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I would like to take this opportunity to thank the following people who supported me not only during the course of my Graduation Project but also after the completion. Prof. Gaurav Sharma’s constant support and encouragement and interest in my project has been a very big source of motivation for me and has enabled me to produce better outcomes each time. I am very grateful to my industry mentor Dr. Anurag Kanoria who has been the strongest pillar of support through my Graduation Project. I thank him for giving me this opportunity to be a part of such a huge project and finding me capable enough to take on this responsibility to design everything all by myself. Through his guidance I have got a taste of how a real project functions and works in the industry, and how to face the ever changing minds of your clients and deal with it effortlessly. He has not only made me a better Designer but also made me more efficient and versatile in the kind of responsibilities and work that he gave me to do throughout these months, making me break away from my comfort zone. I would like to thank my family for having utmost faith in me , and constantly encouraging me to give my best. Last but not the least I would like to thank Saurabh sir , the head of the production unit along with Ashfarji and Shyam ji who helped bring my designs to life and every single individual who is a part of the company for making my experience here unforgettable and valuable. I would like to thank the H.O.D Prof.Amit Deshmukh and Prof Vasudha Karhadkar for their constant support and guidance through this design journey of 4 and half years.
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The Diploma Project at MIT Institute of Design is the culmination of professional educational programme in design. This project gives the student an opportunity to work on a real-time project along with professionals from the industry. It is in essence a chance to put to test the skills and knowledge acquired as a student at the institute. The project allows the student to work as a professional and understand the demands and pressures of the industry. It is above all a learning experience, where one’s strengths and weaknesses can be assessed. AIM Diploma Project provides an opportunity to the student to put to use the multi-disciplinary skills of design ,and marketing which directly or indirectly creates an impact on the craft sector. OBJECTIVE • To perform and demonstrate competencies as a professional • To put together conceptual, analytical and design skills, attitudes and knowledge • To independently handle a multi-disciplinary project from conceptualizing to implementation • Understanding key operations like procurement, production, merchandising, marketing and sales FINAL OUTCOME A complete document about the organization, production process, materials, explorations, final drawings and prototypes.
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INDEX t 9
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1
3
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• • • • • • •
• About the company • Dr.Anurag Kanoria • Structure of the company 1"(&
4 3&4&"3$) • Secondary research • Primary research 1"(&
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Synopsis Timeline Initial Brief User Group Aim Location Objectives
1"(&
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6 '*/"- 065$0.& • • • • • • • • • • • •
Inspiration Board Mood Board Colour Board Exploration of materials Material Board Exploration of Repousse Final Repousse Design Final Sketches AutoCad Drawings 3D Renders of Furniture Final Process Final Product Shoot
8
7 45:-*/( • • • • • •
Exploration of Paintings Exploration of Wallpapers Exploration of Lampshades Exploration of Rugs Exploration of Patterns Exploration of Colour themes & Fabrics • Final Fabrics • Final Look • 3D view of the suite
56*5*0/ $-"44 '63/*563& • • • • •
Over View Benefits Inspiration Design 1,2&3 Status of the Project
1"(&
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Initial Brief Location of the Brief User Group Scope of Work My role in the Project Styling options
1"(&
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• Costing 1"(&
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• About the company • Dr. Anurag Kanoria • Structure of the company
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The very soil of The Great Eastern Home is charged with the memories and energies of 176 years of historical events. Once the works of The Great Eastern Mills, founded in 1839, this one space has been witness to some of India’s most important moments. It saw the entire struggle for India’s independence, its attainment, and its growth into one of the 21st century’s most significant nations. Today, its spaces are charged with an immutable history and contain within them an inevitable destiny. Located in two places, Byculla, the heart of central Mumbai’s textile district and Vikhroli, the centre of the Northern end of Mumbai. At the Byculla premises, while the staccato rhythm of looms fusing warp with weft are only a distant memory, the chimney - that proud sentinel and iconic symbol of a veritable era - still stands tall, now serving as a unmistakable landmark, helping our visitors locate us from miles away. Our now celebrated store, displaying fine furniture, art and collectibles in what once were the giant warehouses of a bustling mill, is a marked study in contrasts. It is one of the few places that preserves an architectural idiom that is all but lost to the stifling homogeneity of the ubiquitous cement-steelglass urban landscape. High ceilings, aged wooden beams, cast-iron columns and exposed brick and stonewalls, all restored with minimal intervention, present a charming backdrop to a magnificent ensemble. It all inspires an overarching feeling of stepping into a delightful world of treasures. Everything in the store only serves to heighten this evocative mood. Your gaze is compelled to take in the multitude of fine objects in one sweep and you are tempted to linger over every single detail. Look up, and richly gilded and coloured glass chandeliers twinkle bewitchingly amidst intricately carved ceiling panels; look around and your eyes travel across centuries of styles arrayed in eclectic harmony; a splendid example of a collection curated with passion and a flair for visualizing the unconventional. The grandeur of Baroque, the glamour of the French style, the nature-inspired exuberance of Art Nouveau, the subtle grace of Art Deco, and the timeless appeal of the Colonial style are among those that find expression in all the fine furniture t 15
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showcased. In an age where luxury is often mass-produced, what strikes you is the exquisite craftsmanship and finesse that has gone into creating these pieces. From the selection of wood, to the stylistic demands of proportions, to the actual crafting techniques and processes, right down to the polish and finishing, it is as much about a design revival celebrating elegance and opulence, as it is about imbuing each piece with a bespoke character that Working together with architects and designers of international repute has broadened the creative bandwidth, making way for modern interpretations of classical styles to suit contemporary preferences, it all transcends the limiting boundaries of trends. This pluralistic design philosophy embracing hybrid influences is equally evident in The Great Eastern Home’s extensive portfolio of home accents and collectibles. Our Vikhroli store features many of the choice pieces of our collection, and brings the connoisseurs and professionals on North Mumbai the convenience of having our stores best within a few minutes distance. Interior decorators, art enthusiasts, designers and architects have appreciated it particularly to be a convenient haven of all things beautiful. The new Light Room, at our Byculla store, is 10,000 sq ft of space set apart to present a stunning range of lighting choices. Ceilings, walls and floors are resplendent with single and paired pieces that turn light into a magical art form that will add a mesmeric dimension to any space. Fine art forms an integral part of the offering too, as The Great Eastern Home takes pride in providing a much-needed fillip to young artists of exceptional talent from across India and the neighboring countries. Besides on-going promotion of artworks, the Store offers artists, photographers and sculptors the space to exhibit their works as part of curated shows, allowing for exposure and engagement with viewers and buyers alike. Exciting plans are in the offing to establish a presence in select cities, as well as connect with other premium brands for joint events that offer unique experiences to discerning audiences who value provenance, history, heritage, aesthetics and soulfulness, above all t 16 else.
Dr. Anurag Kanoria heads The Great Eastern Home Group. He belongs to one of India’s oldest and best known business houses and industrial families. His family has had interests in businesses as varied as textiles, wire ropes, sugar, tea plantations, paper manufacturing, jute, international trade, art, architecture, designing and interior decoration, furniture manufacturing, hospitality, etc. Dr. Kanoria holds a PhD with a thesis centered on issues of 20 th century aesthetics and the politics and psychology of design and aesthetics. He also holds three Masters Degrees, in Economics, Art History and Literature. He has lived and studied in India and The United States. He is on the Governing Board of one of India’s major colleges based in Rajasthan, and a Trustee of India’s only psychoanalytic society. He is a keen educationist, a fourth generation art collector, a fine curator and an aesthetic advisor to architects and investment advisor to art collectors. Dr. Kanoria is a major mentor to a whole young generation of artists and young film makers for whom he runs a residency as well, and is currently designing and setting up a chain of luxury boutique hotels across the Himalayan range starting with Bhutan wherein each hotel is being designed as a work of art. The Great Eastern Home is a luxury partner of Taj Hotels (Taj Khazana). Dr. Kanoria was invited on the Board of e Smart and helped the Company connect with various markets globally. He also learned the intricacies of LED making and product management. An astute family legacy of business and industry, and a solid and varied educational background, have placed Dr. Kanoria in a unique position within the worlds of business and design. An acute passion for design has molded around him a world which has shaped him, and which he continuously reshapes and refashions as he goes through his business journey of creating projects imbued with utility and beauty. Informed by a true understanding of aesthetics, he says that we create designs and then designs create us. t 17
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Store Manager Store Manager Assistant Sales Representative
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Chartered Accountant Accountant
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Senior Designer Junior Designer
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Senior Artist Junior Artist
NOTE : Accountant Head directly reports to the Managing Director. The employees of the Sales Department, Design Department and In House Artists directly report to the Managing Director.
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2
$3*5&3*" • • • • • • •
Synopsis Timeline Initial Brief User Group Aim Location Objectives
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4:/014*4 I took the opportunity to design loose furniture for a Boutique Hotel in Banaras , as one of my most interesting projects. The target clientele is Chinese , Japanese & Buddhist Monks along with others. Designing for them had to invoke a different thought process. There will be a chain of these 4 star boutique hotels in the north,while the first one is starting in Banaras. These Monks visit Banaras on their way to Sarnath & Bodhgaya. The first thought that comes to your mind when you see a monk is simplicity. Hence decided to keep the form of the furniture simple, contemporary with a hint of Banaras. Blending the old and new and creating a fusion was very exciting. The entire Range of furniture is simple but has vibrancy to it,bringing out the colours of Banaras. I have styled the room,hence deciding what kind of Art , Accessories & furnishings should be put up.
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To design Loose Furniture pieces for a room in a 4 Star Luxury Boutique Hotel in Banaras
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The target user group are Buddhist, Chinese and Japanese Monks, who mainly come to Banaras to experience the Culture and for a Pilgrimage to visit Bodhgaya and Sarnath. The Boutique Hotel is open to house all sorts of travelers and tourists as well.
t 25 t 25
"*. To give them a taste of the Banaras Culture in a more refined and luxurious manner without having to miss out on the essence of the city. To create a perfect balance between the contemporary as well as cultural aspect and fusion, to retain spirituality through simplicity and bring out the vibrancy of Banaras through it’s ambiance and yet keeping it calm and serene.
t 26 t 26
-0$"5*0/
Bhonsale Ghats, Near / Off the banks of the River Ganga
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1
2
3
4
TV Unit
Bed with Head Board
Two Side Tables
Study Table Chair
5
6
7
8
Coffee Table/ Centre Table
Study Table
Styling of the room
Ottoman
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3
#3"*/4530.*/( .*/% ."1
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Rishi’s with white painted faces Orange sunset
Multiple Cultures
Shivji
Ritual utensils
Syberian Birds Banarasi Crafts
Traditional Ways
Cable Towers Their own beliefs
Forehead creased lines of experience Puja / Paath In depth thought
Boats
Panda
Peaceful life
Aarti
7"3"/"4* #"/"3"4
Treasure of knowledge
Meenakari Silk work
Orange tikka
Multiple traditions
Daily traditional objects
BHU College Old architecture
Pilgrimage
Cheerful people
Jagrith Puja
Paan
Ganga
Ved ki Padhai
Bold City
People satisfied with their life
Flights of steps
washing clothes Tourists
very slow life
Vindhya Ranges
Priests Banarasi Sari
Gurukul shiksha Herds of cows etc
Buddhism
Aarti thali
Zardozi
Spiritualism
Ghaats
Alive
Carvings
Alluvial Plain
3,330 Million Gods
Temples
Folk
Brocade Work
Sadhu / Santh / Rishi
Calmness
Positivity
People in their own world
Well connected to major cities
t 31 t 31
Enthusiastic nature
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$SBGUT German silver
Wool, cotton
800% $"37*/(
Copper
Brass
MEENAKARI
Wood burkhand , gulland , rehma, simer, savai , khahema
Chandan Tel (sandalwood oil)
800% "/% -"$ 563/&3:
Meena (enamel)
Gulabi paint (pink)
#-0$, 13*/5*/(
Raw materials Eucalyptus
Fabric Kuraiya Lac
Prints
Colours
Kesar leaf
;"3%0;* (0-% &.#30*%&3:
Resham Pearls
Badla Kora Sitara Cord Tilli seeds Beads Cotton thread Pipe Beads Katori Limitation stones
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4
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• Secondary Research • Primary Research
t 33
t 34
-0$"5*0/ 0' 5)& )05&- #"/"3"4 : The land of the Varanasi (Kashi) has been the ultimate pilgrimage spot for Hindus for years. Often Referred to as Banaras, Varanasi is the oldest living city in the world. “ Banaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together.” • • •
• • •
• • •
Hindus believe that one who is graced to die on the land of Varanasi would attain salvation and freedom from the cycle of birth and rebirth Abode of Lord Shiva and Parvati Ganges is believed to have the power to wash away the sins of mortals. It has said to have its origins in the trees of Lord Shiva in Varanasi. It expands to the mighty river that we know of. The city is a centre of learning and has a civilization for more than 3000 years. With Sarnath, the place where Buddha preached his first sermon after Enlightenment. Varanasi has been a symbol of Hindu Renaissance, knowledge, philosophy, culture, devotion to Gods, Indian arts and crafts have all flourished here for centuries. This is also a place for pilgrimage for people who follow Jainism. Birthplace of Parsvanath, the 23rd Tirthankar Vaishnavism and Shaivism have co-existed in Varanasi harmoniously with a number of temples. Mrs Annie Besant also chose her home for her theosophical society. Pandit Madan Mohan Malviya to Institute Banaras Hindu University, the biggest university in Asia. Ayurveda originated here, basis of modern medical sciences such as Plastic Surgery, Cataract and calculus operations. Mahavshi Patanjali, preceptor of Ayurveda and yoga associated. Famous for trade and commerce, especially for the finest silks, gold and silver brocades since years Associated with promotion of spiritualism, mysticism, Sanskrit, yoga and Hindi language, honored authors, Premchand and Tulsi Das. It is the cultural capital of India, right platform for all cultural activities. Exponents of dance and musict 35 from here. t 35
8)"5 "3& 3&(6-"3 )05&-4
• • • • • • • • •
They have large buildings with a larger number of rooms Motels and Hotels provide the same services. Linen, towel changing, daily maid services and front desk services People get tired of staying in traditional hotels and motels because they are not different in any way They do not concentrate on any one service in particular, they divide their attention to all They are a chain of hotels They can accommodate a larger capacity of customers A hotel which is more generalized They do not follow any particular theme for the hotel They have different categories and sizes for the rooms
t 36 t 36
8)"5 "3& #065*26& )05&-4 • • • • • • • • • • • • • •
A Hotel which is more personalised and unique Not a part of a chain They offer a more unique experience They offer more variety of rooms such as living rooms, social rooms and a luxury environment Provide WIFI, 24 Hour service and honesty bars They concentrate on comfort as well as a quiet environment No two boutique hotels are alike The focus of Boutique hotels is more intimate The number of accommodations provided by them is not as much as a regular hotel The number of Boutique hotels are lesser in number than Regular hotels They offer a more luxurious stay than a regular hotel The staff in such hotels provide better services and give more attention to the clients than any regular hotel Boutique hotels are smaller in size as compared to regular hotels. This helps them concentrate on details and helps them provide a more quiet environment They focus more on the experience they can provide to their customers and hence the stay is more worth it
CHARACTERISTICS OF FURNITURE IN BOUTIQUE HOTELS : • • • • •
Modern Decor with an often cutting edge Sleek Materials Stark palettes with bold colour splashes No use of fussy furnishings like chintz, brocade, tassels and t 37 swags Furniture making a statement
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#"/"3"4 "/% *5 4 $0-0634
SFE Love and Strength
HSFFO Life and Happiness
CSPXO Stability and Simplicity
TBGGSPO Fire that burns our Impurities
#MVF Peace, Calm and Stability
1JOL Acceptance
:FMMPX Knowledge and Learning
8IJUF Purity t 38
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• • • • • • • • •
• • • • • • •
Alive with priests Poets Philosophers Holy men Pilgrims Musicians Weavers Silversmiths Traders
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• • • • • • • • • •
• • • • • • •
Priests Temples Ghats Study of the Vedas The many traditions and Cultures Crafts Cable Posts Ganga River Boats Tourists
Sindora Jhunjuna Chusni Lattu Firki Walkers Lota (water containers)
Helpful Cheerful Content Spiritual Dedicated Devoted Alive
$3"'54 • • • • • • •
Wood and Lac turnery ( toys and sindora boxes laquered ) Repousse Wood Carving Carpet and Dhurrie weaving Meenakari - enamel work Block printing Zardozi - gold embroidery
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$"31&54 "/% %)633*&4 • • • • • • • • • • • • • • • • •
High quality hand knotted carpets There are 200 knots per square inch Wool and silk knotted Cotton foundation with Persian and Tibetan knots Knotting on vertical loom Comprises of dyers,designers and weavers Sometimes one carpet is knotted by 4 people Farmers weave carpets between farming seasons Dhurrie weaving is a domestic craft There are stripped and panja dhurries Weft-faced tapestry technique Large blue and white striped dhurries are woven for Durbars,courts and palaces They also depict villages, native flora and fauna Horizontal looms are used to weave It is inspired from Lulay work from the Taj Mahal Jaals, Kosi (geometric motifs) and champa flowers are also used Lighter colour are used more and darker colours give a stone wash
130%6$54 • • • •
Carpets : Pile knotted carpets Dhurries: Farshi (floor dhurries) Bed Dhurries Jainamaz : Prayer Rugs
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800% $"37*/( • • • • • • • • • • •
Making of tiny wooden Gods and Goddesses carved and painted with great intricacy Carved from a single piece of wood Toys are in the form of figurines Carved out birds which are half in size. They also come in sets They retain a folk flavor Largest carving is 4� tall Coat of Safeda, chalk is applied before painting The details are intricate in the toys Toys mostly represent deities from the Hindu mythology. Sugga (parrot) and Charkhi (spinning wheel) are fixed on the marriage mandap (altar) Ceremonial parrot painted with turmeric (yellow) , alta (red) and green colour Stitched to wood and stone since ban on ivory
130%6$54 • • •
Miniature : Idols, erotic figurines, birds, animals, musicians Contemporary : Boxes, table, lamps, plaques Cars, planes, rattles, dolls, elephants
All the wood carving are done with great precision and the wood used is Kahema. It is light in colour which does not splinter and simple buffing is done.
t 41 t 41
3&10644& • • • • • • • •
Known for brass and copper repousse work Done on wall plaques, trays, table tops and planters Soft metal beaten out from the inside to reveal itself in relief Worked with engraving (naqqashi) Home of ritual utensils Famous for Partazi Naqqashi in which the areas between the repousse are filled in with decorative engraving. The gulab( rose), surajmukhi (sunflower) and Kari (mango) are recurring motifs Popular ornamentation for temple doors, covering plates for shikhara (spires and domes), palkis ( palanquins), idols, ritual utensils and temple accessories Kasera community
130%6$54 1. 2. 3. 4. 5. 6. 7. 8. 9.
Chandeliers Mukut - crowns Theatre accessories Chamal jhadi - fly whisk handle Tabeez - amulets Plates for doors Khajoori - Lamps Surahi - pitchers Lota - water container
t 42 t 42
800% "/% -"$ 563/&3: • • 1. 2. 3. 4. 5. 6. • • • • •
Lethe workers are also called Kharadi’s Products are made of : Brightly lac coated vermilion containers Teethers Toys in wood Sindora Vermilion boxes (all shapes and sizes, a Hallmark of Varanasi) Traditional Products : Sindora - Vermillion Containers Jhunjhua - Rattles Chushi - Pacifier Lattu / Firki - Tops Walkers
$0/5&.103"3: 130%6$54 • • • • • • • • • •
Bed posts Toys Tea sets Abacus Skipping rope handles Napkin holders Nesting dolls Bangle stands Beads Bangles
7. 8.
Hollowing, Lacquering and Forming done Craftsmen are called Kohars
t 43 t 43
#-0$, 13*/5*/( • • • • • • •
Common keri (mango pattern) a distinctive element in different styles ans sizes The tree of life motif is also used Printing extremely fine, due to smooth carved wood blocks Patterns inspired from plants, seeds, flowers and vegetables 200 years old Mughal traditional designs Other motifs influenced by chikan patterns
130%6$54 • • • • • • • • •
Sari - draped cloth Lungi - lower garment Dupatta - stole Rumal - handkerchief Lihaf - quilt covers Farad - quilted coat Table covers, bed covers, curtains Jajauns - floor coverings Dastarkhan - table cloths
t 44 t 44
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Characterized by pink brush strokes on white enamel Craftsmen delicately add pink to the predominant white enamel Motifs have been lotus blooms and buds The art was learned from Persian craftsmen Chased and engraved areas filled with enamel Similar chemicals with a small amount of metal oxide is used as a colorant Hollow silver forms filled in with lac to give weight Meena plus enamel finely ground and mixed with water Little ltra (rose oil) is added to help fuse the enamel Water soaked up by cotton wick and piece fired in small electric kin Enamel fuse at different temperatures Extended from jewelery to silver trinket boxes, decorative elephants, birds and stationery Enameled in deep greens and blues. Parts like underside of elephants trunk, its ears and lotus are done in gulabi or pink meenakari
130%6$54 • • • • •
Hookah base Paandavan containers, caskets Decorative objects - elephants, peacocks, parrots Bhathi - homemade furnace Heating filament
t 45 t 45
#"/"3"4* 4"3&&4 • • • • • • • • •
Banarasi silk/Benarasi silk is a fine variant of silk originating from the city of Varanasi, Uttar Pradesh, India. Saree woven from this fine silk Has its roots seeped into the rich cultural history of India Originally crafted exclusively for the royalty, each created from real gold and silver threads Unmatched example of excellent artistry It has Persian motifs mixed up with Indian customary attire Known for its designs & gold or silver brocade or zari Some have a string of upright leaves called as ‘Jhallar’ They include heavy working of gold,small detailed figures,metal visual effects & compact weaving as well
7"3*&5: • • • • • • •
Jangla Tanchoi Tissue Butidar Cutwork Vaskat Banarasi Silk Jamdani.
t 46 t 46
;"3%0;* (0-% &.#30*%&3: • • • • • • • • • • •
Specialize in embroidery batches and ceremonial robes It is heavy and ornate embroidery in which gold purls, coils, beads and spangles are couched onto fabric with a needle and thread It is a craft about precision as the logo specified must be reproduced exactly how it is Best craftsmen in karkhana to embroider badges Metal purls for badges are much more finer than zardozi Zardozi badges commissioned by army, navy and institutes including European catholic clergy who commission work on ceremonial robes Unlike the massive form on which zardozi is done. Badges are made on small one man adda wooden frames Fabrics used are either felt, velvet or heavy satin Zardozi specializes in emblems, crests and borders Sometimes a combination between aari and zardozi is also used It adorned court costumes, furnishing, scabbards, trappings of elephants in mughal India
130%6$54 • Traditional : Masnads - elephant trappings, Scabbards, Purses, Caps, Garments • Contemporary : Badges, Crests, Robes for Christian clergy, Sari - draped cloth, Barveilly, Badges, crests, crowns , Christmas hangings, braids, trimmings, matzahas bread and cake covers
t 47 t 47
8): 53"%*5*0/"- $3"'54 Banaras is a city booming with Culture and Heritage , a true flavor of India and its diverse cultures. This reflects in the arts and crafts and the timeless techniques that are used here. The ethnicity and intricacies of these crafts intrigue me . I feel that these crafts are a perfect blend for making fusion furniture, a perfect blend for modern and traditional. The beauty and softness of the forms are soothing . That is why I researched these crafts and their techniques in depth .
t 48 t 48
8): 5)& 3&10644& $3"'5 This craft requires a lot of patience and precision . The intricacy and delicacy gives it a royal feel . This is a very old technique and beauty of this technique is the timelessness. This craft is perfect for the target clientele as the look and feel of the furniture needs to be a blend of soft ethnicity with the boldness of modern and simple forms . The richness of the metal brings out the elegance required in a suite room of a boutique hotel . Repousse and chasing as a craft technique is a reflection of timelessness that is synonymous to the spirituality of the monks .
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Chasing is the opposite of Repoussé, and the two are used in conjunction to create a finished piece. It is also known as Embossing. While repoussé is used to work on the reverse of the metal to form a raised design on the front, chasing is used to refine the design on the front of the work by sinking the metal. Repousse and chasing are techniques for creating 3 dimensional relief in sheet metal. The process is a very old one which is often overlooked by metal artists today. It is a direct method of sculpting metal using simple hand tools and hammers. There is no loss of material when forming metal with these techniques - the metal is not cut by the tools but pushed into shape in small increments. Here are some of the frequently used chasing tools. The punches have a variety of specially shaped faces which push the sheet metal around by tapping on the tool with a hammer. Most chasing tools are made from hardened and tempered tool steel ,some do repousse work with wooden tools with good results. The texture of the business end of the chasing tool will be transferred to the surface of the metal. Smooth faced tools like these are often used to move the metal into shape. Chasing tools with textured faces can produce different surface effects and are often used in the refinement stages of repousse work. Repousse and chasing are commonly performed over pitch. Pitch is a resinous tar-like substance which is semi-fluid when hot and hard when cold. It provides a backing for forming the metal that supports it yet allows it to be deformed. The pitch holds the metal in place during hammering and prevents the material from being pushed around, other than what is directly under the chasing tool. The final stages of refinement, called planishing, are typically done on cold, hard pitch. Repousse refers to pushing the metal out from the back side of the piece - chasing is pushing the metal down from the front. There is a lot of back and forth between repousse and chasing when creating a relief. The metal can be returned to it’s soft, malleable state by heating it to very high temperatures. This process is annealing Some of the most famous sculptures created using these techniques are the Statue of Liberty, Portlandia, and King Tut’s burial mask.
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The procurement of raw materials and verifying their usability is the first and a very important step. The process starts with the selection of the silk yarn, which is of various qualities and imported from various production centres. Raw silk is specially treated for brocades and the process requires considerable patience and labour. The cost of raw materials varies depending upon the type of yarn.
The most important and creative process in weaving a saree is its designing. Once a design has been chosen, the Nakshaband first works out the design of the fabric on a large graph paper. This work is called Likhai. The design is then hand punched on to stencils, known as ‘Naksha Pattas’. These Naksha Pattas are used in the handloom to trace the design on to the fabric. An average Banarasi saree requires hundreds of Naksha Pattas. More intricate the design, greater the number of Naksha Pattas used in the loom.
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In the process of reeling (tying the yarn in a bundle), the threads are separately mounted on the reeling machine, for the warp (tana) the yarn is rolled on a shuttle (dharki). The yarn for weft (bana) is firstly mounted on a charka and then rolled on the bobbin.
The most complicated part of the whole process is weaving, where the sari is woven on a handloom. Traditionally, Banarasi sarees are woven on pit looms. The tana (warp), the longitudinal threads, are held in tension on the loom and lifted up. The bana (weft), the latitudinal threads, are placed in a shuttle. As the shuttle moves back and forth, the warp and weft threads are interwoven.
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Dyeing of yarn in a particular color usually involves immersing the reel or cheese of yarn in the dyeing tank.
Depending on the weaving technique employed, Banarasi sarees need to go through the final process of cutting. This involves manually cutting the tiny threads left on the reverse of the fabric. The sarees are then folded and packaged.
4 5 6 t 52
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Ghats in Varanasi are riverfront steps leading to the banks of the River Ganga. The city has 88 ghats. Most of the ghats are bathing and puja ceremony ghats, while two ghats are used exclusively as cremation sites. Most Varanasi ghats were rebuilt after 1700 AD, when the city was part of Maratha Empire. The patrons of current ghats are Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwes (Peshwas). Many ghats are associated with legends or mythologies while many ghats are privately owned. Morning boat ride on the Ganges across the ghats is a popular visitors attraction.
#)0/4"-& ()"5 7"3"/"4* In 1780, Maratha king Bhonsale of Nagpur made this ghat and thus named after him. Two important shrines nearby Bhonsale Ghat are Yameshwara temple and Yamaditya temple. This ghat is another example of contributions of Maratha rulers to the very lifeline of Varanasi.One of the important ghats on the Ganges River in Varanasi, was built by the Maratha ruling family of Nagpur. Since the Maratha rulers of Nagpur belonged to the Bhonsle Family, the ghat came to be known as Bhonsala Ghat. The ghat was repaired and renovated in 1795. Lakshminarayan Temple, Yameshwar Temple and Yamaditya Temple are the major shrines on this ghat. The distinctive looking Bhosale Ghat was built by the Maratha ruling family of Nagpur, who belonged to the Bhosale family. It’s a substantial stone building with small artistic windows at the top.
t 53 t 53
/05& There are more than 30 languages spoken in India by more than a million people. India has a total of 1,635 languages, total 22 officially recognized languages. -"/(6"(&4 410,&/ • Banarasi Boli : When it comes to naming this native tongue spoken in Banaras, it becomes a complicated situation. No definite name for the language is there. Translates as banarasian or theth boli or also bhojpuri. • Banarasi and Hindi : 1. Standard Hindi is seen fit for official use. It is seen as the language as the more educated part of the society. 2. Standard Hindi also known as Khari Boli has become part of daily communication for many families lately. 3. Banarasi boli is the language of general communication and is spoken by everyone, from villagers of remote village to a city bank manager. 4. Hindi and Banarasi co - exist peacefully • • • • • • • 1. 2. 3. 4. 5. 6. 7. 8.
Bengali is also another language spoken in Varanasi Languages spoken : Hindi, Sanskrit, English Population : about 14 lakh Beliefs : it is believed that one, who dies and is cremated at varanasi, gets an instant gateway to liberation from the cycle of births and re births. It is also a home to numerous temples, myths and ashrams It is a buzz with fairs and festivals all around the year Melas or fairs are also held at Varanasi Festivals: Bharat Milap at Varanasi Bhuddha Purnima Dev Deepavali Hanuman Jayanti Mahashivratri in Varanasi Nag Nathaiya of Varanasi Nakkatayya of Varanasi Ream Leela of Varanasi
t 54 t 54
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Buddhist monks are often known in their own cultures by a word that means “sharer.� Traditionally monks have renounced all personal possession and relied on the charity of lay-people for necessities. Temples and monasteries are paid for with donations and fees paid to monks for performing funerals and other ceremonies. In Buddhist societies, monks are generally respected by everyone and most families have a son who is monk or was a monk at one time. Monks are given free food and often allowed to ride free on buses and trains. Generally most monks live in a community with other monks in a monastery. Theravada Buddhism devotes a great deal of literature to monks and their role in the monk community and society as a whole. In Mahayana Buddhism, there is more emphasis on pursuing individual enlightenment. Few monks are monks their entire lives. Those that are often become scholars, teachers, and healers. Some specialize in folk magic and even work as Astrologers. Many spend much of their time presiding over funerals. Monks are free to a leave anytime they want. In Southeast Asia, many young men often serve a few weeks as a monk as a sort of coming of age rite, and then resume their ordinary lives.
1VSQPTF BOE "JNT PG B #VEEIJTU .POL On one hand monks are perceived as sort of mini-Buddhas in that not only are they seeking enlightenment for themselves but devote a great amount of energy and devotion to teach and inspire and instruct other to purse the Way of The Buddha. On the other hand, they remain seekers of knowledge themselves, or ones who has not found nirvana but are still striving for and have things to learn and achieve, and are advancing in a gradual, step-by-step process.
#VEEIJTN In Thailand, it is common for almost every boy to spend some time living as a monk in a monastery. Most stay for only a few years and then leave, but a number continue on in the ascetic life for the rest of their lives. Chinese Buddhist monks have been traditionally linked with the practice of the Chinese martial arts or Kung fu. This association is focused around the Shaolin Monastery. The Buddhist monk Bodhidharma, traditionally credited as the founder of Zen Buddhism in China, is also claimed to have introduced Kung fu to the country. In Buddhist Nuns there is no equivalent of the order of
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monks for women. Women can serve as lay nuns but they are at a much lower status than monks. They are more like assistants. They can live at temples and generally follow fewer rules and have less demands made on them than monks. But aside from the fact they don’t perform certain ceremonies for lay people such as funerals their lifestyle is similar to that of monks. Nuns spend much of their time in meditation and study like other monks #VEEIJTU -BZ 1FPQMF There is a strong supportive relationship between the monk community and lay people. With lay men and women providing monks with food, lodging and medicine for monks and monks giving them Dharma in return. They are considered a lower incarnation than monks and are not required to spend as much time praying and meditating as monks. Buddhist monasticism is one of the earliest surviving forms of organized monasticism in the history of religion. It is also one of the most fundamental institutions of Buddhism. Monks and nuns are considered to be responsible for the preservation and dissemination of the Buddha’s teaching and guidance .Monastics in Japan are particularly exceptional in the Buddhist tradition because the monks and nuns can marry after receiving their higher ordination. This idea is said to be introduced by Saicho, the founder of the Tendai school, who preferred ordaining monks under the Bodhisattva vows rather than the traditional Vinaya. There had long been many instances of Jodo Shinsho priests and priestesses marrying, influenced by the sect’s founder Shinran, but it was not predominant until a government Nikujiku Saitai Law was passed during the Meiji Restoration that monks or priests of any Buddhist sect are free to seek wives. This practice influenced Korea and Taiwan. Some Korean monks live with wives in their monasteries. Monks of some Chinese lay Buddhist sects may marry. In Sri Lanka, Thailand, Cambodia, Laos, and Myanmar, where the Theravada school is dominant, there is a long tradition of temporary ordination. During a school break, many young men usually ordain for a week or two to earn merit for loved ones and to gain knowledge of Buddhist teachings. In most countries, this temporary ordination occurs during the vassa retreat, which is regarded as a period of intensified spiritual effort by local Buddhists. Men in Thailand typically ordain only before being married; men in Laos and Myanmar could traditionally return to the monastery from time to time after being married, provided that they secured their wives’ permission. Modern Thai monks are ranked according to their ability to pass examinations in Buddhist doctrine and the Pali language, and are appointed to successively higher positions in the ecclesiastic hierarchy on the basis of these exams, as well as their support among influential members of the royal family and government.
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Make a story line which is depicted throughout the rooms. Like different parts of the story in different rooms. Different seasons / festivals celebrated in Banaras in the different rooms ( depictions of the festival) Using architecture as the theme and various temples and vernacular architecture as inspiration for different rooms Use of the different Handicrafts work in different rooms and the Traditions and Language Use of different elements that make up Banaras in the form of painting depictions, or inspiration of form and nature in the furniture 6. Use of artifacts and their brocade work as decorations, like runner or pillow covers 7. Use of contemporary illustrations on the walls (painted) of stills from Banaras 8. Painted walls of the veda scriptures or poems by Tulsidas or Banarasi Boli on the walls or framed paintings 9. The chair or sofa covers can be Banarasi brocade or a painting of a still from the scripture of a particular scene 10. The curtains can be hand painted with a scene from the scriptures or can depict a story
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26&45*0//"*3& Q1. The kind of people that live in Banaras? Their Nature and cultural habits? A1. Banaras being a holy pilgrim city, has a mix of people, but majority population is of Hindus. Nature of Banaras people are very laid back, their work ethics are a bit laid back as they do not follow time limits or deadlines and take their work very casually. This is an overall laidback attitude that you will find in a typical Benarsi person. Culture wise they follow their Hindu traditions and have a lot of respect for the river Ganges but do not make an effort to try and keep the river or the city clean. The civic sense and sense of responsibility for the cleanliness of their city is not present in their consciousness.
Q2. Any Tradition the people of Banaras like to own? A2. It’s the Hindu tradition mostly under Shivite following.
Q3. How do they celebrate the common festivals differently? A3. Shiva is the deity of Benaras, so all the festivals surrounding Shiva are celebrated with zeal, Ganga Aarti is done everyday at dusk and dawn, Diwali and Holi the 2 major festivals too are celebrated with a lot of zeal. Dev Diwali is another festival that has a huge influx of foreign and national tourists coming to the city just to catch a glimpse of the way Dev Diwali is celebrated in Benaras.
Q4. As Banaras has so many different Cultures and Traditions blending in, how do the people react or cope up with this? A4. Other than the Hindu population, there is a large population of Muslims too, Benaras is known for its Ganga Jamuni Tehzeeb. The biggest example of this Ganga Jamuni Tehzeeb is seen in the silk saree weaving business, where Hindu Businessmen hire Muslim silk weavers and they work in perfect synchronization to produce a product that has put Benaras on the World map. They cope up exceptionally well.
Q5. What is their daily lifestyle? A5. They love spending time on the banks of the river Ganga, studying the Vedas is another important tradition in Benaras ,which probably becomes a part of t 58 their lifestyle. t 58
Q6. Adopting to new furniture and spaces, has it changed anything? As Banaras is a heritage city so if modern accessories and furniture come in, does that change anything? A6. If the furniture is useful utility wise then there wont be any problem adapting to it. Although the ancient look that Benaras has, will go.
Q7. Can you tell me a little more about the culture? Proximity A7. Its mostly Hindu culture surrounding Hindu temples, festivals and activities. The Benarsi gharana of music and dance too is very famous.
Q8. If you know anything about the 5 star hotels coming up, do you think it is a good business to get into. A8. Benaras has a lot of tourists coming in, especially during Diwali, the city sees a huge influx of people from India as well as abroad. So hotel is always a good option.
Q9. What is the spending power of these people who stay in these hotels. A9. Upper middle class to Higher class people come to 5 star hotels. But they are lesser in number than the middle class population that comes to the city, they stay in guest houses or ashrams.
Q10 How are rooms priced? Any ideas. A10. Five star hotels have higher rates of course, but other avenues for staying are fairly priced.
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Q11. Where are all these hotels located? And are the people divided into classes? If yes what class do majority of the population come under? A11. Don’t know where all the 5 star hotels are and Near ghats where lower priced hotels and guest houses are there, the ghat hotels have an advantage of river view, so a lot of people prefer going to hotels and guest houses near the ghat areas.
Q12. Group of people who visit Banaras and their rough stay duration? A12. 3 to 5 days depending on their work. Most of them come for religious purpose like pind daan or festivals or for visiting tour sites and temples.
Q13 Lifestyle of people of Banaras and what are these features and daily objects that are used which would define Banaras? A13. They have a laidback lifestyle, but religious ceremonies and puja path runs in their blood. Visiting the Ganga everyday for either a quick dupki or just sitting on the steps and banks makes them feel calm and connected to their being. Daily objects like the lotas, the ghanti and aarti diya are used.
Q14. If you had to define Banaras with the people, Religion, Traditions, Architecture etc in a nutshell, how would you describe it? A14. Its an ancient city which offers everything to everyone.
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Q15. Identification of Banaras and its elements like transport system etc A15. Public transport is not very efficient. Only mode of transport is auto, cycle rikshaws or ola or travel taxi cabs.
Q16. How do these hotels and boutiques serve all categories of people? Like do you think they serve everyone? A16. Yes they serve everyone. There are different hotels with different tariff rates so whatever suits the budget of the people they go for that. Ghat side hotels are cheaper but are sought after by all classes as they get to be closer to the river side. Ghaat side hotels are more for foreign groups visiting, these groups of foreigners usually do the Delhi-Rajasthan-Agra-Varanasi circuit, they are usually accompanied by a guide. There are also solo foreigner travelers who come for 3 to 6 months to learn classical music or yoga, they prefer to stay in hostels or guest houses near the ghats
Person 2 : 1. The people in Benares are decent and cultured . But not the best in the country. There’s a strong personal pride and People hold themselves in a higher regard than what’s realistic. UP has some of the most difficult people in the country with a very strong disposition to their beliefs, right or wrong. 2.Benares being one of the oldest cities in the world has a number of traditions that have originated from here. Benares is predominantly a vegetarian city with mostly the generation eating non veg and drinking, and some in the elder stock. The Ganga Aarti is indigenous to Benares. 3. I am unaware if any festivals are celebrated differently in the city. But in my experience, difference between celebrations span state to state. 4.People do seem to have a good Harmony amongst them with cast, creed and religion only by playing a small role in the day to day working.
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$0/$-64*0/ 0' 26&45*0//"*3& Banaras being one of the oldest cities, one finds a treasure trove of culture through the ages. It is void of religion discrimination and everyone celebrates religious ceremonies with immense faith and enthusiasm. The people of Banaras are calm by nature but celebrate their festivals with alot of zeal. The city not only helps connect to ones self again but also helps one to find the right path to take in their life.
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5
IPUFM QMBO FYQMPSBUJPOT • Hotel plan • Inspiration boards and sketches explorations • Theme and it’s sketches • Stories and it’s sketches
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)05&- 300. 1-"/ The plan shown here is of the lower terraces of a 4 star Boutique Hotel in Banaras. It has a number of rooms with a suite allocated to this particular floor, while the rest are regular rooms. The second page shows a zoomed in view of the suite. This is the room that I have worked on.
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8300
Ar-17
H
I 10300.0 [33'-10"] 10000.0 [32'-10"]
BAR 1125 X 900MM
TUB
TUB
BAR 1125 X 900MM
BAR 1125 X 900MM
TUB
TUB
1375
BAR 1125 X 900MM
PASSAGE 1075MM WIDE
SD2
5000.0 [16'-5"]
D3
WC
WC
SHOWER
WARDROBE 2200 X 900MM
VANITY COUNTER 1250 X 600MM
TOILET 3150 X 2300MM
VANITY COUNTER 1250 X 600MM
SHOWER
D3
D3
D3
1475
SHOWER
WC
WC
SHOWER
WARDROBE 2200 X 900MM
WARDROBE 2200 X 900MM
TOILET 3150 X 2300MM
SD2 PASSAGE 1075MM WIDE
PASSAGE 1075MM WIDE
SD2
TOILET 3150 X 2300MM VANITY COUNTER 1250 X 600MM
VANITY COUNTER 1250 X 600MM
TOILET 3150 X 2300MM
SD2 PASSAGE 1075MM WIDE
WARDROBE 2200 X 900MM
D3
VANITY COUNTER 750 X 540MM
WC
SHOWER
VANITY COUNTER 3700 X 700MM
TOILET 3700 X 3700MM TUB
WC
POWDER TOILET 1775 X 1500MM
D5
2.5
D2
D2
J
300
5.0
4000.0 [13'-1"]
G Ar-21
26800.0 [87'-11"]
PLAN 7.5m
27100.0 [88'-11"]
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F
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13
Ar-19
E
Ar-21
G
DIRECTION OF ELEVATION
Ar-17
Y-2 Ar-18
SIDE TABLE 450 X 450MM
DESK DRESSING 800 X 450MM
SIDE TABLE 450 X 450MM
SIDE TABLE 450 X 450MM
SIDE TABLE 450 X 450MM
SD2
SD2 WALK-IN CLOSET 2075 X 935MM
PASSAGE 1310MM WIDE
PANTRY 2075 X 600MM
0
ROOMS LOWER TERRACE
t 66 X-3
F 5000.0 [16'-5"]
T.V UNIT 2375 X 450MM
BEDROOM SIZE 5650 X 4400MM OTTOMAN 1500 X 350MM
BED SIZE 2100 X 1800MM
DESK 1575 X 450MM
SIDE TABLE 450 X 450MM
SIDE TABLE 450 X 450MM
SIDE TABLE 450 X 450MM
DESK DRESSING 800 X 450MM
DESK DRESSING 800 X 450MM
DESK 1575 X 450MM
BED SIZE 2100 X 1800MM
OTTOMAN 1500 X 350MM
BEDROOM SIZE 5595 X 4400MM
T.V UNIT 2375 X 450MM
T.V UNIT 2375 X 450MM
BEDROOM SIZE 5650 X 4400MM OTTOMAN 1500 X 350MM
BED SIZE 2100 X 1800MM
DESK 1575 X 450MM
SIDE TABLE 450 X 450MM
BED SIZE 2100 X 1800MM
OTTOMAN 1500 X 350MM
SIDE TABLE 450 X 450MM
T.V UNIT 2375 X 450MM
BEDROOM SIZE 5595 X 4400MM
BED SIZE 2100 X 1800MM
OTTOMAN 1500 X 350MM
BEDROOM SIZE 5225 X 3875MM T.V UNIT 1500 X 450MM
DESK DRESSING 800 X 450MM
DESK 1575 X 450MM
SIDE TABLE 450 X 450MM
STUDY TABLE 800 X 450MM
T.V UNIT 3325 X 450MM
LIVING ROOM 4325 X 3700MM
BAR 1500 X 900MM
WARDROBE 2200 X 900MM
6025 7000
FURNITURE
12550
Ar-20
D4
DAY BED 3200 X 900
DAY BED 3200 X 900
D4
D4
DAY BED 3200 X 900
DAY BED 3200 X 900
D4
CENTRE TABLE 457MM X 457MM
1200
W8
12600
Y-2
Ar-18
2300
W8
W8
Ar-19
E
W8
W8
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3800 450 4000 2800
X-3
SIDE TABLE 450 X 450MM
11
SIDE TABLE 450 X 450MM
VANITY COUNTER 3700 X 700MM
TOILET 3700 X 3700MM
W8
SHOWER
CENTRE TABLE 457MM X 457MM OTTOMAN 1500 X 350MM
TUB
SD2
WC
BEDROOM SIZE 5225 X 3875MM
8300
STUDY TABLE 800 X 450MM
6025 7000
4000 2800
BED SIZE 2100 X 1800MM
12550
450
800 X 450MM
T.V UNIT 1500 X 450MM
SD2
1200 T.V UNIT 3325 X 450MM
12
WALK-IN CLOSET 2075 X 935MM
WC
VANITY COUNTER 750 X 540MM
LIVING ROOM 4325 X 3700MM
PANTRY 2075 X 600MM
POWDER TOILET 1775 X 1500MM
4000.0 [13'-1"]
D5 PASSAGE 1310MM WIDE
W8
BAR 1500 X 900MM
D3
WARDROBE 2200 X 900MM
D2
13
300 12600
E Ar-19
Ar-18
Y-2
FURNITURE 0
2.5
PLAN 5.0
DIRECTION OF ELEVATION
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F
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Ar-20
E Ar-19
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*/41*3"5*0/ #0"3% The Varanasi boats and their oars, the ripples formed in the Ganga.
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The form of the designs are inspired from the boats of Varanasi and are the key feature of these exploration sketches. I have tried to use the traditional element in a more contemporary way.
banarasi work painted with stark colours
wood Banarasi fabric
ripple effect on wood cushioning on top of daybed in the middle
wood
oars as back element of side table
legs as wood forming a cross
metal cap
upholstered fabric as seat
fabric
ripple effect on wood
footboard in wood
ripple effect on wood
lighter wood
wooden back wood
thin matress for seat
wave of ganga on table top carving on wood
daker wood
fabric
inspired by the shape of the oars
abstraction of the ganga waves side table in wood
abstraction of waves
abstraction of oars and boat gold paint on legs
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metal caps wood
*/41*3"5*0/ #0"3% The Repousse work of Varanasi
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The use of Repousse work, which is an ancient handicraft of Banaras, is a key feature of these exploration sketches. Repousse is used with a combination of other materials in these designs. wooden band
glass
wooden band sloping down glass repousse work on metal as corner caps
wood for side table repousse work
fabric on backrest wooden back
repousse work on handle
lining of repousse work tapering legs
wood for side table metal strip
wood in light walnut finish
repousse work wood in dark walnut finish tapering legs
wood
wood bright banarasi silk fabric
repousse work
antique finish paint base structure flushed to the top gradual sloping in wood indpired from the banks of the ganga
1 base structure in a block of wood repousse work
mother of pearl on alternate patches
wood for side table
wood with PU finish on other patches minimal repousse work 1 centre base of wood for side table
2 legs plain wood 2 legs wood with repousse work
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lighter polish wood glass / 2 toned polish repousse work
wooden frame
darker polish wood
strip of repousse work flute work done on wood
dark polished wood gold leafing strip
gold handle
metal handle
gold capping(leafing or metal)
lower shelf for storage / accessory display
repousse work hollow carved out motif
wood
the tip depicting grandeur repousse work lining wooden back
patterned banarasi silk fabric
repousse work on metal
old style legs for bed box structure for bed
repousse work
wood for foot board
carving
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*/41*3"5*0/ #0"3% The Varanasi architecture and colours with a contemporary style
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These sketches are inspired from the architecture of banaras and a fusion of contemporary forms which have been made more dramatic .The use of stark Banarasi colours on the furniture through paint and fabric is one of the key features of the sketches.
contemporary form exaggerated
bright orange fabric for back inspiration from shiva structure
back in 2 toned
abstraction of ore and boat
inspiration from the architecture in varanasi
wooden legs backrest and seat upholstered with stark green banarasi fabric
gold painted caps
backrest painted in colour of fire during the aarti
inspiration from contemporary forms deep pink fabric for backrest & seat
full chair made in wood
chair made in wood
antique finish painted on leg tips
backrest in half bare wood and half paint neutral colour fabric for seat
wooden legs wooden legs
orange painted tip
maroonish red fabric for back
blue banarasi silk fabric for seat seat in wood
use of stark yellow paint on the wood
shape inspired from the towering temples in banaras
teal coloured fabric for back rest
same colour band as backrest
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exaggerated a simple contemporary form+ the shape of the ghats in varanasi
wood motif in a stark yellow/ teal paint
bright yellow fabric
fabric used for backrest
cutout in wood antique colour paint wood polished inspired from banarasi architecture
wooden legs
metal caps leg caps painted in yellow/ teal simple contemporary form exaggerated
antique colour paint
wooden head rest with curved in edges
banarasi painting done at the back
fabric
inspired from a contemporary form
wood curved inwards
wood fabric
banarasi fabric used for backrest and seat
fabric for seat wood
inspired from temples of banaras
wood front view
wood side viewt 75
*/41*3"5*0/ #0"3% The 5 elements of nature and their symbols with the basic elements that are a part of a monk’s life
t 76 t 76
These sketches are inspired by the symbols of the 5 elements of Nature,the principles the monks follow. This has been fused with the contemporary style . centre table/coffee table
side table
white PU
gold leafing done on top
white PU
wood twig inspired from the 5 elements of nature
shelf
wood
wood
twig inspired from the 5 elements of nature
mother of pearl metal
form inspired from 5 elements of nature
shelf
form has triangle edges inspired by the symbols of the 5 elements of nature
wooden leg
mother of pearl outline
top view
darker wood polish lighter wood polish
Darker wood polish
tapering legs made of metal mother of pearl outline
wooden band coming down to form leg inspired from 5 elements of nature thus pentagon shape exaggerated
top view
wood
golden paint strip
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wood nwith gold leafing
abstraction of element symbols
shape as the arm rest and side framework
wood
fabric
fabric
wood
painted wood
side view
abstraction of the pentagon of 5 elements
shape as the arm rest and side framework
gold leafing on alternate wood patches
metal
side view
abstraction of the pentagon of 5 elements
fabric
abstraction of bell as form fabric wood wood
fabric
abstraction of the pentagon of 5 elements
white PU wood
fabric
form inspired from elements of nature
t 78 wooden framework
5)&.& This theme includes intricate carving, Banarasi pattern fabrics as upholstery and soft furnishings, vibrant solid colour fabrics depicting the Banarasi flavour. Inspiration has also been taken from the Ghats of the Ganga for the furniture pieces.
lighter colour wood
wallpaper
base fabric (neutral shade)
thick band of patterned banarasi silk fabric
intricate carving on wood
intricate wood carving
concealed metal handles wood cutout
vibrant solid coloured fabric depicting banarasi flavour
cushions & runner made of patterned banarasi silk fabric
shape inspired by ghats of the ganga(wood used)
t 79
5)&.& The essence of this theme is the Banarasi silk fabric as a screen behind the bed, portraying the feeling of Grandeur. The use of repousse work adds on to this, while the simplicity of the room is still retained.
Patterned Banarasi silk fabric screen giving grandeur feel
curtains a plain neutral colour Headboard inspired from banks of the ganga/ steps leading to the ganga
solid coloured pillows & runner
simple neutral linen fabric on bed concealed metal handle with repousse work
solid coloured upholstered fabric on tub chairs paterened banarasi fabric for seat wood simple wood work metal cap
simple look with use of repousse
t 80
5)&.& The day bed gives a feeling of comfort while the tall headboard symbolises royalty. the use of Banarasi Silk on the headboard and curtains adds to this. The use of solid colours, repousse work and wood carving binds the space together.
thin band of patterened banarasi fabric
wooden carving the triangle is symbol of the 5 elements of nature triangle with repousse work
vibrant solid colour fabric(base fabric)
tall headboard,to make it look grand
thick patch of banarasi silk fabric in middle
Banarasi silk fabric
side table with thin lining of repousse work daybed upholstered with rich neutral fabric
bed linen neutral shade with subtle shades on pillows and a runner ottoman has wood work inspired from the ghats of varanasi
sliding doors have a patch of wood carving with a little repousse work done
t 81
4503: The use of Banarasi fabric, Repousse work done on wood and glass is a dominant feature. The glass represents transparency of a person for thoughts and their path when they visit Banaras. The motif cut out symbolises purity of thought and spirit, which is relatable to the monks, as well the traditional custom of the Dupki in the Ganga. Study Table repousse work repousse work veneer/wood Chair banarasi silk fabric for head board
motif cutout in wood symbolising purity and the dupki in the ganga repousse work on metal
carving on wood
tapering legs Handle
classic style legs
Bed banarasi silk fabric on the wood
glass
full length back acting as legs shank used as the handle
wood
tapering legs wood in lighter polish
wood band repousse work on legs and table corner caps Coffee / Centre table
wood moulding
wood in darker polish
gold tip
t 82 classic style legs Side table
Centre table
glass
4503: The furniture pieces mainly have a circular form. The flute work on the handle and wooden pieces on the chair are inspired from the repetition of the traditional customs such as the Dupki in the Ganga and the flight of steps that lead you to the Ganga.
Bed
Side Table
wood carving
etched wood
regular wood Chair antique Mirror Bevelled
wood moulding with carving
wood pieces grooved & joint
fabric moulded wood
fabric
Side Table
Back view
grooves in wood Coffee table / Centre table
Handle flute work on wood
wood
repousse work on metal glass
repousse work on metal
t 83 repousse work as caps
repousse work as caps
4503: In this story the use of Banarasi silk, Gold leafing and wood has been used. The use of simple forms shows the contemporary aspect of the designs, while the carving as well as the fabrics used, bring out the traditional aspect of Banaras.
plain wooden top
motif carved on wood with gold leafing
top painted using banarasi colours wooden band
headboard in wood patch painted in banarasi colours
legs in stark colours
Tapering legs carving done on wood wooden framework
banarasi silk fabric wooden top polished
fabric
ass wood carved with gold leafing
t 84
6
'*/"- 065$0.& • • • • • • • • • • • • •
Inspiration Board Mood Board Colour Board Exploration of materials Material Board Exploration of Repousse Final Repousse Design Final Sketches AutoCad Drawings 3D Renders Final Process Final product shoot Costing
t 85
t 86
*/41*3"5*0/ #0"3% The 5 elements of nature and their symbols with the basic elements that are a part of a monk’s life
t 87 t 87
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t 88
$0-063 #0"3%
t 89
&91-03"5*0/ 0' ."5&3*"-4 5&9563& 1. Metallic PU paint of Asian Paints was sprayed on a carved wood piece. This is a cheaper substitute to leafing, but it lacks the natural feel and the luster of pure metal. 2. I have tried leafing on wood as an exploration. The base leaf foil colour is silver which is then stained to an antique dull gold shade. This is done as a substitute for Repousse work, but the result was not as fulfilling as that of pure metal. 3. The traditional method of cladding wood with metal was used. The carving and texture looked grand just like an Emperor’s throne. This was the perfect fit to my design.
1
2
3
t 90
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The Repousse work design is inspired by the floral traditional designs on the Banarasi fabrics. The traditional motifs are floral and have a flow to them. My exploration as well as my final final design, are floral with curves and yet has a geometric feel to it, hence it is a fusion of contemporary and traditional.
t 92
'*/"- 3&10644& %&4*(/
t 93
'*/"- 4,&5$)&4
Bed Study Table Chair
Study Table
Side Table T.V Unit
Centre/ Coffee Table Ottoman/ footon
t 94
#&% • Autocad Drawing • 3D Render
t 95 t 95
803,*/( %3"8*/( 0' #&% 2"
2 plywoods(19mm) stuck together 6mm veneer on front and back of head board
1" 1'-52
cp teak wood used for framework
1" 12 1" 1'-52
8"mattress
6'-9" 6'-5" 11"
1 12" x 1 12" wooden framework using half lap joint
2
1"mattress guard 12mm plywood
1" 1'-52
1 12" x 1 12" wooden framework using half lap joint
1" 12
1"mattress guard on either side of the bed
1" 1'-42
2" 1'-4"
1" 12
1'-4"
1" 12
1'-4"
1" 12
1'-4"
DETAIL A:BED FRAMEWORK WITH MATRESS
6mm veneer on front and back of foot board 2 plywoods(19mm) stuck together
6'
PLAN
repousse work done on brass
6mm veneer on front and back of head board
banarasi patteren 1 fabric used for centre portion of head board design fabric beading done on edge
2 plywoods(19mm) stuck together
1" 12
banarasi patteren 2 fabric used for side portion of head board design
3' 2'-10" 1" 5'-32
repousse work done on metal
banarasi patterened fabric used for the head board 1" 5'-32
2 plywoods(19mm) stuck together 6mm veneer on front and back of foot board
moulding in wood
8"
8"mattress
1'-10"
7"
8"mattress 1"mattress guard 12mm plywood
1'-10" foot board
1'-2"
1'-3"
1 12" x 1 12" wooden framework
DETAIL A
skirting 6'
FRONT ELEVATION
2"
6'-6" 6'-10"
SECTIONAL SIDE ELEVATION
2"
t 96
'*/*4) XBMOVU QPMJTI PO XPPE
'*/*4) CSBTT BOUJRVF GJOJTI PO NFUBM
t 97 t 97
4*%& 5"#-& • Autocad Drawing • 3D Render
t 98 t 98
803,*/( %3"8*/( 0' 4*%& 5"#-& Ø4 screw attaching the channel to the outer frame
9mm plywood + laminate on all drawer sides
Pine Wood with vertical grains Wooden band framework attached to the legs using Tenon & Mortise joint
1'-6"
1'-4" 1'-8"
2"
DRAWER
Tapering legs
2"
1'-8"
Side of the Drawer
Wooden band framework attached to the legs using Tenon & Mortise joint
1'-6"
Burma Teak wood with horizontal grains
PLAN
Wooden framework block attached to the legs of the side table
2"
14" Telescopic Channel
Ø6 Screw attaching the channel to the drawer
12mm Wood (front of drawer)
Telescopic Channels for Drawers
PLAN
SECTIONAL DETAIL OF CHANNEL FIXING
6mm Wood stuck on Plywood 12mm Plywood placed on the wood beading using screws
1" 32 1'-8"
1" 12
1" 1'-72 1'-8"
Wood Beading as a support for ply Wooden legs going till the top 1" Metal cap stuck with 12 Araldite
FRONT ELEVATION
1" 12 3" 1" 1" 1 12" 1 1'-8" 12" 1'-2"
1" 12 3" 1 12" 1 1'-8" 12" 1'-2"
DRAWER
14" Telescopic Channels
1" 12
1'-5" 1'-6"
SIDE ELEVATION
Metal cap stuck with Araldite
1" 12
1'-5" 1'-6"
Metal cap stuck with Araldite
SIDE ELEVATION
t 99
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t 100 t 100
57 6/*5 • Autocad Drawing • 3D Render
t 101 t 101
803,*/( %3"8*/( 0' 57 6/*5 Ø4 Screw attaching the channel to the outer frame Fixed plywood frame of the cabinet Side of the drawer
12mm Plywood with laminate 9mm Plywood with laminate(Drawer back)
1'-6"
Drawer
4" 1'-8"
Drawer
2"
Drawer
4" 1'-8"
4" 1'-8"
9mm Plywood with laminate(Drawer side) 6mm Veneer
Ø6 screw attaching the channel to the drawer 14"Telescopic channels for drawer 3mm air movement gap 12mm plywood for cabinet top
12mm plywood 14" Telescopic channel 19mm plywood with 6mm veneer
SECTIONAL DETAILFIXING CHANNELS TO DRAWER
PLAN
19mm Plywood with veneer 19mm Plywood with veneer
1" 1" 1" 72 1" 32
Handle with flute work and Repousse work 3 4" Tapered Moulding detail of wood on cabinets
2'-10"
Carved flute detail done on wood
2' 9" 1" 72 2" 1'-8"
1" 12
1" 12
1'-8"
1" 12
5'
FRONT ELEVATION
1'-8"
Repousse work done on Brass 19mm Plywood with veneer Skirting (6mm wood on 12mm ply)
DRAWER 1"2"
11" 2'-10"
12mm plywood+ 6mm veneer 14" telescopic channel for drawers handle with wood work and repousse work 3mm movement gap 19mm plywood + 4mm veneer+ laminate inside 12mm plywood Carved Flute detail done on wood Repousse work done on Brass
11"
3
1" 1" 12
4" Tapered moulding detail of wood on cabinets
1" 1'-62
Skirting (6mm wood on 12mm ply)
SECTIONAL SIDE ELEVATION
t 102
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803,*/( %3"8*/( 0' 57 6/*5 )"/%-&
flute work Ø1"
1" PLAN
3
flute work on wood
421"
134"
4
" metal cap
flute work on wood
9" 421"
9" 421"
repousse work on brass
1" FRONT ELEVATION
repousse work on brass
3 1" 4" SIDE ELEVATION
t 104
803,*/( %3"8*/( 0' 57 6/*5 )"/%-& %&4*(/ '03 3&10644&
3" 1 42" 1 1 12" 12" TRUE LENGTH OF REPOUSSE WORK t 105
)"/%-& 130$&44
t 106 t 106
$045*/(
HANDLE Wood BTC Brass Metal Sheet 28 gauge Carving on BTC Labour for Repousse Antique finishing on metal Mellamine Spray Metal spacer Total
Rs 4000 / cft Rs 300 / sqft
0.2 cft 0.75 sqft
Rs 40 / pc
2 pcs
Rs 120 Rs 225 Rs 500 Rs 750 Rs 350 Rs 350 Rs 80 Rs 2375
t 107
'*/"- )"/%-&
t 108 t 108
456%: 5"#-& • Autocad Drawing • 3D Render • Scaled Down Model
t 109 t 109
803,*/( %3"8*/( 0' 456%: 5"#-&
1" 12 1'-1" 1'-6" 5" 1" 12
1" 12
1'-3"
1" 12
Ø4 screw attaching the channel to the outer frame
121" wood with 3mm veneer finish 9mm tenon and mortise joint in wood
Detail A
9mm plywood with laminate(drawer back)
2'-5" 3'
PLAN
fixed wood frame of the study table
9mm tenon and mortise joint in wood
side of the drawer Ø6 screw attaching the channel to the drawer 14"telescopic channels for drawer
121" wood with 3mm veneer finish
9mm plywood with laminate(drawer side) 14" telescopic channel 3mm veneer 121" wood leg 12mm wood with metal repousse work
DRAWER
121" wood with 3mm veneer finish
9mm plywood with laminate (drawer back) 14" telescopic channel
DETAIL A: FIXING OF TENON & MORTISE JOINT
9mm plywood for drawer base
DETAIL B: FIXING OF DRAWER CHANNELS 121" wood with 3mm veneer finish
repousse work done on metal
5"
2'-8" 2'-3"
1" 5"
repousse work done on metal
2'-8"
FRONT ELEVATION
metal cap stuck with araldite
repousse work done on metal
5"
12mm wood with metal repousse work 121" wood leg
2'-6"
1"
9mm plywood with laminate (drawer back and side)
plywood with veneer top
2'-6" 1'-11"
1" 1'-52 1'-6"
metal cap stuck with araldite 1"
SIDE ELEVATION
9mm plywood with laminate (drawer bottom)
2" 1"
1" 1'-32
1"
metal cap stuck with araldite
SECTIONAL SIDE ELEVATION
t 110
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4$"-&% %08/ .0%&-
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Autocad Drawing 3D Render Process Scaled Down Model Costing
t 113 t 113
803,*/( %3"8*/( 0' 456%: 5"#-& $)"*3
repousse & chasing work done on 121" thk.carved wood 1" 12
1-'6"
Detail A'
1" 11" 1'-42 2
178" 4th wood member 2"screws used as additional joint for 4th member of the frame
1" 12
121"x121"seat framework in wood on 3 sides framework using tenon & mortise joint
1" 12 1'-5"
Detail B'
96°
2"
2'-11" 1 12" 1" 12
9mm plywood used as base with 48 density foam +finishing fibre+polysilk fabric fused with fusing fabric
1'-4"
SECTIONAL PLAN
4mm wood edge binder 19mm vertical ply piece for support 12mm+19mm homogeneous ply back
old burma teak
3mm veneer
1" 12
3mm veneer
1"
1'-3" 1'-6"
3mm veneer
DETAIL A'
SECTIONAL SIDE VIEW 1'-6" 6" 6" 1" 32 1" 4" 62
6"
1" 42 2'-11"
1" 12
2" 1" 12
plywood with veneer 2"mattress old burma teak
1'-6"
1"
repousse & chasing work done on 28 gauge brass with an antique finish diamond impressions made to prevent ballooning of the metal while fixing to the frame motif cutout
slit plywood with veneer 1'-5"
FRONT VIEW
4" 2" 8" 1" 62 5" 1" 42
1" 7" 1'-42
2'-11"
4" 1'-1" 4" 4"
9" 5"
1"
1'-5"
BACK VIEW
3mm veneer 9mm plywood used as base with 48 density foam +finishing fibre+polysilk fabric fused with fusing fabric 141"ply 9mm ply with foam framework using tenon & mortise joint 4th member wood frame bigger than 3 members to fit in groove back
repousse & chasing work done on 28 gauge brass with an antique finish diamond impressions made to prevent ballooning of the metal while fixing to the frame motif cutout Dado joint used to attach the 2 pieces of plywood at an angle groove to fit the 4th leg of the framework in,use of 2 1 2 "screws as well to join plywood with veneer slit
4"
DETAIL B'
9mm groove in back to support seat dado joint with 12mm ply to join top+bottom back t 114 pieces
'*/*4) XBMOVU QPMJTI PO XPPE
'*/*4) CSBTT BOUJRVF GJOJTI PO NFUBM
t 115 t 115
$)"*3 130$&44
."5&3*"- Plywood ,Veneer, Old Burma Teak Wood , Screws, Nails , Fevicol , Metal, Foam, Finishing fiber, Fabric
130$&44 The chair is made in 3 parts , the metal piece , the veneered back , the front legs and seat of the chair. For chasing and repousse work to be done on metal, a carving piece is made out of wood that acts as a base for the metal work. This is a separate piece and is given to the metal carver to work upon. This piece will get attached to the back of the chair through tenon and mortise joint , fevicol and nails . The metal work is done through the old chasing and repousse technique. The metal is set on the wood piece by pressing it with hand tools in small portions with the help of a hammer . In this case instead of a pitch, a wood mould is used. A Small diamond design was set on the plain part of the metal to avoid it from ballooning when attached to the mold. The back of the chair is made with plywood and veneer. A detail drawing attached shows the internal joinery of the back. The front legs and seat of the chair is made from solid old Burma teak wood , the joinery mainly being tenon and mortise. 2.5� thick wood is required and the shape and size of the legs are cut on a machine and sawed , while the joinery part is cut by hand tools . The seat is assembled separately and the back is assembled separately. The two are joined through a groove cut in the back of the chair and nails and screws as shown in the detailed drawing. Once the chair is assembled then the seat is made with 2� thick 48 ltr density foam. This is stuck on a plywood base. Then finished with finishing fibre and fabric . the chair is polished with Asian paints Matt finish melamine polish done by spraying with a machine. The seat is then attached to the chair.
t 116
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$045*/(
CHAIR MATERIAL
RATE
QUANTITY
COST
Wood BTC Carving on BTC Brass Metal Sheet 28 gauge Labour for Repousse Antique Staining on Metal Veneer Ply Wood 12mm Ply Wood 19mm Ply Wood 9mm Hardware Labour for chair including foam work Foam for seat Fibre for seat Finishing Fabric including fusing Mellamine Spray Total
Rs 4500 / cft Rs 1500 / sqft Rs 300 / sqft Rs 350 / sqft Rs 500 / sqft Rs 150 / sqft Rs 80 / sqft Rs 126 / sqft Rs 65 / sqft
0.75 cft 1.5 sqft 6 sqft 6 sqft 6 sqft 9 sqft 3 sqft 3 sqft 4 sqft
Rs 550 / sqft Rs 140 / sqft Rs 340 / m Rs 900 / m
4.5 sqft 3 sqft 0.5 m 0.5 m
Rs 3375 Rs 2250 Rs 1800 Rs 2100 Rs 3000 Rs 1350 Rs 240 Rs 378 Rs 195 Rs 150 Rs 2475 Rs 420 Rs 170 Rs 450 Rs 1200 Rs 19,553
t 121
8)"5 %0&4 5)*4 $)"*3 3&13&4&/5 The chair design is a fusion of Contemporary and Classic. Repousse work, a popular ancient Banaras craft is the main inspiration for this chair. The carved design of the metal is classic but the diamonds to hold the metal in place are contemporary. The drop shape cut in the metal back symbolizes a drop of the river Ganga which is synonymous to purity. Purity of the soul and spirit is what monks seek . There is a popular belief that a dip in the Ganga purifies the soul. The rest of the back is plain and straight bringing out the contemporary form. The fabric is bright and vibrant like the colours of Banaras.
t 122 t 122
'*/"- 130%6$5 4)005
t 123
t 124 t 124
t 125 t 125
t 126 t 126
t 127
t 128 t 128
$&/53& 5"#-& • • • • •
Autocad Drawing 3D Render Process Scale Down Model Costing
t 129 t 129
803,*/( %3"8*/( 0' $&/53& 5"#-&
234"
a through & through slit made in the legs of the wood to fix the plywood along with nails
6"
light walnut finish on pine wood for colour and grain variation
1'-521"1'
dark walnut finish on burma teak wood(different grain finish)
6" 141" 234" 234"
12mm extra clear glass
141" 6"
1' 1'-521"
6"
234"
thin bevelled effect to the edges of the extra clear glass used walnut finish wood (different grain finish)
sloping wood piece from 1"to 18" as table top 12mm plywood as base support
DETAIL A: FIXING OF ALL COMPONENTS
a through & through slit made in the legs of the wood to fix the plywood along with nails
PLAN 12mm extra clear glass 1"
1 2" 1 2"
221"
12mm extra clear glass
a through & through slit made in the legs of the wood to fix the plywood along with nails
a through & through slit made in the legs of the wood to fix the plywood along with nails 1'-721"
1'-841"
12mm plywood used to hold the base wood pieces together
walnut finish wood (different grain finish) 234"
234" 1'-6"
FRONT ELEVATION
141"
1'-221" 1'-8"
walnut finish wood (different grain finish) 234"
SECTIONAL SIDE ELEVATION
t 130
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t 131 t 131
$&/53& 5"#-& 130$&44
."5&3*"- Pine wood , Burma teak wood , Ply , Fevicol, Nails
130$&44
First a mock of the table was made from waste wood , to ensure proportions look correct . Then the actual piece is made after the changes are incorporated. The 4 legs are made from Burma teak wood . A slit is cut in the legs to attach the plywood that holds the top of the table to the sides. A Detail working drawing is attached. The top of the table is sloping. The table top is inspired from the banks of river Ganga and the subtle sloping ghats . To bring out different textures and colour two different kinds of wood are used , namely pinewood and Burma teak . These are 1� thick to bring out the slope in the top . The wood is stuck and nailed on a base plywood. The edges of the plywood are covered with a thin wood edge binder . Once the top is ready it is attached to the four legs through a slit in the legs. The table is polished with a mixture of stainer , spirit, wax and Matt. This process is done by hand .
t 132
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t 134
$045*/(
TABLE Wood BTC for legs Wood BTC for Top Ply wood Pine Wood Clear Glass 12mm Hand Polish Hardware Labour Total
Rs 4000 / cft Rs 5000 / cft Rs 80 / sqft
0.5 cft 0.5 cft 3 sqft
Rs 150 / sqft
3 sqft
Rs 2000 Rs 2500 Rs 240 Rs 300 Rs 450 Rs 1000 Rs 150 Rs 2000 Rs 8640
t 135
8)"5 %0&4 5)*4 $&/53& 5"#-& 3&13&4&/5 The centre table form and design is contemporary. the shape of the legs is inspired by the steps that lead to River Ganga. The top has different woods that bring out fusion of different cultures and faith. The wood is put in a sloping form which is synonymous to the sloping ghats of river Ganga. The extra clear glass top symbolizes, the Purity of the Soul.
t 136 t 136
'*/"- 130%6$5 4)005
t 137 t 137
t 138 t 138
t 139 t 139
t 140
0550."/ • Autocad Drawing • 3D Render
t 141 t 141
803,*/( %3"8*/( 0' 0550."/
1" 22 4'-6"
1'-2"
1" 2 1" 22 21" 2
221"x221"seat framework in wood on 4 sides 112"
support member 1'-6"
framework using tenon & mortise joint 1 22"
1'-5"
1 12"
1'-5"
1'-5"
12mm plywood
DETAlL A
SIDE VIEW
4'-7"
1 2"
12mm plywood used as base with 48 density foam +finishing fibre+polysilk fabric fused with fusing fabric 12mm plywood
framework using tenon & mortise joint
wood with walnut finish 1'-2"
Detail A
1'-6"
1" 12
1"
SECTIONAL PLAN
1" 22
12mm plywood used as base with 48 density foam +finishing fibre+polysilk fabric fused with fusing fabric
1'-1"
1" 22
4'-11"
3"
12mm plywood used as base with 48 density foam +finishing fibre+polysilk fabric fused with fusing fabric
1" 62 1'-6"
1" 22 2"
11" 2
1 12"
12mm plywood used as base with 48 density foam +finishing fibre+polysilk fabric fused with fusing fabric
framework using tenon & mortise joint
1" 22
9"
21" 2
1'-2"
SECTIONAL SIDE VIEW
1" 4'-8 1" 2
FRONT VIEW
t 142
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5)&.& Inspiration is derived from Banaras and its flavours. Furniture designs are simple in form, keeping in mind the simplicity of the monks. Elegance needed for a suite room is brought out through metal art. Repousse work, an ancient craft of Banaras is the focal area of the entire design and theme. The vibrant soul of Banaras is brought out through the upholstery and soft furnishings,art and artefacts. Some of the fabrics have a Banarasi style. The plain solid curtain have a shloka printed from the Veda scripture. Purity of the Ganga and knowledge from the Vedas both symbolize Banaras. These have been brought out through design and form. The paintings are prints of famous Fresco artist, Ramesh Gorjala. He is a contemporary artist who paints mythology in a different style. The suggested wall treatment is neutral and subtle so as to bring out the other colours. Wooden flooring is used to add warmth to the room. The overall outcome is subtly elegant with just the right amount of colour and vibrancy.
t 160 t 160
% 7*&84 0' 5)& 46*5& 300.
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3&53041&$5*0/ It’s been a long and memorable journey at this institute. It has made me evolve from being a timid girl to be a fighter. It has taught me to explore my options, to gain confidence, go beyond my comfort zone and explore the options of design and that it also has limitless ways of evolving. At MIT I have also learned that self learning is the best method and no one can teach you design better than your own passion and desire to excel. Perfection is not an achievement, it is a necessity. Here I have learned that one must push themselves to bring out the best in them. I have also learned the art of working in a group and yet being able to maintain ones individuality. Staying in the hostel, living independantly and learning how to take care of myself, to making friends who became more like family, it makes me nostalgic to look back and see how these years have passed by. The change that will occur in our lives after each and every one of us steps out to chase what this institute has helped us for. The faculty has taught me how to push myself beyond lines to achieve what they already knew I could and what I did not even see. From crying to having the best times laughing, all the memories will never fade. It has helped me grow each and everytime. On the cover of this book, a quote is written : ‘Travel far enough, you find yourslef ’ by David Mitchell. I have travelled far along in my jounrey in this institue and it has very much helped me find my self. This journey has just been a preparation for the actual one, it starts now.
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Website Links https://www.varanasicity.com/history-of-varanasi.html https://www.greatsmallhotels.com/ http://www.craftsvilla.com/blog/banarasi-sarees-history-facts https://www.varanasicity.com/history-of-varanasi.html https://www.greatsmallhotels.com/ http://www.craftsvilla.com/blog/banarasi-sarees-history-facts First hand Information through a Questionnaire Books : Varanasi Vibes:Travel to the Soul of India Books on buddhism
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