SMC Metal Workshop Booklet by DICRC

Innovation and Development

Craft Innovation Workshops

Metal 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 06

Metal Craft Workshop

20 November - 4th December 2013 th

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 Glass Craft

List of SNC workshops: Madhubani Painting Gond Painting

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

Course Instuctors : CEPT Winter School 2013 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

Transmission and Value Building

Appreciation

04) Output

Craft Design Prototype Plates

Craft Design Prototypes

Dissemination Exhibition

SMC MetalWorkshop Plates

SMC Metal Workshop Media

View of the Exhibition

Glass Craft Workshop Team

About the workshop

Overview The Space Making Metal Craft workshop was organized and conducted from 20th November to 4th December 2013 by Faculty of Design, Design Innovation and Craft Resource Center (DICRC), CEPT University Ahmedabad in collaboration with Craftroots, Ahmedabad along with Industry support - International Copper Promotion Council (India), Mumbai and Rachaita Creative Solutions, Baroda. This Workshop is part of the CEPT Winter School 2013. The Metal-Craft workshop was conducted at CEPT University. The workshop focused on different types of metal-crafts like metal embossing, beaten metal work, cut work, metal engraving, sheet metal work, lost wax casting (Dhokra),traditional metal casting along with the upcoming technologies. A gilding workshop and site visits and industry visits to Patan and Baroda were also conducted to expose the participants to various crafts and fabrication work. The workshop constituted of 27 Craft Participants (Master Craftspeople, Craftspeople, Fabricators, and Helpers from Gujarat [Kutch, Mehsana, Nadiad, Ahmedabad] Andhra Pradesh and Orrisa) and 30 design participants (Undergraduate and Postgraduate Students from Architecture, Planning, Construction Technology), facilitators and subject experts. Partners This workshop was organised and conducted in collaboration with the following organisation:

Craftroots

Team members and participants

Krishna Shastri

Jay Thakkar

Rishav Jain

Mitraja Vyas

Yatin Mistry

Pramit Raval

Simrandeep Kaur Saini

Rudrapalsinh Solanki

Radhika Pandit

Manushi Mathur

Anar Patel

Anand Raval

Hetal Dwivedi

Sandeep Vaghela

Harmeet Dawar

Manish Maheshwari

Ashley Lobo

Gaurav Bharadwaj

Amrut N Chauhan

Vijay C Chauhan

Dinesh Panchal

Raju K Bodana

Janmamad S Luhar

Sanjay D Vaghela

Mahesh Chauhan

Saddam Hussain

Richpal

Indrajeet Uyka

Hadibandhu Behera

Hemant Majhi

Ravi R Kavaiya

Amirhamja Luhar

Babulal H Luhariya

Jitendra R Chavda

Maheshwar Behera

Kasambhai Zuda

Balram B Luhariya

Jagdish C Bodana

Dushasan Behera

Haji Siddik

Naran Premji

Mustak Abdula Luhar

Tirupati

Rajendrakumar Panchal Himmat Chauhan

Dinesh Gajjar

Jakab Amad Luhar

Alpesh Vaghela

Amrita Narjinary

Poonam Patel

Subasish Borah

Prerna Thacker

Hardik Gedia

Reema Gogate

Gaurav Engles

Ami Desai

Nileena S

Rucha Yeshwantrao

Pupul Bhowmick

Sohil Chaudhary

Maitry Shah

Mansi Suthar

Sumedha Sethi

Reenu Vinod

Pooja Panchal

Mrudula Reddy

Ann Joseph

Asha Sreenivasan

Krishna Jadawala

Arjunsinh Vaghela

Amol Shah

Hitisha Kalolia

Parth Prajapati

Nirnay Gandhi

Dhrutika Patel

Viranjkumar Patel

Juhi Vyas

Arpit Patel

Institutional Representatives, Facilitators, Design Participants, Experts and Support Staff of the Metal Workshop Team. Krishna Das

Mahendrabhai

Jeeva Bhai

Sadashiv

Details

Dates: 20th November - 04th December 2013 Venue: Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad Number of Design Participants:30 Number of Craft Participants: 27(17 Craftspeople + 10 Fabricators) Co-ordinator DICRC: Prof. Krishna Shastri Head of Research DICRC: A/Prof. Jay Thakkar Moderator: A/Prof. Rishav Jain Workshop coordinator: Mitraja Vyas Material Coordinator: Yatin Mistry, Pramit Raval, Rudrapal Solanki Researcher: Simran Saini, Manushi Mathur Photographer: Radhika Pandit Director, Craftroots: Anar Patel Team: Hetal Dwivedi, Sandeep Vaghela, Anand Raval International Copper Promotion Council (India), Mumbai Vice President â&#x20AC;&#x201C; Building Construction: Ashley Lobo Rachaita Creative Solutions, Baroda Directors: Manish Maheshwari, Piyush Maheshwari Veethika, Mumbai : Director: Gaurav Bharadwaj Output: EightPrototypes 6

Schedule 20/11/13

-Welcome address and Introduction about organisations, Screening of the documentary, Understanding Material andGilding Workshop by Gaurav Bhardwaj

21/11/13

-Copper Gilding Demonstration and Hands on exploration, Copper Gilding Workshop

22/11/13

-Visit to Patan Craft Cluster : Metal Embossing, Interaction with Craftspeople, Discussion

23/11/13

-Visit to Rachaita Creative Solutions, Input Session by Manish Maheshwari, Visit to other

factories:

Sand Casting, Laser Cutting and water jet cutting 24/11/13

-ARTISAN CELEBRATION DAY

25/11/13

-Input Session by Ashok Chaterjee, Introduction to Module 1, Working on Module 1

26/11/13

-Input Session by Vishal Wadhwani, Introduction to Module 2, Working on Module 2

27/11/13

-Input Session by Anar Patel, Introduction to Design Brief and Final Group, Working on DesignDevelopment with Artisans

28/11/13

-Input Session by Disaya Chudasri, Working on Design Development with Artisans, Hands on exploration with Metal

29/11/13

-Input Session by Gautam Shah , Working on final detailing with Artisans

30/11/13

-Input Session by Parul Zaveri, Working on final prototypes with Artisans,

01-03/11/13

-Finshing of Prototypes, Preparation of Panels and

04/11/13

-Exhibition Exhibition (4th to 8th December) 7

Framework

Framework Overview: The framework of Space Making Metal Craft Workshop was divided into threemajor parts. In the first part, a copper gilding workshop was conducting. The second part consisted of various craft design modules. And the third part dealt with the final design brief. The craftspeople, fabricators and design participants worked together on the specific design brief dealing with the spatial applications. Through a collaborative craft-design process, various outputs related to Interior Architecture were produced by hand-on explorations with various metal crafts. The craft design groups made Partitioning systems, Ceiling systems, Faรงade systems, Railing systems and Storage and Display systems. After the Copper Gilding Session, there were two modules and one final Craft-Design Exercise that was conducted during the Space Making (Metal) Craft Workshop. The modules were planned to explore, understand and collaborate different abilities of craftsperson and designers, while the Craft-Design Exercise engaged the participant in the process of Cocreation. Craft-Design Module 1: Ordering of Expressions Craft-Design Module 2: Ordering of Connections Craft-Design Exercise: Systems of Space Making Element

Copper Gilding Session

Copper gilding session was conducted on the first two days of the Space Making Metal Craft Workshop. This was done in collaboration with International Copper Promotion Council (ICPC), India. The copper gilding session was conducted by Gaurav Bhardwaj, Director, Veethika Mumbai with support from Ashley Lobo, Vice President, ICPC. This consisted of design exercises followed by gilding process by students, craftspeople and fabricators.

Module 1: Ordering of Expressions

Each Metal Craft (ex: embossing cut work, beaten metal work etc), offers a particular set of visual expression by which it gets identified. The idea is to generate new set of expressions through surface articulations and ornamentation. The aim of this module is to understand the possibilities of a Metal Craft, Craftspeople and Fabricators and create as many variations or sets of variations as possible. The output can be on bases of exploration of attribute or new experiments based on a particular narrative or an idea. There can be also combinations of various Metal Crafts.

Module 2: Ordering of Connections

Metal comes in different forms (in sheets, rolls, components like box sections, pipes etc.), each component needs to be attached to another one to create a larger whole. Henceforth, there is a need to connect these components not only as a means to create a larger whole but also to explore certain amount of fixity and some flexibility within the joints. There are various attributes like Intersection, Interlocking, overlapping, folding, pivoting, bending, sliding, etc can be explored to achieve this. It is essentially an exercise that explores the possibilities of how one piece attaches to another.

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. Anar Patel explained various projects & activities being undertaken at Craftroots. 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 possibilities of working with metal craft in interiors was discussed. The sessions were 25.11.14

Academic Session

26.11.14

Technical Session

27.11.14

Craft Session

28.11.14

Academic Session

29.11.14

Technical Session

30.11.14

Design Session

Handmade in India: Opportunities & Crisis Ashoke Chaterjee, Academician Building Large Structures in Metal Vishal Wadhwani, Interior Architect Working with Craft Clusters:Challenges & Opportunities Anand Raval, Craftroots An overview of Thailand Handicrafts Disaya Chaudri, Researcher Steel Structures and Mistakes Gautam Shah, Academician Metal Craft in Interior Architecture Parul Zaveri, Architect 19

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 metal craft workshop, the participants were exposed to both craft clusters and industrial units. The visit to artisan workshops in Patan helped the participants to interact with craftspeople in their natural settings of work environment. The factory visits exposed them to possibilities of working with mechanical tools and upcoming technologies in metal craft. The following site visits were conducted: Cluster Visit

Artisan Workshops, Patan

Factory Visit

Rachiata Creative Solutions, Baroda

Factory Visit

Sand casting Factory, Baroda

Factory Visit

Laser Cutting Factory, Baroda

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. In the metal craft workshop, there were various crafts involved and hence it was important for all the participants to know each craft in detail. In the initial days, a demonstration session on Copper Gilding was organized which was followed by a two day exploratory session. The demonstration of crafts like Copper Bell Making, Knife Making, Metal Embossing/ Engraving, Dhokra Metal Casting was done in different groups. The techniques were demonstrated in great length by the master craftspeople. 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. The craftspeople showed the entire processes of techniques, begining from various rituals and customs of setting up a kiln to the processing of raw material to the firing process to the final application of finishes to the products.

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 Metal Craft Workshop, facilitators included Prof. Jay Thakkar, Head of Research, DICRC; A/Prof. Rishav Jain, Senior Researcher, DICRC; Manish Maheshwari, Director, Rachiata Creative Solutions, Baroda. Anar Patel, Director, Craftroots, Anand Rawal, Sandep Vaghela, Hetal Dwivedi from Craftroots. Various inputs on thickness of metal sheets, the cutting tools, the finishes available in different metals became the primary input. The inputs regarding of suitability of one technique along the other was crucial and proved a major factor while conceptualizing the final designs. The experiences of craftspeople gave the design participants an insight on various design possibilities and the feasibility of working on those 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 Metal Craft Workshop, a total of eight groups were made. At the end of the workshops, the groups through collaborative hands on working produced: 1) Ceiling System (2 nos), 2) Partition System (2 nos), 3) Facade System (2 nos), 4) Storage and Display System (1 nos), and 5) Railing System (1 nos). Since each group had craftspeople working with different techniques, that became the starting point for each group to initiate design discussions. The design ideas were developed in discussion amongst the team members, which included the craftspeople and design participants. The groups got into intense hands-on explorations with metal , working closely with craftspeople. This was done using a range of tools and techniques along with design ideas generated out of previous dialogues and discussions.

Transmission & Value Building The Craft Innovation Workshops aim to work with traditional craft skills and processes creating new opportunities and possibilities at all levels. The intent is also to nurture within the younger generations the value of the hand skills. Such embedded inheritance about the craft needs to be transmitted which will insure the future/evolution of craft. These craft practices needs to be continued ensuring the transfer of empirical knowledge of craftspeople. The oral transmission of knowledge has a direct influence on the people involved and creates larger and deeper impressions. In Metal Craft Workshop, the idea of working handson was helpful for the designers, as they could actually understand the properties and limitations of materials. During this process of explorations, intangible knowledge transfer took place. This was largely due to the collaboration between a designer and craftspeople, where there was a two way learning process helping both the designer and craftspeople to gain from each other. Final designing became the process where all the ideas and explorations from the all the Modules undertaken earlier were culminated into one single final output. This was done by the amalgamation of the design ideas from designers, empirical knowledge from craftspeople, and technical/design guidance from the facilitators.

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 Metal Craft Workshop summed up at CEPT University with a concluding session. This was conducted with Prof. Krishna Shastri, Prof. Jay Thakkar, A/Prof. Rishav Jain from Faculty of Design, DICRC and Anar Patel, Hetal Dwivedi, Sandeep Vaghela from Craftroots along other team members from DICRC and Craftroots. The session began with a small meditation session and later the entire team discussed the learnings of the workshop. Each participant shared their experiences reflecting upon the past few days of the workshop. This was followed by a certificate ceremony, where each participant and team member was awarded a certificate of participation/appreciation. This was followed by an exhibition at CEPT University which marked as a conluding event to this fifteen day long workshop.

Output

Craft Design Prototype Plates Chakravyuh

Silver

Copper Flower:

Estimated oﬀsets of the plates, of which dhokra was revised due to aesthetics.

This ﬂower is meant to be the center of attention in this piece, hence we inculcated a combination of both naqshi and cutwork. The copper metal was used to make this piece pop.

The ﬁnal model of the plates along with the materials involved

Copper naqshi: This piece which is supposed to be a partner to the aluminum naqshi is to to basically frame the ﬂower piece in the center.

The layout of the materials and the plates in the middle of the process.

Aluminium Naqshi: The ﬂower and the copper dome have material in common, where as aluminium and copper dome have the same design pattern in common, which inturn binds the piece together.

Joinery details of the support system and bracing

Brass Dhokra: Both the 8” and 6” discs of dhokra were made to frame the panel and act as a central crux to the design, when four panels are placed together the brass dhokra is to act as the central pivot design of a the ﬂoral pattern.

Final ﬁnished product Craftspeople: Babu Bhai Luhariya Dushashan Behra

Fabricator: Raju Kantilal Bodana

Students: Sumedha Sethi Dhrutika Patel Maitry Shah Mrudula Reddy Amol Kapadia

Brass

Taklitor

Amalgamation of LIGHT and SOUND Having the expert precision of a Dhokra Artist and a Bell Metal Artist, we thought of incorporating both the aspects in our work of designing a facade. We began by structuring out four tiles - two of Copper and two of CRC, diagonally arranged and pictured rectangular pieces of Dhokra placed at the four corners of each tile. The outlines of three bells of varying sizes were cut out from each tile and tiny holes gradually increasing in size were drilled out using Metal Cut technique. This represented the reverberations of sound emitted by the bells. The two copper tiles exhibit the two Dhokra bells made with great expertise. The Copper sheets were finished with Ammonium Chloride to achieve the patina, the CRC sheets were first washed with Harpic to remove the ferrous and oil depositions on the sheet, then allowed to dry to achieve the rust finish and later wax polished to retain the rusted look. Finally, all the four tiles were placed together and was back lit to give a magnificent effect of light and shadow.

Sketches, 3Ds, Drawings, Hands on experience - Fabrication

The MAKING......Bell - Bell Metal and Dhokra technique

The MAKING......Jali - Dhokra Technique

3” Ht Bell Metal Art 3” x 6” Jali Dhokra Art

Cut Metal Art

3/4” x 3/4” MS Box Section

1/2” Nut Bolt

22 Gauge 2’ x 2’ Copper Sheet

3” x 6” Jali Dhokra Art

Metal Embossing

Cut Metal Art

A D

Metal Embossing

4” Ht Bell Metal Art

Metal Embossing

1 1/2” Bell Metal Art

Single Tile Elevation

6” Bell Dhokra Art

Metal Embossing

6” Bell Dhokra Art

Perforations Cut Metal Art

22 Gauge 2’ x 2’ Copper Sheet

Detail at A - Joinery - Box Section, Copper Sheet,

Detail at D -

Joinery - Copper Sheet, Dhokra Bell, Bell Metal

Dhokra Jali

22 Gauge 2’ x 2’ Copper Sheet

3” Bell Metal Art

Detail at B - Joinery - Copper Sheet, Bell Metal

Perforations Cut Metal Art

Detail at C - Joinery - MS Box Section,

Copper Sheet

Bells - Bell Metal Art and

4 Panel Composition

Dhokra Art

Maheshwar Behera

Yakub Ahmed Luhar

Dinesh Panchal

Dhokra

Bell Metal

Fabricator

Gaurav Engles Hardik Gedia Amrita Narjinary Reema Gogate Jitendra Chawada, Anil Chauhan, Vijay Chauhan (Fabricators) Shabir, Shaddam(Bell Metal)

COPPER

THE SUN FLOWER FIELD

AIM: Design Railing system

FABRICATION

METAL BELL

CONCEPT DEVELOPMENT

Fabrication work in process. Making the the frame by G.I

Making of Metal bell

SAND CASTING

Sand casting to make the rays of the sunnower

PROCESS

Concept evolved from the idea of blooming sunnower eld. Gentle breeze creating a wavy motion in the stems of the plant and the owers shining in between.

DHOKRA ART

1. Maximum dimension of a dhokra craft that can be produce in the klin provide was 8 inches. taking the module size to be 5 inches grid was made . 2. Position of the bigger and smaller owers were decided. 3. Oﬀsets were taken and position of the stems were done. 4. Smaller sunnowers were decided as it can hold the stem together. 5. Position of bells were decided.

Process of making Dhokra Art Handrails

DHOKRA ART in BRASS METAL BELL in CRC

DHOKRA ART-HANDRAIL DETAIL FABRICATION in tGI

Idea was to merge four arts of our artisians in the concept of blooming sunnower eld. At the same time including the three sensory feelings of 1. Visual beauty of art piece with combination of diﬀerent craft and colors 2. Sounds of bells 3. Tactile eﬀect of dhokra art.

SAND CASTING in ALUMINIUM (RAYS) CIRCLE in COPPER

ELEVATION OF THE FINAL PROTOTYPE

FINAL PRODUCT Fabricator: Mahesh Chauhan Sand Casting: Naran Premji Dhokra Artist: Haribandu Behra Bell Metal Artist: Saddam Hussain Helping Hands: Jithendra.R.Chawda,All Craftspeople and Fabricators

STUDENTS: Asha Sreenivas Subhasish Borah Amol Shah

Group name: Platinum

CEPT WINTER SCHOOL 2013

Prototype name: A fusion of sorts

Idea As the final outcome of an intensive workshop we were divided into 8 groups to explore different architectural elements in the context of plugging in different traditional metal crafts. Our group of seven members had to explore a partitioning system DISCUSSIONS, DELIBERATIONS, BRAINSTORMING...

Explorations UNDERSTANDING THE OPPORTUNITIES OF DOKRA FROM THE EXPERTS:

UNDERSTANDING THE POSSIBILITIES IN FABRICATION THROUGH PROTOTYPING IN CRC

What start on the first day was a myriad of ideas based on all we had learnt and seen, some fanciful, some simple, some not executable. Welding MS flats

Bending and shaping

Folding system

UNDERSTANDING IN 3D

Interlocking sliding frames

A pivoted modular system

Drilling

Cut work

Exploring options for joinery detailing

Vertically and horizontally sliding panels PLAYING WITH THE FOLDING SYSTEM

OPPORTUNITIES AND LIMITATIONS

Ÿ Plugging in the dokra metal craft. Ÿ Time taken for the dokra lost was process Ÿ Using the skills and knowledge of a fabricator within the

Exloprations in CRC

group.

Ÿ Designing an independent free standing system. Ÿ Creating a modular design. Ÿ Limiting oneself to and exploring within the skills of the

Combining with a pivot system

group members.

Ÿ Designing within provided material :

Exploring Support systems

CRC flats, CRS round / square pipes CRC , Aluminium and copper 4' x 4' sheets. This worked as guidelines for zeroing in on the final outcome

Keeping dokra as the focus point

Deciding options for framing Craftspeople, Fabricators and Students

20 November to 04 December 2013 th

SPACE MAKING (METAL) CRAFT WORKSHOP

Ÿ Vijay .C. Chauhan - Fabricator Ÿ Indrajeet Uyka- Dokra artist (Andra Pradesh) Ÿ Tirupati - Dokra artist (Andra Pradesh)

Ÿ Ÿ Ÿ Ÿ

Nirnay Gandhi - B.Arch (3rd yr) Poonam Patel - Masters (geomatics) Arjunsingh Vaghela - S.B.S.T (2rd yr) Prerna Thacker - M.Arch (sustainable)

by Design Innovation and Craft Resource Centre (DICRC), Faculty of Design CEPT University, Ahmedabad in collaboration with Craftroots Ahmedabad

Connection in air.

Iron

Creating a partition system, which is characterized by a interlocking squares forming an independent partition. Main idea behind this interlocking system is ecosystem. As we know in ecosystem all factors are depending upon each other, same way we tried to develop a system in which each member is connected with each other creating a system.

Working on prototype.........

As we further develop the idea we came to a conclusion that this partition system should be designed in such manner that one can dismantle it and easily transport it to another place. One can create connections and go on increasing the size of the partition

Bells in making.............

Steps to create Dhokra work. 6" 7"

7" 6"

1" 14

4" 2"

13" 5'-616

1" 98

7" 9"

9" 7"

1'-1 3 " 16

7" 1'-1 3 " 16

Haji Sidik. Arpit Patel. Hemant Maji. Mansi Suthar. Ravi Kavaiya. Rucha Yeshwantrao. Special Thanks to Mr. Manish Maheshwari.

Craft Design Prototypes

A fusion of sorts

Taklitor 38

Family Vocabulary

Connection in Air 40

Thath

The sunflower Field

Chakravyuh 42

Synchronous Waves

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 Metal Craft Workshop, an exhibition was conducted at the end. The exhibition displayed the prototype plates, the resource library and the process samples. The outcomes of gilding session, module 1 (ordering of expressions) and module 2(ordering of connections) were displayed. Along with these outcomes of initial exercies, a total of eight prototypes were displayed which showcased an integration of space making elements with various craft techniques. The Exhibition Panels containing all the information about the workshop (participants, exposure sessions, brain storming sessions, demonstration sessions, final hands on working with metal 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:

4th - 10th December 2013 11:00 am - 05:00 pm SID Double Height, Faculty of Design, CEPT University, Ahmedabad

SMC Metal Workshop Panels

SMC Metal 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. 46

SMC Metal Workshop Media

City Bhaskar , 27-11-2013

Sandesh, 27-11-2013 48

The Indian Express, 02-12-2013

DNA, 26-11-2013 50

DNA, 02-12-2013

Ahmedabad Mirror, 26-11-2013

Gujarat Samachar. 29-11-2013

Gujarat Samachar. 04-12-2013

Sandesh, 6-12-2013

View of the Exhibition 53

Metal Craft Workshop team 55

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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 58