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Modular

Sucheetra Pradhan | Pid20360

CCCCCCCraft

Faculty: Rishav Jain TA: Shail Sheth Spring’21

Future Future Future Future Future Future Future Future



Modular

CCCCCCCraft Future Future Future Future Future Future Future Future


First Edition: 2021 This is an academic publication outlining the details of the Studio: Craft + Future = ? offered for the students of Master of Design (Interiors). This course was conducted at the Faculty of Design, CEPT University during the Spring 2021. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form now known or hereafter invented, including photocopy and recording, or in any information storage or retrieval system, without permission in writing from Studio Tutors or Students. Publication Design: Shail Sheth


Modular

CCCCCCraft

Faculty: Rishav Jain TA: Shail Sheth Spring’21

Future Future Future Future Future Future Future Future


RESEARCH PROCESSES

DESIGN POSITION

CRAFT

INTERIOR

PRODUCTION

PRACTICE

DESIGN METHODS

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OVERVIEW The studio intends to discuss and identify the position of craft in contemporary interior architecture practices. With a combination of research and design methods, the studio focuses on envisaging future directions of craft productions through design concepts and craft design prototypes. The studio is largely divided into two parts: the first part uses intensive research techniques to establish a theoretical position of craft and the second part intends to test the position through a design problem. The studio involves rigorous reading sessions, theoretical analysis, field studies, hands-on explorations with craft techniques, along with design discussions. The studio responds to the diverse pluralistic landscape of interior architecture practices in India and positions craft as one of the forerunners in the design decision making. It intends to delve into various future directions that craft productions can lend to interior practice. The studio is largely divided into four modules,each emphasize the learning outcomes of the course: Know the contemporary position of craft, Ideate possibilities about the vision of the future, Develop an individual design position and Make relevant design explorations representing the design position. The key outcomes of the studio include a listing and categorization of contemporary craft design practices of India, essays based on student’s own developed theoretical positions, field notes, visualizations of design positions along with prototypes and material samples.

Learning Outcomes: •  Analyze and categorize the contemporary craft design practices of India •  Evaluate and critique literature and research done on contemporary craft and write/derive/formulate a theoretical position on craft •  Formulate a craft-design solution based on pre field studies and given design constraints. •  Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool. •  Construct contemporary craft design prototypes, material boards and make presentation drawings 7


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Learnings


Craft + Future = ? is a studio about research and design techniques to address a design situation by discussing the positions of craft in contemporary interior architecture practices. These triggers to discuss the aspects of craft, what is happening now and what is going to be the future scenario of craft in interior practice. From visual mapping to field mapping it gives a broad perspective about how designer incorporate crafts into spaces and how craftperson do the making of the craft. With literature study, theoretical analysis, book reading and craft study the studio focuses on envisaging future directions of craft productions. The hands-on explorations with craft techniques along the interaction with craftperson is another to take. The focus towards the design development is speculative but the material, details, the interaction with the craftsperson to make is happen is real and meaningful. The project can easily in incorporated into space. Hence, the entire process moves forward to develop an individual position for future and make relevant design ideas representing the vision of future of craft.

Sucheetra Pradhan 9


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Contents


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

Ideate Ex.4 | Theoretical Position

Develop Ex.5 | Accumalizer Ex.6 | Envisaging the Future Ex.7 | Abstraction Ex.8 | Elementalism

Make Ex.9 | Generating Interior Space Ex.10 | Manifesto Ex.11 | Design Development

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Ex.1 Card Sorting

Duration: 1 week To identify various connotations and associations with crafts. Keywords - Contemporary. Craft. Design. Future. Understand each card: what it means and why is it important. For me craft is everywhere and its basically an experssion for culture and the people behind it. Craft is handmade, yes it is many a times and that it where it stands different and creates its own identity may a cluster or

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community. Its the knowledge, the technique of it which has been passed on generations. Craft, its material, process defines its technique. And no craft is complete without the involvement of the karigar or the master artisan itself. Sustainability being a factor is must for now and a necessity for the future. Sustainability being the most important aspect is looked after by the craftperson by the material, technique. Craft today is collaborative and the outcomes is diverse.


Iteration set 6 (Final set of cards)

Iteration set 5 13


Iteration set 4

Iteration set 3 14


Iteration set 2

Iteration set 1 15


Ex.2 Visual Mapping

Duration: 1 week Positioning Crafts in the 21st century A Study of craft in contemporary design practices. This exercise revolves around developing a position on current interior practices and builts it on the work done by design professionals across spectrums. The interior practices are nowadays mostly influenced by crafts and its principles. Use of local materials,

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unconventional way of using materials and technique. Making it sustainable towards the practice and to using the same. Somewhere craft is just using various materials but remains the unexplored one. It has began and designers are looking to collaborate with craftsperon in order to achieve innovation to the market.


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Ex.3 Field Mapping

Duration: 1 week This exercise was meant to be practical way of understanding craft, craftmanship, designer and collaborative method. The visit led us to different crafts, craftsperson, studio that are doing collaborative practice with craft being the main ideology. Doing the same we went to different crafts and craftsperson, and moslty the material specification. The interaction gave a clearly idea of their origin, materials, source of their knowledge, what are their

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notion about craft and interior practices. How the collobration happens. It gave a good idea of the involvement, the materials, its making and how craftsperson wish to continue the process generation by generation and even in some case ready to collaborate. Even local unskilled are becoming craftsperson after working under master artisan.


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Outsource raw material- Bikaner Glaze material from - Kolkata Product local made Craftsperson local Ceramic - Major focus

- Product - Clay, Terracotta, Paper - Craft for common man / common materials / used by common man

Clay club, Ahemadabad

Jigger Jolly Machine

Trained craftsperson sanding cemaric mugs

Ceramic blocks

Handmade cemaric mug with fnal brisk and glazed product

Positive Product / Negative Mould 31


- Material - Reclaimed wood(teak wood) - Material from old house or construction - Materials are directly purchased form vendors - 35% to 45% of waste - Hand Joinery - Malaysian cane - Carpenter and weaver are main importance of the design decision. - Since 2012, Raju bhai is been doing all the weaving work and now his son.

StudioWorks, Ahmedabad (woodworking studio)

Hanging partition system (wood and metal)

Craftsperson making joinery

Uses Reclaimed wood for all the products (old construction)

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Raju bhai, the weaver with his son


-Mata Ni Pachedi also known as the “Kalamkari of Gujarat”, is a 300-year-old art form. Mata Ni Pachedi literally means “behind the mother goddess”, and is a cloth that constitutes a temple of the goddess. -The Chitara family has been practicing the art of Mata Ni Pachedi for 7 generation, passing on the art from son to son. -Their workshop is based in Vasna in Ahmedabad, where they work together and collaborate on different projects. -Kirit Chitara is currently the youngest practicing painter of the Chitara family. -Jayentibahi Chitara, who was one of the few artists still left knowing the craft of mata ni pachedi.

Janyenti bhai, Chitara family, Mata ni Pachedi

Craftsperson sketching motif and the story line

Block print module

Mata ni Pachedi handpainted fabric

Block with motif 33


- Material- Solid bamboo Hallow bamboo - Higher tensile strength - 20 years old practice - Collaborative practice - Product local made - Craftsperson local- some skilled some unskilled - No mass production - Craftsperson are form - Tripura & Assam - Ratan ji and Prakash ji are from starting with the studio - No benchmarking of craft production

Rhizome Studio, Ahmedabad

Craftsperson making chair

Bamboo lighting system

Bamboo products on display

Bamboo hanger

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Wood craving craftsperson, Gita mandir

Temple - wood craved

Craftsperson craving out leg for a crane bird

Craving bed backing

Craving Elephant 35


Ex.4 Theoretical Position

Duration: 1 week To comprehend learnings from the field study and derive a theoretical position about Craft and Future. In continuity to the positioning of contemporary craft practices, in relation to crafts and its future. Crafts has many definitions and according to me craft is everywhere where there is skill involved. In India, craft is like a space making element specially for the interior space. Today the interior practice field is largely affected by crafts 36

and its interpretation. The current practice lies between the traditional and modern approach. Crafts in the interior practice act as a very powerful tool but seems to be unexplored one even in the current scenario. There is always and argument/ debate about the notion of using craft in interior, but what is it exactly?


Reinterpretation of Materials, Adaptation, Innovation (Craft in interior practices) The craft practice of today has Construction based craft is now modernize the craft with the new more in scene which gives the materials exploration along with the building shape and form with use of new technology, can be said certain distinctive materials. Even craft has adapted with the time. designers are much focused towards materials in current days The design practice of today is very either it be locally available or very vivid and dynamic and craft has rare in nature or the common one. played a major role in the defining the space. The practice mostly • Interior Practice varies from just mimicking the • crafts to various materials to a deep The practice is influenced by the abstraction and utilization of crafts. constraints of demand time and Sometimes the crafts practice and money. Craft was considered to be a its production get transformed, and utilitarian object few years ago. are reinterpreted by ways in the In India, craft has various practice. applications from local materials for daily use object to high end exclusive range production. Craft But they are meant to be there and production has seen a change in completely depends on how the shift, as to meet the demand, with designer wants to work with. Crafts the craftsmanship depleting at the acts like a element of space making same time. Because of this craft in the current practice. Craft can be become luxury rather a need. For both either space making element/ today’s time, the craft practice has craft or can also be craft which is become more multidisciplinary just in smaller scale then the other. and the scope of practice has Designers use craft as a tool of significantly evolved. differentiation, to create uniqueness, to add valve, to link to a sense of Materials and site context plays a tradition, history and community. very important role for the design But today the knowledge of innovation in today’s interior urban lifestyles has become the practice. driving force for transporting or In the past the crafts communities reinterpreting crafts skill into the produced for local and local needs. modern contemporary environment. They were valued for their ability to create functional elements.

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Project: Complex Taj Rishikesh Resort & Spa Designer: yh2 + Edifice Consultants Pvt. Ltd Built in: 2020 Location: Rishikesh • •

• • • • •

The project being build on The Indian Himalayas. The architecture evoled according to the mountain and the local material available. The villas, as in a traditional Himalayan village, are laid out as a series of pavilions built on a succession of stepped terraces kept in place by massive stone retaining walls. This stratification of the site in successive levels offers each villa a private view of the mountain panorama and the majority with framed views of the Ganges River. The architecture of the project takes advantage of the materials found locally: River stones for the retaining walls, slate for the roofs and flooring, and large wooden frames for the joinery. Traditional Himalayan construction techniques intermix stone walls with vast cantilevered cedar beams.

Citations/References https://www.archdaily.com/948138/complex-taj-rishikesh-resort-and-spa-yh2

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This traditional building style called KathKuni has been reinterpreted here with modern materials, with steel replacing the cedar beams that are now banned from exploitation in the Himalayas.


Cube Abstraction for Interior Practices 39


Ex.5 Accumalizer

Duration: 2 week Craft skills today is more of highend mimic, and new technology. The shift is due to multiple factors i.e., new technology, new method of construction, new materials either it be local or commonly available, new designers, new craftsmanship skills. Craft is basically a new language in the interior practice. The exercise was meant to approach a international firm with the craft practice.

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My selection was Heatherwick Studio, London. They approach driving everything to lead from human experience rather than any fixed design dogma. The studio’s founder Thomas Heatherwick comes from a background immersed in materials and making. Thus i tried keeping the material in its pure state but exploration of technique with same.


Illustration for future scenario

Illustration for future scenario with craft practices

Illustration for material and making of a space system 41


Abstract Model 1 for the proposal to Heatherwick studio to come to India

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Abstract Model 2 for the proposal to Heatherwick studio to come to India

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Ex.6 Envisaging the Future

Duration: 1 week With the growing world population and exploitation of resources there will be lack of resources in future. Everything will be standardised and monotonous. To reduce cost everything will more amd more look the same. This will led to learning possibilities of new materials or using the old material and craft techniques will explore and look forward to intervene new crafts and techniques with the help of upcoming technologies. The approach will be the same standardised with 44

modules providing the ease of customization to it. Craft in future will serve as a bridge to ideas and materials. People in future might get a leap and will come up with the involvement of designers and craftsmen both in a way where both will be handling materials and look forward to exploring and experimenting and innovating new techniques. Everyone will get easily adapted to the fact of modular system to get rid of boredom.


CRAFT + FUTURE =

MODULAR

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Ex.7 Abstraction

Duration: 1.5weeks Cube of Modular System A three-dimensional cubic model measuring 12” x 12” x 12”, represents my notion of “Craft + Future = Modular” After nourishing from the study of contemporary craft practices and production; and after forming the position about craft in future, it was possible to put forward the notion of craft through an abstract model. Here it was important to specify the position

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to go through the next exercise of elements. The model emphasis on the fact that modular element can be craft driven and it intent to show both mass production and mass customization. 1 module with 3 variation with 4 set are fixed to the wooden frame. The module depict Mass production, where in the 3 variation show how crafts can led to experimentation and a new system can be made with user customization. The modular system can be also changed by simple hand movements.


Kit of parts of same module with customization decipting the future scenerio

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Top view of the cube showing just a single set of module which is fitted to 4 sides.

Front view showing 3 different set of mass produced element with customized craft practices. 49


Ex.8 Elementalism

Duration: 2 weeks After translating the Modular system into abstraction, now the challenge was to design 35 spatial elements with general use of craft into it. For me there were 7 type of spaces and 5 types of elements (be it vertical, horizontal, aesthetic, interior). I could explore more of craft with the number of element design, the process made us take conscious decision regarding the material and craft choice.

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Exploration was taken forward to making Ceramic inlay partition, Acrylic lighting system, Wood turned Furniture, Plywood system for easy assembly disassembly, metal sheet bending and metal casting. 4 elements were made prototype of or scale model to experience the making of it.


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Element type : Vertical Craft involed : Ceramic inlay Space Type : A space for warmth and calmness Application : Partition

Element type : Vertical Craft involed : Acrylic Sheet Space Type : A space for reaching destinations Application : Partition Prototype of Elements 60


Element type : Vertical/ horizontal Craft involed : Plywood Space Type : A space for excitement and enthusiasm Application : Seating, table, Partition

Element type : Vertical Craft involed : Wood turning Space Type : A space for curiosity Application : Partition

Prototype of Elements 61


Ex.08_Elementalism_C+F=?_SS21

Application for the Elements --------------------------Type of Elements

A space for excitement and enthusiasm

Vertical Linear elements

Vertical Partition with color Linear Rafters can be splash which is to segregated used to define the space space when casts shadow and level and light play.

Linear elements with intellectual graphics which acts a guidance to users and the surrounding

Non structural element which is movable

Non structural wall with pattern to guide through

Vertical Planar elements Horizontal Linear elements Horizontal Planar elements Horizontal Overhead Linear elements Horizontal Overhead Planar elements

Elements representing Aesthetic Details Elements representing Ergonomic Details

Elements representing Interior Details Elements representing Architectural Details

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A space for warmth and A space for reaching calmness destinations

Partition with such fixtures to provide in warm light

Non sturctural Floor with Non sturctural element with levels gradient to show levels

Element with slight height, marks to lead through

Structure with patterned Overhead opening that leads Non structural overhead void spaces which play beyond and allow nature to floor extended in outwards with the failing top light. be a part direction Abstract element with different viewing angle where the elements even move.

Openings with intricate pattern to cast in patterned light inside

ELements when in closer Movable visual elements proximity create the which can come closer organization and structure together or further apart and make it feel calm

Staggered elements which can be operated by the user and give sense of the movement inside

Elements in the direction of movement and also become to make spaces within


A space for knowledge

A space for curiosity

A space for bliss and fulfilment

A space for offering and belief

A space for trust

A space for dreams

Puncture which creates a Non structural linear drama to the space when column used as a display casts shadow and light surface play.

Vertical elements with height and ornamentation to serve as the focal point

Vertical Linear objects or elements represent growth i.e. column from one point to another as the span expands.

Cladding systems which can also be utilized as display panel

Transparent non structural vertical element to get inside out

A structural element, with modulation of pattern in a organised manner.

Vertical element with gradation of colours to think of various pattern graphics.

Non structural floor with visuals and graphics that help learn and play

Non structural floor which divide spaces without connectivity but looks likes its connected

Non structural floor with patterns defined to space

Non structural flooring with textural effect which make feel the up and down

Structural element that becomes focal point which talks about the program and its context

Non structural overhead floor extended in outwards direction but in every alternate level in a staggered manner.

element with variation of colour and texture to gaze at and feel positive about

Overhead transparent element to feel above and beyond.

Modular element in the context of the culture which can be disconnected and connected back.

Installation element in a way of levels but to gaze at from one side.

Visibitlity through ornamented frames.

Opaque elements with can also become transparent, user operated

Non Structural element which is modular and make the user operate it themselves.

Element putting up its own light and when turned around or so doesnot provide any makes user curious

Material and texture of the element which feels to be in a promising surrounding

Colours and pattern taht makes feel dreamy

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Ex.9 Generating Interior Space

Duration: 1day workshop The aim of this exercise is to rethink of the handcrafted “drawing” –a slow but methodical production that addresses not only the imagination but architectural space itself. Drawdel (DRAW-ing mo-DEL), a representational strategy of thinking that drawings can be extrusions of the drawing page into three-dimensionality. To show the complexities of space, materiality, experience,

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etc. that the simple drawing surface simply cannot express. The basic started with a plan to explain the circulation through the space with modular space making element but further iteration led to a part by part and layered sectional elevation from the same plan to add the depth to the space explaining it element to higher level. Each one of the element was given importance to standout in the space.


Sectional Elevation at different level through Drawdels

Sectional Elevation at different level through Drawdels 65


Ex.10 Manifesto

Duration: 1 week Our future is the outcome of our present. And the present scenario is so clung to certain aspects and principles that the future is going to be standardised. In near future the exploitation of resources will take place due to the ever increasing population and to accommodate that everything will be standardised. The individualised importance of exclusitivity will be diminished as a result of standardisation and building will all look the

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same. Standardised refers to certain parameter which restricts the open aspects of design to be incorporated in a particular product or module or a structure. To improve or break the monotony of standard spaces the scale and needs to be unconvetional provided the process remanining same, all the above will be achieve through craft being the bridge.


Future is going to be boring and standardised. Everything will be modular by then. 67


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The future building with all look the same where in craft will differentiate with its incorporation. 71


Ex.11 Design Development

Duration: 5 weeks Modular living is already there and it is happening, near future is going to be entirely standardised. To eliminate that the project focused on to interior space making elements. 2BHK floor layout was appropriate to showcase the generic future with crafted intervention. Craft-ular, the application provide user with set of modules which are industrial manufactured, along with set of variation for surfaces, structure and materials through crafts.

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The space and layout remains the same but the element specification according to the module is what provide to break monotony. Crafted element are made and then provided with customization according to the scale, units and assembly details. One can personalize there crafted home with the crafts that fasinates them. The application directly connect the user to the maker or the craftsperson. The application helps make house a home.


Craft-ular

Your own Customized Modular

STRUCTURAL

STRUCTURAL- SURFACE

Wood turning and metal with material variation.

Bamboo structure with surface variation

STORY TELLING

NARRATIVE

Ceramic tiles with inlay variation

Arcylic cnc 73


Development stage- ELement and its space application (element type 1)

STRUCTURAL 74


Development stage- ELement and its space application (element type 1)

STRUCTURAL

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Development stage- ELement and its space application (element type 2)

STRUCTURAL - SURFACE 76


Development stage- ELement and its space application (element type 2)

STRUCTURAL - SURFACE

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App Design

WITH THE CUSTOMIZATION FLOW

Future space being standarized all over, this app make user customize their space making elements, furniture’s and so on.

Plan and Space details

Select the space and element set from what a standard space provide. 78


Elements and assembly details

One can select from a set of unit provided and choose as much they required and accordingly the assembly of it.

Craft selection from a given set.

One can customize the selected element with a set of crafts provided to achieve so. 79


Craft tour with detailed making.

After the selection of craft, user can get to know and see the process of making with the craftsperson.

Craft inside the space.

How will the interior space look after the craft gets incorporated into with same module, different variations. 80


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Name of the Project : Craft-ular Function : Flat pak dwelling Built in : 2030 Site : Adani Shantigram(2bhk) Location : Ahmedabad Idea of Speculative Future : The design concept and process focus on how craft and module co-exist together and become the intergal part of creating structure and surfaces and narrative.

Standardized 2bhk house unit 81


STRUCTURAL Wood turning and metal with material variation.

Standardized 2bhk house unit 82


Space A

Space B

Space C 83


Space - Elements Seating unit

Unit to have food on

Overhead hanging unit

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ELement - Unit


Unit - Assembly

Kit of Parts - Craft Specification 8 X (580*20) Raidus of bending - 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending - 15mm

8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending - 15mm 8 x (65*50)

Varied option with structure • Turned wood • Casted metal (Brass, • Iron, Copper, Aluminium) • Glass blowing • Turned plastic • Concrete Casting

8 x (450*50)

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Space - Elements

Relaxing unit

Display unit

Closed Storage unit

Working unit

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ELement - Unit


Unit - Assembly

Kit of Parts - Craft Specification 8 X (580*20) Raidus of bending 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending 15mm 8 x (65*50)

8 x (450*50)

8 X (580*20) Raidus of bending - 15mm 8 x (65*50)

8 x (450*50)

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Unit to have food on

Seating unit

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SEATING UNIT

DISPLAY UNIT

Requirement 4x unit Craft - Wood turning , Metal plate bending Application Seating

Requirement 5x unit Craft - Wood turning , Metal plate bending Application Fabric, motif display


Storage unit

Display unit

Display unit

Working unit

Unit to Relax

STORAGE UNIT Requirement - 10x unit Craft - Wood turning , Metal plate bending Application Storage

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ELEMENT - MAKING DETAILS

Wood turning with various dia and terpentine coated Three way junction tongue and groove in 30 dia hole 30 dia hole in wooden member M 6 carriage screw 20 dia ms plate with brass finished powder coating on it Split tougue and groove pierced into 30 dia hole in wooden member

Elevation

Jute immitated cotton upholstry fixed between the wooden element

Teak wood batten Teak wood crafted with wood turning technique

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Sequence of assembly

STEP 3 Assembling the unique module on either sides with a teak wood catten kitting inserted in a tongue and groove joinery to form the entire furniture piece.

STEP 2 The wood turned member is joined with tongue and groove joinery forming a module. The frame structure is wraped to wooden module

STEP 1 10 X 20mm ms plate with brass powder coat to be fixed to form a frame structure crating a flusdes surface which is fastened with M6 carriage screw 91


CRAFT PROTOTYPING - Structural System

Kit of parts

Elevation Material - Ms sheet Process - Metal Bending Material - Teak wood Process - Wood turning

Wood turned module

Prototype of the module 92


Sequence of assembly

STEP 3

STEP 2

Wraping the frame structure around the wood turned module such that the tolerence remains keeoing the reguired movement into control

STEP 1

Fixing overlaping metal rods with carriage screw. 93


STRUCTURAL - SURFACE Bamboo structure with surface variation

Standardized 2bhk house unit 94


Space A

Space B

Space C 95


Space - Elements Seating unit

Unit to have food on

Overhead hanging unit

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ELement - Unit


Unit - Assembly

Kit of Parts - Craft Specification 8 X (250*30) Spilting and bending upto 215mm

8 x (450*20)

4 x (480*30)

0 X (250*30) Spilting and bending upto 215mm

8 x (800*450*20) 4 x (800*800*20) 0 x (480*30)

Stretched fabric , plywood box 97


Space - Elements Relaxing unit

Display unit

Closed Storage unit

Working unit

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ELement - Unit


Unit - Assembly

Kit of Parts - Craft Specification 0 X (250*30) Spilting and bending upto 215mm

4 x (800*800*20) 3x (1800*1800*100) 12x (480*30)

Wicker weaving , plywood box 80 X (250*30) Spilting and bending upto 215mm

20x (450*450*20) 40 x (480*30)

Stone inlay, metal box 99


Display unit

Storage unit

Unit to have food on

Seating unit

100

SEATING UNIT

STORAGE UNIT

Requirement - 4x unit Craft - Bambo bending, Weaving Application - Seating

Requirement 10x unit Craft - Bamboo bending. Plywood, weaving inlay Application Storage


Storage unit

Storage unit

Display unit

Working unit

Unit to Relax

DISPLAY UNIT Requirement - 5x unit Craft - Bamboo Bending, fabric, weaving Application - Fabric, motif display

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ELEMENT - MAKING DETAILS

ELement view in space

Elevation

8mm plywood door with cane wicker weaving fixed on it.

Isometric View 102


Sequence of assembly

STEP 3 Structure being light weight, it is stacked in order to get multiple storage units.

STEP 2 A box is favricated with 8mm ply wood on all sides with a 8mm plywood door fixed with brass hinge. the box will then slide into the bamboo frame.

STEP 1 Bamboo module getting fixed with 10mm dia wooden dowel to form a frame structure 103


CRAFT PROTOTYPING -Structural

Kit of parts

Plan

Detail

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Elevation


Sequence of assembly

STEP 3 Leight weight bamboo structure

STEP 2 Fixing the wood turned module into the metal

STEP 1 Fixing overlaping metal rods with carriage screw. 105


Space - Elements

MATA NI PACHEDI

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Kit of Parts - Craft Specification

Ceramic tile - Glass inlay

Ceramic tile - wood inlay

Ceramic tile - ceramic glaze

Ceramic tile - glass inlay

Ceramic tile - brass inlay

Ceramic tile - ceramic glaze

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Space - Elements

MADHUBANI

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Kit of Parts - Craft Specification

Ceramic tile - glass inlay

Ceramic tile - brass inlay(cnc)

Ceramic tile - ceramic glaze

Ceramic tile - wood inlay

• Madhubani painting, also referred to as Mithila Art (as it flourishes in the Mithila region of Bihar), is characterized by line drawings filled in by bright colours and contrasts or patterns. This style of painting has been traditionally done by the women of the region, though today men are also involved to meet the demand. These paintings are popular because of their tribal motifs and use of bright earthy colours. These paintings are done with mineral pigments prepared by the artists. The work is done on freshly plastered or a mud wall. • For commercial purposes, the work is now being done on paper, cloth, canvas etc. Cotton wrapped around a bamboo stick forms the brush. Black colour is obtained by mixing soot with cow dung; yellow from turmeric or pollen or lime and the milk of banyan leaves; blue from indigo; red from the kusam flower juice or red sandalwood; green from the leaves of the wood apple tree; white from rice powder; orange from palasha flowers. The colours are applied flat with no shading and no empty space is left. 109


Space - Elements

KALAMKARI

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Kit of Parts - Craft Specification

FACE DEPICTION Ceramic tile - glass inlay

MUDRA Ceramic tile - brass inlay(cnc)

• Kalamkari is a type of hand-painted or block-printed cotton textile produced in Isfahan, Iran, and in the Indian state of Andhra Pradesh. Only natural dyes are used in Kalamkari, which involves twenty-three steps. • Kalamkari literally translates into “pen craft”; with ‘kalam’ meaning pen and ‘kari’ meaning art. It is among the most beautiful traditional Indian art forms and involves block printing or hand printing, typically done on pieces of cotton fabrics. The unique feature of the Kalamkari art is that it makes use of only natural colours or vegetable dyes. • • Craftsmen engaged in kalamkari art had to later modernize some of the ancient, hindu-mythology inspired kalamkari themes because there was an increasing demand for these prints in the international market. Therefore, Persian art slowly became one of the major influences on the original kalamkari designs. 111


15mm th. ceramic inlay tile

1 7

2

6

Elevation

1

10mm inverted rounded brass patti

3mm th. Z channel Allen hex nut bolt Screw 3mm Groove 5mm Groove 12mm Mdf with matt grey laquer coat

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Sectional perspective

3

25mm th. plywood

65 x 65 champhered square hollow section 10mm inverted rounded brass patti

15mm th. ceramic inlay tile

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2

15mm th ceramic inlay tiles 2mm th. plywood

50 x 50 Ms L hollow section

5

3mm th. Z channel Allen hex nut bolt Screw 3mm Groove 5mm Groove

12mm Mdf with matt grey laquer coat

6

10mm inverted rounded brass patti

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4

50mm high ceramic shirting applied with adhesive

3mm th. 50x50 ms square hollow section

7 10mm inverted rounded brass patti

8 12mm Mdf with matt grey laquer coat

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Space - Elements MATA NI PACHEDI

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Kit of Parts - Craft Specification

Acrylic sheet - Glass inlay

Acrylic sheet - ceramic glaze

Acrylic sheet - wood inlay

Acrylic sheet - glass inlay

• Mata ni Pachedi is also called the Kalamkari of Gujarat thanks to its resemblance to the art of Kalamkari from South India and the same method of painting, namely using a pen (kalam) made out of bamboo. • Mata ni pachedi means ‘behind the mother goddess’ and is a cloth that constitutes a temple of the goddess. The story goes that when the nomadic Vaghari community from Gujarat who worship Mata, were not allowed to enter temples, they instead created their own places of worship with illustrations of the Mother Goddess (Mata) on pieces of cloth.

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Space - Elements KALAMKARI

118


Kit of Parts - Craft Specification

Acrylic sheet - wood inlay

Acrylic sheet - wood inlay

Acrylic sheet - wood inlay

Acrylic sheet - Glass inlay

Acrylic sheet - ceramic glaze

Acrylic sheet - brass inlay

119


Space - Elements MADHUBANI

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Kit of Parts - Craft Specification

Acrylic sheet - glass inlay

Acrylic sheet - ceramic glaze

Acrylic sheet- brass inlay(cnc)

Acrylic sheet - wood inlay

• Madhubani painting, also referred to as Mithila Art (as it flourishes in the Mithila region of Bihar), is characterized by line drawings filled in by bright colours and contrasts or patterns. This style of painting has been traditionally done by the women of the region, though today men are also involved to meet the demand. These paintings are popular because of their tribal motifs and use of bright earthy colours. These paintings are done with mineral pigments prepared by the artists. The work is done on freshly plastered or a mud wall. • For commercial purposes, the work is now being done on paper, cloth, canvas etc. Cotton wrapped around a bamboo stick forms the brush. Black colour is obtained by mixing soot with cow dung; yellow from turmeric or pollen or lime and the milk of banyan leaves; blue from indigo; red from the kusam flower juice or red sandalwood; green from the leaves of the wood apple tree; white from rice powder; orange from palasha flowers. The colours are applied flat with no shading and no empty space is left. 121


4mm thick Arcylic sheet engraved

1

2

Elevation

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Magnetic force attach arcylic sheet


Sectional perspective

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Single module with engraved craft

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Stick to each other through Magnetic force


1

Casted alluminum Metal section to hold lighting structure

Inserted part of light into the casted section 2mm deep engraving

2

Magnet to hold the module

Laser CNC acrylic engraving

Prototype of lighting system with Laser engraving

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Sucheetra Pradhan Pid20360

Craft + Future = ? Master of Interior Design Spring 2021 | Faculty of Design CEPT University

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