Student Portfolio
craft + future =
KERNSTĂœCK ESSENCE | CORE
Sarah Klumpp Master of Design (Interiors) Semester 02/04
craft + future = ? Tutor: Rishav Jain TA: Karan Verma Spring 2020 Faculty of Design, CEPT University
Student Portfolio
craft + future =
KERNSTĂœCK
ESSENCE | CORE Sarah Klumpp Master of Design (Interiors) Semester 02/04
This is an academic publication containing works of the student for the studio Craft + Future, enrolled in the Masters of Design (Interiors) and International Master of Interior Architecture Design (IMIAD) for the Spring 2020. This course was conducted in the Faculty of Design, CEPT University. Tutor: Rishav Jain
Student Portfolio
craft + future =
KERNSTĂœCK
ESSENCE | CORE Sarah Klumpp Master of Design (Interiors) Semester 02/04
craft + future = ? Tutor: Rishav Jain TA: Karan Verma Spring 2020 Faculty of Design, CEPT University
CONTENTS
Craft. Practice. Production.
01. Field Mapping of Crafts 02. Card sorting 03. Positioning crafts in 21st century
Establishing theoretical position 04. Visualizations 05. Position paper 06. Abstraction
Establishing design position 07. Project manefesto 08. Design development 09. Craft design matrix 10. Craft design ideas
Manifesting the design position 11. Illustrations 12. Drawings 13. Craft prototyping plate
Reflections
CRAFT. PRACTICE. PRODUCTION.
01
FIELD MAPPING
India has always had and still has a great diversity and tradition of crafts, which is preserved and continued by the craftspeople who execute them. If you want to get to know crafts, you have to get to know these people. They are the craft. It was only through our field visits that I realized how enormously diverse crafts can still be today. Many of the crafts are deeply rooted here, were something completely new to me. This diversity has always overwhelmed and fascinated me. However, the field visits not only brought me closer to the purely technical side of the craft, but also to the emotional connection of the craftspeople to their work. Through their craft they get the opportunity to express their own identity or even define a large part of it. This emotional connection to craft has made it very clear to me how important it is that the tradition of craft is not lost and that the appreciation in the society for these professions should be increased again. During our visits to many different craftsmen’s workshops, I have mainly dealt with wood carving and stone inlay, about which you will find more information in the following part. 10
11
WOOD CARVING | ORIGIN, HISTORY The tradition of wood carving has been in India
ever since the 11th century. Old temples like the ones in Uttar Pradesh bearing witness to this. Traditionally architectural, artistic wood carving was a palace and temple craft. Over time it
has evolved to include daily use artifacts. The
products range from carved figures to accessories and furniture. Each region developed its style of wooden structures and carvings based on the local traditions and the locally available wood.
One of the most used wood types is Sheesham wood. Furthermore Mango, Walnut, Deodar, Ebony, and Sandalwood are commonly used
wood types as well. Over the centuries some main centers of woodcarving have developed with its unique style.
In Gujarat, wood has been imaginatively
designed for a long time, resulting in a wide range
of products. Architectural elements, furniture, blocks for fabric printing, painted wood objects
and more. The wood for the complex woodwork
that was produced in Gujarat always came from outside. Only the Suthars, the community of carpenters, used the local wood for hard objects.
The main communities of carpenters like the Vansh, Mewada, Gajjar, Pancholi and Vadnagara
in Gujarat are very proud that their ancestors
were the makers of the wooden architect in Gujarat. 12
WOOD CARVING | LOCATION KASHMIR | Walnut wood products with intricate
carvings For their fine woodcarvings, walnut wood is used, also known as “Doon Kul”, which is only used after it has matured for 300 years. This type of wood is extremely hard and durable compared to other woods. This type of wood is only extracted in Kashmir. It is used to make a variety of products such as jewelry boxes, plates and the like. All of them are decorated with the traditional complex details for the region.
GUJARAT | Wooden facades and furniture Gujarat has a rich tradition of wood crafts. In parts of Ahmedabad, houses have carved wooden facades. In comparison, Sankheda is an important center for lathe-worked lacquered furniture. Here the lacquered wooden surface is painted to create a silver effect. This is how bedposts, cradles and children’s toys are made. ASSAM | Large carvings of mythical figures As Assam has extensive forest areas, wood crafts are deeply rooted there. These wood crafts are there especially integrated into their places of worship. These included most of the time wood carvings of mythological figures such as halfman, garuda, hanuman. KARNATAKA | Sandalwood carvings products Since sandalwood is plentiful in the region, it is widely used. A specialty of the region is boxes covered with carvings of mythological scenes. The unique aroma of sandalwood separates these works from all other woodwork. 13
WOOD CARVING | KNOW THE PROCESS PROCUREMENT j Wooden logs are procured from the Lathi Bazar, which is across the street from the workshop. In summer a certain amount of wood is kept in storage. But in winter and rainy season it is procured only on demand. Generally, the wood is imported to Gujarat from other parts of the country.
Surfacing of Wood on Planer
PRELIMINARY PROCESS 1| The first step is to design the furniture and select Surfacing of Wood on Planer the appropriate wood type for the same. Surfacing of Wood on Planer Cutting of Wood on Table Saw 1 | According to the carvings and joinery details, Sketching on paper the Carving Pattern the pieces of wood are surfaced with the planar and cut with the table saw. Surfacing of Wood on Planer 2 | The carving pattern is drawn either directly Surfacing of Wood on Planer Cutting of Wood on Table Saw Sketch Stuck on wood with adhesive. on the wood or on tracing paper which is laterSketching on paper the Carving Pattern Sketching onWood paper Carving Surfacing of Wood on Planer Cutting of onthe Table Saw Pattern stick to wood with adhesive (Fevicol) and kept for drying. Outline Trimmed by Band Saw PRODUCTION PROCESS Outline Trimmed by Band Saw2 | 3 | The profile of the design is cut with the Band Sketching on paper the Carving Pattern Sketching on paper the Carving Pattern Saw. Curved forms also can be easily cut with this. 4 | Then the rough carving is done manually with the tools. Craving is done in the direction Highlighting the Carvings 3| of wood grains. With the help of chisel, extraFig 07: Carving Process Outline Trimmed by Band Saw wood is reaped out. Outline Trimmed by Band Saw 5 | Later the forms are highlighted with the depth and sharpness of the pattern is checked 4| by master craftsman.
Surfacing of Wood on Planer Carving in the direction of Wood Grain
Sketching on paper the Carving Pattern Sketch Stuck on wood with adhesive.
14
Cutting of
Sketch Stuc
Cutting o
Sketch St
Carving in th
Cutting of W
Sketch S
Sketch Stuck on wood with adhesive.
Outline Trimmed by Band Saw
Carving in
Highlighting the Carvings Fig 07: Carving Process Carving Pattern Sketching on paperRough the Carving
Outline Trimmed Carving in the directionby of Band WoodSaw Grain
Sketch Stuc
http://www.dsou ru-karnataka/ma
Carving i
Carving in the direction of Wood Grain Highlighting the Carvings
Fig 07: Carving Process Outline Trimmed by Band Saw
Highlighting the Carvings FINISHING PROCESS Fig 07: Carving Process Many variants are possible for the finishing Highlighting the Carvings process. The pieces of furniture can varnished Fig 07: Carving Process or even painted.
Cutting of W
Rough Carving
Highlighting the Carvings
Rough Carving Fig 07: Carving Process
5| Highlighting the Carvings Fig 07: Carving Process
Carving in th
http://www.dsou ru-karnataka/mak
http:// ru-karn
R
Know the PROD
Wooden carving can be done from Interior partitions to smal are done on the different t Sheesam wood and Burma Te possible in selecting the type intricacy and design of the carv Sculpture Accessories
Sculpture
Accessoires
Accessories
Sculpture
The costing of the product dep - Type of Wood - Size of the Product - Intricacy of Design - Man hours put to made the p
Know the PRO
Mirrors
Temples
Temples
Temples Accessories
Mirrors
Sculpture
Furnitures
Partitions Temples
Fig 09: Product Range of Wood Carvings
Interior Partitions Furnitures
Fig 09: Product Range of Wood Carvings
Furniture Furnitures Fig 09: Product Range of Wood Carvings
Mirrors
Mirrors
Wooden carving can be d from Interior partitions to s are done on the differe Sheesam wood and Burma possible in selecting the t intricacy and design of the
The costing of the product - Type of Wood - Size of the Product - Intricacy of Design - Man hours put to made th
WOOD CARVING | PRODUCT RANGE
Wooden carving can be done on various products ranging from Interior partitions to smallest accessories. These carvings are done on the different types of seasoned wood like Sheesam wood and Burma Teak wood. The customization is possible in selecting the type of Interior Partitions wood, size of the product, intricacy and design of the carving and also the finishing layer. The costing of the product depends on the following Interior Partitions factors: Type of Wood Size of the Product Intricacy of Design Man hours put to made the product
Interior Partitions
15
WOOD CARVING | CRAFTSPEOPLE GITA MANDIR, AHMEDABAD | WOOD CLUSTER A stretch of road just South-West of the Walled City, lined with wood workshops, seems like any other cluster where craftsmen carry on the
legacy of wood carving that is special to Gujarat. But here, this 12th century craft is continued not
by locals, but craftsmen who migrated here from
Delhi, Utter Pradesh and Kolkata some 15 years
back. A growing population and rising cost of living coupled with increasing competition
compelled them to look for patrons for their trade in a less ruthless place. The shop owners and craftsmen have now established themselves as experts in richly carved wooden furniture and
accessories. Sagwan, a variety of Teak wood, is
procured from nearby states Madhya Pradesh and Maharashtra. The designs to be carved are
made by the head craftsman, who is also usually the shop owner. He creates a unique cross
cultural style of motifs. The artisans trace these paper stencil designs on wood and then lightly
engrave over the outlines. Many crafts and arts see an intermingling of cultures and religion and
this wood furniture market is one such exemplar of harmony and beautiful co-existence. 16
ABDUL REHMAN
RASHID BHAI
HOW DID THEY LEARN THE CRAFT?
HOW DID THEY LEARN THE CRAFT?
it has a long tradition in their family.
Pradesh for 4 years. Later he shifted to Ahme-
He has been taught the craft by his ancestors, as
EXPERIENCE
He started learning the craft in his early age. He makes unique carved furniture and accessories.
FAMILY SYSTEM He and his brother continued the tradition after their father. His brother has stayed in their home town Delhi, where he produce modular products, and runs his own wood factory. He himself has moved to Ahmedabad because he sees better opportunity to promote his traditional craft here. WHAT DO THEY FEEL ABOUT CRAFT? He is passionate about his craft practice and wants his son to take his practice forward. He enjoys taking challenges from architects and designers in collaborations.
He used to work with craftspersons in Utter dabad to learn more about wood carving. EXPERIENCE
He himself is working as a craftsman here. He is
proficient in making sculptures and carving for temples.
FAMILY SYSTEM He alone moved to ahmedabad but his family is staying in Utter Pradesh. Therefore he often travels to his hometown to see his family. He doesn’t want to start his own practice because he wont be able to give time to his family. WHAT DO THEY FEEL ABOUT CRAFT? He enjoys working with designers, getting collaborated with architects and their work.
17
STONE INLAY | ORIGIN, HISTORY The craft of stone inlay as Pietra Dura, has its roots in the Italian craft, Pietra Dura, which was developed by the ancient Romans.
They used it, as far as we know today, mainly for
architectural purposes such as floor coverings
and walls with either geometric or figural patterns. During the Italian Renaissance this technique
was used to reproduce existing paintings in stone. The craft flourished in Florence in the 16th century. Here a variety of objects such as table tops, medallions, plaques, panels and fountains were created.
Small objects of the craft were widespread at the beginning of the 17th century, all over Europe, even in the far east up to the court of the Moguls
in India. In the Far East and India the forms of
the Pietra Dura were imitated and reinterpreted in the local styles. As a result, the craft became
part of the culture there as well. In India the craft is not called Pietra Dura, but Parchin Kari, which means „inlay“ or „driven-in“. One of the
most magnificent buildings of this craft is the Tja Mahal. In Agra there is still a flourishing industry
due to the big tourism, ranging from table tops, medallions, elephants, jewelry boxes and other decorative objects. 18
STONE INLAY | LOCATION In India the craft is mainly practiced in two places, Rajasthan and Agrar in Uttar Pradesh.
ABU | RAJASTHAN Many crafts had their roots in Rajasthan and developed to a great extent because the Rajputs always gave due respect and regards for all craftspeople and artists. One of the most extraordinary craft which is produce in Rajasthan are their inlay work on marbles, table tops, flooring, wall decorative and later on as well smaller even more precise products. Today only a few craftspeople are left who are able to practice this traditional craft. AGRAR | UTTAR PRADESH Agrar in Uttar Pradesh is best known for the construction of the Taj Mahal. Through this the craft advanced and known throughout India. 19
STONE INLAY | KNOW THE PROCESS 1 | PROCUREMENT
First of all, he orders the required goods, as he
1|
usually does not have any materials in storage. When the materials have arrived, the quality
2. Preliminar
1. Procurement
is checked and especially if the stone has any
Pencil Hammer
Handtools for Carving
cracks. If this is the case, the stone slab is cut
Buffer Machine
into smaller pieces and later re-assembled to avoid the crack.
2| Computer
Abrasive
2. Preliminary Process
1. Procurement
2 | PRELIMINARY PROCESS The design for the inlay is then drawn on the computer for later use in the CNC milling machine. Once the pattern and size are determined, the stone slab is cut accordingly.
3. Production Process 1. Procurement
3 | PRODUCTION PROCESS 3. Production Process They make the carvings for the inlays with a CNC machine. The required depth of the carvings should be considered, for stone inlays it should mostly have a depth of 7.5mm and for brass inlays 0.5mm. After the carving is finished, expoxy is mixed and the colour is adjusted to the inlay material. The epoxy is then poured into 1. Procurement the carvings and the inlays are glued to them.Process It 3. Production takes about 4 hours to dry in the sun in summer and about 8 hours in winter. The drying time are depending on the weather conditions.
3|
Cross Section through engraving
CNC machine
3. Production Process
3|
3. Production Pencil Process
Handtools for Carving
2. Preliminary Process
4. Finishing ProcessBuffer Machine
K
First of all, h not have an arrived, the any cracks. The smaller piec
the pro
Hammer
4|
The design CN later use Co in
Pencil
Cross Section Handtools for Carving through engraving
Ham size are det
4. Finishing Process Buffer Machine
Abrasive
Computer
Abrasive
5. Packaging
3. Production Process
20
1. PROCURE
2. PRELIMIN
3. Production Process
4. Finishing Process
Saw
Know th
Computer
5 | PACKAGING To transport the inlay works undamaged, they are packed in wooden boxes. The customer is responsible for the transport itself.
Cro thr
3. Production Process
Hammer
4 | FINISHING PROCESS It is not required to finish the Inlay work in a 4. are Finishing Process specific way. Sometimes the stones polished.
2. Preliminary Proce
Pen
5. Pa Ab
3. PRODUCT Saw They mak Buf afteT machine. Han be conside a depth o the carving is adjusted poured int them. It t summer an are depen
CNC machine Saw
CNC machine
5|
4. FINISHING
It is not req Sometimes
5. PACKAGIN
To transport
5. Packaging
Saw
wooden bo transport its
STONE INLAY | KNOW THE MATERIAL The SURFACE MATERIAL used for Inlay Work
is mostly white marble. If white marble is not
chosen, green marble or black kadappa hour is often used as an alternative. WHITE MARBLE |
Indian White Marble | Makrana, Rajasthan
Rajasthan is the oldest place in India with a
marble quarry and nowadays the largest center
for marble extraction in India. Up to 90% of India’s marble is produced here, as there is the
highest concentration of marble in India. One of the Indian marble types is the Makrana marble, which was used for building the Taj Mahal. It is
said to have a high calcium content, making the
marble resistant to water. It is also supposed to
maintain the same amount of white for a long time.
Italian white Marble | Carrara, Tuscany Carrara marble is one of the most famous marble types in Italy. It is extracted in the town of Carrara in the north of Tuscany. Apart from its use for sculpture and monuments, it is nowadays mostly used for floor coverings, window sills in interior design and as natural tiles in bathrooms. GREEN MARBLE | The green marble is mostly purchased from the districts of Udaipur and Dungarpur in Rajasthan. BLACK KADAPPA | The Black Kadappa is mostly purchased from India. It is available in several places in India. For the INLAYS many different materials can be used from Stone as such White Jasper, Green Marble, Red Jasper, Lapis, till Brass. 21
STONE INLAY | CRAFTSPEOPLE For Umseh Sompura, craftsmanship is something very important that is worth being preserved.
He himself has carried on the tradition from his parents and would therefore be very glad if
his son would also take over his company and
therefore the family tradition. In order to advance the craft and his company, he has developed from a traditional craftsman to an entrepreneur.
For him the craft is not only limited to what can be done with your own hands. That is why he is also willing to incorporate new technologies and take advantage of them.
22
UMESH SOMPURA HOW DID THEY LEARN THE CRAFT?
He has been taught the craft by his ancestors, as it has a long tradition in his family. EXPERIENCE
He already started learning this craft at an early age in his childhood.
FAMILY SYSTEM Already his father was a stone artisian, who mainly made temples out of stone. Unfortunately, his parents died at a rather early point in his life. That’s why Umesh Sompura wants to preserve the tradition of the craft of his family in any case. WHAT DO THEY FEEL ABOUT CRAFT? The craft is an enormously important part of his life. It would be very important for him to keep the tradition alive, which is why he would be very glad and proud if his son would take over his company and with it the family tradition. MISC. CONVERSATION He taught himself how to make the drawings, of the pattern for the carving of the inlay in the CNC machine, in Auto CAD in a very short time. As he was not always satisfied with the work that was done for him.
23
Card sorting - attempt 01: what matters to you?
Attempt 02 24
02
CARD SORTING
After the field visits, we tried to define what craft actually defines and what it means to us with the help of terms related to crafts. For this purpose
Final cards
we arranged cards with this terms in a sequence from “most important” to “least important”. After the first overview through the cards it became clear to me that the human being is the centre of the craft for me. Therefore „craftspeople“, „community“ and also „identity“ ended up in the front of my line and stayed there. Especially „identity“ became a very central point for me after our field visits, because it was only through the visits to local craft workshops in India that I really experienced how much the people are connected to crafts and what a large part of their own identity they can express through this or only have gained through craft. However, for me handicraft should always be „functional“ and serve a certain purpose. Because if handicraft would be pure aesthetics, if it would be art and not craft, often the beauty of handicraft is also only created by the purpose and the production. For this reason terms like “beauty” and “ornamentation” are of minor importance to me. On the other hand, the process of making is an important aspect of craft for me, which is why terms like “technique” or “handmade” have made it to the top of my list. 25
03
POSITIONING CRAFTS
The next step was to search for architectural and interior design projects that implemented craft. These projects should be from the period of 1990’s till today and from different cultural contexts, so that we got a wide range of how to approach crafts. I already tried to identify projects that embodied the aspects of craft that I felt were important. In addition, it has been shown how different architects and designers approach the topic of craft and how they implement it, which helped you to get even more inspiration and impulses, to expand your own horizons when dealing with craft and ultimately to deepen and strengthen your own position with craft. 26
Exercise 03: Positioning Crafts
Transmitting Craftmanship Project: The Loom Built in: 2018-2019
Designer: Stardust Architects Location: Bucharest, Romania
Why this project?
Key Words
In this project the visitors of the workshop | store are invited to experience craftmanship on their own with all their senses. They should fell like they are in an oversize loom.
Craftmanship Memories Experience Workshop
Image Source: https://stardustarchitects.com/26_the-loom
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
27
Exercise 03: Positioning Crafts
Exercise 03: Positioning Crafts
Elegant Traditionality Project: Bruder Klaus Field Chapel Built in: 2007
New Interpretation Designer: Peter Zumthor Location: Mechernich , Germany
Why this project?
Key Words
Peter Zumthor showed in this project how tradtional techniques can be used in order to built a modern Chapel and how different the visual aesthetic of one technique can be in the same project.
Rammed Concrete Handmade Layered Construction Sensuousness
Project: Bumpers Oast Built in: 2012-2018
Why this project?
Key Words
ACME Architects display in this project how a formal language of a region can be new interpretated in the 21st Century in order to adapt the former formal language to the needs nowadays.
Traditional formal language of Architecture Traditional Material Modern way of living New Interpretaion
Image Source:
Image Source: https://www.dezeen.com/2020/01/13/bumpers-oast-house-acme-kent/
https://www.archdaily.com/106352/bruderklaus-field-chapel-peter-zumthor
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Showcase for Craftmanship
Project: Rana House Built in: 2013
Designer: Made in Earth Location: Tiruvannamalai, India
Why this project?
Key Words
This project considers the local context in terms of resources, building materials, worker’s knowledge as well as social and technical costs. Therefore the Architects machted together traditional building techniques and products of modern markets. Through all of this they want to enhance the local identity of the residences.
Local context Traditional building techniques Products of Modern Market Local identity
Project: Design Technology Block, St. James School Built in: 2015
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Designer: Squire and Partner Location: Ashford, Great Britain
Why this project?
Key Words
Squire and Partner achieved with this project to give young students a deep understanding of craftmanship through an environment with functions as a showcase for craftmanship and in which the students can experience and pratice these crafts by themself.
Traditional building techniques Contemporary details Value of Crafts
Image Source: https://www.archdaily.com/770080/casa-ranamade-in-earth?ad_source=search&ad_medium=search_result_all
28
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Bamboo Curtain
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Designer: ACME Location: Kent, Great Britain
Image Source: https://www.dezeen.com/2016/01/09/squirepartners-st-james-school-design-technologyworkshop-ashford-kent/
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Exercise 03: Positioning Crafts
Adapting Traditionality Project: Granholmen Summer Cottage Built in: 2017
Modern Impact on Tradition Designer: Bornstein Lyckefors, Josefine Wikholm Location:Luleå Ö
Project: Claudia House Built in: 2019
Designer: Arturo Sanz, Fran López López Location: València, Spain
Why thisproject?
Key Words
Why this project?
Key Words
The Architects brought a traditional swedish formal language of Architecture in a region where this building type is not that common and adapted it to the immediate surroundings perfectly.
Traditional formal language of Architecture
The modern shape, special cut at 45° , of the traditional ceramic latticework has a massively impact on the visual appareance of the latticeworks. Through this the latticework gets a greater frontal opacity and directionality through which the view can be guided to the best orientation.
Natural materials Baked clay, wood, terracotta Mordern formal language
Adapting to the immediate surroundings
Image Source: https://www.archdaily.com/923082/granholmensummer-cottage-bornstein-lyckefors-plus-josefinewikholm?ad_source=search&ad_medium=search _result_all
M.Des, Faculty of Design Faculty: RishavJain I TA: Karan Verma
Craft + Future =? Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Image Source: https://www.archdaily.com/930048/claudiahouse-arturo-sanz-plus-fran-lopez-lopez?ad_ source=search&ad_medium=search_result_ projects
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Interplay of Tradition and Modernity
Enhancing Community
Project: DPS Kindergarten | School Built in: 2013
Designer: Khosla Associates Location: Bengaluru, India
Project: Tea Pavilion Built in: 2018
Designer: Wisto Design Location: Chongqng, China
Why this project?
Key Words
Why this project?
Key Words
The DPS Kindergarten | School is a good example how modern and tradtional materials can be used together in one project. The tradtional terracotta Jaalis add a great atmosphere to the whole building which could not be achieved through many modern materials.
Terracotta Jaalis Light and Shadows Ventilation
This Pavilion represents how a traditional technique and a traditional material can be used nowadays. Furthermore it displays how a project can enhance the identity of a community. All of the craftmans of the town helped with their knowledge in order to build the pavilion.
Bamboo Traditionl techniques Community Craftmanship
Image Source: https://www.archdaily.com/384790/dps-kindergarden-school-khosla-associates?ad_medium=widget&ad_name=recommendation
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Image Source: https://www.archdaily.com/930387/tea-pavilion-in-return-village-wisto-design?ad_source=search&ad_medium=search_result_projects
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
29
Exercise 03: Positioning Crafts
Sustainable Tradition Project: Hamsa’s House Built in: 2010
Designer: Biome Environmental Studios Location: Bengaluru, India
Why this project?
Key Words
The Hamsa’s House represents that tradiotional building techniques are still suitable for our needs nowadays and that they can be more suistainable than modern building techniques.
Rammed Earth Sustainability Basic Materials Horizontal layers
Image Source: https://www.archdaily.com/772257/hamsas-house-biome-environmental-solutions?ad_ medium=widget&ad_name=recommendation
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
30
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Abstracted Craft
Project: Inkstone House cultural center Built in: 2018
Designer: Archi-Union Architects Location: Chengdu, China
Why this project?
Key Words
The Inkstone House cultural center visualizes one craft, the tradiotnal Calligraphy of China, just through the shape of the building. Furthermore the architects integrated into the construction of the building many tradtional building techniques such as brick construction and chines timber construction.
Calligraphy Traditional chinese timber construction Brick structure
Image Source: https://www.dezeen.com/2019/06/05/inkstone-house-cultural-centre-archi-union-architects-calligraphy/?li_source=LI&li_medium=rhs_block_1
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
31
Exercise 03: Positioning Crafts
Experiment with Materials and Forms Project: School of Dancing Arches Built in: 2019
Exercise 03: Positioning Crafts
Designer: Samira Rathod Design Associate Location: Bhadran, India
Why this project?
Key Words
This project shows how important the choice of materials and their form language is for a building. Not only the tangible materials have a huge impact on a building but aswell intangible materials like the light which can change the atmosphere of a building completely.
Terracotta Bricks Light Asymmetry
Contemporary Twist Project: Jaspal Store Built in: 2018
Designer: Studiopepe Location: Bangkok, Thailand
Why this project?
Key Words
The space has a contemporary atmosphere, charaterized by the used materials. Studiopepe integrated modern and traditional materials such as concrete, natural fibers and handmade cremacis. The glazed ceramics, the rattan and the natural fibers are a connection to the local traditional craftmanship.
Handmade Ceramics Rattan Linen Wood Heritage | Culture
Image Source: https://www.archdaily.com/923446/ school-of-dancing-arches-samira-rathod-design-associates?ad_source=search&ad_medium=search_result_projects
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Organic Structure Project: Bamboo Theatre Built in: 2015
Image Source: http://www.studiopepe.info/jaspal
Balance of Past and Present Designer: DnA Location: Lishui, China
Project: Library Kressbronn a.B. Built in: 2018
Designer: Steimle Architekten Location: Kressbronn, Germany
Why this project?
Key Words
Why this project?
Key Words
The construcion of the Bamboo Theater shows how bamboo can be used in a quite different manner than usually. Due to the fact that the bamboo is still growing the whole architecute changes from time to time and therefore gives an unique atmosphere to the theatre.
Bamboo Flexible structure Bioorganic architecture
Steimle Architekten achieved in this project to preserve the history of the old barn and simultaneous adpating it to the new use as a library. The balance between the past and the present becomes one of the building’s special quality, from the outside and the inside.
Reuse of an old barn Maintaining history Wooden construction
Image Source: https://www.archdaily.com/894772/bamboo-theatre-dna?ad_source=search&ad_medium=search_result_all
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
32
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Image Source: https://www.archdaily.com/911764/library-kressbronn-a-b-steimle-architekten?ad_ source=search&ad_medium=search_result_ projects
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Exercise 03: Positioning Crafts
Tradition Nowadays Project: Teahouse in Tadotsu Built in: 2019
Handmade Identity Designer: Takashi Okuno & Associates Location: Tadotsu, Japan
Project: Shiv Temple Built in: 2010
Designer: Sameep Padora & Assocates Location: Pune, India
Why this project?
Key Words
Why this project?
Key Words
The teahouse in Tadotsu shows that even today there is a deep desire to pass on the traditions and rituals of a culture. This particular architecture has a heightening effect on the senses of the visitors, making one aware of the slightest interplay of light and sound.
Tea ceremony Locally sourced earth, timber, bamboo, stone Sustainability
The Shiv temple is deeply rooted into the community even though it was just built in 2010. This is due to the fact that the temple was planned in dialogue with the priest and the people from the surrounding villages and furthermore that the temple was even build from the whole community togther.
Community Handmade Local materials Traditional shikhara temple silhouette
Image Source: https://www.archdaily.com/931549/ tea-house-in-tadotsu-takashi-okuno-architectural-design-office?ad_source=search&ad_medium=search_result_all
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Modern Integration Project: Youth-Club Extension Built in: 2006
Image Source: https://www.archdaily.com/78415/shiv-temple-sameep-padora-associates
Focus Designer: Bernd Zimmermann Architekten Location: Ludwigsburg, Germany
Project: Wooden Chapel Built in: 2018
Designer: John Pawson Location: Lutzingen, Germany
Why this project?
Key Words
Why this project?
Key Words
This project represents how traditional materials have a completely different visual asthetic when they are used in a modern way of forms. Nevertheless the Youth-Club extension still has a clear connection to the existing half-timber-house.
Traditional materials Modern use of forms Wooden construction
John Pawson shows through his wooden chapel how you can create a spiritual atmosphere by just using a few local materials and a simple solid wood construction. Through this great simpleness he helps the visitors to focus on the really important things on the inside and outside of the chapel.
Solid wood construction Local materials Melts into the surrounding
Image Source: https://www.archdaily.com/496370/ youth-club-extension-bernd-zimmermann-architekten
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Image Source: https://www.archdaily.com/913153/ wooden-chapel-john-pawson?ad_source=search&ad_medium=search_result_projects
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
33
Exercise 03: Positioning Crafts
Unsual Use of Traditional Materials Project: Furniture for Maniera Built in: 2016
Designer: Studio Mumbai | Bijoy Jain Location: Brussels, Belgium
Why this project?
Key Words
Studio Mumbai displays through their furniture how traditional crafts and their materials can not only be used for their initial purpose. Most of them can aswell be transfered to different design approaches.
Traditional Crafts Unsual use of Materials Stone, Textile, Wood
Image Source: https://www.maniera.be/activities/47/ maniera-06
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
34
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
Exercise 03: Positioning Crafts
Burning Houses
Project: Volontariat Home for Homeless Children Built in: 2008
Designer: Anupama Kundoo Location: Pondicherry, India
Why this project?
Key Words
This project displays how tradtional materials like brick stones and mud aswell as traditional building techniques can be modified and therefore used for a different purpose than initial.
Brick Mud house Ceramic tiles Sustainability
Image Source: https://urbannext.net/anupamakundoo/volontariat-home-for-homeless-children/
M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma
Craft + Future = ? Full name | Code number Sarah Klumpp | EXPD8019
35
ESTABLISHING THEORETICAL POSITION
05
VISUALIZATIONS
INTERIOR PRACTICE Craft is forming the basis of architecture and interior design. Therefore craft should be
integrated and expressed by the modern architecture. Traditional techniques, construction
methods, materials and formal languages can be reinterpreted in a modern way and therewith
provide a basis for designs. By working with Craft an emotional connection flows into the design, which can be felt by users | visitors. Through this the craft is brought closer to them again. 38
CRAFT PRODUCTION Craft is above all defined by the actual process of making. Thereby the human part should
always be preserved and not whitewashed by technological possibilities, because traditional techniques, formal languages and construction
methods provide a great source of inspiration. Moreover, people can express their own identity, through Craft, which is deeply linked to peoples
emotions.
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FUTURE SCENARIO
In the future there will be a certain multi-
layeredness. Everything is based on the past,
through that there will be many different layers of cultures, building methods and other
things. For me, however, the future is not just something that begins many years from now,
but already today. That is why we should be looking at solutions for the present . 40
CRAFT + FUTURE =
KERNSTÜCK ESSENCE | CORE
41
05
POSITION PAPER CRAFT + FUTURE = KERNSTÜCK ESSENCE | CORE
“something that is at the heart of something, that is the most important component of something.“
Craft is the Kernstück of Architecture and Interior Design and forms the basis of our contemporary Architecture and Interior Design. Only through the traditional building methods it was possible that our current technologies were developed, which can be a great help to us, but at the same time they include the danger of completely displacing the craft itself. Apart form that craftsmanship gives us the opportunity to express our cultural, local identity or our belonging to a community, it connects people with each other and can strengthen the feeling of a community by creating something together, planning together or creating a place for the community through craftsmanship. Because craft is not only something purely functional, but it is also deeply connected to people’s emotions and identities. Nevertheless, if it should be the case in the future that traditional craftsmanship is completely replaced by modern technologies, a certain complexity will develop in architecture, but also in society as a whole. The old traditional buildings wich are forming the basis will still exist, but probably also those that have only a little or no connection to it left. For this reason craft should be soon more inte42
grated and expressed more strongly, instead of being replaces by modern technologies and approaches. That is why craft should be the Kernstück of our contemporary and future Architecture and Interior Design. In order to achieve this there are several ways and approaches. Already Anita Aarons (19122000), an Australian-Canadian artist, followed the attempt to strengthen the cooperation between craftsmen and architects. She led the concept of architectural craftsmanship in a completely new direction in Canada. Through her exhibition “Crafts for Architecture” at the University of Toronto School of Architecture in 1967, she not only brought this subject into the awareness of craftsmen and architects, but also brought the concept closer to society. The exhibition featured 38 exhibits, which were created by outstanding craftsmen together with architects. In doing so, she gave the craftsmen the task “to employ innovative materials, forms […] while simultaneously encouraging architects to consider crafts for their aesthetic and psychological value.“ Through her efforts, she achieved the highest rate of cooperation between craftsmen and architects in the entire Canadian art history. 1
1 Sandra Alfoldy, Janice Helland: Craft, Space and Interior Design 1855-200, Routledge 2016 Image Source | Exhibition „Crafts for Architecture“, Sandra Alfoldy, Janice Helland: Craft, Space and Interior Design 1855-200, Routledge 2016
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Archi-Union Architects presents whereas another approach to how crafts can once again become the KernstĂźck of Interior Design through the Inkstone House OCT Linpan Cultural Center, in Chengdu China, which was completed in 2018. Their aims for the design were to combine wildness and tenderness, to create a dialogue and blending of technology and culture and to express the local soul through their design. In order to achieve all this, from the very beginning they took care to adapt the building to the surrounding landscape of large fields and bamboo forest, while integrating the traditional materials, spatial elements and construction methods of Western Sichuan, such as the traditional Chinese wooden construction, which they adapted to their needs for this design in a modern and very accurate way. Apart from this, the main building of the three-building complex was designed on the basis of the Inkstone, which is used in traditional Chinese calligraphy, in order to integrate the traditional craftsmanship into the building. The roof of the main building slopes towards the inner courtyard to create a connection between heaven and earth, but also between traditional Chinese Architecture and contemporary non-linear Architecture. All this shows us how cultural Architecture, construction, local concepts and new technologies can be combined in one design and therefore be passed on to the visitors and users of the building. 2 44
2 Archdaily, 11.06.2019: https://www.archdaily.com/918697/inkstone-houseoct-linpan-cultural-center-achi-union (state 26.01.2020) Image Source | Inkstone House OCT Linpan Cultural Center, Archi Union Architects, 11.06.2019: https://www.archdaily.com/918697/inkstone-houseoct-linpan-cultural-center-achi-union (state 02.02.2020)
The craft can also become the Kernstück of the interior design by expressing the emotional connection to the craft. Stardust Architects have implemented this in their design for the nonprofit social enterprise Mesteshukar Butiq, which distributes traditional Roma and Romanian crafts. This design has have been created from a short memory. “I remembered the years I have spent with my grandparents. I wouldn’t say they were craftsmen, but my grandmother was baking bread, spinning the wool in order to be knitted into our socks and sweaters, or she was weaving baskets for her own use. […] I can still feel in my fingers the point of the spindle and the low sound of the wool while becoming a thread. I can feel so clearly passing my fingers through the vertical twigs of the basket, I remember some of them being soft and flexible, and others breaking, I can feel the flour on her hands and the ferm movements through the bread dough. I remember with my hands.” Our memories, which we associate with craftsmanship, are apparently not stored in our brain, but in our arms, hands and fingers. For this reason, it was their intention to create a space that keeps the craft alive and that can bring these memories to life. “To be a workshop, more than a shop.” For this reason a long wooden table became the center of the room where visitors | customers can see and touch objects or even make some themselves, or you can just have a coffee and read about
people and their craft. Visitors should feel as if they have landed in a workshop, directly at a loom. This brings back the memories of many people and creates an emotional connection to the room.3
3 Stardust Architects: https://stardustarchitects.com/26_the-loom (state 26.01.2020) Image Source | The Loom, Stardust Architects, https://stardustarchitects.com/26_the-loom (state 02.02.2020)
Consequently, there are many possibilities to make the craft again an integral part of architecture and interior design, transmitting craftsmanship to the society, increasing the awareness and appreciation of the society for the craft and preventing craft and tradition and therewith making craft the Kernstück of our contemporary and future Interior Design and Architecture. 45
06
ABSTRACTION
The Abstraction Model is only held together by the Craft inside. If you would cut one of the
two threads that are woven together inside, the whole cube would fall apart. Hence, the craft forms the core of the model, just as it should be in architecture and interior design. The basis of
the Abstraction Model is the process of weaving, which was abstracted and used in a new way.
This shows how traditional crafts can be adapted
to our needs nowadays and still be preserved.
There is also the possibility to interact with the
craft, if you pull on one or more of the threads coming out, you can observe how the whole inside changes accordingly. 46
47
ESTABLISHING DESIGN POSITION
07
PROJECT MANIFESTO
DESIGN INTENTION | PROGRAMM
also their photographs in the store which is the
will include a photo studio for the students to
photographs, furniture pieces you can also buy
the moment, students can only use their studios or
Cept House - 2030“ will be a creative platform
for photography. But especially for young design
other no matter wich Faculty they are part of.
„The Cept House - 2030“ will add a new value to major element of „The Cept House - 2030“ besides the CEPT Campus which is missing until now. It of students work such as the finished products, photograph their prototypes, products, models. At
publications from the CEPT University press. „The
the outside of the campus to take photographs of where you can learn new skills, get inspirations and their projects, which are usually not very suitable which encourages students to interact with each students it is very important to be able to present and promote their projects, products, models
ORGANISATION
or prototypes. Most photo studios are either, a „The Cept House 2030“ will be located next to the large empty room in which the set itself must be Kanaria Gallery for Arts. This location offers the assembled, or the exact opposite, a completely
students a more quiet place to concentrate on
given set or spatial structure. The photo studio in
their studies, while still being quite central on the
can be easily adapted to their needs, but through
buildings, therewith optimal light conditions for
a large empty room. In addition, students will have
building modules will include a part of the shop
equipment on site and to participate in workshops
an interaction and connection between these two
the CEPT House 2030 will be set up in such a way Campus. Due to the surrounding buildings there that the students are already given a structure that is hardly any direct sunlight which is falling in the which they will not find themselves completely lost in
photography are provided. Both of the opposite
the opportunity to use the existing photographic
and of the photo studio. So that there is always
to learn how to use this equipment in order to
elements. The form-language will be the same in
achieve the desired results. Furthermore it will be the studio and the shop to transmit the coherence possible for the students to sell their products and between this two elements to the users | visitors. 50
51
08
DESIGN DEVELOPMENT
PRELIMINARY STAGE The first step was to zone the given basic
structure of the CEPT House 2030 to create a certain basis for the further design process. 52
53
INTERMEDIARY After a few initial attempts, the zoning and structuring of the CEPT House 2030 was soon found. At this design phase, however, all of the space making elements were still planned exclusively out of textiles. Unfortunately, it became clear quite quickly that it will not be possible to realize all the necessary requirements with textiles alone, which is why these elements have changed considerably in the further course of the design process through a more intensive study of craft and my position on craft in the future. 54
55
09
CRAFT MATRIX CRAFT
WEAVING
BLOCKPRINT
EM
CORE VALUE, ESSENCE
Technique of Weaving
Motives
Moti
•
Interlocking two things
•
with each other and
Expression of cultural,
•
regional, religious identity
creating a whole new material through that
•
Changing the appear of the fabric completely
MATERIAL
Different kinds of yarns • • •
PREDOMINANT USAGE
• •
FUNCTION, APPLICATION
•
Natural fibers: cotton, linen, wool, silk,..
Synthetic fibers: nylon, polyester, viscose,..
Recycled materials such as plastic bags,..
Fabrics for clothes, carpets, blankets,..
Fabrics for clothes,
upholstery, home decor,
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Weaver •
• •
Many people did it additional to their main work for private purposes
Basis fabric
Block: out of wood or brass
Chemicals to treat the
•
Water
•
Prints on fabrics for
fabric after the print
clothes, turbans, shawls,..
•
Diffe
fabri •
Color
•
Baskets
accessories
CRAFTPERSON, CRAFT COMMUNITY, CLUSTER
•
Prints on fabric for,
clothes, curtains, bed
spreads, cushion cover,..
Blockprinter • Khhadi Print | Ahmedabad •
Ajrakh Print |Kachch, Khavda, Dhamadka
•
Dif
thr •
• •
Wa
Do
•
Be
•
Lo
•
Clo
•
co
Ho
co
Ofte
priva
ural,
EMBROIDERY
POTTERY
METAL BENDING
WOOD TURNERY
Motives
Development of the shape of
Creating the shape of the
Creating the shape of the
•
e
d
er,..
h, a
cultural, regional, religious identity
ear
r
Expression of
Different kinds a base fabrics • •
• •
synthetic fibers
•
Connection between craftsperson and the
wood completely by our own hands •
material
• •
Clay | Terracotta Glass glazing
•
Color pigments
•
Pots | Waterpots, cooking
Different kinds of metal •
Mostly different kinds of metal pipes
Connection between craftsperson and the material
Different kinds of wood such as teak, chill wood,..
threads
Natural fibers or synthetic fibers
Wall pieces
Door hangings
Bed spreads, cushion covers
•
Long shirts, blouses
•
Clothes
•
to the usage
metal by our own hands
Different kinds of •
•
Natural fibers or
the pottery piece according
Homedecor: cushion covers, bed spreads
•
private purposes
Bowls
•
Jars
•
Tiles | Plates
• • •
Often practiced for
pots
Home accessoires Beads
• •
• •
Metal framework Furniture
Metal framework Furniture
•
Blue pottery of Jaipur |
•
Painted terracotta | Buhj,
•
Rolling pins
Spoons, Ladles
•
Ornaments on furniture
• •
Metalworker
Wooden toys
•
•
Tableware: coffee mugs,..
Potter
•
Wooden toys Accessoires Beads
Carpenter
Jaipur district
Lodai village, Khavda
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10
CRAFT DESIGN IDEAS
Junction | Presentation Surface Craft: Metall Bending, Wooden Terrazzo 58
Space Making | Display Furniture, Storage Craft: Metall Frame, Clay Tiles, Wood Elements 59
Space Making | Display Furniture Craft: Metall Bending, Textile Elements 60
Junction | Information Counter Craft: Metall Bending, Clay Tiles 61
Space Making | Walls and Photobackdrop Craft: Metall Bending, Clay Tiles 62
Hardware | Suspension Photobackdrop Craft: Metall Casting 63
MANIFESTING THE DESIGN POSITION
12
PROJECT VISION
CRAFT + FUTURE = KERNSTÜCK “something that is at the heart of something, that is the most important component of something.“ - Core | Essence
Craft is becoming the core of Architecture and
Interior Design, it is a deeply integrated part
which cannot be imagined to be removed. The Kernstück of my project is the process of Weaving.
I have abstracted this process and implemented it in the space with the help of metal grids, which represent warp and weft during the weaving process. These metal grids become a major space
making element, through them the customer | visitor, so to speak, feels as if he is in the middle
of the craft. Furthermore, it is only through the Craft that the entire architecture becomes useful.
Therewith the awareness and appreciation for craft in the society will be enhanced.
INTERWOVEN
The CEPT House 2030 | Interwoven forms an open to all students of the CEPT University, which interface between students of different faculties, encourges the communication between the
students of the different faculties and interweaves On the one hand, it offers students a place to them with each other. The CEPT House 2030 take pictures of their projects, furniture designs, should be an integral part of the campus, which cannot be imagined without. However, models and the like to present them better. On Interwoven not only refers to the activities in the other hand it also includes a shop where the CEPT House 2030, but also to the fact that student works as well as publications of the CEPT here Craft is interwoven with architecture. Only Press are sold. Therefore the CEPT House 2030 through craft the CEPT House 2030 becomes offers the students not only the possibility to useful and can be used. All elements are deeply present their projects but also to sell them. It is interwoven. but also between different activities on campus.
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67
ORGANISATION The CEPT House 2030 is structured in 4
parts. The first one is the Student Shop on
the upper left. Here different kinds of student works such as furniture, booklets, drawings, posters, photography and architectural models
can be purchased. In the Official CEPT Shop underneath the Student Shop also on the left
side, publication from the CEPT Press, archival materials ad yearbooks can be purchased. The third and the fourth part of the CEPT House 2030
are two Photostudio, for which I decided to add as a further function, because in my opinion a
photo studio is missing on the CEPT campus so far. During my time on campus I saw students
taking pictures in all kinds of places, wherever they could find some space and reasonably good light. So they ended up taking photographs on
staircases or in the cafeteria. Therefore I want to give the students of the CEPT University a place
where they can photograph their work under
good conditions. They required equipment will be available for the students. As well as a basic
structure inside of the Photostudio, which still
can be adapted to the needs of the Students. There will be one large Photostudio with 6 niches to photograph simultaneously, which
should encourage the communication between the students, and one Photostudio with just one
niche , so that there is also the possibility to really focus and work on your own. 68
SHOP
STUDIO
SHOP
STUDIO
69
13
DRAWINGS
SITEPLAN CAMPUS
NORTH GATE
CENTRAL SQUARE
TORITOS LIBRARY
FACULTY
OF DESIGN
SOUTH GATE
70
FLOOR PLAN | 1:150
SHOP STUDIO
SHOP
STUDIO
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14
WALK-THROUGH
1. Entrace | Student Shop 2. Student Shop | Display Furniture 3. Photostudio
3.
2.
1.
72
When visitors | users enter the student shop of the CEPT House 2030, they approach one of the space making metal grids, which is made with the help of metal bending. These metal grids can be used for many different functions, such as exhibiting student work or, as here, as a hands-on station. Visitors can weave with different textile pieces through the metal grid and therewith experience the craft on their own. In the background one of the displayand storage furniture is visible, these ones are useable from both sides - from the Shop and the Photostudio on the other side. These are made out of a metal framework with Inlays of different Crafts like glazed clay and wood.
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1. Entrace | Student Shop 2. Student Shop | Display Furniture 3. Photostudio
3.
2.
1.
74
The different display furnitures in the shop are also developing out of the metal bended metal grid. On the one hand, the metal grid is turned into an information counter, which is completed with glazed clay elements. On the other hand, furniture elements are also created from it, which serve as exhibition space and seating, these are supplemented with textile elements to form the seating and presentation area.
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1. Entrace | Student Shop 2. Student Shop | Display Furniture 3. Photostudio
3.
2.
1.
76
In the Photostudio the major space making elements are the metal grids which are forming the walls completed with glazed elements inbetween to make the whole Photostudio weather-resistant. The large photo studio consists of 6 niches in which the students can photograph their work. These niches are separated from each other by concrete slabs, but not completely sealed off. Communication between the students should still be enhanced. In each of these niches, there are metal casted suspensions in which different photo backgrounds can be hung. So that the each Photo niche can be adapted to the needs of the user.
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REFLECTIONS
DESCRIBE WHAT DOES CRAFT MEAN TO YOU AS AN INTERIOR DESIGNER?
Crafts are forming the basis of architecture and interior design. For this reason it should be more integrated and expressed more strongly, instead of being replaced by modern technologies and approaches. Because craft offers us so many possibilities and solutions to deal with difficult tasks and problems to which sometimes even the latest technologies have no perfect answer. It also gives us the opportunity to express our cultural, local identity or our belonging to a community, it connects people with each other and can strengthen the feeling of a community by creating something together. Furthermore, craft is not only something purely functional, but it is also deeply connected to people’s emotions and identities. Craft and design should therefore go hand in hand and benefit from each other as much as possible. In order to achieve this, the awareness and appreciation of the craft has to be increased again.
80
DISCUSS THE DESIGN POSITION YOU TOOK
WITH REFERENCE TO THE ESTABLISHED THEORETICAL POSITION.
My previous research, the strengthening of my positions on Craft Production, Interior Practice and finally my equation for Craft + Future = KERNSTĂœCK have strongly influenced my entire design process for the CEPT House 2030. It is very important for me to clearly implement this position in this project and thereby establish an example of how Craft can once again become the core of architecture today. I also attached particular importance to the fact that it would already be possible today, because for me the future is not something that is still far away from us, but rather, in my understanding, it begins today. By this understanding of future it is to me personally above all important to find solutions, which are already suitable for our possibilities today and can be realized with these and not only in 10 or 20 years. I also attached great importance to the fact that not only the technical side of the craft is expressed by the design, but also that the emotions connected with Craft will be transmitted to the users and visitors. For these reasons a project was created in which the craft became a space making element. Through this the visitor | user feels as if he is in the middle of the craft, the craft becomes the core of the architecture and the awareness and appreciation for craft is increased.
DISCUSS HOW DO YOU IMAGINE YOUR
DESIGN POSITION TO MANIFEST IN YOUR INTERIOR ARCHITECTURE PRACTICE ?
Traditional techniques, construction methods, materials and formal languages can be reinterpreted in a modern way and therewith provide a design-basis for me as an Interior Architect. However, I not only want the purely theoretical part of the craft to be included, but also the extensive practical knowledge of many craftsmen offers a great source of inspiration and support for Designers. By working directly with the craftsmen, me as an Interior designer is building up a certain emotional bond with them, which in a certain way also flows into the design. Through this, the users | visitors of the space are not only made aware about the craft itself, but this emotional bond becomes noticeable and the craft becomes more conscious in society. Another approach to this would be to not only reintegrate traditional craft techniques and materials, but also to use them as a whole as an inspiration for buildings, through presenting a craft process abstractly in buildings by enlarging the scale of the real craft process and than recreating out of that the building structure, like I attempted to do it in the CEPT House 2030. So that the user | visitor is, so to speak, right in the middle of the craft. In any case, it is important for me to find ways to combine craftsmanship and modern approaches, or to interlink different kinds of techniques or formal languages.
DISCUSS
HOW
DOES
YOUR
DESIGN
POSITION IMPACT CRAFT PRODUCTION?
A way should be found for the future in which craft, modern technologies and the approaches of the 21st century can be combined. Traditional construction methods, materials or even traditional form-languages of buildings can serve us as an important basis for future developments in Architecture and Interior Architecture and can make a very important contribution. Traditional working methods can be further developed by new approaches in such a way that they can be applied to new working fields and therewith provide craftsmen with a wider field of work for the future. For example, some product-focussed crafts could be scaled up and therewith used for architectural purposes. As a consequence this craft techniques would become the spacefilling or space-making element. It is essential to preserve the craft for the future, to find a way how modern technologies and the craft exist hand in hand and in which both can benefit from each other.
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This is a portfolio containing works of the student as part of the academic exercise course CRAFT + FUTURE conducted at the Masters of Design (Interiors) and International Master of Interior Architectural Design (IMIAD) for the Sping 2020. This course was conducted in the Faculty of Design, CEPT University.