TEXTILES FOR SPACE Under Guidance Of
Ms Aarti Srivastava Ms Ujjval Shah By
Isha Manchanda
M. Des Textile Design S1511108
TEXTILES FOR SPACE | 1
CONTENTS
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1. INTRODUCTION OF THE COURSE 2. SPACES 3. ARCHITECT STUDY - FRANK-O GEHRY 4. UNDERSTANDING SPACES 5. ARCHITECTURAL DRAWING 6. SELECTION OF THE SPACE 7. ANALYSIS OF SPACE 8. PERSONAL ANALYSIS 9. BRIEF 10. MOOD BOARD 11. INITIAL EXPLORATIONS 12. REFINEMENT 13. COMPOSITIONS 14. PROTOTYPE 15. 16. REFLECTION
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ACKNOWLEDGEMENT
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I would like to express my gratitude towards my mentor Ms Ujjval Shah under whose able guidance and support, the product evolved from sketches to prototype. My heartfelt gratitude to our Course Co-ordinator, Ms Aarti Srivastava, for valuable feedback during the entire course and providing all the faclities required during the course. Special thanks to Mr Abhay Mangaldas and entire team of House of MG and Pol Kholi, for providing a live project to deal in, and providing us information and all the permissions whenever required, for the successful completion of the project. Also, I would like to thank Ms Rachita and Mr Prahalad Gopakumar, for valuable architectural inputs during the course and making the learning a good experience. Further, thanks to Mr. Mayank Loonkar, Ms Parul Zaveri, Prof Aditi Ranjan, for their guidance, direction and feedback at different stages of the course. I would also like to thank Govind Bhai, Mahesh Bhai, Kamlesh Bhai, Shailesh Bhai, Prabhat Bhai, Paresh Bhai and Amit Bhai for being there whenever I needed support for setting up the loom or any sample related issue. Last but not the least my juniors, ( Megha, Pritam, Shashi, Vikash, Ashwani) and batchmates (vishwesh, divya, ushasi, padmaraj, akash) who have been a constant support when I was working in the heating furnace. I cannot thank enough my family for being a constant support during the entire course of the project. Thanks everyone who were a part of this project at some stage or the other.
TEXTILES FOR SPACE | 5
INTRODUCTION TO COURSE
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TEXTILES FOR SPACE
OBJECTIVE
METHODOLOGY
Textiles have often been a part of architectural materials and a textile sensibility has greatly affected architectural thinking and conceptualization. Thus an inter-disciplinary course seeks to develop a textile student’s understanding of the qualities of architectural form and space and the role of textiles in modifying and enriching spaces.
• To understand the properties of textiles as an intergral element for space creation.
• A real life context will be selected for the purpose of study and to help develop an understanding of the interrelatedness of the parts to the whole through first hand experience, observation, study, analysis and synthesis; concepts for textile modifiers of space, design development of a selected textile element.
• To explore the inter-dependent relationship between textiles properties and space. • To understand making which is dependent on the nature of social interactions, culture climate and environment. • To understand the importance of force equilibrium - tensile and comressive forces in creating innovative textile spaces. • To explore textile properties to effectively create and divide spaces. • To chose textile as a material choice to create environmental experiences like light, shade, airflow, privacy, inside-outside connectivity and spatial continuity.
• Theoretical and skill inputs will be provided by the course faculty and experts on architecture related subjects such as tensile structures, deployable structures, sun shades and model making. • Individual and group assignmnets, course presentations and feedback • Presentation of textile concepts to the representatives of the selected space.
• To employ site as a critical element in developing contextual textile space.
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SPACES
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SPACE I DON’T LIKE
SANSKAR KENDRA • Designed by the Le Corbusier in 1954. • Not Known to many and least visited. • Amidst the congestion of Paldi street, anchors the modernist bulky building. • Commissioned by Chinubhai, Chimanbhai, Major of Ahmedabad. • Initially it was known as, N C Mehta museum of miniatures but after his demise the collection was donated to museum of Indology and it was called as Lalbhai Dhalpatbhai Museum. • The site is surrounded by NID, Community hall, Tagore Hall and different Housing units. • 1985 Kite Museum • 1992 City museum was established on the first floor which holds the collection of freedom movement, textile, craft, architecture and Gujarat Literature. • Second Floor is been give to election departure by Ahmedabd Municipal Corporation
• What is the reason for this sad state of affairs? • Is the problem with Corbusier Design? • Did he build a building that most are unable engage?
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HAUNTED
DARK
DAMP
SECLUDED
DULL
BORING
INACCESSIBLE.
WHY I DON’T LIKE • Architecture does not go with the content. • Outside - Grand and big , but inside its dull and small. • As a representative of Ahmedabad’s history which houses ahmd’s cultural , litrary, society. It should occupy a separate place in the city. • Corbusier outweigh the local context. • Pilots, long ramps, louvers, exposed material. • Poorly preserved. • Not clear demarcation of the sections. • Arrangement of the frame. • Madhubani/ Painting on Bricked wall. • Fails to simulate interpretations amongst the audience due to its ambience. • Need to be freed from AMC.
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TEXTURE PALETTE
COLOR PALETTE
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SPACE I LIKE CAFE NATARANI
WHY I LIKE ?
• Founded in 1949 by Vikram Sarabhai and Mrinalini Sarabhai. Later, its taken care by their daughter Mallika Sarabhai.
• Good play of Natural light and shades.
• The purpose was to give the performer and the audiences, a time to collaborate. • Victoria Spencer( Space Developer) John Martin (England) and Kirti Shah( All India Architect Association President). • Materials used are from scraps so that less maintenance is required. • Sourced from Narol factories and Gandhinagar Tekra. (Cup saucer, iron grills, latch, Knobs, window handles) ( matka). • Since Natraj is a title given to Lord Shiva, Mallika Sarabhai referred her mother “Amma” as Natarani -” Queen Of Dance” • She is a synonym of grace, strength and creativity.
PEACE
CALM
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NATURE
• To minimize effect of sun and rain , Garden nets are used. • Interaction between nature and self. • Soothing environment as there are lot of trees and birds. • Sometimes regional or instrumental music. • Smells like nature, mud and there is no dominant smell. • Textures with terracotta, ceramic Marbles and Metal casted night lamps. • For the very essence of the place, there was calmness, peace, with birds chirping around and a perfect blend of nature and concrete. • Material is raw, rustic with texture.
CONCRETE
TEXTURES
RUSTIC
CRAFTS
INTERACTIVE
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ARCHITECT STUDY FRANK O GEHRY
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FRANK O GEHRY FRANK O GEHRY • He was born on 28 Feb, 1929 in Toronto, Ontario, Canada. • His real name is Frank Owen Goldberg. • After doing his schooling from LA city college, he did his graduation in Architecture, from University of Southern California and further he studied design from Harvard Graduation School of Design. His Architectural Inspirations/Style. • Chaotic life of Los Angeles. • Appearance is usually deemed more than content. • Allowed Inner life of his building to generate their outer form, with exposed wooden beams, sheet rocks, corrugated sheet metal and chain link. • Focuses on enigmatic forms founded in the art of sculpture. • Works on Urban Vocabulary • Deconstructivism evolved from the fascination of the artists hand. • Feeling and spirit to form, disregard of symmetry and staying true to the modernist grid. • Dynamic, sensuous with sleek curving details.
URBAN CRAFTS DECONSTRUCTIVISM FLOW SENSUOUS SCULPTOR ABSTRACT
DYNAMIC NOVEL
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ANALYSIS
Climate
• His best experimentation was his own house in santa Monica.
• He doesnt really comments on the climate, rather combines materials that goes with the surrounding climate. For example, in Guggenheim Museum, he has combined titanium exteriors with the wooden interiors.
Free from expectations, he tried • Unpainted plywood • Chain link • Corrugated Metal • Exposed wood framing • Unsightly connections • Abrupt Transitions Materials • Silver • Chain Link • Zinc • Titanium • Wood • Stainless Steel Natural Light • He tries and mix the warm light from the sky to the cold northern light from the window. • In Vitra museum, he has employed skylights in different directions, so as to bathe the hall in its own individual light. • In MIT’s Stata Centre, he has put the array of slits, which impats varied skylight for differentiated places like student street.
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ACHIEVEMENTS 1989 PRITZKER Architecture Prize 1992 Wolf Prize in Art Premium Imperiale Award 1994 Dorothy and Gish Award for lifetime 1998 National Medal of Arts 1999 Lotos Medal of Merit, Lotos Club. 2000 Lifetime Achievement Award
Guggenheim Museum
Gehry’s House
Louis Vuitton Fondation
Dancing Building
Vitra Museum
Walt Disney Concert Hall
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THE HOUSE OF MG
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VISIT TO THE HOUSE OF MG Having done the space study and architect study, we visited the allotted space , which was the House Of MG to meet Mr Abhay Mangaldas for the project brief. Following were the three briefs given for the three different spaces in the property. • To redesign the canopy for the Greenhouse Cafe, which is easy to maintain, easy to install, locally sourced and produced. • To come up with a co-ordinated collection of home furnishings, which is easy to maintain, locally made/ sourced and is interchangeable with all the rooms. • To design the canopy, blackout and sheer curtains for the conference/ dining/ banquet hall at Agashiye, which is locally produced, easy to maintain, wash and is fire resistant. I chose to take Agashiye’s hall to work further as • It was an opportunity to start from scratch and shape the hall. • it was a large scale project to experience the pros and cons and take decisions accordingly.
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SPACE ANALYSIS
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ARCHITECTURAL DRAWINGS
W
N
3.6 m A
S
E
5m
E
W
N
S
A’
B
B’
2.2m
12.6 m
SECTION AA’ Of THE CONFERENCE HALL
ELEVATION BB’ Of THE CONFERENCE HALL
NW
W NE
SW SE
ISOMETRIC DRAWING OF THE CONFERENCE HALL
N
S E
PLAN OF THE CONFERENCE HALL
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SPACE ANALYSIS
INTRODUCTION • A boutique heritage hotel, conveniently located in the city centre of Ahmedabad. • A stately property was built in 1924 as a home to a wealthy textile Magnate, now restored into a world class hotel. • The house of MG has 38 suites, 2 acclaimed restaurants, a banquet and a conference space, and an indoor swimming pool. • It also has a sister property in the old city of ahmedabad called ‘ Mangaldas ni Haveli’, a restored 250 year old carved wooden building in vernacular style.
HISTORY • Towards the end of 19th century, built by two brothers Mangaldas Girdhardas and Chamanlal Girdhardas, working in a textile mill. • Later acquired the mill and started building a textile empire. • Built a new home for their family in 1904, made another wing in 1924. • By 1950, mansions were sublet, used for office purpose. • By 1994, the building got deteriorated, then decided to be renovated to a heritage hotel, that opened in 2007. 22 | THE HOUSE OF MG
EVOLUTION OF THE SPACE
INITIAL CANOPY WITH MATA NI PACHEDI PANELS
CANOPY INSPIRED BY MUGHAL TENT AND KITE FESTIVAL
PRESENT SPACE
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EXISTING FURNITURE
TEAK WOOD AND GLASS FURNITURE
MUNDA
CANE CHAIR
UNIFORMS REFLECTIONS • Furniture used is of the local material and the wood bought from the old haveli’s which has survived years of climate change, which shows the richness of the space, and long for using locally available materials to put to use. • The utensils used are of kansa and silver for regular and deluxe thali respectively. They serve in Patra leaves, which shows their connection with nature. • Moreover, clothes worn by the supervisor, chef and others are made in white cotton fabrics and they pair it up with crocs. The traditional dress and modern footwear signifies their long to be attached to the roots yet opting the modernity around.
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TEXTURES AND MATERIAL PALETTE
Asbestos Sheet Asbestos Sheet Glass Aluminum Frame
Cloud effect Ceramic Tiles
TACTILE TEXTURES
Floor Tiles
Surrounding Wall Texture
Glass Wall
Cloud Effect Ceramic Tile
Buttons around the railing
Floor Tiles
Mosaic tiles
VISUAL TEXTURES
Colored Glass
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COMPARATIVE STUDY
MANGALDAS NI HAVELI 2
DIWAN JI NI HAVWLI
FRENCH NI HAVELI
UMAID BHAWAN, JODHPUR
COCONUT LAGOON, KERELA
SAMODE PALACE, JAIPUR
SHERATON INN, INDONESIA
NUSA DUA BEACH HOTEL, DENPASAR, BALI, INDONESIA
MOWANA SAFARI LODGE, KASANE, BOTSWANA
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REFLECTIONS ON THE SPACE
The space comprises of 3 halls with a lush terrace garden at one end. A staircase leads to the 3rd floor, ‘top terrace’ that has spectacular views of the city. The restaurant comprises of 3 terraces, entering via mughal tent, step down into a wooden cottage and finally onto a large mosaic tiled, open to sky terrace. Seating Capacity Agashiye Lounge 1 Lounge 2 Garden Top Terrace
60 people 150 people 150 people 35 people
• Entrance Area and First Experience Building itself is suggestive of the grandeur. The colors used, the people who stand at the gate to greet, everything gives you a glimpse of the interior of the space. While going up, no clear demarcations about the lift area, as you reach the top floor, you are directed to the glass enclosure via a beautiful lily path. • Visual Connection through the path of circulation Original way to agashiye through CG wing looses the connection, in terms of direction and end destination, whereas ambience wise it imparts the feel, look of the heritage space. Crafts of ahmedabad are highlighted. • Visibility of spaces from public/different areas to be studied Beacause of the zig zag movement of the plan from either of the entries.places remain hidden. In the first glance, you dont get to know what else is there at the first floor.
• Cliental Niche Prime Upper Segment Class specific Sophisticated Status Oriented Trend Adopters • Engagement with the space Easy to attend the guests in one go. People come here to avail the authenticity. Hygiene is taken care of. Love for local Experience wise , its rare. Memories of the offerer. Offering niche • Furniiture Low seating arrangements at time is difficult for the cliental that walks in. Back support is required, as it is meant for long hours of seating. • Lighting At night, because of warm colors used in tent, upholestry and floor, warm lights can be improved on, as it makes the space look smaller. • Space Usage Dining Celebration (Bday/ Anniversary/ Achievement) Conferences Waiting Area
• Visual/ Physical Barriers If it is a waiting area, there is no direct view of the dining area which is to get vacant.
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DESIGN BRIEF
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EASY TO ATTEND
HYGIENE
LOCALITES
COMFORT
CONVERSATIONS OVER FOOD
TOURISTS
CULTURE
HERITAGE
NICHE
VIBRANT
LOCAL
TOURISTS
AGASHIYE
BUSINESS ORGANIC FINE DINE IN
TRADITIONAL
GUJARATI THALI
SOCIAL RELATIONSHIP
AMBIENCE
AUTHENTIC REPETITIVE VISITORS SERVICE CONNECTIONS MEMORABLE
TEXTILES FOR SPACE | 29
MOODBOARD
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• Since Abhay Mangaldas is been portrayed as a figure, always evolving, and adopting to newness, so keeping the identity, language and the essence same, the need to contemporize the space was there, keeping in mind the multifunctionality of the space.
DESIGN BRIEF “CLEAN IS THE NEW COOL” The statement defines the brief as a design solution through textiles and other materials, that caters to the transforming nature of the space, responds to natural factors like heat and light and sound absorbency.
• Design can play with the materials like terracotta, which has a local KEYWORDS essence yet easy to maintain. EXQUISITE • Since it caters to a very niche NICHE segment, and people who visit PRIME their know, what they are looking UPDATED for, the property also serves as a PRISTINE trend setter. Having visited majorly FRESH by localites, the place needs to be CONTEMPORARY ambience specific. HANDCRAFTED RUSTIC • Keeping in mind the climate MINIMALISTIC barriers of ahmedabad, white is suggested as it is cooler to look and feel.
FEEDBACK SESSION WITH MAYANK LOONKER • Mood of the space is to be revised. • Present mood reflects more like a spa or a meditation centre. • Mood should be worked out first rather than techniques and material, that will follow automatically. • Their should be a story that connects with the House of MG.
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REVISED MOODBOARD
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OTLA, Asthal As- to lie upon, to stay to live. sthal - space, earth, ground
is not provided fully from inside but holds equal life around it as there are varying intensities of public and private life to be enjoyed.
DESIGN BRIEF
The aim is to design soft furnishings for the homemade home of the house of MG. Otla is a plinth bordering the street and It sequences the movement from the The range will include the canopy, sheer forming the space around the doorway busy street, gradually slowing it down to curtain, blackout curtain and seating of the house. In principle, the otla is the the pace and character of the dwelling. upholstery. shaping of the ground. This would also require that houses do The design will focus on the handicrafts not stand as individuals in space but form of Gujarat, keeping the conversation with It's an extension beyond the wall of the a cluster of communities. An individual or crafts alive. Possible design direction can plinth to establish the horizontal plane the group can only value space when it be while retaining the feel of the being an has a sense of ownership attached to it. 1. Crafts practised in groups like embroielement moulded from the earth. deries, Ari Bharat, Pako, Applique, Patch. What is to be preserved in the character 2. In a form of narrative - Pithora PaintConversation is an important part of and value of the "OTLA". In a world where ings. the culture of the Ahmedabad. People faster id better, some of us are asking if 3. Bringing communities together - thus preferred to spend their time sitting it is real. Pastimes are finding their feet mixing two crafts. outdoors to strengthen their sense of with a passion and people are finding connection with the community. The otla themselves- or at atleast taking a time to. is an important element that has built the FEEDBACK community life and the culture of the city. The mood is about looking in depth. It is about immersing yourself in the why of • Craft is not at the surface level, there The city and its people are at the an experience, the history of an object. It are lot of families that are involved in the threshold of the old and the new. The is about giving everything at a hint that it making of the craft. city has grown over the last six centuries naturally needs to be the best, whether a and is spreading continuously. New forms conversation or a handmade. • Taking inspiration from the craft doesn’t of habitation have emerged in the city work because we cant create or imitate constrained more by the economics than a craft, that requires years and years of socio-cultural patterns. practice, and sensitivity to the surroundings and nature, which will not be there It is important to understand that an unless and until you practice it, living in OTLA of equal value can be conceived those circumstances. in modern housing - as an element that beholds the complex nature of the sociocultural relationships. It signifies, a house
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REVISED MOODBOARD
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SURROUNDING SPACE
TEXTILES FOR SPACE | 35
SPACE ANALYSIS
DESIGN BRIEF
CLIENT
BRIEF GIVEN
LOCALITIES FOREIGNERS NRI LOCALITIES ART/ DESIGN BACKGROUND
To design canopy, sheer curtains and black out curtains for the hall which is multipurpose in nature. • locally produced. • easy to remove/put/maintain
SPACE USAGE DINNING CELEBRATIONS (Birthdays/Anniversaries/ Achievements) CONFERENCES WAITING AREAS ANALYSIS CONTEMPORARY YET ROOTED • UTENSILS • UNIFORMS • GUJARATI THALI • AMBIENCE LUXURY/ CLASS • METAL • HANDWASH WHILE SEATED • GREETED WITH ROSE WHY AGASHIYE? • To avail authenticity. • Easy while attending guest. • Hygiene • Organic • Rare experience. • Memories of the offerer attached. • Love for local • Offering niche • Inside/ outside/ wait experience. 36 | THE HOUSE OF MG
STRUCTURE • Rooftop • Exposed to natural light ( curtains need fastness to natural light) MULTIFUNCTIONALITY • Conference, Dinning, Banquet, Waiting (Gujarati touch yet keeping it minimal) TEXTURE • Surrounding has a lot of textures (floor and open to nature). LIGHTING (natural+ artifical) • Fixed Lighting - since the space is multifunctional so lighting needs to be worked out, so that it serves conversation over dining and conversations as serious as women empowerment. COMPARATIVE STUDY • Language is the same as Haveli of MG. TRANSFORMING • Decor should be modular, removable. • Replaceable with respect to the subject. SOUND • Chirping Birds • Traffic • Once the volume is added, sound will reduce.
To provide a design solution through textiles for the glass enclosure at Agashiye, keeping in mind the multipurpose nature of the space and ensuring to retain the cultural vibe of the region. The Design will cater to • Heat and Light • Multi functionality of the space • Easy care and maintenance
DIRECTION
Withdrawing Cane as a local material from the mood, some explorations were done for the blackout panels.
SAMPLE ANALYSIS IN SPACE • Wool prevents harsh sunlight. ( textural effect) • East and south facing doors get harsh sunlight. • Bead Surface - front plain, back motif, so that against light it creates interest and is appreciable from both the sides. • White and off white works for the space, accent colors can be used in middle or in form of tassles or rolling thread.
• Visualizing the same design in 48 panels, need of a story in terms of color, density or motif play was felt, so it guides you to the entire room. • To the right are the samples against the south and west facing panels from inside, respectively. Because of harsh sunlight from the south, offwhite looked very dark.
• Dark at the projector wall - need for lighter curtains • Doors - sheers/ flowy curtains.
TEXTILES FOR SPACE | 37
Weft twining techniques (on surface and against light)
Surface exploration with cotton leather. (on surface and against light)
Combining extra weft with leno (on surface and against light)
Surface exploration with beads in lino
Exploration with Adhesive on the warp. (Repurposing a material)
Bamboo with leno structure
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FEEDBACK SESSION WITH PARUL ZAVERI
• In depth study of light Direction in the property. • Try to convert fevicol exploration into textiles, also try the effect of heat on the existing sample. What happens if it is blown up to actual scale?
• Plan is required, to visualize, how many panels are to be used and how many needs to be connected? • Do people go close and see? • Weaving techniques of Gujarat to be tried.
• Try re-purposing a material which is not used in weaving. • Weaves in different directions and densities can be played upon. • Collection of weaves in the same palette. • Explore palette from north to east. • Patterns in colors • Layers between Layers • Story that goes around the panels.
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WEAVING TECHNIQUES OF GUJARAT
TANGALIA • Practised in Surendranagar and Chotila • Majorly done in combination of black and off white and pink, green and off white • Visually imparts a beaded look • Commonly used motifs are peacock, camel, trees and houses.
White on White Tangalia
Surface against light
Herringbone base with tangalia borders
Surface against light
Surface play with draft and weaves
Surface against light Different weaves impart different densities to the fabric
Common motifs of Tangalia
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PATOLA • Patola is done with resist dyeing in natural colors. It is a double ikat technique. • Was practised by Jains, Vania, Lohanas, Patidars and Bohra Muslims. • Was exported to Indonesia and Malaysia. • Presently, only practiced by Salvi family of Patan. The entire family works for 6 months for 6m of sarees.
Weft Ikat
Exploration with different weaves (Plain, Hopsack, Twill, Satin)
• Common motifs are Ratan chowk ( jewel mosaic) Chabadi Bhat ( basket pattern) Nari kunjar ( women and elephant) • Single Ikat is practiced in Rajkot and Surendranagar
Surface against light (Different weaves imparting different densities
TEXTILES FOR SPACE | 41
Weft Ikat (on surface and against light)
Weft Ikat in 3 colors (on surface and against light)
High twist yarn in weft for sheer curtains (on surface and against light)
High twist yarn in warp and weft
Distorted woven Structure against light
Loosely woven wefts against light
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MASHRU Permitted (refers to the prohibition of pure silk by Muslims.)
The main users of mashru are rural folk and adivasis of Gujarat, Rajasthan and M.P. All age groups, gender in tis communities.
Cultural and social Connotations
BELIEFS
• Hinduism, islam, jainism Mainly common amongst hindus and muslims and sindhi hindus who settled after partition.
• Paterson Mashru given by bride’s father to the groom (2m long). • Green Mashru - Charan Brides • Asmani Khumri by widows of Harijan (blouses) • Bara shahi - Border of blouse and chaniyo. • Ilayicho - blouse • Kankan blouse. • Katario - bride’s ghaghra. • Chundari - chaniya, choli, goddess chandarwa and file cover. • Pothali - book binding. • Patodi - bride’s odhani of Ahir ( 24”x84”).
Festival • Shivratri, Holi, Janamashtami, Dusshera, Diwali. • Muharram, Ramzan and Bakrid. Dress • Loose trouser (Chorno) • Long undersleeved jacket • Saree/ salla , blouse. • Rabari, bharwad and ahir put on embroidered glass pieces, odhani. YARN 2/40 viscose rayon for the warp ( rs 80/ piece) 20’s cotton for silk weft. (rs 30/kg) STARCH Maida, Malt starch.
• Black stripe - Rabadi and Vagad • Kataria weaving - Harijan, Mujawa from Banni. • Green stripes - Muslim of Banni. • Anavil Brahmins - multicolored mashru on head during wedding. • Karamulah - young women in Ahir. • All other - blouse expect Arbi. PRICE Rs 17/m to Rs 30/m Warp costing - 65m - 754 +88 =rs 842/m.
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Ombre dyed sheer fabric with high twist yarn.
Extra weft with bamboo sticks
High twist yarns in both warp and weft direction.
Space dyed high twist weft yarns for sheer fabric.
Extra weft with leno weave
Ombre dyed weft with leno structure.
White on white tangalia
Ombre chevrons with tangalia.
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ANALYSING THE SPACE ON THE BASIS OF NATURAL LIGHT
EAST
8:30 Cool Light 11:00 Starts getting harsh on the first four dors. ←
←
←
SOUTH
12:30 to 4 pm Harsh Sunlight ←
←
←
←
WEST
Only in evenings. No Harsh Sunlight, Because of huge pipal tree. ←
←
Frosted Glass
NORTH
Diffused sunlight, round the day.
Frosted Glass
←
←
←
← Also, because of surrounding wooden cottage, cemented structure of the building and surrounding lily path, at most time of the day light doesn’t enter through the entire panel, so the textile can be modified as per the requirement of each panel, thus keeping it open to nature as well, rather than blacking out the entire width.
TEXTILES FOR SPACE | 45
FEEDBACK FROM PROF. SAKTHIVEL
FEEDBACK FROM PROF. ADITI RANJAN
INDIVIDUAL FEEDBACK
• Tangaliya in wool for east and south. Tangaliya in wool for north and west.
• Textile as modifiers (prof. Chhaya). • Makes you interact with space. • Your forms and inspiration shall respond to that. • The buru leg brothers - felt (give customer a choice to choose anything for them and make for their own.)
• Analysis has bearing on process.
• Patch work on appliqué as per the light. • Extra Weft. • Blues and whites. • Ikat (expensive and time consuming). • Mashru • Fevicol • Double cloth (Sujani - sheer). • Color (Back Layer) • Fevicol (front layer/dent gap) • Color back(tying or cane in front) • White on white (self) • Weft backed • Pocket double cloth.
• Plan - that your textile has to co ordinate with. what architecture/cultural/maintenance has to do with your textiles? • White or Black? • What is the criteria? • Criteria influenced by the surroundings • Construction also matters. • Form and structure are inter related. “We travel out over discipline and come back to textile richer”- Prof Aditi Ranjan • Find a way to leap in the course Go to market and research about existing fabric. •Glass house - Bangalore • Paint with a discharge • Reusing flowers - siddhivinayak temple • School of thought • Opinion about the canopy. • Air control without AC’s
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• What does it have an effect on? What does it influence -multipurpose use of the space. • If I have easy furniture. What kind of furniture will be suitable? • Features for design • How many washings - these will be design influences. • Link it. • Suggest furnitures - stackable? • Drapes or blinds - do they roll? • Put technique in context - major material which will not change. Your textile will not change. Bleached? color? sketches? • From those you do few samples. what is floor color of munda? How do you capture the seating - according to lighting. • If electricity failure? Temperature cool is one thing What is the other cool? What happens at night?
MARKET SURVEY Visit To Dynamic House
Road Side Chik Making
EXTERIOR BLINDS (PVC) Maximum Width 180cm Price Range 250, 260 and 280 Rs psm
INTERIOR BLINDS Maximum Width 240cm Price Range 126- 350 Rs psm
Mechanisms available • Roller • Roman • Zebra • Silhouette • Wooden • Wide range of colors/ fabrics/ innovative lifting system are available.
Mechanisms Available • Zebra • Duette (Honeycomb; sheer/ semi sheer) (Aluminium coated ; blackout) • Silhouette • Roller • Roman • Chik Bamboo • Wooden Blinds
• Professional consultation, on site measurements and installation.
Criteria for pricing
HUNTER DOUGLAS • Holland Based Head Office in Malaysia Based in 161 countries • Fabrics are 100% polyester Hight tearing strength Easy Cleaning with vaccum or damp cloth Spot cleaning is possible Excellent Hanging property Transparent to opaque visibility Dust Repellent 3 air pocket Inner true pleat design Outer honeycomb Shape
• Color • Blind type • Operating system Light Rise Power Rise Standard Cord Log Easy Rise Ultra Glide Motor Rise • Dimension • Ranges from 200-3500 psm
• Maximum Width 270 cm • Price Range 60 Rs psm • Weaves Plain and Leno • Cutting and chopping of bamboo is done by the weavers themselves. • Nylon is used as a binding thread • Practicing the craft since 40 years. ANALYSIS • Regular patterns can be made engineered. • All the patterns are bold, intricacy and delicacy can be introduced with the bamboo sticks. • Unavailability of right color/design in right material and vice versa.
• Structure of Hunter Douglas Blinds TEXTILES FOR SPACE | 47
SKETCHES TO VISUALIZE MATERIAL
FEEDBACK • To list down the connotations and keywords related to MG House and explore with materials. Natural Eco friendly Repurpose Royal Sophistication Minimal Colors Vibrancy MATERIAL Paper Handmade/ Newspaper Coins Bangles Buttons Mirrors Paper Mache Pressed Flower Fevicol Organic Cottom Wool Plastic Yarns Reuse Beads Eyelets U Pins
Leno Exploration with paper yarn and bamboo
Using Coins as embellishments and in tassles. 48 | THE HOUSE OF MG
Spices pocketed in a double cloth
Spices pocketed in a double cloth
EXTRA WEFT OF BHUJODI
As per the feedback, extra weft technique was chosen to further explore the concepts, in terms of recreation of the technique, color, motifs, density, weaves of the fabric.
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EXTRA WEFT OF BHUJODI
Keeping the extra weft technique in mind, various concepts were explored, where in bamboo is used as an extra weft, which supports the panel to fall straight and also provides support to roll up. Here are the suraface look( left image) and against light look (right image) of the samples.
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Further the concept was modified and made engineered to control the sunlight intake in the room. Above are the surface and against light look of the engineered panel in 1:3 scale. Left coloumn shows the details of the twists, weft movement and minute details of the sample. TEXTILES FOR SPACE | 51
SAMPLE ANALYSIS IN SPACE
After recreating the techniques, samples were taken to the space to analyse the amount of light that is been blocked by the type of weave or construction used. Analysis • Extra weft technique works for the areas getting harsh sunlight • Each panel has a different sunlight intake, so there can be engineered panels for the entire place, where there is visual harmony when you travel through them.
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COMPOSITIONS
A few compositions were tried keeping in actual scale to realize the size of an individual motif, the amount of time taken to make each, and accordingly assign different techniques to different parts of the panels so as to produce is fast and keeping the cost within the range.
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TECHNIQUE REFINEMENT
Various motif formations were tried keeping the form same, using extra weft, soumak, and leno techniques so as to get an idea which technique to assign at which part of the panel.
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MAKING THE PROTOTYPE
Here are some of the onloom pictures of the panel.
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PROTOTYPE
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LEARNING
The entire journey has been full of ups and downs. Major learnings of the course are • Visua;lising the space with scale and to design the co-ordinated keeping everything in mind, like lighting, furniture, upholestry, materials used in the interiors and the surrounding spaces. • Space analysis and architectural drawings with actual scaled down model,
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helped a lot in realizing the feasibility of the prototypr, in terms of scale, colors, fixtures, mechanism. • Taking up weaving as my final technique and trying hands on bigger width further exposed me to the patience and hardwork that an artisan puts to weave.