2MM METAL PLATE

50MM DIA TEAK HANDRAIL

COLLAR

30MM DIA STAINLESS STEEL FIXING SCREW

4.1

DETAIL SECTION D4 Scale 1:1

600X300MM BLIND FIXING

BATTEN

RCC FLOOR SLAB

BLIND RECESS

RCC BEAM

M.S. FIXING STRAP

(C STRING TO RCC + HANDRAIL DETAIL) (HANDRAIL DETAIL)

DETAIL SECTION 1 D3 Scale 1:1

DOCUMENTED STAIRCASE 1 - WALTER GROPIUS, HOUSE IN CHELSEA : DETAILS

ENAMELLED MS HANDRAIL

BALUSTER HANDRAIL

BALUSTER SPLIT AND CAST INTO FLOOR MAHOGANY FACED TREAD WASHER TUBULAR SPACER SCREW

S FLAT SPLIT FISHTAILED AT ENDS BUILT INTO FLOOR SECTION

DETAIL SECTION 1 D5 Scale 1:1

Sanjana Mahadevan UIR20123 The Art of Detailing FD UG L2

30MM DIA ENAMELLED MS

TUBULAR HANDRAIL

10MM DIA MS BALUSTER WELDED TO HANDRAIL

BOTTOM OF BALUSTER SPLIT AND FISHTAILED AND CAST INTO CONCRETE FLOOR

40MM THICK MAHOGANY FACED HARDWOOD TREAD

15MM DIA MS TUBULAR SPACER

DETAIL 1 D1 Scale 1:3

SIDE ELEVATION E1 Scale 1:15

40MM THICK MAHOGANY FACED HARDWOOD TREAD

30MM DIA ENAMELLED MS TUBULAR HANDRAIL

DETAIL 2 D2 Scale 1:3

SOFTWOOD BATTENS

MASTIC JOINT

M.S. WINDOW FRAME

405 MM RADIUS CURVED GLASS

9 MM POLISHED PLATE CURVED GLASS

METAL WINDOW PUTTY

CONDENSATION

CHANNELHARDWOOD

12 X 6MM MS FLAT

PERFORATED MS GRILLE

MS CLEATS

PRECAST CONCRETE SILL

HARDWOOD INSERT

LEAD GUTTER

GALVANIZED FLAT COATED WITH LEAD CONCRETE UPSTAND

GROUND FLOOR PLAN P1 Scale 1:15

JOINERY DETAILS Door and Window

The Art of Detailing | Monsoon 2022

JOINERY MODELS Metal and Wood Workshop

1. Peephole louvers from documented door 1 +

2. Asymmetry in door shutters + visual frames with metal and glass

3. Derivation of grid lines from shutter widths and frame ends + further division of panels

4. Overlapping of metal rods and exploring concepts of intersection

5. Maintaining a contrast between dense and open spaces visually + connection between overhead and shutter

6. Introduction of a linear geometry breaking element - the circle

7. Giving the circle prominance, breaking the grid

8. Assigning secondary function to the circle + differentiating between materials

9.

ORIGINAL DOOR ON SITE: DRAWBACKS:

Too much glass on the original door caused unwanted glare inside. Being an art gallery, the space depends on artificial lighting and hence curtains were required to be installed behind the door.

The handle seemed too small to manage the tall and heavy door.

Visually, the metal plate grid over the glass on the door breaks the grandeur. Being too symmetrical visually, the door does not seem dynamic enough to represent and frame the space that it stands in front of. Material, colour and composition wise, it does not match the context it is placed in.

The two main materials, wood and mteal are not given their individual importance and are instead painted the same colour to blend and look the same.

3.1

Ex: 03 PROPOSED DOOR

ORIGINAL DOOR ON SITE: PROS

Pivot mechanism works efficiently for the tall and heavy door.

Use of glass above the main door allows for overhead favourable light into the space. The use of glass breaks the visual heaviness of the door and allows a good contrast, making the door seem visually balanced weight wise.

DESIGN INTENTIONS :

Regulate movement - based on large and small crowds

Individual materials have their own character

Visual asymmetry and concept of door framing the inside Restrict use of glass on the main door, use of majorly overhead glass

PROPOSED DOOR : PROCESS SHEET

DESIGNING A DOOR

Fixed louvres are used for ventilation and favourable light. The proposed door plays with verticality and density of grooved panelling. The main frame structure is made of mild steel while the infill is teak wood with alternating panelling. The door is made visually asymmetrical with the form of the circle that breaks the geometry.

Sanjana Mahadevan UIR20123

The Art of Detailing FD UG L2

individualism in materials

Creating asymmetry within the handle + shutters.

10. Final proposal

DETAILING HOSPITALITY SPACES 04

Adaptive Reuse, Space Planning, Styling

Semester 6 | ONGOING

The studio investigates the notion of sociocultural context while developing an appreciation for the built fabric with heritage values, and creating meaning of place, sensitive to earlier roots, while superimposing a new function. A 19th century Goan Portuguese house is the site for the adaptive reuse project, to be converted into an F&B space. The site & context were analysed following which an F&B typology was decided, a program was formed and a concept was developed. The studio is currently ongoing and will be completed by May 2023, available on the CEPT portfolio website.

Typologies of Buildings in the Context

Fontainhas, Panjim, Goa

ELEVATIONS (West and North)

Site Documentation Drawings

Do Rego Residence The Site

The site is a heritage house built in the 19th century, located in the street Rua Cruzador Sao Rafael. It is a majorly white facade as maintained by the previous owners and has stayed in the Do Rego family since origin. The family currently lives next door to the house.

The site’s immediate context was analysed and measure drawings were made of the site.

CONCEPT DEVELOPMENT

CONCEPT DEVELOPMENT

INITIAL DEVELOPMENT

What are the

FURTHER

What are the

Assignment 10

Abstract models|Diagrams|Initial Program

What are the conceptual keywords?

CONCEPT DEVELOPMENT

INITIAL DEVELOPMENT

What are the conceptual keywords?

LINKAGE BRIDGING

LINKAGE BRIDGING

LINKAGE BRIDGING

LINKAGE BRIDGING

LINKAGE BRIDGING

LINKAGE BRIDGING

LINKAGE | INTERLOCKING | OVERLAPPING

HOSPITALITY SPACES

THREE DIFFERENT ELEMENTS VARYING IN FORM, PLANES AND ORIENTATION ARE LINKED BY A CONNECTING ELEMENT

THREE DIFFERENT ELEMENTS VARYING IN FORM, PLANES AND ORIENTATION ARE LINKED BY A

MODEL EXPLORATIONS

How can the keywords be represented?

NEGATIVE SPACES/ VOIDS LINKING TWO DIFFERENT ELEMENTS/SPACES.

NEGATIVE SPACES/ VOIDS LINKING TWO DIFFERENT ELEMENTS/SPACES.

KEY CONCEPTS

KEY CONCEPTS

Linkagebetween the | common elements the three spaces together.

Linkagebetween the | common elements the three spaces together. Interconnection and elements to each other.

Interconnection and elements to each other.

Play with textures flooring to show

Play with transparency partitions, wire mesh, openings to to each other

Exposed cylindrical serving as between wall flooring.

Play with textures flooring to show Play with transparency partitions, wire mesh, openings to to each other Exposed cylindrical serving as between wall flooring.

bar as a link two dining areas elements between spaces linking thm

Interconnection - Spaces elements interconnected other.

textures of wall and show overlaps.

transparency of materials like frame structures, connect spaces other. ceiling with ducting/pipes a connector/link wall ceiling and

OF LEVELS

MISCELLANEOUS

Hand Drafting | Sketching | Graphics.

Hand drafted Drawing - Exploded View Sanjana

GRAPHIC

The Buddy Project SKETCHES

Norway 2022

Main Graphic Design Process

FD DOUNDATION DAY Freehand Sketches

Aseries of photographs taken as part of the winter course ‘Art for Design Sake’. The series of stills document the melting of a popsicle to reveal a knife, following the brief ‘camouflage’.

Part of the graphics team for the spiral and designed the masterhead graphic (second issue onwards).

Summer Socials - Event

Backdrop Installation

Part of the design and execution team and conducted a workshop for the backdrop for Summer Socials - a Faculty of Design , Cept University, student event, in March 2023.

The Spiral - Faculty of design newsletter

Masterhead Graphic

MISCELLANEOUS

Illustrations and Graphics

ROOTS ‘23 - event main graphic merch graphic

Part of the ROOTS’23 CEPT cultural event graphics team. The concept focused on the people of CEPT. the caricatures were made of and by the people of CEPT. The event took place in March 2023 and lasted two days.

PIPEDREAM ‘22- event

The graphic intended to combine random elements often unnoticed around campus. The colours of the main graphic for the event were followed. The event took place in October 2022 and lasted for a week.

MIND MAP foundation year

The mind map serves as a visual depiction of the narrative developed and portrays the essence of my neighbourhood society. The recollection of details and their representation were skills honed through this exercise.

STORYBOOK DESIGN for 7-10 yr olds

A folktale originally based in Manipur was adapted to fit into the cultural context of Chennai with elements like kuthu velakkus (lamps), malli poo (jasmine flowers in hair), vibhuti (sacred ash on forehead), kolam patterns and the alamaram (banyan tree) defining this contextual shift. The storybook was designed for children such that while breaking misguided stereotypes, the book still remains rooted to its cultural context.

A Tapestry and Woodblock Prints: Handmade Designs as a Response to Mass Production

Emerging as a response to rampant industrialisation and the mass produced designs born from it, the Arts and Crafts Movement in England and the Mingei movement (Folk crafts movement) in Japan sought to revive the traditional method of designing, retaining the fundamental connection between the designer, the design and the user. This essay will study ‘The Woodpecker Tapestry’ by William Morris and the woodblock prints

‘Great Disciples of Buddha’ by Japanese designer Shiko Munakata - results of essentially the same movement in different regions. The designs will be studied through their medium, materials used and their design processes.

William Morris derived his inspiration from natural forms, while simultaneously playing with the contrast between warm and cool tones and curves and straight lines. Shiko Munakata’s work reflects his personal views towards life and his religious beliefs, through organic forms.

‘Great Disciples of Buddha’ remains his most popular piece, a woodblock carving of Buddha’s disciples and bodhisattvas, each designed as a representation of the various personalities that he perceived them to possess. The idea that the designer should be involved in all aspects of the design process, strongly resonated with both of these designers. How did this thought process distinguish their designs from the machine made designs amidst the bleak industrial age? Despite the differences in the medium and works of these designers, they both remained strongly connected to their designs, reviving culture and tradition in a rapidly progressing world.

Designed by William Morris in 1885, ‘The Woodpecker Tapestry’ aptly portrays the characteristics he wished to see in the designs of the 19th century. His work showcases a revival of traditional design in many respects - art, his design process and literature. He believed that tapestries were the “noblest of the weaving arts” (Qianqian, 2015). These were a product of hand work and hence displayed the underlying ideology of the Arts and Crafts movementno intent of mechanised mass production

This tapestry hosts the design of a woodpecker perched atop a fruit tree. The tapestry is designed in such a way that the viewer’s eyes move around the piece, with each element leading to the next. The motif is lined by a thin double frame, beyond which lie two long branches on either side, entwined with honeysuckles, which perhaps allude to William Morris’ ‘Honeysuckle’ designed in ‘76. The yellow trunk of the fruit tree is represented by a slightly bent long stroke, which stands out against its immediate curved surroundings. Large acanthus leaves swirl around the length of the trunk, drawing attention away from it, interrupted by small flowers. The branches continue on, with small circular yellow-orange fruits scattered amidst the tree’s blue-green foliage.

William Morris plays with the contrast between subtle warm and cool colours throughout the piece (as seen in figure 29). A single songbird perhaps, rests on one of the branches towards the top of the piece, woven in the same colour as that of the trunk, with a blue highlight at the tip of its wing.

https://doi.org/10.1111/1467-8365.12019.

Copyright

The woodpecker, which seems to be the focus and inspiration of this design, is perched at the top edge of the trunk. The body is green, with navy blue tail feathers and patterned wings. Above and below the double frame lies the verse, “I once a king and chief- now am the tree-barks thief : ever twixt trunk and leaf - chasing the prey” (Morris, 1891). ‘This woodpecker motif is inspired by the story of Picus from the Roman poet Ovid’s narrative poem, ‘Metamorphoses’. King Picus, upon rejecting Sorceress Circe’s attempts to seduce him was turned into a woodpecker’ (Arscott, 2013). William Morris aptly portrays the atmosphere of the scene in this tapestry, with the tree being engulfed in disorder. The design also indicates William Morris’ affiliation to nature and natural forms and the incorporation of those into his work.

‘The tapestry measures 307 by 156 cm and was woven with wool and silk on a cotton warp’. (Arscott, 2013). ‘The use of wool for the warp threads was perhaps due to its resilience and easyto-dye nature. The silk weft (the threads passed orthogonally above and below the warp) allow a more detailed weaving and produce a contrast in colour and texture of

the tapestry’ (Jarry, 2019). William Morris used traditional vegetable and organic dyes, instead of the contrary chemical dyes that ‘tended to be more harsh and garish’ (Qianqian, 2015).

For its practicality, ‘Morris preferred to use the Jacquard loom, operated by hand rather than by steam’ (Harvey, Press, n.d.). He inspired many designers of his time to promote the skill that is good craftsmanship. The influence of his works were felt in distant lands.

Under similar circumstances, the Mingei movement (Folk Crafts Movement) took form in early 20th century Japan. “The Mingei philosophy stipulates that the work must be made by anonymous craftsmen and produced by hand in quantity, that it must be inexpensive enough to be affordable, and utilitarian enough to be desirable, by the common people, and that it should represent the region in which it was produced.” (Nakanishi, 2008). These values and principles resonated with Japanese woodblock artist Shiko Munakata, who claimed, “Mingei gave birth to me (Yasuda, Shiko Munakata, 1958, p. 74)” (Scholten Japanese Art, 2017).

Figure 1

Warm and Cool Colours of The Woodpecker Tapestry

Note The distinction between the curved lines of the leaves and the straight lines of the trunk are highlighted by the use of subtle warm and cool colours. From William Morris’s Tapestry: Metamorphosis and Prophecy in The Woodpecker by Arscott, C, 2013, Art History. 36(3).

2013 by Association of Art Historians.

‘Shiko Munakata began to work on ‘The Great Disciples of Buddha’ series in 1939. He carved the disciples in katsura wood and used the entire block, leaving negligible space at the top and bottom’ (Ronin Gallery, 2017).

His strokes appear spontaneous, and his work is characterized by organic forms much like William Morris’ tapestry as seen in figure 29. Katsura wood, with a rough texture, was perhaps chosen since ‘it is relatively free from shrinkage and straight grained’ (Salter, 2002). The prints are made of Indian ink and his monochromatic style speaks volumes through the piece. ‘Each disciple was made 3 feet long’. (Ronin Gallery, 2017). The strokes in the print are bold, graphic and sharp. His effective use of the white space in the print in different ways, contributes to the uniqueness of each piece. He sought to give each disciple a personality that he perceived them to possess, thereby not mimicking all aspects of the disciples in his design. This gives us an insight into his thoughts and beliefs, connecting us- the viewers of his design to him- the designer. He believed that this seemed to be missing in the modern machine made age, similar to the scene in 19th century England.

‘The disciple Katyayana (Kansenen- Master of Fundamental Principles) is known to be scholarly and authoritative’ (Ronin Gallery, 2017). It’s interesting to note that Shiko Munakata interpreted the figure of katyayana (figure 30) as a parental authority and hence attributed the face of his father to his design. He mentions in ‘The Woodblock and the Artist’ (1991), “Kasenen looks exactly like my father,” “I like this print because of that, but it always reminds me of

a scolding he once gave me”.

The print portrays the disciple adorned in a draped robe, shown by black strokes on a cream background. The footwear is outlined but not filled in. This particular property is seen in a few disciples but not in the rest, perhaps a conscious choice made by the designer, to emphasise specific personality traits. The disciple ‘Ananda (Master of Memory and Learning) is known to be associated withwisdom’ (Ronin Gallery, 2017), seen with calm eyes and preaching hands. The disciple ‘Anirhudda (Master of Supernatural Vision) was known to be skilled in mindfulness’ (Ronin Gallery, 2017).

‘Maudgalyayana (Master of Supernatural Forces) is associated with supernatural power’ (Ronin Gallery, 2017). The wide eyes with an emphasis on the hands perhaps denotes the power contained in them.

‘Purnamaitrayaniputra (Master of Teaching) is believed to have replaced his wealth by devotion’ (Ronin Gallery, 2017). ‘Rahula (Master of Esoteric)’ was the only son of Buddha and the favoured disciple. (Ronin Gallery, 2017).

‘Sariputra (Master of Wisdom)’, seen with calculating hands, was known to be the wisest of disciples (Ronin Gallery, 2017). Disciple ‘Subhuti (Master of Immaterial) is known to harbour a deep understanding of the void’ (Ronin Gallery, 2017). ‘Upali (Master of Vinaya) is known to have mastered the monastic rules and was often consulted in matters of the same’ (Ronin Gallery, 2017). Shiko Munakata perhaps denotes his reverence to these principles by incorporating praying hands towards the sky.‘The Bodhisattva Manjusri is known to be an

incarnation of Buddha’s Wisdom while Samanthabhadra is the incarnation of Buddha’s Fundamental Element, known to be the bodhisattva of natural law’ (Ronin Gallery, 2017). These figures are adorned with intricately detailed robes and a circle over the heads signifying the state of enlightenment. He included his belief in the Zen philosophy into his work, which can be seen in the piece. His use of black and white throughout, can be interpreted to represent the Yin and the Yang, contradicting each other and perhaps alluding to the vast difference between his handmade designs and the machine made ‘soulless’ designs of the bleak industrial age in Japan. Shiko Munakata prayed through these woodblock prints, incorporating a spiritual and emotional connection into his pieces. He dedicated himself entirely to the piece, mind and body. In his words, ‘“the mind goes and the tool walks alone” (ibid, p. 80)’ (Munakata & His Circle, 2017).

Nikkyo Niwano, in Invisible Eyelashes, Seeing What is Closest to Us (1994) mentions,

‘The woodblock artist Shiko Munakata (190375), who carved out a world all his own, is said to have murmured while engrossed in carving his blocks, “Thank goodness, thank goodness. The chisel is cutting along by itself.” Something invisible simply set his carving tools in motion. Somewhere, along the boundary between consciousness and unconsciousness, he felt this invisible force and softly murmured his gratitude. Surely at such a moment Munakata was completely happy.’

Note. The strokes are sharp. The gestures convey the persona aptly. The footwear is outlined but not filled as seen in a few others. From Ronin Gallery. (2020, July 9). Reflecting the spirit: Shiko Munakata (1903-1975). Ronin blog. https://www.roningallery.com/reflecting-the-spirit-shikomunakata-1903-1975. Copyright 2017 by RONIN GALLERY.

Figure 2

Katyayana- Master of Fundamental Principles

Although the two designs use different mediums and are rooted to different cultures, their makers both anchored themselves to their work. The incorporation of William Morris’ literary work into his tapestry and Shiko Munakata’s beliefs and prayers into his woodblock print resulted in endearing designs that inspired the public, craftsmen and designers and continue to do so presently. Their designs thus seem like extensions of themselves, speaking volumes about their intentions and design practices. The revival of traditional handmade

design, although insightful and ironically cutting- edge at the time, seemed impractical since they could not reach a vast majority of the general public who could not afford them. They could not keep up with the mass produced, cheaper designs and time efficient machinebased design practices of their time. This urges one to ponder over the notion of a balance between industrial production and high quality, traditional designs that are as connected to their designers as Shiko Munakata and William Morris remain to their designs.

Note. The figures from the top left are: Ananda, Anirhudda, Maudgalyayana, Manjusri, Purnamaitrayaniputra, Rahula, Samanthabhadra, Sariputra, Subhuti and Upali. Adapted from Ronin Gallery. (2020, July 9). Reflecting the spirit: Shiko Munakata (1903-1975). Ronin blog. https://www.roningallery.com/ reflecting-the-spirit-shiko-munakata-1903-1975. Copyright 2017 by RONIN GALLERY.https://doi.org/10.1111/1467-8365.12019. Copyright 2013 by Association of Art Historians.

Figure 3

Katyayana- Master of Fundamental Principles

Arscott, C. (2013). William Morris’s Tapestry: Metamorphosis and Prophecy in The Woodpecker. Art History. 36(3).

https://doi.org/10.1111/1467-8365.12019

Harvey, C., Press, J. (n.d.). William Morris. Design and enterprise in Victorian Britain. Manchester University Press. https://showsoflondon.files.wordpress. com/2011/12/harveyandpress.pdf

Jarry, M. (2019, March 8). Tapestry. Encyclopedia Britannica.

https://www.britannica.com/art/tapestry

Munakata & His Circle. (2017). Scholten Japanese Art.

https://www.scholten-japanese-art.com/munakata. php

Nakanishi, W. J., (2008). The Anxiety of Influence, Ambivalent Relations Between Japan’s ‘Mingei’ and Britain’s ‘Arts and Crafts’ Movements. Electronic Journal of Contemporary Japanese Studies. http://www.japanesestudies.org.uk/ discussionpapers/2008/Nakanishi.html

Niwano, N. (1994). Invisible Eyelashes, Seeing What is Closest to Us. Rissho Kosei-kai.

http://www.bahaistudies.net/asma/rkk11.pdf

Qianqian, H. (2015). Nature in Art: William Morris and the Woodpecker Tapestry Design. Qianqian Design

Ronin Gallery. (2020, July 9). Reflecting the spirit: Shiko Munakata (1903-1975).Ronin blog.

https://www.roningallery.com/reflecting-the-spiritshiko-munakata-1903-1975

Salter, R. (2002). Japanese Woodblock Printing. University of Hawaii Press.

https://books.google.co.in/

UKEssays. (November 2018). How Space Affects Function. UKEssays.

https://www.ukessays.com/essays/cultural-studies/ how-space-affects-function-interior-design-culturalstudies-essay.php?vref=1

LIST OF FIGURES

Figure 1

Arscott, C. (2013). William Morris’s Tapestry: Metamorphosis and Prophecy in The Woodpecker. Art History. 36(3).

https://doi.org/10.1111/1467-8365.12019

Figure 2, Figure 3

Ronin Gallery. (2020, July 9). Reflecting the spirit: Shiko Munakata (1903-1975). Ronin blog.

https://www.roningallery.com/reflecting-the-spirit-