CCCCCCCraft
Social Systems
Jhanavi Parikh | PID20150
Future Future Future Future Future Future Future Future
Social Sytems
CCCCCCCraft Future Future Future Future Future Future Future Future
First Edition: 2021 This is an academic publication outlining the details of the Studio: Craft + Future = ? offered for the students of Master of Design (Interiors). This course was conducted at the Faculty of Design, CEPT University during the Spring 2021. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form now known or hereafter invented, including photocopy and recording, or in any information storage or retrieval system, without permission in writing from Studio Tutors or Students. Publication Design: Shail Sheth
Faculty: Rishav Jain TA: Shail Sheth Spring’21
Future Future Future Future Future Future Future Future
Social Systems
CCCCCCCraft
RESEARCH PROCESSES
DESIGN POSITION
CRAFT PRODUCTION
INTERIOR PRACTICE
DESIGN METHODS
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OVERVIEW The studio intends to discuss and identify the position of craft in contemporary interior architecture practices. With a combination of research and design methods, the studio focuses on envisaging future directions of craft productions through design concepts and craft design prototypes. The studio is largely divided into two parts: the first part uses intensive research techniques to establish a theoretical position of craft and the second part intends to test the position through a design problem. The studio involves rigorous reading sessions, theoretical analysis, field studies, hands-on explorations with craft techniques, along with design discussions. The studio responds to the diverse pluralistic landscape of interior architecture practices in India and positions craft as one of the forerunners in the design decision making. It intends to delve into various future directions that craft productions can lend to interior practice. The studio is largely divided into four modules,each emphasize the learning outcomes of the course: Know the contemporary position of craft, Ideate possibilities about the vision of the future, Develop an individual design position and Make relevant design explorations representing the design position. The key outcomes of the studio include a listing and categorization of contemporary craft design practices of India, essays based on student’s own developed theoretical positions, field notes, visualizations of design positions along with prototypes and material samples.
Learning Outcomes: • Analyze and categorize the contemporary craft design practices of India • Evaluate and critique literature and research done on contemporary craft and write/derive/formulate a theoretical position on craft • Formulate a craft-design solution based on pre field studies and given design constraints. • Devise design solutions that use craft in a future-relevant and contextual manner, rather than a mere aesthetic tool. • Construct contemporary craft design prototypes, material boards and make presentation drawings 7
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Learnings
Traditionally, Craft is a from of art that narates the history of a place and its culture. It is an amalgamation of concepts, materials used and methods applied for the same. The intriqe details and ornamentation showcases the natural expression of art and the artist. Craft involves the sensorial experience with humans having physical experienece and manual function. These bits and pieces forms a mosiac called craft. Therefore, the history, people and thier skill set wih tool makes Craft. Today, the interior practices are conducted with a pinch of an adaptation and reinterpretation of crafts and culture. They inspire from the communities of the past and try to implement the similar thought and design process for the generations to come. These practices can be termed as “Global yet Local”. The collaborartions with the artisans bring out a meaningful output representing the contemporary design attached with a particular art and craft form. Hence, Collaboration is the Key for today’s interior practices.
Jhanavi Parikh 9
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Contents
Know Ex.1 | Card Sorting Ex.2 | Visual Mapping Ex.3 | Field Mapping
Ideate Ex.4 | Theoretical Position
Develop Ex.5 | Accumalizer Ex.6 | Envisaging the Future Ex.7 | Abstraction Ex.8 | Elementalism
Make Ex.9 | Generating Interior Space Ex.10 | Manifesto Ex.11 | Design Development
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Ex.1 Card Sorting
Duration: 1 Day The art of craft started as an activity that fulfills the day to day needs and purpose of human beings. This involved a number of artisans with various activities. Later, industrialisation changed the scenario by reducing the amount of people involved in such tasks which also brought in the idea of mass production. Therefore the functional aspect of craft remains important for craftspeople as well as the user. The making or the techniques associates oneself with the artisan leading to the identity of
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the craft and the maker. Craft involves the sensorial experience with humans having physical experienece and manual function. These bits and pieces forms a mosiac called craft. Therefore, the history, people and thier skill set wih tool makes Craft.
Card Sorting Attempt 01 - 05 Cards
Card Sorting Attempt 02 - 05 Cards
Card Sorting Attempt 03 - 05 Cards
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Ex.2 Visual Mapping
Duration: 1 Week The art of craft started as an activity that fulfills the day to day needs and purpose of human beings. This involved a number of artisans with various activities. Later, industrialisation changed the scenario by reducing the amount of people involved in such tasks which also brought in the idea of mass production. Today, with the advancement in technology as the Artificial intelligence taking over, there remains a possibility that the idea of craft may change completely, where there is no
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inolvement of human beings. The craftsmen community may no longer have the joy and satisfaction to create something unique and new. With AI coming into the picture, there will be a loss to the interwoven ideas of cultures that represents them and thus extinction of such communities.
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Ex.3 Field Mapping
Duration: 2 Weeks The Field visits consisted of visits to various artisans practicing different crafts related to wood, metal, cane, bamboo, clay, stone, tapestry etc. Following were the questions as the area of focus to study. -What is the procedure of procurement of raw materials for the design execution? - How does the integration of craftsmen skills and design development happen during the implementation stage? And does any modifications happen
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in design after the craftsmen are involved in design? -What does the preliminary/ initial stage of designing include as a background study? -how does the cost of a product is decided when the process includes designer, specially skilled craftsmen along with exploratory making techniques? -After the execution of a certain product, what considerations are taken into care for the improvement of the same in the aspects like material improvisation, technology implied, or techniques used?
Material - Clay and Terracotta
Material - Wood & Metal Studioworks, Ahmedabad
Rhizome, Ahmedabad
Material - Bamboo & Cane
Material - Wood turning
Material - Wood Carving
Material - Marble (Carving)
Material - Metal (Embossing) Artisan - Kalpeshbhai Soni, Gota
Artisan - Rajenbhai, Raipur
Clay Club, Gota
Artisan - Ratilalbhai, Panjrapole
Artisan - Lalbhai, Gota
Artisan - Rameshbhai, Gota
Material - Bamboo
Artisan - Vinodbhai, Chandlodiya
Material - Tapestry Weaving
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Ex.4 Theoretical Position
Craft and Interior Practices in Current Scenario. Craft - Output of functions transforming into aesthetics. Traditionally, Craft is a form of art that narrates the his¬tory of a place and its culture. It is an amalgamation of concepts, materials used, and methods applied for the same . The intricate details and ornamentation showcase the natural expression of art and the artist. Craft involves the sensorial experience with humans having a physical experience and manual function.
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These bits and piec¬es forms a mosaic called craft. Therefore, the history, people and their skill set with the tool make Craft. The idea of craft began as an act of service to fulfill a purpose that later on developed to become an art having aesthetical values and techniques leading to innovation. Crafts addresses the making of things that may have evolved from communities that eventually transforms into traditions and legacy. This also generates uniqueness and flexibility that leads to the wholesome development of a specific art form.
In the case of India, craft and design
have been a coherent part of the process of making. The making processes were organic ones that contained knowledge of the local region, materials, activities, and needs which were handed down from generation to generation. With the onset of colonization, the idea that ‘crafts’ needed interventions began, followed by industrialization and globalization . Today, the interior practices are conducted with a pinch of an adaptation and reinterpretation of crafts and cul¬ture. They inspire from the communities of the past and try to implement a similar thought and design pro¬cesses for the generations to come. These practices can be termed as “Global yet Local”. The collaboration with the artisans brings out a meaningful output represent¬ing the contemporary design attached with a particular art and craft form. Hence, Collaboration is the key to today’s interior practices. There is a piece of prominent
evidence of the essence of craft in design approaches that were adopted after the first decade of the 21st century. Design approaches mainly focus on solving issues by fixing things at an industry level, while craft focuses on making of things through a flexible approach addressing the communities. The interior practices carried out in the early decade of the 2020’s showcase the intervention and interpretation of craft with the fusion of materials and techniques. By the middle of the decade, the experimentation and collaboration consisted of communities and functional requirements along with materials and techniques. In the current times, the use of technology is limitless, and therefore, the innovations turn out to be an amalgamation of all the abovementioned aspects. Hence it can be deduced that the output of craft+future is Fusion.
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The use and applications that crafts have found on a commercial platform are varied like the objectives behind integrating them. This has shown the way to participatory design processes, where craft and design amalgamate, and designers and craftspeople work together on a common platform to create and produce something. A conscious effort of collaborating the two segments of craft and design together can be seen as an emerging approach to design . Hence, this fusion of materiality & techniques,
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technology, functionality leads to the variation in scales of craft implied in the interior practices today. This act can be looked at from a vice-versa perspective stating that these variations in scales through craft can be achieved four major factors like modularity, symbolism, interpreted ornamentation, and simplified ornamentation. The aspects together or in many permutations and combinations form variations in scales and proportions. These variations lead to the formulation of craft in current interior practices.
The interpreted form of ornamentation can be seen in Avadh Shilpgram where the ‘Chikankari’ Jali has been used to give the perception of long arches depicting the local art form using modern material. The Boys hostel by Zero Lab Design Studio falls in the repetition form of scale where the orientation of bricks having the same module performs for an articulated façade and thus fulfilling the purpose of a climate-responsive façade. The cardboard cathedral having stained glass and repetition of the paper tube as a structural element translates itself as a voluminous element of the craft having
symbolism at its core. Lastly, the façade for Raas, Jodhpur has a simplified version of ornamentation that transforms the harsh scale of light into little patches, making it a functional element. Therefore, the idea of craft in current practices can be associated with the variations in scales, further leading to functional, material and program based aspects.
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Abstract Respresentation of Craft through a cube - Attempt 01
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Abstract Respresentation of Craft through a cube - Attempt 02
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Ex.5 Accumalizer
Duration: 1 week An international interior architectural office ( based out of India currently) is proposing to open up a Country office in India. Though the firm is of international repute but doesn’t have any projects built in India currently. To set out an office in India, they are looking for a Principal Designer who can lead the team in India. Therefore, The design ideology of the Knowledge center revolves around the idea of envelope of scales.
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The variation in scales help to incorporate the idea of craft in the minimalistic way. The open plan provides the platform to have flexible public spaces on the outer edge while having private spaces on the inner periphery. The play with material is an attempt to provide the craft dimension in the design. The columns are crafted from stone, while the arches are done with wood having glass in between, thus giving it a minimalistic look.
International Firm - Mies Vander Rohe Architects Visualiation 01
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International Firm - Mies Vander Rohe Architects Model Image 01
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The design ideology of the Knowledge center revolves around the idea of envelope of scales. The variation in scales help to incorporate the idea of craft in the minimalistic way. The open plan provides the platform to have flexible public spaces on the outer edge while having private spaces on the inner periphery. The play with material is an attempt to provide the craft dimension in the design. The columns are crafted from stone, while the arches are done with wood having glass in between, thus giving it a minimalistic look. Visualisation 02
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Future Scenario imagined here to be as a Utopian world; which further is used as a backdrop for the Accumaliser model as well.
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Accumaliser model CRFAT + FUTURE = SOCIAL SYSTEMS The variation in scales help to incorporate the idea of craft in the minimalistic way. The open plan provides the platform to have flexible public spaces on the outer edge while having private spaces on the inner periphery. The play with material is an attempt to provide the craft dimension in the design.
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Original View Architect’s View CRFAT + FUTURE = SOCIAL SYSTEMS Here, the original image showcases the simplified and clean architecture of Farnsworth House, while the collage attempts to represent the in-built system of the same. If this system is removed then the minimalistic output of this finese architecture would not have been possible.
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Ex.6 Envisaging the Future
Duration: 01 Week The idea of Utopia for the future demands it to be functional and more strategic rather than becoming fictional. The sequence of currents events suggests addressing the global climate change as well as overexploitation of natural resources. Therefore, the future scenario looks like a stillness of a supposed perfection having a balance of environment and use of natural materials. The environment is imagined to be raw and clean; bounced back to its natural state of utopia, while
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the use of natural materials has been re-thought having environment incorporated within it. The technological advancement stays, but the scale is reduced to humane in order to strike the balance between environment and the built form. Therefore, the notion of Craft will be re-defined as the technique of making; using/ combining various materials to give it newer meanings.
Decentralised - Eco-minimalism - Sustainability - Utopia - Re-use Future Visualisation 01
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Decentralised - Eco-minimalism - Sustainability - Utopia - Re-use POST - ANTHROPOCENE Future Visualisation 02
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CRAFT + FUTURE = SOCIAL SYSTEMS SKELETAL, ANATOMIC, IN-BUILT, NOT-SURFACIAL Both people and planet are on the path to a regenerative world. Society consumes resources at the rate at which they can be replenished, populations are diverse, and societal structures are balanced. Humanity is well on its way towards a shared consciousness and an understanding of Earth’s limited resources – that production and consumption are intrinsically linked to the natural environment. Full life-cycle and ecological resource assessments are mandatory for all new products. Global biodiversity loss has halted, and protected areas are seeing ecosystem recovery. Everyone has, and knows, their carbon quota and daily spend 53
Ex.7 Abstraction
Duration: 1 Week The Cube is an abstract representaion of Social sytems having integration of various elemnts that come together to form one component. This skeleton form of cube is made from teak wood sections sqaure and circular. The outer frame represents holding structure, while the inner cube - red & green represents Craft as intergral part of the system without which it cannot function.
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CRAFT + FUTURE = SOCIAL SYSTEMS
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Process of Making
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Cube Abstraction - CRAFT + FUTURE = SOCIAL SYSTEMS 58
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Ex.8 Elementalism
Duration: 2 Weeks
Elementalism was about designing 35 elements of particular type and application. This helped me to understand and explore variations in system for techniques and material -the making of it. A system architecture can consist of system components and the sub-systems developed, that will work together to implement the overall system. The fundamental organization of a systeWWm, embodied in its
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components, their relationships to each other and to the environment, and the principles governing its design and evolution.
A space for warmth and calmness
A space for knowledge
A space for curiosity
A space for offering and belief
Elements representing Architectural Details
Elements representing Interior Details
Elements representing Aesthetic Details
Horizontal Overhead Planar elements
Horizontal Planar elements
Vertical Planar elements
Vertical Linear elements
A space for excitement and enthusiasm
Master of Design (Interior Design), Faculty of Design, CEPT University
ID 4000 | Craft + Future | Speculative Interior Practices | Faculty: Rishav Jain, TA: Shail Sheth
Jhanavi Parikh |PID20150
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Application for the Elements --------------------------Type of Elements
A space for excitement and enthusiasm
A space for warmth and calmness
Vertical Linear elements
A Structural Support that forms the focal point for entire envelope that becomes the structure in itself.
A Series of elements that are repeated to provide directionality to reach the destination of a cosy place.
Vertical Planar elements
Non-structural walls embedded with combination of refletive surfaces that reflects the light to create excitement
Non-structural combination of large openings which provides a connection to the outer environment
Non-structural Floor at different levels to generate play for the user.
Non-structural floorboards that generates the sound and warmth to experience a particular context
Horizontal Overhead Planar elements
A strutural cover that become the form of the structure also permits penetration of light.
A wide rooftop opening that brings in the light along with nature.
Elements representing Aesthetic Details
A visual installation on the inner surface of shell that showcases the activities carried out.
The outer surface which allows the merging of the insert with context.
Elements representing Interior Details
Non structural vertical linear element that are low in height to form a support of an interior element.
Monolith Furniture, nonstructural, whose making is dependent solely on the availability of material.
Elements representing Architectural Details
A non-structural vertical planar elements that has openings and functions curated together.
A non-structural vertical planar element that is connected to other elements in order to appear as floating
Horizontal Linear elements Horizontal Planar elements Horizontal Overhead Linear elements
Elements representing Ergonomic Details
Table showing the space typology and elements type for 35 elements.
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2/12/2021
A space fo reaching destination
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A space for knowledge
A space for curiosity
As a modulator of Façade that showcases the power of knowledge which forms the structural support for the built form.
Independent of structure, a series of elements that creates a partition between two spaces.
A space for bliss A spac A space for offering and belief and fulfilment trus
A structural element at lower level leading to the focal point of the structure.
Structural element A structural element, as a interconnected in way that protective barrier having a forms a maze and thus dividing modular patterns, which becomes the space according to its easy for execution. function.
A structural staggered element that forms the niche at equal intervals to create pause points.
Non-structural element stacked or staggered to provide functional use for the space.
A non-structural flooring element that has variations in laying pattern as per the change in function.
A Stuctural element that A non-structural element that is becomes the form of the structure a subset of a larger element; representing the purpose of the projecting out at different levels builtform. in multiplication.
A structural stacked elements that reduces itself in size after each stacking to become the form of the built form.
A non-structural horizontal A non-structural horizontal planar planar element showcasing the element that is perforated and signs and directions to move placed at various angles. around and inside the space.
A see through element that forms the divider for public and semipublic spaces.
A seamless horizontal non Modular Furniture that can be structural element that is devoid added or subtracted according to of any boundary yet the requirement. interconnected.
A non-structural element to multiply the sense of volume in a space.
Non-structural floor having the guidance for the movement.
A non-structural horizontal planar element that breaks the monotny of the space
A non-structural repeated vertical planar elements acting as connection for other elements.
A structural vertical element that is repeated in circular direction to reach at different volume in a space.
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Ex.9 Generating Interior Space
Duration: 1 Day Drawdel Workshop The intent of this workshop was to use model making as a tool to generate the space from the elements you all designed. Making the Space - an idea of massing that forms the context, which then became the canvass for detailing. The relationship between elements and the context was enhanced by adding various layers like staircase, entrance, courtyard, and plinths. This helped the
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element i.e. the pivoted partition to establish an inside outside connection.
Front view
Top View 83
Ex.10 Manifesto
Duration: 1 week This stage helped me to develop and channelise the ideas pertaining to the equation of Craft + Future = Social Systems. The development of manifesto suggests the development of a programme in which the end product focuses on the integration of craft and social systems. Definition of System [countable] a group of things, pieces of equipment, etc. that are connected or work together.
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A system architecture can consist of system components and the sub-systems developed, that will work together to implement the overall system. An architecture consists of the most important, pervasive, top-level, strategic inventions, decisions, and their associated rationales about the overall structure (i.e., essential elements and their relationships) and associated characteristics and behaviour.
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Ex.11 Design Development
Duration: 08 Weeks Name of the Project: Karigarshala 2.0 Function: A making and learning center. Built in: 2030. Site: Faculty of Architecture building, CEPT Campus. Location: Ahmedabad. Idea of Speculative Future: Post Anthropocene.
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Karigarshala 2.0 contributes to a vital built and social environment in the context of post-Anthropocene through the broad field of design and the subject of making in different materials, from architecture to element design, from teaching to consultancy, events curation and research.
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FA Building, CEPT Campus - Post Anthropocene Scene-01
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FA Building, CEPT Campus - Post Anthropocene Scene-02 97
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Entrance to Karigarshala 2.0 - Transition from Inside to Outside
LEGEND 1. Entrance to Karigarshala 2.0 2. Bamboo and Cane Weaving Area 3. Formal Wood Workshop 4. Briefing Area and Working desks 5. Mezzanine for Office Administration. 6. Store and Packaging Area 7. Outdoor Workshop Area 8. Display area for Joinery and Systems 9. Informal Gathering and Working Area 99
The Journey creating the transition from formal to informal spaces
Detailed Isometric view of Meet and Greet Area
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The Journey creating the transition from formal to informal spaces - toolset area
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Detailed Axonometric of Gathering and Display area Modular Partition Prototype
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Detailed Axonometric of Mezzanine area Turned wood Partition Prototype
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Sectional Perspective
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1. CRAFT - Wood Turning and Bamboo joinery MATERIAL - Re-using the wood available, naturally available as well FUNCTION - Temporary shelters and ornamentation CRAFTSPERSON - All wood turning and Bamboo-cane weaving artisans. APPLICATION - To cover outer spill out area as semi-covered area for bamboo artisans. 2. CRAFT - Cane Weaving MATERIAL - Re-using the wood available, naturally available as well FUNCTION - Modular, Flexible, Easy to assemble CRAFTSPERSON - Wood work and cane weaving artisans APPLICATION - Partition system to divide two functions
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3. CRAFT - Wood Turning MATERIAL - Re-using the wood available, naturally available as well FUNCTION - Modular, Flexible, Easy to assemble CRAFTSPERSON - All wood turning and laquer work artisans. APPLICATION - Structural and partition system for mezzenine.
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Jhanavi Parikh | PID20150 108 MID, Faculty of Design | ID-4000 | Craft + Future = ? | Tutors: Prof. Rishav Jain | Teaching Associate: Shail Sheth