RE-POSITIONING TRADITIONAL
EXPLORATIONS IN PAPER MACHE CRAFT OF KASHMIR
BURHAN UD DIN | 2016 | NATIONAL INSTITUTE OF DESIGN
Copyright Š 2015 Student document publication meant for private circulation only. All rights reserved. Bachelor of Design, Product Design, 2011-15 National institute of Design, Ahmedabad, India. No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Burhan ud din Khateeb and National Institute of Design. All illustrations and photographs in this document are Copyright Š2015 by respective people/organizations. Edited and designed byBurhan ud din Khateeb burhan.khateeb@gmail.com Processed at National Institute of Design (NID) Paldi, Ahmedabad - 380007 Gujurat, India. www.nid.edu Printed digitally in Ahmedabad, India. November, 2015
ORIGINALITY STATEMENT
I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except where due acknowledgement is made in this graduation project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgement. I further declare that the intellectual content of this graduation project is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. This graduation project (or part of it) was not and will not be submitted as assessed work in any other academic course. Student Name in Full: burhan ud din khateeb Signature: Date:
COPYRIGHT STATEMENT
I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institute’s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of copyright material in my document or I have obtained permission to use copyright material. Student Name in Full: burhan ud din khateeb Signature: Date:
CONTENTS
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2
3
4
About NID
Questioning Design
Indian Handicrafts scenario
Kashmir
About Product Design
The ugly truth
What works
Background Story
Hope
Field Research
Timeline
Going back home
Choosing a craft
6-7
8-9
10
11
14-17
18-20
38-57
58-59
21-31
32-35
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62-65
CDI
86-89
70-85
86-89
5
6
Paper mache system
Experimentation
Design Inspiration
Beyond Product Design
Pulp molding process
Learnings from the experiments
Moodboard
Maker Mela
Opportunities
Sorted mold making process
Ideation sketches
Facebook Page
Themes for the artefacts
Workshop at NID
The Artefacts
Future scope
92-97
98-105
106-107
Final direction 108-109
112-123
124
125
7 130-131
132-133
134-137
138-139
140-195
8 198-199
200-203
205
206-207
86-89
Looking back 86-89
Product Design | Bachelor of Design | National Institute of Design
PREFACE The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design. The project must be done with academic rigour incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method by which the student must carry out his/her project. The graduation project reflects leadership manifested through creativity and innovation. The project leads to new knowledge creation and should align with broader objectives of the institute. This project aims to re-contextualize the traditional crafts in Kashmir by developing products that are rich in cultural identity and are relevant for today’s consumer.
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Burhan ud din khateeb | Graduation project | 2015
Acknowledgments I would like to take a moment to thank the people who helped me at different stages of this project. Firstly I would like to thank my parents for their support in all aspects of my life. Also for the support they provided through out the course of this project. I would like to thank my guide Professor Praveen Nahar for encouraging and guiding me through out the project. I would like to thank the people at the Craft Development Institute, Srinagar for the support they provided in this project. I would also like to thank all my fellow NID batch mates, alumni and faculty members with whom I had discussions about this project. I thank Manisha for helping me design the manual for the DIY kit. I also thank Mridula for making the illustrative sketches used in this document. I would like to thank late Professor M.P Ranjan for giving crucial insights form his experiences of working in the crafts sector. Finally I would like to thank all the craftsmen who treated me as one of their own and helped me understand their lives and the inner workings of the handicrafts industry of Kashmir.
Product Design | Bachelor of Design | National Institute of Design
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Burhan ud din khateeb | Graduation project | 2015
SYNOPSIS The project is centered around finding ways of repositioning traditional crafts in the menacing scenario of cradle to grave industrial economy. Questioning the current design practices and the implication of the industrial economy; inspiration was derived from the still nascent concept of circular economy and sustainable design philosophy, in turn questioning the process of making a product. The inspirational story of Magno which combines fine eco-design and craft, served as a reference point for a new way to envision the handicrafts sector in India. Studying the artisans, the craft value chain and the challenges faced by the them surfaced the positive attributes that handicrafts inherently possess - maker stories, craftsmanship, slow manufacturing, quality over quantity and a liberal creative process.
Subsequent field studies in Kashmir handicrafts, informed the decision to take up Paper mache craft as a starting point for the project. Problems in the paper mache system were analyzed and experiments were done to understand them and solve for them. Mold making was found to be the bottleneck in the system and eventually new mold-making techniques designed, hinting at new process developments. Artefacts were made using these new mold making techniques which demonstrate the making of contemporary objects using traditional skills that are rich in cultural identity and are relevant for today’s consumer.
These artefacts were then exhibited in the “Maker Mela� which led on to new opportunities of collaboration and entrepreneurship. Also, valuable feedback was received from the people who visited the exhibition and subsequent paper mache workshops. The obvious next step is participating in more such collaborative events exploring a potential entrepreneurial possibility for the project.
Product Design | Bachelor of Design | National Institute of Design
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Burhan ud din Khateeb | Graduation project | 2015
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About NID Product Design at NID Background Story Project timeline
Product Design | Bachelor of Design | National Institute of Design
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NATIONAL INSTITUTE OF DESIGN On April 7, 1958, the Eameses presented the India Report to the Government of India. The Eames Report defined the underlying spirit that would lead to the founding of NID and beginning of design education in India. The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time.
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Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is an autonomous institution under the aegis of the Ministry of Commerce and Industry, Government of India. NID has been declared ‘Institution of National Importance’ by the Act of Parliament, by virtue of the National Institute of Design Act 2014.
Burhan ud din Khateeb | Graduation project | 2015
Product Design | Bachelor of Design | National Institute of Design
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PRODUCT DESIGN AT NID The product design programme at NID inculcates user-centric approach and processes. Responsibility and concern towards the social, physical and ecological environments is emphasized in the process of developing innovative ideas. The product design programme assimilates inputs in diverse domains such as human factors, cognitive ergonomics, form studies, studio skills, advanced cad, research methods, design management, materials & manufacturing processes & social sciences. Emphasis is on process centric approach which shapes a student’s education through participation and teamwork. Design projects form the core of a product designer’s education, with gradual increase in level of complexity and cover broad areas that product designers are likely to encounter in their professional careers.
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Burhan ud din Khateeb | Graduation project | 2015
Product Design | Bachelor of Design | National Institute of Design
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BACKGROUND STORY Not very long ago, while I was in my seventh semester at NID, I experienced the systems design course guided by Professor Praveen Nahar, after which my view of the world changed. Now I realize the importance of systems thinking and the responsibility that we as designers carry on our shoulders. Further research on several different topics and their interconnectedness taught me to look at a situation in an unbiased manner, the ability to relate
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to the views of multiple stakeholders, to consider the environmental impact of our decisions, to empathize and most importantly to see where we are headed as a human race. When the time came to decide what I wanted to do for my graduation project, I choose to find my own way instead of working for an established firm. This decision lead me on a quest, a quest to find ways in which I can contribute to make this world a better place.
Burhan ud din Khateeb | Graduation project | 2015
PROJECT TIMELINE FEBRUARY
MARCH
APRIL
Finding purpose
Understanding the handicrafts industry
Positioning myself in the system
MAY
JUNE
Working with the craftsmen, process intervention
JULY
AUGUST
Developing concepts and prototypes
Product Design | Bachelor of Design | National Institute of Design
SEPTEMBER
OCTOBER
Connecting the dots
Documentation
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Burhan ud din Khateeb | Graduation project | 2015
Introduction Questioning Design
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The ugly truth Hope Circular economy The maker movement Sustainability The story of Magno Connecting the dots The journey back home
Product Design | Bachelor of Design | National Institute of Design
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biases
what are the real problems? why industrial design?
environmental impact of design
future generations consumerism
dissatisfaction
terrorism degrading human relations social structures
profit
imperialism development?
mass surveillance
technological advancement disease
growth of a nation
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Burhan ud din Khateeb | Graduation project | 2015
money sustainability?
unskilled work
industrial mass production circular economy?
plastic world
crafts
Freedom
Security plastic world
economic inequality
Depleting resources
skilled craftsmen Globalization
virtual life money obsolescence robotic revolution
culture
what was there before design?
purpose?
Capitalism ?
centralization of power natural material
few people controlling many
more for less ? harmony with nature
low scale production greed
what has design got to do with all that is happening around us?
Material world
implications of artificial intelligence?
emotional connection with products?
natural cycles happiness
Product Design | Bachelor of Design | National Institute of Design
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design ? Design was one of the more intriguing by products of the industrial revolution along with consumerism, capitalism, global warming and 2.5 centuries of social upheaval Designs godfathers were the 18th century entrepreneurs eager to find ways of making more for less. But keeping the customers satisfied also meant seizing on the latest management thinking about ways to organize train an exploit workers. Central to the new thinking was the idea of the division of labor.
One of the specializations created by the division of labor was the individual who will one day become known as the “Designer�. In the new era of the industrial production, they were the ones responsible for creating the original designs from which all subsequent copies will be made. Mass production meant the relentless of the same thing in sufficient numbers not only to make it universally available but to make it universally affordable as well.
1908
1790
1709
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Burhan ud din khateeb | Graduation project | 2015
In 1984 a new machine was unveiled as the world of computing got personal. Making design user friendly has become essential to making once unimaginably complex technology a part of the fabric of daily life. The principles of user centric design have made some of the most complex consumer products that man has ever made an essential part of our everyday world through design that aims to be all but invisible. Digital devices have become so commonplace that its become impossible to imagine how we’ll live without them.
But they have also prompted a profound shift in our relationship with the world around us, and that may or may not be for the good. Perhaps design has got so carried away with what it can do for us its forgotten to ask whether it should. Surely, it’s designs job to shield us from as well as connect us to technology that is changing what it means to be human. These are issues yet to be fully explored.
1984
2007
Product Design | Bachelor of Design | National Institute of Design
Next?
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THE UGLY TRUTH In an age of abundant consumer choice, design has shifted focus, from serving the collective good to indulging individual desire as designers have devised ever new and more and sophisticated ways to fulfill our personal aspirations and sell us more stuff. But with landfills bulging and the oil slowly running out, it seems that the age of conspicuous consumption may have come to an end. Or maybe not.
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Burhan ud din Khateeb | Graduation project | 2015
For all the good it brought us, our economic model is in need of new direction. The global population will continue to grow, the middle class is set to top five billion by 2030, and many emerging nations will look for increased prosperity. This is putting enormous stress on our environment and our resources, which are becoming more difficult to extract. Our myopic focus on producing and consuming as cheaply as possible has created a linear economy in which objects are briefly used and then discarded as waste.
Product Design | Bachelor of Design | National Institute of Design
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THERE IS HOPE Some people have thought about this situation and have decided to take action. People are proposing new ways of making things and technology is helping them communicate these ideas with other people. This new kind of thinking is gaining momentum and inspiring governments and businesses to participate in the debate. Listening to these voices gave me an idea of the approaches that are being taken by people across the globe. Lets briefly discuss about some of these voices in brief detail.
MAKER MOVEMENT DIY CULTURE
CIRCULAR ECONOMY SUSTAINABLE DEVELOPMENT
GREEN DESIGN
SLOW DESIGN
HANDICRAFTS
Product Design | Bachelor of Design | National Institute of Design
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CIRCULAR ECONOMY We only need to look to nature to be inspired. Just consider the resilience and longevity of forests, ecosystems in which the seasons are perfectly harmonized with the life-cycle of all species. Waste does not exist in nature, because ecosystems reuse everything that grows in a never-ending cycle of efficiency and purpose. Our intellectual take on this concept is called the circular economy, an economic system in which no materials are lost. Products are designed and built so that they are part of a value network where reuse and refurbishment on product, component and material level assures continuous re-exploitation of resources. This requires a fundamental redesign of business and our end-to-end value chains.
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Instead of selling products, we should retain ownership and sell their use as a service, allowing us to optimize the use of resources. Once we sell the benefits of the products instead of the products themselves, we begin to design for longevity, multiple re-use, and eventual recycling. This requires a new generation of materials as well as innovative development and production processes. In addition, we need to define new business models and redefine the concept of legal ownership and use, public tendering rules, and financing strategies. And we need adaptive logistics and a leadership culture that embraces and rewards the circular economy. With cradle to cradle design you get to get ecological and keep shopping.
Burhan ud din Khateeb | Graduation project | 2015
Cradle to cradle design may or may not be the answer to the crisis facing industrial design but it is a characteristically creative response to a human problem . another bold attempt to reshape , improve and make sense of our world, that’s what design does and that’s why we need it now perhaps more than ever.
Apart from strong moral arguments, the transition to a circular economy will be driven by the promise of over $1tn in business opportunities, as estimated by the Ellen MacArthur Foundation. This includes material savings, increased productivity and new jobs, and possibly new product and business categories. All in all, the circular economy will lead us towards a future in which nine billion people in 2050 can live well and sustainably.
Product Design | Bachelor of Design | National Institute of Design
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THE MAKER MOVEMENT The maker culture is a contemporary culture or subculture representing a technology-based extension of DIY culture that intersects with hacker culture which is less concerned with physical objects (opposed to software) and the creation of new devices (opposed to tinkering with existing ones). Typical interests enjoyed by the maker culture include engineeringoriented pursuits such as electronics, robotics, 3-D printing, and the use of CNC tools, as well as more traditional activities such as metalworking, woodworking, and, mainly, its predecessor, the traditional arts and crafts.
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Some say that the maker movement is a reaction to the de-valuing of physical exploration and the growing sense of disconnection with the physical world in modern cities. Other scholars including Raymond Malewitz and Charles Jencks have examined the Utopian vision of Maker culture, which they link to myths of rugged individualism, the possibility of a counterculture and libertarianism Many products produced by the maker communities have a focus on health (food), sustainable development, environmentalism, local culture and can from that point of view also be seen as an anti-response on disposables, globalised mass production, the power of chain stores, multinationals and consumerism.
Burhan ud din Khateeb | Graduation project | 2015
Product Design | Bachelor of Design | National Institute of Design
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SUSTAINABILITY In the summer of 2011, two separate but well-publicized reports by climate scientists issued global calls for sustainability. “The Stockholm Memorandum,” put forward by a group of Nobel Laureates who might well be expected to champion the cause of sustainability, contended: “we are the first generation facing the evidence of global change. It therefore falls upon us to change our relationship with the planet, in order to tip the scales towards a sustainable world for future generations.”2 Similarly, in a report commissioned by the Vatican’s Pontifical Academy of Sciences, “Fate of Mountain Glaciers in the Anthropocene,” a perhaps unexpected champion of sustainability called on all the peoples and nations of the world to “protect the habitat that sustains us.”3
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They are not alone. Today, there are thousands of organizations across the planet dedicated to the cause of sustainability in one realm or another. The range of advocacy and application is remarkable, including everything from sustainable economic development to sustainable architectural design and city planning, fashion and apparel, energy, farming, education, healthcare, and so on.
Burhan ud din Khateeb | Graduation project | 2015
INSPIRATIONAL STORY OF SINGGIH S. KARTONO One of the most inspirational figures
that i could relate to is Singgih S. Kartono. For one of my classroom projects i made a wooden speaker and after the presentation professor Praveen Nahar came up to me and told me if i knew about Magno wooden Radio. When i did some research about Magno and the concept behind it, i directly could connect to it and knew that i wanted to do something like that in India. He not only talks about sustainable design but practices sustainable design. Here is his story in his own words:
During my final years at university, I was troubled by a very big question: “Where should I go and what should I do after I graduate?” Should I work as an in-house designer, for a design office, somewhere in the city or should I go back to my village Kandangan in Central Java And set up a business? After I graduated, I did not straight go back to Kandangan to start a business, but eventually, I did. I returned and started a business without any precise financial calculations or preparations. The lack of planning was actually a blessing. If I had been prepared in detail, Magno would not have been born. The community’s concern about the slowing down and deterioration of Kandangan’s village life has prompted me to use my knowledge, skills and experience to strengthen this village with the output of my business. I am thankful that my knowledge in ‘product design’ has proven to a successful ‘weapon of survival’ that enables me to endure and grow in Kandangan.
Product Design | Bachelor of Design | National Institute of Design
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Due to the lack of money and the long distance between the university and Kandangan, I was only able to visit twice a year. The long periods of time between each visit enabled me to clearly observe the changes in my home village. At first glance, these changes were seen as a ‘progress’. But when I looked more closely I concluded that it was only the ‘surface’ which experienced change. The basic structure of the village did not undergo any changes; moreover, some was actually deteriorating. In the agricultural sector for example, traditional farming has always been the economic backbone for the majority of villagers. It took the worst hit. Whatever the government did within this sector, it was never for the further development and enhancement of traditional farming.
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Burhan ud din Khateeb | Graduation project | 2015
The government constantly came up with ‘modern and instant’ ways of agriculture and farming, which were unsuitable for the community. These included intensified farming, man made fertilizer promotions, GMO seeds that were imported and the government funded loan scheme for farmers. In the end, the government efforts did not pay off. Furthermore, these efforts actually did severe damage to existing farming methods as well as village and community life. Having lost their farms, many were forced to find jobs in the city or to stay in the village with only the bare minimum for survival or to find new sources of income around the village. The latter activities usually ended up exploiting the forest and nature.
ECO DESIGN “Craft is an alternative economic activity that has the potential to be developed and to grow in villages. It has characteristics that are suitable for villages’ living conditions and growth prospects. These characteristics are that it is labor intensive, requires low technology and investment and abundance of local material input.�
Product Design | Bachelor of Design | National Institute of Design
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connecting the dots The story of Magno is a great example of sustainable product design. It also gives an idea of the huge potential that exists in the area of crafts. At this point i spoke to my guide and i expressed my interest in the area of ecodesign and handicrafts and he suggested that i work with Indian handicrafts and find out what the possibilities are.
handicrafts eco design
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Product Design | Bachelor of Design | National Institute of Design
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Burhan ud din Khateeb | Graduation project | 2015
going back to the roots Inspired, I decided to go back to my roots and work in the field of handicrafts. I planned a journey via Rajasthan which is very rich in crafts culture, stopping at various places to get an better understanding to the Indian context.
Product Design | Bachelor of Design | National Institute of Design
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In Udaipur, I visited Shilpgram which is aimed towards the upliftment of the crafts belonging to the western part of the country. Artists and craftsmen from the different parts of Gujarat, Maharashtra and Rajasthan gather here to showcase and sell their work. The design of the space has traditional roots and the entire space is filled with folk music art and handcrafted products.
Selfies taken at various places
Visit to Indian institute of Crafts & Design
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Burhan ud din Khateeb | Graduation project | 2015
In Delhi I visited Dastkar Design fair. Dastkar facilitates Indian crafts in many different ways, be it marketing or product development techniques Dastkar is trying to tackle many aspects of this problem at a national level. I met Laila Tayabji who is involved in the arts and craft moment. Discussing my concerns with her revealed the existence of a CoTK which was aimed at uplifting the craftsmen from Kashmir. There are other initiatives like this across the country which indicate the interest of the government and the non-government towards the preservation of culture and tradition. Attending Dastkar Desing fair
One of the stalls at the fair
Product Design | Bachelor of Design | National Institute of Design
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Burhan ud din Khateeb | Graduation project | 2015
Introduction to handicrafts Indian handicrafts scenario
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The Artisan The value chain Challenges faced What is being done Government Initiatives Private sector initiatives Work by non profits What works
Product Design | Bachelor of Design | National Institute of Design
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After reaching home I did some initial research about the handicrafts industry of India. I came across a lot of articles, online about handicrafts of India but a particular study done by Dasra in 2011 titled “Crafting a livelihood: building sustainability for Indian artisans�gives an overview of the sector and suggests some key areas where design can be of immense help.
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Burhan ud din khateeb | Graduation project | 2015
HANDICRAFTS With the advance of the industrial age and the subsequent emergence of the knowledge economy, the crafts got marginalized in the economy. Traditional crafts were just that, traditional, therefore history and only interesting as part of (cultural) heritage. Utilitarian crafts (think of plumbers, house-painters, roof-workers, dental technicians and so on) continued to do their thing, but such work, at least that was the reigning impression, was intended for those who cannot do the intellectual work that a knowledge economy calls for. The educational systems in developed countries sanctified intellectual intelligence and looked down on manual skills. In the arts conceptual innovation had overtaken craftsmanship as the core competence.
All this is about to change. The creative economy increasingly calls for skills that are characteristic for craftsmanship. This shows in a trend in consumer culture that stresses authenticity and quality. Craftsmanship is to meet such preferences. Craftsmanship furthermore satisfies the need for meaningful work. Mastery provides a sense of self-worth. Politicians, therefore, are speaking about the importance of craftsmanship, and artists are reevaluating the craft in their work.
Product Design | Bachelor of Design | National Institute of Design
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MEANWHILE IN INDIA India’s industrialization and participation in the modern world economy is decades old. Nevertheless, millions of Indians still depend on indigenous modes of production, traditional skills and techniques to make a living based on handmade products.
Benefits of handicrafts
The Artisan
indian handicrafts Value chain
challenges faced
These craftspeople or artisans are the backbone of the non-farm rural economy, with an estimated 7 million artisans according to official figures (and upto 200 million artisans 1according to unofficial sources) engaged in craft production to earn a livelihood.
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Burhan ud din Khateeb | Graduation project | 2015
Benefits of handicrafts 1. ECONOMIC OPPORTUNITIES
2. Environmental Benefits
3. Social Empowerment
Employment and income: The crafts sector has the potential to provide stable employment and income generation to diverse communities and to those with different levels of education.
Low energy requirement: Production processes used in crafts typically have a low carbon footprint and promote the use of locally available materials as well as natural and organic materials where possible.
Women’s empowerment: Crafts production represents an opportunity to provide a source of earning and employment for otherwise low skilled, home-based women, improving their status within the household.
Migration: Promoting hand production in rural areas can effectively check migration of rural labor to urban centers and prevent loss of skills
Economic growth: The global market for handicrafts is USD400 billion, of which India’s share is below 2%, 3representing a tremendous growth opportunity.
Return for future generations: Investing
in artisans leads to a trickle-down effect of improving the health and education outcomes for future generations of the most marginalized populations.
Competitive advantage: Artisans can
serve as key drivers of specialization and competence in precision manufacturing, similar to Japan and Korea.
• Handicrafts embody India’s history and diversity: Over many centuries, an extraordinary legacy has nourished Indians crafts across religious, ethnic and communal boundaries. They highlight the country’s unique cultural mosaic and offer a powerful tool for pluralism and co-existence. There is an urgent need for philanthropy to realize the economic potential of the crafts sector by investing in high impact scalable models that have the potential to strengthen livelihoods in a sustainable manner.
Product Design | Bachelor of Design | National Institute of Design
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the artisan Broadly, artisans are divided into the following categories with a rigid hierarchical division of labor between more and less skilled artisans in a particular craft : -Skilled master craftsman -Wage-worker -Fully self-employed artisan -Part-time artisan An estimated 63% of artisans are self-employed while 37% are wage earners.
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Traditional knowledge and craft skills are passed down from one generation to another, so that whole families and communities are engaged in production. An estimated 71% of artisans work as family units and 76% attribute their profession to the fact that 10they have learnt family skills. It is important to note that most official figures count only the head of the production unit and wage earners in official figures, leaving out the 5-6 family members who are also dependent on crafts for sustenance, thus creating an incomplete understanding of the sector’s size and importance.
Burhan ud din Khateeb | Graduation project | 2015
The vast majority of artisans operate in informal work settings. In fact, according to one study done in 2001 only 9% of craftspeople benefited from formalized employment, while 42% worked out of their 11homes. Most artisan production units tend to be micro enterprises. In fact, 39% of artisans incur production 12expenditures of less than INR 12,000/ USD 215 a year and only 19% spend above INR 50,000/ USD 900 a year. Typically artisans sell their products to diverse markets including local markets, city outlets, private agents, wholesalers or retail traders and exporters.
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value chain 1. Organisation
2. Procuring Raw Materials
Artisans are usually structured into groups through informal contracts between traders, master artisans and low-skilled artisans. More formal systems of artisans’ organization involve 13four main types of entities: -Self Help Groups (SHGs) are set up with the help of external technical intermediaries such as non profits or through Government schemes, and typically comprise 10-20 artisans, usually women. SHGs serve as a form of social collateral, enabling artisans to establish linkages with input providers such as raw material suppliers, micro-finance institutions and banks, and downstream players such as aggregators and retailers. -Mutually Aided Co-operatives (MACs) are created to provide artisans with a platform for equitable participation. Legislated at the state Government level, MACs enable artisans to pool funds as equity and own their production units. However, due to strong Government influence, this structure has failed to gain popularity in most states other than Andhra Pradesh and Kerala.
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-Producer Companies were created as a for-profit legal entity in the Companies Bill in 2002 to enable primary producers to participate in ownership and contribute equity. -Private Limited Companies are forprofit legal entities that allow artisans to participate in ownership as shareholders, while enabling external funders to invest capital. However, most artisans continue to work independently as there is a widespread lack of awareness about the advantages of being organized into the above forms.
Burhan ud din Khateeb | Graduation project | 2015
Traditionally, raw materials used by artisans were widely available due to the close linkages between evolution of crafts and locally available materials. Further, the Jajmani system, which consisted of a reciprocal relationship between artisan castes and the wider village community for the supply of goods and services, provided artisans with access to community resources. However, with the breakdown of these traditional structures, along with competition from organized industry, artisans find it challenging to buy quality raw materials at affordable prices. In the absence of raw material banks, they are often forced to rely on local traders who provide them with raw materials against orders, albeit at high prices, or switch to nontraditional raw materials.
3. Production
4. Aggregation & Trade
5. Markets
6. Demand
Although techniques and processes vary widely from one craft to the next, crafts production generally takes place in households, with multiple family members engaged in different aspects of the process. Even where organized artisan structures exist, artisans typically produce within community settings. Production is generally seasonal, with crafts activity being suspended during harvest season, as most artisans are also engaged in agriculture to supplement their livelihoods.
Aggregation involves bringing together products from decentralized production units to enable economies of scale in transportation, storage and retail. Due to the dismal status of infrastructure and communication in India, aggregating products is a challenging task, and leads to many of the bottlenecks in the crafts supply chain today. Buyers and retailers lack incentives to overcome upstream, supply-side issues, which results in a loss of opportunities for artisans to access markets.
The markets for the craft products can be broadly understood as local, retail shops - high-end as well as mainstream, exhibitions and exports. Among these, local markets are still 14the common markets for many artisans. The contemporary markets, domestically as well as internationally, have grown with an expanding demand for ethnic products that have a story linked to them. However, these products are in low supply due to supply chain inefficiencies.
With the advent of globalization and the availability of cheaper and more varied products, crafts face severe competition in contemporary markets. They are typically perceived as traditional, oldfashioned and antithetical to modern tastes. There have been limited efforts to reposition the image of crafts and build consumer appreciation of the history and cultural identity associated with handmade products. In addition, there are few instances of traditional crafts being “contemparized� to fit with changing consumption patterns.
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challenges faced 1. Low Productivity
2. Inadequate Inputs
The sector’s informal nature and the low education of most artisans create issues such as:
Unorganized Production- As a largely unorganized sector, handicrafts faces problems such as a paucity of professional infrastructure such as work sheds, storage space, shipping and packing facilities. Low Education- Many crafts require the entire household to participate in production in some capacity. For example, in weaver households, women and girls traditionally undertake warping of the yarn, winding the thread onto bobbins, and share with men the task of starching the thread. In many cases, crafts also serve as a seasonal source of income for agricultural households. This means that
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children miss school, resulting in low education levels for the family overall. The lack of education makes it difficult to manage inventory, access Government schemes and market information and bargain with traders and middlemen. It is estimated that in 2003 around 50% of household heads of crafts producing families had no education whatsoever, and more shockingly, around 90% of the women in these households were completely uneducated. Outdated Production Methods- Artisans may also lack the financial capability to upgrade technology in production, or undergo necessary training on a regular basis, as would be available to them in a formal work setting. This compromises the quality of their products and raises the cost of production.
Burhan ud din Khateeb | Graduation project | 2015
Lack of Quality Raw Materials- Rural artisans often lack access to quality raw materials. Due to the low volumes required, they have low bargaining power and are forced to buy sub- standard materials at a higher price. In crafts such as weaving, hand-loom weavers have to compete with the power loom industry for high quality raw materials, which are more easily accessible to the power loom industry as a result of Government subsidies. Further, many raw materials used commonly by craftspeople such as wood, cane, silk, scrap and virgin metal are become increasingly difficult to acquire. The costs of some of these materials are rising faster than the wholesale price index. Lack of Funding- Craft producers suffer greatly from lack of working capital and access to credit and loan facilities. Often, producers are unable to fulfill bulk orders because they lack the capital to purchase raw materials, and simultaneously support their family’s living needs while the order is being executed. While there
Product Design | Bachelor of Design | National Institute of Design
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3. Information Asymmetry are several Government schemes intended to fill this gap for artisans through institutions such as National Bank for Agriculture and Rural Development (NABARD) and Small Industries Development Bank of India (SIDBI), it is difficult for the uneducated artisans to access these programs and manage the necessary collateral or funds for bribes. Banks cite poor recovery rates, wrong utilization of funds, lack of marketing facilities for finished products and lack of education on part of the borrowers as reasons for the low proportion of loans made to artisans. In general, this forces artisans to borrow from their local moneylender or trader at high interest rates. The All India Debt and Investment Survey (2002) showed that the proportion of money borrowed by rural households from money lenders rose by over 10% from 1617.5% in 1991 to 29.6% in 2002 Artisans’ financial weakness also hampers their ability to sell - they have low bargaining power at the marketing point and are forced to sell to buyers at a low price in order to recover costs and support themselves.
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Design Inputs- In most traditional societies, design evolved in the interaction between the artisan and the consumer. Further, the artisan was aware of the sociocultural context of the consumer, and could thus design products that suited their needs and tastes. Due to the breakdown of the historic artisanconsumer relationship, and the increasing urbanization and globalization of markets for crafts, artisans have difficulty understanding how to tailor their products to changing demands. The artisan may not speak the same language as the consumer, both literally as well as metaphorically. An example of this includes women in SEWA’s craft cooperatives who design block printed table napkins and mats, but may have never used these products themselves.
Burhan ud din Khateeb | Graduation project | 2015
Due to their low education, artisans often cannot identify potential new markets for their products, nor do they understand the requirements for interacting with these markets. This reduces their understanding of the market potential of their goods, the prices of their products in different markets, Government schemes instituted for their welfare and diversification
4. Fragmented value chain Lack of Market Linkages- While
consumers of crafts products are increasingly becoming urbanized, crafts continue to be sold through local markets; artisans have few opportunities to reach new consumers through relevant retail platforms such as department stores and shopping malls. Further, due to their rural orientation, artisans are often unable to access training and technology to supply their products to online markets.
Dominance of Middlemen- Although middlemen are necessary to enable effective market linkages, they often, if not always, exploit artisans by paying them a fraction of their fair wages. This may be due to lack of information on the part of middlemen about true manufacturing costs, or merely due to their ability to coerce artisans, who often lack bargaining power.
5. Lack of an Enabling Environment Lack of Aggregation- Crafts production
typically takes places in scattered clusters in rural areas, while markets are usually in urban centers. Currently, there is a lack of organized systems to efficiently aggregate goods from small producers, carry out quality checks, store approved goods in warehouses, and supply them to wholesalers and retailers in urban areas. In lieu of this, retailers have to directly source from select producers, which is often not viable in the long run, resulting in the loss of a large percentage of the market for artisans.
Neglect by Central and State Governments- Rural artisans are neglected by both Central as well as State Governments, as is evident in the lack of available records regarding their numbers and socioeconomic status. The Government views the sector as a sunset industry, no longer relevant in India’s technology- driven economic growth. Thus, schemes designed for artisans tend to have low priority in terms of execution and assessment. Within crafts, the Government’s priorities are skewed towards the export market, with 70% of its crafts budget going towards development of environments to enable 17export. Further, the fact that the crafts sector falls under the purview of 17 different Government ministries, ranging from the Ministry of Textiles to the Ministry of Women and Children, results in confusion and inaction.
Product Design | Bachelor of Design | National Institute of Design
Lack of Interest by Second GenerationRural youth are increasingly disinterested in continuing their family craft traditions, for three main reasons. First, having seen their parents struggle to find markets and fair prices for their products, they are inclined to pursue other trades. Second, the school system today does not integrate lessons regarding the importance of crafts into the school curriculum, and instead students are pushed towards white collar office jobs, even if they are lower paying. Finally, crafts are strongly associated with a family’s religion. In many cases, such as leather work, artisans are ostracized for being from the lowest caste, which further dissuades rural youth from joining the family trade.
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What is being done? The Indian Government, the private sector and the non profits are each involved in the sector but their roles have evolved in silos, with little specialization and much duplication. Since independence, the Indian Government has created a number of institutions, schemes and welfare programs for the crafts sector. However, on a policy level there has been no concerted and cohesive effort to address the challenges faced by the crafts ecosystem, with most governmental offerings mired in bureaucracy and inefficiencies. Simultaneously, the private sector has contributed to uplifting artisans through different market-led efforts made by retail chains, high end-fashion designers and a relatively more recent wave of social businesses. Non profits have been particularly active in the crafts space since the early 1960s and have evolved numerous models to improve artisan livelihoods
Government Programs Although Government-led initiatives are often criticized, it cannot be denied that India is in a much more fortunate situation today in the preservation of its crafts than most other nations because of Government efforts immediately following Independence. During this period, the Government placed great emphasis on rural artisans, setting up the All India Handicrafts Board in 1952 to study the technical, organizational, marketing and financial aspects of crafts and design measures for improvement and development of crafts. The impetus for these efforts came in part from Mahatma Gandhi’s legacy of the Swadeshi movement and preserving cottage industries as a symbol of India’s diversity and unity as a nation-state. Pioneering efforts were made to provide marketing
support to artisans, and make regional crafts available at a national level through state-run emporiums. With industrialization becoming a foremost national priority in the 1960s and 1970s, the Government came to view crafts as more of a “sunset industry” and began to focus mainly on welfare schemes rather than approaching it as a sector capable of contributing to India’s economic growth. Several divisions were made between State and Central Government responsibilities, and separate administrative bodies were set up for Khadi, Handloom, Handicrafts, Silk, and so on, all of which contribute to inefficiencies and inertia in policymaking for the sector today. At present, crafts are almost artificially bifurcated into Handicrafts and
Handlooms, with two separate Development Commissioners in charge of each under the ministry of Textiles. In addition, 16 other ministries have crafts within their purview, including the Ministry of Agro and Rural Industries, Ministry of Tribal Development, Ministry of Rural Development and the Ministry of Women and Child Development. These bodies have often been pitted against each other on issues such as power loom versus handloom production, anti-dumping duty on foreign silk yarn to protect the interest of silk rearers versus removal of duty for handlooms and power looms and interest of petty traders versus greater control for home-based producers, leading to inefficiencies and policy juggernauts.
“Although Government-led initiatives are often criticized, it cannot be denied that India is in a much more fortunate situation today in the preservation of its crafts than most other nations because of Government efforts immediately following Independence.”
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Burhan ud din Khateeb | Graduation project | 2015
Despite these challenges, the majority of Government funds have been utilized in the following areas, largely with the support of non profits working in the sector:
Welfare
Government efforts in the crafts sector are often designed with the intention of largescale poverty alleviation. Schemes such as the Rajiv Gandhi Shilpi Swasthya Bima Yojana and the Janshree Bima Yojana for Handicrafts Artisans, under which artisans in the age group of 18-60 receive health and life insurance in association with the Life Insurance Corporation of India for themselves and three dependents, provide some social security.
Market Linkages
One of the most widely lauded efforts of the Government in the crafts sector has been the establishment of Dilli Haat, an open-air crafts bazaar in the national capital modeled on a traditional village market where artisans from around the country can rent space and display their wares for two weeks at a time. Set up in cooperation with Dastkari Haat Samiti, a non profit organization that works with artisans across the country, Dilli Haat has provided artisans with muchneeded market linkages and access to consumers. In addition, the Development Commissioners for Handicrafts and for Handlooms run a number of emporiums across the country, which are retail outlets for crafts from different regions.
Capacity Building
In recent years, the Government has moved its focus towards sustainable development of crafts through the participation of artisans. Capacity building efforts such as the Artisan Credit Card scheme and the Baba Saheb Ambedkar Hastshilp Vikas Yojana scheme are generally led by the Development Commissioner of Handicrafts. Efforts include skills development, technological intervention, design and marketing support and reviving languishing crafts. The Development Commissioner for Handlooms runs Weavers Centers in many parts of the country along with the National Center for Textile Design to provide market- based design input for handloom weavers.
Product Design | Bachelor of Design | National Institute of Design
Awards
Each year, the Ministry of Textiles recognizes the work of several master craftspeople through the distribution of national awards. These are highly coveted accolades that enhance the reputation enjoyed by master craftsmen and function as a quality approval of sorts. For Government efforts to have the maximum impact, Government bodies implementing programs need to be reformed and a policy environment more conducive to greater participation and specialization by different stakeholders needs to be created.
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Private Sector Initiatives The private sector has been the main conduit for crafts with over 95% of crafts production taking place through some form of private enterprise. Broadly, private involvement in the crafts sector is of four types: Traditional Intermediaries: Historically, private involvement in the crafts sector has been dominated by master craftsmen, traders and exporters who aggregated production, provided market linkages and offered financing mechanisms to artisans. Although not always the case, these relationships have often been exploitative to the artisan, who realized little of the value of his products.
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Design Entrepreneurs: These include high-end fashion houses that have imbedded traditional crafts in their collections. Designers such as Ritu Kumar, Tarun Tahiliani and Manish Malhotra have worked closely with master craftsmen to create product offerings for high-end domestic and international markets. However, none of these efforts have placed crafts distinctly at the center of their enterprises but rather integrated crafts into their work. Their impact on promoting crafts has therefore been largely indirect. Other fashion designers such as Anita Dongre have created a distinct crafts-based collection, Grassroots, that aims at marketing clothing that promotes the skills and knowledge of traditional artisans, and has been made using organic materials and eco-friendly processes.
Burhan ud din Khateeb | Graduation project | 2015
Mainstream Retail: There have been a few successful examples of craftsbased businesses, which have not only contributed to improving numerous artisans’ livelihoods but have also provided unique blueprints for future market-based endeavors. However those that exist are success stories that need to be more systematically replicated. Social Businesses: These are a more recent wave of businesses that have originated out of non profits or hybrid models that combine social and commercial goals
The Role of Mainstream Retail While relatively few, a handful of retailers such as FabIndia, Anokhi and Contemporary Arts and Crafts have played a pivotal role in keeping crafts relevant and linked to contemporary consumers. These companies have developed socially conscious business models wherein they work closely with artisans and ensure that they are equal stakeholders in the business. Due to their relatively well-organized supply chains and focus on profitability, they are able to provide consumers with quality products better suited to urban tastes as compared to subsidized crafts available at Government-run emporiums. The success of these models has been built on the zeal of their founding members, who have overcome challenges in the crafts value chain through innovative strategies that not only ensure bottom-line growth for businesses but also fair and consistent wages to artisans. These models include:
Fabindia
founded by John and Bissell in 1960, India’s largest private crafts business that has taken tradition techniques, skills and hand-based processes to global markets. The company has been recognized worldwide for its socially responsible business model that links over 80,000 craft producers to markets. This has been achieved through its innovations in supply chain management through Community Owned Companies (COC), which serve as intermediaries and are owned by communities. Artisans form a significant part of the shareholding of these companies. Fabindia’s supply chain (in the chart below) consists of numerous backward and forward linkages in a multi-layered supply chain from suppliers or artisans to FabIndia stores. These linkages ensure that products sold cater to consumer tastes, a quality standard and timely delivery. The multi-layered supply chain ensures that each group’s strengths are leveraged efficiently.
Anokhi
Founded by Faith Singh, is a clothing chain well known as an alternative role model for good business practices, and the ongoing revival of traditional textile skills. The company works closely with the Jaipur Virasat Foundation that provides capacity building inputs to artisan suppliers on design, techniques, quality control and enterprise development. In addition, the foundation works in other areas of Rajasthan’s cultural industries such as folk art, music and dance to promote livelihoods and preserve heritages.
Product Design | Bachelor of Design | National Institute of Design
Contemporary Arts and Crafts (CAC)
Founded by Vina Mody and run in partnership with Feroza Mody, is a boutique retail outlet that provides unique and rare craft products to urban consumers. CAC’s success is based on its strong relationships with artisan communities in Gujarat and Rajasthan from where products are sourced. The CAC team invests significant time in understanding craft products and working with artisans to create outputs that will be appreciated in urban markets. In addition to these efforts, stores such as Shopper’s Stop and Lifestyle have expanded their selections of handmade products and ethnic wear, providing much needed market opportunities for the crafts. However, for a deep and sustainable impact on the artisan, retailers and mainstream businesses need to leverage their business acumen in tackling supply chain issues and creating a larger demand for these products.
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The Role of Social Businesses The emergence of the social business model has provided a new opportunity to revive the sector. With their emphasis on the end consumer, social businesses have a greater incentive to bring in efficiencies in quality control and production management, which are often lacking in non profit organizations. Pre-production, social businesses may offer access to quality inputs, equipment, financing and training. Post-production, they improve market linkages through procurement, storage, transport and retail. Social businesses achieve this by focusing on three main areas, which essentially sets them apart from non profits:
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Supply Chain Efficiencies:
Given the scattered and home- based nature of crafts production, enterprises often face challenges in ensuring a regular supply chain for their products. Social businesses have focused on fixing the rural supply chain for crafts, either by filling in missing or weak links in the value chain through their own operations, or by establishing creative partnerships with non profits, Government bodies, corporations and community groups.
Burhan ud din Khateeb | Graduation project | 2015
Artisans’ Ownership:
The advantage of functioning as a business rather than a non profit in the crafts space is the ability to involve artisans as owners by giving them shares in the company. This ownership brings with it an increased sense of responsibility and efficiency, which is sometimes difficult to achieve in a non profit. In this way artisans are not only vested in the company’s growth but also financially benefit from it through issue of dividends.
Market Linkages:
Due to their focus on standardization and supply chain management, social businesses are in a better position than non profits to create and maintain links between artisans and markets - domestic as well as international. Corporates typically prefer to partner with social businesses to bring crafts products to market due to more efficient processes in the company. This ownership brings with it an increased sense of responsibility and efficiency, which is sometimes difficult to achieve in a non-profit. Further, in this way artisans are not only vested in the company’s growth but also financially benefit from it through issue of dividends. The biggest advantage faced by social businesses is their ability to raise capital from artisans in the form of shares, as well as external investors such as venture capital funds and corporates. In recent years, businesses in the crafts sector have attracted funding from impact investors such as Avishkaar, Grassroots Business Fund and Villgro, who invest in social enterprises with the dual expectation of social impact and financial returns.
Examples of successful social businesses in the crafts sector include: Rangsutra- Enabling Artisans to Own a Share of their Crafts: Rangsutra was set up as a company of artisans, all of them shareholders, from remote parts of the country. It seeks to be a bridge between “artisans and customers, tradition and contemporary, and change and continuity” and ensures a fair price to the producer and quality products for customers. It currently has 1,100 shareholders and has attracted investments from Avishkaar and Artisan Microfinance Private Limited (AMFPL), a subsidiary of Fabindia.
Industree- Linking Artisans to Mainstream Markets: Industry, a social enterprise that connects rural producers to urban markets has been able to rapidly scale up operations through equity investment by Kishore Biyani’s Future Group. This has enabled them to set up a retail brand called Mother Earth, and increase the number of clusters from whom they source crafts as well as provide artisans an opportunity to link to mainstream urban markets.
Product Design | Bachelor of Design | National Institute of Design
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Support from Multi-lateral Agencies and Foundations The international development community and private foundations have been pivotal in providing support to many non profits working in the crafts sector. United Nations agencies such as UNESCO have provided platforms for sharing best practices, research and documentation such as the Jodhpur Symposium. These initiatives have typically focused on project design and building frameworks to build a movement that strengthens creative and cultural industries. Others such as the World
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The Evolution and Role of Non Profit Interventions Bank channel funding to crafts organizations. A number of private foundations such as Aid to Artisans, Sir Dorab Tata Trust and the Ford Foundation provided long term grants to crafts non profits to scale their impact. Innovative approaches include Friends of Women World Banking’s funding strategy of credit provision to artisans through non profits. Together these efforts have helped sustain non profits’ work and strengthened models creating an impact on artisans incomes.
Burhan ud din Khateeb | Graduation project | 2015
Non profit organizations have been the strongest supporters of the craft industry, both in terms of livelihoods promotion as well as cultural preservation. Following post-independence industrialization, the crafts industry was no longer viewed as an economic priority by the Government, which created a void in terms of support and finance available for the sector. A number of non profits were established in the 1970s and 1980s to fill this void and enhance the sustainability of artisans livelihoods. Many of these were run with the help of volunteers and were able to grow and thrive under a strong, charismatic leader with a clear vision for the sector. Most non profits functioning in the crafts space today are registered as trusts, societies or Section 25 companies. They are broadly of two types, based on their scope of work:
Producer Groups: A majority of non profits in this space work directly at the grassroots level, organizing crafts producers into collectives to realize various economies of scale in financing, marketing and product development. Examples are URMUL, Kala Raksha and SEWA Ahmedabad. Apex Organizations: These focus on enhancing the sector by providing services ranging from design interventions to market linkages to groups of producers, who typically serve as part of their membership base. They vary in scale and level of outreach from national to state to local levels. Many apex organizations are well-positioned to act as a bridge between producer groups and Government bodies, both by channeling information regarding relevant Government schemes as well as by influencing Government spending. Prominent examples are Dastkar, AIACA,
Dastkari Haat Samiti and Sasha. Non profit approaches have evolved significantly in two main areas: focus of the model and financial sustainability. Most non profit groups have focused on all parts of the value chain from organizing artisans to marketing products, largely due to a lack of other players specializing in certain areas. This has resulted in limited capacity to scale their operations. Fresher non profit approaches focus on one or two parts of the value chain such as aggregation or working closely with artisans’ groups. Further, there has been a realization in recent years that traditional grant funded projects for creating crafts production structures have not succeeded in establishing commercially sustainable structures. Newer non profits have attempted to embrace this change in perspective by incorporating fee-based enterprise development projects into their scope of work, others have spun off business models that target aggregation and marketing, while the non profit focuses on building artisan capacity.
Product Design | Bachelor of Design | National Institute of Design
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what works Most scalable intervention Institutionalized Training Artisan Welfare Awareness Campaigns
Training of Trainers
Conducting Research and Dissemination
Certifying Products
Strengthening Artisans’ Capacity
Influencing Government
Technological Innovation
least impactful intervention
Improving Product Design
Strengthening Artisans’ Capacity
Providing market linkages
Building an HR base
most impactful intervention
Financial mechanisms Cluster Development Access to raw materials
least scalable intervention -Informantion Source : “Crafting a livelood”, Dasra, 2013
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Burhan ud din Khateeb | Graduation project | 2015
After having a look at this data one gets an idea of the of the problems in the sector of handicrafts which are multi-faceted and highly complex. There are several organizations that are working in this area and trying to solve the problems but a lot more work needs to be done in different areas ranging from design to marketing.
From the graph it becomes clear from the graph that improving product design is one of the most impactful and most scalable intervention that can be made in the area.
Product Design | Bachelor of Design | National Institute of Design
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Kashmir CDI
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Primary research Field research Paper Mache Walnut wood carving Willow wicker Pinjrakari Pottery Copper work Narrowing down on Paper mache
Product Design | Bachelor of Design | National Institute of Design
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KASHMIR History
Kashmir archaically spelled “Cashmere”, is in the northwestern region of South Asia. Until the mid-19th century, the term Kashmir geographically denoted only the valley between the Great Himalayas and the Pir Panjal mountain range. Today, it denotes a larger area that includes the Indian administered territories of Jammu and Kashmir (which consists of Jammu, the Kashmir Valley, and Ladakh), the Pakistan administered territories of Kashmir and Gilgit–Baltistan, and the Chinese-administered regions of Aksai Chin and the Trans-Karakoram Tract. In the 3rd century BC, the Mauryan emperor Ashoka sent Buddhist missionaries to the region and it is they who estab-
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lished Srinagar (literally ‘The Happy City of Beauty and Knowledge’), the current capital of the state. The Karakota dynasty consolidated their power in the region during the 7th century, thus bringing Kashmir under Hindu dominion. Kashmir’s location on the Silk Route of Central Asia ensured a steady stream of artistic and cultural interaction with various trading communities—Persian, Chinese and Mediterranean—who passed through it. This influx of stylistic influences is apparent in the syncretism of Kashmiri art; it derives from sources as varied as the serenity of the Gandhara sculptures and the stylization of the Persian court.
Burhan ud din Khateeb | Graduation project | 2015
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“If there is a paradise on earth, it is here, it is here, it is here.� - Amir Khusrau
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Burhan ud din Khateeb | Graduation project | 2015
The Persian influence was further highlighted during the rule of Zain-ul- Abadin, a local prince who was forced into exile in Persia by Timur in 1398. The prince returned to his homeland in 1423 accompanied by various skilled craftsmen who introduced and developed the crafts we associate today with Kashmir. The foreign craft traditions fused together with the indigenous craft practices and forged an artistic vocabulary reflective of the environment they were produced in. For example, the chinar (oriental plane), sarav (cypress), dachh (vine), sosan (iris), pamposh (lotus), sumba (hyacinth), yambarzal (narcissus) and the dainposh (pomegranate) motifs recur throughout the range of crafts, thus lending a uniquely Kashmiri character to the products they adorn. Under the Mughal emperor Jehangir, the crafts of Kashmir, especially that of carpet weaving, received generous patronage. The Mughal influence may also be seen in the gardens of Srinagar, their summer capital, and in the car- pets which reflect the geometrical layout of these ‘Gardens of Paradise’ that are based on the Persian Chahar Bagh design.
However, post 1989, the performance of this sector also deteriorated The impact of insurgent movements across the globe has been colossal especially from economic point of view and there has seldom been any sector of life which has not been impacted. The valley of Kashmir which witnessed the birth of militancy in the early 1990’s too witnessed its consequences in the different spheres of life be it Education, Art and Architecture, Arts and Crafts, Small- Scale Industries, Trade and Commerce and so on.
Today handicraft industry occupies an important position in the economy of J & K and provides employment to more than 3 lakh people. It is heavily dependent on tourism for its survival because this sector is linked to the tourist arrival. Tourists often purchase the world famous Kashmiri carpets, shawls and crewel embroidery. Besides, paper mache items, wooden art-ware and Kashmiri rugs have also been fancied by tourists who love to take them home as souvenirs.
The handicraft industry occupies an important position in the economy of J & K and provides employment to more than 3 lakh people.
Product Design | Bachelor of Design | National Institute of Design
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Craft Development Institute CDI, Srinagar is an autonomous Institute established by the office of DC-Handicrafts, Ministry of Textiles, Government of India and the Department of Industries & Commerce (Directorate of Handicrafts), Government of Jammu & Kashmir. Established in February 2004, CDI is managed by an Executive Committee headed by the Principal Secretary (Industries & Commerce), Government of Jammu & Kashmir. The mandate of CDI is to be catalyst in transforming the regional as well as the national craft sector, through Innovation, Education, Research and Training and by introducing fresh approaches to development, revitalizing traditional craft concepts and cultivate visionary leadership through providing platforms for interaction and exchange. The scope of CDI, is multi-dimensional. The institute extends support to the artisans, to become integrated with the mainstream requirements of quality and production as well as assist the industry in strategic understanding of contemporary trends, market requirements on issues of standards, quality certification and compliances.
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CDI’s involvement with the handicraft sector and its very real contribution to the revival of regional handicrafts has attracted the attention and appreciation at national and international level. The Institute has developed a substantial network with prominent organizations. The growing number of visitors and faculty from around the world is testimony to CDI’s ability to bridge the past, present and future of handicrafts with openness, innovation and complete professionalism. The Institute has a core faculty and technical staff which anchors and coordinates its ongoing programmes, bringing a range of multi-disciplinary inputs & a rich experience base to its activities. I wrote a letter to the Director CDI about my project and the help i would need from the institute. I was given permission to use the facilities of the institute for the project duration.
Burhan ud din Khateeb | Graduation project | 2015
Product Design | Bachelor of Design | National Institute of Design
Primary research Documented work at CDI
CDI, since its inception in 2004 has documented several different crafts existing in the Kashmir valley. The documents that have been made are a result of several student as well as institute projects and are organised in the institute library in the form of books, papers and documents. So the first thing i did was going through the documented material. It gave me a fair idea of the range of crafts being practiced in the valley and the work done in those crafts over the past decade.
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Being from a product design background some crafts appealed to me more than the others. Some of the crafts that interested me included -Paper Mache -Walnut wood carving -Willow wicker -Pottery -Pinjrakari -Copper work Going through the documents only added to the curiosity of going and meeting the craftsmen, seeing them one with the material and going through the process of handcrafting products.
Some of the outcomes of the work done by designers at CDI
Product Design | Bachelor of Design | National Institute of Design
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field research To have a better understanding of the system, a deeper, more personal study of the life of the craftsmen had to be done. Yasir Sir and Akther Sir at CDI helped me contact the craftsmen and set up meetings, following which i studied different crafts over the next few weeks.
geo tagging of artisans I thought it would be a good idea to geo-tag the locations of the artisans. This geo-tagging can be made open source and will become an open database for people who want to reach out to the craftsmen and also for craftsmen to attract potential customers and interested people. Google maps was used to do the geo-tagging.
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Burhan ud din Khateeb | Graduation project | 2015
Product Design | Bachelor of Design | National Institute of Design
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field notes
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Burhan ud din Khateeb | Graduation project | 2015
Paper Mache The craft, known by the French term papier-mâché (literally paper pulp), is locally known as kar-e-kalamdani, pen case work, after its traditional Iranian name. Papier-mâché was practiced as a form of decoration executed on the wooden panels of walls and wooden furniture and was eventually adapted to paper molds as well. Trays, small boxes and book covers were made for royal patrons and members of their courts. The two major processes involved in the craft are sakthsazi (mold
making) and naqqashi (painting). The naqqash renders the surface in intricate floral patterns or highly stylized scenes of hunts and battles. In the case of floral motifs, the painting may be executed entirely in gold or silver. The local term for gold or silver work is son tehreer. The motifs are derived from the profusion of local flora; some of the frequently used images are the bumtchuthposh (apple blossoms), dainposh (pomegra- nate), kongposh (saffron flowers) and yambarzal (narcissus)
Process 1.Paper is soaked in water and hand grinded 2.Rice glue is added to the paper and the mixture is kneaded into a pulp 3.The pulp is applied on the molds and beaten using wooden tools 4.The products are dried in the sun 5.The painter applies putty on the surface to smoothen the surface and make a base for painting 6.The products are painted and varnished 7.The product is sold to the whole-seller or an exporter
Product Design | Bachelor of Design | National Institute of Design
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Burhan ud din khateeb | Graduation project | 2015
walnut wood carving Walnut wood carving is an ornamental craft process that is virtually unique to Kashmir due to the concentration of walnut trees (Junglas regia), locally known as dun or akhrot, in this region. The naqqash, master carver, first etches the basic pattern on to the wood and then removes the unwanted areas with the help of chisels and a wooden mallet so that the design emerges from the lustrous walnut wood as an embossed surface. There are several variet- ies of carving technique that are utilized—deep carving that is two inches or so deep and is usually used for dragon and flower motifs; shallow carving, half inches deep and done all over flat surfaces; open or lattice work, usually depicting the Chinar motif; and the semi-carving technique which renders a thin panel along the rim of the surface
which is ornamented by a central motif alone. The advantage of this technique is that it allows the grain of the wood to be displayed to maximum advantage while exhibiting the carver’s skill. The craft was initially restricted to the creation of elaborate palaces and houses. Written records tell of Zain-ul-Abadin’s great razdani, palace, and its elaborate wood carvings. To this date, several fine examples of intricately carved buildings, shrines and mausoleums survive in Kashmir—the shrines of Noor-ud-dinWali at Charar-e-Sharif, the Naqshband mosque and the shrine of Nund Rishi are just a few of them. Contemporary products, however, include ladles, boxes, bowls, trays, sandals and spinning wheels and hand run lathes have been utilized to speed up the production process.
Process 1. WalnutWood is acquired from the wholeseller 2. Wood is seasoned 3. Wood is cut into worable pieces 4. Wood is shaped into the final form 5. Fine motifs are carved on the surface of the wood 6. The final carved piece is polished 7. The product is sold to the whole-seller
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willow wicker Straw, grass and twigs are used to make domestic products and containers for storing and transporting agricultural produce. One of the main products is the kangri, the wicker basket used to carry clay pots containing smoldering coals, usually slipped under the pheran worn by men and women. The willow is boiled till the outer skin comes off and the inner layer is exposed. It is then cleaned and cut into strips of about 5 mm width. Then it is woven into a basket. The willow may be dyed blue, red or green and various geometric patterns are created by multidirectional weaves in the upper half of the kangri. These are further embellished
with shiny coloured foil, mirrors and metal pieces. Shaksaz is the local term for the basket-maker. The kangri of Shaksaz Mohalla in Charar-e-Sharif are used on ritual occasions observed by the Kashmiri pundit community, especially during the Shushur Sankrant. Shushur means frost and on this day the new bride of each family is gifted an ornamental kangri containing some money. There is also a practice among Hindu families to give their priests a kangri to pay homage to their ancestors.
Process 1.Willow is bought from the farmers 2.The willow is then boiled to remove the outer skin 3.A frame using the thicker willow sticks is made 4.Willow is split into thin pieces and then woven on the frames made in the earlier step 5.The final product is then given off to the middlemen who then sell it to retailers
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pinjrakari Pinjrakari is an intricate form of lattice or trellis work done in light wood that is used on windows, doors, ventilators, railings or ornamental partitions and screens. In its original form, glues and nails were not used in this technique; the pressure of the carving alone held it together. The pinjra frames are pasted with handmade paper, thus effectively cutting out chilly winds and yet allowing a sufficient amount of light to pass through.
Process 1.wood is acquired from the whole-seller 2.wood is cut into specific sizes using electric saws on jigs 3.The pieces are joined together by hand 4.The final assembly is sanded smooth 5.Polishing is done 6.The pinjras are sold to the customers and the costing is per square feet
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pottery Only a few families left in the valley now, the craft of pottery is almost dead. The potters make the pots for the “hookas” ,Glazed tiles and the pots for the “kangris”.
Process 1.Mud is bought from suppliers 2.The mud is then filtered to remove small pebbles and other junk 3.Water is then put in the mud and with time the plasticity increases and clay is ready 4.The clay then is thrown on an electric wheel to make the desired items 5.The thrown pots are then baked in a wood fired kiln 6.The finished products are then sold to buyers in the city
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copper work The traditional copper ware of Kashmir is created by beating sheet metal into the desired shape. The surface is usually highly ornamented with a profusion of stylized floral and leaf forms, religious symbols (such as the mihrab or prayer arch), geometric and calligraphic patterns, as well as elaborate hunting scenes. The patterns are formed on the metal sheet using a combination of techniques including repoussĂŠ, piercing and chasing. The raised patterns may be further highlighted by oxidizing the depressed surface. The
indigenous product range consists of luxurious household items such as surahi (wine jugs), rosewater sprinklers, incense burners, hookah bases, samovars (kettles), decorative plaques and large trays with stands which perform the role of mobile tables. A number of products are utilized in Islamic rituals—ewers and basins are used for ablutions and henna holders are used at pre-wedding ceremonies. Copper vessels also form a crucial component of the Kashmiri bride’s trousseau.
Process 1.Copper in the form of sheets is bought 2.The sheets are then cut and hammered into the desired shape 3.Patterns are cut or embossed on the surface using hand tools 4.The products are then of polished 5.The products are sold to the retailers
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CHOOSING A CRAFT TO WORK ON Narrowing down on a particular craft for deeper study required evaluating the selected crafts on the basis of the cafeterias mentioned in the previous section
organisation
raw materials
production techniques
intermediary trade
types of products made
markets
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PAPER MACHE
WALNUT WOOD CARVING
WILLOW WICKER
independent craftsmen or artisan units (karkhanaas)
mostly artisan units (karkhanaas)
independent craftsmen or artisan units
used paper from schools, printing press e.t.c water based poster paints and varnish
locally grown walnut wood
locally grown straw
application of paper pulp on moulds, intricate hand done painting
carving done on wood with basic hand tools
hand woven on rigid structures
whole-seller and retailers
whole-seller and retailers
middlemen
wall hangings, boxes, key-chains, animals
wall hangings, boxes, chairs, beds, animals
baskets, kangris
export as well as domestic markets
export as well as domestic markets
Mostly domestic markets
Burhan ud din Khateeb | Graduation project | 2015
PINJRAKARI
POTTERY
Copper Work
artisan units
potter families
Individual craftsmen or artisan units
different types of wood
locally sourced mud
copper sheets and pipes
machines used to cut fixed shapes and the manually joined
making of clay throwing on electric wheel, making of tiles
cutting and bending and turning of copper
direct sale, middlemen
direct sale, middlemen, retailers
direct sale, middlemen, retailers
pinjras used in furniture
hookas, pots, flower vases, vessels
mostly traditional utensils
mostly domestic markets
domestic markets
domestic markets
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WILLOW WICKER
Copper Work PINJRAKARI
WALNUT WOOD CARVING POTTERY
PAPER MACHE
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Paper mache craft was chosen as the craft to work on because of the following reasons. - The concept of giving a second life to used paper in the form of new products itself is brilliant and promotes sustainable living. -The products being made have not evolved according to the market need asking for new products relevant for todays consumer. - The value chain is highly fragmented requiring system design interventions. - The pulp molding process is primitive and requires improvements in various areas.
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Understanding the paper mache craft
5
The stakeholders System Map Heart of the System Detailed pulp molding process Opportunity Map Prioritizing the opportunities Final Direction
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UNDERSTANDING THE PAPER MACHE CRAFT The paper mache value chain is highly fragmented due to the presence of several stakeholders involved in the production process. This makes the paper mache an interesting craft to study. deeper study of the craft is done in order to understand the complexities in the system and to find opportunities for design intervention.
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SYSTEM MAP This map shows the connections between different stakeholders in the system and the process flow in the paper mache craft
PRINTING PRESS SURFACER/PAINTER
SCHOOL
R
PE PA
POTTER
R
PE PA
WOOD WORKER
PAPER DEALER
R
PE PA
S CT
N DE S OOOLD WM
AY S CL OLD M
R
PE PA
FIN
S
PULP MOULDER
D DE OL
D HE TS IS UC N I D F O PR
CT DU O R
D
HE
IS
U OD PR
EXPORTER
P
M
WHOLESELLER D DE IN PER R G PA
PAPER GRINDER
D HE TS IS UC N FI OD PR
D DE TS OL UC M OD PR
SHOP SHOP
SHOP
SHOP
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two main parts of the craft The craft can be broadly divided into two parts. Sakhtasazi (pulp molding)and Naqaashi (painting).
pulp moulding
painting
This part deals with the conversion of paper into the molded products
This part deals with the painting and varnishing of the molded products
Sakhtasazi
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Naqaashi
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THE STAKEHOLDERS
Pulp molder
This is the guy who is responsible for making of a the product. He makes the pulp, gets the molds made form the wood workers and gives shape to the products.
The painter
This is the guy who buys the product from the pulp molder, applies putty to the product followed by the intricate painting and varnishing of the product.
The mold maker
This is the guy who makes the molds for the pulp molder. The primary profession being wood working or pottery
The whole-seller
This is the guy who buys finished products from the painters in bulk and the sellers it to retailers, customers or exporters.
The paper grinder
This is the guy who is hired by the pulp molder for grinding the paper. He moves from one workshop to another to find work.
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idea flow The ideas flow in the system in terms of the order of a particular product. The map below shows in the number of ways the idea moves and finally converges to the pulp molder.
At this point orders* comes to the pulp molder through several different ways
At this point the pulp molder goes to the potter or the wood worker to ask if the molds can be made
exporter customer retailer the painter
Pulp molder
Mold maker
designer
SURFACER/PAINTER
whole-seller POTTERS WOOD WORKER
EXPORTERS
PULP MOULDER WHOLESELLER
* orders are like - can you make 3000 square boxes of 3�x9�? can you make 100 elephants of 10inch height? is it possible to make a 4 foot structure using pulp molding?
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SHOP
THE HEART OF THE SYSTEM Based on the research and mapping of the system, it becomes clear that the “Pulp molding� process is of utmost importance in the paper mache craft as this is part where an idea gets converted into a product.
concept
paper
pulp moulding
PRODUCTS
molds
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DETAILED PROCESS OF PULP MOULDING The sakhta saaz(pulp molders) are the unsung heroes of the paper mache craft because pulp molding lies at the heart of the craft and the pulp molder has to deal with many other stakeholders in the system. Economically pulp molders suffer because they only make a part of the final product and people consider the painting as the more important and valuable part of the craft. The pulp molder deals with the acquiring of paper from the paper dealers, acquiring of the molds from the woodworkers and the potters and also negotiating the prices with the Naqaash(the painter)
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The pulp molding process can be divided into four major parts: 1. Acquiring and grinding of paper 2. Making of the paper pulp 3. Getting the molds made 4. Pulp application on the molds 5. Beating and detailing of the products 6. Drying of the products
1
2
3
4
5
6
grinding of paper
Making of the paper pulp
getting the molds ready
application of pulp
beating and detailing of products
drying of the products
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grinding of paper
Paper is soaked in a water tank
Soaked paper is then hand-grinded by a person who is hired and paid per day by the pulp molder
Hand-grinded paper is stored in wooden enclosures
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Making of the paper pulp
Glue is made by boiling rice starch and the glue is added to the grinded paper
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The mixture is then kneaded till a clay like consistency is reached and the glue is absorbed by the paper
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getting the molds ready
The molds are bought from potters or woodworkers
Plain paper is used as a mold release and applied over the molds before applying the pulp to ensure the easy removal of the mold
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application of pulp
Rough paper pulp is put which makes the first layer of the product. In this case an external pattern is used as a pattern which gives the basic shape to the product
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The second pattern is put on top and then pressed hard to spread the pulp evenly around the mold
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The external patterns are then removed and the product is left to fully dry in the sun
Once fully dried, the mold is released by cutting the product from the center
Finer paper is used for the second layer as this layer is meant to put the details on the first rough shape is put as a mold for this layer and it stays inside of the product
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After removing the pattern, the product is left for drying in an airy space.
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beating and detailing of products
When the product is semi-dry, the surface is pressed using wooden and stone tools
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Details are given on the surface
Tools made of metal spoons and stone
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drying of the products
During winters, the products are dried in a space like this with a wood fired furnace in the middle which accelerates the drying process
The products are lined up in shelves like these for better space management
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In summers, the products dry outside in the sun
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OPPORTUNITY MAP Based on the detailed analysis of the system an opportunity map was developed showing the possible areas of intervention.
process Concept
new areas of utilitarian products can be explored
Visualization
sketching and cad modeling can be used to visualize the product beforehand
Mold making
new techniques of mold making are required for making of new products
Application of pulp Driying
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opportunity
single layer application
faster drying process is needed
Cutting and finishing
machines like belt sanders and electric saw can be used for achieving better finish
Painting
plain paints can be tried instead of intricate paintings
Combination with other materials
combination with wood or metal needs to be explored
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PRIORITIZING THE OPPORTUNITIES Criticality of the problems was mapped based the impact of the intervention, my skill set and time constraints of the project. Mold making turns out to be the most crucial opportunity as if the mold making problem is solved, the other problems are minimized. Following are the reasons why: -if the mold making becomes easier, new product concepts can be developed easily hence ideas are not stopped because the molds are not available. -if the molds are close to the final form of the product, thin layer of pulp can be applied and the product will dry faster.
new product concepts
-if the mold is standardized, then other materials can be combined with the paper components. new painting ideas
new mold making techniques
finer cutting and sanding
combination with other materials
finding fast drying methods
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leading to
new molds
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new products
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FINAL DIRECTION
To develop a new range of products with paper pulp using new mold making techniques.
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Experiment 1 : The material Experiment 2 : Textures Experiment 3 : Mold making Experiment 4 : Sound test Mold replication process Learnings from the experiments Sorted Mold making process
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EXPERIMENT 01 the material First experiment aimed at understanding the material, its strengths, weaknesses and possible changes in the composition and their effects on the final product.
Paper pulp being put in frames of 10*10 cm and 20*10 cm
Paper pulp of different compositions drying in the frames. Shrinking can be seen near the edges.
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The tiles were broken to check the structural strength of the tiles having different compositions. The second image shows the fineness that can be achieved using a belt sander
Bending of the tile while drying, the amount of bending depends on the composition of the material, the method of drying and the mold release used.
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EXPERIMENT 02 textures The paper mache products traditionally have smooth surfaces and intricate painting. This experiment was done to see the possiblity of making textured surfaces and the use of plain paints on it.
Wooden stamps were used to make impression on terracotta. Second image shows POP being poured on one of the textures.
Final POP impressions later to be used to give textures on the paper pulp.
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Paper pulp being put on the plaster impressions.
Three stages of the process. The terracotta mold, the plaster impression and the paper pulp tile.
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EXPERIMENT 03 mold making Molds conventionally are made of either wood or clay. This experiment tests thermocol and mdf as materials for mold making.
thermocol mold
Thermocol mold was made for a speaker box. Seat was left for the front panel and corners were chamfered for the screws to go in.
thermocol is easier to use as it can be easily shaped and used as a mould
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A simple lamp mold was made at home. Paper was used as a mold release and pulp was applied over it. This experiment shows the possibility of easily making things at home
The thermocol mold didn’t come out properly and i had to break down the thermocol to release it.
Using paper as mold release leaves the paper stuck to the pulp side after releasing the mold.
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mdf mold
Molds of MDF were made, these molds were highly precise because of the denser material
The molds unlike the thermocol ones provided a hard base to beat the paper pulp on.
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The resulting paper products were more dense and precise, but the inner side was imprecise due to the use of paper as a mold release
Belt sander was used to finish the outer surface of the product but finishing on the inside needed to improve.
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EXPERIMENT 04 sound test My interest in building sound-boxes lead me to test the acoustic properties of the material. In this test I made a portable speaker to test the practicality of the concept and to check the acoustic properties of the material.
Speaker components were bought, assembled and then fixed in the box.
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The sound output was impressive and comparable a wooden or MDF enclosure.
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mold replication process test Conventionally, all the molds were either made of wood or clay individually. All the molds used to be slightly different from each other. Exact replicas of the master mold can be made using various techniques.
Turning of wood to make a master mold
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Plaster molding technique of mold replication is used as it is faster, economical and is easy to learn.
Getting the mold ready for pouring plaster, the partition is there so that the mold comes out in two pieces
Burhan ud din Khateeb | Graduation project | 2015
Freshly poured plaster
Negative plaster molds drying in the sun
Positive plaster mold made using the negative plaster molds
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Several plaster replicas made
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learnings from the experiments
the material
the mold
-The stronger the paper fibers, stronger the final product will be
-Harder the material of the mold, the better the final product will be
-More the glue used, more drying time will be required,more shrinking will happen but the resulting product will be stronger and more finished
- Plaster molds absorb water and hence help is easier drying of paper pulp
-The more tightly packed the pulp is, the stronger the final product becomes -The thicker the layer of the pulp applied, the more time it will take to dry -The material after drying becomes hard and is not brittle -The dried product can be sanded using a sanding machine or a sandpaper
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- If the mold is close to the required shape, thin layer of pulp needs to be applied which reduces the applying time and drying time of the pulp - If the mold is precise then less number of parts need to be joined together to make the final product - Vaseline can be used as a mold release but can result in poor application of pulp - Using paper as mold release gives a base for the pulp to stick and is very economical for the pulp molders
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sorted mold making process
The product is visualized A master mold is made for the product in wood/thermocol/MDF/clay Negatives of the master mold are made in plaster Required number of positive copies are made in plaster
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getting feedback from other craftsmen To share different mold making processes with other craftsmen working with paper pulp, a meeting was called at CDI. In the meeting the mold making techniques were demonstrated and several other issues faced by the craftsmen were discussed. Some craftsmen are already taking initiatives and doing things differently. After the meeting was help some sample designs were given to the craftsmen so that they start experimenting.
Designs given to the craftsmen to disrupt the conventional thought of the possibilities in paper pulp molding
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potter
wood worker
pulp moulder In house mold making
pulp moulder
existing system
proposed system
Molds are sourced from potters and woodworkers.
Molds are made by the in the pulp molding facility using new mold making techniques.
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Design Inspiration Moodboard
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Ideation sketches Themes for the Artefacts -Light -Fusion -Strength -Play -Time -Speakers
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the artefacts A set of artefacts were developed to show the possibilities of the products that can be made using the new paper molding techniques. When it comes to giving form to functional objects, i believe the form should be aesthetic, functional, simple and innovative. I am influenced by designers like Dieter Rams and Naoto Fukasawa.
Design principles, inspired by “zen wisdom” 1.Simplicity or elimination of clutter Kanso Eliminate what doesn’t matter to make more room for what does. 2. Asymmetry or Irregularity - Fukinsei Leave room for others to co-create with you; provide a platform for open innovation. 3. Naturalness - Shizen Incorporate naturally occurring patterns and rhythms into your design. 4. Subtlety - Yugen Limit information just enough to pique curiosity and leave something to the imagination.
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5. Break from routine - Datsuzoku An interruptive “break” is an important part of any breakthrough design. 6. Stillness, Tranquility - Seijaku Doing something isn’t always better than doing nothing. 7. Austerity - Shibui/Shibumi Refrain from adding what is not absolutely necessary in the first place.
3 design guidelines by SINGGIH S. KARTONO Design concept 1: Form “Design is like a journey full of adventure. I don’t get headaches about ‘the market’. I try to integrate as many impressions from day-to-day life as possible. In my opinion, articles of daily use are like living beings. They have a from that makes an impact on us unconsciously. We often forget that nowadays: We regard products merely as serving objects..” Design concept 2: Time “The wood I use for the manufacturing process may need as long as 50 years to reach maturity. I want people not to think about exotic or precious woods but likewise about the fact that good things require time. All objects that surround us
10 design principles by dieter rams
should be thought-provoking. Craftsmanship originally was the art of dealing with raw materials in a sensible and economical way.” Design concept 3: Perception “I believe we should perceive the goods that surround us with full awareness. Although its possible to buy products, their actual message only unfolds through observation. Only then can the spiritual value of a product come into existence.”
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mood board I like designs which are simple yet innovative and functional. Here are a few that have inspired me over the years.
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themes for the artefacts
Relations with objects are built by a dialogue between the object and the user. The dialogue can be of functional importance like in case of a functional product or it can be of emotional significance like in case of art. In either case this dialogue is possible by the experiences we have with our senses of sight, hearing, touch, taste and smell. The artifacts that were made reflect in their identity the connection to these basic senses.
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light fusion strength
lamps key holders phone case
play
Diy paper mache kit
time
wall clock
Sound
speakers
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LIGHT Paper pulp combined with wood and light to make a family of lamps
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process Idea
design intervention minimal family of lamps combining paper pulp, walnut wood, metal and light
Visualization Mold making Application of pulp
making standardized molds using plaster molding techniques single layer application
Driying Cutting and finishing
belt sander was used for sanding the uneven surfaces
Painting
white automotive paint was used to seal and give colour to the product
Assembly
turned walnut wood was used in combination with the white paper parts
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Idea
The initial idea of lamps was to develop lamps combining paper pulp with walnut wood. The thought was that major component would be paper pulp but the wood will add to the aesthetics of the product.
Cad modeling was used to visualize the product and get a better understanding of the required mold for the product
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mold making
As several of similar molds were required, plaster molding was used. A conical master mold was made in wood turned on a lathe which was then used to make multiple copies in plaster.
Mater mould made in wood
partitioning for easy separation
negative moulds driying
plaster casting
positive plaster molds
Product Design | Bachelor of Design | National Institute of Design
several copies of the master mold
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Application of pulp & driying
Single layer of pulp was applied which was easy to dry and saved time.
plain paper was used as a release agent as it is both cheap and provides a good surface for the pulp to stick
craftsman applying paper pulp on the mould
plaster molds absorb water and thus shortened the drying time
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pressing of pulp which compresses the material and hence adds strength to the final product
the products were fully dried in the sun
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finishing and painting
The dried products were finely cut using an electric saw and then sanded using a
cutting done using an electric saw
belt sander. Wooden parts were made and the paper parts were painted.
turned walnut wood for parts
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white automotive paint sprayed
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Lamp : 1 A hanging lamp made of recycled paper and wood
painted paper pulp
turned deodar wood
connecting wires
turned deodar wood painted paper pulp
3*15 watt bulbs paper pulp cones and base turned Deodar wood connecting wires
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Lamp : 2 A floor lamp made of recycled paper and wood
painted paper pulp turned walnut wood
aluminium pipes
turned walnut wood
3*15 watt bulbs paper pulp cones painted white turned walnut wood base connecting wires
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Lamp : 3 A table lamp made of recycled paper and wood
turned walnut wood painted paper pulp aluminum pipe
on/off button turned walnut wood
1*15 watt bulb paper pulp cone painted white turned walnut wood base connecting wires
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FUSION Fusion of magnetism with paper to make key holders
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process Idea
design intervention key holders combining paper pulp and magnets
Visualization Mold making Application of pulp
mold made out of wood
double layer application, magnets embedded while applying the second layer
Drying Cutting and finishing
belt sander was used for sanding the uneven surfaces
Painting
white automotive paint was used to seal and give colour to the product
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application of pulp
Magnets embedded between two layers of paper
neodymium magnets embedded evenly in the first layer of paper
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craftsman applying the pulp
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a thin second layer of paper is applied to hide the magnets
A key holder made of paper pulp and neodymium magnets
A block printed cotton fabric was wrapped on the surface to provide a soft finish and customizability
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key holder A key holder made of paper pulp and neodymium magnets
six 10*2mm neodymium magnets paper pulp painted white
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STRENGTH Strength of the material and capabilities tested by making a phone case
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process Idea
design intervention phone case made of paper pulp
Visualization Mould making
plaster mould made using an existing phone case
Application of pulp Driying Cutting and finishing
cutter was used to make the cut outs for buttons and the camera
Painting
white automotive paint was used to seal and give colour to the product
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mold making
An existing case of a phone was used to make a plaster mold. Vasline was used as a release agent.
existing phone case taken to make a positive impression
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plaster poured in the case
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plaster mold made for the phone case
application of pulp
As the case needed to be thin, the applied pulp was beaten several times to make the final product stiff and usable.
fine paper pulp evenly applied on the mold
dried paper case
case after the mold was released
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phone case A phone case made for the Oneplus one
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PLAY A kit to learn paper pulp molding containing paper, glue, a tool and an instruction manual
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Burhan ud din Khateeb | Graduation project | 2015
process idea
design intervention A kit to learn paper mache
visualization Designing the experience prototyping
designing the packaging and the instructions
corrugated sheet packaging
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IDEA
The craft of paper mache can help you make your own products at home. This gave me the idea to make a kit for people to understand the craft. The kit includes a step by step guide to understand the process.
INSTRUCTIONS
DIY paper mache KIT
1. soak the contents of bag”A” in warm water and leave it for a couple of hours 2. boil the contents of bag”B” in one cup of water till a thick paste is acquired. 3. squeez out the excess water from the wet paper 4. blend the glue paste with the moist paper till a working consistancy is reached. 5. select a mould to apply the mixture on. Make sure the mould can be released after the paper has dried 6. take the empty bagA and open it flat. put some water on it and apply it on the mould.
Let it dry. This layer of paper acts as a mould release and the paper pulp does not stick to the mould. 7. Start appliying the paper pulp on the mould till the desired part of the mould is covered by the pulp. 8. Use the tool to spread the pulp evenly. 9. the best way to dry the product is to keep it out in the sun although some heat may be applied to accelerate the process. 10. when the product is slightly dry, wet your hands with water and run them over the product. After the outer surface is slightly wet, use the tool to smoothen the surface. 11. Let the product dry completely. Once dry you can remove the mould
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prototyping
Currogated sheet was used to make the packaging of the kit.
cutting an equilateral triangle of 18�
plaster poured in the case
Product Design | Bachelor of Design | National Institute of Design
closing the shape into a tetrahedron
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kit A kit for learning paper pulp molding
hand grinded paper rice starch wooden tool instruction manual
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contents of the kit
Rice starch
Instruction manual
Hand grinded paper
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wooden tool
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TIME A wall clock made using paper pulp
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Burhan ud din Khateeb | Graduation project | 2015
process Idea
design intervention clock at an angle for easier reading of time made of paper pulp
Visualization Mold making Application of pulp
mdf mould made using a router
single layer application
Drying Cutting and finishing
belt sander was used for sanding the uneven surfaces
Painting
white automotive paint was used to seal and give colour to the product
technical detailing
quartz movement is used to run the clock
Assembly
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idea
The idea was to create a clock with a downwards tilt for better legibility
visualizing different clocks concepts on Rhinoceros 3D
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mold making and pulp application A circular MDF mold was made using a router. Paper was used as a mold release and then paper pulp was applied evenly on the surface
MDF mold made on a router
paper being applied on the mold
spreading the pulp evenly by using a wooden tool
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wall clock Angled for easier legibility, this clock is made of recycled paper painted white
10 inch diameter Quartz movement Metal hands
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SOUND Sound and paper combined to make a set of bluetooth speakers
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process Idea
design intervention a set of 3 bluetooth speakers
Visualization Mould making Application of pulp
making moulds using thermocol and MDF
single layer application
Driying Cutting and finishing
belt sander was used for sanding the uneven surfaces
Painting
white automotive paint was used to seal and give colour to the product
Technical detailing
induvidual components were assembled for different speaker configurations
Assembly
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idea and visualization
An existing case of a phone was used to make a plaster mold. Vasline was used as a release agent.
Visualizing speaker forms on Rhinoceros 3d
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Visualizing cross-sections for mold mold-making
Burhan ud din Khateeb | Graduation project | 2015
mold making
Molds were made for the speaker body and the front panels using thermocol and mdf
Thermocol mold
MDF from panel mold
Product Design | Bachelor of Design | National Institute of Design
MDF body mold
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application of pulp
An existing case of a phone was used to make a plaster mold. Vasline was used as a release agent.
Vasline used as a mold release
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Application of pulp on the MDF mold
Burhan ud din Khateeb | Graduation project | 2015
cutting and refining
As the case needed to be thin, the applied pulp was beaten several times to make the final product stiff and usable.
Finishing using a router
Filling of gaps using fine paper pulp
Product Design | Bachelor of Design | National Institute of Design
holes for the buttons and speaker drilled
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technical detailing
A bluetooth speaker was studied to understand the electronics and then parts were bought and assembled.
Portronics Sublime 2 teardown
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soldering of different components
Burhan ud din Khateeb | Graduation project | 2015
sound test
hacking a power bank- Mi power bank used as a power source for the speaker
final assembled electronics in the paper pulp casing
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speaker : 1 Pocket sized bluetooth speaker
power button bluetooth module
charging port aux in
amplifier
batttery
full range speaker driver
led power indicator
power output : 6 watts conncectivity : buletooth, 3.5mm aux in 1600 mah rechargable li ion battery
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charging port aux in
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speaker : 2 Bluetooth speaker encapsulated in a recycled paper body
power button bluetooth module amplifier
charging port aux in
user replaceable batttery
full range speaker driver
led power indicator charging port
power output : 6 watts conncectivity : buletooth, 3.5mm aux in 2000 mah user replacable rechargable li ion battery
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aux in
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speaker : 3 paper boombox
bluetooth button power button step up booster
bluetooth module battery pack
charging port
volume knob aux in
amplifier
full range speaker driver passive radiator
power output : 20 watts conncectivity : buletooth, 3.5mm aux in 10000 mah user replacable rechargable li ion battery
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Costing Following chart shows the estimated cost of each artefact. Please note that the cost mentioned is just an estimate and the cost will vary due to uncertainties in the process.
Catagory
Product
Material cost (in Rupees)
Labor cost (in Rupees)
Retailer margin (in Rupees)
Profit Margin (in Rupees)
Total estimated price (in Rupees)
Lamps
Hanging Lamp
500
1000
800
800
3100
Floor Lamp
1000
1000
1000
1000
4000
Table Lamp
600
600
1000
1000
3200
Speaker 2*2 watt
800
800
1200
1200
4000
Speaker 3*2 watt
800
900
1200
1400
4300
Speaker 10*2 watt
1400
1200
1500
2000
6100
Clock
Wall Clock
100
300
400
1000
Phone Case
One plus one phone case
30
100
150
350
DIY kit
Learning Kit
30
20
50
50
150
Key Holders
Rectangular Holder
200
150
300
Circular Holder
300
200
400
Speakers
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200 70
Burhan ud din Khateeb | Graduation project | 2015
300 400
950 1300
Conversations The mundane asks for something to grieve over and in the lives of the craftsmen they find ample senarios. Friends become an important part of your lives and one of the reasons you live for.
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Beyond Product Design Maker mela Facebook page Workshop at NID Future scope Looking back References
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BEYOND PRODUCT DESIGN Working closely with the craftsmen through the summer months, developing new products and new ways of making them, meeting different stakeholders in the process and their mindsets, expanded my knowledge about the inner workings of the handicrafts industry of Kashmir. Product design and development is one part of the story. To make a real change in the system the other aspects need to be covered. Equally important is how we market and sell the products. A sustainable model needs to be made to make this idea grow. This project can take several shapes in the future some of which are shown in this page. Besides conventional methods of exhibiting an idea, Internet has opened several new ways to do so and such avenues need to be used in order to reach a wider audience.
Going back and joining CDI writing a paper
finding potential investors at maker faires, exhibitions e.t.c exhibiting work at different levels
enter competitions
conducting workshops promoting craft culture
starting a brand
Cround funding the project Enabling the craftsman
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taking it forward Some of the ways to take this project forward are mentioned below:
crowd funding the project
making a sustainable buisness model
conducting workshops
Once reached the stage of scaling the project into a buisness, a team of similar thinking and different strengths will have to be formed. A sustainable buisness model will have to be developed.
Craft workshops can be conducted in schools and colleges to encourage making and also help in the preservation of the craft.
participation in competitions
using social media to spread the word
exhibiting the work
The project can be entered in several competitions which will publicize the work at an international level and start a dialogue.
Social media websites like facebook, twitter, instagram and youtube can be used to publicize work and reach a wider audience.
The artefacts can be exhibited at Maker faires, exhibition halls, and other venues to reach the general public.
The project can be crowd-funded using online platforms like Kickstarter and Indigogo. This would provide funding for commercialization of the project and will also provide the initial customers for the products.
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maker mela I came across the “Maker Mela” post on Facebook. It is an Indian version of the popular “Maker Faire” where makers from all over the country come to shwocase their work. Maker mela was scheduled to happen on 10th and 11th of October at the Somaiya college in Mumbai. I looked at it as a good opportunity to showcase the products that i had made and also meet young makers from across the country. I registered as a maker and booked my tickets for Mumbai.
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Maker mela was and
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take-aways from the mela -Networking : the mela offers a good platform to connect with people -Feedback of work: the mela is a good place to get feedback for your work and see what interest people -Learning : makers from all across come and share their work, so you get to see some inspirational work from different fields.
-Investors : the mela also attracts investors looking for good projects to invest in, so there is a possiblitiy of getting funding for projects. -Customers : A bunch of people also come to buy interesting work so you can also sell things if you wish to
-Collaboration- the mela brings makers of different background to the same place, it offers an opportunity to collaborate with people doing similar work or something that compliments yours.
The show was properly organized and the volunteers did an amazing job executing everything from giving us a place to stay to giving us food and water. I would like to thank my dear friend Manish for being there through out the show and for the visiting cards he designed and printed.
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While i was in Mumbai, i took the opportunity to visit IDC IIT Mumbai. I was lucky to meet Professor A.G Rao who has done a lot of work in the field of crafts. We discussed about Design in India, his experience in the field of handicrafts and the ways in which i can take my project forward.
A view of the bamboo workshop at IDC headed by professor Rao
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facebook page “Handcrafted in Kashmir� was started to form a community around upliftment of local handicrafts of Kashmir. Also it would act as a platform to share stories of design & development of quality handcrafted products in the valley of Kashmir.
scan the above QR code to reach the page
Product Design | Bachelor of Design | National Institute of Design
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Sharing my experience with the foundation students at NID
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Burhan ud din Khateeb | Graduation project | 2015
workshop at nid A workshop was organized in which pulp molding technique was demonstrated to the foundation year students at NID. Some products were made as a result of the workshop that show the possibility of
making products with paper. Pulp molding technique can also serve as a great tool to prototype concepts for not only designers but also makers, engineers and people who like to make things.
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future scope While I tried my best to understand the situation of handicrafts, Indian handicrafts are diverse and complex. More intervention on the aspects of design as well as building sustainable businesses in the field of handicrafts is required. I would encourage designers, engineers and business people to take part in the debate and help improve the situation. Following are some of the possibilities which I see have potential to develop in the near future.
eco-design brand Farmers
sustainability
Engineers Craftsmen
making of a collaborative platform Intellectuals
craft based economy Doctors Skilled craftsmen
Meaningful products
platform Local resources
Engineers Craftsmen
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Designers
Designers
craft tourism
craft based iot Designers
Craft
Craft learning based vacations
Craftsmen
Promoting crafts
Engineers
Travel Local food Promoting sustainable tourism
Encouraging designers and engineers to take up craft based projets Talks at different colleges
Online database of crafts, designers and engineering
Craft based maker spaces Skilled craftsmen
Makers
Collaborative learning
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building indian design identity
Craft education in schools
Traditional wisdom
Engineering Hands on learning crafts
Practical knowledge Playful learning
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Design
Sustainable buisness model
Burhan ud din Khateeb | Graduation project | 2015
looking back When I look back at the decisions I have made be it coming to NID, choosing product design as a discipline of choice or the decision of working in the area of handicrafts, things seem to have made sense to me and given me satisfaction and happiness. This project in particular has given me a direction as to what I want to do in my life and also a deeper understanding of what impact can design have and what possibilities lie ahead.
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references
books & papers
weblinks & online articles
must watch videos
Ranjan Mp, Aditi, Handmade in India, Mapin Publishing Pvt. Ltd, 2005.
http://www.nid.edu/ http://www.theguardian.com/sustainable-business/series/circular-economy http://www.magno-design.com/ https://www.quora.com/What-is-theKashmir-issue-1 http://cdisgr.org/about_cdi.html http://www.heritageofkashmir.org/living-heritage-/papier-mache/history.html http://www.techshop.ws/images/0071821139%20Maker%20Movement%20Manifesto%20Sample%20Chapter.pdf http://www.ellenmacarthurfoundation. org/
The four horsemen https://www.youtube.com/watch?v=5fbvquHSPJU
Prof. S. Balaram: Thinking design, 1998. Arjo Klamer,Crafting Culture: The importance of craftsmanship for the world of the arts and the economy at large, Erasmus University Rotterdam, June 2012 Dasra foundation,Crafting a livelihood: Building sustainability for Indian artisans, January 2013 Jigme T. Bhutia, Pulp molding, 2009
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The crisis of civilization https://www.youtube.com/watch?v=pMgOTQ7D_lk The genius of Design https://www.youtube.com/ watch?v=NkQXUKQYrsQ&list=PL6aq1PBlrtR4uh3T-RWwRwfcizGyBd68h
typeface used
image references (pg-25)-http://www.mcgrawhillprofessionalbusinessblog.com/wp-content/ uploads/2014/01/MakerFaire_NYC_The_ Maker_Movement_Manifesto-X3.jpg http://www.insideindonesia.org/images/3_dunn.jpg (pg-64)en.wikipedia.org/wiki/File:Muslim-shawl-makers-kashmir1867.jpg (pg-20)-http://thumbnails-visually.netdna-ssl.com/how-long-will-the-nonrenewable-energy-resource-base-last_50290d5638da4_w1500.png (pg-19)-http://i.huffpost.com/ gen/1701182/images/o-CELL-PHONESfacebook.jpg (pg-29)-https://www.facebook.com/photo.php?fbid=10153207206524295&set (pg-133)-https://s-media-cache-ak0. pinimg.com/736x/02/1a/cd/021acdc95e38a3ed67cd39959c1035db.jpg
(pg-132)-http://store.luminaire.com/images/products/395.jpg (pg-17)-http://www.computerhistory.org/atchm//wp-content/uploads/2012/08/1984macintosh.jpg (pg-18)-http://i.ytimg.com/vi/f6pPIG3EvAs/maxresdefault.jpg (pg-26)-http://www.iasc-culture.org/ THR/archives/Summer2012/yates_figure_a.gif (pg-132)-http://www.dhresource. com/0x0s/f2-albu-g3-M00-9B-F8-rBVaHVUI35iAf53VAAA13C2OvOs972.jpg/ modern-fittings-pendant-lighting-contemporary.jpg
Heuristica Regular Univers Ultra condensed
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thank you
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Burhan ud din Khateeb burhan.khateeb@gmail.com https://www.facebook.com/HandcraftedInKashmir/?fref=ts https://www.behance.net/burhan-ud-din
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