SMC Glass Workshop Booklet by DICRC

Innovation and Development

Craft Innovation Workshops

Glass Craft

Space Making Craft Workshop

About Craft Innovation Workshops Design Innovation and Craft Resource Centre (DICRC) at CEPT University, India through a comprehensive “Craft Innovation Workshop (CIW) Model” initiated the concept of “Collaborative Innovation” to catalyze a deep social and cultural change. In this CIW Model, design, craft and industrial processes within the field of craft related to Interior Architecture engage with each other to create an understanding that leads to new synergies. Through Craft Innovation workshops, the intention is to develop “Innovation through Craft” and “Innovation in Craft” by bringing diverse people together which in turn will help in uplifting the value of crafts in society. DICRC deals wih two types of crafts : SMC (Space Making Crafts) and SSC (Space Surface Crafts). SpaceMaking Crafts (SMC) constitutes of the crafts, which are primarily related to the buildings/Interior-Architecture. The focus of SMCW and SSCW is on primary materials like Wood, Stone, Earth & Grass and secondary materials like Metal & Glass. The objectives of this CIW Model are: 1. To bring diverse voices into curatorial and craftdesign processes by engaging them into process of making. 2. To develop craft-design innovative prototypes through collective knowledge of craftspeople and design participants. 3. To conduct exposure and interactive sessions bringing higher level of excellence to all.

SMCW 07

Glass Craft Workshop

08th May - 17th May 2014 Innovation and Development Craft Innovation Workshops Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India

List of other SMC workshops: Wood Turning Lacquer Craft Stone Craft Wood Craft Bamboo Craft Earth Craft Metal Craft

List of SNC workshops: Madhubani Painting Gond Painting

Acknowledgements We thank all the people involved in the Glass Craft Workshop for their constant support at various levels during and after the workshop.

Course Instuctors : CEPT Summer School 2014 Assoc. Prof. Kireet Patel A/Prof. Jay Thakkar A/Prof. Rishav Jain

Funded by:

ÂŠ 2014 Design Innovation and Craft Resource Centre (DICRC) CEPT University , Ahmedabad, India.

iNDEXT-c Government of Gujarat

Table of Contents 01) About the workshop

Overview

Team Members & Participants

Details

Schedule

02) Framework

Overview

Aim

Craft Design Modules

03) Collaborative Craft Design Process

Exposure & Insights

Introductory Session

Input Sessions

Site Visits

Interaction & Demonstration

Ideation & Exploration

Creation & Experimentation

Appreciation

04) Output

Craft Design Prototype Plates

Craft Design Prototypes

Dissemination Exhibition

SMC Glass Workshop Plates

SMC Glass Workshop Media

View of the Exhibition

Glass Craft Workshop Team

About the workshop

Overview The Space Making Glass Craft Workshop was conducted and organized by Design innovation and Craft Resource Centre (DICRC), and Faculty of Design CEPT University in collaboration with the Institute of Design Expression Art & Learning (IDEAL) from 8th â&#x20AC;&#x201C; 17th May 2014. This Glass Craft Workshop was the Part of CEPT Summer School 2014 and was conducted by Assoc. Prof. Kireet Patel, A/Prof. Jay thakkar and A/ Prof. Rishav Jain, from CEPT University. Asha Mandapa, Seema Agarwal and Namita Joshi were the the faculties from IDEAL with other team members. This Glass-Craft workshop, envisaged for two weeks was based on the structures and models experimented and developed during earlier Craft Innovation Workshop (CIw). The workshop focussed on different types of glass crafts and its processes like stained glass, staining, sandblasting, etching, engraving, slumping, fusing etc. along with upcoming technologies. With the demonstration of techniques and its processes in the beginning of the workshop, the participants were taken for various exposure visits as well. The final stage was a design project. Within this brief a specific space making element was assigned to each group to come up with various craft-design explorations related to f Interior Architecture elements and components. Partners This workshop was organised and conducted in collaboration with the following organisation:

Institute of Design Expression Art and Learning

Team members and participants

Krishna Shastri

Kireet Patel

Jay Thakkar

Rishav Jain

Asha Mandapa

B C Mandapa

Seema Agarwal

Shiv Mandapa

Namita Joshi

Mitraja Vyas

Vartika Jhalani

Prerak Desai

Ridhi Jain

Yashi Jain

Nancy Ailani

Hajra Safree

Yatin bhai

Divya Patel

Parth Gajjar

Reeya Sheth

Amrita Narjinary

Avani Modia

Bhoomi Parmar

Deepthi Sivavalsan

Devanshi Doshi

Heer Mehta

Karan Makwana

Kriti Khanna

Manali Shah

Mayuri Kapadia

Nandakumar S.

Nishant Pandav

Pooja Soni

Poonam Patel

Rochan Kalmani

Rohit Yejju

Roshni Roy

Shaili Kastia

Shilpi Lath

Subhasish Borah

Sudhanshu Trivedi

Urvashi Chauhan

Ashok Rajput

Mukesh bhai

Ravi bhai

Navneet bhai

Bhavesh bhai

Narendra bhai

Aruna ben

Vikas bhai

Hemant

Institutional Representatives, Facilitators, Design Participants, Experts and Support Staff of the Glass Workshop Team. It comprised of 22 Design participants (Architects, Interior Designers, Interaction Designers, Researchers, Post Graduate and Undergraduate Students, Interns), 6 Faculty members and 10 subject and material experts from DICRC, Faculty of Design and IDEAL. The facilitators comprised of designers, academicians, industry experts, material experts and subject experts.

Details

Dates: 08th - 17th May 2014 Workshop Venue: Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad and Institute of Design Expression Art and Learning (IDEAL), Ahmedabad Number of Design Participants: 22 Designers Coordinator, DICRC: Prof. Krishna Shastri Head of Research, DICRC: A/Prof. Jay Thakkar Moderator: A/Prof. Rishav Jain Faculty: Assoc. Prof. Kireet Patel Workshop Team: MitrajaVyas, Yatin Mistry Documentation Team: Divya Patel, Parth Gajjar Managing Director, IDEAL: Asha Mandapa Faculty and Mentors, IDEAL: Seema Agarwal, Shiv Mandapa, Namita Joshi, Vartika Jhalani, Ridhi Jain, Yashi Jain, Nancy Ailani, Hajra Safree Output: Twelve Prototypes Exhibition: 18th - 20th May 2014 Exhibition Venue: SID Double Height, Faculty of Design, CEPT University 6

Schedule 08/05/14

Overview and welcome address, . Introductions to Organisations, â&#x20AC;&#x153;Reflections in Glassâ&#x20AC;? by Asha Mandapa,Lecture on Hot Glass by Mr. B.C. Mandapa, Demonstration of Glass Craft Techniques begins

9-11/05/14

Briefing about the division of techniques and groups, Demonstration of Techniques of Glass: Abrasives, Stained Glass, Hot Processes, Hands on exploration with techniques in three Groups, Discussion and Interaction session about Modules

12/05/14

Exposure Site Visits: Visit to Factory, Hardware store, various Interior Architecture Projects, Discussion and Interaction session about Site Visits

13/05/14

Introduction to the Final Design Project, Making of Final Groups, Design Conceptualization, Hands on working with glass, Discussion and Interaction session

14-16/05/14

Hands on working with Glass: Brainstorming and Group Discussions, Design devlopmentand Detailing, Working on the

Final Prototype, Discussion and

Interaction session 17/05/14

Finishing the Prototypes, Making Panels for Exhibition, Submitting the Workshop Log book and other documentation work, Preparation for final exhibition at CEPT University

18/05/14

Exhibition and Concluding Session 7

Framework

Framework Overview The structural, sculptural and ornamental properties of glass craft has not been explored much in India. The past decade has witnessed a progress in material exploration, where glass is being used in all possible scales. The application is being seen from small artefacts, furniture elements, space dividing , space making elements to large interior architectural applications. The use of various glass crafts are also being utilized in interior and exterior design contexts exploring the medium to its fullest. The usage of glass along other materials has increased the possibility of using it for larger scales and spans. Various narratives as an additive layer in the glass craft techniques are also being used to convey various messages and stories. Glass is now being understood to be a strong material despite its apparent fragility of appearance. With the merging of craft and design, glass craft with inputs from various design disciplines is achieving a new identity. The advancements in tools, techniques and varied processes of making have helped in various craft design innovations. The Space Making Glass Craft Workshop, envisaged for ten days focussed towards opening new avenues of craft design innovation in Glass Craft. Aim The aim of the Space Making Glass Craft Workshop was to sensitize the participants towards various Glass Craft Techniques (stained glass, sandblasting, etching, staining, slumping, fusing, engraving etc.). 11

It aimed at bringing craft design innovation in glass emphasising on the Interior Architecture applications. This was largely done through the process of cocreation. Craft Design Modules: The techniques were demonstrated with all the processes both individually and in combination of each other. Each group worked on the specific technique and produce various craft design explorations. The usage of glass in conjunction with its support materials (like metal, wood and concrete) in terms of structural and design making elements were discussed.The material and hardware that is available to support glass as a stand alone medium wasbalso elaborated. Three dedicated modules were designed: 1. Abrasives: Sandblasting, Acid Etching Engraving : This dealt with surfaces and layers. Different textures and the need for transparency /translucency or opacity according to the requirement was discussed. 2. Stained Glass & its sister medium Glass Staining : This dealt with the use of coloured and clear glasses in different shapes for use in external /internal design contexts; as well as accessorizing interiors of homes, offices and other areas. 3. Hot Glass: Furnace related activity like Fusing/ Slumping. This is used in the creation of tiles, claddings, sculptural and structural forms

Collaborative Craft Design Process

Exposure & Insights Introductory Session: In Craft Innovation Workshops, all participants, facilitators, organisations come from various backgrounds hence an introductory session becomes crucial to create a conducive platform to initiate new sets of ideas. An introduction to DICRC was given by Prof. Krishna Shastri & Prof. Jay Thakkar. The workshop structure was explained by A/Prof. Rishav Jain. Raul Shiv Mandapa explained various projects & activities being undertaken at IDEAL.

Input Sessions: Through input sessions, the intention is to sensitize the participants towards various issues related to craft and design. The idea is to understand and critically examine them through a diverse range of input and interactive sessions (technical, design, academic and craft related). These sessions are inclusive in its approach and are often conducted in multiple local languages with a focus on craftspeople. During this workshop, material properties, the techniques involved in the material and the technicalities of working with hot glass was discussed. The list is as follows: 08.05.14

Academic Session

08.05.14

Technical Session

Reflections in Glass Asha Mandappa, IDEAL Working with Hot Glass B.C. Mandapa (Ahmedabad)

Site Visits In order to give ample exposure, there are four kinds of site visits which are usually planned during the workshops: Design oriented, Technology Oriented, Culture oriented and Material oriented. The design oriented visits discusses application of various crafts at various scales with distinctive functions. The upgradation of tools, technologies and advanced processes is largely dealt with in the technology oriented visit. The culture oriented site visits aims at sensitizing the participants towards various sociocultural issues and the material oriented site visits cover the technical, chemical and physical properties of the material considering both the scientific and empirical knowledge. During the glass craft workshop, the participants were exposed to various industrial processes during the factory visit. The visit to private residences exposed the participants to large scale interior architecture applications. The following site visits were conducted: Factory Visit

Marvel Glass Pvt. Ltd , Ahmedabad

Hardware Store

Contractor & Contractor Sons, Ahmedabad

Design Project

Farm house, Spring Valley

Design Project

Four Private Residences, Ahmedabad

Stained Glass Stained Glass is the process of cutting glasses and soldering them together to form a pattern. Louis Comfort Tiffany is the father of stained glass. He invented the copper foil technique and simplified life for all stained glass artists around the world.

Interaction & Demonstration The craft processes play a critical role in development and understanding of a craft; hence the demonstration of techniques is taken as a first step in understanding the tactile aspects of craft. The interaction during demonstration builds a deep bond between the artisans and designers. The craftspeople often take pride in sharing their inherited and valuable skills amongst other participants. During the glass craft workshop, the participants explored five major processes which included: 1) Stained Glass 2) Staining 3) Hot Processes (Slumping, Fusing, Inclusions) 4) Sand Blasting 5) Abrasives The techniques were demonstrated in great length by the mentors and faculty members at IDEAL. In order that all the participants can get involved in great depth during demonstration and interactions can be generated, smaller groups of design participants were made.

Staining Staining is a technique used to give color to clear or textured glass. This technique can be used to give details to the design. It is a sister technique of stained glass. It can be used in all internal areas not subjective to UV light of the sun which can fade anything.

Slumping, Fusing, Inclusions Slumping: It is a technique of moulding glass over a mould at high temperature. Large art pieces like bowls, dishes, plates, sculptures, lamps can be created through slumping. Fusing: Itâ&#x20AC;&#x2122;s the technique of melting two glasses together to form layers of glass, at high temperature.

Sand Blasting Sand Blasting is the technique of blasting the glass with sand under high air pressure. Patterns and designs can be made on glass by using a resist to mask areas of the glass to create the pattern. It is used largely in a commercial context to create translucent ans semi-opaque area for offices, etc. It is also used in private residences for doors, ceilings, windows, facades, etc.

Abrasives Sand Blasting is the technique of blasting the glass with sand under high air pressure. Patterns and designs can be made on glass by using a resist to mask areas of the glass to create the pattern. It is used largely in a commercial context to create translucent ans semiopaque area for offices, etc.

Ideation & Exploration One of the intention of SMC workshops is also to discuss the role of design in craft and to sensitize the participants towards various aspects of design thinking. This was done by varied facilitators. The facilitators comprised of design facilitators who discussed about innovative ideas and new applications, technical facilitators who discussed the material properties and principles of the structure and craft facilitators who discussed tools, techniques and empirical knowledge about craft and community. The process of facilitation in SMC workshop holds a key importance as the intense dialogue and actions between design and craft participants anchored by the facilitators help stimulate various new ideas, process and system which is important for the development of craft. In the Earth Craft Workshop, facilitators included Prof. Kireet Patel, Prof. Jay Thakkar, Head of Research, DICRC; A/Prof. Rishav Jain, Senior Researcher, DICRC; Asha Mandpa, Director, IDEAL; Seema Agarwal, IDEAL; Namita Joshi, Faculty IDEAL. The mentors were: Vartika Jhalani, Prerak Desai, Ridhi Jain, Nancy Ailani, Yashi Jain and Hajra Safri. Various inputs on cutting the glass, sanding it, foiling it and soldering it with help of solder wires was done in the initial modules. Later the merging of two or more techniques were explored to create a space making element. The inputs regarding of suitability of one technique along the other was crucial and proved a major factor while conceptualizing the final designs.

Creation & Experimentation The hands-on experimentation and exploration imbibes the understanding of material and its diverse properties. This process is based on the trial and error method where the learning happens while working with the material by hand. The shared method of different people (master craftspeople, craft students, designers etc.) working in one group initiates new discussions and fresh ideas. Also the learning happens at two levels, both at tangible and intangible levels. This process of thinking and making together opens larger avenues for innovation and development. During the Glass Craft Workshop, seven groups were made where each of them focussed on a specific space making element given to them. The elements given to them were: 1) an old wooden door, 2) a metal partition, 3) a metal door, 4) small wooden windows, 5) a square metal grid frame, 6) a metal cube and 7) a pivot metal frame. The idea was to amalgamate the techniques they have learnt with the existing space making elements. The groups were asked to work with one major technique, though they could incorporate the other techniques as the secondary techniques. This led to explorations related to all the craft techniques explored during the workshop. The groups got into intense hands-on explorations with glass, working closely with their mentors. This was done using a range of tools and techniques along with design ideas generated out of previous dialogues and discussions.

Appreciation At the end, a concluding session becomes important to reflect upon all the key learnings happened during the workshop. The discussions during this session often become a beginning towards taking the craft-design prototpes and ideas forward while reflecting upon the diverse experiences gathered in the workshop. As a token of remembrance and appreciation, the certificate distribution ceremony often leaves deeper impressions and initiates long term associations with all members involved. The Glass Craft Workshop summed up at CEPT University with a concluding session. This was conducted with Prof. Krishna Shastri, Prof. Kireet Patel, Prof. Jay Thakkar, A/Prof. Rishav Jain along other team members from DICRC and IDEAL. During this session, the participants expressed their learnings, and experiences of the workshop. Also, the newer avenues in glass craft and its integration in interior architecture was also discussed. This was followed by an exhibition at CEPT University which marked as a conluding event to this ten day long workshop.

Output

Craft Design Prototype Plates

Craft Design Prototypes

Harmony

Deception 36

Antiquity

Traditions

Reflections 38

Vision , Submerse, Solitude

Creeper

Other Explorations

Dissemination It is important to make society aware about the value of traditional craft and henceforth dissemination through various mediums like exhibitions, panels, online and print media are essential. To summarise the Glass Craft Workshop, an exhibition was conducted at the end. The exhibition displayed the prototype plates, the resource library, the process samples of staining, stained glass, sandblasting, fusing, inclusions made during the worksop. A total of eleven prototypes were displayed which included the seven major projects with an integration of space making elements with various craft techniques. Apart from these, other prototypes were made using the exploratory work done during the eariler craft design modules. The Exhibition Panels containing all the information about the workshop (participants, exposure sessions, brain storming sessions, demonstration sessions, final hands on working with glass etc.) were also displayed. The exhibition was visited by various architects, design professionals, academicians, students, journalists and locals from the city. The details are as follows: Dates: Time: Venue:

18th May 2014 - 21st May 2014 11:00 am - 05:00 pm SID Double Height, Faculty of Design, CEPT University, Ahmedabad

SMC Glass Workshop Panels

SMC Glass Workshop Panels (2â&#x20AC;&#x2122; x4â&#x20AC;&#x2122;) prepared at DICRC for the entire summary of the workshop covering the details of workshop, its process and the final outcomes of the workshop. 44

SMC Glass Workshop Media

City Bhaskar , 20-05-1014

Gujarat Samachar, 20-05-2014

Ahmedabad Mirror, 15-05-2014

City Bhaskar, 14-05-2014

Navgujarat Samay

View of the Exhibition 49

Glass Craft Workshop team 51

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For more information visit www.dicrc.in

Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad Contact :+079-26302470 Ext- 380, 381 , email: dicrc@cept.ac.in 54