Report on 'Kharadi Kaam": Wood Turning and Lacquer Craft in Dholka, Gujarat by DICRC

Research and Documentation

Report on

Kharadi Kaam: Wood Turning and Lacquer Craft in Dholka, Gujarat Craft Analysis 1

Funded by:

ÂŠ 2013 Design Innovation and Craft Resource Centre (DICRC) CEPT University , Ahmedabad, India.

iNDEXT-c Government of Gujarat

Table of Contents

Acknowledgements Design Innovation and Craft Resource Centre (DICRC) • Introduction • Visions and Objectives of DICRC • Idea of Innovation, SMC Workshops a Medium • Future Impact & Implication within SMC Sector

8 8 9 10

Part 1 1) Space Making Crafts (SMC) Introduction 2) SMC in Gujarat 2.1(a)An Overview 2.1(b) Examples of SMC in buildings of Gujarat 3) Space Making Crafts Workshops An Overview Hands on Work Method through workshops to understand Crafts Objectives and Activities 4) Space Making (Wood Turning Lacquer Work) Craft Workshop, Dholka 4.1 An Overview of the Workshop 4.2 Phases of the Workshop 4.3 Objectives of the Workshop 4.4 Prospects of the Workshop 4.5 Scheduled Modules of Workshop 4.6 Outcome of the Workshop

12 12 12 12 13 16 16 16 16 17 18 19 19 19 19 20

Part 2 1) Dholka: an Overview 2) Wood Turning Lacquer Craft 2.1 Raw Material 2.1(a) Wood Raw Wood Processing of Wood 2.1(b) Lac

21 23 23 23 24 24 25

Raw Lac 25 Processing of Lac 25 Harvesting Lac from tree sap 25 Removing Contamination 25 Precautions and care for Lac 25 2.2 Tools and Machines Used 26 2.2(a) Hand Tools 26 2.2(b) Machines 27 Traditional Lathe 27 Power Lathe 28 2.3 Craft Process 33 2.3(a) Storing 34 2.3(b) Cutting 34 2.3(c) Turning and Shaping 35 2.3(d) Sandpapering 36 2.3(e) Lacquering 36 2.3(f ) Polishing 41 2.3(g) Painting 42 2.3(h) Varnishing 42 2.3 (i) Pre-Assembly and Assembly of Elements 42 Existing Products 42 Assembly of a Ghodiyu 43 By-Products 45 2.3(j) Packaging/Storing 45 2.3(k) Transportation 45 Material 45 Market 46 2.4 Craftspeople involved in each stage, and time duration 47 for each stage to complete 2.4(a) Peak Season 47 2.5 Design 47 2.5(a) Idea of Innovation: Craft Design Process 47 2.5(b) Design Interventions 47 Designing a Prototype: Exploring Structural Principles Methodology to translate the design to the craftspeople 2.5(c) Explorations 47 Explorations in Material, Form and Colour 48 Explorations in Intersections and Joinery 50 2.5(d) Final Prototype 51

An Inventory of Analysis Possibilities of Modifications/Improvements in the Prototype 2.5(e) Voices of the Craftspeople

Part 3

1) Observations, Inferences and Conclusions 1.1 Concept of collaboration as a creative catalyst 1.2 Learning from this workshop 1.3 Contemporary use of wood turning and lacquer work in the field of Design 1.4 Contributions to Craft of Wood Turning Lacquer Work 65 2) Appendices 2.1 Profile of Craftspeople 2.2 Questionnaires 2.3 Data Collection other than the one, which is not in the report, but needs mention(if any) 74 3) Glossary 74 4) Bibliography

Acknowledgements Government of Gujarat Government of Gujarat Government of Gujarat Government of Gujarat Government of Gujarat Institutional Representatives Prof. Krishna Shashtri, Astt. Prof. Jay Thakkar, Mr. Sameer Parker, Mr. Rajesh Sagra represented the institute, and guided the enthusiastic members of the documentation team. Documentation Team Anuj Anjaria, Rachna Ahuja, Sagar Shah, Smriti Saraswat and Soumya Basnet were the part of the documenting team. Documentation required thorough on-field and off-field sessions. Craftspeople, Designers, Participating Students Craftspeople: Kannubhai Mistry, Mannubhai Mistry, Himmatlal Suthar, Anilkumar, Himmatlal Suthar, Viren Vinod Mistry, Neeravbhai Mistry Sushilaben Mistry, Alpeshbhai, Vijaybhai, Ravibhai, Kannubhai, Sureshbhai Designers: Mr. Sameer Parker, Mr. Moksha Thapar Participating Students: This involved students from Masters in Interior Architecture and Designer (MIAD) Mitraja Vyas, Richard Bara, Devanshi, Neha Vaid and other undergraduate students as well - Smita Agarwal, Abhiruchi Supervision, Speakers Supervision: Prof. Krishna Shastri, Prof. Kireet Patel, Astt. Prof. Jay Thakkar Speakers: Prof. Kireet Patel, Mr. Sameer Parker, Mr. Moksha Thapar, Prof. Gautam, Shah, Prof. C.N. Ray Text Editors: Astt. Prof. Jay Thakkar, Bishakha Shome Text: Smriti Saraswat Visuals Illustrations: Soumya Basnet Drawings: Rishav Jain/Rachna Ahuja (?) Photographs: Rachna Ahuja, DICRC Database Production, Post-Production Product Development: Rachna Ahuja Product Analysis: Rachna Ahuja, Smriti Saraswat Design, Publication DICRC, Government of Gujarat Dissemination DICRC, Government of Gujarat

Design Innovation and Craft Resource Centre Design Innovation and Craft Resource Centre (DICRC), at the faculty of Design, CEPT University, India, is a centre for research, study, documentation, and organizing programs and projects related to Space Making Crafts (SMC) of vernacular and traditional built environments of India. It is a platform of knowledge and human resource where, contemporary design thinking engages with a range of Space Making Crafts and trade skills. Moreover, DICRC aims to function as an interface for development of regional SMC through documentation of traditional living heritage, craft cluster mapping, SMC workshops, craft-design innovation, training of craftspeople & curriculum development in Rural Technology Institutes, national-international linkages, providing a platform for discussion, national-international seminars and forum for role of SMC in Interior Architecture. The importance of craft as a means of livelihood, and sustainability is also being considered simultaneously by DICRC through this process. Another main objective for DICRC is to initiate partnership projects with and among the important craft related role-players, stake holders and to formulate new policies which would help craft and design field. Vision and Objectives of DICRC â&#x20AC;˘ Documentation Keeping in mind the objective to understand the vernacular cultures and regional crafts, DICRC has set one of its main focus as documentation of different crafts, processes and techniques in the form of written and photographic reports, portfolios, books and manuals, thesis monographs, short films and documentaries, develop manuals and visual directories. These can be used both as teaching material for students as well as media for information dissemination, awareness and training for professionals, industry, and government officials. This extensive documentation will create a resource base for Space Making Crafts (SMC) of Interior Architecture that will be catalogued and archived through state-of-art documentation centre. Another important task ahead for DICRC is to map the craft clusters of SMC and create an accessible database for the future development of these clusters. â&#x20AC;˘ Link between Craft Traditions and Designer Traditions The gap between the craft skills (age old traditional methods of master craftsperson and the contemporary designer skills) seems everincreasing. It is crucial to understand the craft skills (crafts with the backdrop narratives of ethos) as well as the design implications, and bridge this gap. DICRC envisions ascertaining a link between traditional

and modern craft practices by researching and recording the sociocultural context of SMC. • To develop network and linkages between various organizations and institutions dealing with SMC • Innovation Idea of Innovation, SMC Workshops a Medium DICRC is a nodal agency for innovative thoughts and practices to meet with an aim to incubate new ideas and create paradigm shifts for the understanding of crafts through changing times. This idea of innovation is taken up through various activities, one of them being the SMC workshops, which act as a tangible or direct mean for innovation. A form of craft is a legacy of traditions and culture, while design looks at resolving the needs of the present and the future. There is a need to revisit and redefine the understanding of space design with the added dimension of craft and create new paradigms for design conceptualization. This is one of the main objectives of DICRC. A strong collaboration is envisioned between the craftspeople, designers and the industry to develop innovative ideas and introduce them into the local and global markets. DICRC aims at establishing a direct association with the craftspeople and understanding the multilayered structure of craft practices through various Craft Workshops. There is also a need to develop various innovative solutions/ applications/processes to generate elements/products related to Craft-Design through various short and long term programs. DICRC also strongly emphasises on a strong interface between craft-making processes/ techniques and advanced technology such as design software and new-age machines, not as labour-saving or de-skilling devices but as source of employment generation by creating demand for craft related industries, in this case interior design, and resulting in faster and improved implementation.

Tasks and Activities 1. Documentation of Traditional Buildings and Space Making Crafts (SMC): • Preparing Visual Directory of Space Making Crafts by documenting SMC of all the regions in Gujarat. • Study of the Craft Clusters involved in the practice of SMC. • Research of material resources and the processes and techniques involved in the SMC practices. • Creating a digital library of the documentation and categorization of data.

2. Interactive Resource & Innovation Platform for SMC: • To establish a platform for knowledge dissemination between scholars, designers and professionals • Research and development related to materials, technology and process of craft practices. • Program to develop innovative craft practices to respond to today’s built environment needs. • Interface of crafts and technology for social and economic sustainability of craft communities. 3. Development of courses/educational modules related to SMC for RTI: • To develop course structures related to building crafts and technology • Interactive program development between RTI and Design students 4. Workshops/Training with Craftspeople in collaboration with Designers/professionals: • Developing short training programs/workshops with craftspeople, designers, students, professionals to develop innovative solutions • Establishing resource centre of different building materials/crafts 5. Collaboration with National & International Crafts organization/ Institutes: • To collaborate and bring together people, institutes and organizations involved or related to SMC • Developing networks with Government organizations, NGOs, Institutes, designers and Professionals 6. Lectures and Seminars: • To organize lectures and seminars by eminent scholars and master craftspeople related to SMC

Future Impact & Implication within SMC Sector • Training and exposure to new tools and techniques to 100-150 Craftspeople within SMC Sector. • Technology and skill upgradation will increase their employment opportunities. • Development of curriculum and various programs for Rural Technology Institute (RTI), which will augment the sustainability ratio of the local craft practices. • Documentation and categorization of Space Making Elements and Crafts of important traditional and Vernacular buildings of Gujarat • Development of Craft-Design Innovative solutions, applications, process to generate products, elements, installations, which will benefit

both craft and design fraternity â&#x20AC;˘ Directory of craftspeople of SMC of Gujarat â&#x20AC;˘ Development of linkages between various government and private organization in Gujarat.

Part I 1) Space Making Crafts (SMC) 2) SMC in Gujarat: an Overview 3) Space Making Crafts Workshops 4) Space Making (Wood Turning Lacquer Work) Craft Workshop 5) Space Making Crafts (SMC) Space Making Crafts constitute of the crafts, which are primarily directly or indirectly related to the buildings/Interior Architecture. In Gujarat, there are more than 30 such crafts. Few of them to enlist are stone carving, stone inlay, wood carving, marquetry work, stucco work, mosaic work, glass work, metal casting, etc. SMC encompass both hard material (stone, metal, terracotta) and soft material (fibres, paper, yarn) applications in buildings from their very making to their expressions, tools, construction techniques, explorations and innovations. It is a multifaceted field with its foundation underlying with varied core sectors like handicrafts, building and construction industry, small scale industries and various craft practices. Interior and Architecture Elements that make the space are known as ‘Space Making Elements’ Crafts related to buildings that Generate/define/enhance these space making elements are classified as ‘Space Making Crafts’ Materials

Wood Stone Glass Metal Clay/Terracotta Bamboo/Cane Fabric

Architectural Floor Wall Column Roof Staircase Interior Door Window Partition Furniture Fixture Ornamental Surface Finish Colour Artefact

Space is a need as much making is a requirement of it. Craft looks at essentials of space making in its very fundamentals, in which social structure, social patterns, social trends, geography and economy of space reflect upon each other, and play key role as factors influencing the interpretation of the need. The need for a space and subsequently its usage is defined by different skills and material objects (from making to expression, from built-form to objects within space).

3) Space Making Crafts Workshops 3.1) Overview of SMC Workshops There is an urgent need to understand the space-making patterns in the vernacular cultures and lifestyles, and the regional crafts used in space making all over the country. DICRC has set up a comprehensive SMC Workshop program, which is a platform where design, craft and industrial process engage with each other to create an understanding that leads to synergies for innovation. All participants must become stakeholders and go through a hands-on-work process which will give a context to their skills and a broadening of outlook. Through the workshops, which centre on these Space Making Crafts, DICRC aims to engage with these crafts with a ‘contemporary vision’ and integrate them with design education and design industry in order to bring about innovative directions for the future. We prefer to call this process as Craft Design Process. SMC workshops are a medium for Design Innovation, and Craft Design Process is a tool that acts as an interface between craft and design, and helps establishing an understanding regarding how design positions crafts, and vice versa. “While the analogy between craft and design is far from perfect, the comparison is useful.” Moreover, SMC workshops are the operative end of the larger centre, where individual craft clusters are engaged with. SMC Workshops will facilitate exchanges between artisans, young students in design schools, and designers with professional experience to promote interaction. Through a process of talking and working together, design ideas are generated and experimented with. The aim is to work with existing skills and processes to create opportunities and possibilities at all levels. Among the younger generation of craftspersons especially, we hope to encourage an insight and therefore value of their skills and an ability and confidence to deal with new ideas. Among the students, we aim to bring about sensitivity to craft, to shape a humane, analytical design process, and stimulate creativity through the use of the latest technologies. These workshops encourage a creative process towards design, the center being space-making crafts, and engage a wide range of participants.

3.2) Objectives and Activities of Workshops 1) Discussions To encourage artisans to engage with design in order to equip them

with the skill and understanding that they would use and build on progressively. To reach a shared understanding between artisans and designers, and to encourage a two-way learning process along with the spirit of cooperation To generate and execute new and innovative designs involving both artisans and designers. To develop utilitarian designs geared for new markets. Discussions between facilitators and artisans on design ideas and terminology (design vocabulary) Exercises to think out of the box and develop the skill of looking in a different way To have market surveys and encourage artisans to understand contemporary trends and demands Making the craftspeople understand the need for the functional designs, and not just the ones which have religious use. Discussions regarding issues of form, function, market, tradition, role of craftpeople in society, success, values. 2) Understanding Material Understanding the material, on which the workshop focuses, and studying its material properties, sizes, proportions, availability, manufacturing capabilities, geological attributes, etc. This will greatly help in going ahead with the designs. 3) Collaborations Collaborations amongst craftspeople, designers, students, voluntary groups, government and non-government organizations, to draw maximum possible out of the resource base, and work with new ideas and technology. 4) Skill Upgradation Training for upgrading the skills of craftspeople, and making them aware of new tools, techniques, and methods of working 5) Specific Inputs Informative talks, demonstrations, illustrations, inspiring films/ documentaries, etc.

4) Space Making (Wood Turning Lacquer Work) Craft Workshop Space Making (Wood Turning - Lacquer) Craft workshop is a component of â&#x20AC;&#x2DC;Design Innovation and Documentation of Space Making Crafts of Gujaratâ&#x20AC;&#x2122; project of DICRC. This workshop was conducted over a period of 10 days (01st Dec 2010 to 10th Dec 2010) by design participants and

Wada community craftspeople. Three separate families (Kannubhai Mistry-Mannubhai Mistry, Viren Vinod Mistry-Anilkumar Himmatlal Mistry, Neeravbhai Mistry) who own lacquer workshops, were approached and included as associates. These craftspeople belong to the Wada community. A total of approximately 30 persons are directly employed in these workshops, including women who are involved in the process of decorative painting on the objects. Another 24 workshops of similar skills are in the area; however these three are regarded as the oldest, going back over 50 years.

This unique and interactive attempt, aspires to provide a platform for professionals, craftspeople, design students and other institutions to interact. Workshop required the involvement of various people at different levels. • • • •

4.1) Phases of SMC Workshops

Phase 1: Craft Awareness and Understanding Phase 2: Design Exploration and Innovation Phase 2: Prototype making and testing Phase 3: Project report and documentation archival

4.2) Objectives of SMC Workshops

•To focus on the educational aspects of crafts by disseminating knowledge and understanding of traditional craft forms. •To explore contemporary design possibilities in relation to SpaceMaking Crafts •To create a collection of prototypes illustrating design ideas

4.3) Prospects of SMC Workshops

• Documentation • Cataloguing and Archiving • Publishing • Exhibiting and archiving- design explorations and prototypes

4.4) Outcome of SMC Workshop

• Published paper/report • Entire documentation of process of craft technique and design solutions • Design Explorations in form drawings and sketches • Sample prototypes • The document itself is our main public outreach. We need to work through the design community in order to maximize the possibilities. Through the published explorations of new design ideas, we hope to encourage and inspire designers and architects to integrate them holistically in their projects.

4.5) Scheduled Modules of the Workshop Week 1 (01.12.10 - 06.12.10) A) Primary Field visit to Dholka: • Getting an Overview: the team interacted with the craftspeople to get an overview of the environment, skills, processes and products. • On field Input Sessions: there were onsite sessions by Mr. Moksh Thapar regarding material, processes, tools, systems and production. • Other Field Visits: Field visits to Vadaj and Chandlodia, where similar turned wood crafts are practiced, followed the visit to Dholka, to have an overall scenario of this craft form in Ahmedabad district, Gujarat. B) Off-Field Sessions • There were off-field lecture sessions by Prof. Kireet Patel regarding: 1) History and philosophy of building crafts, material properties and evolution of skills. 2) How to observe, analyse and document crafts? C) Second Field visit • Craftsperson – Student Interaction: During the second field visit to

Dholka, students got to work on lathe machines and experience the processes of turning and lacquering for themselves. D) Off-Field Input Sessions • Understanding Social and Economic Parameters: There was a session by Dr. C.N. Ray regarding macro studies of craft, based on the work by the School of Planning in Surat district, where every single craft cluster has been quantitatively mapped in terms of social and economic parameters. This session reflected while developing an understanding for the craft cluster of Dholka. • Discussions on Innovation: Refinement of ideas through studio discussions with the facilitator and other faculty continued through the workshop. E) Analysis: The documentation work further lead to the analysis of skills and processes observed at different locations.

Week 2 (06.12.10 - 10.12.10) A) Craftspeople visit DICRC: Craftspeople were invited to visit DICRC where they interacted with faculties, which was followed by discussions and presentation of students’ work. B) Input Sessions: Prof. Gautam Shah conducted a session regarding lacquer as a surface finish covering the history, synthesis, processes and chemistry. There were few more sessions by Moksh Thapar and Prof. Kireet Patel evaluating the explorations and viability of design ideas. C) Field Visits – Product Oriented: During the Third and Fourth field visits experiments and idea development became more product oriented. D) Prototype (Partition Screen) Drawings: The idea behind prototype drawings was to communicate new explorations to the craftspeople with the help of illustrations and drawings. E) Translating the Drawings into the Final Product: The final prototype took some weeks to complete as the work schedules of the craftspeople and students and facilitators took time to work out. Moreover, it could be observed that the way the students and the designers design a product is completely different from the way the craftspeople reproduce them. Therefore, it took some time to establish this understanding, and going ahead with the final design.

Part II 1) Dholka: an Overview 2) Wood Turning Lacquer Craft

1)Dholka: an Overview DICRC organized its first Space Making Craft Workshop in Dholka, Ahmedabad District, Gujarat. It could be considered as a pilot project, which contributed in structuring the framework for subsequent future workshops. The workshop engaged a cluster where the craft of wood turning and lacquering has been practiced since past 50 years. Located about forty kilometers to the southwest of Ahmedabad city, down the Sabarmati River, Dholka or Dholaka is the headquarters of Dholka Taluka. It is the second largest Taluka in Ahmedabad district. To its south lies the Dhanduka Taluka and its northern border touches Viramgam, Sanand and Daskroi Talukas.

First human settlements in the Dholka Taluka can be dated back to the medieval ages (2450 BC and lasted up to 1600 BC). “It is one of the numerous sites claimed for the Virata, where the pandavas lived in disguise. In the twelfth century, it was called Dhavalakkaka – it is said from Dhavala the father of Arnoraja of the Vaghela clan, from whom the last Hindu dynasty of Gujarat descended. Idrisi mentions it under the name of Dhulaka as a chief trading town in his time” Dholka was also one of the places, where many Jain temples were built in the early half of the thirteenth century. Remains of various mosques, belonging to the fourteenth century, are also found. Located amidst a large bustling street cluster including a 16th century mosque (Hilal Khan Mosque or Behlol Khan Mosque) and a Girls school, the locale has a very peaceful air to it. Reminiscences of old structures are still visible even as all the evidences of modern life keep popping up. Major social activities in Dholka are dominated by agriculture and the leading industries here are cotton related such as the production of cotton textiles, cotton ginning and pressing. Other sectors of income generation form a minor part of Dholka’s economy.

2) Wood Turning and Lacquer Craft Wood Turning and Lacquer Craft is a traditional craft of India, which dates back to antiquity. â&#x20AC;&#x153;Wooden objects on a turnery can receive a coating of lac as lacquer. This art must have been known even in ancient India, for Panini (500 B.C.) uses the word Jatu = lac (the resin) and Jatusa = lacquer (lac applied to wooden objects in a turnery).â&#x20AC;? This craft is done in many parts of India. In each part, there is a different story behind its evolution, the needs out of which it took shape, the processes followed by craftspeople, the products made, and their applications. In Dholka, this craft has evolved out of ritualistic connotations. Craftspeople here are majorly involved in the making of ghodiyo as a principal product along with some seasonal items such as Dandiya sticks and small drums. A ghodiyo or ghodiyu, as it is popularly known in Gujarat, is a traditional crib frame or a cradle for baby, and used during the time of baby birth and other ceremonies associated with it. This is an indigenous craft practiced in and around Dholka, but, now, it has become more of a personalized occupation , rather than being a major contributor to the craft industry/sector.

3.1) Raw Materials Used The wood turning - lacquer craft involves both natural and synthetic materials. The industry is therefore totally dependent on forests for primary raw materials. These forest-based products are the wood of babool tree and lac produced from the tree sap, Synthetic materials include paints and pigments. 3.1(a) Wood Raw Wood Bavla or Babool (Teak wood) , which is a semi-hard wood, is preferred for its availability, compact veins and lack of knots. It is sourced from Kheda district, near Ahmedabad. Few craftspeople find the wood from Kalol better than the one from Kheda, the reason for which they tell is that the wood from Kheda is blackish and very raw, compared to the reddish coloured better quality wood from Kalol. Other sources for obtaining the wood are Nadiyad, Radhanpur, Kadi, and sometimes Dholka itself. The raw sections are from the main trunk of the tree and measure approximately 3.5 inches X 3.5 inches with the longest being about 5 feet. Length of Other sections used is: 3 feet, 2 feet, (2.25) feet, (1.5) feet, (1.25) feet

The apparatus used in these workshops can accommodate sections generally up to 7 feet in length. If the length goes beyond 10 feet, the thicker section is required. According to the craftspeople, one log of wood (5’ X 3.5” X 3.5”) costs 300 rupees when the orders are wholesale, and 400 rupees otherwise. Processing of Raw Wood The wood arrives with high moisture content and is seasoned to some extent by a rotational stacking method . The wood is only partially seasoned before turning. The workshops need to keep a relatively high inventory of wood in proportion to output. In some cases the wood is so raw that the smell of sap permeates the surroundings.

3.1(b) Lac Raw Material “Lac, which is called laksa in Sanskrit, first appeared in Atharvaveda (around 1500 B.C.). Panini refers to call lac Jatu, a genuine Sanskrit word signifying an adhesive. Lac applied to an object in turnery would be lacquer and was called Jatusa.” “Lac is an encrustation produced by the insect Technadria lacca and the leaves of the talegiri (Pandanus odoratissimus). Technadria lacca is found on a number of forest trees, particularly kusum (Schleichera oleosa). Currently, it is collected in Bihar, Madhya Pradesh, Maharashtra, Orissa, Uttar Pradesh and West Bengal. Talegiri is also known as screw pine. This palm-like evergreen tree has bunches of long thick leaves and can be either densely branched or have a clear bole of up to 6 m in height. Found on the coast and along banks of rivers, canals, fields and ponds, the screw pine often has aerial roots.”

Processing of Lac a) Harvesting Lac from Tree Sap Harvesting lacquer from the Varnish Tree is relatively simple: The technique varies depending on the region, but, generally, five to ten horizontal cuts are made in the tree’s trunk parallel to one another. As the sap oozes out of these cuts, it is scraped and collected. b) Removing Contamination Purified lac is called shellac. Crude lac contains two pigments. Simply washing with water does not remove the contamination from lac, but the craftspeople at Dholka generally do not add any chemicals for treating it. c) Precautions and Care for Lacquer Changes in humidity level cause the wooden substrate to expand or shrink, thus causing the cracking and lifting of the lacquer layer. Lacquer itself is barely affected by humidity, and therefore does not

expand or shrink along with the wood. This results in its cracking and losing adherence to the substrate. This is the reason why cracks most often appear along seams and joins. Moreover, they usually appear in the direction of the grains of the underlying wood. Lacquer, therefore, requires constant humidity levels, with no sharp rises or falls. 3.2) Tools and Machines Used Most of the work is done by hand-machine coordination. The workshop gave a better understanding of the significance of these hand techniques, tools, machines, their coordination, and above all the changes as per the growing needs and changing times. 3.2(a) Hand Tools A variety of hand tools are used to cut and shape the wood. These include chisels, gouges, hammers, awl and snappers. Hand saws and axes are used to prepare the wood to be turned. In addition, sand paper and leather are used in the final finishing. Craftspeople Local Vocabulary:

Nakhlau (Gouges) – used while turning wood- 1” blade Chaursi (Chisels) – for finishing, while turning wood – 1” blade Kaus – for supporting sections of wood, while turning them Sainiyuu – for making grooves Prakaar (Compass) – for measuring radius, marking Animaar (Awl) Hathaudi (hammer) – small and big – used for beating and nailing Kaanch Paper (sand paper) – used for finishing Sauya – Needle used for supporting dadham (component of ghodiyu, explained later) Punck/Keela – used for joining huks Vindnu, Pharsi – used for making holes

These tools need to be finished and cleaned after every few years, and need to be sharpened after applying on every twenty-five logs of wood on an average. In some cases, when the wood is very hard, they need to be sharpened immediately. 3.2(b) Machines Traditional Lathe: the Patri The most important machine for wood turning and lacquer work is the lathe. Traditionally, this craft was done using simple hand lathes called patris, which were made by local carpenters. A bow string was used to turn a rotating axle in the center of wooden lathe. The turning tool was held in the free hand and pressure was added with the foot, shaping the spinning wood. The advantage of the patri, (which continues to be used by craftspeople in Kutch, and many other parts of India), is its simple construction and ease of operation. As a hand powered tool it can be used without electricity in village households.

Power Lathe Increasing market for Lacquer ware has led to the introduction of the electric power lathe. The power lathe is fixed at one end (the headstock) and the other end (the tailstock) can be adjusted by shifting the wooden base block. These are connected by a tie member with a sliding lock. The wooden member rotates around a spindle. The head stock consists of a revolving axle attached to two belt pulleys. The belt runs over a pulley mounted on a revolving shaft that is driven by an electric motor. The use of power lathe considerably reduces time of production, as both hands are free to operate turning tools and Electricity is not a problem in Dholka. Therefore, power lathes have been operational since quite some time now. The lathe machines are floor based and unique in that they themselves have no moving parts. The craftspeople sit on a low seat and use both hands and feet when working the lathe. The motors are placed above the work area on a rigid wooden frame. The motor turns a cotton rope which through a system of pulleys directly turns the wooden member. The tension on the rope is maintained by a system of counterweights. The motor has a stepped wheel which allows for the rotational speed of the lathe to be adjusted. The rope itself is braided into a continuous loop without any knots so it may turn the wood smoothly. These tools have longer handles for more leverage, needed to counteract the tendency of the tool to react to the downward force of the spinning wood being cut or carved. When discussed with the craftspeople about the technical know-how regarding the machines they use, it was enthralling to know that they have emerged out of their own needs and understanding of the craft.

When discussed with the craftspeople about the technical know-how regarding the machines they use, it was enthralling to know that they have emerged out of their own needs and understanding of the craft.

Craftspeople’s Own Vocabulary: Chakel – machine used for cutting wood Hangada – available in two sizes (small and big) – used for Turning and Painting Drill Machine – used for making holes Khada – used for applying silver and golden paint – it is faster than hangada

3.3) Craft Process The Space Making (Wood Turning and Lacquer) Craft Workshop involved the understanding of the following stages:

3.3(a) Storing 3.3(b) Cutting 3.3(c) Turning and Shaping 3.3(d) Sand-Papering 3.3(e) Lacquering 3.3(f ) Polishing 3.3(g) Painting 3.3(h) Varnishing 3.3(i) Assembly of Elements 3.3(j) Packaging/Storing 3.3(k) Transporting

3.3(a) Storing The preparation of wood for turning and lacquering begins with seasoning. Logs are stored away from heat and sunlight in the workshops with good air circulation for ten days to a month, depending on the moisture content of the wood. 3.3(b) Cutting Wood comes to the workshop in the form of logs. These are square in section. The edges of the seasoned square sections of wood are then chiseled and superfluous wood is removed by the dexterous use of hand or power lathes and suitable cutting tools, until octagonal sections are formed. The wood is now ready to be turned on a lathe.

3.3(c) Turning and Shaping Cutting tools are applied to the revolving piece of wood so that thin continuous chips are scraped off. Skilled craftspeople are able to remove uniform, thin layers of wood to create desired shapes.

3.3(d) Sand-Papering Once the desired shape is formed, the rough surface is finished with sandpaper, while the wood is still turning, until the surface is smooth and uniform. 3.3(e) Lacquering At this stage, the turned and shaped wood is ready to be lacquered. A lac stick of the chosen colour is pressed to the revolving wood. The friction causes the lac to melt, spread uniformly over the area on which it is applied. Painted lac deposits itself on the turned wood and gives it a bright and colorful appearance. Lacquering is done by hand or machine-operated lathe. Preparing the Dried Lac Sticks Lac needs to be made into workable sticks of desired colour. It comes to these craftspeople in the form of circular plates of diameter 2-3 inches. They are properly washed with water. A number of synthetic substances are added to give colour to the lac. These include lithophane, a compound of barium sulphate and zinc sulphide which is a white pigment that enables lac to lose its transparency and become opaque. Craftspeople call it white powder. Equally important are aniline colours which are used to prepare lac sticks. The following basic colours are used: rhodamine (rose), auromine (yellow), bottle green or diamond green, purple, violet and red. After this, gum is added to the mixture for adhesion. It is a resin, called by various names - rajan, gundar, berji, berja. Its maximum cost is 200/kg (due to inflation, the prices are on a higher side). It is generally imported from China, Indonesia and Nepal. The craftspeople here in Dholka, use the resin, which is imported from Indonesia. The best quality raisin is considered to be the one that comes from China. The dry ingredients are mixed together, heated until viscous, spun like taffy in order to aerate the mixture, kneaded and pounded with a mallet, a process repeated until the mass is a homogenous, dough-like lump. This process is done with bare hands as the consistency has to be finely brought about, without it setting. Finally, the dough is converted into dried strips of lac, which are cut into 6-7 inch sticks, and applied on to the turning wood.

A long thin stick of coloured lacquer measures 0.5 cm thick and 3 cm wide. It is shaped and cut into 15-20 cm lengths. Four or five sticks of one colour are prepared at a time. These sticks have a shelf life of only one month before they become hard and unfit for lacquering. The quality of the final product depends on the skill with which lacquer is applied to the turning wood.

3.3(f) Polishing Final finishing is done using leather to help spread the lac on the turning wood and polish the object. Buffing lends a translucency to the finished product. Other material used in the finishing includes paraffin oil, castor oil and some chemical colour pigments. Polishing gives a luster to it.

3.3(g) Painting Finally, delicate art work is painted over the lacquer. Poster colours and enamel paints are used for this purpose. Generally, craftspeople use silver and golden paints. Women are majorly involved in this stage.

3.3(h) Varnishing Clear varnish is used to give a finish to the final product. It is a transparent, rich orange hue. It is traditionally more appealing, though these days painted lacquer is also in vogue. 3.3(i) Pre-Assembly and Assembly of Elements Subsequently, all the elements or components go through preassembly, where they are checked for joinery and finish. This is followed by their assembly.

Existing Products Generally, these craftspeople are involved in the making of traditional products, which are meant both for market and personnel use. The main product, which the craftspeople make, as explained earlier, is the ghodiyo. Other than this, few traditional furniture pieces are also made along with some seasonal items such as dandiya stick and small drums.

Assembly of a Ghodiyu Ghodiyo Parts: For one Ghodiyo, generally four sections of wood are required. It has 9 main parts: • Ladadh (2) • Morvaya (2) • Paaya (4) • Mobh (1) • It has the following small parts • Bhanvari (6) • Popat/Chakri (2-6 as per design) • Moghra (1-3 as per design – sometimes, even 7 could be used) • Daadham (1 daadham gives 4 hangings) • Jhumar (1-3 as per the design) • Katheda (2) • Lakhota/Choti Bhanvri • Moti (1 katheda supports 7 motis or 4 daadhams) Generally, eight (8) craftspeople work on a single ghodiyo. Anilbhai claims that his father was known in his times for the excellent finish he gave to the ghodiyos. Now, it is Anilbhai, who is known for the same.

By-Products The wood that gets wasted during the wood-turning process, is sent to the factories, and used as ash for burning. No ways have been employed for its reuse. 3.3(j) Packaging Generally, one paya, ladadh and morvayu (all these parts explained later) are assembled as one unit. Two such separate units and the joining section (mobh) are stacked, and then transported to markets.

3.3(k) Transporting 1) Material a) Wood Usually, 1125 pieces of wood are loaded in a truck in one time (125 pieces of Ghodiyo) at a rent of Rs.1500/-, and transported to the workshop. This material finishes in 8-10 days. Generally, three orders are made in a month. The orders go down to 1 or 2 in the months of monsoons. b) Lac Craftspeople in Dholka avail lac from Ahmedabad, which is brought by middle men and agents from West Bengal in the form of hard compact discs.

2) Products • Products are generally transported to markets in auto-rickshaws. 4045 ghodiyos are sent in one time to markets. • These craftspeople majorly sell their products to the following markets: • Ahmadabad, Pan-ko-naka (near Manik Chowk), Mehsana, Kalol, Palanpur, Patan, Bhavnagar, Surat • 90% of the products are sold in Ahmadabad, and the remaining in other markets

Process/ Stage Storing Cutting

Craftspeople Involved and Time Duration

Varnishing

1 craftperson involved – one log of wood generally requires approximately 2-5 min

Assembly of Elements

1-2 craftspeople involved – one ghodiyu generally requires approximately 15 min. for assembly

Packaging/ Storing Transporting

1-2 craftspeople involved

1 craftperson involved 1 craftsperson involved – cutting one square section to octagonal section takes approximately 1.5 hours Turning and 2-3 craftspeople involved – depending on the Shaping section and proportions desired, it can take approximately 3-5 hours Sand-Papering 1 craftsperson involved - one log takes approximately 5min Lacquering 1 craftsperson involved – one ghodiyu usually requires 40 min Polishing 1 craftsperson involved – one log requires approximately 2-5 min Painting 1-2 craftpersons involved – one log requires approximately 5min

1 craftsperson involved

3.4) Craftspeople involved in each stage, and time duration for each stage to complete 3.4(a) Peak Season The busy season is from Diwali to Baisakhi: late October to mid April. They generally make 100 or more ghodiyos daily during this period, which is comparatively very high than the 12-20 ghodiyos daily in the off-peak seasons. Their workshops run from 8 am to 8 pm with just a single break for lunch. The rest of the year they shut shop in the afternoons. Many of those working are related, but a significant number of skilled daily wagers supplement the numbers. At the time of our visits, there was something of a strike going on from the workers demanding a raise in their wages, so family members were stepping in to help out.

3.5) Design The Space Making Craft Workshops essentially envisage a process of fusion of traditional craft skills and contemporary designer expressions. Before we could get started with the design interventions, we wanted to initiate this process by understanding the making of the traditional products, the craftspeople are engaged with, and then moved on to explorations. 3.5(a) Explorationsâ&#x20AC;Ś.Idea of Innovation 3.5(b) Design Interventions 3.5(c) Final Output Analysis (Inventory, taking Ghodiyu as reference) Usage/Modifications 3.5(a) Explorations There is very little in terms of explorations that these craftspeople have done, but this is one of the major objectives of this workshop that the craftspeople and the team of various designers and the students involved explore new ideas and create new designs employing old as well as new techniques. Few explorations have been done in the forms of cradles, staircase railings and lamps. But, they also incorporate traditional elements. Therefore, there is a real need to tap the potential of this craft in terms of innovative designs. Today, lacquerware production has diversified in response to changing markets. It now includes jewelry such as bangles, necklaces and earrings, decorative pieces, household utility articles, skipping rope handles, chess sets, pen holders, paper weights and rubber stamp holders. Craftspeople at Dholka are still continuing with the traditional ghodiyos, and really need to gear up with the changing trends and market demands. Above all, there are lots of possibilities for taking this craft into space making, and this is an interface, which this workshop aimed

at exploring. We, at DICRC, would like to call the process involved in it as the Craft-Design Process. It is in this process that the design interventions play a significant role.

A) Explorations in Material, Form and Colour The initial explorations were in testing the possibilities of the materials. The process of turning has a unique quality to it and the aim was to explore this. Gentle and sharp curvatures, undercuts and successive curves were tried out on various sections. Also sampled were the combinations of turned and unturned sections, grooves and forms. Using the existing tools, the wood can be worked down to about half an inch. Smaller sizes would be possible if they get narrower chisels and gouges. Colour as an element is used relatively sparingly in the existing products. The craftsmen tend to work with a set palette even though the pigments are available in all colours. Certain forms we learnt are not suitable for this method of lacquering as the size and width of the lac stick does not allow it to work into grooves less than a quarter inch. The students tried out combinations of colour as well as mixing the colours on the turning wood to achieve very interesting possibilities.

B) Explorations in Intersections and Joinery Modular and Universal Joinery

C) Design Interventions Designing a Prototype: Exploring Structural Principles As a material expression of our engagement with the craft, it was decided that a space making element would be designed which expressed the structural possibilities and joinery as well as being a sample directory of form and colour. Designed in discussion with the craftspeople, we attempted to push the ghodiyoâ&#x20AC;&#x2122;s structural system to its maximum height of nine feet, thus allowing for the creation of a partition system, shelving system, or exhibition panel system.`

The concept behind the prototype design was to bring a new approach, or a different way of seeing artisanal skills and expertise, and unlock their design capabilities and understanding of the craft in terms of space making, thus extending the conventional forms to forge new products. The prototype design was in consonance with this concept. We tried to fuse the conventional legs of ghodiyo, keeping it as the base of prototype, with the more contemporary elements in the upper half. Methodology to translate the design to the craftspeople The craftspeople were not easily able to comprehend the designs that we gave them. They have their own ways and methods to understand the scales, proportions and forms. We had to employ a methodology while designing the prototype, and getting it constructed in a way that the craftspeople could understand the design and get thoroughly involved with us. a) Framework 1) The very first thing we had in mind before designing the prototype was to understand the limitations and potential of the apparatus. 2) Next thing we did was to prepare a skeletal framework, which included illustrative sketches for the structure to be designed, and discussions with the craftspeople. 3) Once the illustrations were over, we explained the craftspeople the nuances of the design in terms of space-making. Since, the outcome of the Dholka workshop was a prototype designed as a partition screen, the craftspeople were explained its function and placement in space, only then could they work out the dimensions and the details with the students and the designers. 4) Accordingly, dimensions of the sections of wood were worked out. It was very important to work out the width and the length ratio of the wooden sections, because beyond certain length (seven feet), they started wobbling and became unstable. 5) Accordingly, the selection of tools was done. 6) Subsequently, we marked the position of the sections as mentioned in the illustrations and drawings. In fact, we did not mention elaborate details initially, because the craftspeople were not able to comprehend them. We simply marked the positions of the sections, and left it to the craftspeople to work out the details themselves. More intricate the design was, the more difficult it was to apply lacquer (certain sections had to be painted). These possibilities were delved with the craftspeople. 7) Craftspeople had the acuity to work out the chisels, chamfers, curves and the design elements, depending on their experiences and sense of scale and proportion. It was very enthralling to see them finally translate this process into real design.

b) Pre-assembly 1) Craftspeople finally gave finish to all the sections. The individual elements/components were coloured. The colour scheme was worked out after discussions with the craftspeople. 2) All of these were put into place and checked. 3) Keeping in mind the contemporary trends and markets, we did not go for the traditional orange colour varnish on the final design. The colour scheme worked out was resumed as such. c) Assembly 1) Craftspeople visited DICRC, and demonstrated the assembly of all the components into the final design, in the presence of all the members. 2) The prototype was successfully installed in the centre, and continues to be used as a space making element.

End Notes Rajyagor, S.B(ed). “Gujarat State Gazetteers”, Govt. of Gujarat, Ahmedabad District, 1975 Based on information from Thapar, B.K (ed). “Indian Archaeology 197666– A Review”, Archaeological Survey of India, Government of India, 1980, pp.14-15 Burgess, Jas. “On the Muhammadan Architecture of Bharoch, Cambay, Dholka, Champanir, and Mahumadabad in Gujarat”, Archaelogical Survey of Western India, Vol. VI., The Director General, Archaelogical Survey of India, New Delhi, 1896, p.30 Mahdihassan, S. “Lac and its Decolourization by Orpiment as traced to Babylon”, Indian Journal of History of Science, 21(2), pp.188-189, 1986, http://www.new.dli.ernet.in/rawdataupload/upload/insa/ INSA_1/20005b5b_187.pdf, 16May 11, 12:44, searched through Google To develop a thorough understanding for the Wood Turning and Lacquer Craft, other clusters involved, its varied applications and processes involved, few parallel studies (inputs from Craft Revival Trust, UNESCO and Education Development and Research Cell of the Sindh Education Foundation) can also be considered - Lac Bamboo of Orissa, Lac Combs of Orissa, Lac Craft of Madhya Pradesh, Lac Jewellery and Craft of Rajasthan, Lac Jewellery of Bihar, Lac Jewellery of Maharashtra, Lacquer Work of Bihar, Wood Carving & Lacquerware of Jammu & Kashmir, Wooden Lacquerware of Andhra, Wooden Lacquerware of Bangalore, Karnataka, Wooden Lacquerware of Chennapatna, Karnataka, Wooden Lacquerware of Ettikopaka, Andhra, Wooden Lacquerware of Madhya Pradesh & Chattisgarh, Wooden Lacquerware of Nirona, Gujarat, Wooden Lacquerware of Punjab, Wooden Lacquerware of Rajasthan, Wooden Lacquerware of Sankheda, Gujarat, Wooden Lacquerware of Uttar Pradesh, Wooden Lacquerware of W. Bengal, Wooden Lacquerware Toys of Tamil Nadu, Wood Turning and Lacquer Craft of Kutch, Vadodra, Mahuva and Idar in Gujarat, Jandi Art, Sindh, Pakistan, Lac and Sesat Craft, Srilanka Wood Turning and Lacquering can be considered as a unique carpentryrelated FBSSE (Forest Based Small Scale Enterprise). According to the 1988 document of FAO (Food and Agricultural Organization) of United Nations, FBSSEs represent the major source of forest based employment for people in rural/semi-urban areas. But, the nature of these FBSSEs is often seasonal and household based. When there is no availability of alternative means of income generation, or when there is some time available outside the household activities, FBSSEs provide the much needed supplemental income (Campbell, 1991). For further understanding, refer:

Hasalkar, Suma and Jadhav, Veena. “Role of Women in the Use of NonTimber Forest Produce: A Review”, J. Soc. Sci., 8(3): 203-206 (2004), http:// www.krepublishers.com/02-Journals/JSS/JSS-08-0-000-000-2004-Web/ JSS-08-3-179-254-2004-Abst-PDF/JSS-08-3-203-206-2004-Hasalkar-S/ JSS-08-3-203-206-2004-Hasalkar-S.pdf, 15May 11, 17:00, searched through Google Wood requires controlled drying, called seasoning, before use to minimize shrinkage and distortion caused by loss of water. For further readings, refer to bibliography at the end. Rotational Stacking Method is one of the methods of seasoning wood, where the wood is rotated, with its cellular structure or sap ducts parallel to the resultant centrifugal force, that is, radial to the axis of rotation. For further Reading, refer to the bibliography at the end. Mahdihassan, S. “Lac and its Decolourization by Orpiment as traced to Babylon”, Indian Journal of History of Science, 21(2), p.187, 1986, http://www.new.dli.ernet.in/rawdataupload/upload/insa/ INSA_1/20005b5b_187.pdf, 16May 11, 12:44, searched through Google Campbell, Jeffrey Y (ed.). “Lac-Turnery and the Lacquerware Industry”, Chapter 2, Case Study 2, in “Women's Role in Dynamic Forest-Based Small Scale Enterprises: Case Studies on Uppage and Lacquerware from India”, FAO (Food and Agricultural Organization of the United Nations) Corporate Document Repository, Forestry Department, Rome 1991, http://www.fao.org/docrep/x5859e/x5859e04.htm#CHAPTER%20 3:%20CASE%20STUDY%202%20LACTURNERY%20AND%20THE%20 LACQUERWARE%20INDUSTRY, 12May 11, 14:00, searched through Google For further understanding, refer: "Oriental lacquer", Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011, http://www.britannica.com/ EBchecked/topic/432358/Oriental-lacquer, 15 May. 2011, 16:00 "Lacquerwork", Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011, http://www.britannica.com/ EBchecked/topic/327266/lacquerwork, 15 May. 2011, 18:00 S Mahdihassan mentions in “Lac and its Decolourization by Orpiment as traced to Babylon”: “The lac resin, the secretion of the lac insect, contains a yellow pigment erythrolaccin. When only this pigment is allowed to remain, the purified lac or shellac is coloured light yellow. But, the insect body contains a red dye, laccaic acid, which remains incorporated in insect skins. Granules of crushed lac often show adhering residual skin particles. When such lac granules are melted, the red dye passes into the melted lac as contamination,

and the resultant shellac appears chestnut coloured. But, when orpiment is mixed with the lac granules and melted, the red dye is decolourized, and not the yellow erythrolaccin. The shellac then appears yellow. It means shellac is decolourized by orpiment when the contaminated red lac is destroyed. ” For further understanding, refer: Mahdihassan, S. “Lac and its Decolourization by Orpiment as traced to Babylon”, Indian Journal of History of Science, 21(2), pp.187-192, 1986

Part III 1) Observations, Inferences and Conclusions 2) Appendices 3) Glossary 4) Bibliography 1) Observations, Inferences and Conclusions 1.1 Concept of collaboration as a creative catalyst This workshop was initiated with a concept of envisaging crafts as a stimulus to innovative ideas, integrating craftpeople’s skills and designer’s expertise, and creating new design paradigms. “Creating a learning mechanism for community residents, the audience, and crafts workshops is helpful to the sustainability of local cultures. Continuous learning and innovation is the key for sustainability of local cultures in an open and competitive international market.” Stimulating Innovation Challenging the Status Quo Integrating Expertise Explicating and synthesizing individual Knowledge Enabling Reflective Experimentation Encouraging Peripheral Participation Disseminating and Stabilizing New Knowledge Enabling application of New Knowledge Encouraging Sustained, Cumulative Learning Influencing Workforce attitudes to change What are the Contemporary uses/Changing Trends in wood turning and lacquer work in the field of design? How does this workshop make this craft effective for craftspeople in terms of cost and time? What do designers learn from this workshop as far as design management is concerned? How do designers understand costing not in terms of market, but a system that craftspeople follow? Interactions: Buyer – market Institutional Designer - Professional Workshop – Immediate context – craft process – prototype – larger perspective – further possibilities – experiments – role of designers

Contributions to craft New Knowledge added? Few possible outcomes for designers to learn Few possible outcomes for craftspeople to learn John Ruskin and William Morris also frequently wrote and promoted the craft practices and workshop environments in order to restore fulfilment in work and establish new design scenarios. “Contemporary theorists have re-assessed the value of crafts knowledge, suggesting its increasing relevance in relation to changes in consumer values and corporate strategy. In the context of shortening product life cycles, for example, craft makers’ modelling skills can be applied to prototyping, potentially minimizing development times, improving the communication of ideas and facilitating decision making.” Craftpeople’s knowledge and modelling skills were entangled with new design perspectives, and applied to prototyping. It was a unique platform for design students to experience working-on-hands, and for craftpeople to understand technological involvement with the materials, which set forth ways for improving the communication of ideas, and working together on new design ideologies. 1.2 Learning from the Workshop Crafts education and practice is centered on a dialogue between creativity, materials and skill, the maker developing ideas by combining conceptual vision with manipulation of the object. “In order to counter increasing competitiveness, one suggested strategy is to develop products reflecting a unique combination of expertise rather than a single technological innovation. Rhodes and Carter3 suggest achieving this through multidisciplinary team working, indicating a possible role for craft makers in contributing to products’ insusceptibility to imitation. In relation to product aesthetics, Thackara4 argues that the significance of craft makers’ potential input to new product development is increasing as consumers begin to reject technology-led innovation. Increasing emphasis on visual, tactile and emotive qualities can benefit from the craft maker’s process-based creativity, ability to convey meaning through form and sensitivity to materials. Technology and crafts knowledge have however been shown not to be mutually exclusive as, according to Braddock5, their integration in the textiles industries is essential in devising product applications for chemical and materials-based innovation.” How the chosen material is formed and reacts to processes, as well as its potential as a vehicle for expression.

To equip students with the tools to extend craft traditions to wider applications through applied crafts “Traditional craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage. However, the 2003 Convention is mainly concerned with the skills and knowledge involved in craftsmanship rather than the craft products themselves. Rather than focusing on preserving craft objects, safeguarding attempts should instead concentrate on encouraging artisans to continue to produce craft and to pass their skills and knowledge onto others, particularly within their own communities.” UNESCO This relationship introduced the designer to the concept of collaboration as a creative catalyst. It demonstrated the new potential offered by integrating others’ specialist expertise with the designer’s vision, and the importance of communication in achieving the mutual understanding crucial to success. Design work began with a set of sketches exploring form, colour and surface effect, intended as stimuli for discussion rather than actual proposals. Three of these ideas were immediately commissioned by the client for manufacture, necessitating the transformation of visual concept sketches into working prototypes. This was problematic because although the drawings had been informed by the designer’s understanding of glass from both studio and manufacturing perspectives, technical requirements had not been addressed. This case study, however, demonstrates how the dual nature of craft making—as a discipline with its origins in both design and production— can succeed in overcoming such cultural divisions and consequently optimize the potential of cross-functional development. The positive relationship between designer and production team meant that ownership of—and responsibility for—the product could gradually be transferred to its makers, ensuring quality workmanship and willingness to resolve problems. The understanding that Beebe had developed of the team’s attitudes and perceptions enabled her to identify personal challenge and company profit as their motivating factors. Through communication and inclusion, her achievements became those of the team as a whole, whose self image shifted gradually from passive labourers to active participants in the project’s success. In contrast to conventional linear models of product development where design ends before production begins, here specifications were finalized as late as possible, allowing further refinement as the processes’ actual demands were imposed. This flexibility encouraged continued input from production staff, optimizing the potential for a creative and easily manufacturable design solution:

“The crafts are partly shaped and to some extent determined by the patterns of thinking encoded in processes, tools and attitudes to making.” “Crafts knowledge may constitute a powerful strategic design tool when, as in the case described, it is managed appropriately and recognized as a unique amalgamation of cognitive, social and technical skills rather than a purely aesthetic resource.” “Notion of craft as ‘intelligent making’, or a synthesis of cognitive style, skills, knowledge and experience” Such an integrated approach to design and making had clear potential to overcome the problems usually encountered in manufacturing designs specified without understanding of manufacturing materials and processes. Skills considered essential in championing innovation21: tenacity, experience-based problem solving capabilities, skill in communicating vision and motivating others, and an active participation in and commitment to each project. “Products proposed by crafts-based designers are typically clearly defined in terms of aesthetic qualities, yet flexible concerning precise techniques and forms. Because the making process is inseparable from creativity in crafts practice, negotiation between such apparently conflicting variables is not only accepted, but valued as a catalyst to creativity.” , This dialogue acted as a stimulus to innovation, challenging assumptions and indicating discrepancies between manufacturing potential and existing capabilities. Creative conflict such as this stimulates learning by identifying ‘performance gaps’ to be bridged. Collaboration involving the manipulation of actual processes and materials of manufacture results in a gradual assimilation of new knowledge by the crafts-based designer, establishing industrial methods as a creative tool rather than a constraint. Having created the impetus for innovation, the crafts-based dialogue was instrumental in formulating product solutions which resolved problems by synthesizing knowledge, whilst accommodating the objectives of both designer and production staff. It allowed designs to be redefined as appropriate and cost-effective for manufacture, whilst maintaining the particular aesthetic and tactile qualities characterizing the original product concepts.

By employing a crafts-based dialogue, innovation was encouraged to occur at the interface between crafts-based designer and key production staff.The dynamic relationship between process and intent could be explored collaboratively, through a dialogue centred on the object and articulated through parallel verbal articulation and practical demonstration. Further benefits have resulted from the crafts-based dialogue in terms of problem-solving, for example initiating external alliances in order to resolve problems beyond its own capabilities. The crafts-based dialogue contributed further to the integration of expertise through its continual embodiment of project progression, in the form of tests, concept models and prototypes. It is recognized that visual means of communication can improve cross-functional integration in product development, and that in this respect threedimensional models constitute a highly effective tool. With increasing knowledge-based resources combine their new, heterogeneous areas of expertise... Whereas verbally-conveyed learning is commonly stored as informal narrative or documentation, in this case learning was encoded and stabilized in production workers’ crafts knowledge. Addressing knowledge generation and implementation as separate processes…. The key outcome from Wentworth’s alliances with crafts-based designers has been the development of a product development process capable of explicating, synthesizing and exploiting previously hidden capabilities, whilst simultaneously creating, disseminating and institutionalizing new tacit knowledge. A contemporary product range is an outcome of such interactive workshops. It gives a better market to craftspersons, and an opportunity to both designers and craftspersons to explore. This range not only repositions the company in more lucrative and sustainable markets than those served by its traditional giftware ranges, but also demonstrates its increasing technical capabilities to retailers. Collaboration has initiated a shift in the company’s core competence, from commodities to knowledge-based resources, enabling the company to attract new clients…. Firstly, strategic applications for crafts knowledge within collaborative new product development have been identified and defined as a three part model, centred on the catalyzing of creativity, integrating of

expertise, and transfer and stabilization of new knowledge. Secondly, the importance to such learning has been identified of a negotiative, crafts-based dialogue, involving a process of concurrent demonstration, imitation and articulation which enables the conveying of ideas directly through the manipulation of materials and objects. Through this dialogue, innovation is encouraged to occur at the interface between design and manufacturing, allowing creative conflict to be maintained, functional objectives to be upheld and solutions developed from a unique configuration of expertise. In essence, the crafts-based dialogue creates the impetus for innovation, provides a means of achieving it, and optimizes its potential by facilitating dissemination and institutionalization. Finally, connections have been made between theory and practice, whose generalizability may now be evaluated. The companyâ&#x20AC;&#x2122;s success may be attributed to its resource-based approach to strategy development.

End Notes Liu, Chiu–Hsueh and Hwang, Shyh-Huei. “An Investigation on the Learning Mechanism of the Sustainable Management of Local Cultural Institutes: A Case Study of Taiwan Crafts Workshops”, The International Journal of Learning, Volume 17, Issue 6, pp.403-412, http://ijl.cgpublisher. com/product/pub.30/prod.2841, searched through Google, 07June 11 Woodhuysen, J. “Small firms, big firms and the future of the crafts”, RSA Journal Vol CXLIV No 5471 (1996) pp 74–79, quoted in Yair, Karen (et.al). “Design through making: crafts knowledge as facilitator to collaborative new product development”, Design Studies, Volume 20, Issue 6, November 1999, pp. 495-515, http://independent.academia.edu/ karenyair/Papers/117043/Design_through_making_crafts_knowledge_ as_facilitator_to_collaborative_new_product_development, searched through Google, 07June 11, 16:50 Dormer, P. “Why the crafts need more than literary criticism”, keynote address from conference “The Context for Critical Studies in the Crafts”, The Crafts Council, London, UK (1995) Yair, Karen, Press, Mike. and Tomes, Anne. “Crafting competitive advantage: crafts knowledge as a strategic resource”, Design Studies Volume 22, Issue 4, July 2001, pages 377-394, http://independent.academia.edu/karenyair/Papers/117033/ Crafting_competitive_advantage_Crafts_knowledge_as_a_strategic_ resource_edit_delete, 09June 11, 16:45 Press, M and Cusworth, A. “New Lives in the Making: The Value of Craft Education in the Information Age”, Crafts Council, Sheffield Hallam University, Art and Design Research Centre , 1998 Johnson, P. “Naming of parts”, Craft May–Jun, 1995, pp. 42–45 quoted in Yair, Karen, Press, Mike. and Tomes, Anne. “Crafting competitive advantage: crafts knowledge as a strategic resource”, Design Studies Volume 22, Issue 4, July 2001, pp. 377-394, http://independent.academia. edu/karenyair/Papers/117033/Crafting_competitive_advantage_Crafts_ knowledge_as_a_strategic_resource_edit_delete, 09June 11, 16:45 Butcher, M. “Personal practice and the expression of theoretical principles in traditional and modern basketmaking”, in P Johnson (ed.) “Ideas in the Making”, Crafts Council, London, 1998, p. 51 quoted in Johnson, P. “Naming of parts”, Craft May–Jun, 1995, pp. 42–45 quoted in Yair, Karen, Press, Mike. and Tomes, Anne. “Crafting competitive advantage: crafts knowledge as a strategic resource”, Design Studies Volume 22, Issue 4, July 2001, pp. 377-394, http://independent.academia.edu/karenyair/ Papers/117033/Crafting_competitive_advantage_Crafts_knowledge_ as_a_strategic_resource_edit_delete, 09June 11, 16:45

Appendices I.Profile of Craftspeople Workshop 1: Kannubhai Mistry – Mannubhai Mistry Total Number of Craftspersons Origin Name and Age

08 Chabasar (a village near Bawla) Kannubhai Mistry – 57years Mannubhai Mistry -51years I Generation Sushilaben Mistry – 50years Alpeshbhai – 25 Vijaybhai – 25 Ravibhai – 21

II Generation

Contact Family Size

09924430041 Mannubhai (6) Self, Wife, Two sons (one son married), One daughter Kannubhai (6) Self, Wife, Two sons (one son married), One daughter

Community Craft(s) Practiced Practicing Since how many years

Carpenters Wood Turning- Lacquer Work I Generation – since 35years II Generation – since 5-8years

Where did they learn this craft from? No formal training – skills passed on from one generation to the other Most Popular Design/Product Ghodiyo Other Products Chairs for Marriage Railings for Staircases Buyers/Users

Wholesale buyers Personnel Use

Education Level

Kannubhai – 7th Standard Mannubhai – Senior Secondary School Sushilaben – 9th Standard Alpeshbhai – Higher Secondary School Vijaybhai – Higher Secondary School Ravibhai – Senior Secondary School

Workshop 2: Virenbhai Mistry – Anilbhai Suthar Total Number of Craftspersons Origin Name and Age

Contact Family Size

Community Craft(s) Practiced

Practicing Since how many years Where did they learn this craft from? Most Popular Design/Product Other Products

Buyers/Users Education Level

04-05 Dholka Himmatlal Suthar – 60years

II Generation

Anilkumar Himmatlal Suthar – 38years Kannubhai – 28years III Generation Sureshbhai – 20years No Females involved in the work Anilkumar Himmatlal Suthar – 09998336333 Viren Vinod Mistry - 09898461729 Himmatbhai (4) Self, 1 son, 3 daughters Anilbhai (3) Self, Wife, one son, one daughter Carpenters Wood Turning- Lacquer Work (Generation II and III) Wood Carvings in Moti Vorvaad, Dholka (Generation I – Narenbhai Suthar) II Generation – since 35years III Generation – since 17years No formal training – skills passed on from one generation to the other Ghodiyo Chairs for Marriage Sofa Cradles Railings for Staircases Lamp Stands Wholesale buyers Personnel Use Himmatbhai – 7th Standard Anilbhai – Senior Secondary School Kannubhai – 9th Standard Sureshbhai – Higher Secondary Schooll

II. Questionnaire - Documenting the Space Making Crafts SMC Workshop No.: 01 Craft(s): Wood Turning Lacquer Work Site Visit(s): Dholka Date(s): 01st Dec 2010 to 10th Dec 2010 Mode(s) of Commuting: Bus, two-wheelers, cars Landmark(s): Get down from vehicle at Manaben â&#x20AC;&#x201C; Ni - Chowk Move straight towards Behlol Khan Mosque After this, there is a primary school for girls on the way. Look for the mentioned workshops after crossing the school. An Overview of the Questionnaire 1) Craftspeople 2) Craft Process 3) Products 4) Craft Design Process 5) Explorations 6) Environment and Health Assessment 7) Intangible Cultural Heritage 8) Others 1) Craftspeople a) What are their Names (along with the photographs)? b) What are their contacts? c) Where are they located (Clusters/Geographic areas/regions)? d) Which communities/Religious Groups do they belong to? e) Since how long have they been practicing the craft? f ) What is their Family Size? g) What is their annual family income? h) Which age groups do they belong to? i) What is their basic education? j) What is the number of males and females in the family? k) What is the number of males and females in the workshops? l) What are the reasons for involving/not involving women/kids in the work? m) What are their working hours? n) Which are the peak seasons when they work? Reasons? o) What do they do in the rest of the period? p) What is the terminology they use? q) Any other/Miscellaneous Information/Observations 2) Craft Process a) What is Wood-Turning? b) What is Lacquer Work? c) What is Wood Turning-Lacquer Work? d)What are the materials used?

Wood: • Which Kind(s) of wood are suitable for this craft? • What are the material properties/Granular Structure? • How is it availed? Is it easily available? • Is it expensive? • Is any treatment given to the wood (How is it conditioned / seasoned)? • What are the sections available in the market? • What are the sizes available? • What are the natural tints and tones available? • How is it transported from the market to the storage area/workshop? • How is it stored? • What are the standard prices? • What is the profit while buying it in bulk, if any? • What are the problems/restrictions while using it? • Are any chemicals applied for any reasons? • What are the advantages/disadvantages of using wood as a material? • Any Other information/observation Lac: • What is the cost? How is it availed? • How is it made? • Who makes it? • Is there any specific skilled craftsperson required for making it? • How much time is required to prepare the lac? • What are the material properties of lac as a raw material? • What colour palette do they use? Do they still use natural dyes? • What is the processing method (pre, making and post processing)? • What are the risks involved? • What are the health hazards? • Where do they store it? • How do they apply it? • How do they provide the final finish? • Any Other information/observation e) Was any other material used earlier? f ) Is there a need for improvements in future? g) Which are the hand tools and machines used? • What are the Hand Tools used? •Who makes these tools? • Which machines are used? • What are their costs? • What are their available sizes and shapes? • What are the methods of procurements? • What are the modes of Operation? • What is the working of each tool?

• What is the method of working on each machinery? • Do they need some technical know-how? • How do the Install the machine/Changes with Time? • How much is the electricity usage? • What is the source of electricity? • What are the restrictions imposed by the machinery? • What are the advantages (improved efficiency, finish)? • Any Other Information/Observations h) What are the processes/stages involved in the wood Turning and Lacquer Craft? What is the process involved in each stage? • Storing • Cutting • Turning and Shaping • Sand-Papering • Lacquering • Polishing • Painting • Varnishing • Assembly of Elements • Packaging/Storing • Transporting How many craftspeople are involved in each stage? How much is the time duration for each stage to complete? Any other/Miscellaneous Information i) System Planning/Infrastructure: • Do they follow a particular system of working? • Do they follow any hierarchy while working? • Do they avail any government policies/loans? • What is the value chain that can be recognised (resources/System/ supporters/influences/markets involved)? • What are their marketing criteria? • Where do they basically sell? Why? • How many pieces do they sell in a day/season? • Do they take commissioned projects? • Are they ready for the design interventions? What kinds? To what extent? • If they could give some few examples where they have designed and required interventions? • What do they think are the advantages and disadvantages of these design interventions? • Any other/Miscellaneous Information 3) Products a)What are the Typology/Categories of products?

b) What are the standard Scales/Proportions/Sizes/Shapes of products? Do they also customise them? c) What is the number of pieces of production? d) Which are the constituent elements that finally get assembled to result in the final product? e) Generally, how many products/pieces are packed and transported in one time? f ) How are they stored? g) How are they transported to the markets? h) Who are the users, for whom these products are designed? i) What is the By-Product/Wastage/Reuse/Recycle? j) Any other/Miscellaneous Information 4) Craft-Design Process a) Do they design as per the contemporary market needs? b) How do they replicate the images in their mind into reality? c) What kinds of designs do they incorporate? d) Do they allow for the Design Interventions? e) What are the advantages and disadvantages of these interventions? f ) Do they create designs out of their own imaginations (based on inputs from the client), or are they able to comprehend the drawings? g) What is the process (Drawings + Making)? h) Which patterns do they create? i) Are they traditional, contemporary or a combination? j) Do they follow Market Trends? k) What are the changes in the Designs/Motifs/Patterns according to the demand and the market pressure? l) Do they upgrade the Colour Palette as per the needs? m) What are the implications of this design process? n) What Profit/Loss do they encounter during the same? o) Do they work in collaborations with the students/designers? p) Which are the factors that Influence this design process? q) Do they go for a market survey, or simply receive the design inputs and design accordingly? r) What are the changes in their own practice (if any), after been exposed to market and new designs? s) Any other/Miscellaneous Information 5) Explorations a) Are they ready to explore new designs in terms of products as well as space-making? b) Do they use composite materials (Wood, Glass, etc)? c) Do they go for workshops/training programmes? d) Do they interact with students/institutes? How? On what levels? e) What do they expect back? f ) Are they ready to shift their base, and migrate for work (with designers)?

g) What is the methodology to make them understand the designs/ drawings for the explorations? h) Are they interested in exhibiting these explorations? i) Are they interested in going abroad and represent their work (if possible)? j) Do they want some kind of certificates/recognition? k) Do they intend to try a whole range of product range, based on these explorations, and find a new market? l) Any other/Miscellaneous Information 6) Environment and Health Assessment a) What are the conditions in which they work (environment/context)? b) What are the lighting Levels? c) Is the ventilation appropriate? d) Do they take any safety measures (fire safety)? e) What are the health conditions of the craftspeople? f ) Do they have proper sight? Do they use glasses? g) Do they suffer from any disease, as a result of the craft process? h) Are they over-worked? i) Do they have proper meals? j) How do they cope up with the peak-demand seasons? k) Any other/Miscellaneous Information 7) Intangible Cultural Heritage (based on the parameters and elements laid by UNESCO) Documenting and understanding the Intangible Cultural Heritage is based on both observations and interaction with the craftspeople. a) Traditional/Contemporary/Living at the same time • What are the traditions inherited from their ancestors, and passed on to the generations? • What are the Manifestations of their Lifestyle (traditional)? o Socio – Cultural Milieu: Festivals, Customs, Clothing, Adornment, Ornamentation (Products, People), Food, Shelter o Religion: o Stories: Legends, Myths • What are their skills (whether both skilled and non-skilled craftspeople are involved)? • Transmission of this knowledge? How does it sustain them socially and economically? • What is their Lifestyle in contemporary times Changes • What are the contemporary rural and urban practices (is their combination of both seen)? o Contemporary rural practices imply the craft practices in contemporary times which address to the needs of rural masses and markets. o On the other hand, Contemporary urban practices imply the craft practices in

contemporary times which address to the needs of urban masses and markets. b) Inclusive • Which are the expressions of the shared cultural heritage (shared with a neighbouring village, city, adapted by those who migrated and settled in a different city, or otherwise) o Socio-Cultural Values o Religious Beliefs o Craft Traditions and Practice • What is their response to a given environment (climate, geography, vegetation, etc.)? • How do they reflect their sense of Identity and Culture?o T h e i r behaviour o Way they talk o Their Craft Practice o Their adornment o Their Shelter o Their Food • What are the possible links between their past, present and future? • Whether certain practices are specific to a culture? c) Representative • Which are the communities that practice this craft? • Which/How many generations are involved in the practice? • Is it a(n) emerging/developing/dying craft? Are their people to carry it forward/revive it? • Did this craft evolve out of certain fundamental need or custom? • What are the heritage values recognised by these communities, groups, or individuals? o Continuity of traditions o Continuity of Crafts Practice • What are the other socio-cultural/religious/historical factors/influences for the crafts to evolve/ continue/ flourish? • How do they create, maintain, and transmit them (interactions, interventions, sharing)? • What is the shift in the thinking and the practice of the subsequent generations? d) Other/Miscellaneous Information 8)Others III. Data Collection other than the one, which is not in the report, but needs mention Case Studies

1) 2) 3)

Lacquer Work, Channapatna, Bangalore Lacquer Work, Kutch Lac and Sesat Craft, Srilanka

IV. Glossary Animaar (Awl) Babool Baisakhi Chakel – machine used for cutting wood Chaursi (Chisels) – for finishing, while turning wood – 1” blade Daandiya Drill Machine – used for making holes Ghodiyo(u) Diwali Hangada – available in two sizes (small and big) – used for Turning and Painting Hathaudi (hammer) – small and big – used for beating and nailing Kaam Kaanch Paper (sand paper) – used for finishing Kallakh Kaus – for supporting sections of wood, while turning them Khada – used for applying silver and golden paint – it is faster than hangada Kharadi Lac/lakh Nakhlau (Gouges) – used while turning wood- 1” blade Patri Prakaar (Compass) – for measuring radius, marking Punck/Keela – used for joining huks Sainiyuu – for making grooves Sauya – Needle used for supporting dadham (component of ghodiyu) Shilpa Shilpi Taluka Vindnu/Pharsi – used for making holes Wada

V. Resources (in alphabetical order)

a) Books 1. Burgess, Jas. “On the Muhammadan Architecture of Bharoch, Cambay, Dholka, Champanir, and Mahumadabad in Gujarat”, Archaelogical Survey of Western India, Vol. VI., The Director General, Archaelogical Survey of India, New Delhi, 1896 2. Jaitly, Jaya. “The Craft Traditions of India”, Lustre Press Pvt.Ltd, New Delhi, 1990 3. Saraf, D.N. “Indian Crafts – Development and Potential”, Vikas Publishing House Pvt. Ltd., New Delhi, 1982 4. Thapar, B.K (ed). “Indian Archaeology 1976-66– A Review”, Archaeological Survey of India, Government of India, 1980 5. Varadarajan, Lotika and Chevallier, Denis (ed.) “Tradition and Transmission – Current Trends in French Ethnology – The relevance for

India”, Aryan Books International, New Delhi in association with Cultural Section of the Embassy of France, New Delhi, 2003 b) e-books 6. Campbell, Jeffrey Y (ed.), “Lac-Turnery and The Lacquerware Industry”, Chapter 3, Case Study 2, in “Women’s Role in Dynamic ForestBased Small Scale Enterprises. Case Studies on Uppage and Lacquerware from India”, FAO (Food and Agricultural Organization of the United Nations) Corporate Document Repository, Forestry Department, Rome 1991, http://www.fao.org/docrep/x5859e/x5859e04.htm, 13June 11, 17:42, searched through Google 7. Campean, M. “Timber Drying Methods – Passing through History into the Future” in Moren, Tom and others (ed). “Proceedings of the Eleventh International IUFRO Wood Drying Conference – Recent Advances in the Field of Wood Drying ”, Skelleftea, Sweden, Jan 18-22, 2010, http://www.ltu.se/polopoly_fs/1.58969!srapproved%20-%20 proceedings.pdf#page=11, searched through Google, 15May 11, 15:00 c) Papers 8. Yair, Karen (et.al). “Design through making: crafts knowledge as facilitator to collaborative new product development”, Design Studies, Volume 20, Issue 6, November 1999, pp. 495-515, http://independent. academia.edu/karenyair/Papers/117043/Design_through_making_ crafts_knowledge_as_facilitator_to_collaborative_new_product_ development, searched through Google, 07June 11, 16:50 9. Yair, Karen, Press, Mike. and Tomes, Anne. “Crafting competitive advantage: crafts knowledge as a strategic resource”, Design Studies Volume 22, Issue 4, July 2001, pages 377-394, http://independent. academia.edu/karenyair/Papers/117033/Crafting_competitive_ advantage_Crafts_knowledge_as_a_strategic_resource_edit_delete, 09June 11, 16:45 10. Robertson, Seonaid Mairi. “Craft and Contemporary Culture”, George G. Harrap & Co. Ltd., London, Toronto, Wellington, Sydney, 1961, http://unesdoc.unesco.org/images/0005/000500/050028eo.pdf, searched through search engine Google, 05Apr 11, 20:20 11. Cherrinoton, Frank W. “Method of Drying or Treating Timber and the Like”, United States Patent Office, 1930, http://www.google. co.in/patents?id=QXdsAAAAEBAJ&zoom=4&dq=rotational%20 stacking%20method%20for%20seasoning%20the%20 wood&pg=PA2#v=onepage&q&f=false, 15May 11, searched through Google 12. Hasalkar, Suma and Jadhav, Veena. “Role of Women in the Use of Non-Timber Forest Produce: A Review”, J. Soc. Sci., 8(3): 203-206 (2004), http://www.krepublishers.com/02-Journals/JSS/JSS-08-0-000-0002004-Web/JSS-08-3-179-254-2004-Abst-PDF/JSS-08-3-203-206-2004Hasalkar-S/JSS-08-3-203-206-2004-Hasalkar-S.pdf, 15May 11, 17:00, searched through Google

13. Mahdihassan, S. “Lac and its Decolourization by Orpiment as traced to Babylon”, Indian Journal of History of Science, 21(2), pp 187192, 1986, http://www.new.dli.ernet.in/rawdataupload/upload/insa/ INSA_1/20005b5b_187.pdf, 16May 11, 12:44, searched through Google d) Essays/Articles/Extracts from Reports 14. “Traditional Craftsmanship”, http://www.unesco.org/culture/ ich/index.php?pg=57, searched through search engine Google, 05Apr 11, 20:00 15. “Crafts Workshops”, http://portal.unesco.org/culture/en/ ev.phpURL_ID=35672&URL_DO=DO_TOPIC&URL_SECTION=201.html, searched through search engine Google, 05Apr 11, 20:30 16. “Crafts and Design”, http://www.unesco.org/bpi/pdf/ memobpi19_craft_en.pdf, searched through Google, 10Apr 11, 15:00 17. “Better Design for greater Good – Design Intervention Case Study”, http://www.design21sdn.com/organizations/430/posts/15037, Google search engine, 02 May 11, 18:00 18. “Case Studies: The Indian Initiatives – Interaction between Design Students and Artisans for Design and Product Development”, Section III, “Designers meet Artisans – A Practical Guide”, Craft Revival Trust, Artesanías de Colombia S A. And U N E S C O, 2005, pp 53-59, http:// unesdoc.unesco.org/images/0014/001471/147132eo.pdf, 13June 11, 18:00, searched through Google 19. “Lacquer”, Bishop Museum Art Conservation Handout, http:// www.bishopmuseum.org/research/pdfs/cnsv-lacquer.pdf, 16May 11, 9:00, searched through Google e) Proceedings of the Seminar “Maker and Meaning: Craft and society”, Proceedings of the Seminar, Tamil Nadu, India, 1999

Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad Contact :+079-26302470 Ext- 380, 381 , email: dicrc@cept.ac.in 78