ID4000 Craft+Future=? Speculative Interior Practices

from L4 Studio Units Catalog - Spring 2021

by CEPT University

UI4005 City Infrastructure Plan

ID4000

Craft+Future=? Speculative Interior Practices

Program

Interior Design

Unit Assistant Shail S. Sheth

Faculty of Design ID4000 Spring 2021

Students

Ayooshi Jain Jhanavi Parikh Nimmi Thomas Pratiksha Nair Sonali Gupta Sucheetra Pradhan Teja Payapalle Rishav Jain

The studio dwelt in discussing the positions of craft in contemporary interior architecture practices. With a combination of research and design methods, the studio focused on envisaging future directions of craft productions and its manifestation in interior practices. The studio was largely divided into two parts: the first part used intensive research techniques to establish a theoretical position of craft and the second part intended to test the position through a design problem. As part of this studio, each student ideated an individual position on Craft+Future which was later developed with their own unique design projects, material samples and prototypes. The studio involved rigorous reading sessions, theoretical analysis, field studies, hands-on explorations with craft techniques along with design discussions. The process was largely divided into four modules, each emphasising the learning outcomes of the course: ;now the contemporary position of craft, Ideate possibilities about the vision of the future; Develop an individual position for its future’ and Make relevant design ideas representing the vision of future of craft.

Fig 1

Fig 1 Sonali Gupta Craft + Future = Rebel, Visualization of ATMA 2.0: A tribute to the Master Artisans Fig 2 Conceptual and Design Development Models Fig 3 Jhanavi Parikh Craft + Future = Social Systems, Ideating Elements Fig 4 Sucheetra Pradhan Craft + Future = Modular, Ideating Elements Fig 5 Jhanavi Parikh Craft + Future = Social Systems, Screen Design Details Fig 6 Jhanavi Parikh Entrance to Karigarshala 2.0, CEPT Campus Fig 7 Teja Payapalle Craft + Future = Hyperlocal, Zeitgest: Festical of India, Pompidou Centre Fig 8 Ayooshi Jain Craft + Future =

Pattern, Yatra, Post Office Ahmedabad.Despite whatever is the deriving reason or intention behind making craft a part of interior scheme, the end result of involving craft in a spatial design will always have a warm effect. Be it the warmth driven from a memory or association with a certain graphic, or warmth of handmade gesture which feels relatable, or be it warmth from the local material and local people. The cube hence, represents the same, the position of craft in the field of interior practice as a sour way it is translated, literal, metaphorical, or somewhere in between these two. A source which is a representation of time and patience, which craft possess not only in the form of time invested in making it happen but also the potential it carries to represent heritage which makes not only the craft installation timeless but also the space in which it stands.

The model is also a representation of how craft adds a unique effect which is non replicable, in the form of human error//touch which rather than being a flaw becomes a part of its exclusivity and beauty.

acts a factor to break monotony in the space with exposed concrete and plain façade. This makes the space to stand up with traditional touch defining the culture and context. This can change the look and feel of the space and change the experience of the space. Like in project Amazon Bink Studio by ultra-confidential design the idea was not to focus on purpose but to give the essence of the origin through single crafted panel. Reinterpreting the idea of Mughal Jalli in modernist approach that go with industrial feel of the place. The designer with multiple design innovative ideas can position the craft to its maximum with the help of local craftsman to promote the collaborative working to withstand the emerging trend, which is the current need of the hour.

The cube represents the notion of the interior practices with involvement of craft as an element to connect the space and break the monotony in the space. The Practices today are more into surficial implementation either to connect to the context, or to give the essence of the tradition, history. Moreover, these are used in space making element and majorly to connect from inside and outside. In near future the idea may differ from place to place according to the function, user or context. Some may use an ornamentation to highlight the tradition or as an integral part of the built space. Overall this opens up to multiple iteration and proposition in a built space that can interconnect to every element in the space.