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Documentation Book Saumitra Chandratreya
560 002,
Diploma project documentation Saumitra Chandratreya, Srishti school of art, design and technology, Textile design department. April 2013
CONTENTS Proposal Research : level 1 Initial idea Research : level 2 Focus Concept Mood boards Inspiration image Surface iterations (paper ) Surface iterations (fabric) Process Space Surface iterations (fabric 2) Installation Overview 1 Installation Overview 2 Internal Jury and Extension Word Cloud Floor Plan of the K. R. Market Artworks Photographs of the each layer Experiments with Natural Flowers Experiments to Extract Smell Concept Note
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Explorations with Screen Printing Ideas about the form of the Installation Samples printed with newer ideas Final form and Prototype Prototype Planning the Installation Explorations for the final Pieces Specification Sheets Final Installation Image Captions Acknowledgements
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Project Proposal
Traders and merchants as well as artisans were attracted to Bangalore due to the efforts of the successive rulers in the 7th century.
Brief:
Over a hundred years later, a flood of British accounts bore testimony to the centrality of Bengaluru as the commercial and manufacturing capital of Mysore state under Hyder Ali and Tipoo sultan.’
To make a layered informative map of Bangalore, using mixed media but rooted in textile techniques. Bangalore as a city will be explored through its markets, which have helped shape and reshape the city over the years. Concept note: Since its inception as a town over five centuries ago Bangalore has evolved as a centre for trade, with markets that handle a large amount of goods and people. This has been possible because of the manufacturing industries that were set up in the city, which attracted merchants from other parts of the country as opportunities beckoned. With the advent of the colonial rule, the city grew and accommodated more businesses. Janaki Nair, in her novel ‘The promise of the metropolis’ explores these nuances of Bangalore as a city of trade through following excerpts : ‘architectural styles here, if such a name is deserved at all, are strictly subordinated to the pragmatic of commerce, and of combining residence with workplace. The aerial view betrays no sign of the frenetic activity in the bylanes of the oldest manufacturing district of the city. Here for at least four-and-half centuries until the present day, the din of the marketplace has mingled with the noise of manufacture. The town that sprang up within these walls could have taken no longer to be settled, functioning only as an administrative capital later drawing in a mercantile class who traded in goods from the hinterland. Bengaluru, which was a flourishing centre of textile production and a major emporium of goods from several pars of the subcontinent, for over two and a half centuries, suffered severe decline in the 19th century, revived its fortunes in the 20th century and remains an important site for art silk production.
Manufacturing of textiles was at the core of the trade because production of textiles depended on many other subordinate industries, where the merchants migrated and set up their shops. I want to explore Bangalore as a city through my artistic practice. Bangalore was one of the hubs of the textile manufacturing in that era. This interests me to explore it through this lens and expressing it through textiles techniques. There are two works of art that I have done, where I explored new ways of expressions, which artists are using: During my third year at Srishti I was a part of a unit, which worked with an NGO named Khamir. Our goal was to identify different cultures and their crafts in Kutch. My group worked with Bell making artisans of Kutch. We interacted with them and through that evolved an informative kiosk, which represented their lifestyle, the craft and the village. Though the final outcome was not essentially a map, it acted like one. This opened up new avenues of expressions.
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First image shows the interior of the bell, where we used a combination of illustrations, photographs and sounds cape( not visible ) to narrate the story. Second image shows a person experiencing the bell.
Research questions:
Cartographers Ewen Chardonet and Benjamin Cadon visited Srishti for a project on Bangalore, where they wanted to express the city with the help of mapping. As a part of this unit, I mapped the mobile towers in different parts of the city.
a.Who are the different rulers that ruled the city throughout the history and how have these rulers defined the way the city evolved?
1.What are the aspects that give Bangalore its own distinct character?
b.These different rulers brought with them their own culture, did these different cultures bring different skills and as a result was there an amalgamation which gave rise to different businesses being set up? c.Mysore was a dominant town but did the trade in Bangalore attract more migration? d.Did this migration allow the city to grow? e.Were these markets aligned to different religious faiths? Did this attract more migration? f.How did people use these markets as places of recreation?
The image shows the satellite map of Yelahanka region and the different mediums in which it is mapped. 8
Katherine Harmon, in her book ‘The art of map’, introduces the following concept: ‘Maps by definition are utilitarian of course. The language of maps has developed over the years as a beautiful one filled with artistic potential. Cartographers have long known that deploying artistic skills and techniques can enhance a map’s effect and have to varying degrees used visual creativity to make their maps compelling. Artists have found in cartography a rich vein of concepts and imagery to mine. Cartographic rules give artists whole network of assumptions to exploit and upend.’ Maps have always been looked at as utilitarian, informative tools. Adding metaphors different nuances makes them more compelling and we can tell a story through them when looked at as art pieces.
g.How are these markets tackling the advent of malls and what is the future of these markets? 2.What are the basic cartographic elements that a map possesses and how can they be used or subverted in order to make the map more compelling as an artistic experience/expression? 3.Once information has been gathered/collected, what are the ways in which it can be represented keeping the essence and core value of the information intact? 4.What are the newer, interesting ways and mediums in which artists are expressing? 5.What is the best combination of media that can be used to represent this information?
information. Approach: Initial research through books, films other texts and works of art. On site research and material production, extraction
Understand the complexities of information manipulation and representation. To understand in what ways an artist can respond to the subject matter using different media and approaches.
-This may include doing some activities on site.
Explore the medium of textiles for artistic exploration.
-This may be done using different media like sketches, photographs, walks, sound.
Books referred: Promise of the metropolis- Janaki Nair
Generating metaphors and symbols, material exploration with textiles as a base. Putting together all the information and explored surfaces/ swatches.
Deccan Traverses- Anuradha Mathur and Dilip Da Cunha The art of Map- Katherine Hrmon Invisible cities - Italo Calvino
Iterations of final outcome. Building the final map. Research will drive the metaphors and representation techniques and in turn this will provide the base for the final outcome. Materials and Resources: Books Films Interviews Soundscapes Mix media, rooted in textile techniques because that is my discipline. Learning outcomes: To explore the idea of map as a form of artistic expression. To explore the role, art and design can play in making a map more compelling in terms of displaying layers of
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Research : level 1
Some of the notes from the research : Where does the city begin -the history of Both pete and CM station
The first level research entailed understanding the background and history of Bangalore. It was all done through secondary research. Some of the key questions that I sought answers were as follows :
-introduction to the first settlement -city as a subject of investigation into social realms
1.Who was responsible for inception of Bangalore?
-how rural still dogs the mindsets of urban India, “ a village called Bengaluru city “
2.How did it flourish as a centre for trade?
-indian civilization and authentic villages
3.Did the town grow because of the flourishing trade?
-cities being the centres of power
4.How did that affect the social structure of the town?
-Permanamt and temporary occupations of city space
To answer these questions, I referred to The book, “ Promise of the metropolis “ by Janaki Nair.
-Problems with planners-who take only physical and material things into consideration
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Physical features: The city is based on a ridge, that slopes from west to east. Thus it is called ridge and valley town. The old city area covered the ridge while the new one, along with the cantonment the high ground. This resulted in the eastwest zonation of the contemporary city, while mapping the difference in economic, cultural and social spheres. Rules who ruled over Bangalore: Kempe Gowda Kempe Gowda 2 Kempe Gowda 3 Adil Shahi sultanate of Bijapur Mughals led by Khasim Khan Hyder Ali Tipu Sultan British Pre colonial: Settlement – 4 and half centuries old Tanks were built to support the agricultural and domestic needs. Tanks supported mixed farming and market
gardening Interspersed low scrub forest, provide excellent opportunities for hunting Ganagas( 5th to 10th century ) ruled over the region followed by Cholas ( 9th to 13th century ) who were followed by Hoysalas ( 12th to 13th century ) But the town took shape as a fortified settlement only in the 16th century, when it was linked to a network of temples and tanks. Later this attracted many merchants and artisans. This town, within the walls served only as an administrative capital. Later it drew mercantile people who traded in goods from the hinterland. 12 hoblis were annexed to this town. Together they yielded 30000 pagodas as a revenue. They were : Talaghatapura, Kumbalgud, Hesarghatta, Banawara, Yelahanka, Halasoor( ulsoor ), Varthur, Kengeri, Jigani, Canally( kanalli ), Bavoor( Begur ) and Casba Hale Bengaluru. All these villages have been subordinated to the urban agglomeration, today. The recognizable thickening of this node happened only in the 16th century. It was called “ The most famous marketplace in the Mysore Province� according to a Jesuit letter from 1724-5. The fall of Vijaya nagara and threat of Adil Shahi Bijapur, compelled trade and commercial routes to move further south, strengthening such places as Bengaluru. Bengaluru did not expand to considerable extent, physically for nearly 2 centuries, because of the economic activity that was concentrated inside the walls itself. British takeover of Mysore in 1799 focus on 3 distinct aspects of medieval life in the town : Grants to Brahmin agraharas, establishment of large temple complexes and construction of tanks. The establishment of 4 towers around Bangaluru was a brave sign of new power asserting its authority over the vast agricultural region. Kempegowda and Immadi Kempegowda established many shrines around the city and their upkeepment was done through grant revenues from the villages around. Religious landscape of the city in Pre-colonial era: Temples in the old city area lent a different meaning
to the urban landscape than that of the distant and spacious temple complexes. Bangalore was never a temple town. This was a town with houses, shops, factories, gymnasiums and other civic institutions. The smaller temples are the lasting reminder of the waves of immigrant groups that made a home in the city. The trade guild endowed grander structures while smaller shrines also thrived. In 1807, a few years after the British takeover of the city, as many as 44 shrines were identified, in the 4 pettes of Bangalore, each patronized by a different manufacturing cast or trade group. The temples formed then, as they do today, a focal point for the religious and social life of the community. Balija merchants – socially and economically dominant, built Shiva and Basava temples. Artisanal casts built large number of temples as well. Numerically dominant weaving casts( Devangas) and Market gardeners( Tigalas ) built and supported temples as well. Less powerful communities in the social hierarchy, the tank diggers( Woddaru ), Vishwakarmas and bangle selling tribes( Gajjalawar ) also staked a claim trough their temples to the city. Religious mendicants( Dasaravaru ) were associated with smaller temples as well. Less information is available about groups, who moved away from the city in times of political instability. Thus change in nomenclature gives us an idea of changed demographic. Muthyalpet( pearl market ) was briefly known as Ballapurpet, after the weavers o Doddaballapur who settled in the area, marking the shift from trading to manufacture. Merchants were notorious for their flexible urban ties, showing remarkable willingness to migrate in the times of war or excessive state control of the trade. In the 17th century, influence of itinerant Sufis redrew the sacred space of the city with Dargahs and shrines. The brief Mughal rule saw the establishment of the oldet mosque- Sangeen Jama Masjid. Later Hyder And Tipu used to regard some gargahs of Sufi saints with high respet, such as Hazrat Sayyad Shah Mohiuddin Quadri and Hazrat Tawakkal Mastan Shah.
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Christianity preceded the British presence in the area. First missionaries reached Mysore in 1648. The church to Virgin Mary was built in the heart of Bangalore, in contemporary Cubbonpet. Even the St Mary’s Basilica in current day Shivajinagar, had its origins as a shrine in 1674. It was difficult for the missionaries to find the converts. Christianity on an expanded scale followed by the conquest of Mysore by the British army. St Luke’s Church was built for the British soldiers in the fort. It was relocated afterwards to an area in the old city, where it catered to the migrant Tamil workers, new city bourgeoisie and old aristocracy. By 1930s more than 20% of the population of the new Bangalore C&M station was Christian, a largest such urban concentration in India. The skyline of the Cantonment was filled with the churches of every denomination o cater to the European needs and Indian converts. The religious landscape was constantly reinscribed as the new faiths and groups found a foothold in the city. Older religious traditions were recast as the city took shape and that changed the topography of the area.
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In the early phases of their rule, the warrior elite could extend and maintain their extortion and control of agricultural revenues only through liaison with the Brahmins, the legitimizing authority. The grants served as signs of how political alliances were made and kingly status and control asserted. ( Mention of who gave grants to which agraharas page 30 first para ) Physical aspects : For a site that was not close to a water source and on an elevated ridge, the ample water supply for the agricultural and domestic needs was imperative since the earliest days. The limited availability of water may have imposed its own limits on the growth of the city population. Hence provision of water through a system of tanks became a crucial element of city building throughout the 20th century. It was claimed that Bangalore was referred to as ‘Kalyananagara’ the city of kalyanis-tanks. ( discription of
who built which tanks, page 30 para 2 ) Resources : The dependence on tanks did not diminish even when the economic structure of the city had vastly changed. Colonial: The british did not draw the legitimacy for their rule from Brahmins and temples but the supply of water was as important an aspect as before. Millers tank, Ulsoor tank and Hesarghatta lake served as reservoirs to the city in the 19th century. Tanks needed a lot of maintenance. By the mid 19th century, tanks were becoming clearly inadequate to meet the city’s needs, so new tanks were being built to harvest rainwater and they were connected to the tanks that supplied water to the city. The fear of scarce supply of water to the city was so high that contests were held to design tank systems. Market gardeners sustained through most of the 20th century because of the tank economy. Pre colonial period, trade of agriculture and garden vegetation was high, along with textiles. In early colonial period, tank economy was booming. I thought in order to get some more perspective on the subject I should visit The Kempegowda Museum. Some observations from the museum : I visited the Kempegowda museum in an anticipation to find more information about the famed founder of Bangalore, about the fortress and about the city contained within this fortress – Pettes of Bangalore. When I entered the museum, not to my surprise, I am the only visitor. There is no fee to see the museum. A floor plan of the museum welcomes you (The only sign
of the Kempegowda museum). Like the Hindu temples, a religion to which Kempegowda belonged to, I had to take off my shoes at a designated place (this was my first reasoning behind the practice which was broken later). A wooden staircase takes you to the first floor hall, where the exhibit is located. I wondered why the pre colonial museum is located in a colonial building. The exhibit: The framed map of Colonial Bangalore forms the base. There are panels located at all the edges of the map giving information, in the form of texts, photographs and illustrations. It talks about the Yelahanka clan that Kempegowda belonged to, Different rulers after Kempegowda, the Foundation of the town, and very brief information about the commerce, water systems and religious agraharas built and developed by the kings (Which according to me is not enough). The photographs nit well curetted and illustrations, quite random). The placement of the panels is quite haphazard too. You don’t know where to begin and how to go about reading this exhibit. The four watch towers of then town stand in the four corners of the room in the form of square shaped panels giving very brief information about their locations in the current city. The floor map: It’s an impressive looking artwork. It doesn’t serve its purpose though. The map doesn’t have a key to it. It’s a colonial map, so it shows the east-west zonation of the city. But if you don’t know about the basic history of the city then you wouldn’t get why the town is divided by these lines. But it is quite a good experience for a map aficionado like me to walk over the map, looking at Bangalore’s past. Overall, I managed to find some key information about Pre colonial Bangalore but the overall experience is quite unsatisfactory.
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(The building in the Mayo Hall premises that houses the Kempegowda Museum)
Notes from the museum: Kempegowda was a close aide of Krishnadevaraya, the king of the Vijayanagara kingdom. Krishnadevaraya provided financial aide to Kempegowda to build and develop a city and a fortress around it, to protect the city. Kempegowda was determined to develop Bangalore as a place of commerce and invited best available professionals to the city. Kempegowda the second further developed the town as a commercial hub. Kempegowda the third had a great interest in agriculture and tried to help farmers by constructing water tanks. Kempegowda dreamed to build Bangalore as a commercial city. He invited best professionals from all over. He planned to develop a separate market place for each product. That’s the reason the old city has so many different market places dedicated to specific products. The pettes were also related to various professions.
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Kempegowda the third was nicknamed as water god. He was known to have prayed to the gods for the rain. He also built various tanks around the Magadi region.
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Initial Idea: After doing the initial research, I was intrigued by the map of Bangalore Pette from the 17th century. I visualized using multiple layers of sheets that show the roads but the blocks are cut. Each sheet would represent different filter of the map. This was a base layer and I wanted to juxtapose it with the satellite image of the current Pette, which would be cut like the previous layer. But I did not finish it before the review and hence could not assure the review panel
that it works. Another problem was that the Pette area is huge and so I was advised to focus in on a smaller area within the Pette. (The image on the right is the 17th century map that I referred to).
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Research : level 2 This mode of research was to be done through primary research. It included going to the Pette and walking around, immersing myself in the area and document it. But because it is such a busy area, it was really difficult to stand at one place and click photographs. I voiced this concern to my review panel and they suggested that I capture my walks in the form of video my hanging a camera on my neck. I also met Mr. Suresh Jayaram of 1, Shanthi road( an
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art gallery and artist residency place ) regarding my project. I joined him for a walk along the Pette that he had planned for the students of CSCS. This research was very visual and tactile oriented as the previous form of research was heavy textual and it did not help me with much visual inspiration. This form of research helped me a lot with the direction in which I wanted to steer the project.
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Focus : 16
Different ways to map Pette : Acccording to the businesses and different cultures that run these businesses On the basis of objects On the basis on religious places/ shrines But even then these were very vast areas. After doing multiple walking trips around Pette, I consulted my
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faculty and it was unanimously decided that I should focus on a particular route or a particular distance or a particular area, as there is a time constrain and the premise is very big even now. Out of all the walks that I had documented, I narrowed down to three based on the interesting visual and ideological elements they had to offer. Routes : K.R. Market – Raja Market K. R. Market – Chickpet
Chickpet – Sultanpet – Cottonpet I chose the route from K. R. Market to Raja Market as it connected the flower market inside K. R. Market to the artificial flower market around Raja Market. It was the most interesting route visually and it depicted “Bengaluru – Bangalore” with very subtle nuances.
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Concept : Once I had frozen on the route, I started going there again and again to immerse myself more into the environment. Doing so, one thing that I noticed was that one can not stand for too long and glace at anything in the K. R. Market. Such is a rush. But on he other hand, in the artificial flower shops, there was no rush at all. The visual extravaganza exitsts in both the spaces but the intensity in the artificial flower shops hits your eye while the one in the K. R. Market interests you. Even without touching the objects in both the spaces, one can feel a drastic difference in how the space feels.
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The upkeepment and maintenance is a mammoth task and is not carried out very well. One can feel the muck beneath the feet. The smell is intriguing, it consists of the sweet fragrance of the fresh flowers of different variety and the stench rising from the decaying degradable waste, in every lane in the busiest portion of the K.R. Market. The artificial flower market however doesn’t give you much when it comes to smell. The plastic and the terylene fabric, don’t intrigue you with their smell( though I was expecting it highly ). Its very easy to walk around and touch and feel and spend considerable amount of time in the Artificial flower shops, while its impossible to stop in the K. R. Market. Someone might trample you. One needs to pass a particular object in K. R. Market several times in order to get a detailed look at it. So it was very clear from the observations above, that the overall experience is something very tangible that I could map. The K. R. Market here serves as “Bengaluru” while the Artificial flower shops are “Bangalore”.
Mood Boards >
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Mood Boards >
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Suspended
Artificial
Vertical Attractive
Abundant Loud
Inspiration >
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Surface Iterations > ( Paper ) 3636
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Surface Iterations > ( Fabric ) 4545
Process : For the shibori pieces, I have used both tying and clamping. On cotton and on silk. Materials : For tying, I have useda twisted cotton yarn as this yarn is really strong so you can pull it really well in order to resist the fabric. For some of the organza pieces, i have used twisted polyester yarn as i did not want that yarn to be visible. Along with the yarn, I used compass to pull the fabric, in order to get the correct tension. The fabric is cotton, canvas, silk or organza. For clamping, I used wooden pieces and c-shaped clamps to secure them. Dyes : I have used basic chemical dyes – Direct dyes for cotton and Acid dyes for silk. The reason behind using the chemical dyes is that they give you really bright colour, which was required for my pieces. Process : 46
Scouring the fabric : Fabrics re generally starched to prevent them from any damage during the transportation. This starch can sometimes prevent the dyes from penetrating the fabric really well. Hence the fabrics are scoured in hot water along with bar soap. Preparation of the dye : Direct Dyes : add it to the vessel containing water. Then you have to stir the contents of the vessel really well and switch the gas on. During this process, the fabric needed to be dyed, needs to be soaked in water and then is added to the dye pot. Leave the fabric boiling in the dye pot for 20 minutes and then add common salt to the dye pot. It acts as a fixer. Leave it boiling for 10 minutes and then take the fabric out and wash it thoroughly under running water.
Acid dyes : Take the amount required in a steel glass. Add hot water to it and mix thoroughly. Then add this mixture to the vessel containing water and mix thoroughly. The fabric which needs to be dyed should be soaking in water during this process. Add the fabric to the dye pot and let it boil for 20 minutes. After that take another vessel and pour water into the vessel. Then add vinegar/ acetic acid in the water and mix. Now add the dyed fabric to this and then wash thoroughly under the running tap. Heat set : The fabric is tied with something hard and something that wont melt in boiling water. Then the tied fabric is immersed into the boiling water and is left to boil for an hour. Then its taken out of the vessel and dried thoroughly and the ties are opened. tyeing :
Clamping :
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Space >
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Space : I worked on some scaled down models of the space in which I visualized the installation to be.
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Surface Iterations > ( fabrics 2 ) 54
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Installation Overview 1 >
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Installation Overview 2 >
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Final Plan : It will have 3 layers. Layer 1 : Canvases Layer 2 : gunny sacks, nylon sacks and newspaper cutouts Layer 3 : dyed Organza with embellishments in the form of circles and other fabrics
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Internal Jury and Extension >
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Feedbak from the internal jury
Suggestions by the jury panel
The installation did not convey the basic premise of the project:
I should go back to the basic premise and develop a stronger concept, that is more inclusive and gives an opportunity to a map as a form.
1. The premise was to make a mix media map of Bangalore looked through the lens of the markets in the city. The focus on markets from one part of the city and then narrowing it further to a particular route and then narrowing it even more further to focus on one commodity marred the basic theme.
I should look at artists who have worked with maps and do more visual research once I fix on a theme.
2. This approach hampered with the form of the installation and instead of evolving into a map, it remained at a basic level.
Look at artists who have worked with mix media and city as a theme.
3. The form of the installation was problematic as it was quite flat and did not do justice to the content.
Look more critically at map as a form.
4.Installation was not strong conceptually, as the theme was too narrow.
Approach :
The explorations of the shibori remained at a very basic level and that marred the visual language of the installation. Other senses needed to be explored, which did not happen. The use of canvases was not justified. The finishing of the fabric pieces was not up to the level and the idea of cutting them and finishing was terrible. There were some problems in the flow of the presentation as some of the key points were not explained in the presentation.
I considered working with the suggestions from the jury panel. 73
I started with going back to my proposal and thinking about the broader themes that can come out of it. I am doing research about the artists and their work and started reading up on cartographic concepts and maps as a form of expression.
Mindmaps I essentially started with going all the way back to my initial ideas and decided to take things further from there.
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Focus on K. R. Market The K R market has a really strong sence of the city woven into its different lanes and squares. It bares a strong Kannada identity while also housing and serving other faiths and cultures. It is a very layered space and a one that is very dynamic. There is a large mine of concepts that can be exploited through the artistic enquiry. Historically, it was built to serve the older part of the city( pette ) where a lot of local manufacturing and services industries were present. it has a really strong sence of community.
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I decided to focus on K. R. Market as it was really a dynamic space to look at, something that I can use as the subject for my project.
Word cloud >
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Detailed Mindmaps
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Floor plan of the K. R. Market >
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Floor plan of the K. R. Market After a lot of snooping around and a really long wait of about 2-3 weeks I was able to get my hands on the floor plan of K. R. Market. I thought it would be interesting to use it as one of the layers in the map that I was trying to make.community. The size of the drawings is about 3ft by 3.5ft.
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Working on the floor plans As the scanned floor plans were black and white, I decided to work on them on photo shop, to make them look like the blue prints of the floor plans.
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Initial ideas based on the floor plans and previous mindmaps Idea 1 : This map has 3 layers. Each layer represents different time of the day ( 4 am,12 pm and 12 am ) and accordingly the contents of the map change or alter. The iterations were made on paper and then combined on photoshop to get the final iterations used in the map. Idea 2 : Each layer of this map shows the market with respect to its access points. The time intervals are derived according to when the gates are shut and when they are open ( 6 am, 12 pm, 10 pm ). Idea 3 :
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Having all the floors in the same artwork where, the impressions of the floors are shown and then this is layered with another artwork, that shows sound in thee floors throughout the day. Idea 4 : Looking at market according to different kinds of visitors. 1.A tourist 2.A patron to flower market 3.A patron to outside market
Artworks done to execute these ideas > 93
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Processing the artworks with photo shop > 99
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Photographs of the each layer >
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Feedback on these ideas The ideas of layering are still too literal. The representations of the ideas, i.e. the visual elements are too flat. The method of creating boxes is destroying the creativity. The Work in the previous part of the project much more interesting ideas than that of now. The logic of the ideas doesn’t work. There is no need to throw out the ideas from the previous part of the project. It’s a messy process of doing things and taking them forward. Engage with the medium. 128 Pull out all the previous work and see what works and
what doesn’t.
I am talking about the layers but when im executing these ideas, im flattening them out. I should avoid that. The paper iterations are interesting, but attention needs to be paid to the minute details. There is a diversity in forms but when im executing these forms, im making them general. This works if im trying to prove a point, but not otherwise. I should write a stronger concept note, that should be clear about the idea and while writing it I should question each and every word of it.
Experiments with natural flowers >
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Process I took different kinds of fabrics, cotton, linen, organza and silk; in various colours and mordanted them with harda and alum. Then I took the petals of different kinds of flowers and I placed them in these fabrics, by wetting the fabrics and sealed the fabrics with bubble wrap and duct tape. This arrangement was kept under a uniform weight and sprayed on with water, to keep the moisture for a time period from about a week to 11 days. Then they were opened and the results were observed.
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Different kind of flowers 133
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Results after opening the fabrics
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Impressions on the fabrics after drying them
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Experiments to extract smell >
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Process 1.To get the extract from the natural flowers( or spices or incense sticks ), boil the flowers in water and then once they start boiling, simmer them for 20 minutes. 2.To use essential oils, mix the essential oils, vodka and distilled water in a jar and shake it well before use.
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Concept Note An artistic map of K. R. Market, according a visitor’s perspective, where the visitor’s subjectivity and experiences of the space shape up the map, and make up its layers. In this case im putting myself in the centre and making a map of my experiences in the market. Map: A map is a visual representation of an area – a symbolic depiction highlighting relationships between elements of that space such as objects, regions and themes. ( from Wikipedia ) A map uses its own visual language to give the information contained in it. It needs to be read and interpreted in that particular way. Maps can tell a lot about our collective history, ideals, and daily lives. In short, they tell a story. Beyond that tale, they can also be interesting and attractive works of art.
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Types of maps: Different types of maps are generally classified according to what they are attempting to show. Thematic Maps: show features, population, and rainfall Inventory Maps: concentrate on a specific feature and show precise location Political Maps: boundries of countries, provinces, and states Mobility Maps: help people find their way on land, water, and air Transit maps: routes of buses, trains, subways, public transportation. Navigational Charts: help ships and planes Meterological Maps: show air currents, weather systems, fronts, temperatures and barometric pressure. All of the types of maps, mentioned above classify the maps according to the factual data available and are based on the basic geographic mapping. There are other kinds of maps that do not use geography as a base but still have some of the other elements of the maps. For example:
http://www.number27.org/assets/work/extras/maps/ traveltime/index.html http://weburbanist.com/2011/05/30/creative-cartography15-artists¬transforming-maps/ Essential elements of a map: 1.Include a Title that indicates the purpose for the map. This is a matter of being concise. Don’t make me guess what you are trying to communicate with this map. 2.Put your name, your institutional context, and the date on each map. E.g. Paul Cote, GSD6322 Assignment 1, February 11, 2008. A savvy map user expects a map to be biased, depending on the circumstances of its creation. Why should anyone invest any trust in an anonymous map? 3.Include a caption that explains the critical concepts and relationships you are trying to illustrate. WIthout an explanation of the purpose of the map, the user may waste their time trying to figure out what the map’s intention is. Or, more probably, they will simply scan over it, and move on. The caption should convey an idea of what specific concepts are being explored by the map, and how a specific dataset has been used to portray an estimate the pattern that these concepts create on the ground. A good caption will reflect on the fitness of the data as an exact reflection of the ideal concepts. If this point is not made, the implication will be that the mapmaker trusts that the map is a perfect representation of reality. One way to make this simpler is to simply be clear that the map is a portrayal of a specific collection of observations made on a certain class of real world objects, using a particular method. 4.Label Key Elements on the Map. Certainly, any feature that you mention in your caption should be clearly portrayed and labeled on your map. Other reference features that might be part of a discussion of the place, ought to be labeled as well. 5.Cite the primary sources for your data and their dates. Am I supposed to believe that you actually measured all
of these data yourself? If you don’t know the name of the authority responsible for the content of the data, or the time period that the data are intended to represent, then say so. 6.Cite Projection Method and Case All maps below a scale of 1:500,000 should be based on an apropriate local map projection and case that has planimetric scale properties -- that is a scale that is constant in all directions and across all portions of the map. The north-south and east west axes should be at right angles to eachother. These properties assure that shapes and relative sizes of objects and distances will be represented correctly. Understanding this requires a knowledge of the projection method used to transform the data for portrayal on the map. Therefore your choice of map projection method and case should be stated near to the north arrow and scalebar. 7.Put a grapical scalebar on the map Most maps these days are intended to be viewed on computer screens or projected against a wall. In these cases, a scale expressed as a fraction, eg. One Inch to One Mile or 1:63,000, is almost guaranteed to be wrong. In all cases a map should include a graphic scale bar. Only include fractional scales if you never to share your map in any other way than paper prints. 8.Incorporate a Graphical Hierarchy The key concepts as discussed in your text should be given emphasis with a bright color and bold lineweights and labels. Key relationships may be portrayed with diagramatic graphics. At a lesser level of emphasis you should provide a frameork of reference for named places and circulation. There may be a hierarchy of emphasis among reference elements, such as lineweights and colors to portray different grades of roads. When color portrayal is an option, the color white should be reserved for non-map areas, such as margins, and the background of legend and text boxes. Other aspects of graphic hierarchy are discussed in the sections on topgraphic and thematic mapping. 9.A Concise Legend, if Necessary: The map legend should be reserved for making key distinctions that are
important for understanding the points you are making in your caption. Not every symbol used on the map needs to be in the legend. When the symbology on the map is selfÂŹexplanitory, or if the distinctions being symbolized are not an aspect of the key concepts being described, then the map symbols should speak for themselves. When legends are included, the headings and descriptions should always be in plain english, avoiding cryptic file names and attribute codes. ( from: http://www.gsd.harvard.edu/gis/manual/style/ index.htm ) As one can see, Maps have their own visual language that one can exploit to create interesting details such as play with scale or direction, create unique symbols to completely subverse the meaning of the original symbols and create interesting maps, which are still viable at the same time but tell a lot more. To produce a map, 2 very important point that must be considered: The purpose of the map The target audience In this context, the kind of map that im trying to produce goes into the domain of Psychogeography. Psychogeography: the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals. - Guy Debord examples: http://www.ediblegeography.com/you-are-here/ http:// mappingweirdstuff.files.wordpress.com/2009/06/owjlfinalmap2.pdf
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In the context of K. R. Market, The purpose of this map is to produce a psychogeographic map of K. R. Market according to my experiences, in the market. As the map is personal and is more of an artistic expression than a utilitarian, there is no specific target audience to this map. Some elements that shape this experience: Textures, smell, sound, time and interactions.
K. R. Market Questionnaire ( To understand and help me tease out my ideas about the K. R. Market, I produced the following questionnaire. ) I have visited the K. R. Market, several times in the past few months, as a part of ground research for my project. I have visited it at different hours of the day and different days of the week. But at all these times, I had a specific purpose in my mind and that affected my behaviour in the market. That was somewhat blinding my visits to the market. Hence I decided to visit the market without any specific purpose but just to walk around, aimlessly. After doing that I came up with following questionnaire, for myself to reflect on my visits. When I walk into the K. R. Market, which floor do I preferably go to in the beginning? Why?
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I know the K. R. Market building, as the divided floors. That’s how I classify the market. But I don’t have much of a preference when I visit the market as to which floor I go to first, consciously. But I think I am most comfortable with visiting the lower ground floor, as I have visited it most often. Which gate do I generally enter the market from? Why? The gates that I usually enter from are the ones on the southern and eastern side of the boundary wall of the market. The ones on the eastern side open onto an inner street, parallel to Avenue road, and the one on the southern side open onto the Mysore road, near the flyover. I am most used to these gates and feel safest when going through these gates. What is my general behaviour in the market? When I enter the market, I try and get used to it as much as I can. I generally walk in the middle of the walkways
and don’t really make much of an eye contact. And I walk around a lot, with different speeds. I try to blend in as much as I can. Do I interact with people without context? If yes, how often do these interactions begin with me?
I don’t talk to strangers very openly in the market, im always trying to cut the conversation short. Sometimes I don’t even acknowledge the fact that someone is approaching me. How safe do I feel in the market?
I do interact with people when they approach me. Unless I have something specific to ask, I don’t generally begin these conversations.
If I am alone, I don’t really feel very safe. But this depends on what floor I am and at what hour.
What is my experience of the shopkeepers in the market?
Where do I feel the safest and where do I feel most unsafe? Why?
The shopkeepers can be rude sometimes if you are window-shopping. The shopkeepers are in general quite aggressive. Some vendors on the lower ground floor speak only the South Indian languages, and as im not fluent in any of the South Indian languages, it gets difficult to communicate. What is my experience of the buyers? Some of the buyers help you, with the language. The buyers in the walkways in the lower ground floor generally mind their own business and so the only interaction that happens is with whistles or shouts to move aside or walk faster. How open or not are the shopkeepers to me? The shopkeepers are really welcoming when they see you looking around. In the peak hours of rush in the morning, I need to wrestle for their attention. If I am walking around aimlessly, in the non peak hours, I catch them staring at me, or if I have a camera in my hand, they ask me to click a picture of theirs. Some of them want to talk to me, want to know what im doing in the market. Some of them are shy if I want to click their photograph. How openly do I talk to strangers in the market?
I think I feel the safest when im on either the lower ground floor or the ground floor till the daylight is present, as there are a lot people around on these floors and at the mentioned hours. Where in the market am I at complete ease with myself? I think im most at ease on the 1st floor, where most of the shops are shut and there are hardly any people around to stare at you. But having said that, im most comfortable on the other two floors. What are my fears of the market? I always fear that I can be a very easy target of a hate crime. What gender am I most comfortable with, while dealing in the market? I think im most comfortable with women, when im talking to them in the market. They seem more welcoming and pleasant. Which gender is most approachable? But having said that, sometimes the women are shy to have a conversation. Then the men are most approachable.
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really pungent smell of either rotten waste or urine. Would I rather be alone in the market, or with a group of people? I would rather be alone, as the market is a complex space and it is really difficult to keep the track of everyone in the market. The social fabric is quite delicate so one has to be really careful about the way you conduct yourself in the market. Which part of the market, would I prefer to be in, with a group of people? I think outside the building. Do I get stared at? Yes, very often. When I walk into the market, it is quite evident that I don’t blend in. Many people have a question mark, which reads, “What is this person doing here?” What is my choice of clothes when I go the market? Why? Most of the times, it’s a basic, simple shirt or a t-shirt, with
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handbag or my backpack.
Do I get lost in the market? How do I find my way around? Yes, the grid that K. R. Market shops are divided into is complex so I either remember the shop where I started with or take the structures along the boundary wall as a reference. What are the common smells that I get in the market? Where do I get these smells? The lower ground floor has a very musty smell, coupled with flowers and vegetables. The ground floor has a distinctive smell of spices and the 1st floor reeks of jasmine attar. But all the outer edges of the floors have a
What is the mood of the market? Do I get affected because of the overall ambience of the market? The mood of the market changes throughout the day and is different according to the different floors. The mornings are generally very busy and vibrant with people and noise and all kinds of smell, on the lower ground floor. The excitement dies out as the day goes by, and evening and nights are generally somber. The ground floor is not as busy as the lower ground, and it generally maintains its mood the same throughout the day. The 1st floor is the least busy of the 3 and like the ground floor; it doesn’t really change throughout the day. In the nights, the market is very somber and quiet, and I felt the atmosphere when I was walking alone.
Feedback on the ideas
Refined Concept note
I should completely throw out the idea of making a map as that is restricting me and it did not fit with my concept note as im talking about the experience of an individual and not many individuals.
K. R. Market is a part of the oldest neighbour hood of Bangalore, known as the Pete*. Pete has historically been a site of the manufacturing district of old Bangalore. It is the main wholesale market, dealing with general household commodities. One of the busiest spaces in the city, it has a very strong character of it’s own, which has always fascinated me since my first visit. The market, with its transient, dynamic nature encompasses a vivid culture, which is fast becoming extinct in the rapid urbanisation of Bangalore into the IT capital of India.
The layers in the photographs work really well and I should take that forward. I should write another concept note where I articulate my thoughts better. The smells work well so I should take that forward as well.
The project is an exploration of my experiences of this space and different ways of expressing the same. Due to the dynamic nature of the market, different times of the day provided me with different experiences. I used walks as my primary tool, aided by observations, brain storming, engaging in the conversations with the people in the market. The presence of so many sensorial elements made me curious, it intimidated me but at the same time, helped me understand the ethos of the market. This project is an exploration of sharing my experiences of the market with a viewer through different sensorial mediums. The market provided me with many different sensorial experiences. To express these experiences, I will be using different kinds of sensorial mediums. Textiles provide a range of possibilities to play around with; this property of textiles will be exploited to express the visual and the tactile. The recorded sound and recreation of the chaotic, strong smell add other dimensions. * Pete is an oldest neighbour hood of Bangalore, situated in the western part of the city. This was the location where Bangalore was formed. As the development kept happening within the boundary, it became more and more congested. This neighbour hood also has the wholesale markets for commodities, such as plastics, silk, grains and such. The proximity to the railway station is cited as the reason for the presence of all the wholesale markets being located here. This makes it one f the most visited market areas of the city
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Explorations with screen printing >
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Deconstructed screen printing Process The deconstructed screen printing is about breaking the rules of conventional screen printing methods. You can trap a texture in the screen and using a release paste( sodium alginate ) you can get that texture onto the fabric. Here I used a few stems of basil and used a polythene bag as a background texture. I placed them on my printing table and pulled the colour. Then I let the pigment dry onto the screen so that I get the texture of basil and the polythene bag. Then I tried releasing this texture onto the fabric using different mediums like bleach, Clorox, decoater but it did not work.
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Deconstructed screen printing I tried the technique with few other screens and when nothing worked, I scanned the screens in order to preserve the textures.
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Explorations with stencils 188
In order to achieve the effects from some of the explorations that I had done to get impressions of the flowers on the fabric, I decided to explore stencils, cut in the OHP sheet. Each form was assigned a different layer.
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Direct expose 193
To expose a screen for screen-printing, we generally print the negative of the design onto the transparent paper. But here, I tried blocking the light by the keeping the objects instead of printing them on the paper.
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Scan and expose 200
The problem with exposing the objects directly onto the screen was that it was yielding only a blotch and the texture of the object was missing from the screen. I tried scanning the objects at really high resolution both in black and white and in colour to see what gives me the texture of the object. These scans then were printed onto a transparent paper and the screens were exposed.
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Scan and expose 206
After scanning several more arrangements I chose some of them to expose some screens to see how do they print.
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Printed samples 219
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Discharge printing 240
Discharge paste is a kind of printing paste. It essentially decolourises the fabric in the area where it is printed. Process You need to mix the discharge activator to the discharge paste before you use it. The proportion is 1 part of discharge activator to 10 parts of discharge paste. You mix this well and print it like you print the pigment binder printing paste. Then you allow it to dry and once it has dried, you wrap the fabric in an aluminium foil or news print sheet and steam I in a pressure cooker for about 10 minutes. Then you wash it off thoroughly under the tap. And the colour from the fabric disappears.
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Change of colour palette 254
In order to explore more samples, I decided to change the colour palette to something really drastic. So I explored some samples with the fluorescent colours instead of sticking to the natural colours of the commodities.
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Ideas about the form of the installation > 268
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Nirmalya kalash and the trunk Of all the forms of the installation, my panel advised me to take the Nirmalya kalash and the trunk idea forward and explore them both by breaking their form and adding more meaning to them and then choose one of them to take forward for the installation.
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Some samples printed with newer ideas > 274
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Final form and prototype >
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Iterations for the form 308
After deciding on the idea I started iterating to come up with the form of the installation.
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Final Form 319
After taking my panel’s advice i decided to execute the idea showed on the page 322 of the book. But i made some changes to the original form.
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Prototype >
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I made these screens from the scans that I had done from the different commodities from the market.
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Printing 344
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For the Smell 348
Each fabric represented a different commodity and the corresponding lower pot had the extract of the commodities on one pot. To achieve this I had to take out the extracts of all the commodities used in the installation. The process for which was similar for all of them. Process Take the object, you want the extract of in a deep vessel. Pour sufficient amount of water and switch on the flame of the gas. Boil the contents till the water starts boiling and then simmer for 20 minutes. With the help of the fine mesh filter, separate the extract from the remaining of the object.
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Feedback on the prototype Each cluster with monochrome would not have the impact. The problem is that the prints are getting lost in the monochrome and to enhance that I need another colour. I should look at the sizes of the pots. Get pots made out of terracotta instead of using the copper pots. The prints are getting lost because of the monochrome and the overall placement.
I should list out the 8 ashtalakshmis and figure out the sizes of the pots accordingly. Roughly it should be the twice the size of the current pots. Each individual fabric needs to be designed well. Think of them as a collection. Think about the hierarchy between the fabric pieces. One of them can be a conversational piece that attracts all the viewer.
The fabric doesn’t have any value in the installation. In order to do that I should work with better fabrics. The installation needs to be much more dramatic which can be achieved by increasing the height of the fabrics and installing it much higher. The fabrics from the pots should come to the floor and flow on to the floor. Each pot can have one piece of fabric, hanging from it which can be very well detailed in terms of background and foreground, something that can give much emphasis on prints and the detailing. I can use various techniques to embellish the background. And there can be a very interesting conversation between the background and foreground. I should look at the other colours present in the Ashtalakshmi poster instead of the monochrome. The prominent colour can dominate the design but the other colours are important to let that colour dominate. The ratio should be 65:35, where the dominant colour is 65% and other colours are 35%
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Planning the final installation >
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Colour palette 365
Every manifestation of Lakshmi has a different attributes attached to it. Each manifestation is distinguished from one anther in the form of the colours that each one is depicted in and the props that they are depicted with. I thought I can mine the colour palette to distinguish each fabric from the other. Each of these manifestations has one prominent colour and two other secondary colours. Each colour palette shows the prominent colour and the secondary colours in their percentage form denoted by pie diagrams.
Veera Lakshmi 366
Gaja Lakshmi 367
Santana Lakshmi 368
Vijaya Lakshmi 369
Dhanya Lakshmi 370
Adi Lakshmi 371
Dhana Lakshmi 372
Vidya Lakshmi 373
Explorations for the final pieces >
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Explorations Each Lakshmi had a set of attributes, which could be explored through various different ways. I thought it would be interesting to use different kind of fabrics for each Lakshmi. This could really enhance the effect. The list for each Lakshmi and the fabrics used : Veera Lakshmi : Raw Silk Gaja Lakshmi : Tussar Silk Santana Lakshmi : 50 gm Bangalore Silk Vijaya Lakshmi : 50 gm Bangalore Silk Dhanya Lakshmi : Gitcha Silk Adi Lakshmi : Gitcha Silk Dhana Lakshmi : Mulberry Silk Vdya Lakshmi : Organza The elements assigned to each Lakshmi were thought through according to the attributes as well. For each Lakshmi, there were multiple samples explored keeping in mind what the Lakshmi signifies, texture of the fabric and the colour palette.
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Veera Lakshmi Veera Lakshmi signifies the strength and courage. It is aggressive. The prominent colour is scarlet. I chose to use raw silk as a fabric for this particular Lakshmi because the raw silk has a very nice texture that I could use to enhance the effect. The elements that I used for this Lakshmi wee the ones that had really solid textures and the ones that really stood out. The first sets of samples were done with Discharge paste on coloured raw silk in various ways to examine what is the result. The results of this particular exploration were not that great as after steaming and discharging, the colours were changing drastically. The next sets of samples were explored on off white raw silk. These samples gave me some really good results and one of them was chosen for the final piece. 376
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Gaja Lakshmi This manifestation of the Lakshmi signifies grace, royalty and prosperity. The light crimson is the prominent colour while the medium green and antique gold act as its subordinates. The tussar silk works great as a textured fabric for this Lakshmi. The prints chosen represent the rich commodities of the market. I have tried using two different fabrics to explore the prints for this manifestation. One is a self textured fabric that has the pattern in gold while the other is natural coloured tussar silk and died tussar silk.
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Dhana Lakshmi The two prominent attributes attached to this manifestation are prosperity and wealth. This Lakshmi is the most important Lakshmi in the context of the market. Deep crimson is the prominent colour while deep green and antique gold act as it’s subordinates. This fabric is the centerpiece of the installation. This is also the longest piece in the installation. Muga silk used to represent this manifestation, works as a brilliant backdrop for the heavy prints. The prints that adorn this fabric represent the most prominent commodities in the market. All the explorations done for this manifestation are done on natural coloured muga silk. I have played with the different proportions of the commodities and their respective colours.
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Santana Lakshmi The prominent features of this manifestation are progeny and growth. Chrome yellow is the prominent colour while the medium green and scarlet are the subordinates. This manifestation does not have any importance when you see it in the context of the market. The fabric I chose to use was 50 gm Bangalore silk. The prints depict the different kind of cotton picks found in the shops that sell pooja material in the K. R. Market.
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Dhanya Lakshmi This manifestation represents the nutrition and abundance. As the name suggests, this manifestation is related to abundance of the edible. The prominence of this manifestation is really high in the context of the market and is the second longest piece in the installation. The most prominent colour is bottle green while scarlet and light crimson work as the other colours. The visualization of the attributes of this manifestation has a lot of textures linked to it so the ideal fabric to be used was Gicha silk, which is highly textures and has a very interesting natural colour. All the explorations done in order to achieve a print for this were explored on Gicha silk. The prints related to the context had to have really strong textures and had to be some commodities that are used very often in the day to day life.
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Vidya Lakshmi The most prominent attribute attached to this manifestation is abundance of knowledge. This Lakshmi does not play as prominent a part in the context of the market as some of the other manifestations. White is the most prominent colour while scarlet and blue violet act as subordinates. The very subtle nature of the Lakshmi could be represented by Organza really well, which acts as the base fabric for this piece. The prints explored were all on white organza with white print playing the major role and the other colours acting as highlights.
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Adi Lakshmi This is the most ancient manifestation of al the lakshmis and it represents the cycle of life. It represents the universality of the objects and their life cycle. This Lakshmi is not at all prominent in the context of the market and hence is the shortest piece in the installation. The highly textured Gicha silk represents the ancient nature. The most Prominent colour is light crimson while the deep green and medium blue are the subordinates. The prints used for this Lakshmi are that of the most common commodities while at the same time representing the start of something.
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Vijaya Lakshmi The manifestation of this Lakshmi represents the victory or triumph in all aspects of life. This context does not really make it prominent for the market and hence is one of the smallest pieces. The red violet is the most prominent colour while the lavender and scarlet are the subordinates. I have used 50gm Bangalore silk as the base fabric for the piece. The prints represent the textures obtained from different pooja materials as they are connected to the notion of triumph.
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Feedback on the exploratory swatches and planning of the final pieces For each of the final pieces, I had explored at least 6 samples and out of those 6 I had chosen either one or two as the samples that I should take forward. We discussed these samples as I was showing them and then I was suggested to arrange the samples chosen by me on the floor in the same way that I am planning to arrange the pieces in the installation. After doing that, we discussed each sample for itself and then in regard to other pieces and the installation. We discussed the overall composition, the fabrics used, colour palette, pattern and sample’s role in the installation.
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We discussed that I should not print anymore samples but work on the samples on Photoshop and then do the visualizations of the samples and put them together to make the final pieces and then check how they are working together. Plus the pigments used to print, had made the fabrics really hard and even after softening, the fabrics remain really hard. It was suggested that I should get the final fabrics printed in a factory. Following is the feedback for each chosen sample :
Veera Lakshmi Final piece for this part of the installation was finished and we discussed it in detail. This piece used a lot of primary colours and even though the kind of disturbance it was causing was deliberate it was agreed that the piece wasn’t well thought out and that the colours were not working together. We saw all the exploratory samples done for this piece and we all agreed that the following piece was doing the most justice to the concept. It was agreed upon that I should go ahead and use this particular sample in the final piece and plan this piece. Let this piece be a narrow fabric.
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Dhana Lakshmi
Vidya Lakshmi
As we discussed this sample was the most balanced of all the samples. The composition works really well. I should change the gold pigment used from pearl gold to antique gold. I should relook at the associations of the elements used. I should replace the jasmine with pepper.
I should use this sample in the final piece as the pattern and the play with the sheer fabric work well. I should relook at the colours used in the 2nd layer of print as right now they have become more greyer than their original hues. The pattern hasn’t printed properly in the 2nd layer and I should be careful while printing that.
Adi Lakshmi Rethink the business of this pattern. The colours work really well. Rethink the circular motif placement and the size. I may want to reduce the size and then use it or use one big circular motif and place it strategically.(1) Both the colours and the pattern work really well the way they are. I should go ahead and use this sample in the final piece.(2)
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Gaja Lakshmi The duller green of the base fabric works much better than the other 2 samples. But the pattern on the other 2 is much better.(1) The darker base green of both these samples is too dark as it is spoiling the green pigment used in one of the layers of the print. But the pattern on these 2 samples is working much better than the other one. So I should change the darker green to duller green and use the pattern on these 2 samples.(2)(3)
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Santana Lakshmi
Dhanya Lakshmi
The colous here are working quite well. But I should make the yellow to either mustard yellow or ochre yellow. I should think more about the contrast between the fabric and the print and maybe use a more duller white like off white or beige like some of the other fabrics.
The base fabric is too busy and so is the print. Hence together, nothing is really working. I should tone down the prints and rethink the layout. I should also rethink the choice of elements and the number of elements.
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Vijaya Lakshmi The contrast between the base fabric and the print is too much. The white of the base fabric is too stark as compared to the colours of the other base fabrics. I should dye the base fabric in the duller greyer shade of the light purple. I should change the colour – blue purple. It has become too much of navy.
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Reworked samples after incorporating the feedback and decision on the final pieces I scanned all the samples and worked on producing the final pieces for each of these samples on photoshop by incorporating the feedback given by the panel.
Veera Lakshmi 457
There were no changes suggested for this particular sample. So I worked on the final piece of this Lakshmi.
Dhana Lakshmi 458
The composition of the colour was working really well for this sample. But I could have changed some of the elements in the sample. So I replaced the jasmine with pepper. I tried replacing it both pepper cones and dried pepper. I thought the dried pepper replaced the jasmine’s density really well. So I decided to use the dried pepper.
Vidya Lakshmi 459
I could use this sample as it is as it has a good balance of prints. But I should be careful when im using the bluish purple and red as when they mix they re producing a grayish brown which is not the colour I want.
Adi Lakshmi 460
I should tone down the 1st sample a little bit, maybe by reducing or really increasing the size of the circular motif and using it in the strategic places. Use the 2nd sample as it is and see if I want to use the circular motif.
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Gaja Lakshmi 462
I could use the pattern on the other two samples but the base colour of the fabric should be somewhere close to the paler colour.
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Santana Lakshmi 464
The white of the base fabric was too stark and I could reduce the contrast between the colours by making the colour a bit more mustard or ochre.
Dhanya Lakshmi 465
The base fabric is too busy and the very busy print really does not add anything. I toned down the print but at the same time keeping some of the textures.
Vijaya Lakshmi 466
The contrast between the base fabric and the print was too much. The circular motif is repeating way too many times and I should either reduce the size or really increase it. I had to change the colour of the blue to more purple because right now it was too navy. I had to change the base colour of the fabric to a grayish light purple.
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Specification sheets The fabric pieces for the installation were printed at the Ashirwad Prints in Peenya. Before going to the factory to print my samples, it was necessary to organise the designs that needed to be printed on paper, in the form of specification sheets. On these sheets, I mentioned the fabrics to be used for the particular designs, the screens to be used( numbered according to the layers of the design, 1 being the base and upper number being the top ) and colours for each layer.
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Visualizations for the installation It was necessary to visualize the installation and the pieces in order to take decisions about the prints and colours and the overall composition. I created the pieces in photo shop and put them together to see which combination looks better.
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Final Printing The colours were made from the specification sheets that I had provided. The factory uses wax tables to print on fabrics, where the fabric is stretched onto the wax table with the help of a sharp scale like object. The advantage of the wax table is that the pigments once printed, stay onto the fabric and don’t seep through the table ( which is the drawback of the tables that use cloth as padding ). After stretching the fabric, the screen is placed on the fabric and then the measurements are recorded with the help of a broomstick’s stick. While printing, the precaution was taken that the alternate repeats were printed so that the wet print wont lose any colour when the screen comes in contact with it.
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Terracotta Pots I had used copper pots, typically used in the Hindu religious rituals and had painted over them with acrylic paint, to make them look like terracotta pots. After considering my panel’s feedback, I decided to use the real terracotta pots instead. The Pots were made to order from a state award winning potter in pottery town, Bangalore.
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Overhead Frame I wanted people to move through the installation and in order to achieve that, I had to make sure that there was enough space between each pot and the fabrics. Which meant the pots had to be hung at a particular distance from each other to maintain the space. Creating a solid frame seemed like a practical approach to maintain the size of the installation. This also meant that the installation would be less time consuming to install. After going to the markets and advise from some carpenters, I decided to go ahead and make the frame out of metal pipes. They were lighter than wood and could be easily put together. The raw appeal of the metal worked quite well for the installation.
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Final Installation
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Image Captions 1. The cover of Janaki Nair’s book ‘ The Promise of the Metropolis ‘. 2. Exterior of the Kempegowda Museum, located in the Mayo Hall campus, M. G. Road, Bangalore. 3. Photograph of one of the explorations. 4. Dharmaraja Temple, Where the Bangalore Karaga procession terminates, OTC road, Bangalore. 5. Old stone household item. 6. Signage with Kannada and local heroes, in the colours of the Karnataka f flag. 7. SJP road, where all the electronics and electrical wholesale shops are located, along with the hardware tools. 8. Detail of the Pooja shop in K. R. Market. 9. Sultanpet main road, the trucks unloading their goods, 492
this neighbour hood houses the wholesale paper market. 10. Chickpet main road, where the wholesale shops for the fabrics are located, mainly dealing with silk. 11. One of the congested lanes of Cottonpet. 12. One of the by lanes of the Avenue Road. 13. A flower seller in the K. R. Market with a heap of flowers. 14. Architecture inside the K. R. Market main building, seen here is the non functioning elevator with the Karnataka flag colour scheme. 15. Flowers in abundance. 16. Small by lane of the Avenue Road
17. The entrance of the Raja Market. 18. Detail of one of the artificial flower garlands at a shop in the Raja Market. 19. The main square in the K. R. Market building. 20,21. Mordanting the fabrics. 22. Detail of a fabric, trapped rose petals. 23. Detail of a fabric, trapped small marigold petals. 24. Detail of a fabric, trapped aster petals. 25. Detail of a fabric, trapped rose petals. 26, 27. Detail of a fabric, trapped aster petals. 28-33. Detail of a fabric, trapped rose petals. 34. Detail of a fabric, trapped small marigold petals. 35. Detail of a fabric, trapped aster petals. 36. Detail of a fabric, trapped rose petals. 37. Detail of a fabric, trapped small marigold petals. 38. Harda, big dark pink rose petals, 8 days, Organza. 39. Harda, big orange marigold petals, 8 days. White cotton. 40. Harda, orange marigold petals, 11 days, Organza. 41. Harda, yellow marigold petals, 8 days, Organza. 42. Alum, Purple and pink aster petals, 8 days, Organza. 43. Alum, purple aster petals, 8 days, Orange silk. 44. Alum, purple aster petals, 8 days, green Organza. 45. Alum, small lemon yellow flower petals ( shevanti ), 8 days, Organza. 46. Alum, orange marigold petals, 11 days, White linen. 47. Harda, yellow – pink rose petals, 11 days, White linen. 48. Alum, orange marigold petals, 11 days, White silk.
49. Harda, pink aster petals, 8 days, White silk. 50. Alum, orange marigold petals, 5 days, White cotton. 51. Harda, orange marigold petals, 5 days, Green Organza. 52. Alum, purple aster flowers, 5 days, Orange silk. 53. Alum, yellow – pink rose petals, 11 days, Organza. 54. Alum, yellow marigold petals, 5 days, Cotton. 55. Alum, big dark pink rose petals, 5 days, White linen. 56. Print paste mixed with Clorox.
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Acknowledgements A mere thank you is understating the gratitude I have for my panel members who stuck with me till the end and were patient and gave me very valuable feedback. So a big Thank you to, Alison Byrnes, Meera Curam, Ramesh Kalkur,
Thank you for letting me access the blue prints of the K. R. Market plans, Mr. Mukunda of the Markets cell, BBMP. Thank you for helping me find the maps and providing me with some contacts, Arathi Kulkarni.
Smriti Mehra. Thank you for showing faith in me and without hesitation reminding me of my strengths and weaknesses. Textile department head and programme coordinator, Swati Unakar. Thank you to the Academic dean, for putting up with all the postponing of the deadlines. 494
Mary Jacob Kuruvilla. Thank you to the admin staff for letting me use the workshop and the wet lab, Mr. Anand,
Thank you so much for helping me with making the project proposal really strong and providing me with the references, Arzu Mistry. A big thank you to Kunal Khemchand for letting me use the Ashirwad prints factory to execute the final printing samples. Thank you for helping me with the lights, Kunal Deshpande, Piyush K Kashyap, Shreyasi Kar.
Mary Sundari, Suchitha.
Thank you for helping me out about the copper vessels,
Thank you for helping me in the wet lab,
Mr. David.
Tapanjit Singh Badesha,
Mr. Ravi. Thank you for helping me with the shibori pieces, Thank you for the valuable feedback, Suresh Jayaram.
( Drishya students ) Tabbu, Chandrakala.
For the tailoring, Mr. Nandakumar Mrs. Girija For all the love, friendship, critique and for always being there whenever I needed you, a mere thank you is not enough to, Sharayu Dhimate, Tejas Pande. For helping me out with various things, Shivantika Kanoria. For all the friendship and love, Aarthi Parthasarathy, Asawari Bhagwat, Medha Khandelwal, Neha Bhat, Piyush K Kashyap, Prerna Bishnoi, Radha Mahendru, Shreyasi Kar, Tanvi Talwar, Vasundhara Sharma. For encouraging me always and standing behind me very strong, Anjali Chandratreya, Shrikant Chandratreya.
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