Craft + Future = Big Data

Student Portfolio

craft + future =

BIG DATA

Anna Aichele 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 =

BIG DATA

Anna Aichele 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 =

BIG DATA

Anna Aichele 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 manifesto 08. Design development 09. Craft design matrix 10. Craft design ideas

Manifesting the design position 11. Drawings 12. Illustrations

Reflections

CRAFT. PRACTICE. PRODUCTION.

01

FIELD MAPPING

Throughout its history, India has produced a rich treasure of crafts. Every single one lives from its craftspeople, the people who operate and preserve the craft. Anyone who wants to get to know a craft can only do so if they get to know these people.

During our visits to various workshops I have been especially focused on pottery and the local textile art "Mata Ni Pachedi". Fulchandra Patel from the Clay Club, but also the artist Snehal Kashikar could tell us many interesting things about pottery.

And also Kirit Chitara gave us interesting insights into the art of Mata ni Pachedi and his family.

We were able to learn a lot about the processes, the making of products, the products themselves.

But also how the daily work routine in these trades runs, under which circumstances work is done and what kind of collaboration there is.

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Know the CRAFT/PROCESS/TOOLS | Pottery

ORIGIN AND HISTORY

PHILOSOPHY

In prehistoric times, people discovered that they could use clay to make containers waterproof and so transport water and food. Since then, the pots have been made by hand and decorated with paintings.

The first pots were made on wheels since the 400th century BC. The Egyptians were the first to develop ovens to fire the clay pots and experimented with different surface treatments.

For example they rubbed the pots with stones to get a matt surface and tried the first glazes.

Furthermore in ancient times the Greeks developed different paintings for their pots, which described stories from everyday life or about gods.

In the Middle Ages, various additional materials such as sand and stone were added to the clay to optimize the pots.

In China, porcelain was produced for the first time, which is made of white clay (also called kaolin). The porcelain was richly decorated and was therefore very popular, especially in Europe.

The composition of the porcelain was a wellkept secret and many potters tried to uncover this secret with their own techniques and new variations of glazes.

CLAY CLUB, Fulchandra Petal: Working with terracotta follows the philosophy of doing. It is about working on products with your own hands. 85% of the products from Clay Club are handmade. The employees of the Clay Club do not see themselves as artists or engineers, but as something in between.

The products must of course have an aesthetic aspect, but above all it is about the function and purpose of the product.

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MOGRA, Snehal Kashikar: Snehal Kashikar sees herself not as an crafts woman or a designer but more as an artist. She wants to allow her work growing and developing.

This need it’s time, so she prefers to work slowly and without hurry.

LOCATION OF THE CRAFT All over the world you can find pottery products that were already made in the far past. The techniques and processes have developed over the years and each culture has developed its own identity. Today you can see the craft of pottery in every culture.

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Know the CRAFT/PROCESS/TOOLS | Pottery

TYPES OF CLAY

TYPES OF GLAZES

Earthware: Earthware is a clay that is easy to work with before firing (e.g. with a knife) because it is very soft.

Since it is not waterproof, it must be glazed. After firing, most Earthware turns red, grey or white.

The colour of red earthware changes depending on the temperature. Reddish coloured varieties are called terracotta.

Glazes are used for surface finishing. This makes the products waterproof and less scratchable. It is a glass-like, closed surface layer.

Glazes consist of a composition of different minerals. This strongly influences the colour.

Stoneware: Stoneware can be fired with a higher temperatur.

This makes it a stronger and more stable material.

It is waterproof and requires no further glaze. In a wet state stoneware is mostly grey. Once fired it gets a grey / light grey or brown colour.

Porcelain: Kaolin is used for porcelain because it is very pure mineral. The colour palette ranges from light grey to white. Kaolin clay is relatively difficult to process. In order to ease the process other clays are often added.

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>1250 °C

Pocelain

1150 - 1250 °C

Stoneware

900 - 1000 °C

Earthware Terracotta

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Know the CRAFT/PROCESS/TOOLS | Pottery

PROCESSES 1 | Preliminary Process The clay is purified and made into a dough by adding water.

2 | Production Process

Handbuilding techniques : Pinch pottery: To make a pinch pot, one inserts a thumb into a ball of clay and continually pinches the clay while rotating to thin out and raise the height of the vessel. Pinching can deliver a

pleasingly organic look.

Coil building: Coil building is a forming method that uses ropelike coils of plastic clay, assembled in successive courses to build up wall of vessel or sculpture.

Slab technique: The slab technique starts with smooth slabs of clay that are formed using molds or shaped by hand. Slab building allows the potter to create more angular shapes that are more challenging to make on a wheel.

Turning/Throwing: With the help of an electric wheel, the lump of clay is made to rotate. During this process the craftsperson shapes the clay evenly into its final form. Once the product is turned, it is removed with the help of a thin wire which separates the product from the potter’s wheel.

Jigger jolly: A chunk of clay is placed on a mold that rotates, the jolly or jigger comes down onto the rotating mold and shapes the clay, then the 16

excess clay gets shaved off to be reused. Jollying and jiggering can produce same shaped bowls and plates in a very fast paced manner.

Slip casting: This is a ceramic forming technique for the mass-production of pottery. In slip casting, a liquid clay body slip (slurry) is poured into plaster moulds and allowed to form a layer, the cast, on the inside walls of the mould.

Press casting: The use of hydraulic ceramic press casting is done for producing a number of tiles of same quality.

Bisque firing: After the desired result from clay, it is dried for 2-3 days. Then the product gets put inside the electric kiln and is heated at 900 °C. The firing is kept on for 12hrs and following that the products are kept inside the kiln to cool down for another 36hrs.

Glazing: Glazing is a layer of coating of a vitreous substance done over the ceramic product. It can be done by painting, dipping or spraying the product with different mineral recipes.

Glaze firing: This second kiln firing completes the transformation of the clay product from a fragile substance to a rock-hard one.

3 | Packaging The volume of material for packing is atleast three times that of the product. Packing cartons (peanuts and foam filled), corrugated sheets and newspapers are used nowadays.

HAND BUILDING TECHNIQUES : Pinching, Coil building, Slab building (L-R)

Scanned with CamS

Scanned with CamScanner

Scanned with CamScanner

Scanned with CamScanner

Scanned with CamScanner

TURNING / THROWING : Centering, Separating the final product (L-R)

Scanned with CamScanner

JIGGER JOLLY : Jiggering, Jollying (L-R)

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Know the CRAFT/PROCESS/TOOLS | Pottery

CRAFTSPEOPLE

Know the CRAFTS

Artist/ Master artisan :

Interior Designer/ Master artisan : INTERIOR DESIGNER/ Fulchandra Patel

ARTIST/ MASTER ARTISAN: Snehal Kashikar

Snehal Kashikar

Fulchandra Patel

Experience She has been working in her Ahmedabad studio for 11 EXPERIENCE: years now.

She has been working in her Ahmedabad studio for 11 years now. Specializes in Earthenware

Specializes in Earthenware

FAMILY SYSTEM: She belongs to Mumbai and gives credit to the Family System She belongs to Mumbai and her interest in the subject. culturally rich city for gives credit to the culturally rich city for her interest in the subject.DO THEY PERSONALLY WHAT

ABOUT THE CRAFT:

FEEL

What do they personally feel about the craft herself as an artist and believes She considers She considers herself as an in working slowly and intutively. She is fairly artist and believes in working slowly and intutively.

She earlier days of studying influenced from her is fairly influenced from textile engineering. her earlier days of studying textile engineering.

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Artisan/ Worker

Artis

Rohit Bhai

Pare

MASTER ARTISAN:

Experience Experience He has been working in He is one of the founders this craft for the past two ofEXPERIENCE: the Clayclub. He did his years. here asHe an bachelors in interior design He is one of the founders of He theworks Clayclub. employee. from NSID, Rajkot.

did his bachelors in interior design from NSID, Specializes in stoneware.

Specializes in Rajkot. Specializes in Eartheware and Eartheware and stoneware.

Casting and Slab making

FAMILY SYSTEM:

Family System Family System Fulchandra lives in Ahmedabad and has his Rohit Bhai lives in the vicinty.

Fulchandra lives in productionand factory He comes to work everday Ahmedabad has in hisMorbi. from his sciety called Gota production factory in Morbi. housing.

WHAT DO THEY PERSONALLY FEEL What do they personally What do they ABOUT THE personally CRAFT: feel about the craft feel about the craft Working with terracotta He follows the philosophy enjoys working in the Working with terracotta craft andfrom feels proud of his follows the 85% philosophy of doing. of the products Clay Club work. He realizes himself as of doing. 85% of the are handmade. products from Clay Club are handmade.

Image: https://clayclub.in/ the-team/

an important member for the success of any project.

Expe He h stud

Spec Glaz

Fam Pare from fairly

Wha feel He li and meth stud

ers his gn

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ally

otta phy the are

/

Know the CRAFTSPEOPLE Know the CRAFTSPEOPLE

Artisan/ Worker Interior Designer/ Master artisan : ARTISAN/ WORKER: Rohit Bhai Fulchandra Patel

Rohit Bhai

Artisan/Worker Artisan/ Worker

Artisan/Worker

Paresh RohitKumar Bhai

Paresh Kumar

Experience Experience Experience Experience HeHe hashas beenbeen working in the in HeHehas beenof working in working is one the founders EXPERIENCE: thefor past 6 months. this craft for the past twohis studio this for craft the past two of the Clayclub.

He did years. here as an in this years.

He works here as an bachelors in interior design He He hasworks been working craft for the past employee. employee. from NSID, Rajkot.

two years. He works here as an employee.

Specializes in in Specializes in in in Casting and Specializes Specializes Specializes Slab making Casting and Slab Casting and Slab making Eartheware andmaking stoneware. Glazing

FAMILY SYSTEM:

Family System Family Family System Family System RohitSystem Bhai lives in the vicinty.

He comes to work Kumar comes Rohit Bhai lives in the vicinty. in Paresh Rohit Bhai livesalso in the vicinty.

Fulchandra lives everday his sciety Gota from samehousing. is HeAhmedabad comes tofrom work everday He the comes tosociety work and everday and has his called new the craft. from his sciety calledin Gota from histosciety called Gota production factory Morbi. fairly housing. housing.

WHAT DO THEY PERSONALLY FEEL What dodothey Whatdodothey theypersonally personally What theypersonally personally What ABOUT THE CRAFT: feel about thethe craft feel about thethe craft feel about craft feel about craft He enjoyswith working in theHeHe craft and feels proud likes his part of the work HeWorking enjoys working in the enjoys working in the terracotta and yearns to important learn other craft feels of his himself craft and feels proud of his follows theproud of and his work.

Hephilosophy realizes as an in the as work. realizes himself work. Heinvolved realizes himself of He doing.

85% of asthe methods member for the success of any project. process. member for anproducts important member forare studio an important from Clay Club thehandmade. success of any project. the success of any project.

Image: https://clayclub.in/ the-team/

Page 19

ARTISAN/WORKER: Paresh Kumar

Experience He has been working in the EXPERIENCE: studio for the past 6 months.

He has been working in the studio for the past 6 months. Specializes in Glazing

Specializes in Glazing

FAMILY SYSTEM: Paresh Kumar also comes from the same society Family System and is fairly new to the craft.

Paresh Kumar also comes from the same society and is fairly new toDO the THEY craft. PERSONALLY WHAT

FEEL

ABOUT THE CRAFT: What do they personally He likes his part of the work and yearns to learn feel about the craft other methods involved in the studio process.

He likes his part of the work and yearns to learn other methods involved in the studio process.

Page 19

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Know the CRAFT/PROCESS/TOOLS | Mata ni Pachedi

ORIGIN AND HISTORY

PHILOSOPHY

Mata ni Pachedi or Mata no Chandarvo is one of the most prominent and long lasting ceremonial textiles from Gujarat's basket of textile traditions.

‘Mata ni Pachedi’ literally translates as ‘behind the mother Goddess’. It is a 700 yr old tradition followed by the Vaghri community, who were a religious devotee to the Goddess. The pachedi has a distinct visual identity that is developed through the use of string bold forms and reinforced by the application of stark coloursblood red, black and white.

In olden times when the concept of temples and its architecture was not yet discovered the people of the community used textile to create a canopy for their religious procession. The canopy thus made, with the central feature as the commanding presence of the mother Goddess, was prayed to by burning of incense, beating of drums and offering of animal sacrifice.

The pachedis are essentially an expression of the divine cosmic energy of the mother goddess and the unified manifestation of the creative and the destructive principles in her person. The Goddess is believed to have a hundred forms and is consequently depicted in each of these along with the appropriate iconographic details and attributes.

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LOCATION OF THE CRAFT Mata ni Pacheri is an art form located in Gujarat.

In the past it was practiced by the nomadic Vaghari community, who were barred from the temples and because of this they started to built their own shrines. Because of bad business and difficulties in getting materials, the Vaghari community moved to Ahmedabad.

Today there is only one family left, who pass on their knowledge about this craft further from generation to generation since 200 years.

21

Know the CRAFT/PROCESS/TOOLS | Mata ni Pachedi

MATERIAL White fabric for the pichwai is brought from shops in the vicinity. For the Chitara family working in Ahmedabad, the Sindhi market is the nearest source of fabric. Colours are made from natural ingredients like betel nut powder, turneric and are brought by dealers to the city from villages .

Facbric (white) Natural dyes: 1 | Betel nut powder (beige); 2 | Turmeric (yellow); 3 | Harda Powder (for increasing the absorbing capacity of vegetable dyes)

1

2

3 22

PROCESSES The first step after buying the fabric from the market is destarching it. For this the fabric is kept in water overnight. Following the destarching it is dried and made ready to be soaked in the paste of harda powder (tamarind seed powder)

Destarching

Drawing

Washing

and water for about 10-15 minutes.

After the above process is done the making of Mata ni pachedi starts with drawing of the design pattern with pencil on the fabric. Once the design is made final, a mixture of rusted iron water and jaggery is made and traced back onto the outline of the design pattern. A small but sharp headed bamboo stick is used to do so. Next step is colour filling with alum and this is done again using a small selfmade bamboo stick but with a broader tip.

After completing the colour filing of the fabric it is washed near riverbed. The fabric is washed in Sabarmati near Vasna dam in Ahmedabad.

Following the washing, the fabric is boiled in water at ~ 200 ° C with Dhawda flower and root of the madder plant. This gives the final colour to the painting and the process is complete.

Boinling 23

Know the CRAFT/PROCESS/TOOLS | Mata Ni Pachedi

CRAFTSPEOPLE

Know the CRAFTSPEOPLE Know the CRAFTSPEOPLE

Master artisan : Jayenti Kanchanlal Chitara

Master artisan Artisan/Worker : : Master artisan : : Master artisan KiritJayenti ChitaraKanchanlal Chitara Rohan KiritChitara Chitara

Artisan/Worker : Rohan Chitara

MASTER ARTISAN: Experience Experience Jayenti Kanchanlal Chitara Experience

MASTER ARTISAN: Kirit Chitara Experience Experience

held various workshops at famous textile and Family System Family System Family System design colleges all over India.

Jayentibahi. He started working on the craft Family System Family System Family System around the age of 10.

He is 54 yrs old and a master of his art. He has held various EXPERIENCE: workshops at famous textile and design overa He is 54colleges yrs oldalland India.

He belongs to the Devipuja community who were well known for their craft of Mata FAMILY SYSTEM: ni pachedi.

Experience 54 yrsold old and awas masterHe He is 16yrs oldold andand haswas He is 16yrs old and has He He is is29yrs is 29yrs of his art.

He has held various recently working recently started working taught by his father, taught started by his father, EXPERIENCE: workshops at textilewithJayentibahi.

Kirit. He has learnt the with Kirit. He has learnt the Jayentibahi.

Hefamous started He started and design colleges all over craft already but now he craft already but father, now he working on the craft around working on the craft around master of his art. He has He is 29 years old and was taught by his works it professionally. works on it professionally. the India. age of 10. theon age of 10. belongs to the DevipujaHe He belongs to the Devipuja He He belongs to the Devipuja belongs to the Devipuja community were whowho were wellwell community whowho were wellwellcommunity community were known for their craft of Mata known for their craftcraft of Mata known for their craft of Mata known for their of Mata FAMILY SYSTEM: ni pachedi. ni pachedi. ni pachedi. ni pachedi.

He belongs to the Devipuja community who were well known for their craft of Mata ni pachedi.

He belongs to the Devipuja community who were He belongs to the Devipuja community who were well do known their craftWhat of What Mata ni pachedi. well forpersonally their craft of Mata pachedi.

What they for personally they personallyWhat doknown theythey personally What donithey personally do do they personally What do

feel about the craft about feelfeel about the the craftcraft feel about the craft feelfeel about the the craftcraft about I think this craft requires a lot this craft requires I havehad I am doing what I have ThisI think craft which hada lotI am Thisdoing craftwhatwhich DO PERSONALLY FEEL WHAT PERSONALLY FEEL here. Along of WHAT hard work andTHEY dedication of hard and dedication been taughtDO Along been taught declined inwork it’s value earlier declined in here. it’sTHEY value earlier and we have tried to protect and we have tried to protect with this craft I also make with this craft I also make has been recognised again has been recognised again ABOUT THE CRAFT: ABOUT THE CRAFT: it from getting lost by it from getting lost by paintings for that other paintings for other events and I feel that the Goddess and I feel theevents Goddess "I think this tocraft requires a lot are of hardus "This craft which in it’s value passing it down our next passing it down towork our next likeblessings weddings.

I like working like weddings.

I likeearlier working blessings with and I are with ushad anddeclined I generations. generations. way. this and way. I feel that the want to continue this faith continue this faithagain and dedication and we have tried to protect it thiswant has to been recognised and devotion in this craft as and devotion in this craft as from getting lost by passing it down to our next Goddess blessings are with us and I want to a gratitude to her. a gratitude to her.

generations."

Image: http://www.textielfactorij.org/profile/kiritchitara/

24

Image: http://www.textielfactorij.org/profile/kiritchitara/

continue this faith and devotion in this craft as a gratitude to her."

Page 15

Page 15

RAFTSPEOPLE

was her, ted und

uja well ata

ally

had lier ain ess d I aith t as

Artisan/Worker : Rohan Chitara

ARTISAN/WORKER: Rohan Chitara Experience

He is 16yrs old and has recently started working EXPERIENCE: with Kirit. He has learnt the craft but now He already is 16 years oldheand works on it professionally.

has recently started working with Kirit. He has learnt the craft already Family System but now he works on it professionally.

He belongs to the Devipuja community who were well known for their craft of Mata FAMILY SYSTEM: ni pachedi.

He belongs to the Devipuja community who were well do known their craft of Mata ni pachedi.

What they for personally

feel about the craft I am doing what I have WHAT DO here.

THEYAlong PERSONALLY FEEL been taught with this craft I also make ABOUT THE CRAFT: paintings for other events "I weddings. am doingI like what I have been taught here. Along like working this way.this craft I also make paintings for other with

events like weddings. I like working this way."

Page 15

25

que ion

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local demand

local handmade sustainability

women economy empowerment functional sustainability

ment people tation azard

ntation ty

functional technique design innovation region collaboration global

ner munity ry

ory ces

que

ornamentation identity

ornamentation craftspeople resources history

employment region beauty history craftspeople community

beauty region demand designer mass technology community production

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craftspeople functional women empowerment hazard global

beauty craftspeople

women empowerment

employmen

women empowerment beauty craftspeople employment community technology

employment women empowerment economy collaboration

economy employment designer

economy women demand technology identity global employment community collaboration empowerment collaboration designer community

technique economy designer design innovation collaboration

demand design innovation identity collaboration handmade

technique local design demand innovation hazard

identity technique technique region designer resources

mass handmade resources technology technique local ornamentation local ornamentation functional production mass handmade resources hazard production hazard women Card sorting - attempt 01: what matters to you? local ornamentation beauty craftspeople employment economy empowerment technique functional local ornamentation

global hazard technique mass production

hazard

sustainability rd community echnique local Attempt 02 26

hazard sustainability

historyhazard collaboration ornamentation

sustainability history

history global

design craftspeople innovation global designer functional beauty sustainability technology history

hazard functional beauty handmade sustainability functional

global technology

women empowerment global

design innovation

designer

ornamentati identity

beauty resources history beauty

technology

employmen technology

que

local

ornamentation

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global

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designer

ornamentation

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functional

beauty

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history global

global technology

y

technique Final cards

02

CARD SORTING

beauty

technology

It is very difficult to describe craft in just one sentence. There are many keywords that come to mind and many aspects that characterize craft. The five keywords which, after my visits to design several workshops, described the craft best innovation for me were "sustainability", "collaboration", "functional", "history" and "technique".

What particularly came to my attention during the field visits was that collaboration and tradition played two very important roles.

Several generations often work together in beautythe workshops. Each one has its own task in the manufacturing process, but in the end a common product is the result.

Today, however, the issue of sustainability is omnipresent. In this context, it must be questioned whether mass production, as is often practised today and which is a serious threat to the craft, is really to be supported. Or whether a return to an individual product manufactured technology on demand is not more sustainable. A custommade object, as only craftsmanship can make it, always fulfils a function and is therefore always more sustainable.

Furthermore, technology is a very strong aspect that describes craft for me. The technique describes the process of manufacturing and therefore makes a difference between the crafts.

Techniques have been passed on and developed throughout human history to work as efficiently as possible.

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03

POSITIONING CRAFTS

All over the world, the craft is an important component of architecture and designers often find inspiration in it. Locally rooted crafts create identity and especially India stands out with its numerous traditional crafts.

The examples on the following pages show different approaches how to deal with the craft.

They show projects that have been developed over the last 30 years and that can be found partly in India but also all over the world.

However, there are many different ways of dealing with the craft and the approaches are sometimes more, sometimes less obvious.

They range from upsizing, to reinterpretations of techniques, to the use of materials in a new context. The variety of ways in which the craft can be used in a project is almost unlimited.

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Exercise 03: Positioning Crafts

Suistanibility and Crafts Project: Alnatura Campus Built in: 2019

Designer: haascookzemmrich STUDIO2050 Location: Darmstadt, Germany

Why this project?

Key Words

The rammed earth facade is a good example how suistanibility and crafts can work together. In the wall is a heating system integretate which uses the warm water from the kitchen. Furthermore the material for the rammed earth comes from other construction sites.

Save Resources Recycling Sustainibility

Image Source: https://www.baunetzwissen.de/gesund-bauen/ objekte/buero-arbeiten/firmenzentrale-alnatura-in-darmstadt-6504499

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

29

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Crafts and nature Project: The Great Wall of WA Built in: 2015

Crafts in Retail Designer: Luigi Rosselli Location: Australia

Project: Saul E. MĂŠndez, Zona 14 Built in: 2013

Why this project?

Key Words

Why this project?

Key Words

At 230 metres long, the rammed earth wall meanders along the edge of a sand dune and encloses twelve earth covered residences, created to provide short-term accommodation for a cattle station during mustering season. This shows how crafts and nature can influence each other.

Nature Adjustment Seasonal residention

The exterior terrace features a colorful canopy, made of 1000 pounds of thread hanging from a steel structure. The source of the inspiration was the natural production techniques still used by indigenous people in Guatemala.

Colorful Canopey drying process of hanging treads

Image Source: https://www.archdaily.com/771780/the-greatwall-of-wa-luigi-rosselli

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Designer: Taller KEN Location: Guatemala City, Guatemala

Image Source: https://www.archdaily.com/530115/saul-emendez-zona-14-taller-ken?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Bamboo for temporary Architecture

Mix of times

Project: Bamboo Pavilion Built in: 2018

Designer: Zuo Studio Location: Taichung, Taiwan

Project: Saint Benedict Chapel Built in: 1990

Designer: Peter Zumthor Location: GraubĂźnden, Austria

Why this project?

Key Words

Why this project?

Key Words

This exhibition hall shows the possibilities of building with Bamboo by mixing constructional dimension and weaving technics.

Furthermore is the temporary pavilion a good example suistanibility in architecture. After the expo, Zuo Studio will dismantle the pavilion and restore the site in the park to its former state

Dimension Rescources Sustainibility Temporary Architecture

The wooden facade made of shingles represents a very old tradition of craft in Austria. In combination with the shape of the building an interesting mix of times was developed by Peter Zumthor.

Shingles Mix Shape

Image Source: https://www.archdaily.com/905690/bamboo-pavilion-zuo-studio

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

30

Craft + Future = ?

Anna Aichele | EXPD 7819

Image Source: https://www.archdaily.com/418996/ad-classicssaint-benedict-chapel-peter-zumthor

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Crafts Objects in new Context Project: The Bamboo Hat Porch in Village Built in: 2019

Three dimensional interpretation of a tool Designer: Rural Culture D-R-C Location: Xuanchen, China

Project: PAKTA Restaurant Built in: 2013

Why this project?

Key Words

Why this project?

Key Words

This is a low-budget project. The bamboo is reaped by the local Bamboo craftspeople and every villager provided one Bamboo hat. This project might be small but has an great impact to the villagers.

Bamboo hats Low-budget Community

In this project the re-interpretation of the Peruvian loom creates a transforming from flat surface to a tridimensional character in the space.

re-interpretation of weaving loom from 2D to 3D space-filling installation

Image Source: https://www.archdaily.com/928020/the-bamboo-hat-porch-in-village-rural-culture-d-rc?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Designer: El Equipo Creativo Location: Barcelona, Spain

Image Source: https://www.archdaily.com/443743/pakta-restaurant-el-equipo-creativo?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Bamboo in new Shapes

New materials for old crafts

Project: Wild Coast Tented Lodge / Nomadic Resorts Built in: 2017

Designer: Bo Reudler Studio Location: Palatupana, Sri Lanka

Project: HEYTEA Store Built in: 2019

Designer: DAS Lab Location:Shanghai, China

Why this project?

Key Words

Why this project?

Key Words

This hotel interprets the life of the Normads in it’s architecture. In this example the Bamboo is used in a much larger scale and creates large, arched openings and high vaulted ceilings.

The designers couldn’t finde local crafts people with the skill to build such an architecture. So this became a collaboration of local and international craftsmen combining traditional techniques with contemporary architecture.

Construction Sculptural Shape Collaboration International and local Traditional and contemporary

The red mortar simulates the texture of rammed Earth, which is a traditional craft in China. The red mortar and the stainless steel in the furniture create an contrast and shall show the balance between the brand’s cultural values and their buisness performance.

Appearance Replacement of Materials Furniture Contrasts

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Image Source: https://www.archdaily.com/885689/wild-coasttented-lodge-nomadic-resorts?ad_source=search&ad_medium=search_result_projects

Craft + Future = ?

Anna Aichele | EXPD 7819

Image Source: https://www.archdaily.com/921664/heyteastore-at-hongqiao-xintiandi-shanghai-daslab?ad_source=search&ad_medium=search_ result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

31

Exercise 03: Positioning Crafts

Interpretation of ‘Chikan kari’ Project: Avadh Shilpgram Built in: 2016

Designer: Archohm Location: Lucknow, India

Why this project?

Key Words

This Project is a bazaar for several craft shops.

The facade schows a new interpretation of the embroidery craft called “Chikan Kari”. But instead of textiles or fabrics the patterns are used for pottery tiles.

embroidery “Chikan Kari” pattern facade bazaar

Image Source:

https://www.archdaily.com/793889/avadh-shil-

pgram-archohm?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

32

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Re-Interpretation of crafts Project: Delft City Hall and Train Station Built in: 2018

Designer: Mecanoo Location: Delft, Netherlands

Why this project?

Key Words

The ceiling of the station hall shows a giant historic 1877 map of Delft. Walls and columns are adorned with a contemporary re-interpretation of Delft Blue tiles. Outside the panels of glass with lens-like spheres reference a typical window design that can be seen in the historic city.

Re-interpretation Delft blue tiles Glas manufacturing

Image Source: https://www.mecanoo.nl/Projects/project/52/ Delft-City-Hall-and-Train-Station?t=0

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

33

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Replacement of Craft Works Project: Komyo Ji Temple Built in: 2000

Arcnitecture as Handicraft Product Designer: Tadao Ando Location: Ehime, Japan

Project: Main Residence Spiritsense Built in: 2001

Why this project?

Key Words

Why this project?

Key Words

Komyo-ji is a new temple replacing an aging 250-year-old structure.

The Temple consist of a square laminated wood structure that is an interpretation of traditional Japanese temple architcture and joinery.

Joinery Replacement Interpretation

The whole building is a crafts object. A fired house typically was built with mud bricks made on site with mud mortar, stuffed with further mud bricks or other products, and fired as if it were a kiln. To save the valuable wood coal dust was introduced into the clay mixture.

Fired House House as handicraft product

Image Source: http://www.galinsky.com/buildings/komyoji/ index.htm

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Designer: Anupama Kundoo Location: Auroville, India

Image Source: https://www.anupamakundoo.com/main-residence-spirit-sense/

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Conversion of Crafts Objects

Suistanibility and Crafts

Project: Clay Garden Built in: 2019

Designer: Manoj Patel Design Studio Location: Vadodara, India

Project: Public Toilets in Zuzhai Village Built in: 2019

Designer: cnS Location: Jiangmen, China

Why this project?

Key Words

Why this project?

Key Words

The facade of this residential building is made of clay roof tiles. Therefor a ratio of 40% of waste clay tiles at free cost and 60% of new clay tiles is used.

The arrangement of the tiles creates a continous pattern. Furthermore the relief of the clay tiles provides shade the whole day.

Save Resources Recycling Creating Patterns

Old craft objects like bricks and tiles, which cannot be used anymore after crushing are selected to build this public toilet. So they can fulfil a purpose afterwards.

Re-Use Sustainibility

Image Source: https://www.re-thinkingthefuture.com/residentail-interior-design/2588-clay-screen-house-bymanoj-patel-design-studio/

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

34

Craft + Future = ?

Anna Aichele | EXPD 7819

Image Source: https://www.archdaily.com/928461/public-toilets-in-zuzhai-village-cns?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Exercise 03: Positioning Crafts

Creating Reliefs with Bricks Project: South Asian Human Rights Documentation Centre Built in: 2005

Connotations of Crafts Designer: Anagram Architects Location: New Delhi, India

Project: Triana Ceramic Museum Built in: 2010

Why this project?

Key Words

Why this project?

Key Words

Bricks are arranged in a pattern which creates a relief. Therefor row for row the bricks were rotated a little further.

Relief Pattern

The project develops on an old pottery complex, an exhibition center of ceramics and productive activities of the Santa Ana Pottery Factory.

The facade looks like a big shelve, which stores ceramic pieces. This is meant for the protection from the sun.

Associations Ceramic facade Shading

Image Source: https://www.baunetzwissen.de/gesund-bauen/ objekte/buero-arbeiten/firmenzentrale-alnatura-in-darmstadt-6504499

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

Designer: AF6 Arquitectos Location: Sevilla, Spain

Image Source: https://www.archdaily.com/571235/triana-ceramic-museum-af6-arquitectos?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Exercise 03: Positioning Crafts

From 2D to 3D

Crafts on Water

Project: Higher Atlas Built in: 2012

Designer: Barkow Leibinger Location: Marrakech, Morocco

Project: Quelen Ark Built in: 2012

Designer: Susana Herrera + FACTORIA Location: Arauco Province, Chile

Why this project?

Key Words

Why this project?

Key Words

One of the local techniques is traditional Moroccan weaving on a wood frame loom. But instead of a 2-dimensional surface a 3-dimensional volume stretched over a series of fixed wooden frames is produced.

Wood frame loom 3-dimensional

This project combines traditional boatbuilding methods with architecture.

Like the Mapuche ancestors handled it is the boat build with wood. Special attention was paid to the use of hand tools.

Boat building Tribute to ancestors Hand tools

Image Source: https://www.archdaily.com/245728/higher-atlas-barkow-leibinger-architects?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

Image Source: https://www.archdaily.com/801538/arca-quelen-susana-herrera-plus-factoria?ad_source=search&ad_medium=search_result_projects

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

Craft + Future = ?

Anna Aichele | EXPD 7819

35

ESTABLISHING THEORETICAL POSITION

05

VISUALIZATIONS

Interior practice Interior design is closely linked to the crafts.

These two aspects go hand in hand, one cannot do without the other. The craftsman and the architect work together.

In addition, the designer is the knot where all crafts meet and together they can create something greater that neither the designer nor the craftsman could have done alone. In order to achieve good results, it is therefore essential that the designer is also familiar with craftsmanship.

38M.Des, Faculty of Design

Faculty: Rishav Jain I TA: Karan Verma

Interior Practice Interior design is closely linked to the crafts.

These two aspects go hand in hand, one cannot do without the other.

One of the architect‘s tasks can be to further The craftsman and the architect work together.

develop and push the traditional craft. The

In addition, the designer is the knot where all crafts meet and together they can create something greater that neither the designer nor the designer is in search of new solutions and craftsman could have done alone. In order to achieve good results, it is therefore essential thatand the designer also familiar this, with craftsmanship. improvements can isachieve for

One of the architect‘s tasks can be tocontemporary further develop and and push the example, by fusing the traditional craft. The designer is in search of new solutions and improvements and can achieve this, for creating example, byafusing the contemporary the traditional, thereby future. and the traditional, thereby creating a future.

Craft + Future = ?

Anna Aichele | EXPD7819

Craft production The craft is the basis of every design. The designer may know a lot about the craft, but this can never replace the experience of a craftsman.

Crafts are a treasure of knowledge and a pool of experience collected over generations.

This knowledge combines all the successes and all the failures of human history. Over the centuries, numerous tools and techniques have been perfected and a probably endless range of materials has been studied. Any

further innovation can only be developed on the basis of these achievements and expands this treasure of experience. In addition to this holistic knowledge, each individual craftsperson has his/her own experiences that sharpen his/ her instinct and shape his/her senses into an important tool.

39

Future With the growing world population there will be a lack in resources. That‘s why AI and futuristic robots will do crafts. They will be more efficient, can meet the increasing demand on products and produce less waste. Furthermore physical exertion and danger for the craftspeople will be avoided.

40

CRAFT + FUTURE =

BIG DATA

41

05

POSITION PAPER CRAFT + FUTURE = BIG DATA

Craft is the base of every design. Even if the designer is familiar with a craft, this will never replace the experience of a craftsperson. Each individuall craftsperson has his or her own experiences which sharpened the instinct and shaped his or her senses into an important tool.

Crafts are a treasure of knowledge and a pool of experience which is collected over generations.

This knowledge combines all the successes and all the failures made during the time of human history. Over the centuries, numerous tools and techniques have been perfected and a probably endless range of materials has been studied. Any further innovation can only be developed on the basis of these achievements and will expand this treasure of experience.

So the practice of a designer is closly linked to crafts. In this collaboration the designer is the knot where several crafts meet. All together they can create something greater that neither designer nor craftsperson could have done alone. Therefor it‘s necessary, that the designer is also familiar with the craftsmanships to achiev good results. Furthermore the designer ‘s task can be to further develop and push the traditional craft. The designer should always search for new solutions and improvements for 42

existing problems in the lives of everybody.

That will make the proffesion of the designer still be important in the future. With the growing world population resources and materials will become more and more expensive. As a result the manufacturing of goods will have to be improved and created as efficient as possible.

AI and futuristic robots will be able to do wide parts of agriculture, industry and also of crafts.

Only this improvement will allow to meet the increasing demand of food and products. With the help of the Internet of Things and Big Data it will be possible to produce with less time consumption and less wast. At the same time physical exertion and dangerous situations for the employees and craftspeople will be avoided.

Monotonous tasks will be done by robots.

First aspects of these assumptions are already visible especially in a lot of industry fields.

Industry 4.0 has already started yet. This term describes how the virtual world, digital design and managment together with real-world products and objects will collaborate.1 Since the Digital Revolution in the 1990s for the first time in human history we live in a time where we can „collect, store, and process increasing amounts

of data at decreasing costs“ (Mario Carpo, 2017, p.18). So far only media that could compress data without loosing too much content were sucessful. The best and in the same time one of the simplest example for this phenomen is the alphabet, which is an efficient way to compress sounds, store it and make it transportable. In the earlier past compression technologies like JPGs and MP3 have been applied.2 Thanks to the increasingly cheap data today, the handling is also changing. The mass of datas is called Big Data and is today used to improve processes. For example in the car industry companies like Audi already show how they work with Digital Twins as a tool.

On one hand a digital twin can be a virtual prototype, a three dimensional virtual model that replaces the physical prototype. Products can be tested in a digital environment with computeraided tools, such as CAD. The Digital Twin can be used to detect faults in a very early stage of process.

On the other hand the lifecycle of an product can be calculated from the first idea until it gets disposed. The manufacturing gets optimized by a better controll over the supply chain and production chain and deficiencies can be detected early.3

An example of how Big Data can be used in the field of architecture is BIM (Building Information Modeling), a programm which was invented to coordinate big scale architecture projects with a lot of parties involved. It‘s a shareable information model to regulated the collaboration throughout all stages of a project. This example shows also how future designing processes will be models of layerd autorships. As Mario Carpo describes in his book „The Second Digital Turn: Design beyond intelligence“: „Objects that are made by many hands show the signs of many styles.“ (p.139). Collaborations will be simplified by using sharing platforms and clouds.² The development, which is already in its beginnings in industry, will also become necessary in the craft sector. A Craft 4.0 will be created.

With the help of AI and digitalization, techniques and processes in crafts will be documented and will be shared. Tools like Holograms, Augmented Reality and intelligent Holo lenses, on which for example Microsoft is already working on, will speed up this development. Also these tools will allow to learn craftmanships during a very short time frame. The knowledge of crafts won‘t be passed on from generation to generation but will be accessable universal for anybody 43

Ruins of Palmyra as 3D model, https://www.architectmagazine.com/technology/an-open-source-project-to-rebuild-palmyra_o

3D foldable fabric, http://205.186.161.206/category/keywords/luisa-gil-fandindo

44

and anywhere by encrypted or open sources.

Traditional crafts will be conserved and archived similar to the project #Palmyra, which was initiated by the student Ayman Alalao from Syria.

He had studied the ruins of the city of Palmyra, once an important cultural center of the ancient world, it‘s almost completely destroyed now by the members of ISIS. Today the city consists of ruins and threatens to be forgotten. For this reason Ayman Alalao recreated the ruins as 3D model. This project was extended to other historical buildings like the Notre Dame in Paris.⁴ In the future there will be more detailed virtual prototypes as well of products but also simulations of processes of crafts. As designers it will become interessting to adopt parts of this sources and transfer known techniques and material in new contexts and sizes. The technique a Indian craftsperson practices to create embroidery might be used in Europe to shape a facade or the pottery of a Mexican tribal will be sized up to whole buildings in Asia. With computer-aided tools there will be created new shapes and structures, inspired by traditional crafts that are online available all over the world.

One example of this practice is Luisa Gil who was a student in the master ‘s programm „Textile Design Innovation“ at Nottingham Trent University, UK. She had no prior knowledge of textiles, as she had previously studied product design and had therefore mainly worked with

hard materials. In addition, her medium of choice was mainly CAD. So she created a fabric in 3D which was foldable like origami and used the craft of embroidery to realize it.⁵ These examples already indicate how the craft can change in the future and what opportunities this change also offers designers. Global connections and new interpretations will create a diversity never seen before. Indirect collaborations will emerge and designers will benefit from an infinite pool of crafts, techniques and materials.

Digitalisation will not only increase the efficiency of the craft sector and make working conditions easier, but will also enable old traditions to be preserved.

References: 1 | Jean-Charles Pomerol, „Industry 4.0: Paradoxes and Conflicts“, 2019, ISTE Ltd 2 | Mario Carpo, „The Second Digital Turn: Design beyond intelligence“, 2017, Massachusetts Institute of Technology 3 | Fei Tao, Meng Zhang, A. Y. C. Nee, „Digital Twin Driven Smart Manufacturing“,2019, Elsevier Inc. 4 | Hallie Busta , „An Open-Source Project to Rebuild Palmyra“, Architect Magazine, 23 Oct 2015, https://www.architectmagazine.com/technology/an-open- source-project-to-rebuild-palmyra_o 5 | Nithikul Nimkulrat, Faith Kane, Kerry Walton, „Crafting Textiles in the Digital Age“, 2016, Bloomsbury Academic

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06

ABSTRACTION

Digitization is already influencing large areas of our lives today and will also have an increasing impact on the craft in the future. The virtual and the real world will meet and overlap more and more often. The model in the form of a cube represents in an abstract way how digitization and the use of Big Data will also gain influence in the area of crafts.

The cube represents an architectural structure of clear and frosted walls that intersect each other again and again. The perforation of the walls is derived in its form from the ornaments of traditional oil lamps and represents the craft.

The part of the walls that is made of clear acrylic is provided with a grid, which helps in 3D programs to display the shape of a model or solid body on a flat screen. In this way it stands symbolically for the virtual world.

The other walls, on the other hand, are made of frosted acrylic and are not so easy to see through.

The difference between these two materials also reflects how the digitally processed craft will be available to everyone at any time and in any place, in contrast to the only translucent or "real" walls.

46

47

ESTABLISHING DESIGN POSITION

07

PROJECT MANIFESTO DESIGN BRIEF

LOCATION: The building is placed at the south lawns. There it has the advantage that it does not compete with another canteen, but is easy to supply via the south gate. It will be placed in such a way that the passage between the two parts of the building will be automatically integrated into the students‘ path to their studios. Furthermore, the building is to make reference to the Ahmdavadi Ni Gufa in the background through a visual axis, but also through a repetitive selection of materials.

Faculty of Design

Student Service Office

Vectorworks Educational Version

Faculty of Technology

University Road

Vikram Sarabhai Community Centre

to the cycle of the academic calendar. This means that the products will be exchanged from semester to semester.

Parking

Parking Gufa Exhibition

G

M

Shop

Parking

Amdavadi Ni Gufa

Kitchen

Most students of CEPT University live in student hostels. There they have neither the opportunity to cook for themselves nor to invite their friends and have to use the often more expensive alternatives in the canteens or in restaurants outside the campus. Therefore, CEPT HOUSE 2030 will include a community kitchen, which can be used by the students for cooking together.

Furthermore by preparing meals together there will be cultural exchange not only between Indian students but also between Indian and international students. The community kitchen will provide the opportunity to organize events where local dishes from all over the world will be served. As food is an important expression of culture and community, especially students who only spend a limited amount of time at CEPT Campus will be able to introduce themselves to Indian students and establish a closer relationship with their new fellow students.

During the Monsoon Semester, when fewer exchange students are studying at CEPT, the community kitchen can also be used to provide catering at exhibition openings, award ceremonies and honours or other festivities. ce

ien

Sc

University Road

d

oa

eR

g lle

Co

In addition, a shop will give students the opportunity to exhibit and sell their design N products. It will be a flexible system that adapts

ollege

ience C

MG Sc

Road

South Lawn

Workshop

50 Site Plan | scale 1:500

- Delivery from South Lawn - No competing with the other canteens

KITCHEN (50%): The kitchens will be designed for groups of 3 to 10 students maximum. The site gives enough space for max. 4 kitchen. It is to assume that one cooking session takes about 2 hours. Furthermore assuming that the kitchens are open for 12 hours a day between 12 midday and midnight, up to 240 students can use the communal kitchens in one day. However, it can be expected that there are peak hours between 12 and 14 o‘clock and again in the evening between 18 and 21 o‘clock.

The time between midnight and midday is used to clean the kitchens and refill stores. Storage space of 9 m2 for food and cleaning utensils will be provided.

The CEPT University currently has more than 5.000 students and it is to be expected that this number will increase by 2030. Therefore the kitchens will not be able to cover all students and a rental system will be necessary. This can be done with the help of an application or another digital device. The advance registration will specify what kind of event is planned or how many students want to cook together and which dish should be prepared. The necessary utensils and ingredients will be provided and available to students at the appointed time in the reserved kitchen. Therefore enough space for storage should be provided.

The kitchens should be strongly based on a traditional kitchen. The following equipment is required: Small Kitchen for Groups of 3-5 Students: 1 Fridge Worktop (1200 x 600 mm) Storage for required utensils and ingredients = Kitchen island by 1200 x 1200 x 900 mm Big Kitchen for Groups of 6-10 Students: 1 Fridge Worktop (2400 x 600 mm) Storage for required utensils and ingredients = Kitchen island by 2400 x 1200 x 900 mm For group dynamics a kitchen island where students can cook around is to prefer.

Water based services and gas supply, which are not easy to move will be placed in the middle of the cooking area, available for all groups.

Around the „Core“ the kitchen islands can be placed according to the contemporary situation.

The washbasins, where the equipment can be 51

cleaned again and the disposal of the leftovers, is placed inside the „Core“. As it is not very appetising there and smells can develop, this is placed out of sight.

The meals are heated on the outer sides of the „core“. In this way, for example, veg groups and non-veg groups can be separated.

Because of the weather conditions in Ahmedabad and the ownerless dogs on CEPT Campus, the cooking area will definitely have to be inside.

Eating together will take place in outdoor area.

SHOP (50%): The shop should be understood also as a showroom. It offers students the opportunity to exhibit their prototypes and present them to guests from outside in the best possible way. In this way, potential investors, for example from the industrial sector, should get an impression of the young designers.

The following products will be displayed: -

Prototypes of furniture on a scale of 1:1

-

Prototypes of architectural elements on

a reduced scale (1:2 to 1:10)

Max. circumference 3600 x 3600 x 2500 mm 52

The display system is likewise the kitchen area structured in a grid of 600 x 600 mm on which the following elements will be placed: Platforms: Floor space 600 x 600 mm, expandable up to 3600 x 3600 mm Heights in 3 steps: 20 mm, 60 mm and 90 mm Boards for panels attached to rails along the ceiling.

To protect the furniture pieces and prototypes the display area has to be indoors and must be locked when no employee is onsite. Furthermore a sales and information counter of 9 m2 will be provided in the middle of the building.

Opening times are between 9 a.m. and 7 p.m.

Furthermore there is a storage area of 18 m2 to store the modules which are not needed.

The timeframe of one display is according to the time cycle of the university one semester. After this time the range of products will be replaced by new objects.

M.Des, Faculty of Design Faculty: Rishav Jain I TA: Karan Verma

53

Craft + Future = ?

Anna Aichele | EXPD7819

08

DESIGN DEVELOPMENT

Vectorworks Educational Version

South Canteen Basketball Ground

COMMUNITY KITCHEN 2 Sizes of Kitchen completed with holograms 2 Sizes of Tables Flexible Position Grid for Floor panels Grid of Rails at ceiling

University Office

Doors rotatable?

Movable Walls / Curtain?

SHOW ROOM Modular exhibition system for student works (Prototypes of Furniture and architectural Elements) Holograms to explain traditional carfts in contrasts to new products

Amdavad ni Gufa

Counter for Sales and Information

Steel structure module and different configuration

South Gate

1 | The two parts of the building will each be given a function. The rooms should be designed as flexible as possible: Revolving doors along the long walls should keep the rooms as open as possible and the furniture should be movable.

Vectorworks Educational Version

54

Vectorworks Educational Version

kitchen islands

Storage

Storage

Storage

Storage

2 | To support daily maintenance, storage facilities are planned as well as a stationary sales counter in the shop and wash basins in the kitchen

e inner courtyard

middle, products are different heights

Scale 1:100

Craft + Future = ?

Anna Aichele, EXPD7819

Vectorworks Educational Version

Verma

Vectorworks Educational Version

kitchen islands

Storage

Storage

Storage

Storage

3 | The outer walls are replaced by solid walls with deep window reveals where you can sit or display products. In addition, the windows frame the Ahmdavad Ni Gufa seen in the background.

e inner courtyard

middle, products are different heights

Scale 1:100

Craft + Future = ?

Anna Aichele, EXPD7819

Verma Vectorworks Educational Version

Vectorworks Educational Version

4 | The building is lifted up to give a better view of the Ahmedavad Ni Gufa. The community kitchen is supplemented by a dining area in the form of a balcony. The area between the buildings becomes the passage that is walked by the students on the way to the studios.

Vectorworks Educational Version

55

AHMEDAVAD NI GUFA

SHOP STORAGE

SOUTH LAWN

56

SSO

PASSAGE

COMMUNITY KITCHEN DINING AREA

PARKING

57

Vectorworks Educational Version

A

B

B

A Floor Plan Vectorworks Educational Version

58

Vectorworks Educational Version Vectorworks Educational Version

Section A-A | scale 1:100 Section A-A | scale 1:100

gn esign A: Karan Verma I TA: Karan Verma

Section A-A

Section B-B

Section B-B | scale 1:100 Section B-B | scale 1:100

Both the kitchen and the shop should stillVectorworks be Educational Version The kitchen also has a "core" in the middle with Version Vectorworks Educational flexible. The shop receives a flexible display all the necessary connections that cannot be system consisting of pedestals at different moved. Inside there are wash basins. This may heights, which can be put together in different limit unappetizing smells. Outside there are scenarios. The cash register is a fixed point in hotplates for cooking. The kitchen islands in two the room, since everything can be kept in view sizes can be moved freely in the room. from there.

59

AnnA Anna

09

CRAFT MATRIX

CRAFT

CORE VALUE

MATERIAL

PREDOMINANT USAGE

FUNCTION

POTENTIAL

COMMUNITY / CLUSTER / PERSON

60

THIKRI WORK

MARQUETRY

Mosaic / inlay of glas and mirror pieces.

A section is put together, which is finally cut into thin slices and applied onto an object.

Reflection of light in dark rooms.

Glas and mirror on lime

This creates repetitive geometric patterns.

veneer (wood) and acrylic (formerly ivory) mosaic on wooden surfaces

TARKASHI

Technique of inlaying fine wire-like strips of brass, copper or silver in previously created grooves in wood.

Brass, copper or silver in wood

On walls and furniture

Asseccoirs, Furniture, interior elements

furniture, decoration, showpieces, frames

jewellery boxes, photo frames, display frames, side tables

Jewellery box, bangles, boxes, door frames, trays, plates mirrors, photo frames, animal figures

In the past it should reflect the light of the sun into dark rooms

Ornamentation

Ornamentation

The processing of the individual mosaic pieces by e.g. laser cut allows new possibilities in the shape and size of the individual pieces

Use of other materials, organic shapes instead of geometric shapes, mass production is possible because of pre-production, easy and efficient to prepare and can then simply be applied on the construction site

Any company which provides inlays (glas, mirror, marble) or laser cuts

Carpenters

Designing a three-dimensionality by removing the base or letting the metal stand out.

Use of new materials.

Tarkhans, Carpenters

POTTERY

Manufacturing and shaping products with clay and fireing so it becomes hard and waterproof.

Optional glazing as surface finish

WOOD CARVING

With the help of sharp tools a form is carved out of the raw wood material and a plastic figure is created.

STONE CARVING

The processing of stone By removing the raw material, mostly geometrical, plastic reliefs are created.

Clay and Glazing

Wood

natural stone, concrete stone or artificial stone

Tiles, food utensils, jewellery, facade elements

Block carving, sculptures, furniture, wooden houses / facades

facade ornaments, sculptures / figures, floor tiles, milestones, pillars, ...

Initially to form products that were intended to store water and food.

Block print, ornamentation

Ornamentation, story telling, symbols

Use of alternative materials,

A naturally existing material, allows sustainable and local production.

Easy handling of the material allows multiple forming possibilities. 3D printing of clay products would be possible.

Can be combined with other crafts, e.g. block carving and formwork for rammed earth.

This creates reliefs in the facade.

with the help of new techniques and tools it is already possible to work very precisely,

e.g. Clay Club

Gandhinagar district: Pethapur

e.g. Trivedi Tectonics

combination with screens

61

10

CRAFT DESIGN IDEAS

For the marquetry mainly plate material is used to emphasize the mass production ability.

Unlike the traditional craft, the pattern is not applied to a base plate, so light can pass through the acrylic plates.

Space Making Element

Marquetry

Acrylics Corian

62 1:20

DOOR PANEL | Space Making Elemet Craft | Marquetry Material | Acrylics, Corian For the marquetry mainly plate material is used to emphasize the mass production ability. Unlike the traditional craft, the pattern is not applied to a base plate, so light can pass through the acrylic plates.

For the marquetry mainly plate material is used to emphasize the mass production ability.

Unlike the traditional craft, the pattern is not applied to a base plate, so light can pass through the acrylic plates.

Space Making Element

Marquetry

Acrylics Corian

1:20

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The door handle is an upsized metal inlay.

The base has been removed to create a mould to grip in.

The stainless steel is layed in a prepared groove.

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Hardware Detail

Tarkashi (Metal Inlay)

Stainless Steel Teak Wood

1:10

DOOR HANDLE | Hardware Detail Craft | Tarkashi (Metal Inlay) Material | Stainless Steel, Teak Wood The door handle is an upsized metal inlay. The base has been removed to create a mould to grip in. The stainless steel is layed in a prepared groove.

The door handle is an upsized metal inlay.

The base has been removed to create a mould to grip in.

The stainless steel is layed in a prepared groove.

Hardware Detail

Tarkashi (Metal Inlay)

Stainless Steel Teak Wood

1:10

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The original purpose of thikri work was to guide light into dark rooms by reflection.

Instead, the lamp reflects the LED light.

The bowl is made of clay and is covered with mirror pieces on lime.

Underneath the lamp is the light source fixed.

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Diameter: 1200 mm

Hardware Detail

Thikri Work Pottery

Mirror Lime Clay

LAMP | Hardware Detail Craft | Thikri Work, Pottery Material | Mirror, Lime, Clay The original purpose of thikri work was to guide light into dark rooms by reflection. Instead, the lamp reflects the LED light.

The bowl is made of clay and is covered with mirror pieces on lime. Underneath the lamp is the light source fixed.

Diameter: 1200 mm

The original purpose of thikri work was to guide light into dark rooms by reflection.

Instead, the lamp reflects the LED light.

The bowl is made of clay and is covered with mirror pieces on lime.

Underneath the lamp is the light source fixed.

Diameter: 1200 mm

Hardware Detail

Thikri Work Pottery

Mirror Lime Clay

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The pedestals can be combined to form different scenarios.

The pedestals are created with a metal frame in which panels are layed in.

On the surface of this panels is a disolving pattern of mirrors applied. The presentation surface on the top is calm and puts the products in focus.

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Dimensions: base area 600 x 600 mm, three different heights 200, 600 and 900 mm

Space Making Element

Thikri Work Metal Casting

Corian Mirror

PEDESTAL | Space Making Element Craft | Thikri Work, Metal Casting Material | Corian, Mirror, Metal The pedestals can be combined to form different scenarios. The pedestals are created with a metal frame in which panels are layed in. On the surface of this panels is a disolving pattern of mirrors applied. The presentation surface on the top is calm and puts the products in focus.

Dimensions: base area 600 x 600 mm,

three different heights: 200, 600 and 900 mm

The pedestals can be combined to form different scenarios.

The pedestals are created with a metal frame in which panels are layed in.

On the surface of this panels is a disolving pattern of mirrors applied. The presentation surface on the top is calm and puts the products in focus.

Dimensions: base area 600 x 600 mm, three different heights 200, 600 and 900 mm

Space Making Element

Thikri Work Metal Casting

Corian Mirror

1:25

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The technique of wood carving is used in the formwork to create reliefs in the concrete.

Space Making Element

These are filled with acrylic pieces.

In doing so, the craft of block carving and thikri work are combined with each other and with concrete as a new material.

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Block Carving Thikri Work

Concrete Acrylic

WALL | Space Making Element Craft | Block Carving, Thikri Work Material | Acrylics, Concrete The technique of wood carving is used in the formwork to create reliefs in the concrete. These are filled with acrylic pieces. In doing so, the craft of block carving and thikri work are combined with each other and with concrete as a new material.

The technique of wood carving is used in the formwork to create reliefs in the concrete.

Space Making Element

These are filled with acrylic pieces.

In doing so, the craft of block carving and thikri work are combined with each other and with concrete as a new material.

Block Carving Thikri Work

Concrete Acrylic

1:25

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The work surface is worked from one piece of stone.

The cutting boards are formed out of the work surface.

Waste can be disposed through a hole and is collected underneath the table.

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In the middle of the working surface the stone is ground so thin that a screen allows the instructions for the recipe to shine through.

Space Making Element

Stone Carving Metal Casting

Stone Metal

KITCHEN TOP | Space Making Element Craft | Stone Carving, Metal Casting Material | Stone Metal The work surface is worked from one piece of stone. The cutting boards are formed out of the work surface. Waste can be disposed through a hole and is collected underneath the table. In the middle of the working surface the stone is ground so thin that a screen allows the instructions for the recipe to shine through.

Dimensions:

Small kitchen island 1200 x 1200 x 850 mm

Big kitchen island 2400 x 1200 x 850 mm The work surface is worked from one piece of stone.

The cutting boards are formed out of the work surface.

Waste can be disposed through a hole and is collected underneath the table.

In the middle of the working surface the stone is ground so thin that a screen allows the instructions for the recipe to shine through.

Dimensions: Small kitchen island 1200 x 1200 x 850 mm Big kitchen island 2400 x 1200 x 850 mm

Space Making Element

Stone Carving Metal Casting

Stone Metal

1:20

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MANIFESTING THE DESIGN POSITION

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VISION The Net.HOUSE

The craft has a tradition that reaches far into the past. But also in the future there will always be craft. Just as we can see in history, processes and techniques, but also tools and the way crafts are learned have changed and developed over and over again. Even in our present time, at the beginning of the 21st century, we realize that our society is in the middle of a change. The trend is always moving towards digitalisation. Cheap and fast data processing already characterizes wide areas of the working world and is also becoming increasingly present in the field of crafts. The creation of networks offers many opportunities for both craftspeople and designers. Digital access to the pool of knowledge about craft processes and materials will become a completely new and almost inexhaustible field of possibilities and reinterpretations of old traditions. The collaboration of craftspeople and designers will weave itself into a much larger network and exciting collaborations will emerge.

The Net.House is also intended to support such a network. Both the community kitchen and the shop will encourage and expand the social network of students at CEPT University.

The kitchen will give the students a place where they can cook together. For example, exchange students can get to know their new fellow 76

students and their culture better while preparing local and international dishes, cooking classes can be held or catering for events such as honors can be prepared in this kitchen.

On the other hand, the shop offers a place on campus where students can market their selfdesigned prototypes and thereby build up an external network. Potential investors and customers can buy the products there and contact the students.

The placement of the Net.House was consciously chosen at the South Lawns. There it is integrated into the path of the students and faculties in such a way that it automatically becomes a meeting place. It is to become a meeting place for students, where an exchange can take place and new connections can be made.

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DRAWINGS The building consists on one side a shop and on the other side a commuity kitchen. In addition, the kitchen is extended towards the Ahmedavad Ni Gufa by a balcony that is used for eating together. In order to generate a better viewing angle, the entire building was raised by 1m.

Another visual connection is the flooring, which is a mosaic of tile pieces like on the surface of the neighbour building. The intermediate passage is not only used by the students as a route to their studios but also offers space for events. The rooms are flanked by four storage areas.

The two rooms each have a "core" in the middle.

In the shop this is the sales counter. In the kitchen there are permanently installed connections for water and gas. Inside there are wash basins and possibilities to clean the used utensils again.

Outside there are hot plates for cooking. This core is also to be used to seperate vegetarian and non-veg cooking groups.

The kitchen and the shop itself is created very flexible and can be adapted accordingly the current situation. Therefore the furniture is movable. The kitchen islands are available in two sizes for different group sizes and the display system of the shop can be build up in several variations.

The inner walls should be kept as flexible as possible by means of revolving doors and could be opened to suit any situation. In contrast, there are massive concrete walls on the other side with deep window reveals that can be used to sit or display products.

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Isometry

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Floor plan 1 | Students are cooking in groups of 3-10 people 80

Floor plan 2 | Kitchen can also be used to support the catering for events Vectorworks Educational Version

Vectorworks Educational Version

Floor plan 3 | Cooking classes, introductions are projected on screens Vectorworks Educational Version

Vectorworks Educational Version

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Section A-A

Section B-B 82

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Axometry 84

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Experience 1 | Passage: The community kitchen and shop should be integrated into the students‘ everyday life. This is also achieved by the placement at the South Lawns. The building is crossed on the way to the studios and becomes a meeting point for CEPT members.

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Experience 2 | Shop: The shop offers students a platform to promote their projects and build a network with potential investors. Important information about products are projected. The timeframe of one display is according to the time cycle of the university one semester.

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Experience 3 | Community Kitchen: The kitchen offers students the opportunity to cook together, for example to encourage cultural exchange between exchange and local students.

During the monsoon semester, when there are less exchange students, the kitchen can be used to support the other canteens during events.

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REFLECTIONS

Describe what does craft mean to you as a Interior designer/architect ?

Discuss the design position you took with reference to the established theoretical position.

Crafting involves a much deeper knowledge of processes, techniques and materials. The designer can combine the different crafts and coordinate the collaboration, but he will not build up such a detailed knowledge in so many different fields.

By collecting large amounts of data, it is now already possible in many areas to respond spontaneously to the wishes of an individual and to react flexibly to changes in situation.

This should also be reflected in the open and mobile room structure of the Net.House. Both the architecture and the design of the furniture is designed for the best possible flexibility.

The craft represents the origin of design. Every craftsperson is a designer in a way, but not every designer is also a craftsperson. For me, craftsmanship is an important basis of every design process. The designer develops and plans an object down to the smallest detail but mainly in theory. At the end of the design process there is a product whose realisation and implementation depends on the craft.

In the future, collaboration with craftspeople will become even more important for designers.

With the increasing complexity that processes will take on and the growing demand to design effectively and sustainably, it will become more and more important in interior design and architecture, but also in many other design areas, to have a competent team partner.

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Furthermore, in my theoretical position I describe that in the future the concentrated knowledge about crafts will be easily accessible online anywhere and anytime in the form of Big Data. It will be possible to link this informations in a new way and completely new approaches to crafts will be developed.

This semester I gained this access offline by visiting different workshops. I wanted to use the knowledge I gained from these workshops to reinterpret traditional processes, materials and techniques in the details of the project and link them with aspects such as mass production or contemporary technologies.

Discuss how do you imagine your design position to manifest in interior architecture practice ?

Discuss how does your design position impact the craft production?

Local identity, the use of resources and new technologies have always influenced the work of designers.

In the future, information on these aspects will be universally available in the form of Big Data.

Regardless of time and place, designers will be able to access this treasure of experience and this will also be reflected in the design.

Traditional techniques and common practices in interior design and architecture will be developed step by step and, because of their advantages, will establish themselves or even be dropped. Likewise, new materials with improved properties will be developed, which may be better suited to old techniques. Or the combination of several disciplines can lead to a successful result.

Craft production will also adapt to change. The growing world population and the resulting increasing demand for products will require a new way of designing. More sustainable, more efficient and more precise productions than those already existing today will be required.

However, craft processes that are no longer practicable will not be erased in the end.

They will be digitally archived and can be retranslated. In this way they will continue to exist in digital form and offer a pool of inspiration for designers worldwide.

Designers will be encouraged to break new ground and combine different disciplines.

The basis for this will be data that will bundle knowledge about crafts and make it easily accessible and usable. New collaborations open up a wide range of new possibilities for the designer.

The crafts that will continue to be practiced will bring forth new approaches and, consequently, new crafts. A kind of evolution will take place.

The combination of the crafts will lead to new cooperations. Both among craftspeople and between craftspeople and designers. This in turn will lead to the fact that each craft will no longer concentrate on its respective field of expertise, but that an increased interdisciplinarity will develop. Craftspeople and designers will become increasingly networked and the boundaries between the disciplines will gradually dissolve.

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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.